Fine Art & Antiques 25-26 FEBRUARY 2015
Dominic Winter SPECIALIST AUCTIONEERS & VALUERS
Lot 438 • Front Cover: Lot 130 • Back Cover: Lot 619
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Dominic Winter SPECIALIST AUCTIONEERS AND VALUERS All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom. A buyer’s premium of 19.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyer’s premium is 23.40% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium
PAINTINGS & WATERCOLOURS MARINE ART & SCULPTURE OLD MASTER & MODERN PRINTS Wednesday 25th February 2015 Lots 1-356 commencing at 11am Followed by
ORIENTAL CERAMICS & JADE TRIBAL & SAILOR ART SILVER, JEWELLERY & FURNITURE Thursday 26th February 2015 Lots 401-742 commencing at 11am Viewing: Tuesday 24th February, 9am-7pm and morning of sales from 9am CITES REGULATIONS Please note that lots marked ☉ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ Payments: For full details please refer to the information on the reverse of the Contents Page Please ensure that all commission bids reach us by 10am on the morning of sale. Telephone bids only accepted for lots with estimated value greater than £300 and should reach us by 9am on morning of sale Results will be posted on our website immediately after the sale.
Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 www.dominicwinter.co.uk
Fax: 01285 862461 info@dominicwinter.co.uk
For directions on how to find us, please refer to map at rear of this catalogue
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C. Wyville Thomson. Report on the Scientific Results of the Voyage of H.M.S. Challenger During the Years 1873-76: Report on the Birds, 1881 Estimate ÂŁ700-1000
FORTHCOMING SALES Wednesday 4 March
Printed Books, Maps & Documents Medieval Manuscripts & Illuminated Leaves
Wednesday 8 April
Printed Books, Maps & Documents Travel, Atlases & Natural History
Friday 17 April
Islamic Art including Indian & Persian Miniatures Japanese Prints & Chinese Watercolours Photography 1850-2000
Wednesday 13 May
Printed Books, Maps & Documents
Thursday 14 May
Motoring, Cycling, Maritime & Railway History: Models, Toys, Books & Documents, Fine Art in association with Transport Collector Auctions
Friday 15 May
Military, Aviation and Naval History Medals, Arms & Armour, Stamps & Coins
Entries are invited for the above sales: please contact one of our specialist staff for further advice
Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 www.dominicwinter.co.uk
Fax: 01285 862461 info@dominicwinter.co.uk
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CONTENTS DAY ONE Watercolours & Drawings Marine Art Old Master & 19th-Century Paintings Historical Portraits Sculpture Old Master Prints & Drawings Etchings, Woodcuts & Lithographs Modern Prints Modern Watercolours & Drawings Modern Paintings
1-62 63-91 92-158 159-169 170-178 179-197 198-233 234-263 264-312 313-356
DAY TWO Ceramics & Glass Collectables Jewellery & Silver Tribal & Sailor Art Oriental Ceramics, Jade & Other Objects Clocks, Textiles & Furniture
401-426 427-478 479-514 515-541 542-670 671-742
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IMPORTANT NOTICES All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with asterisk, in which case the buyer’s premium in 19.5%. Artist's Resale Right Law ("Droit de Suite") Lots marked with a (AR) may be subject to Droit de suite. Droit de suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk for further details.
For enquiries concerning any lot in this sale, please contact a member of our specialist staff
Furniture, Silver, Ceramics & Collectables Henry Meadows BA Hons, MRICS Matthew Farren BA Hons, FRAS Paul Rasti
Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Susanna Winters MA (History of Art) Colin Meays BA Hons (Conservation)
Photography Chris Albury
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WATERCOLOURS & DRAWINGS To commence at 11am
Lot 1
Lot 3
1* Attributed to Thomas Barker of Bath (1769-1847). A Man and a Dog on a Forest Path, watercolour, showing a rustic traveller carrying a stick and with a bundle under his arm, followed by a grey mongrel, traversing a tree-lined track with a church in the background, 28.5 x 44cm (11.25 x17.25ins), mounted, framed and glazed, with John Spink label to verso (1)
3* Branwhite (Charles, 1817-1880). ‘Homeward Bound’, North Wales, 1879, watercolour, heightened with white bodycolour, showing a panoramic mountain scene with figures, signed with initials and dated ‘79 lower right, 39.5 x 67cm (15.5 x 26.5ins) mount aperture, framed and glazed Exhibited at the British Institute in 1879. An excellent example of the work of Charles Branwhite, associate member of the Old Watercolour Society, and a member of the well-known Bristol family of artists of the same name. (1) £500-800
£100-150
2* Blommers (Bernardus Johannes, 1845-1914). Little Dutch street boy with piano accordion, black chalk on laid paper, showing a small boy wearing clogs and a cap, seated on a wooden bench, with a piano accordion beside him, with additional small sketch of the boy in upper right corner, signed lower left, verso with several sketches of a lady putting her hair in a bun, 45 x 36cm (17.75 x 14.25ins), tipped onto card (1)
4* Bright (Henry, 1810-1873). Ravine, oval watercolour heightened with bodycolour, 23 x 17.5cm (9 x 7ins) mount aperture, framed and glazed (1)
£200-300
5* Brittan (Charles Edward, 1870-1949). Sheep on the Moors, with sunlight and rain, watercolour, heightened with bodycolour, signed lower left, 45 x 66cm (17.75 x 26ins), gilt frame, glazed, together with Mist on the Moors, watercolour, heightened with bodycolour, signed lower left, 45 x 66cm (17.75 x 26ins), gilt frame, glazed
£100-150
(2)
Lot 2
Lot 4
£100-150
Lot 5
5
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Lot 9
Lot 6
6* Brooke (Percy, active 1894-1916). Jackson’s Bank, 1908, watercolour, signed and dated lower right corner, 24 x 17cm (9.5 x 6.75ins) mount aperture, gilt mount, framed and glazed (1)
£200-300
7* Manner of George Cattermole (1800-1868). The Assignation, 1857, watercolour, depicting a noble couple in an amorous embrace, seated in a wooden grotto, with two male figures looking on, monogrammed ‘JM’ and dated lower left, inscribed on verso in early manuscript ‘J.E. Millais 1857. The Assignation. cost 25 gs.’, 33 x 25cm (13 x 9.75ins), gilt mount, gilt moulded frame (damaged), glazed (1)
£200-300
8 No lot 9* Continental School. Still Life of Flowers, early 19th century, watercolour on wove paper, depicting an ornate urn filled with a profusion of flowers, including tulips, hydrangeas, auriculas, forgetme-nots, roses, crown imperial lilies, lilac, cornflowers, marigolds, morning glory, harebells, honeysuckle, fuchsias, and narcissi, accompanied by a bird and a nest filed with eggs, a pear, cherries, a half-peeled lemon, hazelnuts, and plums, signed ‘Verini’ lower right, somewhat stained and faded, 69 x 50cm (27 x 19.75ins), mounted on card (1)
Lot 7
6
£100-200
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10* English School. Gypsy Encampment By a Waterfall, c.1830s, watercolour, showing a group of travellers cooking over an open fire, and a mule loaded with panniers, in a wooded grove beside a waterfall, 29.5 x 43.5cm (11.5 x 17ins), mounted, framed, and glazed (1)
Lot 11
£200-300
11* After Antonio Allegri Correggio (circa 1489-1534). Saint Mary Magdalene Reading in a Landscape, mid to late 19th century, watercolour, 28 x 38cm (11 x 15ins), gilt mount and frame, glazed Endlessly copied, the whereabouts of the Reading Magdalene, thought to have been painted by Correggio, is now unknown. (1) £150-200
12* Country Houses. View of Hardwick, The Seat of the Revd. Sr. Edwd. Kynaston Bart., c.1820s, pen, ink, and watercolour wash, showing the front facade and flanking villas of Hardwick Hall, Ellesmere, Shropshire, calligraphic title and coat-of-arms to lower margin below image, toned and some minor rubbing, sheet size 26 x 31cm (10.25 x 12ins), framed and glazed, together with Knowle House - Seat of L’d Plymouth, Seven Oaks, Kent; Near the House, Seven Oaks, c.1820s, a pair of watercolours, the first showing a view of the main facade from the park, the second showing a landscape with trees, houses, and figures, one mounted, each with pencillled title to lower margin below image, each sheet size 18.5 x 23.5cm (7.25 x 9.25ins), matching frames, glazed, plus Haddon Hall, Derbyshire, late 19th century, pencil vignette, showing a view of Haddon Hall set in parkland with cattle, signed in pencil ‘P. Bainbridge’ lower left, titled in pencil to lower margin below image, sheet size 14 x 19cm (5.5 x 7.5ins), framed and glazed, plus four other drawings and watercolours of country houses, including Coombe Lodge and Beckington Place in Friston (7)
Lot 12
£200-300
13* Country Houses. Glyndley Manor, near Westham, East Sussex, 1781, pen, ink, and watercolour wash, showing Glyndley Manor flanked by a avenue of trees, dated lower right and signed ‘S. Burrell’, and captioned in manuscript below image ‘ A View of Lady Feachey’s House at Glynley in the parish of Westham taken on the S. Front’, sheet size 20 x 26.5cm (8 x 10.5ins), framed and glazed, together with Haddon Hall, Derbyshire, c.1820s, pencil vignette, showing a view of Haddon Hall set in parkland with cattle, signed in pencil ‘P. Bainbridge’ lower left, titled in pencil to lower margin below image, sheet size 14 x 19cm (5.5 x 7.5ins), framed and glazed, plus five other drawings and watercolours of country houses, including Llanfrechfa Grange, June 25th 1875 (8)
£200-300
Lot 13
7
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14* Dixon (Frank, late 19th century). Old Cottage - Port-eynon, 1890, watercolour on paper, depicting the interior of a flagstoned cottage, with a Welsh woman in a bonnet using bellows at the cooking range, with a wooden settle, grandfather clock, sideboard and oil lamp, and kitchen table, titled lower left, signed and dated lower right, faint superficial scratch, 33 x 49cm (13 x 19.25ins), mounted, together with Fettes Douglas (William, 1822-1891), Boatman’s Cottage at Luss, 1868, watercolour on card, depicting figures beside a stone cottage with vegetation growing on the thatched roof, and mountains in the background, titled and dated lower right, 24 x 30cm (9.5 x 11.75ins), mounted, with printed label ‘In the Collection of Alfred A. Haley, Walton, Wakefield’ annotated with the artist’s name in pencil, plus Boat House near Brodick, Arran, 1852, pencil and watercolour on card, depicting a rustic interior, with a a woman sewing beside the fire, titled and dated in pencil lower right, inscribed in pencil on verso ‘Thomas Faed RA 1826-1900, very early sketch’, mounted, with Alfred A Haley Collection label (not filled-in), plus three other watercolours (the interior of Brecon Cathedral, 1916, by Alfred Parkman; a landscape with ruined castle, 1844, by E. J. Crawford (1806-1885); and a river landscape with figures (6)
£200-300
15* Fisher (Joseph). Portrait of a Sudanese Man, 1882, watercolour over pencil on paper, signed and dated lower left, 23.5 x 18cm (9.25 x 7ins) mount aperture, framed and glazed (frame distressed) (1)
£150-200
16* Fox (Henry Charles, 1860-1929). A pair of rural landscapes, two watercolours, one depicting a haywain with thatched hayricks and geese, signed and dated 1911 lower right, 36.5 x 53cm (14.25 x 21ins), the other depicting a horse and cart in a lane, with another cart beside, signed and dated lower right (date partly obscured beneath mount), 36.5 x 53.5cm (14.25 x 21ins), matching mounts and frames, glazed (2)
£300-400
Lot 14
Lot 15
Lot 16
8
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17* France & Switzerland. Album of pen & ink drawings and watercolours of alpine scenery and coastal views, mostly on the French Mediterranean coast, and French/Swiss Alps, circa 1850-60, approximately sixty various ink and watercolour drawings, including views of Chambery, Hyeres, Blonay, Monte Rosa, Mont Blanc, Spezia, Bregancon, Palermo and elsewhere, 215 x 350mm (8.5 x 13.75ins) and smaller, contained in contemporary half maroon plum morocco album, rubbed and some marks, folio (1)
£100-200
18* French School. A pair of watercolours, each of a late together two grisaille eighteenth century actor, c.1860s, watercolours, each a full length portrait of a gentleman in wig and frock coat, each signed ‘Bellecour’ lower right, toned, 11.5 x 7.5cm (4.5 x 3ins) and 10 x 7.5cm (4 x 3ins), mounted, each titled in pencil to mount ‘Acteur Epoque romantique’ (2)
£100-150
19* French School. Agricola of Avignon, late 18th or early 19th century, gouache on vellum laid down on contemporary oak panel, tiny hole to vellum lower centre, barely affecting image, 28 x 21.5cm (11 x 8.5ins) (1)
£200-300
20* Gabriel (Paul Joseph Constantin, 1828-1903). Polder landscape, Holland, black chalk on light brown wove paper, heightened with traces of white bodycolour, signed lower left, 31 x 47.5cm (12.25 x 18.75ins), framed and glazed (1)
Lot 18
£70-100
Lot 19
Lot 20
9
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Lot 22
21* Gilbert (Sir John, 1817-1897). In Doubting Castle, watercolour, depicting Christian and Hopeful captured by Giant Despair, 21 x 16.5cm (8.25 x 6.5ins), mounted, framed and glazed, with art dealer’s old label on backboard ‘John Magee of Belfast’ The original watercolour illustration for the edition of ‘Pilgrim’s Progress’ edited by George Offor, published by George Routledge in 1858, for which John Gilbert provided forty illustrations. (1) £150-200
22* Glass paintings. Flora Goddess of Flowers; Pomona Goddess of Fruit, W.B. Walker, 1814, a pair of glass paintings, each 19 x 24cm (7.5 x 9.5ins), matching gilt frames (2)
£200-300
23* Gotch (Bernard Cecil, 1876-1964). Low Tide at London Bridge, watercolour on paper, signed lower left, 24 x 36cm (9.5 x 14ins) aperture size, framed and glazed
Lot 21
(1)
10
£200-300
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Lot 26 24* Guerin (Anna Lukis, active 1872-1899). Roses and Cloisonne Enamel, watercolour still life, signed lower left, 21 x 16cm (8.25 x 6.25ins) (1)
£200-300
25 Harcourt (Bosworth W., 19th century). An album of original artwork, 1870s, forty-two pen & ink or pencil drawings and watercolours, mostly mounted on album leaves, but some loose, including book illustrations (Longfellow, Tennyson, Shakespeare, Dickens, Gray, Wordsworth), genre scenes (‘The Gleaners Return’, ‘Daddy’s Music’, ‘“Home” Again’, ‘Christmas, Waiting for the Coach’, etc.), landscapes, including one of Norwich, cartoons, and a drawing of a rustic figure standing beneath a telegraph pole watching a steam train go over a viaduct (‘Speed’), most initialled and dated, 25 x 17.5cm (9.75 x 7ins) and smaller, plus a loose etching entitled ‘Hardleigh Cross, Norfolk’, preliminary blank with contemporary pencil inscription ‘Original Drawings by Bosworth W. Harcourt Norwich, All Contributions to a Drawing Society in Norwich’, original black morocco, worn, lacking spine and with covers detached, 4to (1)
£200-300
26* Harding (James Duffield, 1797-1863). Llyn Dinas Falls, Snowdonia, watercolour on paper, heightened with bodycolour, initialled lower right, few minor creases, sheet size 36.5 x 25.5cm (14.25 x 10ins), framed and glazed (1)
£300-500
27* Hardy (David, active 1835-1870). Two Girls by a Stile, 1861, watercolour, signed and dated lower left, 25 x 17cm (10 x 6.75ins) mount aperture, framed and glazed (1)
£200-300
Lot 27
11
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Lot 28
Lot 30
28* Harries (Leslie S. G., 20th century). Still Life of Anemones, watercolour on board, signed lower left, 27 x 20cm (10.5 x 8ins) image size (1)
30* Hawksworth (Joseph Haslam, 1827-1908). Rural landscape with cottage and figures, watercolour, depicting a mountainous landscape with a thatched cottage amongst trees and large boulders, with two small children in the foreground, signed lower left, 32.5 x 47cm (12.75 x 18.5ins), mounted, framed and glazed
£100-150
29* Haslehurst (Ernest William, 1866-1949). Lake Edge at Durham, watercolour on paper, signed lower left, 38 x 27cm (15 x 10.75ins) aperture size, framed and glazed (1)
(1)
£100-150
31* Hoggarth (Graham, 1882-1964). Durham Castle, watercolour and pencil on paper, signed lower left, titled upper left, 17 x 22.5cm (6.75 x 9ins) mount aperture, framed and glazed
£200-300
(1)
Lot 29
£150-200
Lot 31
12
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33* Jackson (Samuel Phillips, 1830-1904). Mountain landscape with a girl crossing a river, watercolour, signed lower right, 93 x 162mm (3.7 x 6.4ins) mount aperture, framed and glazed, together with Attributed to Samuel Prout (1783-1852), View of a Continental Town with River and Figures by a Bridge, fine miniature watercolour, 95 x 140mm (3.75 x 5.5ins) mount aperture, framed and glazed
32* India. View above Dangal, Ganges Valley, circa 1880, watercolour on paper, titled to lower margin, 25.5 x 36cm (10 x 14ins) mount aperture, framed and glazed (1)
£200-300
(2)
£150-200
34* Johnson (Harry John, 1826-1884). Chepstow Castle, watercolour, signed and titled lower right, 45 x 64.5cm (17.75 x 25.25ins) mount aperture, framed and glazed (1)
£300-500
13
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Lot 35 35* Mole (John Henry, 1814-1886). Blackberry Pickers at Sidmouth, watercolour on paper, signed lower right, sheet size 24 x 36cm (9.5 x 14ins), tipped onto mount, framed and glazed
36* Mountaineering. Alpine scene with three figures, 1878, watercolour on paper heightened with bodycolour, dated lower left, 38 x 27cm (15 x 10.5ins) mount aperture, framed and glazed
(1)
(1)
£400-600
37* Muschamp (Francis Sydney, 18511921). The Suitors, watercolour on paper, 39 x 48cm (15.25 x 19ins) mount aperture, framed and glazed (1)
£150-200
Lot 36
Lot 37 14
£300-500
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38* Norman (Philip, 1842-1931). Whitby, 1901, watercolour, signed and dated lower right, 36 x 53cm (14 x 21ins) mount aperture, framed and glazed (1)
£600-800
39* Oyston (George, 1861-1937). Near Watchet, 1929, watercolour on paper, signed and dated lower right, 25 x 35cm (10 x 14ins) aperture size, framed and glazed (1)
£200-300
40* Perkois (Jacob, 1756-1804). A young woman from Gorinchem, black chalk and watercolour on paper, with brown ink framing lines, signed with initials ‘J.P.’ and inscribed ‘Gorinchem’, 28.6 x 19.8cm (11.25 x 7.75ins) (1)
Lot 40
£300-500
15
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41* Pyne (Thomas, 1843-1935). Cattle Watering By a Bridge, watercolour, showing a group of cattle in a wide shallow stream spanned by a wooden bridge, with a large house on the bank amongst trees, signed lower right, 32 x 51.5cm (12.5 x 20.25ins), gilt mount and frame, glazed, with old typed label on backboard relating to Thomas Pyne (1)
£200-300
42* Pyne (Thomas, 1843-1935). Summer Landscape with women and child seated by a stream, 1912, signed and dated lower left, 165 x 240mm (6.5 x 9.5ins) mount aperture, period gilt frame, glazed
43* Pyne (Thomas, 1843-1935). Summer Landscape with cows in a field and bridge over a stream, 1910, watercolour, signed and dated lower left, 175 x 245mm (7 x 9.75ins) mount aperture, period gilt frame, glazed
(1)
(1)
£150-200
16
£150-200
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Lot 44
45* Robertson (Tom, 1850-1947). Crinan Bay, Argyll, watercolour on paper, signed with initials lower right, 105 x 135mm (4.1 x 5.3ins), framed and glazed, with old label to verso
44* Reinagle (Ramsay Richard, 1775-1862). Italian Landscape with Ruins, watercolour, showing a wooded and mountainous landscape with a ruined fortress, and figures with a laden mule, goats, and a dog in the foreground, 62 x 76cm (24.25 x 29.75ins), mounted, framed and glazed, with label of I.W. Gore-Langton Fine Arts, Tunbridge Wells, to verso
Tom Robertson was born in Glasgow, and studied at the Glasgow School of Art, as well as in Paris under Benjamin Constant. His impressionistic style derives from the Glasgow School and J. M. W. Whistler. (1) £100-150
With a letter relating to this work to the present owner from Professor Alastair Smart, University of Nottingham, dated 9th April 1975, confirming its authenticity: ‘There is no doubt in my mind that this is indeed by him: The treatment of the figures is typical, and so is that of the trees and other features of the landscape. It looks to be an exceptionally fine example of his work ...’. (2) £1500-2000
17
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46* W.S. Watercolour of a duck, 1800, pen, ink, and watercolour, on laid paper, showing a black and white duck with a brown head, initialled and dated lower left, some light marks, 32 x 26.5cm (12.5 x 10.5ins), mounted, framed and glazed (1)
£200-300
48* Schafer (Henry Thomas, 1854-1915). St. Ouen, Rouen, Normandy, watercolour on paper, with traces of bodycolour, signed and titled lower left, 44 x 62cm (17.25 x 24.4ins) mount aperture, framed and glazed (1)
£150-200
49* Schnebbelie (Robert Blemmell, circa 1785-1849). The Commercial Sale Rooms, Mincing Lane, City of London. Used as the Custom House after the Original House was Burnt from 1814 to 1817, circa 1814, pencil, pen, ink & watercolour, captioned to mount, 25.5 x 42cm (10 x 16.5ins), framed & glazed, with engraved plate of the same image to verso, published by James Whittle & Richard H. Laurie, Jan. 16th, 1815, 29.5 x 44cm (11.5 x 17.25ins), Parker Gallery label to verso
47* Sacchetti (Lorenzo, 1759-1829). Arched interior with staircase, pen and brown ink on laid paper, with traces of pencil, 190 x 235mm (7.5 x 9.25ins) mount aperture (framed and glazed) with printed catalogue entry for this item by Ifan Kyrle Fletcher, London to verso Similar examples of drawings by Sacchetti are held at the Pierpont Morgan Library & Museum, New York. (1) £200-300
(1)
18
£200-300
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52* Stewart (James Lawson, 1829-1911). Street Scene, St Albans, watercolour, signed lower right, 50 x 75cm (19.75 x 29.5ins), framed and glazed (1)
£100-150
50* Stannard (Henry John Sylvester, 1870-1951). Village landscape with sluice, Bedfordshire, watercolour, signed lower left, 26.5 x 37cm (10.25 x 14.5ins), mounted, framed and glazed (1)
£250-350
53* Storer (Henry Sargant, 1797-1837). The Cloister, Peterborough Cathedral, pen & ink on artist’s board, detailed architectural study with vegetation, toned, and a few fox spots, 34.5 x 44.5cm (13.5 x 17.5ins), mounted (title and artist’s name in calligraphic manuscript to earlier mount beneath), framed (1)
£150-200
51* Stannard (Henry John Sylvester, 1870-1951). View of a Hamlet and Church Spire, possibly Harrold, Bedfordshire, watercolour, signed lower left, 26.5 x 37cm (10.25 x 14.5ins), mounted, framed and glazed (1)
£250-350
54* Syer (John, 1815-1885). Whitby Harbour, watercolour, depicting a panoramic view of Whitby, with shipping and buildings, including the ruins of Whitby Abbey, signed lower left, some spotting and staining, 49.5 x 71cm (19.5 x 28ins, framed, with old framer’s label on verso (1)
Lot 52
19
£100-150
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Lot 55
Lot 56
55* Valter (Frederick E., 1850-1930). Cow and sheep resting in a landscape, 1923, pen, brown ink and watercolour, signed and dated lower left, 28 x 22.5cm (11 x 8.8ins) mount aperture, period gilt frame, glazed (1)
57* Edward Walker (1879-1955). Cows disturbing the laundry in a Kentish meadow, watercolour on paper, laid onto board, signed lower right, 27 x 35.5cm (10.5 x 14ins) (1)
£100-150
£200-300
58* Walker (Edward, 1879-1955). Fisherman in Kentish riverside village, watercolour on paper, signed lower right, 32 x 48cm (12.5 x 19ins)
56* Vervloet (Frans, 1795-1872). Ponte Vecchio, Florence, watercolour on paper, signed lower right, 21.5 x 31cm (8.5 x 12.25ins), framed and glazed (1)
(1)
£100-150
£150-200
Lot 57
Lot 58
20
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Lot 60
Lot 61
59* Weeks (Edwin John, 1849-1903). Street scene in Cairo, with mosque, watercolour on paper, signed with initials lower right, 36.5 x 23.5cm (14.3 x 9.25ins) mount aperture, framed and glazed (1)
£400-600
60* West (Joseph Walter, 1860-1933). Study of a gentleman in 18th century dress, 1907, pen & ink, highlighted with bodycolour, with some pencil, full-length portrait of a gentleman in a frock coat, breeches, waistcoat, wig, and buckled shoes, looking down and leaning on the arm of a carved chair, with pencilled monogram, date, and title ‘Preliminary Study for a Water Colour Drawing’, 25.5 x 12cm (10 x 4.75ins), mounted (1)
62* Withers (Augusta Innes, 1793-1877). Flowers From Nature, watercolour on paper, depicting a still-life of flowers, including roses, irises, clematis, morning glory, fuchsias, and pelargoniums, signed lower left, 26.5 x 39cm (10.5 x 15.5ins), gilt octagonal mount, gilt moulded frame, glazed, inscribed with the title and artist’s name on verso (1)
£80-120
61* Attributed to Francis Wheatley (1747-1801). The Wandering Piper, pen, ink and watercolour on paper laid down, small repair to lower margin, 31.5 x 21.5cm (12.5 x 8.5ins), framed and glazed (1)
£300-400
21
£300-500
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MARINE ART
63* Arnell (G. H., 20th century). Cutty Sark, watercolour and gouache on paper, signed lower right, 43 x 55cm (17 x 21.5ins) mount aperture, framed and glazed (1)
£100-150
65* Collins (Hugh, circa 1834-1896). Fisherman Mending Nets, 1871, oil on canvas, depicting a rugged-faced bewhiskered fisherman smoking a pipe and wearing a turquoise shirt and red cap, seated in a cottage, with a row of fish hanging from a ledge behind, a teapot on the table, a plant in a terracotta pot on the window ledge, and an upturned three-legged stool on the floor, signed and dated lower left, relined, 61 x 50.5cm (24 x 20ins)
64* Cambier (Pierre Eugene, 1914-2000). Panoramic French Coastal Scene, watercolour on wove paper, signed lower right, 27 x 74cm (10.75 x 29ins) mount aperture, framed and glazed (1)
(1)
£150-200
£300-500
66* Corpuz (F., early 20th century). A pair of paintings of SS Barnesmore, Antwerp, 1910, gouache, both depicting a cargo ship, one in overcast sky and stormy seas, the other in calm seas, one or two short closed tears, latter with some light staining, both signed lower left and with ‘Antwerp’ and date lower right, matching mounts and frames, glazed (2)
£300-500
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68* Crossley (W., late 19th/early 20th century). Waiting for the Boats, & A Hard Day’s Fishing after Work, 1889, a pair of oils on canvas, the first depicting figures on a quayside, signed and dated lower left, the second depicting fisherman hauling their boat in to shore, signed and dated lower right, titled and signed by the artist on verso to each, trimmed and with later canvas attached to edges over stretcher, each 20 x 40cm (8 x 15.75ins)
67* Attributed to David Cox Jnr. (1809-85). Salvaging the Wreck, watercolour, signed ‘David Cox’ lower right corner, 17 x 26cm (6.75 x 10ins) mount aperture (1)
(2)
£150-200
£200-300
69* De Breanski (Gustave, circa 1856-1898). Fishing Boat Returning to Harbour, oil on canvas, depicting sailing boats by a quay, under an overcast sky, with cottages and figures, signed lower right, relined, 61 x 91.5cm (24 x 36ins), gilt moulded frame The brother of Alfred De Breanski, like all the Breanski family he painted landscapes, highland and river scenes, but he made more of a speciality of coastal scenes, often with fishing boats. His style is more impresssionistic than that of Alfred. £300-500 (1)
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70* English School. Seascape with Wreck, c.1840, oil on canvas, depicting a panoramic coastal scene, with mooring post and boats under a darkening sky, 1.5in closed tear (with some minor paint flaking), 27 x 39.5cm (10.5 x 15.5ins)
72* English school. Fishing boats in stormy weather, mid 19th century, watercolour on card, laid on near contemporary card, 18 x 25cm (7 x 9.75ins) (1)
With indistinctly inscribed old paper label on stretcher (possibly George F. Gregory?). (1) £150-200
£100-150
71* English School. Seascape with boats and figures, early-mid 19th century, oil on canvas, depicting a two-masted schooner in a harbour at sunset, with fishermen attending their nets on the shore, signed ‘Harris’ lower left, relined, gilt moulded frame (damaged) (1)
£200-400
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Lot 75 75* Attributed to Henry Gastineau, (1791-1876). Ostend. A Gale of Wind, watercolour, showing a shipping vessel driven onto wooden piles by a raging sea, with rescuers on the shore, before a campanile and other buildings, 40 x 60cm (15.75 x 23.5ins), with old manuscript label on verso giving attribution and title (1)
£200-300
73* Falcon (Thomas Adolphus, 1874-1944). Lighthouse and Sand Dunes, 21 February 1921, watercolour on paper, initialled and dated lower left, 25 x 42.5cm (10 x 16.75ins) aperture size, framed and glazed (1)
£200-300
74 Gage (Thomas, 1780-1820). Spithead from the Road to Wootton Bridge, Isle of Wight, 1806, grisaille watercolour over pencil, tipped onto contemporary laid paper with title inscription to lower margin, and brief description to verso, 24.5 x 33cm (9.75 x 13ins), together with three other 19th century watercolours of English topographical scenes (4)
£150-200
Lot 74
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76*AR Greig (Donald, 1916-2009). Orange Sails on the Salcombe Estuary, oil on board, signed lower right, contemporary gallery labels to verso, 56 x 91.5cm (22 x 36ins), framed Greig exhibited with the Society of Marine Artists. (1)
79* Hardy (Thomas Bush, 1842-1897). Harbour Scene, 1895, watercolour, signed and dated lower left, 22 x 36cm (8.75 x 14ins) mount aperture (1)
£200-300
77* Hardy (Thomas Bush, 1842-1897). Harbour scene with fishing boats in a squall, and figures on a jetty, watercolour, heightened with body colour, signed and dated 1890 lower left, light backboard staining, 23.5 x 53cm (9.25 x 21ins) mount aperture, framed and glazed, together with another similar estuary scene signed “T. B. Hardy” and dated ‘79, framed and glazed (2)
80* Hong Kong. Harbour Scene, early 20th century, watercolour on board, 33 x 49cm (13 x 19.25ins) mount aperture
£200-300
(1)
78* Hardy (Thomas Bush, 1842-1897). A Dutch Canal, watercolour, signed and titled lower left, 33 x 47.5cm (13 x 18.75ins) mount aperture, framed and glazed (1)
£200-300
£200-300
81* Hong Kong. William James Aylward (1875-1956), Box Cars of the Sea, charcoal on paper, original label to verso for American Magazine, 43 x 62cm (17 x 24.5ins), framed and glazed
£200-300
(1)
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£100-150
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82* Circle of Julius Caesar Ibbetson (1759-1817). Figures on a shoreline with boat, oil on canvas, relined, 46 x 61cm (18 x 24ins), oak frame, with old handwritten label to verso bearing the name Miss Lyd Alexander, Westfield, Mauchline (1)
£500-800
83* Isle of Man. Harbour Scene, watercolour, indistinctly signed lower left, 37 x 54cm (14.5 x 21ins) (1)
84* Kingwell (Alan, 20th century). Seascape, oil on canvas, signed lower left, 28 x 38cm (11 x 15ins) mount aperture, framed and glazed
£200-300
(1)
27
£200-300
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Lot 86
85* McKay (Thomas Hope, active 1907-1923). Harbour Scene, watercolour, signed lower right, 24.5 x 36cm (9.75 x 14ins) mount aperture, framed and glazed (1)
£200-300
86* Mortimer (Thomas, active 1880-1918). Fishing Boats at Dusk, watercolour, signed lower left, laid onto later card, 25 x 53cm (10 x 21ins) (1)
£80-120
87* Neapolitan School. British merchant steamer S.S. Stuart, early 20th century, gouache, showing the steamer at sea with Mount Vesuvius in the background, 41 x 60cm (16 x 23.5ins), mounted, framed and glazed (1)
Lot 87
£200-300
88* Pitcher (Neville Sotheby, 1889-1959). The Destroyer, watercolour, signed and titled lower right, 36 x 51cm (14 x 20ins) mount aperture, framed and glazed (1)
£300-500
28
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Lot 90
89* Rowbotham (Claude H., 1864-1949). Mending the Nets, boats on the beach with pier beyond, 1895, watercolour on paper, signed and dated 1895 lower right, 23 x 48cm (9 x 19ins), framed and glazed (1)
91* Walters (George Stanfield, 1838-1924). Dutch fishing boats coming into harbour, watercolour, 245 x 425mm (9.75 x 16.75ins) mount aperture, framed and glazed
£150-200
(1)
90* Taylor (Henry King, active 1857-1869). Retrieving the Wreckage, oil on canvas, depicting a rocky coastline and a stormy sea, with a winch on a high outcrop, and men hauling debris on the shore, signed lower right, sometime relined, 50.5 x 81cm (20 x 32ins), framed Henry King Taylor was a London painter of shipping and coastal scenes. He exhibited at the Royal Academy between 1859 and 1864, as well as elsewhere. (1) £700-1000
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£150-200
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OLD MASTER & 19TH-CENTURY PAINTINGS
92* Alken (Samuel Henry, 1810-1894). Tracking the Scent, Over the Brook, Jumping the Wall, & The Kill, a set of four hunting scenes, oil on wood panel, one possibly signed lower right, 35 x 50cm (13.75 x 19.75ins), matching period gilt frames (of which two have some loss) Provenance: Sotheby’s London, 12th July 1995, lot 140. (4)
£4000-6000
30
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Lot 93 93* Attributed to Louis Nicolas Blarenberghe (1716-1794). French Military Encampment, with musicians and dancing figures by a bivouac shelter, gouache on paper, 43 x 60cm (17 x 23.75ins), period gilt frame, glazed, with old French framer’s label to verso of Bance l’ainé, 175 Rue Saint-Denis, Paris to verso Born into a family of painters, Louis-Nicolas van Blarenberghe worked at Versailles as a society miniaturist, but also as official campaign painter to the French court. The Rothschilds were particularly attracted to the work of Louis-Nicolas and his brother Henri-Joseph, and many of their works are on display at Waddesdon Manor. (1) £1000-1500
94* After Rosa Bonheur (1822-1899). Detail from The Horse Fair, late 19th century, circular oil on canvas, showing a pair of dappled grey Percheron horses, one with mounted rider, 3.5” closed tear to lower edge of image, and some minor surface loss, diameter of image 66cm (26ins) One of Bonheur’s best-known paintings, ‘Le Marché aux Chevaux’ was exhibited at the Paris Salon of 1853, and is now in the Metropolitan Museum of Art. Bonheur was well established as an animal painter when the work made its debut, and it received wide praise. The artist drew inspiration from George Stubbs, Théodore Gericault, Eugène Delacroix, and ancient Greek sculpture, referring to the painting as her own ‘Parthenon frieze’. This detail of one of the main features of the painting is a competent and attractive piece. (1) £300-400
Lot 94
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99* After John Collier (1708-1786). The Dentist, oil on canvas, overall craquelure (and some minor surface flaking), relined, 20.5 x 25.5cm (8 x 10ins)
95* Callcott (A., active 1856-1864). On the Rhine, 1841, oil on canvas, depicting a campanile on the shores of a wide river, with boats and figures, a cart and paddle steamer, timbered houses, and fortifications on the hillsides, signed and dated lower right, spotted and with small hole, 64 x 76.5cm (25 x 30ins), framed
After plate eight in Collier’s ‘Human Passions Delineated’ published in 1773: Now string’s put fast on tooth that aches,/Which round his hand he wraps,/A glowing coal i’th’ tongs he takes,/And to his nose he claps./The sight and smell of fire drove back/The patient’s head in fright,/Who drew his own tooth in a crack,/And prov’d the doctor right. (1) £100-150
A London painter of landscapes and river scenes, Callcott exhibited both oils and watercolours at the British Institution and the Society of British Artists, Suffolk Street. (1) £100-150
96* Clayton (Harold, 1896-1979). Still life of old English roses, primulas, freesias and other flowers, signed lower left, Frost & Reed label to verso, 25.5 x 30.5cm (10 x 12ins), framed (1)
£1500-2000
97* Clayton (Harold, 1896-1979). Still life of roses, iris, primula and other flowers, oil on canvas, signed lower left, Frost & Reed label to verso, 25.5 x 30.5cm (10 x 12ins), framed (1)
£1500-2000
98* Cole (Arthur H., 19th century). Sunshine After Rain, The Old Boat House at Taplow; Nature at Rest, a Village near Stratford on Avon, together two oils on canvas, the first depicting a countryman on a punt beside a wooden landing stage, with timbered cottages and trees against a sunset sky, signed lower right, the second depicting a punt on a river bank, with timbered buildings and a church against a sunset sky, spotted and some damage (with old repair on verso), signed lower left, both titled on the verso in the artist’s hand, latter additionally signed on verso, both 40.5 x 61cm (16 x 24ins), matching frames (damaged) (2)
£150-200
100* Continental School. Mother, child and kittens, early 19th century, oil on canvas, depicting a young country woman seated in an interior, with a small child stroking the mother of two kittens, with a dresser adorned with pewter plates and spoons in the background, a wooden pail, a besom, an axe, a candle box, a fire in the grate, pan lids and a grater hanging on the wall, and other accoutrements of country life, 44.5 x 37cm (17.5 x 14.5ins), gilt moulded frame (damaged) (1)
32
£300-500
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Lot 96
Lot 97 33
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102* Cooper (Thomas Sidney, 1803-1902). Sheep on a snowy hillside, oil on wood panel, showing a group of four sheep, three lying down, in a winter landscape with an overcast sky, signed lower left, 37 x 42cm (14.5 x 16.5ins), gilt moulded frame (1)
£3000-5000
103* Cooper (Thomas Sidney, 1803-1902). Evening on the Stour, Cattle, oil on wood panel, showing a group of three horned cows on a riverbank, with two sheep in the background, signed lower left, old manuscript title label on verso, 37 x 42cm (14.5 x 16.5ins), gilt moulded frame (1)
104* Follower of Gustave Courbet (1819-1877). Young Girl with Ewer in Arcadian Landscape, 19th century, oil on canvas, small repair to verso, restretchered, few minor surface dents and scratches, 70.5 x 47cm (27.75 x 18.5ins)
101* Continental School. The Musical Contest Between Apollo and Pan, early 18th century, oil on canvas, depicting Apollo, Tmolus, Pan, and Midas in a landscape with mountain and trees, old reline, 35 x 53cm (12 x 21ins), gilt moulded frame (damaged) (1)
£3000-5000
(1)
£400-600
£300-500
105* English School. Three landscapes, 19th century, together three oil paintings, the first an oil on canvas of a river and stone bridge, with a small boy holding a stick and paddling by a boulder, 46 x 61cm (18 x 24ins), the second an oil on wood panel depicting a vista of a house at the end of a tree-lined lane, indistinctly initialled lower right, 18 x 25cm (7 x 9.75ins), and the third an oil on wood panel of a wood, 18 x 22.5cm (7 x 8.75ins), all framed, latter two with old framer’s label on verso Provenance: Purchased by the current vendor from Mrs. D.W. Bell, of Taunton, Somerset, whose great aunt married into the Dalziel family. A letter from Mrs. Bell regarding these pictures, dated 21st October 1978 (copy available from the auction office) attributes them to the Dalziel family, with some additional information about family ownership. (3) £200-300
Lot 102
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Lot 102
Lot 103 35
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108* Dutch School. Revellers in a Garden, early 18th century, oil on canvas, depicting a number of men and women gathered around a lady playing a lute, with two children and a dog in the foreground, and stone pillars and a large sculpted urn in the background, relined, 30 x 43cm (11.75 x 17ins), gilt moulded frame (damaged), with early framer’s label on verso (1)
£300-500
106* Dutch Italianate School. The surgeon operating on a patient’s leg, fine late 17th or early 18th century oil on copper, depicting a nearly naked man propped up on a bed attended by a surgeon, assisted by a bearded man and a boy, 245 x 188mm (9.7 x 7.4ins), old gilded wood frame, with beaded decoration and scallop shells to corners (some wear) (1)
£700-1000
107* Dutch School. Interior of a Barn with Figures, early 19th century, oil on canvas, showing two peasant figures beside a wooden enclosure in a barn, with a dog, a cockerel, and a besom, 18.5 x 25.5cm (7.25 x 10ins), framed (1)
109* Dutch School. The Card Players, late 18th or early 19th century, oil on oak panel, in the manner of Adriaen Brouwer (16051638) or David Teniers (1610-1690), 16 x 13cm (6.25 x 5ins), old gilt frame, together with another similar oil on wood panel of a boor seated at a table smoking, gilt frame
£150-200
(2)
36
£150-200
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110* Dutch School. Portrait of King William III at the Battle of the Boyne, large equestrian oil on canvas portrait, depicting the King in armour on horseback before the battle, with orange silk sash on his arm, relined, 162.5 x 137cm (64 x 54ins) Provenance: Sotheby’s London, 9th November 1994, lot 130. (1) £1500-2000
111* Dutch School. Musicians in a Tavern, late 18th or early 19th century oil on thin copper, with indistinct initials AH lower right, and with old manuscript number ‘5756.a’ to verso, 205 x 170mm (8 x 6.7ins), gilt frame (1)
£200-300
112* Elliott (Robinson, 1814-1894). The Shrimper’s Children, 1866, oil on canvas, depicting a peasant woman seated on a rock, beside a creel and wooden handled net, with two young children, including a small girl collecting shells, signed and dated lower left, relined, 61 x 92cm (24 x 36ins), framed Robinson Elliot of Newcastle, is particularly known for his charming depictions of chidren, and exhibited at the Royal Academy, the British Institution and the Royal Society of British Artists. £700-1000 (1)
Lot 110
Lot 111
Lot 112
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Lot 115
113* English School. Timber Waggon, c.1830s/40s, oil on canvas, depicting a waggon outside a cottage, loaded up with tree trunks and pulled by four ponies, the driver standing beside them dressed in coat, hat, and gaiters, and carrying a whip, with a small child and a dog on the bank opposite, partial craquelure, some minor damage, including a 3” closed tear with some subsequent slight surface flaking, 69 x 65.5cm (27 x 25.75ins), gilt moulded frame (some damage) (1)
£200-400
Lot 116
114* English School. St. Michael’s Mount, c.1830s, oil on wood panel, depicting St. Michael’s Mount against an overcast sky and choppy sea, with sailing boats and figures in the foreground, some minor marks and chipping to edges, 25 x 41.5cm (10 x 16.5ins) (1)
£200-300
115* English School. Girl with Geese, c.1840s, oil on canvas, depicting a rural landscape, with a girl herding geese in a lane beside a cottage, indistinctly signed lower left, overall craquelure (with some consequent minor surface flaking), 51 x 76cm (20 x 30ins), gilt moulded frame (1)
117* English School. Landscape with Windmills, c.1830s-1850s, oil on wood panel, depicting a windmil beside a river, with a boat and figures, and a second windmill in the distance, indistinctly annotated in pencil on reverse, 24 x 31.5cm (9.5 x 12.5ins)
£200-300
(1)
116* English School. Cattle Crossing Bridge, c.1820s, oil on canvas, showing a rural river landscape, with a figure and cattle on a stone bridge and cottages behind, initialled ‘I.K.’ lower right, overall craquelure, 27.5 x 35cm (10.75 x 13.75ins), framed (1)
£150-200
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£150-200
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Lot 119
118* English school. Landscape with river and figures, early 19th century, oil on canvas, showing a wooded landscape with sailing boats on a river, and a man fishing on the bank, a small girl crossing a wooden bridge, and two other figures in the distance, 50.5 x 61cm (20 x 24ins), gilt moulded frame (1)
£150-200
119* English School. The Holy Family, 18th c., oil on canvas, showing Mary, Joseph, and the infant Jesus, with a dove and five putti above, relined, 25 x 34cm (10 x 13.25ins), old gilt frame (1)
£200-300
120* After Henri-Theodore Fantin Latour (1836-1904). Chrysanthemum in Glass Bowl, 1872, oil on board, signed “Fantin” and dated ‘72 to lower right, 19 x 29cm (7.5 x 11.5ins) mount aperture, gilt frame, glazed (1)
£150-200
Lot 120
121* French School. Large still life frieze of flowers, late 19th century, oil on canvas, unsigned, depicting roses, tulips, lilies, narcissi, and other flowers, repaired to verso, 37.5 x 135cm (14.75 x 53ins), framed (1)
£300-500
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123* German Romantic School. Mountain landscape with figures, 19th century, oil on panel, overall craquelure, 48 x 58cm (19 x 23ins), framed (1)
122* French School. Study of a rococo bed chamber at Versailles, late 18th or early 19th century oil on canvas, relined, 73.5 x 52.5cm (29 x 20.75ins)
£300-500
124* Follower of John Frederick Herring, Senior (1795-1865). Farmyard Friends, oil on canvas, depicting three ponies looking over a stable door at three pigs in a farmyard and a dove in flight, relined, 60 x 50cm (23.5 x 19.75ins, framed
Provenance: Purchased in New York by William Thuillier on behalf of the current owner. (1) £1000-1500
(1)
£200-300
125* Horlor (George William, 1823-1895). Autumn on the Downs, oil on canvas, depicting a group of horned cattle with some sheep in the background, in a twilight landscape, 28 x 45cm (11 x 17.5ins), gilt mount lettered with title and artist, gilt moulded frame (some damage) (1)
Lot 123
40
£300-500
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126* Icon. A Russian icon of the Theotokos or The Life-Giving Spring, Central Russian, 17th century, tempera and gilt on one-piece oak panel, central figure of Mary captioned MP OY, 48.5 x 35cm (19 x 13.75ins), framed The title theotokos (literally ‘God-giver’) is used by the Eastern Orthodox Church to refer to Mary, the Mother of God, following the liturgy of St James the Just in 60AD. As the icon portrays, Mary is associated with the vivifying fountain, the waters from which are said to cure the sick. (1) £4000-6000
Lot 126
127* Icon. A Greek Icon depicting Saint Methodius, 19th century, tempera on thick wood panel (4)
£150-200
128* Italian School. Perseus & Andromeda, late 17th/early 18th century, oil on canvas, cut down and pasted onto later canvas, few surface marks, 119 x 90cm (47 x 35.5ins) (1)
£1200-1800
Lot 128 41
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129* Jankowski (Johann Wilhelm, 1825-1870). View of Andernach, Germany, oil on canvas, showing the Round Tower and the church of St. Mary Assumption on the Rhine, signed lower right, ‘Andernach’ pencilled on verso of stretcher, 55.5 x 44.5cm (21.75 x 17.5ins), attractive contemporary oval gilt moulded frame (1)
£500-700
130* After Kauffmann (Angelika, 1741-1806). Cleopatra adorning the Tomb of Marc Anthony, & Andromache and Hecuba weeping over the Ashes of Hector, c.1770s, a pair of oil paintings on wood panel, some discreet restoration of paint surface, the first with two vertical hairline splits (reinforced with old batons on verso), remains of old handwritten label to verso of each, 49 x 37.5cm (19.5 x 14.75ins), and 49 x 37.5cm (19.25 x 14.75ins) respectively Two fine contemporary copies after paintings executed around 1770 by Angelica Kauffmann. The first was exhibited at the Royal Academy in 1770 (number 118), and is now in The Burghley Collection at Stamford House. The second was exhibited at the Royal Academy in 1772 (number 128); at one time it was in the collection of Lady Cicely Goff, but its present whereabouts is unknown. (1) £1500-2000
131* Kennedy (Edward Sherard, active 1863-1890). Still-life of a chair, vase and old leather-bound book, oil on canvas, showing a large tome embellished with metal furniture and a double-handled vase with relief foliate decoration, both placed on a carved and upholstered chair with a piece of brocade fabric, some restoration and re-touching, with artist’s ink-stencilled initials on verso, 77 x 56cm (30.25 x 22ins), framed
Lot 129
(1)
Lot 130 42
£150-200
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132* Koekkoek (Hermanus, 1815-1882). On the Amstel, near Amsterdam, & Farmstead with Haycart on a Path beside the Amstel, a pair of fine oils on wood panel, each signed lower left and lower right respectively, 21 x 31cm (8.25 x 12.25ins), and 20 x 28cm (8 x 11ins) respectively, the first with old handwritten label in English pasted to verso, matching gilt moulded frames Two fine views in oil of the countryside on the outskirts of Amsterdam, by Hermanus Koekkoek the Elder. Born into a family of Dutch landscape painters, Hermanus Koekkoek is revered for his seascapes off the Dutch coast and views on the waterways around Amsterdam. ÂŁ10000-15000 (2)
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Lot 133 133* Linton (William, 1791-1876). View of Lugano with Monte San Salvatore, oil on board, 23 x 33cm (9 x 13ins), period gilt moulded frame Provenance: Sotheby’s, London, 9th November 1994, lot 102. (1) £1000-1500
134* Linton (William, 1791-1876). A pair of mountain and river landscapes, oil on canvas, both showing a mountain landscape, one with a river between high rocks and a wading bird in the foreground, signed lower left, the other with a waterfall tumbling down from a stone bridge, with two ponies and a rider, unsigned, both with old manuscript label on verso ‘William Linton 1788-1876’, both 61 x 46cm (24 x 18ins), matching gilt frames (2)
£300-500
135* Manzuoli (Egisto, 19th century). Alpine scene of a seated young girl and a young man with a hurdy gurdy, oil on canvas, showing two figures in a sunlit mountain landscape, a young girl in a blue gown, yellow coat, and red head scarf, seated on a rock with a bundle and stick beside her, and a young man wearing breeches and striped stockings, a red waistcoat and blue neckerchief, and brown jacket and hat, with a hurdy gurdy slung around his neck, standing beside the girl and pointing, relined, 85 x 63cm (33.5 x 24.75ins), gilt moulded frame with arched aperture (some damage), with contemporary printed label on verso ‘Egisto Manzuoli, Casa Machiavelli, No.16 Via Guicciardini Firenze’ (1)
Lot 134
44
£700-1000
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136* Merritt (Anna Massey Lea, 1844-1930). Hampshire Girl, oil on board, signed lower right, 200 x 179mm (7.85 x 7ins), contemporary oak frame, glazed, with old pencil inscription to verso ‘Hampshire Girl Anna Lea Merritt 4 GNS’ The American Pre-Raphaelite painter Anna Lea Merritt was born in Philadelphia, and after studying in Germany settled in England in 1871. From 1890 onwards, she lived in Hurstbourne Tarrant in Hampshire. She published an illustrated account of the local area in 1902 under the title A Hamlet in Old Hampshire, for which the present work may have been made. (1) £300-500
137* Mordt (Gustaf Adolf, 1826-1856). Part of Tindso, Norway, oil on board, showing a figure sitting on a log beside a fjord, titled in contemporary manuscript on verso, and with annotation ‘Coll Grizelman’(?), 17.5 x 29cm (7 x 11.5ins), framed Painted for a work entitled ‘Norge Fremstillet i Tegninger’, first published by Christian Tonsberg between 1846 and 1848. ‘Norway Prepared in Drawings’ contains eighty-two tinted lithographed plates of Norwegian views reproducing the work of other well-known Norwegian artists as well as that of Mordt. (1) £1000-1500
Lot 135
Lot 137 45
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Lot 138
Lot 141
139* Mutrie (Annie Feray, 1826-1893). Roses and Pansies, 1860, oil on canvas, showing pink and cream roses and purple pansies on a mossy bank, monogrammed and dated lower left, 29.5 x 22cm (11.5 x 8.75ins), fine contemporary gilt moulded decorative frame with arch top aperture, glazed
138* Moscheles (Felix Stone, 1833-1917). Daisy Prima the Terrier, 1875, oil on canvas, captioned “Daisy 1a, anno aetatis suae IX” to upper right corner, signed and dated lower right, 60 x 51cm (24 x 20ins), framed Born in London, Felix Stone Moscheles (1833-1917) was the godson of Felix Mendelssohn. He went on to marry the artist Margaret Moscheles and earnt a reputation as an artist in his own right, exhibiting in Paris, Antwerp and London. A life-long advocate of peace, he was involved with developing dispute resolution procedures at The Hague. (1) £200-400
(1)
£1000-1500
140* Nagasaki Jesuit School. Adoration of the Magi, circa 1602, oil on oak panel, 318 x 273mm (12.5 x 10.75ins), later frame, with short typed label affixed to verso: Jesuit Art School Nagasaki 1602 Following the typed note attached to the reverse, this painting is believed to be an example of Italian-style devotional art, produced by local Japanese artists under the guidance of Jesuit missionaries in Nagasaki at the beginning of the 17th century. At the Seminary, directed by Giovanni Nicolao (1560-1626), Japanese students were taught European painting techniques, in order to produce copies of European artworks. The present panel is most likely a portion of a devotional altarpiece designed to adorn Christian churches in the region. Father Fernao Guerreiro wrote in 1601 ‘in this town [Nagasaki] there are students interested in painting and, who, in the context of a Seminar, live in a house led by two of us, one of whom who has come from Rome some years ago, being now a Priest and makes disciples in that art in such a manner that nowadays the churches in Japan are decorated with such rich and excellent altarpieces that one can compare them to the ones made in Europe ...’ (quoted in Alexandra Curvelo, Nagasaki, An European artistic city in early modern Japan, Bulletin of Portuguese Japanese Studies, June 2001, page 30. A similar oil on panel of the Adoration of the Magi was offered at auction at Bonhams London, 8th December 2004, and catalogued as Veneto-Byzantine School (lot 63). (1) £2000-3000
141* New Zealand. Woodcutters in a rural landscape, 1879, oil on canvas, depicting several lumberjacks working in a sunlit landscape, dated and indistinctly signed lower right, 50 x 80cm (19.5 x 31.5ins), framed (1)
Lot 139
46
£200-300
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Lot 140
47
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142* North Italian School. Still life of tulips and other flowers in a bronze urn, with dish of lemons and parrot on a stone balustrade, 18th century oil on canvas, relined, 71.5 x 101cm (28.5 x 39.75ins), fine period decorative gilt frame Possibly by the Hungarian/British artist Jakob Bogdani (1658-1724), who specialised in still lives featuring exotic birds. A similar work incorporating a parrot with fruit in a pewter bowl is on view at Anglesey Abbey, Cambridgeshire. £6000-9000 (1)
143* Picturesque School. Landscape with Ruins, mid 19th century, oil on canvas, depicting a ruined castle on a wooded promontory, with travellers on a path beside a river, relined, 28 x 39cm (11 x 15.5ins), together with Landscape with windmill, mid 19th century, oil on wood panel, depicting an estuary with windmill, ruins, a sailing boat, and figures, overall craquelure, framer’s old engraved label on reverse, 24 x 35cm (9.5 x 13.75ins), plus Rustic Landscape with Cottages, mid 19th century, oil on wood board, depicting a cluster of cottages, with trees, figures, and a dog beside a village pond, 19 x 28.5cm (7.5 x 11.25ins) (3)
Lot 143
48
£200-300
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146* Rixon (William Augustus, 1880-1936). Monnow Bridge, Monmouth, oil on board, signed lower left, 50 x 60cm (19.75 x 23.5ins), framed and glazed (1)
£300-500
144* After Raphael Sanzio (1483-1520). Sistine Madonna, mid 19th century, oil on board, a 19th century copy of part of the famous painting by Raphael in the Dresden Gemäldegalerie, 42.5 x 33cm (16.75 x 13ins), framed (1)
£150-200
145* Rixon (William Augustus, 1880-1936). Tewkesbury, oil on board, signed lower left, 50 x 60cm (19.75 x 23.5ins), framed and glazed
147* German Porcelain. Portrait of an Italian Renaissance lady, circa 1890, finely painted porcelain plaque, in the style of the Königliche Porzellan Manufaktur (KPM), Berlin, profile head and shoulders portrait of a young lady wearing a black dress with ruff and fur trim, and an elaborate headdress and veil, impressed ‘G 106’ on verso, 16 x 11.5cm (6.25 x 4.5ins)
(1)
(1)
£300-500
49
£400-600
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152* Stone (Marcus, 1840-1921). Blackcap with Japonica, oil on board, signed to lower edge, Frost & Reed label to verso, 35 x 25cm (13.75 x 10ins), framed (1)
£400-600
148* Attributed to George Smith of Chichester (1714-1776). Still life of peaches on a silver plate, lying on a bed of a leaves and flowers, oil on canvas, relined, 30.5 x 35.5cm (12 x 14ins), antiquestyle gilt frame (1)
£400-600
149* Spanish School. Spanish lady with mantilla and fan, late 19th or early 20th century oil on wood panel, indistinctly signed upper left, 250 x 195mm (9.75 x 7.7ins), period gilt frame, with old Liverpool label to verso (1)
£150-200
150* Stone (Marcus, 1840-1921). Goldfinch with Apple Blossom, oil on board, signed lower right, Frost & Reed label to verso, 21 x 16cm (8.25 x 6.5ins), framed (1)
£300-500
Lot 149
151* Stone (Marcus, 1840-1921). Blue Tit and Cherry Blossom, oil on board, signed lower right, Frost & Reed label to verso, 35 x 25cm (13.75 x 10ins), framed (1)
£400-600
Lot 150
Lot 151 50
Lot 152
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153* After Titian (Tiziano Vecellio, 1485/89-1576). Penitent Magdalene, 18th century, oil on canvas, some discreet restoration, relined, 82 x 65.5cm (32 x 26ins), gilt moulded frame After the oil by Titian of 1533 which now hangs in the Palazzo Pitti, Florence. Titian produced another version in 1565 (now in the Hermitage Museum). (1) ÂŁ1500-2500
51
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154* Velasquez (Eugenio Lucas, 1817-1870). A Priest saying Mass, & A Demon appearing to a Priest and other figures, a pair of oils on canvas, both relined, 33 x 54.5cm (13 x 21.5ins), each stencilled PT 913 to verso of stretcher, circular handwritten Bute collection label, old gilt frames Provenance: Marquis of Bute, his sale, Christie’s London, 3rd July 1996, lot 125, where these two works were catalogued as the work of Eugenio Lucas Villamil (1858-1918), the artist son of Eugenio Lucas Velasquez. Lucas Villamil, whose father died when he was only 12 years old, produced many paintings of Spanish tavern scenes, bullfights and figures in costume, but is also known to have produced imitations of the works of Goya, as his father had done. Based on physical evidence provided by the canvas and support, the full attribution to Eugenio Lucas Velasquez has been retained. £6000-9000 (2)
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157* Still life. Flowers and fruit, mid to late 19th century, oil on wood panel, showing an array of blossoms and fruit, including roses, striped carnations, plums, and grapes, indistinctly initialled lower right, 30.5 x 46cm (12 x 18ins), framed (1)
£100-150
155* Verboeckhoven (Eugene Joseph, 1798/99-1881). Two sheep and a ram in a landscape, 1825, oil on wood panel, signed and dated lower left, 27 x 23.3cm (10.7 x 9.25ins), period gilt moulded frame (1)
£1500-2000
156* Attributed to Walter Heath Williams (1835-1906). River landscape with gleaners and cottage, oil on canvas, depicting two figures with sheaves on a river bank, with trees, sheep in the distance, and a thatched cottage with a smoking chimney, overall craquelure, 3” superficial scratch to lower left corner, relined, 51 x 76cm (20 x 30ins), gilt moulded frame (damaged) (1)
£200-400
158* Follower of Philips Wouwerman (1619-1668). Soldiers before Sutler’s Tents, late 17th century, oil on wood panel, showing a cloudy landscape at dusk with two horses, one with rider dismounted and conversing with merchants outside a tent, with a dog in the foreground, 38.5 x 32.5cm (15.25 x 12.75ins), 19th century black and gilt frame This painting has been appraised by Dr. Birgit Schumacher, the leading authority on the work of Philips Wouwerman. She believes the work to be ‘a contemporary partial copy of a hitherto unknown work by Philips Wouwerman from his late period around 1665’. She was unable to trace the work from which the main group has been copied, but says that the painting ‘shows considerable resemblances with Wouwerman’s interpretation of the genre “Soldiers before Sutler’s Tents”‘. Schumacher dates the panel to the last decades of the 17th century, adding, ‘the unknown artist was a skilled painter and he indeed was proficient in copying Wouwerman’s specific artistic style.’ £1000-1500 53 (1)
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HISTORICAL PORTRAITS
159* Attributed to John Barry (active 1784-1827). A pair of miniature portraits of Mary Anne de Winton Morgan and Thomas de Winton Morgan, together two oval watercolours on ivory, one depicting a lady in a white dress with powdered hair under a white veil, a few faint fox spots, the other depicting a gentleman in a blue coat, white cravat, and wig, each 6.5 x 5.5cm (2.5 x 2.25ins), each contained in a fitted leather case by Lock & Whitfield of Regent Street (with oval gilt stamp on lower covers), contemporary manuscript label mounted on silk lining of inside front covers attributing the works to Opie and identifing the sitters: ‘Mary Anne de Winton Morgan, daughter of T. de W. Morgan, wife of Thos. Edw. Thomas of Glanmor, Swansea’ and ‘Thomas de Winton Morgan, St George’s, Somersetshire’. Literature: Ada Earland, John Opie and his Circle, Hutchinson, 1911 (‘Miss Morgan did not marry until 1810, three years after Opie’s death’); Daphne Foskett, Miniatures Dictionary and Guide’, Antique Collectors’ Club, 1987 (‘The miniatures mentioned by Jane Beetham of T. de W. Morgan and his wife are now thought to be by J. Barry’). (2)
Lot 160
£400-600
160* Coke Smyth (John Richard, 1808-1882). A pair of full-length portraits showing the 2nd Earl Lord Eldon and his wife, 1842, watercolour over pencil on paper, each with caption and signature pasted to verso, 44 x 30cm (17.25 x 12ins), framed and glazed Coke Smyth spent his early years travelling across Europe and the Near East before taking a posistion as drawing master to the household of the Earl of Durham. He accompanied the Earl to Canada where he taught and worked on a book of views. On returning to England he exhibited at the Royal Academy between 1842 and 1855. His attention became focused on cosutme and he began to undertake an enormous work on the history of European costume. The project was abandonded due to a lack of money, but Coke Smyth continued to work and experiment with lithography. His works can now be found in numerous British and Canadian collections. (2) £300-500
161* Continental School. Portrait of a lady, mid 19th century, oil on canvas, half length, slightly turned to the left, showing a seated dark-haired young lady, wearing a white blouse with frilled cuffs and cameo brooch, under a black gown, a few superficial scratches and one small closed tear with minor surface loss, 74.5 x 61cm (29.25 x 24ins), framed (1)
54
£200-300
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163* English School. Portrait of a lady in a muslin bonnet, c.1840s, oil on canvas, head and shoulders portrait of a lady in a black dress wearing a white muslin bonnet trimmed with pink ribbon and flowers, and a coral necklace and brooch, relined, 76 x 63cm (30 x 24.75ins), together with Portrait of a gentleman in frock coat over yellow waistcoat and white silk cravat, c. 1810-20, oil on canvas, relined, 58 x 46cm (22.8 x 18ins) (2)
£150-250
164* Hope (Laura Elizabeth Rachel, 1858-1929). Margaret, 1928, pastel oval head and shoulders portrait of a young girl with fair hair cut in a bob and wearing a blue blouse with collar, signed, titled, and dated, 38 x 33.5cm (15 x 13.25ins), gilt moulded oval frame (partially damaged), glazed, with old newspaper notice of the artist’s death on verso Laura Hope was a portrait painter and book illustrator, who exhibited at the principal London galleries, and was particularly known for her paintings of children and fairy subjects. The newspaper cutting on the verso states that Laura Hope was a great niece of Elizabeth Fry and that she ‘studied painting in London, being advised by John Millais, and working in Mr. Cope’s studio, and exhibited at the New Gallery, the Dudley Gallery, and other exhibitions.’ It also states that she was a member of the Pastel Society (‘a book on the famous John Russell having turned her to that branch of painting’) and that altogether she painted between 700 and 800 portraits, including two of the Queen of Spain as a child, the daughters of the Duke and Duchess of Connaught at Osborne in 1891 for presentation to Queen Victoria, and two portraits of Queen Mary in 1903. (1) £200-300
162* Cook (Theodore, active 1881-1894). Portrait, November 1889, oval, pastel on paper over canvas, signed, dated and inscribed “To my friend, Robin Little”, 68 x 58cm (27 x 23ins), gilt mount, framed and glazed Theodore Cook (active 1881-1894) exhibited at the Royal Academy and the Society of British Artists. (1) £400-600
Lot 163
Lot 164
55
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Lot 165 165* Lonsdale (James, 1777-1839). Portraits of Richard and Elizabeth Moon, c.1808, oil on canvas seated half length portraits, Elizabeth displaying her engagement and wedding rings, 92 x 68.5cm (36 x 27ins), matching elaborate gilt moulded frames, glazed, with printed label to verso ‘Grindley and Palmer Printsellers and Publishers Dealers in Works of Art, Picture Frame Manufacturers etc., 75 Church Street Liverpool’ and with 20th century labels refering to the sitters of each (with some erroneous information) Richard Moon (1783-1842) was a cotton importer in Liverpool, descended from a Lancashire family. The son of Robert Moon of Catterall and Ann Fisher, daughter of Rev. James Fisher of Garstang, Lancashire. He married Elizabeth, daughter of William B. Frodsham in 1808. They had seven children and one of their sons, Sir Richard Moon, Bart.(1814-1899) had active interests in the London and North Western Railway Company and later became chairman of the London and North Western Railway Company in 1861. The artist James Lonsdale (1777-1839) was born in Lancashire. Lonsdale initially commenced work as a pattern designer at Margerison and Glover’s print-works in Catterall, near Garstang, Lancashire. During this time he was encouraged to be an artist by the Lancaster architect Richard Threlfall. In about 1799 Lonsdale moved to London, where he briefly became a favourite pupil of George Romney (1734-1802), who retired to Kendal late in 1799, and in October 1801 he entered the Royal Academy Schools. He later purchased the house in Bernard Street vacated by the death of John Opie (1761-1807), and there he settled with his wife & children for the remainder of his life. After settling into his new studio he made the acquaintance of the Duke of Norfolk, who commissioned him to produce a large historical painting of King John and the Magna Carta, which was later rendered in stained glass in Arundel Castle. Lonsdale proved to be a fashionable and prolific English portrait painter who exhibited some 138 works at the Royal Academy between 1802 and 1838, and was one of the founders of the Society of British Artists, where he exhibited regularly from 1824 to 1837. His work was influenced and became overshadowed by his contemporary Sir Thomas Lawrence (1769-1830). Lonsdale’s sitters included the Duke of Sussex, Duke of Hamilton and the Marquess of Downshire. He also became the official portrait painter of Queen Caroline. Examples of his work are held at the Royal Academy of Arts, National Portrait Gallery, Royal Collection, V & A Museum and Dulwich Picture Gallery. (2) £1500-2000
166* Portraits. A Portrait of an Edwardian lady, circa 1908, oil on canvas, a few minor surface marks, 49 x 39cm (19.25 x 15.5ins), framed, together with a late 19th century portrait of a young gentleman, and an early 19th century portrait of a young lady, all framed (3)
56
£300-500
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168* Attributed to Ruskin Spear (1911-1990). Head and shoulders portrait of Bertrand Russell, oil on board, 56 x 46cm (22 x 18ins), framed (1)
£400-600
167* Salomon (Harry Herman, 1860-1936). Portraits of a Victorian gentleman and lady, a pair of oval watercolour portraits, possibly copied from a photograph or oil painting, each signed in pencil, and dated 1925 lower right, 28 x 23cm (11 x 9ins), matching gilt frames, glazed (2)
£100-150
169* Talfourd (Field, 1815-1874). Portrait of a young gentleman, charcoal, with black and white crayon, head and shoulders, slightly turned to the right, showing a handsome young gentleman, signed lower right, browned and with some marginal water-staining, 65.5 x 54cm (26 x 21.25ins), framed and glazed, with manuscript label on verso ‘Great Grandfather Holdsworth’ Born in Reading, Field Talfourd emigrated to Canada in 1832. He later returned to England where he made his career as a portraitist. Probably his best-known works are the 1859 chalk drawings he made of Robert Browning and Elizabeth Barrett Browning, both held by the National Portrait Gallery. Talfourd lived in Plymouth in the 1850s and participated in numerous sketching expeditions throughout the Devon area. (1) £100-150
Lot 168
57
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SCULPTURE
Lot 170
Lot 171
170* Barbedienne (Ferdinand, 1810-1892). Trumpeters and Young Girls Dancing, bronze relief, after one of Luca della Robbia’s ten Cantoria panels in the Museo dell’Opera del Duomo in Florence, 53.5 x 49cm (21 x 19.25ins), contemporary oak frame Luca della Robbia began his Cantoria, originally designed as an organ loft but later used to hold choir singers, for the Cathedral of Florence in 1431. He worked for seven years on the project, eventually producing ten exquisitely detailed panels depicting the celebratory text of Psalm 150. He focused his marble interpretation of the psalm on jubilant children singing, playing instruments and dancing to music. Ferdinand Barbedienne established his foundry in 1838, and the company became known for the high quality of its castings. (1) £2000-3000
171* Italian School. A late 18th-century bronze bust of a child, finely sculpted on a socle and square base, 50cm high Provenance: Cyril Humphries Collection, Sothebys New York, 11.1.1995. (1) £2000-3000
172* Bronze. The Capitoline Brutus, early 19th c., an unsigned bronze bust, supported on a marble column plinth, overall height 38cm (15ins) After the famous Capitoline Brutus, a 4th-3rd century BC bronze bust, which was donated to the Capitoline Museums in Rome by Cardinal Pius da Carpi in 1584, where it still resides today. (1) £600-800
Lot 172
58
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Lot 173 173* Hanlan (Roderick, 1928-). Construction, 1966, a wooden relief sculpture, painted in silver and gold, 49 x 17cm (19.25 x 6.7ins), and 10cm (4ins) deep, inscribed to verso Hanlan 1966 Munster Germany, presumably in the artists’s hand, with Drian Gallery’s label and additional German exhibition label attached to verso
175* Hitchins (Ron, 20th century). Tiles, circa 1960s, white painted abstract plaster relief mounted on wood, consisting of three large square tiles side by side, overall size 30.5 x 91.5cm (12 x 36ins), framed Signed and inscribed by the artist to verso ‘Ron. Hitchens, Tiles: - Edition of 8 or under’.
The Welsh sculptor Roderick Hanlan studied at Newport and Birmingham Colleges of Art between 1948 and 1953. He exhibited at the New Art Centre in London in 1958, and had his first one man show at the Drian Gallery London in 1952. (1) £200-300
(1)
£150-200
174* Italian School. Hercules and the Lion, a 19th century Italian majolica figural group, modelled as Hercules wrestling a lion on a grassy base, inscribed ‘Vbaldi da moria in bottegal de in pico 1624’, 30cm (11.75ins) overall height, base repaired (1)
£150-200
176* Jeannest (Emile, 1813-1857). Allegorical figure of Instruction, black patinated cast bronze, stamped E. Jeannest fecit, and inscribed “Pub. by Elkington Mason & Co”, 31cm (12ins) high Ward-Jackson pp. 49-50. (1)
Lot 175
59
£400-600
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Lot 177 177* Saint-Gaudens (Augustus, 1848-1907). Portrait of Robert Louis Stevenson, 1887, bronze relief circular medallion portrait, with greenish brown patina, 45cm (17.75ins) diameter, mounted on original wooden frame Provenance: Formerly in the collection of the literary critic and biographer Malcolm Elwin (1903-1973). J. H. Dryfhout & B. Fox, Augustus SaintGaudens: The Portrait Reliefs (1969), numbers 39-41. R. L. Stevenson sat for his portrait in 1887-88, at a time when Stevenson’s tuberculosis confined him to his bed, leaving the sculptor to portrait him in his familiar reclining position. The portrait was first cast as a full length figure in horizontal format, and then altered to a circular medallion. After Stevenson’s death in 1894, Saint-Gaudens cast new editions in homage to the writer, and versions of various sizes were produced throughout the 1920s. (1) £6000-9000
178* Wyon (Edward William, 1811-1885). A pair of alabaster roundels of children, together two plaques of circular form cast in high relief, depicting children at play, each with indistinct inscription around lower edge (one signed ‘E.W. Wyon Sculpt’), diameter of each 19cm (7.5ins), mounted together in a silk-lined wooden frame, glazed
Lot 178
Wyon studied at the Royal Academy from 1829 and exhibited there from 1831 to 1876. Among his commissions were works for Wedgwood and numerous portrait busts. He executed reliefs for Drapers’ Hall, London (1866), and two caryatids for the Fitzwilliam Museum, Cambridge (1874). (1) £300-500
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OLD MASTER PRINTS & DRAWINGS
179* Bartolozzi (Francesco, 1727-1815). View of the Inside of the Royal Exchange in London, August 12, 1788, copper engraving printed in brown on laid paper, 47 x 58.5cm (18.5 x 23ins) mount aperture, one or two minor repairs to edges, Hogarth-style frame, glazed (1)
£100-150
180 Bolswert (Schelte Adams, 1576-1659). The Set of Small Landscapes, after Peter Paul Rubens, circa 1638, the set of twenty engravings on laid paper, each with the artist’s and engraver’s name to lower left, all except five with the name of the publisher Gillis Hendricx to lower right, five engravings with prints with dedication or privilege inscription, most with central vertical crease, some minor marks and marginal water stains, generally very good impressions, plate size 335 x 460mm (13.25 x 18ins) and slightly smaller, sheet size 380 x 520mm (15 x 20.5ins), bound together in 19th century half calf over marbled boards, heavily rubbed and some wear with upper joint cracked and a little loss to head and foot of spine, folio
181* British School. Head of a Stone Lion, circa 1880, charcoal on paper, E.S.K. (examined South Kensington) blindstamp to lower left corner, 62 x 53cm (24.5 x 21ins), framed and glazed (1)
£100-150
182* Callot (Jacques, 1592-1635). De Droeve Ellendigheden van den Oorloogh, seer aerdigh en konstigh afgebeeldt door Jacques Callot...en in druck uytgegeven door Gerret van Schagen, [Amsterdam], Leonard Schenk, circa 1730, eighteen etched plates after Callot, trimmed to image, and laid down to album leaves, 19th century plain wrappers, soiled and with minor wear, oblong octavo
Hollstein 305-324. 4th state (of five). Provenance: Formerly in the collection of Sir John Gilbert R.A. (1817-1897), the historical painter and illustrator, inscribed in ink to front pastedown ‘John Gilbert Novr 1865. A set of 20 Landscapes after Rubens engraved by Bolswert. The complete set’, and with additional inscription below ‘Catherine A. Banks, given by Sir John Gilbert to me in 1896.’ (1) £700-1000
(1)
Lot 180 61
£150-200
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183* Carracci (Agostino, 1557-1602). Titiani Vecelli Pictoris Celeberrimi ac Famosissimi Vera Effigies, 1587, etching after the self portrait by Titian, some repairs, trimmed to image, and laid down on later paper, 313 x 235mm (12.3 x 9.25ins), together with four other Old Master prints, comprising a reversed copy after Annibale Carracci’s Virgin and Child with White Crow, an etching after Antonio Correggio’s Virgin and Child with St. John, a later copy in reverse of the same print, and an etching by Marcantonio Raimondi after Albrecht Durer’s The Annunciation, trimmed and laid down on card (5)
£100-200
186* Manner of Henry Fuseli (1741-1825). Sorceress, charcoal on paper, heightened with chalk, 32.5 x 24cm (12.75 x 9.5ins) mount aperture, framed and glazed (1)
£150-200
184* Constable (John, after, & Hirst, Norman). Salisbury from the Avon, Harnham Bridge, circa 1903, trial proof mezzotint on india paper, 50.5 x 61cm (19.75 x 24ins), framed & glazed (1)
£100-150
187* Goudt (Hendrick, 1582/88-1630/48). Jupiter and Mercury in the House of Philemon and Baucis (after Adam Elsheimer), 1612, copper engraving on laid paper, trimmed to margins, some minor marks and pale staining, plate size 218 x 227 (8.6 x 8.9 ins), together with a group of six etchings after Francis Barlow, published by Cornelis Galle, mounted in three frames, glazed, plus Norblin de la Gourdaine (Jean-Pierre, 1745-1830), Powolanie Przemyslawa na krola Czech (Invitation of Przemysl to ascend to the Czech Throne), 1777, etching, plate size 37 x 29.5 cm (14.5 x 11.6 ins), framed and glazed, and one other
185* Constable (John, 1776-1837). The Glebe Farm, engraved by David Lucas, 1832, mezzotint, plate size 17.5 x 25cm (7 x 10ins), together with three early proof before titles, plus five plates from Turner’s Oxford Almanacs, mostly trimmed to image (10)
£200-300
Hollstein 6 for the first item. (9)
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£200-300
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Lot 188 188 Goya (Francisco de, 1746-1828). Los Caprichos, 7th edition, 1903, eighty etched plates in blue ink on laid paper, original publisher’s cloth gilt, a little rubbed at extremities, folio, plate size 21 x 14.5cm (8.25 x 5.75ins), sheet size 31.5 x 24cm (12.25 x 9.5ins) Originally published in 1799, Goya relinquished the plates to Charles IV in 1803 in exchange for a pension for his son. The plates have been with the Calcografia Nacional and have been used for several later editions. The Prado Museum holds a copy of the first edition, each print annotated in manuscript by Goya explaining his satirical prints. (1) £7000-10000
189* Goya (Francisco de, 1746-1828). Sanan cuchilladas mas no malas palabras (Wounds heal quicker than hasty words), etching with aquatint printed on wove paper, from the edition of 100 published in 1864, numbered 16 to upper right corner, plate size 245 x 350mm (9.6 x 13.75ins), framed and glazed Harris 263 III 8. (1)
190* Green (Valentine, 1739-1813). Antiope, sleeping, surprized by Jupiter in the form of a Satyr, January 2nd 1792, fine mezzotint, plate size 61 x 50.5cm (24 x 20ins), sheet size 69 x 57.5cm (27.25 x 22.6ins) (1)
£200-300
63
£200-300
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191* Italian School. Ornament design with scrollwork, grotesque heads, birds and cornucopia, etc., 17th century, red chalk on laid paper, sheet size 244 x 167mm (10.4 x 6.5ins), framed and glazed, with Hal O’Nians, 6 Ryder Street, St. James’s label, dated 1964 to verso (1)
193* Milan. “To The Eternal Milan”, a study of Milan Cathedral, late 18th or early 19th century, pen, ink and wash on wove paper, with traces of pencil, captioned to the verso in pencil, 28.5 x 23cm (11.25 x 9ins), framed and glazed
£200-400
(1)
£200-300
194* Palmer (Samuel, 1805-1888). The Early Ploughman, 1861, etching on wove paper, a proof before the numeral ‘4’ was engraved in the lower margin and before the plate was published by the Etching Clube in 1865, plate size 13 x 20cm (5.1 x 7.9ins), framed and glazed Lister E8, state vii/viii. (1)
192* Jode (Pieter de, 1570/3-1634). Anne of Denmark, [Antwerp, circa 1603], copper engraving, trimmed to plate mark, some marks, 180 x 145mm (7 x 5.7ins), together with other various prints and engravings, late 17th, 18th and 19th centuries, including Della Bella, Perrelle, G. Engelmann, etc. (approx. 90)
£100-150
64
£200-300
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196* Turner (Joseph William Mallord, 1775-1851). Nine sepia mezzotints from the Liber Studiorum, 1808-1819, together nine sepia mezzotints by Charles Turner after J.M.W. Turner, mostly the full sheet, sheet size 300 x 433mm (11.8 x 17.5ins), and similar The titles are: The Egremont Marine, Peat Bog, Scotland, River Wye, Basle, Mt. St. Gothard, Solitude: A boy piping, Farmyard Scene, Cattle watering by a wooden bridge and Ben Arthur, Scotland. (9) £200-300
195* Swanenburgh (Willem Isaaksz, 1581-1612). Christ carrying the cross, copper engraving on laid paper, after Joachim Wtewael, published by Christoffel van Sichen, trimmed to margins (with printed verse to lower margin excised), 270 x 390mm (10.6 x 15.3ins), together with Rembrandt van Rijn (1606-1669), The Three Trees, etching on thick wove paper, a late 18th or early 19th century impression, trimmed to margins, 210 x 280mm (8.25 x 11ins), plus Strange (Robert, 1721-1792), The Judgement of Hercules, 1759, copper engraving on laid paper, a good impression, plate size 51 x 38cm (20 x 15ins), with margins, some soiling and short closed tears to margins, and Audran (Gerard, 1640-1703), L’Empire de Flore, circa 1680, copper engraving, trimmed to image, with loss of printed caption to lower margin, mounted on thick laid paper, with caption supplied in brown ink in a careful early hand, image size 380 x 515mm (15 x 20.25ins), plus other various Old Master Prints, including six sepia aquatints from Claude’s Liber Veritatis, 1774-1810, a mezzotint portrait of Philippe d’Orleans by Dagoty, a late impression of a landscape by Jan Both, two circular engraved portraits of Charles I on horseback, printed back to back, from Sandford’s Genealogical History, 1707, an etched bird’s eye view by Romeyn de Hooge entitled Plan exact des Fortifications du Chateau de Choczim sur le Niester, depicting the victory of Jan Sobieski over the Turks, and a later impression of Durer’s Knight on Horseback, as published in The Portfolio, etc., all loosely contained in modern cloth-backed portfolio (18)
197* Waterloo (Anthonie, circa 1610-1690). The Little Hunchback (Hollstein 121), etching on laid paper, plate size 295 x 238mm (11.6 x 9.3ins), sheet size 303 x 250mm (11.9 x 9.9ins), together with Landscape with Pan and Syrinx (Hollstein 128), etching on laid paper, margins close-trimmed, sheet size 299 x 245mm (11.5 x 9.7ins), plus twelve other etchings by Anthonie Waterloo, including Landscape with Venus and Adonis, A Small Bridge Over Stream (Hollstein 124), The Death of Adonis (Hollstein 130), Village on a Hill, Wooded Landscape (Two Men in a Hollow), and others (mostly smaller scale), on laid papers with various watermarks, various sizes
£200-300
(14)
Lot 196
65
£400-600
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ETCHINGS, LITHOGRAPHS & WOODCUTS
Lot 199
198* Alma-Tadema (Lawrence, 1836-1912). An Eloquent Silence, L.H. Lefevre, July 1st 1891, etching with hand colouring by P.J. Arendzen after Alma-Tadema, printed on india tissue, one of 500 proofs, signed in pencil by the artist and engraver, some light scattered spotting, plate size 48 x 38.5cm (18 x 15.25ins), framed and glazed (1)
£80-120
199* Beckmann (Max, 1884-1950, and others). Zweite Ganymed-Mappe, ed. Julius Meier-Graefe, Munich, R. Piper & Co., Verlag der Marées-Gesellschaft, Winter 1922, twelve orignal etchings and woodcuts by Max Beckmann, Heinrich Campendonck, Richard Seewald, Karl Hofer, Felix Meseck, Paul Kleinschmidt, Max Unold, Franz Hecht, Rudolf Grossmann, Karl Rossing, and Peter Trumm, each signed in pencil, each mounted in individual passepartout, single-page printed title (with minor waterstain to lower left corner), all loose in original publisher’s cloth-backed boards, with printed label to upper cover, somewhat soiled and waterstained to edges, folio (51 x 33.5cm) (1)
£1000-1500
66
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200* Blampied (Edmund, 1886-1966). Cart horse and trainer, 1953, etching, signed and dated to lower margin, plate size 110 x 158mm (4.25 x 6.25ins), with margins, framed and glazed (1)
202* Blanche (Jacques-Emile, 1861-1942). Lucie Esnault Reading, colour lithograph, printed by Auguste Clot, circa 1900, signed with initials in the stone, with dedication in pencil to lower right corner ‘à Bertha Capel’, 375 x 510mm (14.75 x 20ins) mount aperture, framed and glazed
£200-300
(1)
203* Bone (Sir David Muirhead, 1876-1953). Shrimp Boats, Great Yarmouth, 1935, etching with drypoint, on soft laid japan paper, one of four impressions in the eighth state of nine, from the total printing of 97, signed in pencil, and additionally inscribed to lower left ‘G.B. & M.B’s best wishes Jan 8 1947’, plate size 18 x 30cm (7 x 11.75ins), framed and glazed
201* Blampied (Edmund, 1886-1966). A Jersey Vraic Cart, 1937, etching on Whatman laid paper, signed in pale blue ink, plate size 218 x 280mm (8.4 x 11ins), sheet size 298 x 397mm (11.75 x 15.7ins) Appleby 183. (1)
£150-200
£200-300
Campbell Dodgson 464, state viii/ix. Provenance: From the artist’s collection. (1) £150-200
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204* Bull (Norma C., 1906-1980). Batman’s Landing - Melbourne, 1935, etching on paper, signed in pencil, and titled, plate size 343 x 217mm (13.5 x 8.5ins), framed and glazed, together with Mornington, 1932, etching with aquatint, signed in pencil, and titled, plate size 143 x 210mm (5.6 x 8.25ins), framed and glazed, with additional pencil note regarding framing by the artist in pencil, with signature, to verso, plus Marler (George, pseud. Alfred Edward Warner, 1879-1960), Queensland Pastures, etching, signed, titled and dated 3.25 in pencil to lower margin, plate size 157 x 235mm (6.2 x 9.25ins), with margins, framed and glazed (3)
£200-300
205* Gill (Eric, 1882-1940). God Sending, God Sending (alternative design), Earth Waiting, Earth Inviting, Earth Inviting (alternative design), Dalliance, Earth Wrestling, Yahoo, Earth Receiving, and Earth Receiving (alternative design), 1926, a group of ten copper engravings, all unsigned proofs, mostly designed for Procreant Hymn, plate size 110 x 88mm (4.25 x 3.25ins) and similar, all uniformly framed and glazed, including three frames containing two prints each Physick 359-366, 267 & 411. (7)
£200-300
Lot 204
206* Griggs (Frederick Landseer, 1876-1938). Cockayne, 1936, etching on laid paper, signed in pencil to lower margin, trimmed to the image by the artist on the other three sides as usual, a very good impression, sheet size 210 x 270mm (8.25 x 10.6ins), framed and glazed Comstock 55, state v/vii. (1)
Lot 205
68
£200-300
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209* Holmes (Kenneth, 1902-1994, & Marjorie, 1907-1992). Charing Cross Underground Station, circa 1930, etching, signed in pencil to lower margin, plate size 22 x 30cm (8.75 x 12ins) (1)
£70-100
207* Guillaumin (Armand, 1841-1927). Bicetre & Chemin des Barons, [1874], etching on chine appliquée, image size 95 x 175mm (3.75 x 6.9ins), sheet size 103 x 176mm (4 x 7ins) (1)
£150-200
210* Holmes (Kenneth, 1902-1994, & Marjorie, 1907-1992). Skipton Horse Fair, woodcut on japan paper, signed in pencil to lower margin, plate size 11.5 x 15cm (4.5 x 6ins), together with three other woodcuts by Kenneth Holmes, plus three etchings by Majorie Holmes Subjects include woodcuts of a village, The Rick and a bookplate for Milicent Peacock, and etchings of St Marks, Venice, Harmong, and The Trough. (7) £200-300
208* Haden (Sir Francis Seymour, 1881-1910). On the Test, 1859, etching with drypoint, on wove paper, signed in pencil, plate size 152 x 225mm (6 x 8.8ins), sheet size 202 x 275mm (8 x 10.75ins) Schneiderman 24, state vi/viii. (1)
£150-200
211* Holmes (Kenneth, 1902-1994). Marsaxett Harbour, Grand Harbour, Intahleb & Siggiewi Skyline, Malta, together four drypoint etchings, each signed in pencil, published by Malta Industries in an edition of 100, plate size 110 x 300mm (4.25 x 11.75ins) and similar (4)
Lot 209 69
£150-200
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212* Holmes (Marjorie, 1907-1992). Farmyard Scene with Pigs, woodcut, signed in pencil to lower margin, 11.5 x 15cm (4.5 x 6ins), together with three other woodcuts by Marjorie Holmes, each signed in pencil Subjects include The Haywagon, Figure in Cave, and The Rick. (4)
£150-200
214* Kasimir (Luigi, 1881-1962). Fleet Street, etching printed in colours, circa 1920, signed in pencil to lower margin, plate size 533 x 393mm (21 x 15.5ins), framed and glazed (1)
£100-150
215* Langmaid (Rowland, 1897-1956). Newlyn Harbour and St. Michael’s Mount, etching, signed in pencil, plate size 16 x 30cm (6.25 x 11.75ins), blindstamp of the Fine Art Trade Guild to lower left, light overall toning, framed and glazed, together with another similar etching of a harbour scene, with St. Michael’s Mount in the distance, signed in pencil, plate size 16 x 30cm (6.25 x 11.75ins), framed and glazed (2)
213* Holmes (Marjorie, 1907-1992). Penguins, etching, signed in pencil to lower margin, plate size 21 x 20cm (8.25 x 8ins), together with seven other etchings by Marjorie Holmes
£200-300
216* Macbeth-Raeburn (Henry, 1860-1947). A collection of approximately 120 prints, including signed etchings of Newcastle, Richmond Surrey, Steam Crane at Waterloo Bridge, Tangier Market, Portree Isle of Skye and Cleeve Hill near Cheltenham plus a collection of views in Spain, together with further etchings, drypoints and mezzotints of genre scenes, topographical views and portraits, nearly all signed in pencil by the artist, some duplicates including various states and trial proofs, various sizes
Subjects include Goats, Harmony, The Trough, Feeding the Pigs, Study of Head, Florence and Venice. (8) £200-300
Provenance: From the collection of the late Christopher Lennox-Boyd. (approx.120) £400-600
70
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217* Macbeth (Robert Walker, 1848-1910). [Tapestry Weavers, Las Hilanderas], pub. Robert Dunthorne, 1888, large uncoloured etching after Diego Velasquez, signed by engraver in pencil below image, 700 x 890mm, framed and glazed in near contemporary stained oak frame with wooden gilt slip, retaining Robert Dunthorne gallery label to verso of frame (1)
219* Robbe (Manuel, 1872-1936). Grinding the Coffee, colour aquatint, signed in pencil, numbered 51 to lower left corner, plate size 50 x 38.5cm (19.7 x 15.25ins), together with another colour aquatint by Manuel Robbe, depicting women in a Continental market place, signed and numbered 108, both framed and glazed
£200-300
(2)
218* Miller (Paul, 1957 -). Robin and Heather [Tanner] in the Hazel Copse, 2002, original pen & black ink drawing on paper, signed and titled in pencil to lower margin, image size 255 x 205mm (10 x 8ins), framed and glazed
£150-200
220* Rops (Felicien, 1833-1898). La Chasse a la Femelle, mixed method engraving in colours by Albert Bertrand after Rops, as published by Pellet in 1906, some light spotting, plate size 32 x 24cm (12.5 x 9.5ins), framed and glazed
As published in One English Path - A Centenary Tribute to Robin Tanner, 2004, by Paul Miller. (1) £150-200
Exsteens 943. (1)
71
£100-150
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223* Spencer (Noel, 1900-1986). Thames Craft, etching on laid paper, signed and titled in pencil to lower margin, plate size 25 x 32.5cm (10 x 12.75ins), together with Downey’s Wharf, Battersea, 1925, unfinished state, etching, signed and dated in pencil to lower margin, plate size 25 x 20cm (10 x 8ins) (2)
£200-300
221* Simpson (Joseph, 1879-1939). Portrait of an Artist, drypoint etching, signed in pencil to lower margin, plate size 19 x 22.5cm (7.5 x 9ins), framed and glazed (1)
£70-100
224* Strang (William, 1859-1921). A Print Auction, 1889, etching, signed in pencil by artist, 315 x 390mm, mounted, framed and glazed (1)
£200-300
222* Skeaping (John Rattenbury, 1901-1980). Matador and Bull, 1957, colour lithograph, published by Arthur Ackermann, December 1st 1957, signed in pencil, 39 x 51cm (15.25 x 20ins) mount aperture, framed and glazed (1)
£100-150
225* Toulouse-Lautrec (Henri de, 1864-1901). Yvette Guilbert ‘Pessima’, 1898, lithograph over a beige tint-stone, from the first edition of 350 published by Bliss and Sands, London, 1898, plate size 340 x 280mm (13.4 x 11ins), framed and glazed Adriani 253, state ii/ii. (1)
Lot 223 72
£300-500
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226* Etching Club. Etchings for the Art-Union of London by the Etching Club, 1857, 26 (of 30) etched plates by Millais, Holman Hunt, Cope, Creswick, Hook, etc., some light scattered spotting, contents leaf with title inscribed in blue ink to upper margin, disbound without covers, folio (36.5 x 26.5cm, 14.3 x 10.5ins), together with a photogravure reproduction of William Blake’s Chaucer’s Canterbury Pilgrims (1810) by Frederick Hollyer, late 19th century, with hand-colouring, 350 x 960mm (13.75 x 37.5ins) mount aperture, framed and glazed (27)
£150-200
228* Wedgwood (Geoffrey Heath, 1900-1977). S. Giovanni, Rome, etching, signed in pencil to lower margin, plate size 20 x 25cm (8 x 10ins), mounted, together with Jennings (E. Owen, 1899-), Resting the Cart Horses, etching, signed in pencil to lower margin, plate size 25 x 30.5cm (10 x 12ins), plus Richards (Fred), The Street of Ink & Venice, together two etchings with drypoint, each signed and titled in pencil to lower margin, the later printed by Frank Short at Print Collectors Club Night, plate size 19.5 x 18cm (7.5 x 7ins) and slightly smaller, plus five other etchings by various artists including James Robert Granville Exley (1878-1967), Harold H. Holden (1885-1977), Edward Mossforth Neatby (1885-1949), Norman Webster (1924-) (9)
£200-300
227* Wales (Geoffrey, 1912-1990). Flower Maiden, wood engraving, signed, titled, and numbered 11 from the edition of 50, image size 177 x 124mm (7 x 5.8ins), some light overall spotting, framed and glazed, with old typewritten and printed label to verso (1)
£70-100
229* Whistler (James Abbott MacNeill, 1834-1903). The Unsafe Tenement, 1858, etching on wove paper, the fourth (published) state of four, a good impression, plate size 160 x 228mm (6.25 x 9ins), framed and glazed Kennedy 17, state iv/iv. (1)
73
£200-300
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230* Whistler (James Abbott MacNeill, 1834-1903). Arrangement in Grey and Black: Portrait of the Painter’s Mother, 1879, mezzotint on india wove by Richard Josey (1841-1906) after Whistler, published by Henry Graves & Co., signed in pencil by the artist and engraver (Whistler’s signature plus butterfly monogram), blindstamp of the Printsellers Association, some minor marks to margins and very light spotting, plate size 43 x 44cm ( inches) (1)
£200-300
231* Wykeham (Mary, 20th century). Attack, etching, on handmade paper, signed, titled and numbered 78/100 in pencil to lower margin, plate size 80 x 100mm (3.2 x 4ins), sheet size 225 x 163mm (8.8 x 6.4ins), mounted, together with Salisbury (Charles, 20th century), Iceland, etching, on handmade paper, signed, titled, dated ‘42 and numbered 78/100, plate size 102 x 77mm (4 x 3ins), sheet size 228 x 165mm (9 x 6.5ins), mounted Both etchings were published as part of the portfolio of artists prints entitled Salvo for Russia, published in support of the Comforts Fund for Women and Children of Soviet Russia in 1942, in an edition of 100 copies, including prints by Banting, Buckland Wright, Colquhoun, Piper, Trevelyan and others. (2) £150-200
232 Wyllie (William Lionel, 1851-1931). The Tidal Thames, with twenty full-page photogravure plates ... by W. L. Wyllie, and descriptive letterpress by Grant Allen, 5 original parts, Cassell & Company, [1884], titles printed in red and black, twenty photogravure plates by W. L. Wyllie, original cloth-backed terracotta printed boards, rubbed and some minor wear to extremities, folio (44.5 x 34.5cm)
Lot 230
(5)
£200-300
233* Wyllie (William Lionel, 1851-1931). Sugar Boats of Greenwich, circa 1925, etching with drypoint, signed in pencil, plate size 125 x 325mm (5 x 12.75ins), with margins, together with Wyllie (Harold, 1880-1975), Storm off the Needles, etching with drypoint, signed in pencil, plate size 110 x 350mm (4.25 x 13.75ins), both framed and glazed
Lot 231
(2)
74
£200-300
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MODERN PRINTS
Lot 234 234*AR Andrews (Sybil, 1898-1992). Steeplechasing, 1930, linocut printed in Chinese orange, alizarin purple madder and Prussian blue, on buff oriental laid tissue, signed and numbered 5/50 in pencil to upper left corner, and titled in pencil to lower left margin, several very small holes with discreet archival repairs, image size 173 x 271mm (6.75 x 10.75ins), sheet size 215 x 303mm (8.5 x 11.9ins), framed and glazed, with original Redfern Gallery label to verso, giving the title, artist’s name, purchaser (Mrs Geoffrey Peto), and date 25 July 1930 Stephen Coppel, Linocuts of the Machine Age, catalogue raisonne (1995), Sybil Andrews 10. (1) £5000-7000
235* Brookshaw (Drake, 1907-1993). Boat Race, 1937, colour lithograph, a few light creases, 25.5 x 32cm (10 x 12.5ins) (1)
£600-800
Lot 235
75
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236* Challenger (Michael, 1939-). His black eyes snapped shut, 1971, colour silkscreen, signed, titled and dated in pencil, artist’s proof, 38.5 x 53cm (15 x 21ins) mount aperture, together with Gliding peacefully away, 1974, colour silkscreen, signed, titled and dated to lower margin, from an edition of sixty, 60 x 80cm (23.5 x 31.5ins), both framed and glazed (2)
Lot 238
£100-150
237* Ewing (Louie, 1908-1983). The Yellow Field, Navaho Buttes, & Mission St. Xavier del Bac, together three colour screenprints, each signed in pencil, and titled, and numbered 107/120, 72/120 and 171/250 respectively, 21 x 38.5cm (8.25 x 15.25ins) mount aperture, matching frames, glazed (3)
£200-300
238* Finlay (Ian Hamilton, 1925-2006). The Harbour at Gravelines ‘in familiar mottle camouflage’, 1978, colour screenprint, published by Wild Hawthorn Press, image size 380 x 473mm (15 x 18.5ins), sheet size 430 x 510mm (17 x 20ins), framed and glazed (1)
£100-150
239*AR Hayter (Stanley William, 1901-1988). Tree, 1977, colour lithograph, printed by Mourlot on Arches paper, numbered 124 from the edition of 150, signed and dated, image size 596 x 489mm (23.5 x 19.25ins), sheet size 758 x 537mm (29.8 x 21.2ins), framed and glazed Black and Moorhead 391. (1)
Lot 239
£300-500
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240* Hockney (David, 1937-). The Blue Guitar, 20 Etchings by David Hockney, Gallery One, San Jose State University Art Department, October 26-November 18, 1977, colour reproduction poster, signed in blue ink, 565 x 435mm (22.25 x 17.1ins) mount aperture, framed and glazed (1)
242* Jones (Allen, 1937 -). Olympische Spiele München 1972, colour screenprint, signed in pencil, and numbered 176/200, sheet size 104.2 x 69.2cm (41 x 27.25ins), framed and glazed
£250-350
(1)
241* Hughes (Patrick, 1939-). Funereal leaves lying on floor boards, 1983, screenprint in black and grey, signed and dated lower right and numbered 21/25, 30 x 30 cm, together with Jones (Allen, 1937-), Negative outline of human form, 1983, lithograph, signed and dated lower right, numbered 21/25, 30 x 30 cm, framed and glazed, plus Lijn (Liliane, 1939-), Spinning, 1983, drypoint etching, signed, dated and titled, and numbered 21/25, sheet size 30 x 30 cm, framed and glazed, and an etching by Bill Jacklin, entitled Cassius, signed, titled and numbered 21/25, and an aquatint by John Murphy (1945-) entitled The Ineffable Delight of the Supreme Caress, 1983, 30 x 30cm
£200-300
243* Kitaj (Ronald Brooks, 1932-2007). Kenneth Koch Peasant, 1971, colour screenprint on japon nacré, signed in pencil and numbered 8/70, the full sheet, very good condition, sheet size 935 x 620mm (36.75 x 24.5ins), framed and glazed
Five artist’s prints taken from the three portfolios of Memorial Prints entitled A Tribute to Birgit Skiold, published between 1983 and 1985, printed in an edition of 25, with contributions by 118 different artists. (5) £200-300
Kinsman 42. (1)
77
£200-300
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244* Lenkiewicz (Robert Oscar, 1941-2002). Portrait with Moi Wong, colour lithograph, signed, titled and numbered, 417 from the edition of 450, in pencil to lower margin, image size 56 x 27.5cm (22 x 10.75ins), framed and glazed (1)
£150-200
245* Lenkiewicz (Robert Oscar, 1941-2002). Self Portrait with Self Portrait at Ninety, colour lithograph, signed, titled and numbered, 458 from the edition of 585, in pencil to lower margin, image size 75.5 x 51.5cm (29.75 c 20.25ins), framed and glazed (1)
£150-200
246* Lloyd (Reginald J., 1926-). Maiden Castle, 1983, etching, signed and dated in pencil, and marked Proof, together with four other etchings on a similar theme by the same artist, each signed, dated 1983, and marked proof, plate size 7.5 x 14.5 cm (3 x 5.7 ins), and similar, sheet size 34.5 x 26 cm (13.5 x 10.25 ins), and slightly smaller (5)
£200-300
Lot 244
247* Lloyd (Reginald J., 1926-). Teach Me to Heare Mermaides Singing, 1996, etching, signed, dated and marked Proof in pencil, together with five other similar etchings by the same artist, each signed and dated 1996, and marked proof, plate size 97 x 118 mm (3.8 x 4.6 ins), sheet size 343 x 258 mm (13.5 x 10.2 ins) (6)
Lot 245
78
£300-400
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248* Lowry (Laurence Stephen, 1887-1976). Berwick-uponTweed, colour reproduction print, signed in pencil lower right, Fine Art Trade Guild blindstamp lower left, 53 x 43cm (21 x 17ins), framed and glazed, together with Level Crossing, colour reproduction print, signed in pencil lower right, blindstamp lower left, colours faded, 43 x 57.5cm (17 x 22.5ins), framed and glazed (2)
£500-800
249*AR Matisse (Henri, 1869-1954). Femme bleue assise 1, 1952, and Femme bleue assise 4, offset colour lithographs after the cut-out and gouache originals by the artist, both as published in Verve, Dernieres Oeuvres de Matisse, 1952, image sizes 355 x 260mm (14 x 10.25ins), matching frames, glazed (2)
£200-300
Lot 248
250*AR Matisse (Henri, 1869-1954). Teeny, 1938, linocut on wove paper, from the edition of approximately 1500 published in XXe Siecle No. 4, December 1938, image size 307 x 234mm (12 x 9.5 in), sheet size 320 x 247mm (12.5 x 9.75 in), framed and glazed Duthuit 723. (1)
Lot 249
79
£300-400
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251* Newcomb (Tessa, 1955-). Still Life of Pears, 1999, styro print with hand colouring, initialled and dated in pencil to lower margin, 20 x 32cm (8 x 12.5ins) mount aperture, framed and glazed (1)
£80-120
253*AR Rego (Paula, 1935-). Night Stories, 1987, etching with aquatint, signed in pencil, dated, and numbered 8/50, plate size 252 x 252mm (9.9 x 9.9ins), framed and glazed (1)
£500-800
254*AR Rego (Paula, 1935-). Good Morning, 1988, etching on thick wove paper, signed in pencil, an artist’s proof, aside from the published edition of 50, marked A/P, plate size 215 x 325mm (8.5 x 12.75ins), framed and glazed (1)
252* Picasso (Pablo, 1881-1973). Le peintre et son modèle, 1964, lithograph on Arches paper, printed by Mourlot, approx. 255 x 190mm (10 x 7.5ins), framed and glazed, with a copy of Folio Fine Art Catalogue 62, March 1969 (in which this item is listed as no. 29) attached to reverse, together with Matisse (Henri, 1869-1954). The Dancer, [1949], colour lithograph, published by School Prints Ltd., printed by W. S. Cowell Ltd., partly faded, sheet size 49.3 x 75.8cm (19.4 x 29.8ins), laid down on backing paper (2)
£200-300
80
£500-800
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257* Spencer (Stanley, 1891-1959). Self Portrait, photolithograph reproduction print, inscribed with artist’s name and title [by Henry Trivick], dated 30.5.75, and numbered 71/75 in pencil, with Friary Studio blindstamp, 36.5 x 23cm (14.3 x 9ins) mount aperture (framed and glazed) (1)
255* Scholz (Werner, 1898-1982). Demi-Monde Lady at Cafe Table, 1929, colour lithograph, initialled in pencil to lower margin, limited 67/150, 72 x 47cm (28.5 x 18.5ins), framed and glazed
258* Steadman (Ralph, 1936-). Alice Through The Looking Glass, 1972, the set of four etchings, printed on thick wove, all unsigned proofs aside from the published edition of 65 signed, the full sheets in exellent condition, sheet size 58 x 79cm (22.8 x 31.1ins)
A copy of Hans-Georg Gadamer’s Werner Scholz is included with this lot. (2) £100-150
The titles are: Through The Looking Glass, All the King’s Horses, Wool and Water, and Sunset. (4) £300-500
256* Spencer (Stanley, 1891-1959). Me Greeting Hilda, & Aunt Jenny’s Garden, two photo-lithographic reproductions after early drawings by Stanley Spencer, made by Henry Trivick for the Friary Studio, each inscribed in pencil to lower margin (probably by Henry Trivick) with the artist’s name, title, date (6th.5.69 and 16.3.70 respectively), and numbered 22/75 and 29/75 respectively, sheet size 435 x 330mm (17 x 12ins), each framed and glazed (2)
£70-100
259* Thornton (Valerie, 1931-1991). Magdalen College, Oxford, circa 1980, colour etching and aquatint on wove paper, signed to lower margin, plate size 47 x 42cm (18.5 x 16.5ins), sheet size 79 x 57cm (31 x 22.5in), framed and glazed Limited edition 21/50. (1)
£200-300
81
£200-300
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260* Thornton (Valerie, 1931-1991). Magdalen College, Oxford, circa 1980, colour etching and aquatint on wove paper, signed to lower margin, plate size 39 x 60cm (15.5 x 23.5ins), sheet size 58.5 x 79cm (23 x 31ins), framed and glazed Limited edition 37/50. (1)
£200-300
Lot 262
261* Thornton (Valerie, 1931-1991). Boxford Church, Suffolk, 1974, etching and aquatint on wove paper, signed, dated and titled in pencil to lower margin, plate size 40 x 62cm (16 x 24ins), framed and glazed Limited edition 29/150. A copy is also held at Tate Britain, acquisition number P01616. (1) £200-300
262* Thornton (Valerie, 1931-1991). The Norman Chapel, Durham Castle, 1982, etching with aquatint, signed, dated and captioned in pencil by artist to lower margin with limitation 9/60, 41 x 26.5cm (16 x 10.5ins), framed and glazed (1)
£150-250
263* Thornton (Valerie, 1931-1991). Durham Cathedral, 1982, etching with aquatint, signed, dated and captioned in pencil by artist to lower margin with limitation 9/60, 41 x 26.5cm (16 x 10.5ins), framed and glazed (1)
£150-250
Lot 263
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MODERN WATERCOLOURS & DRAWINGS
264* Adams (Norman). Evening, 1958, watercolour on paper, stamped with initials, dated and titled in ink to lower margin, 170 x 305mm (6.75 x 12ins) mount aperture, framed and glazed, with artist’s handwritten label to verso Provenance: Given by the artist to fellow artist Basil Rocke. (1)
£200-300
266*AR Brockhurst (Gerald Leslie, 1890-1978). Portrait of a Woman, pencil on paper, signed lower right, 23 x 17cm (9 x 6.75ins) mount aperture, framed and glazed (1)
£700-1000
265* Bratby (John Randall, 1928-1992). Patti in Hotel Victoria, Calais, 14 June 1918, pencil on paper, signed lower right, 25 x 19cm (10 x 7ins) mount aperture, framed and glazed (1)
267*AR Cliffe (Henry, 1919-1983). Primitive Forms, 1975, watercolour and gouache on wove paper, signed and dated lower right, 58 x 78cm (23 x 30.75ins), framed and glazed
£150-200
(1)
83
£300-500
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268* Collins (Marjorie, 20th century). Still Life of Freesias, circa 2000, watercolour on paper, signed lower right, 52 x 73cm (20.5 x 28.75ins) aperture size, framed and glazed
270*AR Coop (Hubert, 1872-1953). St. Michael’s Mount, Cornwall, watercolour, showing sea gulls and sailng boats before St. Michael’s Mount silhouetted against the sky, signed lower left, mounted, framed and glazed, with detached fragment of old manuscript label stating that the work was exhibited at the Royal Academy (‘hung on line’) and the Walker Art Gallery (‘exhibited by special invitation’) and giving a price of 40 guineas
Collins was born in Chicago and studied in America before moving to Oxford in 1975. She has exhibited at the Barbican, Royal Academy Summer Exhibition, the Royal Watercolour Society and elsewhere, winning a number of international prizes. (1) £300-500
William Hubert Coop studied at the Lincoln School of Art, and painted landscapes and coastal scenes, especially of North Wales, the West Country and East Anglia (he resided for a time in St. Ives). He exhibited widely and was elected a member of the Royal Society of British Artists in 1897. (1) £1000-1500
271* East (Alfred, 1849-1913). Middle Eastern citadel, watercolour, pen & ink and black crayon on wove paper, heightened with bodycolour, signed in monogram lower right, captioned in ink “To the Omar Khayyam Club, from Alfred East, 16.12.1912”, 25 x 32.5cm (9.75 x 12.75ins) mount aperture, framed
269* Collins (Marjorie, 20th century). Still Life of Coffee Pots, circa 2000, watercolour on paper, signed lower right corner, 52 x 51cm (20.5 x 20ins) aperture size, framed and glazed (1)
£200-300
As reproduced on page 37 in The Book of the Omar Khayyam Club (Second Book), 1910-1931. (1) £200-300
84
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272* Fantasy Landscape. Young woman seated on a stone parapet by a lake, with a fantastical landscape beyond, c.1930s, watercolour, showing a Tolkienesque landscape with mountains, waterfalls and bridges, and a turreted castle atop towering rocky outcrops, with a young lady sitting in a garden in the foreground, with knarled and twisted blossom trees and stone urns, 49 x 59.5cm (19.25 x 23.5ins), gilded decorative Pre-Raphaelite frame, glazed Provenance: From the Neil Wilson Collection. This important art collection, amassed by the founder of the renowned Campbell Wilson gallery, was sold by Christie’s, South Kensington, on 4th September 2014 (Sale 5928: The Neil Wilson Collection: A Romantic Vision). Neil Wilson died whilst the sale catalogue was in preparation, and the current work was not included in the auction. John Christian writes of Wilson in his foreword to the catalogue, ‘his primary concern was one specific area: the romantic tradition which, rooted in the work of Rossetti and Burne-Jones, had flourished in the late nineteenth century and persisted well into the twentieth, resisting, with astonishing tenacity, the blandishments of French realism and the modern movement.’ (1) £400-600
273* Felmingham (Michael, 1935-). A quiet Venetian canal, watercolour, signed lower right, 34.5 x 26.5cm (13.5 x 10.5ins) mount aperture, framed and glazed, with King Street Gallery’s address label to verso
Lot 272
(1)
£150-200
274 No lot
275* Fyfe (Jane, 1914-). Children under the Nispero, gouache on board, signed lower right, contemporary label to verso, 62 x 52cm (24.5 x 20.5ins), framed and glazed
Lot 273
(1)
85
£150-200
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276* Gill (Eric, 1882-1940). Draped Woman, 1937, pencil on paper, dated in the artist’s hand 15.10.37 lower right, 22 x 14cm (8.75 x 5.5ins), framed and glazed, with handwritten label to verso A preparatory study for Gill’s statue The Annunciation. (1)
£500-800
277* Glasbey (E. H., 20th century). Sunlit pastoral landscape with shepherds, watercolour, depicting a flock of sheep tended by two countrymen and a village with church, viewed through trees, signed lower left, 34 x 42cm (13.5 x 16.5ins), mounted, framed and glazed (1)
£150-200
278* Groom (Emerson H., 1891-1983). St. Pauls from Bankside, watercolour, signed lower left, 27 x 36.5cm (10.5 x 14.5ins) mount aperture, framed and glazed (1)
£150-200
Lot 276
279* Hammond (Roy, 1934-). Quintet - St Marks, Venice, 2001, watercolour, signed and dated lower left, 23 x 31cm (9 x 12ins) mount aperture, framed and glazed (1)
Lot 277
86
£150-200
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280* Holfbauer (Imre, 1905-1989). London Market Scene, pencil and chalk on paper, signed lower right, 56 x 80cm (22 x 31.5ins) mount aperture, framed and glazed (1)
£100-150
281* Holmes (Kenneth, 1902-1994). “Minehead”, pencil and watercolour, showing the beach at Minehead with houses in the background and two boats in the foreground, signed and titled lower right, 37.5 x 54.5cm (14.75 x 21.5ins), mounted, framed and glazed, together with another pencil and watercolour view by Holmes, entitled “Marlow”, showing All Saints Church and Marlow Bridge from the Thames, signed and titled lower right, 21 x 34cm (8.25 x 13.5ins), mounted, framed and glazed (2)
£100-150
282* Holmes (Kenneth, 1902-1994). “Paignton”, pencil and watercolour, depicting Paignton harbour in Devon, with figures, boat sheds, rowing boats and sailing boats etc., signed and titled lower left, 30 x 54cm (11.75 x 21.25ins), mounted, framed and glazed (1)
Lot 284
£100-150
283* Holmes (Marjorie, 1907-1992). “San Antonio, Ibiza”, charcoal and watercolour, heightened with bodycolour, signed and titled in pencil lower right and left respectively, 21.5 x 29cm (8.5 x 11.25ins), mounted, framed and glazed, together with six others by Marjorie Holmes: a crayon landscape entitled “Portinatx, Ibiza”, signed lower right, 21.5 x 29cm (8.5 x 11.5ins), mounted; two watercolour views of Sardinia, 24 x 27cm (9.5 x 10.5ins), mounted; a head and shoulders pencil and watercolour self-portrait, signed and dated 1952, image size 16 x 16cm (6.25 x 6.25ins), mounted; and a pen and ink drawing of a monkey and birds in a tree, image size 22.5 x 15cm (8.75 x 6ins) (6)
£100-150
284* Holmes (Kenneth, 1902-1994). Venice, watercolour, signed lower right, 30.5 x 20cm (12 x 8ins) mount aperture, together with seven similar watercolours of European scenes by the same artist, each signed, all mounted (8)
285* Holmes (Kenneth, 1902-1994). Arizona, USA, watercolour on board, signed lower right, 20.5 x 30cm (8 x 12ins) mount aperture, together with six other watercolours of America by the same artist, each signed, all mounted
£200-300
(7)
87
£200-300
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288* Manhattan (Avro, 1914-1990). Figures under a Tree, 1953, mixed media, signed and dated lower right, 56 x 71cm (22 x 28ins) (1)
£200-300
286* Hooper (George, 1910-1994). Seated Nude, black chalk, pen and ink with watercolour and crayon, signed lower left, 78 x 56cm (31 x 22ins), framed and glazed (1)
£200-300
287* Manhattan (Avro, 1914-1990). Crouching Figure, 1959, mixed media, signed and dated lower right, 51 x 68.5cm (20 x 27ins) 289* Marks (Claude, active 1899-1915). “Trevone Bay, Cornwall”, and “West Country Seascape”, together two watercolours, both signed lower right, 32 x 49cm (12.75 x 19.25ins) and 22.5 x 28cm (9 x 11ins) respectively, framed and glazed
Italian-born Baron Avro Manhattan was educated at the Sorbonne, and the London School of Economics, and was a friend of Picasso, G.B. Shaw, H.G. Wells and other notable figures. A refugee from Mussolini’s Italy, he wrote a number of books on the Vatican. His later life was spent in South Shields, on Tyneside. (1) £200-300
(2)
88
£150-250
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290* Milner (Allan, 1910-1984). Suddaby Variations, a collection of fifty-four abstract designs in pencil on paper, many with pencil annotation or series number, together with a note in pencil by the artist referring to the drawings for this series, 33 x 38cm (13 x 15ins) and similar plus a double-page collage also by Milner
292* Milner (Allan, 1910-1984). Composition in Pink on Black, gouache on board, signed lower right, 50.5 x 62cm (20 x 24.5ins), together with four similar gouache on paper compositions, mostly signed, 36 x 56cm (14 x 22ins) (5)
£300-500
Allan Milner studied at Leeds College of Art and Royal College of Art. He exhibited at the Mayor Gallery in 1932 and numerous other galleries after the war. Examples of his work are held by Salford Art Gallery and the Manx Museum. (55) £200-300
293* Milner (Allan, 1910-1984). Composition in Orange, Purple and Brown, gouache on board, 34 x 49cm (13.5 x 19.25ins), framed, together with two other gouache on board compositions, one mounted, 34.5 x 49.5cm (13.5 x 19.5ins) and smaller (3)
294* Horner (A.G., 20th century). Full-length portrait of a chef, 1953, watercolour on paper, showing a young cook seated on a stool against a plain background, a little spotting, pencil signature, date and note ‘painted on the RMS Orion’ upper left, 49 x 36cm (19 x 14ins), framed and glazed, together with an unrelated collection of over 400 pencil drawings, sketches and watercolours, mostly 20th century, including a large number of life studies of male and female subjects, many signed L. Moodie and dated 1930s, plus some similar signed L. Roussel, a few signed Georges Vercruysse, other subjects include architectural designs and landscapes, the majority on individual sheets of paper, 38 x 28 cm and larger
291* Milner (Allan, 1910-1984). Magpie Exercise, gouache on paper, signed and titled lower right, 41 x 53xm (16 x 23ins), together with four other gouache compositions, each signed lower right and titled F35, F113, F100 and F104, 38 x 55cm (15 x 21.75ins) and similar (5)
£200-300
£300-500
(400+)
89
£200-300
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295* Morris (John, 1922-). Afon Celyn, watercolour, showing a winter landscape with meandering river and cottages, titled lower left, signed lower right, 37.5 x 48cm (14.75 x 19ins), mounted, framed and glazed (1)
£100-150
296*AR Peake (Mervyn, 1911-1968). Study for Harold Skimpole in Bleak House, pencil on reused paper, signed lower right, 53 x 32cm (21 x 12.5ins) The drawing has been authenticated by Mervyn Peake’s children, Clare Penate and Fabian Peake, and Peake expert Peter Winnington. Peake’s drawings for Dickens’ novel Bleak House were begun in 1945, but only first published in a new edition of the novel issued by Methuen in 1983. (1) £400-600
Lot 295
297* Petzsch (Helmut, 1920-2008). An archive of approximately fifty-eight drawings and watercolours, circa 1950, including a View from Queen Street, Edinburgh, pen and ink, signed and dated 1948 to lower left corner, and Ploughed Fields near Mochre, Wales, pen and ink on grey paper, titled and dated to verso, plus other pen and ink drawings, watercolours and pencil sketches including figure studies, landscapes, architectural details and others, most signed or initialed, 27 x 37cm (10.5 x 14.5ins) and similar Born in Berlin, Helmut Petzsch (1920-2008) fled to Scotland with his family in 1933. He was interned during the war, but went on to study at the Edinburgh College of Arts. Petzsch exhibited regularly at the Royal Scottish Academy before his output was curbed by Parkinson’s disease. (1) £100-200
Lot 296
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298* Pitchforth (Rowland Vivian, 1895-1982). Findhorn Salmon Traps, watercolour, signed lower right, 40.5 x 57cm (16 x 22.5ins), framed and glazed (1)
£100-150
300*AR Proctor (Dod, 1891-1972). Cherub Fountain at Versailles, 1912, grisaille watercolour on paper, signed and dated lower left, 57 x 46cm (22.5 x 18ins) mount aperture, framed and glazed (1)
£300-500
301* Rooke (Anne, 20th century). Near Siena, Italy, pen & black ink on paper, signed and titled in pencil, 40 x 50cm (15.75 x 19.75ins), framed and glazed 299* Porter (Tony, 1945-). Stamford Station, August, watercolour, signed lower right, printed title label to verso, 110 x 75cm (43.25 x 29.5ins), framed and glazed (1)
(1)
£200-300
91
£100-150
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Lot 304 302* Simmonds (Posy, 1945-). Matching Tye... but Shell is Matchless, pen, ink and watercolour with pencil, initialled lower right, 26 x 33.5cm (10.25 x 13ins) mount aperture, framed and glazed (1)
£200-300
Lot 305
303* Still life. Chysanthemums and books on a wooden ledge, 1939, watercolour, showing chrysanthemums in shades of pink, apricot, and yellow, in a blue glazed bowl on pierced base, against a frayed piece of green fabric, with leather-bound tomes beside, initialled ‘KS’ and dated lower right, 39.5 x 60.5cm (15.5 x 23.75ins), mounted, framed and glazed (1)
£200-300
304* Suddaby (Rowland (1912-1972). Willows, watercolour and ink on paper, signed lower right, few minor surface marks, 38 x 56cm (15 x 22ins) (1)
£150-200
305* Suddaby (Rowland (1912-1972). House in landscape, 1947, watercolour and ink on paper, signed and dated lower right, with another similar finished watercolour to verso, also signed, 38 x 56cm (15 x 22ins) (1)
306* Suddaby (Rowland (1912-1972). Boats in a harbour, 1946, watercolour and ink on paper, signed and dated lower right, with another finished watercolour to verso, signed and dated ‘47, 43 x 33.5cm (17 x 13.25ins), together with another watercolour and ink landscape by the same artist, signed, 31 x 46.7cm (12.25 x 18.4ins)
£150-200
(2)
92
£200-300
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309* Weinberger (Herry, 20th century). Still Life Flowers in a Window, 1970, watercolour on thick paper, initialed and dated lower right, additionally signed to verso, 41.5 x 57cm (16.5 x 22.5ins)
307* Walker (M. Kingston, 1891-). Kite Flying, 1926, watercolour on paper, signed and dated lower left, laid down, 20 x 23cm (8 x 9ins) (1)
(1)
£70-100
£70-100
308* Webb (Clifford Cyril, 1895-1972). Woodland Scene, watercolour on paper, signed lower right, 47 x 63cm (18.5 x 25ins), framed and glazed (1)
£200-300
310* Wesson (Edward, 1910-1983). Portrait of William J. Osborne, Royal Artillery, 1942, watercolour and pencil on paper, signed, dated and captioned to lower edge, creased where previously folded, 27 x 24cm (10.5 x 9.5ins) mount aperture, framed and glazed (1)
93
£200-300
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311* Wilson (Scottie, 1889-1972). Mandala, coloured inks on paper, signed lower right, sheet size 38 x 28cm (15 x 11ins), mounted
312* Wood (Albert Victor Ormsby, 1904-1977). Study of a Standing Figure, charcoal on green paper, heightened with chalk, 56 x 23cm (22 x 9ins) mount aperture, framed and glazed
(1)
Born in Dublin, Albert Victor Ormsby Wood attended the Metropolitan School of Art in Dublin in the 1920s. For several years he worked in the stained glass studios of Harry Clarke, but towards the end of that decade moved to London, married, and opened his own art school. He was badly wounded in the London Blitz, and in 1949 moved to Ansty, Sussex, where he lived as a recluse. He exhibited at the RA, RHA, and was included in the exhibition A Voyeur in Art at the Michael Parkin Gallery in 1992. (1) ÂŁ80-120
ÂŁ300-500
94
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MODERN PAINTINGS 313* Abbott (John, 1884-1956). The Old Mill, Grasmere, oil on canvas board, signed lower right, 50.5 x 60.5cm (19.8 x 23.75ins), framed, with artist’s handwritten label to verso, giving the title and artist’s name and address of Meadow Brow, Grasmere (1)
£200-300
314* Abbott (John, 1884-1956). Blencathra from Thirlspot, Lakeland, oil on Daler board, signed lower right, 49 x 60cm (19.25 x 23.5ins), framed, with old handwritten title label to verso (1)
£200-300
Lot 313
315* Akkeringa (Johannes, 1861-1942). Cottage garden with chickens, oil on wood panel, showing a rustic cottage with a garden of trees and flowers with roaming chickens, signed lower left, 47.5 x 67cm (18.75 x 26.5ins) Provenance: Sold Michael Zeller, Lindau, 27 April 1973. (1)
£300-500
316* Bhatt (Akash, 20th century). Solo, a Cuban panorama, 2006, oil on canvas, 38 x 213cm (15 x 84ins) Bhatt was born to Gujarati parents in Leicester who emigrated from Kenya in the 1960s. His panoramas concentrate on the architecture of Florida, Cuba and the Caribbean and South America. (1) £700-1000
Lot 314
Lot 316
95
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317* Camden Town Group. First Trial Run of the Metropolitan Line, 24th May 1862, oil on artist’s board, showing a number of gentlemen and ladies in open wooden railway carriages before stone arches and scaffolding, slightly bowed, 38 x 46cm (15 x 18ins), with Reitlinger Estate ink stamp and Sennelier printed label on verso An iconic image of social history; the only known painting of the trial run of the Metropolitan Line, in which notables were carried in open contractors’ carriages along the length of the world’s first underground railway line, which opened in 1863. Although the first reported journey through London’s first subterranean railway - a short run by a group of unnamed journalists - took place on 28th November 1861, the 1862 trial run was a hugely important event during which such worthies as William Gladstone and his wife, and John Fowler, engineer to the railway, were transported the entire length of the new track. The occasion was photographed for posterity, and a photographic image was undoubtedly the source for this painting, which most likely dates from the early years of the 20th century. The work fits very well with a group of pictures by Walter Sickert (1860-1942) painted around 1906 using Sennelier board. Sickert frequently painted from postcards and photographs at this time, and the heavy impasto and narrow tonal range is typical of his style. Gerald Reitlinger (1900-1978) attended Westminster School, and studied at Christchurch, Oxford, followed by the Slade School of Art and Westminster Art School in the 1920s and early 1930s, with the intention of becoming an artist. Between 1927 and 1929 he edited the art journal ‘Drawing and Design’, a progressive journal devoted to contemporary British art. He later wrote ‘The Economics of Taste’ (1960). His notable collection of Far Eastern and Islamic pottery was gifted to the Ashmolean Museum, Oxford, where it forms the Gerald Reitlinger Gallery. £1500-2000 (1)
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318* Continental School. Still Life of Apples, 1943, oil on canvas, indistinctly signed and dated lower right, 19 x 24cm (7.5 x 9.5ins), framed (1)
320* Davies (Ashley, 1964-). Yellow and White, after Rothko, 1994, oil on canvas, signed and dated to verso, 56 x 56cm (22 x 22ins)
£200-300
(1)
£150-200
319*AR Coop (Hubert, 1872-1953). St. Ives Bridge, Cambridgeshire, oil on canvas, showing the arched bridge spanning the river in St. Ives, with a cluster of houses, the scene bathed in sunlight, signed lower left, 41.5 x 49cm (16.25 x 19.25ins), framed William Hubert Coop studied at the Lincoln School of Art, and painted landscapes and coastal scenes, especially of North Wales, the West Country and East Anglia (he resided for a time in St. Ives). He exhibited widely, including at the Royal Academy, and was elected a member of the Royal Society of British Artists in 1897. (1) £300-500
321* Fontana (L., 20th century). Venus and Cupid, circa 1910, oil on canvas, signed lower left, 74 x 63cm (29 x 25ins), gilt frame (1)
97
£300-500
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322* Fotherby (Lesley, 1946-). Resting During Performance of the Nutcracker at Birmingham Royal Ballet, November 2002, oil on canvas, signed lower left, titled to verso, 40.5 x 56cm (16 x 22ins) (1)
324* Fotherby (Lesley, 1946-). Pas de Deux - Coppelia, oil on canvas, signed lower right, titled to verso, 40.5 x 51cm (16 x 20ins), framed
£300-500
(1)
£300-500
323* Fotherby (Lesley, 1946-). Dancing with the Penguins - Still Life at the Penguin Cafe, Birmingham Royal Ballet, September 2001, oil on canvas, signed lower right, titled to verso, 51 x 40.5cm (20 x 16ins) (1)
£500-800
325* Hall (Clifford, 1904-1973). Antwerp, oil on board, signed lower left, 23 x 14cm (9 x 5.5ins), framed (1)
98
£150-200
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Lot 326 326* Olsson (Julius, 1864-1942). Sunrise Over the Sea, oil on canvas, showing a panoramic seascape bathed in early morning light, signed lower left, with David Cross Gallery label on verso, 41 x 61.5cm (16.25 x 24ins), framed (1)
328 No lot
£2000-3000
329* Howarth (Russell, 1927-). View of Delph, Greater Manchester, oil on board, signed lower left, 50 x 60cm (19.75 x 23.5ins), framed
327* Haslehurst (Ernest William, 1866-1949). ‘A Sussex Garden’, oil on board, signed and inscribed to verso, 23 x 32cm (9 x 12.5ins), framed (1)
(1)
£150-200
99
£100-150
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330* Indonesia. View of the Indonesian coast with figures and boats by the shore and volcano beyond, early 20th century, oil on canvas, 51 x 86cm (20 x 34ins) (1)
£150-200
Lot 332
331* Issett (Peter, 20th century). Difficult to Explain, gouache on paper, signed lower right, 56 x 80 cm (22 x 31.5ins), framed and glazed, with artist’s handwritten label to verso (1)
£150-200
332* Jardine (A., 20th century). A large still life of flowers, oil on canvas, showing a gilt urn containing a profusion of flowers, including tulips, auriculars, irises, roses, dahlias, and hollyhocks, on a stone ledge in a garden, with trees and stone architectural forms behind, signed lower left, 91 x 122.5cm (35.75 x 48.25ins), gilt moulded frame (1)
£300-500
333 AR Jellett (Mainie, 1897-1944). The Three Graces, gouache on paper, laid down onto later card, signed indistinctly to lower left, 24 x 20cm (9.5 x 8ins) Provenance: Edward Crawshaw, Caelt Gallery,182 Westbourne Grove, London (prior to 2004). (1) £500-700
Lot 333
100
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334* Attributed to Augustus John (1878-1961). Portrait of a mother and child, oil on board, showing a young mother gazing down at a baby in her arms, 69.5 x 54.5cm (27.25 x 21.5ins), framed Probably depicting Augustus John’s mistress and second wife, Dorothy ‘Dorelia’ McNeill, with their first child, Pyramus. Born in a gypsy caravan on Dartmoor, Pyramus died of meningitis at the age of eight, a few days after the birth of his sister Poppet. The enigmatic and bohemian Dorelia was painted by Augustus, and by his sister, Gwen, on numerous occasions. She lived in a ménage à trois with Augustus John and his wife, Ida Nettleship, in a household that grew to include the artist’s children by both women. In 1907 Ida died from complications after the birth of her fifth son and Dorelia filled her place as mother to all their children. (1) £6000-9000
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Lot 335
Lot 336
335* Johnson (Adrian, 1960-). Female Nude and Chair, oil on canvas, 80 x 60cm (31.5 x 23.75ins), framed (1)
£200-300
336* Kirsta (Georg, 20th century). Surrealist still life of fruit and hands, 1937, oil on canvas, showing pieces of cut melon, bunches of grapes, and a stem of gladioli, surrounded by a woman’s arms, signed and dated lower left, relined, 66 x 75cm (26 x 29.5ins), framed Georg Kirsta was a Russian artist who escaped to Western Europe during the Revolution and pursued a career as a painter and designer of theatrical sets and costumes. The V&A holds a number of theatrical designs by Kirsta, including seventeen costume designs and four set designs for Bronislava Nijinska’s ballet ‘La Bien Aimée’ (‘The Beloved One’) which was mounted for the Markova-Dolin Ballet in 1937. Also in the V&A Collections are two costume designs for Alicia Markova who played both the Sugar Plum Fairy and the Snow Queen in Lev Ivanov’s 1950 production of ‘The Nutcracker’ (Festival Ballet, Stoll Theatre, London), as well as the dress and tiara worn by Markova when she played the Snow Queen, both designed by Kirsta, as were all the sets and costumes for the production. Prior to his arrival in England Kirsta published an essay on Caravaggio and modern art in Leopold Zahn’s ‘Caravaggio und die Kunst der Gegenwart’, published in 1928. Works by Georg Kirsta rarely come onto the market. (1) £1500-2000
337* Lane (Susan, 1954-). Track Through the Field, Winchcombe, Gloucestershire, oil on board, showing a sunlit scene of open countryside, signed lower right, 40.5 x 51cm (16 x 20ins), framed, manuscript title label on backboard Based in the Cotswolds, Susan Lane favours the ‘plein air’ technique of artists such as Sisley and Pissarro, writing: ‘my main objective is to connect with the scene in front of me and to endeavour to re-capture the spiritual significance of the interaction with nature for myself and those who come into contact with the finished painting’. As well as local scenes she has also painted in France, Amsterdam, the Italian Alps, and America, and has exhibited at the Wally Findlay Galleries in New York and Palm Beach, as well as at Campbell’s of London, and at the Priory Gallery in Gloucestershire. She is married to landscape artist Charles Neal. (1) £200-300
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338* Livesey (John, 1926-1990). Still Life of Flowers, impasto oil on board, signed lower right, 55 x 43cm (21.5 x 17ins), gilt frame (1)
£200-300
339* Nebel (Gustave, 1907-1987). The Circus, oil on canvas, signed lower left, 81 x 65cm (32 x 25.5ins) (1)
£300-500
Lot 338
340* Neo-Romantic School. Figure in a landscape, circa 1940s50s, acrylic and coloured inks on thin wood panel, with inscription in pencil to the lower margin ‘Whence comes the passionate awareness of the rest of creation’, 39.5 x 26cm (15.5 x 10.25ins), framed (1)
Lot 339
103
£1000-1500
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341* After William Nicholson (1872-1949). Brasenose College, Oxford, oil on canvas, trimmed and remounted with some surface loss and restoration, 61 x 91cm (25 x 36ins) (1)
£200-300
Lot 343
342* Panting (Arlie, 1914-1989). The Stream, 1986, oil on canvas, signed and dated lower right, typed title label to verso, 40 x 57cm (15.75 x 22.5ins) (1)
£100-150
343* Panting (Arlie, 1914-1989). Naiads, 1982, oil on canvas, signed and dated lower right, typed title label to verso, 61 x 51cm (24 x 20ins), framed (1)
£150-200
344* Panting (Arlie, 1914-1989). Figures in Atrium, oil on canvas, signed and indistinctly dated lower right, 76 x 91cm (30 x 36ins) Milwaukee born, Arlie Panting (1914-1989) painted in London from the mid 1950’s onwards, her neo-romantic style incorporating American influences. The artist and critic Conroy Maddox commented on her work ‘It is very much an art that gives a personal mood with a sensitivity and serenity that recalls something of the Italian Primitives... It is very much the romatic spirit - suffused with reverie.’ (Art Review, October 29, 1966). (1) £150-200
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345* Prevost (Maurille, 1929-). Figures in a city street, oil on canvas, signed upper right, 24 x 33cm (9.5 x 13ins), framed (1)
£150-200
347* Robbins (Richard, 1927-2009). Pictures Influenced by Music 17, oil on canvas, signed lower right, contemporary typed gallery label to verso, 51 x 56cm (20 x 22ins), framed After reading English Literature at New College, Oxford, Robbins studied at Goldsmiths College and Slade School of Art. He taught at Belmont, Camberwell and Hornsey before going on to become head of Fine Art at Middlesex University. His work has been exhibited in London as well as Hong Kong and Tokyo. (1) £150-200
348* Rudel (Jean-Aristide, 1884-1959). Nude on Beach, oil on canvas, signed to lower right, 47 x 74cm (18.5 x 29ins), framed (1)
346* Proctor (Anthony, 1913-1993). Still Life of Orange Begonias, 1982, oil on board, signed and dated lower right, contemporary label to verso, 43.5 x 34cm (17 x 13.5ins), framed (1)
£150-200
105
£500-800
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351* Stebbing (Peter, 20th century). Shells, oil on board, signed lower right, contemporary gallery label to verso, 61 x 91cm (24 x 36ins) (1)
349* Savain (Petion, 1906-1973). Haitian Women Chatting & The Bean Vendors, together two oils on board, each signed Savain, Haiti to lower corner, 41 x 20cm (16 x 8ins), matching carved wooden frames (2)
£200-300
352* Stenhouse (Charles, 1878-1946). Two views of the Scottish Coast, possibly Shell Bay, Fife, together a pair of oils on canvas, one signed lower left, the other with two small repairs to verso, 51 x 76cm (20 x 30ins)
£200-400
(2)
£700-1000
350* Scottish School. On Iona, mid 20th century, oil on paper, mounted on board, showing waves breaking on rocks, 28.5 x 38.5cm (11.25 x 15.25ins), gilt moulded frame, titled in manuscript on verso (1)
£100-150
353* Terrones Acuna (Jorge, 20th century). Historias de Barcos, 1979, oil on canvas, signed and dated lower right, signed certificate of authenticity to verso in Spanish, 60 x 70cm (23.5 x 27.5ins), framed (1)
106
£150-200
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Lot 352
354* Turner (Harry, 1920-2009). Abstract Composition, 1958, acrylic on board, signed and dated ‘58 to lower left corner, 60.5 x 110.5cm (23.75 x 43.5ins), framed (1)
£100-200
355* Turpin (Louis, 1947-). Chloe, oil on canvas, 24 x 27.5cm (9.5 x 11ins), framed (1)
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£200-300
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356* Tyson (Kathleen, 1898-1982). The Fishing Fleet, oil on canvas, showing sailing and rowing boats in a harbour, signed lower left, with old label on verso in the artist’s hand detailing her name, address, and the price of the painting, 51 x 61cm (20 x 24ins) Kathleen Tyson was a painter in oil of landscapes and marines. She studied at Grimsby and Hull Schools of Art, then at Westminster School of Art. She lived latterly in Poole, and exhibited widely, including at the Royal Academy. (1) £300-500
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DAY TWO
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CERAMICS & GLASS To commence at 11am
401* Beswick. A Beswick pig, Champion Merrywood Silver Wings 56th, 15cm long, together with another, Champion Wall Boy 53rd, 17.5cm long (with original label) (2)
£100-150
402* Beswick. A collection of Beswick animals, including two Aberdeen Angus black bulls, a Shetland Pony, two donkeys, various horses plus a doe (11)
£80-120
405 North Devon Jug. A large early 20th century Bideford pottery slipware jug, with yellow sgraffito butterfly and iris decoration on a brown ground, 28cm high (1)
£200-300
407* Folk Pottery. A Spanish folk pottery botigo or drinking vessel, cold painted decoration in blue, green and yellow, early or mid 19th century, polychrome cold painted decoration, unglazed, some surface loss to decoration, 27cm (10.75ins) high (1)
403* Beswick. A collection of Beswick cattle, including Whitehall Mandate, Claybury Leegwater, Newton Tinkle, Dunlsey Coy Boy, Sabrina’s Sir Richmond, Champion of Champion’s (minor damage) (13)
£150-200
404* Beswick. A collection of Beswick animals, comprising two collies, a ram, a sheep, a fox plus a fox cub (6)
£100-150
406* ☉ Cow Creamers & Derby. A pair of early to mid-19th century pottery cow creamers, each with a black glaze, modelled standing on oval base with traces of gilt paint with covers, 17cm long, together with an 18th century Derby porcelain figure, modelled as a boy with dog sitting on a rocky base, naturalistically painted, with red ‘Derby’ mark to base, 8.5cm high (some flaking to paint and minor chipping to leaves), an early 19th century porcelain slop bowl and teapot stand, printed and painted with landscape panels, each with base painted ‘1053’, bowl 15cm diameter, stand 19cm wide (crazing and loss of gilding), a pair of Regency wig / back scratchers, each with baleen stem leading to carved ivory hands, each detailed with fingernails and cuffs, both approx. 43cm long (damaged stems) plus a modern enamel snuff box (8)
£70-100
110
£200-300
408* Game Dish. A Victorian pottery transfer print blue and white meat plate, decorated with urns and baskets of flowers amongst foliate scrolls, with deep draining reservoir, 53.5cm long (minor loss of glaze and crazing) (1)
£70-100
409* Garniture. A pair of early 20th century urns, each with blush ivory pottery bodies decorated with flowers, gilt metal mounts on foliate stepped pedestal base with squat bun feet, 33cm high (some damage) (1)
£70-100
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Lot 412
410* Glassware. An Art Glass vase by Val St Lambert, of wavy form, signed, 22cm high, together with a tall Sevres glass table lamp, acid etched mark to base, 34cm high, a crackle glass amber glass vase plus an amethyst glass handkerchief bowl, 27cm wide (4)
£70-100
411* Pottery Lions. A pair of early 19th century Staffordshire treacle glaze lions, each modelled with paw resting on a ball on a rectangular base, 29cm long (minor damage) (2)
£300-500
Lot 413
412* Cabinet Plates. A Worcester porcelain plate, in the 18th century style, painted with panels of exotic birds, insects and butterflies within gilded c-scroll borders on a blue scale ground, printed puce mark to base, date code for 1927, painted G 2525, 23cm diameter, together with three similar plates by George Jones and Coalport, plus a Victorian Worcester porcelain comport, the dished circular top painted with birds perched on branches similarly decorated underneath within jewelled border raised on a shaped pedestal support, purple puce mark to base, 20cm high (5)
415* Royal Doulton. Three figurines comprising Winter HN5314, Summer HM5322 and Autumn HN5323, as new with original packaging and boxes together with Royal Albert Jemima Puddleduck in card box, a Victorian green glass dump paperweight with two tier flower within, 13cm high, another paperweight and other decorative ceramics (9)
£80-120
£100-200
413* Continental Porcelain. A 19th century Samson of Paris porcelain cabinet plate in the Worcester style, painted with panels of exotic birds within gilt painted Rococo scroll borders on a blue scale ground, blue patch mark to base, 25cm diameter, together with a late 19th century porcelain plate possibly Limoges, painted with pheasants amongst foliage, indistictly signed within a gilt painted blue border, 24cm diameter, a Meissen twin handle dish, painted with a hunting scene in the 18th century style, impressed ‘Meissen’ mark to base, 28cm wide, plus similar items incuding a ‘George Jones’ Crescent Ware bowl (7)
£100-200
414* Posy Vase. An Art Nouveau glass posy vase, of shaped iridescent form with green supports, with pierced brass cover, 14cm high, together with a similar smaller example (2)
£60-80
111
416* Staffordshire. A collection of 19th century Staffordshire pottery, including a pair of spaniels, each white with painted features, heightened in gold, 32cm high, a pair of flatbacks modelled as a Highlander and his companion, 30cm high, a smaller pair, 14.5cm high, plus a spill vase modelled as a tulip flanked by figures, 16cm high (7)
£80-120
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417* Sucrier. A Worcester porcelain ‘Fence’ pattern sucrier and cover, circa 1750, with flower knop, transfer printed in underglaze blue with Chinoiserie scenes, blue mark to base, 13cm high (1)
£100-150
418* Sucrier. An 18th century Worcester porcelain sucrier and cover, circa 1785, with flower knop, transfer printed in underglaze blue with flowers and butterflies, blue crescent mark to base, 15cm high (1)
£100-150
419* Sucrier. An 19th century Derby porcelain sucrier and stand circa 1800-25, of oval form with loop handle, the base with twin handles raised on lions paw feet with lions mask roundels, painted with sprigs of flowers heightened in gold, red painted mark to base, sucrier 14cm high, stand 22cm long, together with a Bloor Derby circular sucrier and cover circa 1825-40, decorated with gold painted squares each with green geometric decoration and gold dots, red printed mark to base, 10cm high
Lot 417
(2)
£100-150
420* Sucrier. An 18th century Worcester porcelain sucrier and cover circa 1780s, with urn knop, faux ring handles and swirl moulded decoration, painted with flowers interspersed with cobalt blue diamonds, blue crescent mark to base, 14cm high, together with a 'London' shape sucrier and cover circa 1800-25, painted with sprays of flowers on a cobalt blue and gold painted ground, incised mark to base, 12cm high, another of oval form the cover with oval knop, the base with scroll handles painted in black with landscapes heightened in gold, 14cm high plus a small Sevres porcelain sucrier with teardrop knop, painted with crest on a white ground, 12cm high (some restoration to the finial) (4)
£100-200
421* Sucrier. A collection of 18th century and later porcelain comprising a Worcester sucrier and cover circa 1765-80, with flower knop, painted with Chinese dragons and vases of flowers, blue hatch mark to base, 12cm high (damaged), a Bristol porcelain bowl circa 1780, painted with green garlands of flowers heightened in gold, black painted mark to base, 11cm diameter, a Worcester Barr Flight & Barr period porcelain tea cup and saucer circa 1804, painted in with exotic birds amongst bamboo shoots and prunus blossom, impressed mark to bases, teacup 6cm high, saucer 14cm diameter (chip to saucer), plus an 18th century porcelain tea bowl with bat printed landscape decoration and a mallards, 9cm diameter (4)
Lot 418
£100-150
Lot 421
Lot 419
Lot 420
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Lot 422
Lot 424
422* Sucrier. An 18th century porcelain sucrier, of oval form with domed cover and oval knop, decorated in an Imari palatte with flowers and storks with faux ring handles, 15cm high together with a Worcester porcelain tea cup and saucer circa 1760, with lobed edge , painted with sprays of flowers in pink, green, manganese and blue, with blue borders and overpainted in gold, underglaze W mark to base, cup 8cm diameter, saucer 13.5cm diameter, an 18th century porcelain tea bowl and saucer, with swirl design decorated in gold with blue borders, painted ‘Noi’ mark to base, bowl 8.5cm diameter, saucer 14cm diameter plus an early 19th century Newhall porcelain coffee can with bat printed landscape decoration and gold painted borders, 7cm diameter (4)
£100-150
423* Table Glass. A collection of drinking glasses, mostly early to mid 19th century, including three tumblers, each with wheel cut star decoration, together with an Edwardian cut glass globe and spire decanter, with teardrop stopper and mitre cut decoration, five glass paperweights in the form of ducks, one signed Wedgwood (a carton)
£50-80
424* Teapot. An 18th century Worcester porcelain globular teapot circa 1760, the cover with flower knop and moulded leaves, painted with exotic birds perched on branches, with c-scroll decoration to the handle and spout, impressed circular mark to base and collection labels (lid damaged) Provenance: Zorensky Collection. (1)
425* Water Fountain. An early 20th century Art Pottery water fountain, modelled as Leda and the Swan, in a heavy blue and white glaze on a rocky background, 70cm long (1)
£400-600
£100-150
113
426* Wemyss. A pottery vase in the “Wild Cherries” pattern circa 1910, impressed mark to base, 21cm high (stained and crazed) (1)
£50-70
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COLLECTABLES 428* Alms Dish. A Victorian pewter alms dish, engraved with heradic crest dated 1896, within a border of quatrefoil and rope twist, indistinct touch marks to base, 37.5cm diameter (1)
£80-120
429* Andirons. A pair of late 18th century with urn French ormolu andirons, supported by three hoof feet, decorated with floral swags and flame, on circular base with Vitruvian scrolls leading to pineapple finials, 38cm high x 32cm long (2)
431* Arts & Crafts Movement. A steel toasting fork by Ernest Gimson (18641919), circa 1900, with hinged handguard engraved with geometric decoration and pierced with heart shaped devices, the fork section with flattened terminal and central heart shape, 48cm long See Carruthers, A., and Greenstead, M., 1999 ‘Simplicity or Splendour, Arts & Crafts living: Objects from the Cheltenham Collections’, Cheltenham Borough Council fig.61, for a similar example. (1) £300-500
£300-500
427* Aepyornis Maximus. A giant elephant bird egg, Madagascar, 1000 years old, composite from broken shell, 33cm high From the largest birds to have lived, they eventually became extinct due to presumed intervention of man in the 17th century. (1) £300-500
430* Arts & Crafts Movement. A collection of toasting forks including a polished steel toasting fork, with foliate engraved grip and shepherds crook terminal, 59cm long, together with another polished steel toasting fork, probably Arts & Crafts, a Victorian brass telescopic fork, another steel example, a copper and steel shovel with wooden grip, an Artificers Guild copper vase by Edward Spencer, 14m high plus similar chamber stick and electroplated spoon with grape and vine terminal, 13.5cm long (8)
432* Bakelite. A collection of bakelite including Bourjois Evening in Paris, in the form of a mottled blue longcase clock, containing blue glass phial, 11cm high (small crack), red bakelite nail buffer by Poly another nail buffer plus an amber bakelite roller blotter and other items (9)
£70-100
£100-200
Lot 428
Lot 429
Lot 431 114
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433* Book Trough. A Victorian Gothic oak book trough, carved in the manner of a church pew with two drawers beneath each with brass handle, 33.5cm high x 61cm wide, together with an Aesthetic Movement oak book trough inset with three blue and white pottery tiles each decorated with insects, with a spindle gallery, 22.5cm high x 32cm wide, plus a 19th century giltwood casket, probably Continental, with scroll finial, the front panel inset with a cloth panel surrounded by scrolls, 23cm high x 28cm wide x 15cm deep (3)
436* ☉ Boxes. A George III tortoiseshell piqué toothpick box, of navette form, finely inlaid in silver with classical urn surrounded by foliate swags with two roundels, the classical vase thumbpiece enclosing glass and silk lining, 7.5cm long, together with a Victorian tortoiseshell spectacles case, with vacant silver cartouche, ivory on red velvet lining, 14cm wide plus a Victorian papier maché snuff box (3)
437* Brassware. A Victorian Ecclesiastical brass lidded jug, with cross finial, and engraved ‘ihr’, with straight handle, 46cm high, together with two related ewers each with engraved decoration, 47.5cm high and 41.5cm high (3)
£100-150
£150-200
£100-150
434* Bottles. A collection of glass carboys, including a large onion shape example, 58cm high (4)
£100-150
435* Bottles. A collection of early 19th century and later glass bottles, including a sealed bottle bearing initials ‘A.S. & C.R.’, 27cm high plus another sealed bottle with monogram and dated 1830 retaining original wax seal, 28cm high (damaged)
438* Art Nouveau . A pair of Continental bronze chryselephatine figures, circa 1900, modelled as a girl with long draped robe holding a flower to her mouth, 29.5cm high mounted on an ebonised base, 36cm overal, her female companion modelled in similar costume holding a cloth, 32cm high, 39cm overall (some cracking and damage)
(7)
(2)
£100-200
£1500-2000
115
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439* Egyptian. A pair of bronze and painted alabaster eyes and eyebrows in the Egyptian Late Period (1st millennium B.C.) style, verdigris throughout, mounted on a perspex stand, approx. 7cm long (1)
£200-300
Lot 439
440* Carpet fragment. An early Louis XIV carpet fragment, c.1650s, woven wool carpet piece, with a variety of floral bouquets tied with ribbons, baskets of fruit, floral vases, and acanthus leaves, in blues, yellows, pinks, and creams, on a black ground, some areas of damage and wear (with old repairs in places), lined with later fabric, 80.5 x 31.75cm (140 x 55ins) Provenance: Sir Philip Sassoon, Bt., 25 Park Lane, W.1., recorded in the Large Drawing Room in 1939; Christie’s, Houghton Hall sale, 8th December 1994, lot 23. Thought to have been woven either in the Louvre or at Chaillot. The black background of this fragment and the ribbon-tied floral sprays are typical of Savonnerie carpets produced during the reign of Louis XIII, and into the beginning of Louis XIV’s reign. Carpets generally attributed to this period are typified by dense arrangements of floral sprays, sometimes framed within cartouches, and often issuing from baskets or tied with blue ribbons as here. Little is known about the production of carpets in this formative period of the Savonnerie workshops. There were two royal manufactories, one in the Palais du Louvre, the other at the old soap factory in Chaillot. They were run by two men bitterly opposed to each other, but both seem to have based their designs upon florilegia of the period, with a very wide variety of flowers to be found in a single carpet. By the mid 1660s the baskets and ribbons had almost disappeared, while the scrolling acanthus was fully dominant, with additional motifs such as animal heads appearing, and the variety of floral sprays that are so beautifully observed on the present fragment were reduced to a minor decorative motif. £2000-3000 (1)
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441* ☉ Chalice. A Victorian coromandel chalice, the carved cup with ivory knop and flared tapered stem on shaped circular base, 16cm high (1)
£100-150
442* Conchology. A late Victorian pine collectors chest with five lift out trays and a further fixed tray to the base, each division housing fresh and sea shell samples including Conch, Oyster, Mussel etc., the case with brass VR lock and recessed handles 49.5cm high x 56cm wide x 45.5cm deep (lacking key) (1)
£150-200
Lot 441 443* Diorama. A Continental room setting, probably Austrian, circa 1930s, in traditional style with painted furniture and pottery plates and vases on the shelf above, in a deep glazed frame, 26.5cm x 38cm (1)
£50-80
444* Fish Collage. A large and impressive fossilised fish collage containing thirty pieces of rock, four of which have fossilised fish on them, from the Green River formation in Wyoming, USA, a good interior piece, 70 x 102cm, in a contemporary frame
446* Jelly Mould. A William IV/early Victorian copper jelly mould, of rectangular form embossed with a spray of flowers, stamped R&W 130, 17cm long (1)
£100-150
447* Kitchenalia. A collection of 19th century and later copperware, including beer funnels, a large cylindrical twin handle pan and cover, stamped ‘22’, 26cm high plus five graduated pan covers and other items (16)
£100-200
The largest fish is a Diplomystus, as is one of the smaller examples, the two other fish are that of Priscacara. (1) £150-200
445* Camera Lucida. A cased P. Berville instrument, engraved ‘P.Berville, Depositaire, 25. Chaussee d Antin, Paris’, with 12 glass lenses, 25cm long, together with a collection of massaging instruments including an Art Deco period Neda Massager by J. Redfern Ltd, London in original cardboard box with instructions plus a cased Edwardian face massager by Face-Punkt Roller with celluloid grip (8)
Lot 442
£100-150
Lot 444
448* Kitchenalia. A Victorian copper twin handle fish kettle, with lift out liner and cover with brass handle, 83cm long, together with two lozenge shape pans each with lift out liner, 62cm and 55cm wide, copper and brass footwarmer, 61cm log plus copper and pewter mugs and measures (20)
£100-200
Lot 447
117
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449* ☉ Bowie Knives. A large bowie knife, the 27cm clipped steel blade with brass crossguard and rosewood grips, 40.5cm overall, in its leather sheath, together with a smaller bowie knife, the 13.5cm steel blade stamped ‘I Out My Way, William Rogers, Sheffield, England, brass crossguard, antler grip, 23cm overall, in its brown leather sheath, plus two Norwegian Sailors knives and a Scottish sporran with engraved silver plated mount set with a cairngorm (5)
£70-100
Lot 451 Lot 449
450* Shop Mannequin. A well modelled full length female mannequin, circa 1950s, of composite construction with characterful face decorated in the Indian style with articulated arms, 185cm high overall (some damage) (1)
£100-200
451* Metalwares. A Victorian copper coal scuttle with swing handle on pedestal foot stamped ‘16’, 50cm long with copper and fruitwood shovel, together with a similar coal scuttle, a Victorian copper kettle, copper bed pan and various fireside companions (8)
£100-200
452* Metalwares. A Victorian copper oil lamp by Maples, London, with glass chimney, brass reservoir on a wrought iron scroll and twisted tripod base, 55.5cm high, together with a Victorian brass candle stand, with adjustable pole screen, leading to four holders on a turned base with dish beneath, with chained accessories for collecting wick and poking, 57cm high and other items (4)
£70-100
453* Miscellanea. A mixed collection of metalware, ceramics and glass, including a circular electroplated inkstand by Elkington & Co, No.921, embossed with panels of inventors, industrialists and other key historical figures including Flaxman, Holbein, Newton and Watt, the inkwell in the form of a globe (lacking liner), 23cm diameter, a Victorian coromandel box (probably for books) with brass strapwork mounts and catch, 22cm high, wooden trophy bases with silver mounts, a Victorian majolica wall pocket, of circular form incised with leaves in blue, green and yellow, 15.5cm diameter, a Mintons pottery tile, with Oriental leaves on a brown ground, base stamped No.2117, a pair of Victorian pottery ribbon plates, each with brown transfer print for The Twelfth Night and King Lear (and so titled), 22.5cm diameter Lot 450
Lot 452
(3 cartons)
£100-200
118
454* Mosasaur Teeth and Jaws. Set in a bed of phosphate deposits, Eocene period, Morocco, 50 million years old, 49 x 31cm, (Mosasaurs were large marine reptiles that grew in excess of 12 metres), together with Tourmaline and Garnets, a black tourmaline and garnets specimen set in quartz, probably from Pakistan, 14 x 16cm, plus a Smokey Quartz Crystal, from Brazil, and Green Calcite Crystals, from Mexico, and Pyrite, a crystal cluster, Peru, 18 x 22cm, with other mineral samples (a carton)
£100-150
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455* ☉ Patch Box. A 19th century Dutch circular burr walnut pressed wood patch box, the lid with a busy village scene titled ‘Noges De Village’, with tortoiseshell lining, the base with a repeating geometric design, 8cm diameter, together with an Indian sandalwood card case with carved cobra surrounded by foliate decoration, 9.5cm high plus another circular box, 9.5cm diameter (3)
£100-150
Lot 459 457* Pipe. A well carved Victorian meerschaum pipe, the bowl carved with a North American Indian in traditional dress holding a tomahawk, the amber stem formed as an arrow piercing through his chest, 16cm long (some damage to the stem), in original fitted leather case embossed ‘E. Wimpory’ (1)
459* Rocking horse. A mid-20th century carved and painted dapple grey rocking horse, with harness, saddle and bridle on a wooden base, 120cm high x 144cm long (some damage) (1)
£200-300
£100-150
456* Pietra Dura. A modern Indian marble tabletop, of circular form profusely inlaid with floral bands of semi-precious stone, 43.5 cm diameter, together with twelve matched coasters (13)
£70-100
Lot 457
458* Pre-Columbian. A modern gilt brass copy of a Pre-Columbian figure/bottle, modelled as a tribesman in traditional jewellery, with the headdress formed as a stopper, 12.5cm high on a square black base, together with a smaller figure mounted on a mahogany base plus a Tibetan brass singing bowl, 12.5cm diameter (3)
£100-150
119
460* Rustic tools. A collection of 19th century and later wooden tools, including a grain shovel, 156cm long, a turned mixing bowl, 534cm diameter, a poacher’s box, with hinged trapdoor and caged box, 47cm long (8)
£100-150
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464* Table Cabinet. A late 19th century Austrian enamel and ebonised table cabinet, the top surmounted by a bronze elephant with panels of classical figures, the doors and side panels also inset with panels, with corner caryatids, enclosing three drawers each inset with enamel panel, on four griffin supports, 19cm high x 14.5cm wide x 12cm deep (1)
£200-300
461* Art Deco. A well modelled female bust circa 1930/40s, with characterful face on shaped socle, 58cm high (1)
£70-100
462* Spyglass. A Victorian ladies spyglass, with gilt metal two draw telescope with mother of pearl and gilt metal casing inset with eleven green stones 3.2cm fully extended, on long gilt metal belcher chain (1)
£100-150
463* Stained Glass. A pair of leaded glass panels, each with a floral spray within borders of green, red and amber glass, 92.5cm high x 51cm wide, together with a pair of modern brass chandeliers each with glass lustres, two Victorian brass jam pans, a ships brass Stern light plus a pair of pineapple form curtain pole gilt metal finials and another similar pair (11)
£70-100
465* Table Lamp. An Austrian cold painted bronze figural table lamp, probably Franz Bergman, circa 1900, modelled as an Arab holding a string of beads, wearing gold robes and slippers, standing on a rug with a jewellery box resting on a table, the lamp stem formed as faux bamboo applied with a shield and musket the shade formed as a hanging lampshade with red and green glass panels, mounted on a wooden plinth, 50.5cm high (1)
£1000-1500
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466* Table Lamps. A Victorian brass table lamp, with strap work decoration on a hexagonal base, 38.5cm high, together with two further table lamps including a Gothic lamp stamped ‘Matadorebrenner’ on a flared circular base, 47cm high (3)
£100-150
467* Table Lamps. A pair of Victorian gilt metal table lamps, of pedestal vase form with foliate scroll handles on flared socle and square base, 31cm high together with a Victorian black slate table lamp, in the Ancient Egyptian style decorated with figural panels on a red ground with mask handles, 30.5cm high, plus a pair of Victorian gas lamp branches, each of steel and brass stamped Cox. Sons Buckley & Co, London W.C. (5)
£100-150
468* Table Lighter. A cold painted spelter table lighter, in the form of a cock pheasant standing by a tree stump on a realistic rectangular base, 19cm high x 30.5cm wide (1)
£70-100
469* ☉ Tea Caddy. A rare George III mahogany tea caddy in the form of a mansion house, the breakfront panel arranged as two story building with steps leading to arched doorway flanked by three windows and a further seven windows above, the central window flanked by columns, the hinged lid with brass bow handle within boxwood and rosewood enclosing cut glass mixing bowl with two lift-out tin canisters each with domed mahogany cover, secret compartment and two silver spoons, with key, 16.5cm high x 28.5cm wide x 17cm deep (in restored condition) (1)
£3000-4000
121
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473* ☉ Treen. A collection of Victorian goto-beds, including a Mauchline ware example, made of wood grown on the land of Abbotsford with a printed view of Abbotsford, 7cm high, a rosewood example the lid inset with mother of pearl disc, plus a Victorian papier mache hand screen, painted with flowers on a black ground with turned fruitwood handle, 35cm high (5)
£70-100
(10)
470* ☉ Tea caddy. A Regency rosewood sarcophagus tea caddy, inlaid with mother-of-pearl, the hinged lid enclosing inlaid lift-out canisters each with hinged cover, aperture for mixing bowl, on four bun feet, 20cm high x 32.5cm wide x 21cm deep (1)
474* Hardwood. A late 19th century Continental treen water bottle, of circular form carved in relief Spomen Na Liku (memorial on the cheek) 1885, with a spray of flowers carved in relief, the other side with a heraldic crest, bound in engraved brass with treen stopper on four brass feet, 34cm high x 25cm diameter (1)
£100-150
£70-100
477* Vintage Pens. A collection of fountain pens, mostly early 20th century including Waterman’s Ideal in original box, Wyvern No.60 C, with green marbled case and 14ct gold nib, Onoto Self-Filling Stylo De La Rue & Co Ltd London, brown marbled case with 14ct gold nib, Parker Duofold, black case with 14K nib, Parker Senior Duofold, blue case with 14K nib, Waterman’s W5, silver striped case, 14ct gold nib, Croxley, brown marbled case, 14ct gold nib and original manufacturers packaging together with a late 19th century decorative pen wipe in the form of a woman, her dress inscribed ‘Once I was Merry Thought Growing in a Hen, Now I am a Little Slave Made to Wipe a Pen’ (30)
475* Urn. A large Victorian copper urn, of circular form with brass tap, 63cm diameter x 62cm high (1)
Provenance: By repute, from Disley Church, Cheshire. (1) £800-1200
£200-300
£70-100
Lot 478 122
£100-200
478* Weathervane. A large metal weathervane in the form of a dragon, probably Victorian, formed as a fire breathing dragon, 171cm long
472* Treen. A Victorian treen standing cup and cover, with brass finial on a turned pedestal base, 25cm high (1)
£50-80
£100-150
471* Tennis. A group of three early lawn tennis rackets comprising; a 13 oz racket, c. 1900, with elongated head, convex wedge stamped ‘The Magic Series. Cook’s, London’, orig. coarse gut strings (broken), scored and grooved fishtail handle (overall length 70cm); another early racket with elongated head, convex wedge stamped ‘Forward’, Halford, orig. two-tone gut stringing with four runs of double mains (in perfect condition), hexagonal scored handle with leather butt, (overall length 70cm); another early racket with convex wedge (manufacturer’s transfer print illegible), orig. two-tone coarse gut stringing with only one break, scored fantail handle, a little chipped at end, overall length 68.5cm (3)
476* ☉ Vesta. A novelty nickel plated vesta case, in the form of a cello, 6.5cm long together with a Victorian silver top box, London 1866, 8.5cm long, an ivory shoehorn carved with a Chinese Immortal, a Great Exhibition vegetable ivory and bone Stanhope, silver ingot, 19th century French porcelain cup and saucer, painted with landscapes scenes, stamped C.F.H. (probably Charles Field Haviland) etc.
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JEWELLERY & SILVER 479* Charm Bracelet. A substantial modern silver charm bracelet with approx. thirty-five charms including Concorde, Romany caravan, Holy Bible etc, approx. 6oz
483* Lapis Lazuli. A fine stone necklace, comprising twenty-nine graduated beads each of good colour interspersed by white metal beads and T-bar catch, 41cm drop, 825g
(1)
(1)
£70-100
480* Charm Bracelet. A modern 9ct gold with twelve charms charm bracelet including William Shakespeare, Prince of Wales feathers, with heart shape padlock, approx. 23g (1)
482* Gold. A 22ct gold wedding band, Birmingham stamped ‘22’, 4.5g, together with a 9ct gold gate bracelet and heart shape padlock, Sheffield, stamped ‘375’, 9ct gold cross and chain plus yellow metal ring, weighable pieces, approx. 12.5g (5)
£150-200
484* ☉ Menu Holders. A fine pair of George V 18ct menu holders, with interlaced monogram surmounted by a crown, dated 1866-1916, mounted on rectangular ivory base, Barnet Henry Joseph, Birmingham 1915, 8cm long x 7cm high, each bearing label inscribed ‘Gold Wedding Anniversary Present H.R.H Prince Frederick Christian of SchleswigHolstein to Queen Victoria’s daughter (his wife) Helena Augusta known as Princess Christian B.1846, M.1866, D.1923', bearing label inscribed in ink (2)
£1000-1500
£150-200
481* Diamond Brooch. An early 19th century floral brooch set with large oval brilliant cut stone approx. 1ct surrounded by approx. fifty-two smaller old cut stones, set into silver and gold backing with pin, 3cm wide (1)
£200-300
485* Pendant. An Edwardian 9ct gold pendant and chain, set with garnets, peridot and pearls within a gold scroll mount, stamped ‘9ct’, 5cm long, 27cm long including chain, total weight 4.5g (one pearl missing)
£1000-1500
Lot 483
Lot 484 123
(1)
£80-120
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486* Ring. A sapphire and diamond ring set in gold with three small aligned sapphires with flanked by diamond chips (1)
Lot 489
£80-120
491* Tiffany & Co. A modern platinum and diamond cross pendant, set with eleven small diamonds, stamped PT950 TIFFANY & CO., 18mm x 9mm on a fine platinum chain in original case with green cardboard retailers box (1)
492* Victoria (1837-1901). Old Head gold half-sovereign, 1898, approx. 3.9 g, very fine (S 3874), together with Victoria. Jubilee coinage, 1887-93, Half-crowns (2), 1887, both extremely fine (S 3924), together with sixpence, 1887, extremely fine, (S 3929), and Young Head, sixpence, 1874, fine/very fine
487* Ring. A diamond ring set in 18ct gold, with nine small diamonds arranged in a square (1)
£300-500
(5)
£70-100
£100-150
490* Tie pins. A Victorian tie pin set with central diamond surrounded by eight garnets, in silver and yellow metal mount with original case, 6.5cm long, together with another seed pearl and yellow metal pin, 6cm long in leather case (2)
£80-120
493* Watches. A gents Luxor chronograph wristwatch, with silvered dial, luminous hands, stamped 17 Jewels Incabloc Antimagnetic, Swiss Made, gold plated casing with plated bracelet, together with a ladies 9ct gold wristwatch with 9ct expanding bracelet in original box plus a goliath pocket watch in plated case (3)
£150-200
488* Ring. An 18ct gold and platinum ring, the square illusion setting with three central sapphires flanked by three diamonds, stamped ‘18ct Plat’, 1.9cm inner circumference (1)
£80-120
489* Rings. A diamond solitaire ring, set in 9ct gold mount, together with an amethyst and pearl ring set in 9ct gold, plus other gold and silver rings (7)
£80-120
Lot 491
Lot 493
124
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495* Chatelaine A late 19th century Continental silver Chatelaine, with cherubs head supporting three chains of silver depicting cherubs and cavaliers amongst scrolls, inset with pink enamel hearts, garnet cabachons and opals, various hallmarks to the clip, 26cm long, overall weight approx. 4oz, together with an Edwardian silver ladies fob watch, the engraved case with blue enamel roman numerals, white enamel dial plus another silver fob watch and keys (3)
£80-120
496* Cigar Lighter. A Victorian novelty silver table lighter, in the form of a gondola with lift out tray and spiral wick puller, Stokes & Ireland Ltd, London 1900, 12.5cm long, approx. 2.5oz (1)
£200-300
494* Candleabra. A good pair of Old Sheffield Plate three branch candleabra, circa 1830, with flame knop, acanthus moulding on plain and gadrooned base both engraved with family crest and monogram, 54.5cm high (2)
£300-500
497* Clutch Bag. A George V silver-gilt mesh evening bag circa 1920s, finely pierced with flowers and carrying chain, hallmarks worn, Birmingham assay office, approx. 8oz (1)
Lot 495
125
£100-150
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498* Cocktail Shaker. A George V silver cocktail shaker, of plain cylindrical tapered form with cover, Garrard & Co, London 1928, 22cm high, approx. 12oz (some creases and dents), together with an Edwardian electroplated oval gallery tray engraved with ferns, 66cm long plus a silver pin dish engraved with the Pilgrim Father’s ship the Mayflower, Birmingham 1970, 10cm diameter, approx. 1.5oz plus a silver plated entrée dish and cover (4)
500* Cruet Set. A George VI silver cruet set, comprising two pepperettes, two salts, two mustard pots (each with blue glass liner) plus four spoons, Mappin & Webb, Birmingham 1937, in original case, together with a silver pedestal bon-bon basket, with pierced decoration, swing handle and plain foot, with blue glass liner, Adie Brothers, Birmingham, 1931, 8.5cm diameter (2)
499* Coffee Pot. A George III silver coffee pot, of baluster form with urn finial and beaded lid and spout, engraved with vacant cartouche surrounded by festoons, with fruitwood handle on pedestal foot, John Langlands I & John Robertson, Newcastle 1784, overall weight 28oz (1)
£80-120
£100-150
501* ☉ Dessert Set. A William IV silver and ivory twelve place dessert service, comprising 12 knives and 12 forks, each with carved green stained ivory grip, Alexander Hunt, Sheffield 1834, in a fitted brass inlaid rosewood box with lift-out tray (1)
£800-1200
126
£300-500
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502* Electroplate. A good quality Edwardian electroplated twin handle tray, of rectangular form engraved with c-scroll and floral decoration, within gadrooned and acanthus moulded border, by John Sherwood & Sons, stamped ‘1170 EPNS’, 71cm long, together with an Edwardian oval gallery tray, inset with oak and large shield cartouche, pierced gallery on four squat bun feet, 56.5cm wide (2)
£80-120
503* Electroplate. A collection of Victorian and Edwardian and later electroplate including a pair of threebranch candleabra, each with detachable sconce, on squat turned base, approximately 21cm high x 29cm wide, an Aesthetic style teapot in the manner of Dr Christopher Dresser, with ebony handle and knop, on a stand with three spindle legs and squat bun feet with burner by Henry, Edward and Frank Atkin, 28cm high, a domed meat cover with loop handle, 36.5cm long, an Art Deco ice bucket and liner, pedestal fruit bowl, flatware and other items (19)
£100-150
503A* ☉ Entreé Dishes. A good pair of Victorian Old Sheffield Plate serving dishes, each with detachable handle with acanthus moulded decoration, shaped bases with liners on four scroll feet, 35cm wide, together with an Old Sheffield Plate cylindrical coffee pot, circa 1880, wtih fruitwood handle, engraved with heraldic crest on a stand with three lion's paw feet and burner, 27cm high, plus an Edwardian electroplated revolving breakfast stand by Mappin & Webb on four reeded lion's paw feet, 36cm wide (lacking ivory thumb-piece) (4) £80-120
504* Elephant. A Cambodian silver caparisoned elephant, finely detailed with long trunk and tusks and howdah, stamped with marks including 999. 33.5cm high x 33cm long, approx. 69.5oz (1)
£1000-1500
127
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506* Golf. An Art Deco silver cigarette case by James Dixon & Sons, hallmarked Birmingham, 1939, all-over engine-turned decoration, the front engraved with a figure of a lady golfer teeing off, measuring 8.5 x 7.5cm (1)
£100-150
507* Mixed Silver. A collection of silver including an Edwardian dwarf candlestick, Chester 1908, 10.5cm high, Victorian milk jug, London 1870, 12cm long, silver top glass scent bottle, London 1932, 5cm high plus an Art Nouveau white metal napkin ring with female busts and organic swirls, 5.5cm diameter (15)
505* Silver Forks. A matched set of six George III silver table forks, each engraved with Griffin head family crest, London circa 1780s plus a later fork by George Angel, London 1858, total weight approx. 16oz (7)
£100-150
£70-100
508* ☉ Mixed Silver. An Art Deco silver cigarette box, with an engine turned ground, yellow metal thumb-piece and edges, stamped ‘Sterling 925’, 3cm high x 9.5cm wide x 7.5cm deep, together with a George III silver butter dish, of scallop form with engraved thumb-piece and three shell feet, Rebecca Emes & Edward Barnard, London 1814, approx 3.5oz plus a George V silver wine taster, of octagonal form with ivory handles, Emile Viner, Sheffield 1933, 14cm wide and a silver ashtray, weighable silver approx. 8.5oz (4)
509* Silver Mug. A George II silver baluster mug, engraved with an armorial and greyhound courant of the Fernie family of Scotland together with presentation initials, scroll handle on pedestal foot, additionally engraved to base 'C I S, Thomas Whipham London 1750', 12.5cm high, approx. 14oz (1)
£300-500
510* Silver Mug. A Victorian silver baluster mug, embossed and engraved with foliate decoration within c-scrolls, with scroll handle and pedestal foot, gilded interior, base stamped 10055, makers mark rubbed, London 1875, 13.5cm high, approx. 10oz, together with a George V part silver tea service, comprising twin handle sugar bowl and milk jug, George Jackson & David Fullerton, London 1909, approx. 13.5oz, total weight approx. 24oz (3)
£200-300
£100-150
Lot 508
Lot 510 128
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Lot 513
Lot 511 511* Salvers. A pair of 18th century Irish silver salvers, each engraved with scroll and shaped acanthus edge, on three cabriole supports with hoof feet, maker WT, Dublin with Hibernian mark, 16.5cm diameter, 14oz
512* Snuff Box. A George III silver oblong snuff box, chased with a repeating geometric decoration throughout, signs of gilding to the exterior and gilded interior, engraved on edge ‘Ja Anderson, Newcastle’, Joseph Ash I, London 1808, 7cm long, approx. 2.8oz
(2)
(1)
£500-800
£100-150
513* Trout. A modern filled silver model of a trout, well detailed on naturalistic base, stamped 925 by Camelot Silverware, Sheffield 2000, 25cm long, weighted (1)
£200-300
514* Wine Coolers. A pair of 19th century silver plate wine coolers, of ogee form with gadrooned and acanthus decoration with lift out stand on a pedestal base, 25.5cm high (2)
Lot 512
Lot 514 129
£500-800
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TRIBAL & SAILOR ART
517* Moccasins. A pair of North American leather moccasins each worked with coloured beads, 28.5cm long, with a recent handwritten label Label reads - Made by Red Indians, bought by Frank Thomas in 1930 who had emigrated and sent his brother Lionel Thomas of Uplowman Devon during WWII. (1) £100-150
518* Tribal Art. An Ivory Coast Baule Tribe maternity figure, carved in the standing position, the hair unusually painted in gold, 75cm high, together with an African Masai hide shield painted in black and red pigment, 54cm long
515* Acholi Tribe. Artefacts relating to the Acholi Tribe of Uganda formed by Sydney Higgins (1965-66), including a skin quiver and arrow, the arrow 40cm long, a drum (membranophone) of wooden and hide construction with woven handle, 37cm high, a bow-harp (Chordophone / Adongo), of shell construction with angular neck and covered in dark hide with tuning prongs, 59cm long overall, a hardwood stool with dished top over five legs, 31cm high, a smaller stool with three legs, 23cm high, a zither board (Chordophone) 51cm long, a headrest with oval top over spayed supports, 28cm long, three caved wood busts, a ceremonial iron hoe-hand used by the Madi as part of the bride price, with broad flat tang and forked tail terminal, 42cm long, bangles, bells and other items plus two related books
(2)
£70-100
Many of the items are identified in Tribal Crafts of Uganda, the collection was amassed by the present owner during his trip to Uganda in January 196566. During which time the country gained its Independence. Mr Higgins spent two years teaching in English at Sir Samuel Baker School in Gulu and quickly became fascinated by the customs and ceremonies of the local Acholi Tribe, The Uganda Journal published an article written by him in 1966, and detailed descriptions of the items in this lot supplied by Mr Higgins are included. (2 cartons) £200-300
516* African Knobkerrie. A Zulu hardwood knobkerrie, mid to late 19th century, with long shaft bound in wire leading to spherical head, 63.5cm long (1)
£150-200
Lot 516
Lot 523 130
Lot 518
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521* Tribal Art. A Nupe Tribe, Nigeria the oval top carved wooden stool, geometrically carved on eight tapered legs, 27cm high x 36.5cm wide (1)
524* Tribal Jewellery. A North American Indian necklace made from glass beads, detailed with geometric decoration with an eagle and tassels, 41cm long together with a collection of African necklaces and bangles, probably Kenyan (15)
£100-200
£80-120
519* Tribal Art. A 20th century Makonde tribe Tanzania pregnant woman body mask, carved with scarification marks, 56.5cm high Worn by male dancers during ritual ceremonies to promote fertility. £80-120 (1)
522* Tribal Art. Ayaka Tribe, Congo ceremonial mask, carved with two faces and grass beard, surmounted by a woman giving a boy medicine, 66cm long (1)
520* Tribal Art. A 20th century Ashanti, Ghana akua-ba female fertility doll, carved with flattened head, outstretched arms, bead earrings and bracelet, 35cm high, together with another akua-ba doll carved in the seated position, the flattened head inset with beads to the forehead and eyes, 33cm high (2)
£80-120
£150-200
523* ☉ Tribal Art. A small carved ivory mask probably Lega Tribe, with elongated face, the hair comb pierced and carved, 5cm long presented on a modern base, together with a carved wood paddle with geometric decoration, 68cm long plus a Victorian ivory bodkin case, the lid enclosing a Stanhope of the 1884 International Exhibition, London, 9.5cm long (3)
£80-120
131
525* Tribal Masks. A Yaure Tribe, Ivory Coast mask carved with a bird pecking the forehead flanked by curved horns, crescent eyes and zigzag border to the face, traces of pigment, 42cm long together with a Guro Tribe, Ivory Coast mask carved with long slender face surmounted by a bird, zigzag border to the face and polychrome painted in red, white, green and grey, 44cm long, plus another Yaure Tribe, Ivory Coast mask carved with zigzag border to the face surmounted by two birds facing one another, 52cm high (3)
£150-200
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526* Diorama. A cased diorama modelled by O. Pollack, London, depicting a busy shipping scene in the Thames estuary circa 1850, showing the barque Nornen, the brig-of-war Flying Fish and the Thetis a passenger-carrying West Indiaman, displayed in a box case with realistic background, 37 x 18cm, label verso detailing from left to right, together with Wrigley (Toby), Model Ships, hard back edition, 64 pages with colour illustrations The diorama is featured on page 34 of Wrigley’s Model Ships (sold with this lot). (2) £250-350
Lot 526
527* Golden Hind. A fine miniature 1-200 model by Basil Peter, in a Perspex display case with brass model makers plaque, inscribed and dated 1981, case 19cm high x 21cm wide x 10cm deep
Lot 529
Thirteen of Basil Peter’s models were displayed in the Science Museum. £100-150 (1)
Lot 530 528* ☉ Sailor Art. A good scrimshaw sperm whale tooth, 19th century, decoration possibly of later date, incised Ship Sunstar with a map of the Azorean Whaling Area, Sotheby’s Belgravia label to rear, 11.5cm long (1)
£200-300
529* ☉ Sailor Art. An scrimshaw work walrus tusk, 19th century, decoration possibly of later date, incised with the whaling ship Nile, titled Nile of New London, with an portrait of a young lady entitled True Love, 46.5cm long
527A* Prisoner of War Work. A bone Napoleonic Prisoner of War Spinning Jenny Automaton, carved as two women each wearing a bonnet, with swivelling head and reciprocating arm, standing next to a small windmill above a mechanical base, finished in red and blue, 13cm high (some damage) (1) £200-300
The Nile was built in New York in 1826, she was a three-masted wooden whaling ship, she made fourteen whaling voyages having five different Captains including Asa W. Fish from 1864, when the confederate ship Shenandoah attacked and burned US whale ships in the Bering Sea. Captain Fish was captured and the Nile was ransomed and used to transport 121 captured men and officers to San Francisco. The Nile also had a number of Arctic expeditions under Captain John O. Spicer, the ship retired from whaling in 1878. Provenance: Christies 23 October 1987 (Lot 155). £700-1000 (1)
530* ☉ Sailor Art. A scrimshaw work walrus tusk, 19th century, decoration possibly of later date, incised with Ship Susan and so titled, also American eagle and Taken in Africa God Bless America, 28cm long Susan (of Nantucket) was a whaler which became famed by scrimshaw work by Frederick Myrick (180862) c. 1828-29. Voyages stretched as far as Japan and the Pacific. (1) £500-800 132
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533* ☉ Sailor Art. A scrimshaw section of whalebone or walrus tusk, 19th century, decoration possibly of later date, incised with ships titled The Ship Sarah Off The Coast of Japan, the side section signed and dated D Bain Pacific 1861, and additionally incised Home, 13cm long There were two ships Sarah built at Rochester, Massachusetts 1824 and 1846, both operated out of Rochester Port from 1861. (1) £100-150
531* ☉ Sailor Art. A scrimshaw whale’s tooth, 19th century, decoration possibly of later date, incised with three mast whaler and ‘Ship Fortune 1844’, 16cm long Ship Fortune was a whaling vessel, out of New Bedford, Massachusetts, mastered by David Evans Hathaway and William Davis Jr. She was built in Amesbury, owned by Gilbert Hathaway. Famous voyages were in 1822, and 1850-54, when she embarked for San Antonio, Brazil and the banks of Chile. (1) £200-300
534* ☉ Sailor Art. A scrimshaw whale’s tooth, 19th century, decoration possibly of later date, incised with a whaling scene and sextant , incised 63. South Whales [sic] 9 OCT 1851 (indicating where ship was and what it had caught), together with Flaydermann (E. Norman) Scrimshaw and Scrimshanders Whales and Whalemen, N. Flayderman & Co, Connecticut 1973, numerous b/w illusts., orig cloth in d.j. (the standard work on scrimshaw)
532* ☉ Sailor Art. A pair of scrimshaw whale’s teeth, 19th century, decoration possibly of later date, one incised with a ship titled “Harrowby” London to Hobart Town 10th Nov 1859 28th Jany 1860 79 Days, the other “Heather Bell” Hobart Town to London, 13cm long Heather Bell was a clipper built in 1850 by Walter Wood. (1)
(2)
£300-500
133
£100-150
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536* ☉ Sailor Art. A near pair of 19th century scrimshaw walrus tusks, decoration possibly of later date, one incised with an American eagle, a sailor, mother and child and vase of flowers, 27cm long, the other with a ship, a Naval officer and a vase of flowers, 28cm long (2)
£300-500
535* ☉ Sailor Art. A marine walking cane, with vertebrae sections and spherical ivory top engraved with a whaling ship and with initials L.F. dated ‘1842’, 85.5cm long, together with another with whalebone and horn inserts and spherical top, 94cm long, plus a marine walking cane, with whalebone and horn inserts and handle, 91.5cm long, and another with knopped top, 86cm long (4)
£200-300
537* ☉ Sailor Art. A 19th century scrimshaw whale’s tooth, decoration possibly of later date, incised with a whale breaking up a boat, the reverse side with another whaling scene, 14.5cm long (1)
£150-200
538* ☉ Sailor Art. A 19th century scrimshaw whale’s tooth, decoration possibly of later date, engraved with a busy Continental shipping scene probably in Holland, the reverse side incised with a Victorian lady, 17cm long
Lot 536
(1)
134
£200-300
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540* Coco de Mer. A souvenir Coco de Mer, with palm tree decoration, from the Seychelles, approx. 18cm long (1)
£100-200
539* ☉ Sailor Art. A 19th century scrimshaw whale’s tooth, decoration possibly of later date, incised with a naval engagement, the reverse side with Britannia, Neptune and Naval crew in a nautilus boat, 16cm long (1)
£100-150
541* WWI U-Boat. A fine silver presentation inkstand, modelled as a German U-Boat, the deck with funnel and rails, hinged to reveal glass ink bottle, with articulated rudders, 30.5cm long, mounted on an ebonised base with pen tray and silver presentation plaque engraved ‘H.L. MARSHALL. SECOND OFFICER. Presented by THE EAGLE OIL TRANSPORT CO. LTD AND THE ANGLO MEXICAN PETROLEUM PRODUCTS CO. LTD. As a momemto of the escape of the S.S. “San Melito” from a German Submarine after being shelled 40 miniutes, August 21st 1915.’, 34cm long overall (some pieces missing) The S.S. San Melito was a tanker belonging to the Eagle Transport Company, London. In the afternoon of 21 August 1915, 70 miles off the Lizard Point Cornwall, Mr James Jackson sighted a U.38., the Melito turned away but was hit starboard side and the master concussed, the Chief Officer took command and a chase and shelling continued until 15.00hrs when a patrol came up and the submarine dived leaving the Melito with extensive damage. A similar inkwell was sold at Christie’s, 1st November 2001, lot 184. £500-800 (1)
135
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ORIENTAL WORKS OF ART
542* Carving. A Chinese white jade carving, late Qing to Republic Period, depicting opposing sprays of lingzhi formed to appear like Ruyi sceptres offering a wish for good fortune and longlife, neatly incised overall, 8.5cm long (1)
£150-200
Lot 545
Lot 546
545* Desk Ornament. A Chinese carved celadon and russet jade desk ornament, 20th century, carved decoration showing a dragon amongst coins and lingzhi, 7cm (2.75ins) high (1)
£70-100
546* Pebble. A Chinese dark celadon green jade natural pebble, boldly carved in relief to depict a rendition of Zhong Kui (the demon queller) drinking wine with a bat poised above some areas of darker staining, 8cm long (1)
£100-200
543* Carving. A Chinese carved and pierced celadon jade figure of two koi leaping out of a lotus pond, with contemporary carved hardwood base, 20th century, carved in the round, 16.5cm (6.5ins) overall height (1)
£300-500
544* Huang. A rare Chinese jade celadon Huang, Ming Dynasty or possibly earlier, carved in Archaic fashion with two dramatic dragon’s heads, the detail deeply wheel cut with signs of oxidisation (possibly from burial), mounted with a yellow metal loop for suspension, 8cm long
547* Carving. A colourful Chinese green jadeite carving of Guanyin, carved holding a branch of lingzhi standing proudly upon a single lotus base, an attendant to her side holding a Ruyi, surrounded by a heavenly mandala, encised on the reverse with a symbol of long life, suffused throughout with brighter green colours, 10cm high
(1)
(1)
£300-500
136
£300-500
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Lot 548
Lot 549
548* Carving. A well carved Chinese jadeite figure depicting Guanyin, standing on a lotus base, suffused with a bright green patch on the front and pierced for suspension, 6cm high (1)
551* Pei. An unusual Peking Chinese glass Pei, imitating mutton fat jade, each side with raised panels continuing a scene of figures within a garden landscape, a foot bridge and fruit trees, 5.5cm long
£100-150
(1)
£300-500
549* Pebble. A Chinese celadon jade pebble, late 18th century, carved depicting Buddhas hand with leafy vines and a monkey clambering to one side, hollowed out in such a manner to form a miniature vase, 5.5cm high (1)
£150-200
552* Pei. A Chinese fine mottled brown jade Pei, possibly Ming Dynasty, carved in relief with two children playing on a terrace with symbols for a Happy New Year, mottled throughout with darker inclusions and rivering, 5.5cm long
550* Panel. An interesting and well carved Chinesee chloromelanite panel, carved in relief with a rampant dragon cavorting through stormy sky in pursuit of the pearl of immortality, pierced for suspension, the reverse with a ground of Buddhist swastika and raised circular panel with a wish for longevity, 6cm long Chloromelanite closely resembles jadeite. (1)
(1)
£300-500
137
£300-500
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Lot 555
553* Pendant. A Chinese celadon jade pendant, Qing Dynasty, of circular form with openwork detail of a central symbol for longevity surrounded with a decorative border of bats, the simple form decorated with wheel cut decoration possibly an indication of an earlier period of the Qing Dynasty, 5.5cm diameter (1)
£300-500
556* Carving. A miniature Chinese mutton fat carving of a cicada, Qing Dynasty, the detail neatly incised in low relief and realistically rendered, the head drilled for suspension, 4.5cm long (1)
£300-500
557* Carving. A Chinese mutton fat jade carved cylinder, Qing Dynasty, one side elaborately decorated with an archaistic bifad chilong appearing to push against the cylinder and another clambering on the opposite shoulder, crisply carved with a good polish and a small area of calcification, 6cm long (1)
558* Seal. A Chinese chicken bone jade square form blank chop, Qing Dynasty, the undecorated form with a simple hanger, suffused with ochre rivering throughout, 3cm high (1)
£800-1200
554* Carving. A Chinese mutton fat jade carving of a slender vase, 18th century or earlier, each shoulder carved with clambering chilongs, well hollowed and raised upon a shallow oval foot, approx. 5cm high (1)
£200-300
555* Belt Hooks. Two Chinese mutton fat jade belt hooks, Qing Dynasty, each with a dragon terminal, boldly rendered and neatly incised, 9cm and 7.5cm long (2)
£150-200
Lot 557 138
£200-300
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559* Carving. A good Chinese celadon carving possibly Ming Dynasty, carved to depict a recumbent mythical creature with a ferocious expression, the hair work neatly incised and showing signs of wear, the stone of varied greens, darker inclusions and ochre rivering throughout, 7cm long Provenance: From the estate of Marcia Knowles and by repute acquired by her uncle in China in the 1920s. (1) £1200-1500
561* Bangle. An interesting Chinese ladies bangle circa 1920s, of pale apple green and darker emerald inclusions, 8.5cm diameter (1)
£800-1200
560* Panel. A decorative Chinese open work jade panel, Qing Dynasty, the rectangular framed border containing a ferocious dragon entwined in leafy vines and sprigs of lingzhi, the reverse with areas of a natural skin, 6.5cm long
562* Pei. A Chinese mutton fat jade Pei, the whitish grey colour with faint key fret borders and each panel with extensive calligraphy, areas of wear on the edges and drilled for suspension, 6cm long
Possibly used as an insert for a belt buckle. (1)
(1) £500-700
139
£200-300
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Lot 563
Lot 565
563* Bi. A Chinese large decorative Bi, late Qing to Republic period, carved with two ferocious archaistic chilongs cavorting along the outer edge, the yellow jade with large areas of darker colouring, rivering and some staining, the reverse with concentric rings of dots, approx. 11cm diameter (1)
565* Pebble. A good Chinese natural jade pebble, Qing Dynasty, carved with a dragon finial from the top half leaving the remainder of the original shape, colourful rind and skin plus areas of darker rivering, 6.5cm high (1)
£500-800
£800-1200
564* Carving. An unusual Chinese mutton fat cylinder, carved overall in shallow relief with rows of coma, each end mounted in white metal with additional rope form finials in yellow metal and drilled through the centre for suspension, 8cm long
566* Pebble. A natural Chinese celadon jade pebble, Republic period, with an area of brown inclusion to one side and carved in deep relief with Putai (the happy god), carved in a joyful pose holding a string of cash coins, with lingzhi and bats flying overhead, 5.5cm high
(1)
(1)
£500-800
Lot 564
£200-300
Lot 566
140
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Lot 567
567* Boulder. A large Chinese celadon jade boulder, 18/19th century, finely carved as a recumbent Buddhistic lion, its head turned over and resting on its back, the trifad coiled over its hind legs, the hairwork neatly incised and realistically rendered, 12cm long Provenance: From the estate of Marcia Knowles and by repute acquired by her uncle in China in the 1920s. (1) ÂŁ3000-5000
569* Pei. An extremely fine Chinese carved mutton fat Pei, the circular form carved in shallow relief to depict an elephant draped with a howdah cloth hung with tassels and standing upon celestial clouds, a bat above with outspread wings forming loops for suspension, the stone of pure colour throughout, possibly Qianlong period (1736-95), approx. 5.5cm diameter
568* Carving. A very fine Chinese mutton fat jade carving, Qing Dynasty, carved as a grouping of lingzhi, neatly incised and retaining a good natural polish in the manner associated with the Qianlong Period but later, 7cm long (1)
ÂŁ800-1200
Provenance: From the estate of Marcia Knowles and by repute acquired by her uncle in China in the 1920s. (1) ÂŁ3000-5000
141
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570* Scholar’s Rock. A large Chinese carved and pierced white jade scholar’s rock with carved hardwood base, 20th century, carved decoration showing priests on mountainside, 21.5cm (8.5ins) overall height (1)
£1500-2000
571* Jade. A Chinese carved and pierced nephrite scholar’s rock, decorated with a dragon and figures on a mountain side, with a carved wooden stand, 20th century, carved and pierced banded nephrite varying from spinach to olive with black and white inclusions, 25cm (10ins) overall height (1)
£200-400
572* Scroll Weights. A pair of Chinese carved apple jade scroll weights, late Qing dynasty, late 19th century, carved figure of a Pixiu to each, with short inscription to base, 8cm (3ins) high
Lot 570
(2)
£80-120
573* Talisman. A Chinese carved and polished white jade talisman, 20th century, carved decoration showing two carp and a jiaolong, pierced to verso for suspension, 6.5cm (2.5ins) high (1)
Lot 571
142
£100-150
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Lot 574
Lot 576
574* Beads. Four Chinese gilt metal beads, the smaller pair with floral motifs, the larger with peony, endless knot, a peach plus a tree (1)
£100-150
577* Bidri Ware. A collection of Indian metalware, 18th century and later, including a circular bowl, profusely inlaid with silver work to the interior and exterior, 13cm diameter, another similar bowl with silver floral work, 14cm diameter, three plates plus an Indian bowl with silver plated decoration on a copper ground, 16cm diameter (9)
£100-150
575* Beaker. A Middle Eastern white metal beaker, probably Indian, profusely decorated with arabesque floral panels, 11.5cm high (1)
576* Bidri Ware. An Indo-Persian inlaid metal vase/hookah base, with traces of silver work with long slender neck, 23.5cm high (1)
579* Brush Pot. A Chinese porcelain brush pot decorated with an incised border and officials in a garden, late Qing Dynasty, early 20th century, underglazed blue and incised decoration, 17cm (6.75ins) high
£80-120
£50-80
578* Brush Pot. A Chinese brush pot with moulded decoration of children carrying lucky tokens and short inscription, Qianlong mark but later, patinated brass, few minor surface scuffs, 15cm (6ins) high (1)
£150-200
143
(1)
£100-150
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Lot 580
580* Brush Pot. A Chinese porcelain bidong or brush pot, decorated with a mountain landscape with trees and figures, Republic Period mark but slightly later, polychrome enamels, seal script mark to base, diameter 20.5cm (8ins) (1)
£1000-1500
581* Budai. A Japanese bone veneer Hotei, early to mid-20th century, modelled in the standing position with long draped robed holding a club and dish, the base highlighted in green and red flowers, 34.5cm high (1)
£100-200
582* Buddha. A hollow terracotta bust probably Northern Indian, modelled with characterful face, stylised hair with adornment with long slender ear lobes, standing on a hardwood base stamped ‘28’, 27cm overall (1)
£300-500
Lot 581
144
Lot 582
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585* Canton Enamel. A collection of enamel, 19th century and later, comprising two similar snuff bottles each with figural decoration and gilt metal stopper, 5cm high another snuff bottle decorated with sea and landscapes with gilt metal stopper, 6cm high, four teabowls each with figural decoration, two spoons plus two cigarette boxes (some damage) (11)
583* Butter Dish. A Chinese silver butter dish, circa 1930s, of shaped form with domed cover and spherical knop, glass liner on shaped silver base with bamboo moulded sides, with an overall beaten finish, stamped ‘sincere’ with additional Chinese markings,15cm long, approx. 6.5oz (1)
£70-100
586 Catalogues. A collection of Chinese and Japanese Works of Art auction catalogues, mostly Eskenazi including The Charles A Greenfield collection of Japanese lacquer, hard back publication 1990, Japanese Inro from the collection of E Wrangham, soft back publication 1974 etc.
£200-300
(a carton)
£70-100
587* Charger. An early 20th century Japanese blue and white porcelain charger, decorated with a ship with moon and birds above, 37.5cm diameter (1)
588* Dish. A large Chinese dish. Decorated with pagoda under pine trees, early 20th century, underglazed blue decoration to interior and exterior, enamelled in brown and greens, heightened in gilt, three character mark to base, some wear to gilt rim, 42cm (16.5ins) diameter
584* Candle Stand. A Chinese brass candlestand, probably late 19th century, the two tier stand with detachable copper screen inlaid with brass bats symbolising good fortune, with brass tongs attached to a chain, on a dished circular base, 68cm high (1)
£70-100
(1)
£100-150
145
£100-150
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589* Chinese Export Ware. A large Chinese Export porcelain bowl, exterior decorated with Mandarin enamel in the famille rose palette with two scenes of literati, Qianlong period, Qing Dynasty, late 18th century, polychrome enamel decoration heightened with gilt, slight wear to gilt rim, 31cm (12ins) diameter (1)
£500-800
591* Chinese Bowl. A fine Chinese porcelain bowl, decorated with cranes amongst clouds above breaking waves, Chenghua period, Ming dynasty mark, but later, underglazed blue decoration to exterior and interior tondo showing four cranes, hairline crack (approximately 3cm) running down from rim, 14cm (5ins) diameter
590* Chinese Dish. A Chinese porcelain dish with scalloped edge, decorated with two figures in an exterior scene, with floral borders, Zhengde period, Ming dynasty mark but later, underglazed blue decoration, mark to base, 45cm (17.75ins) diameter (1)
The image of the crane taking off is associated with aspirations of rank and career in Chinese culture. (1) £500-700
£300-500
146
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594* Bronze Censer. A Chinese cast bronze censer with loop handles and tripod feet, moulded scalloped body, middle Qing Dynasty, late 18th century, cast bronze, indistinct seal script mark to base, interior heavily sooted from use, 9cm (3.5ins) diameter (1)
£200-300
595* Chinese Pewter. A Chinese pewter tea caddy, incised decoration showing an elder educating a child and a short poem, late 19th or early 20th century, complete with inner lid and upper cover, touch marks to cover, 18cm (7ins) high (1)
592* Chinese Dish. A Chinese porcelain dish decorated with chrysanthemum, possibly Qianlong period, underglazed blue decoration, occasional minor fleabite or short hairline crack to rim, 24cm (9.5ins) diameter (1)
Lot 594
£200-300
£80-120
596* Chinese Bronzes. A Chinese bronze censer, raised on three cloud feet, lug handles in the form Qilin, decorated with cranes in flight amongst clouds and branches, domed lid topped with tortoises, late Qing period, early 20th century, cast and pierced patinated bronze, apocryphal seal script mark to base, 15cm (6ins) high, together with another bronze censer, elaborately decorated, and a Chinese hand mirror (3)
£100-150
597* Chinese Ceramics. A collection of Chinese porcelain dishes and plates, mainly decorated in the Cantonese style with famille rose enamels, mostly early 20th century, including a large Cantonese dish decorated with six vignettes showing interior scenes and birds, heightened with gilt, and others similar, largest 43cm (17ins) diameter 593* Chinese Dish. A Chinese porcelain dish decorated with all over prunus pattern, late Qing dynasty, late 19th century, underglazed blue decoration, bamboo to underside, 36cm (14ins) diameter (1)
(11)
£100-150
Lot 595
£100-150
Lot 596
Lot 597 147
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Lot 603
598* Chinese Ceramics. A collection of Chinese porcelain plates and dishes, mostly with blue and white decoration, late 19th to early 20th century, including a Chinese porcelain dish decorated in underglazed blue with four-clawed dragon, unglazed base with incised inscription, and others similar, largest 27cm (10.5ins) diameter (15)
602* Chinese Ceramics. A Chinese porcelain bottle vase, decorated with two phoenix, Kangxi mark but later, underglazed blue decoration, 25cm (10ins) high, together with a Chinese porcelain Meiping vase, transfer-printed decoration, erroneous seal script mark to base, two Chinese porcelain covered bowls decorated in underglazed blue and polychrome enamels, and similar
£150-200
(5)
599* Chinese Ceramics. A Chinese porcelain ginger jar decorated with five figures in a garden, late Qing Dynasty, late underglazed blue 19th century, decoration, potter’s mark to inside of lid, 23cm (9ins) high, together with two other Chinese porcelain ginger jars, decorated in underglazed blue and a Chinese porcelain jug with overlapping handles (4)
601* Chinese Ceramics. A collection of Chinese porcelain figures, late Qing Dynasty, late 19th-early 20th century, including a blanc de chine figure (damaged and restored), largest 40cm (16ins) high (6)
£100-150
603* Chinese Export Ware. A group of four Chinese Export porcelain tankards, all decorated with figures in famille rose palette, 19th & 20th centuries, smallest with moulded dragon handle, few cracks, fleabites and minor restoration, largest 14.5cm (5.75ins) high (4)
£150-200
£150-200
£100-150
604* Chinese Export Ware. A large Chinese export porcelain bowl, exterior decorated with four vignettes of exterior scenes, interior with underglazed blue decoration, probably Jiaqing period, Qing dynasty, early 19th century, underglazed blue and polychrome enamels, hairline crack to rim, 25cm (10ins) diameter (1)
600* Chinese Ceramics. A collection of Chinese porcelain bowls, mainly decorated with figures in famille rose enamels, late Qing Dynasty, late 19th century, including a pair of wine cups decorated with horses, erroneous seal script mark to base, and others similar, largest 17.5cm (7ins) diameter (7)
Lot 602
£150-200
148
£200-300
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Lot 605
Lot 606
605* Chinese Export Ware. A group of three Chinese export porcelain bowls, each decorated with figures, late 18th to mid 19th century, polychrome enamels heightened with gilt, hairline cracks, old lead rivet repairs and small chip to footrim, largest 29cm (11.5ins) diameter
610* Chinese Beads. A group of thirtyfive Chinese carved bone beads, decorated with seated figures and short inscriptions, late 19th or early 20th century, turned and carved bone, each bead of three-part construction, later string, each 2.5cm (1ins) high
(3)
(1)
£200-300
£70-100
606* Chinese Export Ware. A group of three Chinese export porcelain bowls, decorated with flowers and figures, early to mid 19th century, polychrome enamels, few hairline cracks, largest 29cm (11.5ins) diameter (3)
£200-300
607* Chinese Figure. A Chinese stoneware figure of a Qilin, decorated with an aubergine glaze, monochrome aubergine glaze, 24cm (9.5ins) long (1)
£70-100
609* Chinese Figure. A Chinese porcelain figure of a noble, decorated with green, yellow and purple glaze, probably Xianfeng period, Qing dynasty, mid 19th century, moulded and incised decoration, coloured glaze, early inventory number to base, 30cm (12ins) high (1)
£200-300
608* Chinese Figures. A pair of Chinese polished carved stone figures of pixiu, 20th century, carved and incised decoration, some slight surface wear to base, 25cm (10ins) long (2)
£70-100
Lot 610
611* Chinese Vase. A Chinese porcelain vase of meiping form decorated with three-toed dragon and flaming pearl amongst clouds, Kangxi mark but later, 19th century, underglazed blue decoration, some scattered crazing, 38cm (15ins) high (1)
149
£300-500
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613* Chinese Vase. A Chinese porcelain double-gourd form vase, decorated with scholars objects amongst clouds, Jiaqing mark but later, 20th century, underglazed blue decoration, seal script mark to base, 24cm (9.5ins) high (1)
£150-250
615* Chinese Vase. A provincial Chinese porcelain vase of jar form, decorated with phoenixes amongst clouds, probably Chongzhen Period, Ming Dynasty, late 17th century, underglazed blue decoration, a little discoloured to interior, 16.5cm (6.5ins) A Certificate of Registration from the Cultural Properties Division of the Philippines National Museum dated November 2006 is included. (1) £300-500
612* Chinese Vase. A Chinese porcelain baluster form vase decorated with agricultural scenes, early 20th century, underglazed blue decoration, retailer’s wax label to base, small area of restoration to rim, 37.5cm (14.75ins) high (1)
614* Chinese Brush Pot. A Chinese porcelain footed brush pot of slightly waisted form, decorated with figures in a garden, probably Daoguang Period, Qing dynasty, mid 19th century, underglazed blue decoration, occasional minor glaze flaw or pitting, 13.5cm (5.25ins) high (1)
£200-300
£150-200
616* Chinese Vase. A Chinese porcelain baluster vase, decorated in a yellow glaze with three roundels of floral scenes and wave borders, Qianlong mark but slightly later, underglazed blue and yellow decoration, seal script Qianlong mark to base, small crack and restoration to rim, 37cm (14.5ins) high Paper label for the Baldwin Collection to base. (1) £150-200
Lot 615 Lot 613 150
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618* Chinese Vase. A Chinese porcelain baluster vase decorated with with figures in an exterior scene, Kangxi mark but later, decorated with polychrome enamels, Kangxi mark to base in red, 39cm (15.25ins) high (1)
£100-150
617* Chinese Vase. A Chinese porcelain meiping vase decorated famille noire with two vignettes showing garden scenes, late Qing, early 20th century, polychrome enamel decoration, 30cm (11.75ins) high (1)
£100-200
619* Bianhu. A Chinese porcelain moon flask or bianhu with moulded handles decorated with flowers, late Qing Dynasty, late 19th century, underglazed blue decoration, bottom unglazed, 28cm (11ins) high (1)
621* Chinese Bottle Flask. A Chinese porcelain square bottle flask with moulded lug handles, decorated with dragons amongst clouds, late Qing Dynasty, 19th century, underglazed blue decoration, base unglazed, few minor marks or glaze flaws, 22cm (8.75ins) high (1)
£200-400
£300-500
620* Bianhu. A Chinese porcelain moon flask or bianhu with moulded qilong handles, decorated with floral borders and two vignettes showing pheasants, late Qing Dynasty, late 19th century, underglazed blue decoration, small chip to inside rim of foot, 25cm (10ins) high
622* Chinese Vase. A large Chinese porcelain vase with elephant head handles, decorated with flowers and phoenix on an orange background, Republic period, 20th century, polychrome enamels heightened with gilt, hairline crack to rim, 40cm (17.75ins) high
(1)
(1)
£150-200
Lot 618 151
£70-100
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624* Umbrella Stand. A Chinese porcelain umbrella stand decorated with famille jaune enamels showing blue and white porcelain amongst peach brances, early 20th century, polychrome enamel decoration, four character mark to base, 46cm (18ins) high (1)
£200-300
623* Chinese Vase. A large Chinese porcelain ginger jar, decorated with four figures in a procession, one of which is riding a qilin, Qing dynasty, 19th century, underglazed blue decoration, remnants of wax collector’s seal near lid, later turned wood lid, 25cm (10ins) high (1)
£200-300
625* Chinese Blue and White Ware. A Chinese porcleain double-gourd vase, decorated with five-toed dragons and flaming pearls amongst clouds, 20th century, underglazed blue decoration, 29.5cm (11.5ins) high, together with a large Chinese porcleain footed vase of bulbous form, decorated with two fivetoed dragons and flaming pearls with scrolling floral borders, 20th century, underglazed blue decoration some slight fleabites to foot, 32cm (13.5ins) high (2)
(3)
£200-300
£200-400
626* Chinese Blue and White Ware. A group of four Chinese porcelain vases in the form boats, late 19th century, underglazed blue decoration, one with two porcelain tortoises applied, small chip to rim of largest and to the prow of second largest, 25.5cm (10ins) long and smaller Lot 624
627* Chinese Monochrome Wares. A Chinese porcelain sang de boeuf mallet vase, Kangxi mark but later, all-over sang de boeuf, flecked with green, lip and interior with white glaze, Kangxi mark to base, 18cm (7ins) high, together with a Chinese porcelain monochrome yellow onion vase, late Qing Dynasty, early 20th century, allover yellow glaze with craquelure, 17.5cm (6.75ins) high, plus a Chinese porcelain monochrome green double gourd vase, late Qing Dynasty, early 20th century, all-over deep green glaze, indistinct four character mark to base, two small chips to footrim, 23cm (9ins) high
(4)
£200-300
152
628* Chinese Vases. A Chinese porcelain blanc de chine bottle vase with moulded and incised floral decoration, late Qing, early 20th century, blanc de chine, 23.5cm (9.25ins) high, together with a Chinese porcelain blanc de chine onion vase with moulded stand, late Qing, late 19th century, blanc de chine, some loss to foot of stand, 18cm (7ins) high, plus a celadon glazed vase with twin handles (3)
£100-150
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630* Chinese Vases. A Chinese porcelain moon flask or bianhu with moulded handles in the form of qilong, decorated with mountain scenes in blue and white, Kangxi mark but later, underglazed blue decoration, 29cm (11.5ins) high, together with a Chinese porcelain baluster vase decorated with all-over prunus design and two vignettes showing pheasants amongst rocks, with carved wooden stand and lid, late Qing Dynasty, early 20th century, underglazed blue decoration, erroneous four character mark to base, restoration to rim and lid, 38cm (15ins) overall height, plus a Chinese porcelain double gourd vase decorated with all-over prunus design, late Qing Dynasty, late 19th century, underglazed blue decoration, erroneous four character mark to base, restoration to rim and small area of restoration to shoulder of lower section, 25.5cm (10ins) high
Lot 629
(3)
£100-200
632* Chinese Vases. A Chinese porcelain square bottle vase, decorated with birds and insects amongst flowers, Kangxi mark but later, polychrome enamels on white ground, 16.5cm (6.5ins), together with a Chinese porcelain mallet vase decorated with an old man seated next a four-clawed dragon, late Qing period, early 20th century, unglazed blue and polychrome enamel decoration on a white ground, 28cm (11ins) high, plus a 19th century Chinese posy vase (3)
£100-150
Lot 630
629* Chinese Vases. A Chinese baluster vase decorated with flowers and geometric borders in the famille rose palette, Kangxi mark but later, decorated with polychrome enamels, Kangxi mark to base, 41cm (16ins) high, together with a Chinese footed baluster vase with moulded handles, decorated all-over with flowers and four vignettes of magpies, misspelt Qianlong mark but later, decorated with polychrome enamels, seal script mark to base, 34.5cm (13.5ins) high (2)
£100-150
631* Chinese Vases. A Chinese porcelain square footed baluster vase with lug handles, decorated with two vignettes of a child receiving instruction from an elder with floral borders, Qianlong mark but later, polychrome enamels with celadon ground, seal script mark to base, 43cm (17ins) high, together with a Chinese porcelain hexagonal footed baluster vase with moulded handles in the form of qilong, decorated with two vignettes of bats and peaches with floral borders, Qianlong mark but later, polychrome enamels with celadon ground, seal script mark to base, 39cm (15.25ins) high (2)
£150-200
633* Chinese Vases. A Chinese porcelain gourd-flask with stopper, decorated with two vignettes of birds and background of bamboo and chrysanthemum, late Qing dynasty, early 20th century, polychrome enamels, heightened with gilt, erroneous six character mark to base, small repaired break to base of stopper, 32cm (12.5ins) overall height, together with a Chinese porcelain baluster vase decorated in famille rose enamels, and a large footed onion vase with Chengua period, Ming dynasty mark to base (though later), decorated in underglazed blue and polychrome enamels (3)
153
£100-150
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638* Japanese Export Ware. A large Japanese-export porcelain charger, Meiji period, Imari-style, decorated in underglazed blue, with six tableaux enamelled in red and green heightened in gilt, showing cranes and horses, 41cm (16ins) diameter (1)
£80-120
634* ☉ Fan. A 19th century Cantonese ivory fan, finely carved with European figures shown in various poses typical of export work, approximately 24cm extended (some damage) (1)
£80-120
636* Ice Bucket. A Chinese silver ice bucket by Lee Yee Hing, circa 1930s, of curved circular form, swing carrying handle, engraved with bamboo shoots on stippled ground, with lift out liner and cover with flared knop, stamped ‘Lee Yee Hing’, Sterling’ with additional stamps, 16cm high, 18oz, with a pair of white metal tongs (1)
635* Ginger Jar. A Chinese porcelain ginger jar, all-over prunus decoration with two vignettes showing scenes from the scholar’s room, Kangxi mark but later, underglazed blue decoration, Kangxi mark to base, 21cm (8.25ins) high (1)
£100-150
639* Japanese Dish. A large Japanese porcelain charger decorated with an unusual design of overlapping scrolls, each filled with scenes of fish, gardens, birds and flowers in the Imari style, Meiji period, late 19th century, underglazed blue, red and green enamel, heightened with gilt, underglazed blue decoration to underside, some gilt slightly rubbed, 47cm (18.5ins) diameter (1)
£200-400
£300-500
637* ☉ Ivory Carving. A Cantonese carved ivory desk ornament in the form of a clam-shell with figures, trees and rickshaws inside, late Qing Dynasty, late 19th century, carved and pierced elephant ivory, 15.5cm (6ins) long (1)
£150-200
640* Japanese Ceramics. A collection of Japanese porcelain, mainly decorated in Imari style, Meiji-Shona periods, late 19th/early 20th century, a large porcelain baluster vase with moulded elephant head handles, decorated with two vignettes of Daimyo, a pair of porcelain candlesticks decorated in the Satsuma style, and others, largest 52cm (20.5ins) high (9)
Lot 637
154
£100-150
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Lot 642
641* Japanese Shrine. A Japanese portable shrine of lacquer and gilt with a carved wood figure of a Buddhist deity standing on a figure of Pixiu late Edo period, circa 1860, black lacquer and gilt wood, some minor loss (including both hands) to the figure, gilt slightly rubbed, 23cm (9ins) high (1)
643* Japanese Satsuma Ware. A large Japanese satsuma-style temple vase on three lion paw feet, with moulded handles in the form of komainu and a komainu applied to the lid, decorated with scenes of samurai, Meiji Period, early 20th century, decorated in polychrome enamels, heightened with gilt, some restoration to rim, 56cm (22ins) high (1)
645* Jardinière. A Japanese patinated brass jardinière in the Edo style, with moulded iris decoration, Taisho Period, early 20th century, brown patinated brass, some wear to base and internal, 28cm (11ins) diameter (1)
£70-100
£100-150
£200-300
642* Kiseru. A turned bone Japanese kiseru engraved with short poem and a scene of a bird, Meiji period, 19th century, turned bone and base metal, three sections, detatching in the middle, 12cm (5.75ins) long. Colloquially known as opium pipes, kiseru were more commonly used to smoke tabacco. (1) £70-100
644* Japanese Cloisonné. A matching pair of Japanese Sato cloisonné vases, decorated with roses against a black ground, Showa Period, circa 1950’s, green, white and pink enamel decoration, maker’s mark to base, 24.5cm (9.75ins) (2)
Lot 643
646* Japanese Vase. A pair of Japanese porcelain bulbous vases, decorated with four vignettes of flowers and bonsai with floral backgrounds, Meiji period, late 19th century, underglazed blue, iron red and gilt, four character mark to base, hairline crack to base of one vase, 31cm (12ins) high (2)
£150-200
£100-150
Lot 645
647* Lapis Lazuli. A good sized boulder, with striations and a deep blue colour, 14.5cm high (1)
155
£100-150
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651* Oriental Ceramics. A Japanese Imari vase, Meiji period (1868-1912), with underglaze blue and iron red panels of Lion of Fo and foliage, heightened in gold paint, on a wooden stand, 26cm high (converted to an electric table lamp), together with a 20th century Korean pottery gourd shape vase, decorated with with leaves and floral scrolls, blue marks to base, 37cm overall, plus a modern Chinese porcelain Temple vase, 44cm high (3)
£100-150
652* Oriental Ceramics. A mixed collection of Oriental ceramics, mostly 20th century, including two side plates decorated in underglazed blue, 29cm (11ins) and smaller (a carton)
£70-100
648* ☉ Okimono. A Japanese ivory figure, Tokyo School, Meiji period (1868-1912), carved as a woman carrying a basket of rushes, standing on a naturalistic base, with signed two characters in red chop, 20cm high
653* Oriental Objects. A Chinese archaic style bronze hand mirror, cast in the manner of a two handled vase, with brass swing handle on two straight feet, 15.5cm high, together with a bronze spearhead, 36cm long (heavy verdegris), plus an early 20th century Chinese black slate pagoda, 24cm high, in presentation case, two green hardstone tools and a hardwood vase stand, the circular top with five outsplayed supports, 53cm high
(1)
(6)
Lot 648
Lot 650
£150-200
£100-200
649* Okimono. A Japanese stag antler carving, probably late Meiji period, depicting a rhino chased by a tiger with a monkey hanging on to the tiger’s tail, a large python is seen to be entwined and holding back the rhino at gallop, all detail neatly incised with charcoal stain and traces of coloured polychrome, 12.5cm long on ebonised stand (1)
£200-300
650* ☉ Okimono. A Japanese ivory figure, Kyoto School, Meiji (1868-1912), carved as a geisha holding a floral branch, in full length robes standing on a square hardwood base, 29cm high overall (1)
£100-150
Lot 654 156
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654* ☉ Oriental Ornaments. A collection of Chinese soapstone carvings, including a bird of prey perched on a naturalistic base, 12cm high, a blank seal with figural carving of Immortals, 16.5cm long, a Chinese sandalwood cribbage board, intricately carved with ivory panels, plus five miniature Chinese and Japanese bronze vases, some cast with an Imperial dragon, 9cm and smaller (12)
£100-150
657* Oriental. A mixed collection of Japanese objects including vases, cloisonné, porcelain plates, late 19th to early 20th century, including a pair of cloisonné vases (one damaged), a carved wooden figure of a traveller and others similar, largest approximately 43cm (17ins) high
655* ☉ Oriental. A mixed collection of Oriental scholar’s objects, including a miniature ivory collector’s seal, carved decoration showing a lion, in fitted case with ink, a spinage and black jade libation cup, and others, largest 10cm (4ins) high (10)
£80-120
(18)
658* Oriental. A mixed collection of Oriental items including jade, cloisonné and porcelain, late 19th to early 20th century, including cloisonné censer with lid, carved jade figure of a woman and others similar, largest approximately 29cm (11ins) high
656* Oriental. A large mixed collection of Oriental objects, including Chinese porcelain vases, dishes and plates, carved wooden stands, cloisonné vase, late 19th to early 20th century, largest approximately 30cm (12ins) high (26)
£100-150
(13)
£150-200
157
£150-200
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659* Pot stand. A Chinese carved wood jardinière stand decorated with prunus pattern, early 20th century, carved and stained hardwood, five carved legs, 79cm (31ins) high, together with a large baluster vase with inverted rim, decorated with pale blue crackle glaze, 20th century, 68cm (27ins) high (2)
£150-200
660* Scroll Weight. A Chinese porcelain rectangular scroll weight, decorated with a scene showing officials at work, probably Qianlong Period, Qing dynasty, late 18th century, underglazed blue decoration, reticulated ends, base unglazed, 20cm (8ins) long (1)
£600-800
662* Snuff bottle. A 19th century mother of pearl snuff bottle, carved in figural form depicting the god Shou-Lao (god of Longevity) shown in a formal pose holding a peach, 7cm high (1)
Lot 659
£200-300
661* Shi. A pair of Chinese porcelain shi, or temple lions, late Qing period, early 20th century, moulded and pierced with yellow, green and brown glaze, one with small repair to raised paw, 24cm (9.5ins) high (2)
£80-120
663* Snuff Bottle. Zhiting School. A Chinese carved agate snuff bottle, decorated with taotie masks, Qianlong period, Qing dynasty, later 18th century, carved agate, coral stopper, gilt bronze collar, 9cm (3.5ins) high (1)
Lot 660
158
£500-800
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Lot 664
Lot 667
664* Table Top. A fine Persian copper table top, probably late 19th century, of square form with pierced repeating geometric design within a border of exotic birds and foliage, 70 x 70cm (1)
£100-150
665* Textiles. A Chinese embroidered applique showing a young woman with a deer amongst flowers, late Qing dynasty, early 20th century, embroidered with silk and silver-gilt threads, probably removed from a silk garment, slightly faded, height of figure 11cm (4.25ins), framed and glazed, together with a Chinese painting on a silk and a woven decorative square panel, probably from a larger garment, all framed and glazed (3)
£70-100
666* Thai Bowls. A Thai Sri Satchanalai ceramic footed bowl with pale grey glaze, Sukothai period, 16th century, all-over pale grey glaze, footrim unglazed, inventory number V262 to base, 19cm (7.5ins) diameter, together with another Thai ceramic bowl with decorative crazed glaze, 20th century (2)
£70-100
667* ☉ Whist Markers. A pair of Japanese Shibayama whist markers, Meiji period (1868-1912), the rosewood panel with gold foliate lacquer work, ivory markers each decorated with an insect, 9cm long, together with another, the rosewood panel veneered in ivory engraved with monkeys and insects, 9cm long plus a bronzed example with cranes and ivory markers inset with insects, 9.5cm long (4)
Lot 666
669* Yixing Teapots. A group of four Chinese Yixing clay teapots, 20th century, including a square teapot decorated with moulded flowers, base and lid with impressed seal script marks, two brass handles, 16cm (6.25ins) high (4)
£200-300
£200-300
668* Yixing Teapots. A group of four Chinese Yixing clay teapots, 20th century, including a round teaport of purple clay, moulded bamboo form handle, spout and lid, incised decoration of flowering prunus and short inscription, impressed seal script mark to base, small chip to lid, 10cm (4ins) high (4)
£200-300
159
670* Yixing Teapots. A group of three Chinese Yixing clay teapots, 20th century, including a purple clay teapot in the form a tree-stump, impressed mark to base and lid, 5.5cm (2.5ins) high (3)
£200-300
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CLOCKS, TEXTILES & FURNITURE
Lot 672
Lot 673
Lot 674
671* Anniversary Clock. An early 20th century brass mantel clock, the circular enamel dial with Arabic numerals and painted floral swags, with domed top and finial supported by five reeded columns on circular stepped base with key and pendulum, under glass dome, approx. 43cm high overall (1)
£80-120
672* Barometer. A Victorian mahogany five-glass wheel barometer by A. Taroni, Llanelly circa 1840-50, with engraved silvered dial, central sweep hands, signed spirit level, mirrored panel, hygrometer and thermometer, 96cm high (1)
£150-200
Lot 675
673* Barometer. A Victorian Admiral Fitzroy barometer, circa 1880, in oak case with typical paper-lined back, mercury tube, thermometer and atmosphere tube with glazed front, 106cm high (1)
674* Barometer. A Victorian mahogany five-glass wheel barometer by J. Dubini, London, with silvered dial, central sweep hands, signed spirit level, mirrored panel, hygrometer and thermometer, 113cm high (1)
160
£150-200
675* Barometer. A mahogany banjo barometer, by Verga of Bath, circa 1820-30, the silvered dial signed with central sweep hand, signed I. Verga, Bath, with thermometer, 99cm high (1)
Lot 671
£80-120
£150-200
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679* Clock. An Edwardian ebonised mantel clock, with brass dial, silvered chapter ring engraved with black roman numerals, dials for chime/silent, chime on Eight Bells/Westminster Chime, foliate and figural spandrels, in an ebonised case with glazed door, with gilt metal mounts, the side panels with gilt metal grills backed with red cloth, brass movement on scroll feet, with key and pendulum, 42cm high (1)
680* Clocks. An Edwardian mantel clock, with mahogany case and arched pediment and circular brass dial with black roman numerals, 39cm high together with a steeple clock with colour printed dial, 27cm high plus a Viennese style drop dial wall clock
676* Carriage Clock. An Edwardian timepiece, the white enamel dial with black roman numerals, brass case with platform escapement and carrying handle, 18cm high, in its original brown leather travelling case, lined with purple velvet and key (1)
£200-300
(3)
£70-100
£100-150
678* Longcase Clock. A Victorian Welsh longcase clock by TW Tollners, Pontypool, with painted dial, landscape arch and foliate spandrels, black roman numerals, in a mahogany case with brass griffin finial, spiral turned columns and line inlay with barber’s pole stringing, with pendulum and weights, dial 46cm high, 226cm high overall (hood lacking glass) (1)
£200-300
681* Liberty. An Edwardian Tudric pewter clock, the rectangular case with beaten finish and moulding, the circular enamel dial with copper chapter ring with black roman numerals and brass hands, stamped '01212 English Pewter made by Liberty & Co.', 16cm high x 23cm wide (1)
£200-300
682* Longcase Clock. A modern longcase clock by Bluart, with stained beech case, brass dial with roman numerals, 192cm high (1)
677* Carriage Timepiece. A 1920s circular brass carriage clock by Elliott & Sons, London, with white porcelain dial, signed with black roman numerals painted with cherubs, with a further two panels similarly decorated, a glazed door to the rear and top with platform escapement and loop carrying handle, 9cm high, with key (1)
£80-120
683* ☉ Longcase Clock. Victorian longcase clock, the oak case with rosewood inlaid lozenges and crossbanding, with later associated brass dial engraved with roman numerals and pierced brass hands with thistle decoration, 206cm high with a painted dial signed Pozzy & Co, Wootton Bassett
£100-150
(1)
Lot 679 161
£80-120
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686* Armchair. A Regency mahogany bergeré library armchair, with reeded frame, leather upholstered arms, woven cane back and seat, leather button-upholstered cushions, on turned supports with brass cup casters, 88cm high (1)
£1000-1500
684* Aesthetic Movement. A Victorian ebonised wall mounted cabinet, with gallery top and bottom, single cupboard door with bevel edge glass, 67cm high x 56cm wide x 18cm deep, together with an ebonised hall mirror, fret cut frame with one long shelf and four small shelves, 98.5cm high plus an ebonised wall bracket, the deep rectangular top over curved foliate carved panel with turned spindles, 48cm high x 47.5cm wide x 29cm deep (3)
£100-200
685* Aesthetic Movement. An oak coal bin, the sloped sides with hinged front panel carved panels and engraved brass straps, with brass carrying handle and brass shovel and holder to the rear, 43cm high x 54cm wide x 36cm deep, together with an Edwardian pierced brass fire curb, 101cm long (2)
687* Armchair. A Victorian button green upholstered low armchair by Gillows of Lancaster, on gilt and ebonised tapered supports with brass casters, stamped ‘11200 GILLOW’, 75cm high (1)
£80-120
162
£300-500
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688* Armchairs. A pair of satin birch Sheraton revival armchairs, late 19th century, with arched top rail over three carved vertical back rails, stuffed seats on tapered supports with spade feet, 90cm high (2)
£150-200
691* Arts & Crafts School. A wooden firescreen with painted panel, late 19th century, large oak firescreen with turned supports, with oil on canvas panel inset and glazed, showing entwining roses on a blue ground, incorporating an armorial to upper right depicting an eagle displayed perching on a spear, in black on a gilt ground, within a border of scrolling Tudor roses on a gilt ground, lettered in black at head and foot ‘East Or West, Home Is Best’, monogrammed ‘MG’ within an oval, canvas size 63 x 57.5cm (24.75 x 22.5ins), overall size of firescreen 96 x 93cm (37.75 x 36.5ins) (1)
Lot 689
Lot 690
689* Artist’s Easel. An Aesthetic Movement ebonised easel with foliate carved decoration, spindles and long straight supports, 186cm high (1)
692* Bedroom Chairs. A pair of Victorian Aesthetic bedroom chairs, each with ivory upholstery and gold painted faux bamboo frames with splayed supports, 77cm high
£150-200
690* ☉ Artist’s Easel. A Victorian rosewood easel, inset with two Japanese shibayama panels decorated with birds perched on a branch on a long straight supports, 166cm high (1)
£300-500
(2)
£150-200
163
£100-150
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693* Bookcase. A Victorian walnut bookcase, the rectangular top with rounded corners above two glazed doors enclosing shelves on a solid base, 149cm high x 107.5cm wide x 33cm deep (1)
£200-300
Lot 694 694* ☉ Bookcase. A fine Victorian rosewood breakfront bookcase by Collinson & Lock, London, the upper section with dentil cornice and fluted block frieze, with three shelved sections divided by fluted pilasters, above four frieze drawers, one stamped 7669 COLLINSON & LOCK LONDON, four panelled cupboard doors each with pierced brass hinges on a block base, 228cm high x 211cm wide x 40cm deep (1)
£2000-3000
695* Breakfast Table. A Victorian mahogany table, the oval top over large pedestal on four cabriole supports each with carved acanthus decoration on ceramic casters, 75cm high x 134cm wide x 108cm deep
Lot 693
(1)
Lot 694 164
£80-120
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696* Buffet. A late Victorian mahogany serving table, with two cupboard doors supported by uprights on ceramic casters, 110cm high x 104cm wide x 44.5cm deep, together with an Edwardian inlaid sideboard, 100cm high x 76cm wide x 35cm deep (2)
£80-120
697* Bureau. A George III mahogany fall-front bureau, the hinged fall enclosing drawers and stationery compartments above three drawers each with brass handles on bracket supports, 107cm high x 96.5cm wide x 71cm high (1)
£150-200
698* Bureau. A George II mahogany fall-front bureau, the detachable top inlaid with a vase of flowers, the fall similarly inlaid enclosing drawers and compartments and inset with tooled leather over two short drawers and two long drawers each inlaid with swags and with brass handles on a block base, 105cm high x 104cm wide x 64.5cm deep (1)
£200-300
Lot 700 699* Bureau. A George III mahogany bureau and stand, c. 1760, the hinged fall opening to reveal divisional interior of six drawers, a cupboard and eight pigeon holes above two short drawers, on a single drawer base with square chamfered legs, the bureau with large brass carrying handles, 100cm high x 75.5cm wide x 46cm deep (1)
£700-1000
700* ☉ Cabinet. An 18th century South German walnut cabinet on chest, the superstructure with curved central door over single drawer, flanked by four drawers, over matched concave base with brushing slide over four drawers, profusely inlaid with rosewood entwined scrolls and bordered drawers, with gilt metal sheel and cscroll handles and backplates, veneered on pine, 160cm high x 93cm wide x 50cm deep Purchased at Sotheby’s Parke-Bernet, New York, 1969. (1)
£2000-3000
701* Card Table. A George II red walnut card table, the shaped top hinged to reveal later green baize and gaming counter dishes supported by a gateleg, single drawer to frieze with brass handle and pierced brass backplate, on tapered supports and pad feet, 74.5cm high x 84cm wide x 41.5cm deep (1)
£200-300
Lot 701
165
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702* ☉ Card Table. A William IV mahogany card table, the rectangular top with rounded edges, rosewood crossbanding with shell motif and roundels, lined with baize over fluted pedestal carved with acanthus leaves on quatrefoil base with scroll feet, 71cm high x 90.5cm wide x 45cm deep (1)
705* Chairs. A pair of Victorian oak hall chairs, each Gothic influenced with pierced architectural backs, solid seats, on turned supports, 90cm high
£100-150
(2)
703* Card table. A George III satinwood demi-lune card table, possibly by Hill of Marlborough, the top painted with a band of peacock feathers and roses and crossbanded in tulipwood, on square tapering legs headed by satinwood panels on spade feet, 73cm high x 98cm wide x 48.5cm deep (1)
706* Credenza. A Victorian amboyna credenza, c. 1870, the top crossbanded with ebony and tulipwood and strung with boxwood above a three sectioned front divided by gilt metal topped and fluted columns, the centre door crossbanded at the top and set with a Paris porcelain plaque of Madame du Barry, beneath a porcelain mounted frieze and flanked by glass-panelled doors, each edged in gilt metal beading on plinth base on turned feet, 114cm high x 186cm wide x 47cm deep
£700-1000
704* Carpet. An Oriental carpet, the three aligned medallions within multi-banded geometric border on a green ground, 183 x 130cm, together with a woollen prayer mat (2)
£100-150
£60-80
(1)
166
£300-500
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Lot 710 707* Day Bed. A George IV mahogany metamorphic chair/day bed by R. Daws, the carved mahogany adjustable show frame arms with elbow pads, the slide out leg rest on four carved lotus supports with brass and ceramic casters, stamped in several places ‘R. Daws J R, G R Patent’, 99cm high x 70cm wide (1)
£300-500
708* Dining Chairs. A set of six Victorian oak dining chairs, each with curved reeded toprail, acanthus carved decoration, with blue upholstery on reeded and turned supports with brass and steel casters, 93cm high (6)
£150-200
709* Etagere. An Edwardian three tier etagere, inlaid with floral marquetry, the top tier with pierced brass gallery, on four ebonised supports, 76cm high x 40cm wide x 30cm deep (1)
£100-150
710* Fire Surround. A Victorian-style white marble fire surround, with shaped mantel shelf above scroll uprights, approx. 104cm high x 125cm high x 36cm deep Marble surround only (1)
711* Fire Surround. A Victorian red veined marble fire surround, the rectangular mantel shelf above scroll upright with rosette roundels, approx. 107cm high x 125cm wide x 35cm deep Marble surround only (1)
£700-1000
Lot 708
£700-1000
Lot 709 167
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712* Garden Bench. A Regency wrought iron garden bench, with curved interlaced back over metal slats, on straight supports, 94cm high x 156cm wide (1)
£700-1000
Lot 714
713* Garden chairs. A fine pair of Edwardian period painted metal garden chairs, with scroll frames, chain mesh seats, finished in green (2)
£200-300
714* Hall Chair. A Victorian Gothic mahogany hall chair, the arched back carved with a quatrefoil, solid seat on carved tapered supports, 92.5cm high (1)
£70-100
715* Humidor. A full standing mahogany humidor cabinet, circa 1920-30, with two panelled doors each with geometric moulding, enclosing a two door cabinet with recessed brass handles, five shelves within, above three long and two short compartments, stamped 'N. Martinez, Calinto Lopez Habana', 157cm high x 79cm wide x 47cm deep (1)
£200-300
Lot 715
168
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716* Library table. A fine late Regency oak and burr elm library table, circa 1830, in the manner of George Bullock, the tooled leather inset with walnut edges, over three drawers, a further three drawers to the rear, each with turned handle, supported by tapered and scroll carved uprights on block base with carved feet, 66cm high x 191cm wide x 99cm deep Provenance: David Pettifer Antiques, Chelsea. Formerly the property of the Marquess of Bristol, Ikworth House, Bury St. Edmunds, Suffolk. (1) ÂŁ6000-9000
169
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717* Mirror. A very fine Regency giltwood and ebonised four-light convex girandole wall mirror, circa 1820, in a reeded and star mounted frame, surmounted by sea horse and flanked by a pair of dolphins, with twin candle branches, cut glass drip-pans and acanthus apron, approx. 135cm high x125cm wide (1)
ÂŁ5000-7000
170
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Lot 719 718* Partners Desk. An early 20th century mahogany desk, the inverted breakfront top with tooled leather inset, above three frieze drawers and pedestals with three drawers and cabinets to the rear, with circular ivorene plaque for 'Bond Street W.I.', brass handles with pierced batwing back plates on brackets supports, 76cm high x 181cm wide x 90cm deep (1)
£300-500
719* Pelmets. Two Regency carved wood pelmets, the central panel painted with crossed torches and roses, with acanthus drops on a gold ground, 140cm, together with three later copy pelmets, all with silk drops (5)
£1000-1500
720* Bookcase. An Edwardian mahogany revolving bookcase, the square top over divisions with vertical batons on a wooden base with brass casters, 50cm square x 91cm high (1)
£100-150
721* Pole Screen. A mahogany pole screen, 19th century, the oval screen with foliate embroidered panel on turned mahogany pole with three cabriole supports, 151cm high (1)
£70-100
722* Secretaire. A William IV/early Victorian mahogany secretaire bookcase, the dentil moulded cornice over two glazed doors each with astragal moulding enclosing shelves above hinged fall-front enclosing a bank of drawers and pigeon hole compartments, over two deep drawers each with brass Gothic handles and back-plates on a stepped base, 214cm high x 118cm wide x 55cm deep (1)
£300-500
Lot 722
Lot 718
Lot 720 171
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723* ☉ Secretaire a Abattant. A Continental writing desk circa 1850, of tall rectangular form with marble top over frieze drawer, the hinged fall enclosing four drawers beneath aperture, over three drawers on four turned feet, classical inlaid with ivory, mother of pearl with gilt metal mounts, 150cm high x 70.5cm wide x 39.5cm deep (1)
£400-600
724* Secretaire. A George III mahogany secretaire bookcase, the ogee frieze above two astragal glazed doors enclosing shelves over secretaire and three long drawers on bracket feet, 232cm high x 113cm wide x 59.5cm deep (1)
£150-200
Lot 723
725* Sedan Chair. North Italy, c. 1760s, wooden frame, the leather roof with brass studded border and a brass urn finial, above a gilt-wood frieze, the door and sides with floral painted panels, 170cm high One of an estimated 50 surviving sedan chairs in this style (made circa 17101775), with workmanship from Piedmont (Turin) and Savoy (Chambery). This sedan chair lacks the poles and carrying straps, the original corner roof ears, interior door catch, pegs and escutcheons to hold the windows up, and a wooden strip to keep the held windows in place. There has been some restoration of leatherwork and the original damask upholstery and windows are of a later date, the windows probably being late 19th century. Provenance: Bonhams, Bath, 14 May 2006, lot 555. (1) £1500-2000
Lot 724
172
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726* Sofa. An Edwardian arched sofa, with striped upholstery on mahogany line inlaid supports, 89cm high x 118cm wide (1)
£100-150
727* Settle. A good early 19th century oak settle, the straight back with five carved panels, carved arms and canvas seat with five cabriole supports, 102cm high x 186cm wide x 67cm deep (1)
£200-300
728* Sideboard. A mid 20th century Arts and Crafts influence oak mirror back sideboard, the top with large mirror flanked by columns and carved rosettes over rectangular base with two frieze drawers and two cupboard doors carved with urns enclosing shelves on turned supports, bearing ivorene plaque for Gilbert, Swindon, 203cm high x 163.5cm wide x 51cm deep (1)
£100-150
729* Sofa. A George III giltwood sofa, the wide curved back with ribbon tied moulding to the centre, green floral upholstery acanthus showframe arms, over reeded tapering supports and brass cup casters, 100cm high x 210cm wide x 100cm deep
Lot 726
(1)
£1500-2000
730* ☉ Table. A Victorian miniature mahogany Chippendale style Sutherland table, with serpentine drop flaps inset with rosewood crossbanding on four carved scroll supports, 33.5cm high x 66cm wide x 52cm fully extended (1)
£150-200
731* Table. A George III mahogany Pembroke table, the oval top with boxwood strung inlay, single drawer with bone handle, on tapered supports terminating with geometric inlay, 71.5cm high x 72.5cm wide x 92cm fully extended (1)
Lot 727
Lot 729
173
£200-300
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734* ☉ Table. A Victorian solid rosewood console table, circa 1850, with faux green marble serpentine top, over shaped frieze, on four scroll carved cabriole supports with scroll feet, 83cm high x 103cm wide x 50cm deep (1)
£300-500
732* Table. A large oak refectory table, circa 1920s, with fixed rectangular top arranged in three panels above turned supports united by cross-stretchers, 76cm high x 289cm wide x 105.5cm deep (1)
£200-300
735* Table. A late 19th century japanned games table in the 18th century style, the rectangular top with two hinged leaves, over single drawer on four block supports united by cross-stretcher, lacquered throughout with figures, boats, pagodas and landscapes on a black ground, 72cm high x 59cm wide x 46.5cm deep (1)
£400-600
733* Table. A Regency japanned sewing table, the hinged rectangular top decorated with figures, enclosing two compartments each with cover, silk basket, pierced uprights on four elaborate paw feet, 71cm high x 61.5cm wide x 42cm deep (1)
£150-200
736* Table. A fine Regency centre table, circa 1820, with grisaille decoration, masks and Greek key borders, hinged ratchet-type top over lyre pedestal on four downswept supports each with brass caster, 75cm high x 73cm wide x 53cm deep
Lot 734
(1)
174
£1500-2000
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737* Table. A George III mahogany tilt-top table, the circular top over turned pedestal on three cabriole supports, 81cm diameter x 69cm high (1)
£80-120
738* Table. A George III mahogany tea table, the D-shaped folding top with reeded edge on four fluted supports, 74cm high x 91cm wide x 44.5cm deep (1)
£100-150
740* Candle Stands. A pair of late 18th century parcel gilt Neo Classical torcheres, each with winged cherub holding a pair of torch candle stands, in plaster on wood, on a gilded capital standing on a tripod base curving to a triangular base, 168 high
739* ☉ Teapoy. A William IV rosewood teapoy, the rectangular canted top with lid hinged to reveal two lift out canisters and two glass mixing bowls, raised on acanthus carved pedestal on quatrefoil base, 77cm high x 54cm deep x 39cm deep (1)
(2)
£100-150
175
£2000-3000
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742* ☉ Writing Table. A Louis XVI rosewood ladies writing table, late 19th century, the rectangular top with tooled leather inset, rosewood crossbanding with geometric inlaid corners, finished with brass, over drawer and dummy drawer each with brass key eschutcheon, side drawer, on four tapered inlaid supports with brass feet, 71cm high x 76cm wide x 44cm deep
741* Urns. A pair of Victorian terracotta garden urns, c. 1890, each of campagna form on square bases with lion masks, approx. 120cm high (some damage) (2)
Provenance: Sotheby’s Rothschild sale, Monaco, 3.12.1994 (lot 356). (1) £1000-1500
£400-600
End of Sale
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ASIAN ART Friday 17 April
Now inviting further consignments of Contemporary Chinese Paintings, Japanese Prints, Islamic & Indian Art Please contact Matthew Farren matthew@dominicwinter.co.uk | 01285 860006
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PHOTOGRAPHY 1850-2010 Friday 17 April
Hugh Owen (1808-1897). An important album of 79 albumen prints from earlier negatives, c. 1870 Estimate: ÂŁ20,000-30,000
Further entries invited, please contact Chris Albury chris@dominicwinter.co.uk | 01285 860006
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Transport Collector Auctions in association with Dominic Winter Auctioneers
MOTORING, CYCLING, MARITIME & RAILWAY HISTORY Thursday 14 May
Lloyd Brothers 'Quadrant No 10' Tandem Tricycle, c. 1886 Estimate ÂŁ5000-8000
Further entries invited, please contact Peter Card or Chris Albury peter@tc-auctions.com | 01460 55955 chris@dominicwinter.co.uk | 01285 860006
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CALL FOR ENTRIES WATERLOO, WELLINGTON'S VICTORIES & THE NAPOLEONIC WARS Friday 15 May The sale will include: • Books, Manuscripts & Maps • Paintings & Watercolours • Medals & Weaponry • Uniforms, Regimental Badges & Militaria • Commemorative Items including Ceramics
Further entries intited, please contact Nathan Winter or Henry Meadows nathan@dominicwinter.co.uk / henry@dominicwinter.co.uk | 01285 860006
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INFORMATION FOR BUYERS AFTER THE AUCTION Online results If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended. Payment The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form. Please note successful bids made via the-saleroom.com cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat will be added to your invoice.
METHODS OF PAYMENT Cheque Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted. Cash Payments can be made at the Cashier’s Office, either during or after the sale. Debit Card There is no additional charge for purchases made with these cards. Debit cards drawn on an overseas bank, however, will be subject to a 2% surcharge. Credit Cards Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay. Bank Transfer All transfers must state the relevant invoice no. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges. Collection/Postage/Delivery If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made. Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help. We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction. Payment must be received before this option can be requested. A charge will be added to your invoice for this service.
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Conditions of Sale and Business 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims. 2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account. 3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission. 4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared. 5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due. 6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.
7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded. 8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer. 9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof. 10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to the Auctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions. 11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the best bid, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions. 12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses. 13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots. 14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein. 15. These conditions shall be governed by and construed in accordance with English Law.
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DOMINIC WINTER SPECIALIST AUCTIONEERS AND VALUERS Saleroom and Offices: Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461
COMMISSION SLIP Please Bid on my behalf at the sale on 25/26 February 2015 up to the amount shown. I acknowledge that I will be required to pay a buyer's premium at the current rate.
Lot ÂŁ Brief Description ______________________________________________________________________________________
Name: Address
Telephone: Email:
Fax:
Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or Royal Mail: a separate charge is added to the invoice (minimum ÂŁ15) and parcels are despatched as soon as possible after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of these companies will quote and invoice separately. Please note: DWBA invoices must be paid before consignments are handed to third party shipping companies.
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The nearest train station to the saleroom is Kemble (BR) which is on the London (Paddington) to Worcester Shrub Hill line. Train journey times from London are on average 90 minutes whether direct or with one change, and run at about one per hour from early until late. Several of the trains in each direction are direct and about half the services require a brief change at Swindon. Customers are advised to check train times and book as early as possible for the best range of ticket services and discounts.
National Rail Enquiries:
08457 484950
Telephone advance train ticket booking:
08457 000125 (First Great Western)
Online train timetables and online ticket bookings:
www.nationalrail.co.uk
Taxis from Kemble Station (5 miles/10 minutes) Brian's Cabs Cirencester Radio Cars Cirencester Taxis
01285 655299 / 07980 579947 01285 650850 01285 642767
Taxis from Swindon Station (12 miles/25minutes) V-Cars
01793 701701
Cirencester Visitor Information Centre
+44 (0)1285 654180 cirencestervic@cotswold.gov.uk
Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk
Photography by Ben Cavanna – 07968 342013 bencavanna@gmail.com
Lot 139