Dominic Winter Auctioneers by Jamm Design Ltd

FINE ART & ANTIQUES 30/31 JULY 2020

Lot 335

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ANTIQUES including the Jack Webb Collection Medals & Weaponry 30 July 2020 commencing at 10am

FINE ART Paintings & Watercolours Old Master & Modern Prints 31 July 2020 commencing at 10am VIEWING BY APPOINTMENT FROM WEDNESDAY 22 JULY AUCTIONEERS

Nathan Winter Henry Meadows

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 E: info@dominicwinter.co.uk www.dominicwinter.co.uk

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IMPORTANT SALE INFORMATION: COVID-19 Please note that in accordance with current UK Government instructions regarding Covid-19, we are pleased to offer restricted public viewing of this sale by appointment only. Viewings are available on weekdays from Wednesday 22 July to Wednesday 29 July. To request an appointment, please email saleroom@dominicwinter.co.uk or call us on 01285 860006. At the time of writing, we do not expect to make public attendance available on either of the two sale days. This restriction will remain under review over the three weeks prior to sale. All lots are fully illustrated on our website (www.dominicwinter.co.uk) and all our specialist staff are ready to provide detailed condition reports and additional images on request. We recommend that customers visit the online catalogue regularly as extra lot information and images will be added in the lead-up to the sale. CONDITION REPORTS Condition reports now including video conferencing can be requested in the following ways: T: +44 (0)1285 860006 | E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number 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 4.00% 3.00% 1.00% 0.50%

For the Portion of the Hammer Price (in Euros) up to 50,000 between 50,000.01 and 200,000 between 200,000.01 and 350,000 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 and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details. For payment arrangements please refer to information for buyers at rear of this catalogue. We would kindly request that commission bids are submitted by 9.30am on the morning of sale. BIDDING Customers may submit commission bids or request to bid by telephone in the following ways: T: +44 (0)1285 860006. |. E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk Live online bidding is available on our website www.dominicwinter.co.uk (surcharge of 3% + vat): a live bidding button will appear 30 minutes before the sale commences. Bidding is also available at the-saleroom.com (surcharge of 4.95% + vat) and invaluable.com (surcharge of 3% + vat).

POST-SALE For payment information see our Information for Buyers page at the rear of this catalogue. For details regarding storage, collection, and delivery please see our Information for Buyers page or contact our ofﬁce for advice. Successful bidders will not incur storage fees while current government restrictions remain in place.

All lots are offered subject to the Conditions of Sale and Business 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 20% of the hammer price is payable by the buyers of all lots, except those marked with an asterisk, in which case the buyer’s premium is 24%.

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CONTENTS Day One

Day Two

ANTIQUES

FINE ART

Weaponry

1-14

Orders, Decorations & Medals

15-74

Old Master Paintings, Watercolours & Drawings 342-376

Objets D'Art

75-180

Old Master Prints

377-419

Oriental Works of Art

181-192

Far Eastern & Indian Art

420-429 430-436

Jewellery

193-208

Portraits & Miniatures

Silver

209-234

19th Century Paintings, Watercolours & Drawings 437-515

Tribal Art

235-253

Antiquities

254-260

Etchings & Woodcuts 1850-1950

539-571

20th Century Prints, Drawings, Watercolours & Paintings

572-670

294-331 332-341

Wildlife Art

671-688

Textiles & Fashion

261-293

Ceramics & Glass Furniture

SPECIALIST STAFF

Pre-Raphaelite & 19th Century Prints 516-538

Antiques & Textiles Henry Meadows BA Hons, MRICS Susanna Winters MA (History of Art)

Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Colin Meays BA Hons (Conservation) Nathan Winter

Henry Meadows

Colin Meays

Susanna Winters

Tel: 01285 860006 info@dominicwinter.co.uk

Cover illustrations: Front cover: lot 438 Back cover: lot 129 Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk

Photography by Marc Tielemans – 07710 974000 | marc@tielemans.co.uk Darren Ball – 07593 024858 | darrenball1989@gmail.com

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Cary (John & William). Pair of 15-inch English library globes, celestial and terrestrial, 1818-19 29 July sale: £15,000-£20,000

FORTHCOMING SALES Wednesday 29 July

Printed Books, Maps & Documents

Wednesday-Thursday 9-10 September

Printed Books, Maps & Document The David Wilson Library of Natural History (Part II) The Albizu Collection of Spanish Law Books & Manuscripts Regimental Histories & Military Books from the Collection of Lt Col R J Wyatt MBE TD

Wednesday 7 October

Printed Books, Maps & Documents Travel & Exploration

Thursday 8 October

British & European Paintings & Watercolours Old Master & Modern Prints & Drawings Antiques & Textiles

Wednesday 11 November

Printed Books, Maps & Documents Scottish Topography from the David Wilson Library

Thursday 12 November

Military, Naval & Aviation History, Medals & Militaria Barnes Wallis Autographs, Artefacts & Ephemera The Winston Churchill Library of Major Alan Taylor-Smith (1928-2019) Military Books & Ephemera from the Collection of Lt Col R J Wyatt MBE TD A Private Collection of Vintage Automobilia & Motoring History

Wednesday 18 November

Classic & Contemporary Photography & Cameras The Jack Webb Collection of Military Photographs

Wednesday 16 December

Printed Books, Maps & Documents

Thursday 17 December

Modern Literature, Children’s & Illustrated Books

Entries are invited for the above sales: please contact one of our specialist staff for further advice

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THE JACK WEBB COLLECTION OF ANTIQUES

Photo credit: Beryl Vosburgh

Jack Webb (1923-2019) was always destined to be a collector and had developed a deep love of antiques and militaria from early childhood. With some of his first month's salary of £5 as a bank clerk in 1940 he bought his first medals. In 1942 he volunteered for the Essex Regiment and on 5 June 1944 he found himself on a troop ship preparing to take part in the D-Day landings. As the soldiers around him were ordered to remove their regimental badges Jack hurried around picking up one of each regiment. Even on the eve of the greatest military invasion of Europe he was not going to miss a chance to add to his collection. In 1948 Jack joined the 7th Middlesex Regiment and inevitably his collecting interests included medals, militaria and photographs relating to these regiments, as well as to his beloved City of London Imperial Volunteers. After the war Jack followed his dreams of becoming an antiques dealer, setting up his first shop in Hornsey before moving on to Camden Passage. During a long and successful career Jack always bought antiques that intrigued or delighted him. He never specialised and always had an eye for the unusual or exquisitely made. In the early years Jack would attend as many of the London auctions and markets as he was able and became a familiar and well-known face in the trade. He often said he had lived through the most amazing times, when someone with a keen eye and broad tastes could amass a wonderfully varied collection. Even well into his eighties Jack still made a weekly pilgrimage to Camden Passage market, certain that there would be one more beauty to add to his collection. Dominic Winter Auctioneers are delighted to be able to offer Jack's extraordinary collection of antiques, pictures and collectables across two sales on 30 July and 8 October, while his photograph collection, including 50 lots of military daguerreotypes and ambrotypes, will be offered on 18 November.

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WEAPONRY To commence at 10am

Bayonets. A French chassepot bayonet, the 57cm yataghan 1* blade etched on the top strap, hooked quillon and brass grip, 70cm long overall in its steel scabbard numbered A73094, together with a French grass bayonet, the scabbard numbered A 84831, another gras bayonet lacking scabbard plus an 1895 pattern drummer’s sword, with E.II.R., gothic brass hilt, 47.5cm long overall (4)

£80 - £120

Lot 1

2* Daggers. A Caucasian jambiya, c.1900, the 13cm curved steel blade inlaid with a ﬂower in silver with brass grip profusely inlaid with coral, turquoise and garnet cabochons, 22cm long overall, in its conforming scabbard, the opposite side with embossed foliate decoration, together with an African axe, the handle carved as a monkey, 47cm long, a kukri and other items (5)

£100 - £200

3* Japanese Tsuba. A good collection of 18th century and later iron sword guards, including two with signatures, each with gold decoration, one with a dragon and gold cloud design the other with plum blossoms, others examples include thistles, samurai warriors, exotic birds, dragons etc, some with gold or silver inlay, various shapes and sizes Provenance: The family of Dr Harry Stopes-Roe (1924-2014), son of the birth control pioneer Marie Stopes (1880-1958), and his wife Mary, née Wallis (1927-2019), herself the daughter of the illustrious scientist, engineer and inventor Sir Barnes Neville Wallis (1887-1979). The tsuba in this lot are all believed to have been acquired by or given to Marie Stopes. As a palaeobotanist Stopes had worked in Japan from 1907 to 1909, exploring coal mines in Hokkaido for fossilised plants. See lot 121. £500 - £800 (22)

Lot 3 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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4* Pistol. An early 19th century ﬂintlock pocket pistol by John Blanch, London, the 4cm circular turn-off barrel with proof marks, the side-plate signed ‘Blanch’ the opposite side ‘London’, ﬂattened walnut grip, the hammer broken but present, 16cm long John Blanch was apprenticed to the London gunmaker Jackson Mortimer in 1800. He established his own business in 1809 having had a very short partnership with his father in law, under the name Mortimer & Blanch. In the early years John Blanch also worked mainly for John Manton but he soon became a well-established and respected gunmaker in his own right. (1) £100 - £150

7* Sword guard. An 18th century Italian milleﬁori sword guard, damaged, but very rare, 7.5cm long plus a Chinese nanban iron tsuba c.1900, with pierced decoration showing cranes, 5 x 4.8cm Provenance: Collection of Jack Webb (1923-2019), London. (2)

£100 - £150

5* Pistol. An early 19th century ﬂintlock travelling pistol, the 7cm turn-off barrel with steel casing engraved ‘Mothershead’, the opposite side engraved with military trophies, with spring bayonet and trigger guard, walnut slab grip and push-on safety, action inoperable, 20.5cm long overall, an unusual and rare gunsmith (1)

£200 - £300

6* Pistols. A pair of early 19th century percussion travelling pistols, each with 7cm turn-off barrel, foliate engraved side-plates and trigger guard with slab walnut stock, with proof marks but no gunsmith’s markings, 18cm long overall

8* Sword. A 17th century small sword, the 65cm triangular hollow steel blade (reduced in size), with oval pierced and scroll cut steel guard, silver wirebound grip and pierced sunburst pommel, 82cm overall

(2)

Provenance: From the Leon Paul family collection. (1)

£150 - £200

£200 - £300

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9* Sword. A 19th century Chinese short sword, the 42cm double edge steel blade with brass crossguard engraved with a mon amongst scrolls, swollen wooden grip and brass engraved pommel, 55cm long overall, its tortoiseshell veneered scabbard with brass mounts (1)

£80 - £120

10* Sword. An 18th century hanger, c.1700, the 58.5cm slightly curved steel blade, with brass knucklebow and shell guard fruitwood grip and domed pommel, 72cm long overall (1)

£150 - £200

11* Swords. A late 19th century French fencing foil, the 88cm blade stamped ‘L. Merignac’, rectangular curved steel guard, cord-bound grip and brass pommel, 110cm overall with brass disc attached engraved ‘Lucien Merignac’, together with a collection of fencing foils including a French pair, each with shell guard and knights head pommel, 110cm overall, another pair with Solingen blades and steel pommels, 108.5cm overall and others Provenance: From the Leon Paul family collection. Lucien Merignac (1873-1941) was a French fencer who won a gold medal at the 1900 Summer Olympics in Paris. (9) £200 - £300

12* Swords. A pair of 19th century fencing swords by Henry Wilkinson, the 83cm triangular steel badge etched with cutlers marks and and Wilkinson proof mark, circular bowl guard, silver wirebound grip and steel acorn pommel, 103cm overall Provenance: From the Leon Paul family collection. (2)

Lot 9

Lot 10 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 11

Lot 12 8

£200 - £300

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13* Swords. An 1822 pattern cavalry officer’s sword, the 90cm curved steel blade by ‘Hamburger Rogers & Co, King St Covent Garden London’, with steel triple-bar guard and wirebound fishskin grip and domed pommel, lacking scabbard, 105cm long overall, together with an 1897 pattern officer’s sword, the 82cm blade by ‘Henry Wilkinson Pall Mall London’, serial number 52931, pierced foliate steel guard with G.V.R. cypher, wirebound fish-skin grip and domed pommel, blade pitted, 98.5cm long overall in its brown leather scabbard plus another 1897 pattern sword, lacking scabbard (3)

14* Cannon. A 17th century Dutch signal cannon, the 41cm bronze multistaged barrel with touchhole and engraved GILIAM DE VOS HEEFT MY GEGOTEN AD 1670, with scroll and fruit decoration in relief, 25mm bore, on an oak gun carriage with two 12 spoke wheels, 64cm long overall (1)

£100 - £200

Lot 14 9

£1,000 - £1,500

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ORDERS, DECORATIONS & MEDALS 16* Army Cyclist Corps. An unusual WWI Military Cross group to Captain N.K. Peace, Army Cyclist Corps Military Cross, G.V.R., unnamed as issued 1914-15 Star (2. Lieut: N.K. Peace. A.C.C.) British War and Victory Medals (Capt. N.K. Peace.) Belgium. Croix de Guerre with bronze palm emblem Russia. St. George Cross for Bravery, 4th Class, first, third and last toned, generally extremely fine, together with corresponding dress miniature awards plus riband bars and a Peace Festival 1919 tribute badge plus a folder of research including copied service papers M.C. London Gazette 7 March 1918: T./Lt. (A./Capt.) Norman Kirkby Peace, A. Cyc. Corps ‘For conspicuous gallantry and devotion to duty. When in charge of traffic under heavy fire, by his courage and disregard of danger he kept the road clear, organised the traffic, and got the wounded away with a minimum of delay. Throughout the operations he showed great courage and devotion to duty.’ Croix de Guerre London Gazette 2 September 1919: Temporary Lieutenant (acting Captain) Norman Kirkby Peace, M.C., General List (No 3 Dismounted Mobile Police Unit).

15* Afghanistan. A pair to Private J. Morgan, 9th Lancers Afghanistan 1878-80, two clasps, Kabul, Kandahar (1925. Pte. J. Morgan. 9th Lancers.), Kabul to Kandahar Star 1880 (1925 Private J.M. Morgan 9th Lancers.), first with heavy contact marks, very fine and good very fine, with copied service papers

Captain Norman Kirkby Peace was born in Ecclesall, Sheffield in 1880, he joined the Sheffield Bn, Yorks & Lancaster Regiment on 11 September 1914, on 5 November he was appointed L/Cpl and promoted to 2nd Lieutenant on 11 November 1914, a copied letter included is written by Peace from Belle Vue House, Tuxford, Nottinghamshire dated 21 May 1918 in which he writes ‘in accordance with the enclosed memo. I have to report that I am fit to return to duty ..., signed by Peace, No3 Traffic Control Company BEF’. Peace served in both the Egyptian and European Theatre of War. An interesting lot, worthy of further research. (6) £2,000 - £3,000

Private James Morgan was born in Whitehaven, Cumberland in 1854, he enlisted in the 9th Lancers in 1878 (Private), he was appointed Shoeing Smith in 1880, promoted Sergeant Farrier 1885, discharged from service as “medically unﬁt for further service” 1887, having served 9 years 64 days with the Colours. (2) £750 - £800

Lot 16 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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17* Boer War. A group of three to Gunner F.C Heming, Royal Horse Artillery Queen’s South Africa 1899-1902, four clasps, Relief of Kimberley, Johannesburg, Diamond Hill, Wittenbergen (4808 Gnr: F.C, Heming, R.B. R.H.A.), King’s South Africa 1901-02, two clasps (4808 Gnr: F. Heming. R.H.A.), Army Long Service & G.C., G.V.R. (4808 Gnr: F.C. Heming. R.G.A.), very ﬁne and better, with a small portrait photograph of the recipient seen wearing his medals and copied service papers

19* Egypt. A pair to Private R. Johnston, 19th Hussars Egypt 1882-89, three clasps. Suakin 1884, El-Teb_Tamaai, The Nile 1884-85, dated reverse (1721 Pte R. Johnston. 19th Hussars.), Khedive’s Star 1882, contact marks to ﬁrst, very ﬁne, mounted for wearing

4808 Gunner Frederick Charles Heming was born in Gloucester in 1877, he enlisted in the Royal Horse Artillery in 1894, he served during the Boer War with R Bty and was with General French in the Colesburg district. Thereafter was taken to Modder River. He accompanied the expedition to Koodosberg Drift in the beginning of February 1900; was with General French in the rush to Kimberley and the subsequent advances to Bloemfontein and Pretoria, he assisted Sir Archibald Hunter in the operations for the surrounding Prinsloo. In the beginning of 1901 operated with De Lisle in Cape Colony and afterwards in the Orange River Colony. Heming then re-engaged for service in 1906 to complete 21 years service and was discharged from service in 1916 having served 22 years with the Colours. (3) £250 - £300

Clasps conﬁrmed on the published transcript roll. (3)

£400 - £500

20* British Conquest of Egypt 1882-1889. An Egypt medal awarded to able seaman W.J. Welsh, H.M.S. Minotaur, Royal Navy, dated 1882 to reverse, no clasp, together with the Khedive’s Star, dated 1882 to obverse, both on riband, first with heavy corrosion to obverse, good fine and better 18* Boer War. A pair to Sergeant J. King, Gloucestershire Regiment Queen’s South Africa 1899-1902, three clasps, Cape Colony, Orange Free State, Transvaal (5500. Pte. J. King. Glouc. Rgt.), engraved in large sloping serif script with “ghost” dates, King’s South Africa 1901-02, two clasps (5500 Serjt, J. King. Glouc: Regt), good very fine, with copied service papers

W.J. Welsh served on board H.M.S. Minotaur, a 10,690-ton broadside ironclad, in which ship he was present during operations off Egypt in July 1882, to quell the revolt under Ahmad Urabi Pasha Al-misri (also known as Arabi Pasha). Minotaur arrived at Alexandria on the 15th July, the day after its bombardment by British naval ships, with the commander of the Channel Squadron, Admiral Dowell on board. The conﬂict was concluded by British victory at the Battle of Tel-el-Kebir on the 13th September. (2) £150 - £200

5500 Sergeant James King was born in Brosna, Castle Island, Kerry in 1875, he served with the Grenadier Guards before enlisting in the Gloucestershire Regiment in 1899, he was discharged from service in 1903 having served 4 years with the Colours. (2) £200 - £300

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22* General Service. A pair to Corporal E.P.E. Swain, Royal Signals General Service 1918-62, E.II.R., one clasp, Cyprus (22548206 Sigmn. E.P.E. Swain. R. Sigs.), General Service Medal, 1962-2007, three clasps, Radfan, Borneo, Northern Ireland (22548206 Cpl. E.P.E. Swain. R. Sigs.), extremely ﬁne, mounted for wearing, sold with a copied newspaper article detailing the recipients regimental boxing career (2)

£250 - £300

21* Family Group. A WWI group of four to Sergeant G.A. Keey, Royal Army Service Corps 1914-15 Star (T-3005 Sjt. G.A. Keey, A.S.C.), British War and Victory Medals (3005 Sjt. G.A. Keey, A.S.C.), Territorial Force Efficiency Medal, G.V.R. (T4-244012 Sjt G.A. Keey. R.A.S.C.), extremely fine with part of official card packaging, original Territorial Force Embodiment slip dated 4 August 1918 plus copied service papers. British War and Victory Medals (237189 Pnr. C.E. Keey. R.E.), extremely fine, together with a small black and white portrait photograph of the recipient in uniform, framed plus a larger WWI group photograph (Keey, middle row second from the right) 3005 Sergeant George Augustus Keey was born in Hockley, Birmingham 1890, he served on the Western Front from 5 March 1915, his service papers record that on 3 June 1915 he was severely reprimanded for ‘Being absent without leave 7.40pm to 8.30pm’, he was also reprimanded on 21 December 1918. Keey was discharged from service on 25 April 1923. 237189 Pioneer Clifford Edgar Keey served during WWI with the Royal Engineers. After the war, he trained with Messrs. Carter & Co of Birmingham and qualified as A.C.A. in 1923. in 1927 he joined the Birmingham Aluminium Casting (1903) Co. Ltd as Commercial Manager and Accountant. Keey died in 1955, an original copy of The Birmirror Birmid Sports and Social Review dated July 1955 which features an obituary for Keey is included in the lot. (6) £100 - £150

23* General Service. A pair to Sergeant J. Baker, Royal Signals General Service 1962-2007, two clasps, Radfan, South Arabia (23537502 Cpl. J. Baker. R. Sigs.), Army Long Service & G.C., E.II.R., with ‘Regular Army’ bar suspension (2357502 Sgt J. Baker R. Signals), extremely ﬁne, mounted for wearing (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £250

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24* Palestine Police. A group of three to Police Constable G .J. Green, Palestine Police later Special Constabulary and Royal Observer Corps, twice wounded in the line of duty General Service 1918-62, G.VI.R., one clasp, Palestine 1945-48 (2640 P/Const. G.J. Green. Pal. Police), Special Constabulary Long Service & G.C.. E.II.R., with Long Service, 1981 bar (Gerald. J. Green), Royal Observer Corps, E.II.R. (Chief Observer G.J. Green.), good very ﬁne and better, swing mounted for wearing, together with dress miniature awards plus three additional miniature medals including Active Service, Jordan Active Service,Hors de Combat plus a Grand Prix Election wristwatch the backplate engraved ‘Gerald Green Colonial Police, Police Mobile Force (Jenin), Haifa Operational Patrols, Haifa Volunteer Force’, two Gloucestershire Special Constable gilt metal badges each with blue enamel border, 36mm diameter, brass name plate for a Light Reconnaissance Car (armoured car) manufactured by General Motors of Canada Ltd, numbered 2424 and manufacture date 26 March 1943, 13 x 12cm plus a smaller related brass plaque, 6 x 9cm, a Maintenance Manual for Canadian Military Vehicles, April 1942 (M.B.C-1), plus Driver;s Instructions and Workshop for Car Light Reconnaissance Canadian G.M. Mark I and G.M. Mark II (R.A.C.) with vellum Stowage Diagram, a photograph album containing approximately 280 black and white snapshot photographs compiled by the recipient, mostly captioned showing service in Palestine, many captioned including Toulon, terrorist attacks, Haifa, TransJordan Frontier, incidents which happened on Xmas Day 1947, presented in a soft leather souvenir album, 31 x 41cm plus a smaller album containing approximately 60 black and white snapshot photographs showing similar service.

Lot 24

See lot 206. A fascinating account by Gerald Green recollecting his service in Palestine is available to view online (The Palestine Police during the British Mandate 1920-1948). (small box) £200 - £300

25* Royal Flying Corps. A WWI MBE group to 2/Lieut C G Hetherington, Royal Flying Corps The Most Excellent Order of the British Empire, M.B.E. (Military) Member’s 1st type breast badge by Garrard & Co, London 1918, in Garrard London case of issue 1914-15 Star (2.Lieut. C.G. Hetherington. R.F.C.) British War and Victory Medals (2. Lieut. C.G. Hetherington. R.F.C.), extremely ﬁne with named card boxes of issue, together with dress miniature awards, two RFC brass cap badges, four RFC brass buttons plus RAF cloth wings, plus copied reseach M.B.E. London Gazette 1 January 1919: Capt Charles Goldby Hetherington. Captain Charles Goldby Hetherington, MBE was born in Belgrave St George, Hanover Square in 1879 and served on the Western Front with the RFC and RAF from 17 December 1915, he was promoted to Captain on 30 October 1914, his service papers list him as a photographer. (4) £500 - £800

Lot 25

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Lot 26 27* Wiltshire Regiment. A WWI casualty group to R.W. Roberts, Wiltshire Regiment, wounded three-times including a gunshot wound to the hand and subsequently died of wounds on 7 October 1918 British War and Victory Medals (22999 Pte. R.W. Roberts. Wilts. R.), WWI bronze memorial plaque ‘Roland William Roberts’, solder mark to reverse, extremely ﬁne, BWM nicely toned

26* Volunteer Ofﬁcer’s Decoration, VR, silver, silver-gilt, hallmarks for Garrards, London 1892, in Garrard case of issue with miniature dress award, together with WWI pair, British War and Victory Medals (Major K.E. Aitken.), extremely ﬁne, a piece of shrapnel with note inscribed ‘The might have killed Daddy when it hit him on the last night of 1914-17 War, his Comp took the gun’, plus a tin of sundry regimental buttons including 16 silvered buttons of the Dunbartonshire Yeomanry Cavalry c.1717

22999 Private Roland William Roberts was born in Cherhill, Calne, Wiltshire 1891, he enlisted in Devizes in the 7th Bn, Wiltshire Regiment and served on the Western Front, he was wounded on 24 September 1916, he is also recorded as having been shot through the hand on 11 June 1917 and wounded again on 5 October 1918, he died of wounds two days later. Roberts is buried in Tincourt New British Cemetery, France. The roll of honour in the village church conﬁrms there were seven men from Cherhill killed during WWI, one being Private Roberts. (3) £150 - £200

Major Kenneth Edmonstone Aitken was born in Richmond, Surrey in 1882, he served on the Western Front with the King’s Own Yorkshire Light Infantry from 5 October 1917 and was attached to the Leicestershire Regiment. (small box) £150 - £200

Lot 27

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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29* WWI. A group of four to Marine G.C. Baddock, Royal Marine Light Infantry 1914-15 Star (Ch.14267, Pte. G.C. Baddock, R.M.L.I.), British War and Victory Medals (Ch.14267 Pte. G.C. Baddock. R.M.L.I.), Naval Long Service & G.C., G.V.R. (Ch/14267 G.C. Baddock. Private. R.M.L.I.), very ﬁne and better, swing mounted for wearing, with copied service papers 14264 Marine George Christopher Baddock was born in Dublin, Ireland 1883, he joined the Royal Marines in 1902 (Private), he served in the Mediterranean Expeditionary Force (Dardanelles) from 29 July 1915 to 23 March 1916, Baddock retired from service in 1923 and he died in 1961. (4) £100 - £150

28* Wiltshire Regiment. A WWI bronze memorial plaque ‘Arthur Sidney Twine’, extremely fine WWI Pair to Private F.J. Parfitt, Wiltshire Regiment British War and Victory Medals (22898 Pte. F.J. Parfitt. Wilts. R.), very fine with WWI silver War Badge, reverse numbered B151738 British War Medal (687506 Gnr. A.A. Freegard. R.A.), good very fine, with an extensive collection of copied research for this medal 18549 Private Arthur Sidney Twine was born in 2 The Barton, Royal Wootton Bassett in 1894, he joined the 6th Bn, Wiltshire Regiment at Devizes in January 1915 and he served on the Western Front from 19 July 1915, he was wounded at Rue de Calliioux in September of that year when the Bn sustained heavy casualties. On 1 July 1916 the 6th Bn fought in the Battle of Albert at the opening stage of the Battle of the Somme. The war diary records on 2 July 1916 ‘At 1.30pm orders were received to take up position in front line at 4pm. At 4pm Battalion advanced in open order and attacked German front line system of trenches just South of La Boiselle. Two lines of trenches were taken and consolidated. Cheshires were on our right flank and Welch Fusiliers on our left. Our losses were Lt. Hunter, Lt’s Allen... other ranks were 35 killed, 237 wounded and 35 missing. The night was spent in consolidating no counter-attack was made by the enemy’ Twine was one of the missing and is recorded to have died on this day and is commemorated on the Thiepval Memorial, France.

30* WWII. A casualty group to Pilot Officer P.N. Hughes, Royal Air Force, killed in action over the English Channel on 14 September 1940 1939-1945 Star, Air Crew Europe Star, War Medal, extremely fine mounted on a cardboard for display with embroidered cap badge and Observers badge, with a hardbound book compiled by the recipient’s brother in 1990, there is a large portrait photograph tipped in of Hughes, two Post Office Telegrams reporting Hughes missing, a letter of condolence to the family from his commanding officer dated 14 September 1940, another related letter, a Times newspaper cutting detailing the roll of honour, condolence slip issued with the medals and other related documents, plus copied service papers and research

22898 Francis John Parﬁtt, was born in Lyneham, Wiltshire in 1890, he served on the Western Front from 11 December 1915 and was wounded on 6 February 1918 and discharged from service his war badge was issued in Exeter on 18 February 1918. 687506 Gunner Arthur Alexander Freegard was born in Foxham Lock, Chippenham in 1893. (4) £100 - £200

Pilot Officer Philip Leslie Norgrove Hughes was born in Dorridge, Warwickshire in 1918, he was educated at Cranleigh School, Surrey. He joined the RAF at the outbreak of WWII and was commissioned from the rank of Leading Aircraftman on 16 June 1940. He trained as an Observer with 15 Squadron who flew Blenheims. His first operation was on 11/12 September in aircraft R3777, the operation was to bomb the harbour and shipping at Ostend. On the 13/14 September the same crew flew R2768 on a similar raid on the channel ports but never returned home. There were no witnesses but they were the only crew from the Squadron to be lost on this raid. Hughes is commemorated on the Runnymede Memorial. (3) £500 - £600

Lot 29 15

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31* WWII. An ‘Arnhem’ group of six attributed to Private R.S. Edwards, 21 Platoon, 2nd Bn, South Staffordshire Regiment 1939-1945 Star, Africa Star, Italy Star, France & Germany Star, Defence and War Medals, extremely fine, presented in a frame with medal enclosure inscribed to the recipient, Parachute regiment badge with king’s crown, South Staffordshire Regiment cap badge, various related insignia and Airborne march medal and enamelled badges, framed and glazed, frame size 31.5 x 55cm, together with a pocket diary kept by Edwards for 1944, inscribed in pencil with entries on the repeated cancellation of Operation Market Garden, for example 15 September ‘Operations!!! flew to Arnhem Holland shot up on landing platoon commander wounded, two killed’, 20 September ‘mortars all around us like rain, wounded in right leg’, 21 September ‘lose bridges, retreat from Arnhem to Oosterbeek, very heavy losses have only pistol 8 four rounds left, house to house fighting’, 24 September ‘am taken prisoner, feel very humiliated, a glorious scrap and it had to end like this, try to get away but am nearly shot’, also included copied photographs of the recipient and family, two books, A Bridge too Far by Cornelius Ryan which features Edwards on p337, 338, 351, 443, 444, By Land, Sea and Air, Illustrated History of the 2nd Battalion, The South Staffordshire Regiment 1940-1945 by Alexander Junier and Bart Smulders with Jaap Korsloot, Edwards is mentioned numerous times in this book with illustrations 5118991 Private Robert C.S. Edwards was born in Birmingham in 1923, he served during WWII with 21 Platoon “D” Company, 2nd Battalion, South Staffordshire Regiment. On 10 October 1941 the 2nd Bn became part of the newly formed 1st Airlanding Brigade as part of the 1st Airborne Division. After completing training the embarked for North Africa and became part of the Attacking Force, under American control that planned to land on Sicily on 6 July 1943. The glider towing aircraft piloted by the Americans had no experience of night flying, so the Force became widespread and as they neared Sicily the enemy opened fire, which unnerved the Americans who released the gliders prematurely over the sea. Private Edwards glider ditched into the sea and he was rescued some hours later. Of the 48 Officers and 768 men of the 2nd Bn who set out in gliders only 19 Officers and 269 returned. On 7th September 1944 the 1st Airborne took part in Operation Market Garden with the American 82nd and 101st Airborne Divisions. The Americans would drop around Eidoven and secure the roads near Nijemgen and the 1st Airborne would capture the Bridge at Arnhem (64 miles behind enemy lines). Once the bridges over the Rhine were secured the ground troops would have a pathway into Germany. The 2nd Bn South Staffordshire Regiment were engaged by the enemy almost as soon as the gliders landed and had nine casualties. They regrouped and proceeded to Arnhem / Oosterbeek coming under heavy machine gun fire and grenades all the way to Arnhem. On 19 September 1944 a meeting was held at the South Staffordshire Bn Field HQ and orders were given for the South Staffords to withdraw (if they weren’t already dead). It was thought that the men were still on the bridge and orders were given to either reinforce or relieve the trapped Paratroopers at all costs. “D” Company advanced with 11th Para on their flank to give them covering fire. Edwards states “Orders were to get through, on no account be held up until we had joined 2 Para on the Bridge”, “When we came near the St. Elizabeth Hospital all hell broke loose, we were in the open and like targets in a shooting gallery. Capt Wyss ran up and down shouting ‘On On On’ like a harrier, stumbling over the dead and dying, slithering in pools of blood, until I reached partial shelter by some buildings”. The Germans shelled the houses and set fire to them so protection was continually diminished. Then German tanks appeared and they started using Anti-Aircraft Artillery to make it even worse. The 3rd and 1st Paras suffered heavy losses and had to withdraw leaving the Staffords on their own and exposed on all sides. Edwards states “Opposition was terrific now, we were subject to the heaviest shelling and mortaring imaginable, also Tanks attacked us, we had no officer left so a Sergeant, his boots squelching blood, have the order to get out and join the first organised Unit we came to”. When the Staffords pulled back they had to leave the wounded in the cellars to be taken prisoner by the Germans later. The troops were now being blown out of the ground by point blank range of 88mm fire from German Tanks. A German vehicle with loudspeaker came up “Come out you South Staffords, you are surrounded and there is no way out, come to the door with your hands up above your heads”. The South Staffords carried on, some were captured some escaped and fell back to Oosterbeek. 375 men were left of the 2nd Bn, every morning Germans put up an intense mortar barrage. At Oosterbeek the Brigade HQ had moved to a laundry building, and on 22 September it was bombed and a store of ammunition exploded. Ammunition was now practically non-existent and soldiers were using German small arms picked up from dead Germans. On 25 September another heavy Artillery barrage by the Germans and this time Tiger Tanks were used, The South Staffords were overrun and many surrendered. Orders were issued to pull back the remnants over the Rhine during the night. Boats were sent to pick them up under heavy machine gun fire and several were sunk. Some of the men stripped and tried to swim across the river but were taken prisoner. Edwards was taken prisoner in Oosterbeek towards the end of the battle and interned in Stalag Xib. Private Edwards was interviewed by Cornelius Ryan for his book A Bridge too Far (copy of the book is included in the lot). (6) £1,000 - £1,500 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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Lot 32 32* WWII. A group of six to Major A.J. Cobb, Royal Army Service Corps 1939-1945 Star, France and Germany Star, Defence and War Medals with MID oakleaf, General Service 1918-62, G.VI.R., one clasp, Malaya (Lt. A.J.F. Cobb. R.A.S.C.), Army Long Service & G.C., G.VI.R., with ‘Regular Army’ bar suspension (S/52548 W.O.Cl.1. A.J.F. Cobb. R.A.M.C.), last two nicely toned, extremely ﬁne, with a portrait photograph of the recipient in uniform and commission document MID: London Gazette 10 May 1945. (6)

33* WWII. A group of six to Flight Sergeant A.K. Aitcheson, Royal Air Force India General Service 1936-39, one clasp, North West Frontier 193637 (516034. L.A.C. A.K. Aitcheson. R.A.F.), 1939-1945 Star, Burma Star, Defence and War Medals, RAF Long Service & G.C., G.VI.R. (516034 F. Sgt. A.K. Aitcheson. R.A.F.), contact marks to last, very ﬁne and better, with two group photographs of the recipient with his colleagues, identity tags, a photographic copy of a letter from a family member dated 1944, a medal transmission slip, a telegram dated 1939 informing Aitcheson his mother had passed away and a Greetings Telegram addressed to Parachute Section, Stoney Kirk

£200 - £250

(6)

Lot 33 17

£200 - £250

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34* WWII. A group to Lieutenant Commander. C.A. Langton, MID, Royal Navy 1939-1945 Star, Atlantic Star, Africa Star with North Africa 1942-43 clasp, Pacific Star, Defence and War Medals with MID oakleaf, Naval General Service 1915-62, G.VI.R., one clasp, S.E. Asia 1945-46 (Lt. Cdr. C.A. Langton. R.N.), extremely fine, with corresponding miniature dress awards, riband bars and Russia. Order of the Patriotic War. 2nd Type, unnumbered plus copied research Lt. Cdr. Charles Arthur Langton was born in Chippenham, Wiltshire in 1914, he joined the Royal Navy in 1932, promoted Act.Sub.Lt. in 1934 and advanced to Lt. Cdr on 16 May 1945. He served in various ships including HMS Firedrake, the London Gazette of 1 January 1940 announced the award of Mentioned in Despatches to Langton, no recommendation was available, however on 14 September 1939 HMS Firedrake took part in the destruction of U-39, the first UBoat to sunk in WWII. On 2 September 1942 convoy PQ18 left Loch Ewe for Archangel, North Russia, HMS Malcolm sailed as part of the close escort and carried Commander A.B. Russell as Senior Officer of the close escort. PQ18 was the first North Russia convoy following the debacle of PQ17 and the Admiralty was determined that would not be repeated. PQ18 was one of the most heavily attacked of the Russian convoys. From 8 September 1942 the convoy was shadowed by German aircraft and the first loss came on 13 September with the sinking of two merchant ships Stalingrad and Oliver Emsworthy both being sunk by a U-Boat, soon after air attacks began. PQ18 headed for Archangel fighting under constant fire and arrived on 21 September but with the loss of 13 of the 40 crew. On 30 September 1942 Langton was recommended for a decoration for the passage of PQ18, the recommendation reads ‘This officer showed outstanding ability in the way he carried out his duties as Executive Officer, A/S control officer and H.A. control officer’. However, his award was downgraded to a MID which was announced in the London Gazette on 8 December 1942. In November 1942 HMS Malcolm was heavily involved in action during Operation Torch, she carried 300 American soldiers to land in Algiers, the ship was severely damaged by the shore batteries with 34 crew being wounded by shrapnel and 12 American soldiers killed and 20 wounded. In September 1943 the Soviet Government wished to bestow awards to the the British High Command with 4 Order of the Patriotic War being awarded to the Navy with Langton being one of the recipients, London Gazette 11 April 1944. After retiring from service Langton resided in Hampshire he died in 1970. (7) £700 - £1,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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36* WWII. A group of ﬁve medals comprising, 1939-1945 Star, France and Germany Star, Defence and War Medals, Imperial Service Medal, E.II.R. (Jack Wright), good very ﬁne and better, swing mounted for wearing, together with miniature dress awards (5)

£60 - £80

37* Zulu War. A group of three to Quarter Master Sergeant E.A. Graves, 13th (Somerset Light Infantry) Foot who fought at The Battle of Khambula on 29 March 1879 South Africa 1877-79, one clasp, 1878-9 (1661. Corpl E. Graves. 1/13”.Foot), correctly engraved in upright serif capitals, Army Long Service & G.C. (2101 Sergt. E.A. Graves. Som: L.I.), Meritorious Service Medal, G.V.R. (Q.M.Sjt. E.A. Graves. Som.L.I.), minor official correction to surname, suspension a little slack on first two, very fine and last good very fine, with copied service papers and research, a scarce combination Quarter Master Sergeant Edward Alfred Graves was born in Westminster, London. He enlisted with the 13th Foot in 1867 aged 14, and after service in Gibraltar embarked for Natal in 1875. Between October 1878 and March 1879 he is listed on the musters roll as being “in the field”. On 29 March 1879 the regiment were engaged at the bloody Battle of Kambula (Khambula) during the Anglo-Zulu War of January-July 1879. The newly arrived Zulu Army, commanded by Chief Mnyamana Buthelezei, moved towards Kambula in battle formation, the mass of warriors forming the “chest” with other columns as the left and right “horns”, ready to envelop the British, encamped ready for battle the next day. A British patrol spotted the enemy and 1200 men of the 1/13th Light Infantry and the 90th Regiment with 800 other irregular troops were assembled. After fierce fighting, at around 5.30pm the Zulus began to fall back, and orders were made for the cavalry to advance, killing fleeing Zulus mercilessly during a pursuit that continued for many miles. British foot patrols sought out Zulus lying wounded around the camp and killed many of them. Under the pressure of the defeat and the subsequent pursuit, the Zulu army collapsed. Casualties were 83 British with around 3000 Zulus killed in battle or fatally wounded. The soldiers of the 13th and 90th Regiments expended an average of 31 rounds per man.

35* WWII. A group of eight to Sick Berth Petty Ofﬁcer J.E. Game, Royal Naval Auxiliary Sick Berth Reserve, Later St Johns Ambulance Order of St. John, serving Brother, silver and enamel, unnamed, 1939-1945, Atlantic Star, Africa Star, Defence and War Medals with MID oak leaf, Royal Naval Sick Auxiliary Sick Berth Reserve, G.VI.R. (7638 J.E. Game, S.B.P.O. R.N.A.S. S.B.R.), St Johns Service Medal, two bars (46908, Cpl. J.E. Game. London. S.J.A.B. 1951.), very ﬁne and better, last seven mounted for wear, with additional bar and related badges, medal riband bars and copied research

Graves is listed as discharged from service in 1903 having served 35 years 143 days with the Colours, residing in Taunton, Somerset. (3) £1,800 - £2,200

CSBRX7658 Sick Berth Petty Ofﬁcer John Edwin Game, Royal Naval Auxiliary served in HMS Pheobe and is listed in the London Gazette under the King’s Birthday List on 2 June 1943. (8) £250 - £300

Lot 37

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Lot 38

Lot 39

Lot 40

Lot 41

38* Abyssinia 1867. An Abyssinia Medal awarded to stoker W.J. Clark, H.M.S. Satellite, Royal Navy, suspension post re-soldered (as usual), with pawn broker’s mark to edge, very ﬁne

(1)

Provenance: DNW, 5 December 2018 (Lot 715), part of a collection of Abyssinia medals One of 225 awarded to the ship, and conﬁrmed on the roll.

41* General Service Medal 1918-62, G.V.R., two clasps, Iraq, Kurdistan (14080 Pte. J. Langan. R.A.M.C.), very ﬁne

40* General Service Medal 1918-62, G.VI.R., one clasp, Palestine 1945-48 (14772911 Pte. J. Power. Foresters.), good very ﬁne

(1)

The Abyssinian campaign of 1867 was a rescue mission to return 53 European hostages taken prisoner by King Theodore of Abyssinia in Magdala, more than 300 miles inland. The punitive expedition under General Sir Robert Napier involved ships of the Royal Navy, a naval brigade and British and Indian troops. Casualties were unusually light, with only 2 killed and 27 wounded. (1) £200 - £250

£100 - £150

42* Memorial Plaques. WWI bronze memorial plaque (2) ‘Walter Edwin Johnson / Robert Lemon Larwood’, first polished therefore very fine, second extremely fine, together with a mixed collection of regimental cap badges and buttons including a Victorian Third Middlesex Rifle Volunteers button, RAF cap badge and buttons, 3 WWII silver ARP badges and other items

39* China 1900. A Boxer Rebellion (1900) campaign medal awarded to Able Seaman Albert Henry Rawle, H.M.S. Undaunted, Royal Navy, no clasp, slight contact marks therefore good very ﬁne, with copied service papers

M.M. London Gazette 1 September 1916: ‘For Bravery in the Field’. 32925 Corporal Walter Edwin Johnson MM, was born in Downham Market, Norfolk and served with the 2nd Coy Royal Engineers, he died of wounds on 27 May 1918, Johnson is commemorated on the Soissons Memorial, France.

Gordon, British Battles and Medals (1950), pp 258-260. 220 medals without clasp were issued to this ship, a 5,600 ton Orlando class armoured cruiser.

Private Robert Lemon Larwood served with the 9th Bn Bedfordshire Regiment, he died of wounds on 26 April 1916, Larwood is buried in the Fort Pitt Military Cemetery, Kent. (small box) £100 - £150

178338 Able Seaman Albert Henry Rawle, Royal Navy was born in Bedminister, Bristol in 1879, worked as a factory boy before enlisting in the Royal Navy on 16th January 1897, where he served in various ships including H.M.S. Undaunted (under the command of Admiral Sir Edward Seymour) between 1897 and 1900, and retired from service in 1919. (1) £200 - £250

Lot 42 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£70 - £90

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43* Operational Service Medal 2000, for Afghanistan, one clasp Afghanistan (25154062 Pte B.L. Arney Riﬂe Vol), extremely ﬁne with case of issue and rosette (1)

£200 - £250

46* Hudson Bay Company Long Service Medal 1920, silver, hallmarks for Alexander Clark & Co, Ltd, Birmingham 1930, ‘Presented to Miss D.A. Dann for 15 years Faithful Service 1931’, extremely ﬁne, in case of issue (1)

£180 - £220

44* Bristol City Police Long Service Medal, silver, one clasp, Twenty Two Years (Sgt M. Mills), minor edge bruise, good very ﬁne and toned, with riband bar showing entitlement for WWI trio Conﬁrmed on the roll or recipients. The Bristol Constabulary Medal 19271951, refers. (1) £180 - £220

47* Iran. Ardeshir Zahedi Pahlavi Shah (1928 -) commemorative gold coin, 36mm diameter, 34.8g with associated letter from the Imperial Iranian Embassy dated 2 November 1965 (1)

48* Masonic. George III silver-gilt medal by Thomas Phipps & Edward Robinson, London 1802, the medal formed as a 5 pointed star with sunburst face to the centre, inscribed Wisdom, Peace, Truth, Beauty, Concord, within a circular border engraved ‘Si talia jungere possis sit tibi scire satis’, presented to Mr Charles Eaton. lodge 5807 and dated 1803, 7 x 5cm

45* Elizabeth II. 1977 Jubilee silver commemorative medal, 60mm diameter, hallmarked together with London Bridge, silver gilt commemorative medal, hallmarked plus related items, combined weighable silver 142.5g (4)

£700 - £1,000

(1)

£50 - £80

£100 - £150

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49* Mexico. Battle of Puebla 1862-1962 commemorative gold coin, 30mm diameter, 17.5g (1)

£400 - £600

50* Prussia, Iron Cross 1914, 2nd Class, 45 x 45mm, good very ﬁne (1)

£50 - £80

53* Soviet Union. A scarce Order of the Patriotic War group to Olga Grigoryevna Fomenko, a female employee of the Russian Navy Order of the Patriotic War, 2nd class, silver, gold and enamel, reverse with makers stamp and ofﬁcially numbered 8478, with screw plate, with Valiant Labour medal (added later) plus Victory over Germany Medal

51* Royal Humane Society, large bronze medal (successful), reverse named ‘Phillip Hornsby 22 Augt 1858’, with small ring suspension, edge bruisung, good very ﬁne, with copied research

Olga Grigoryevna Fomenko was a civilian employee with the Russian Navy, she was born in Sebastopol in 1895, at the time of this award she was the head of the Sewing & Clothing Repair Shop, Clothing Supply Department, Black Sea Fleet. Her citation reads as follows: ‘Comrade Olga Grigoryevna Fomenko has been working in the sewing workshop of the main naval base since 1932, rising from ordinary seamstress to expert craftswoman. Both before the war and during the Patriotic War comrade Olga Grigoryevna Fomenko has shown exceptional zeal in manufacturing the necessary uniforms for the fleet. With utter disregard for the time of day, she has comitted, and still commits, all of her knowledge and skill for the benefit of our fleet. The shop section headed by comrade Fomenko completed all of its uniform repairs assignments ahead of schedule and with great workmanship. For the zeal she exhibited in suppoting the fleet by providing timely and top-quality uniform repairs, comrade Olga Grigoryevna Fomenko deserved the Medal for Labour Distinction’ signed and dated 7 December 1942. The award was later upgraded to the Order of the Patriotic War, 2nd Class on 4 March 1943, a folder of copied reaearch is sold with the lot and confirms the award. (3) £200 - £300

Royal Humane Society, Case Number 16224. Awarded to Philip Hornsby a barge builder of 12 Powes Street, Woolwich, London who on 22nd August 1858 was working near Roffs Wharf, Woolwich on the River Thames when he saw 7 year old Elicia Curren of 7 New Street, Woolwich accidentally fall from the wharf into the water. He immediately jumped into the river fully clothed and swam to her assistance and rescued her. The report from the original case records that she was insensible following her rescue but no Doctor was required as an S is shown in the column which denotes a successful rescue. The event was witnessed by Mr J. Thomas, James Turner and others. On 18th October 1858 Philip Hornsby was awarded the large Bronze Medal which was sent to him by his employer. (1) £250 - £300

52* Soviet Union. Three Soviet medals comprising, Russian medal for 10,15 and 20 years service, together with service booklet dated 1989 (3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£50 - £80

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55* Sweden. Royal Courier Badge, 1811, the oval gilt metal badge with three crowns on a blue enamel ground, the reverse engraved ‘Cabinets Courir Bricka Joseph Gianetti 1811’, 65 x 55mm 54* Soviet Union. A fine WWII Order of the Red Banner group of medals to Lieutenant Colonel Ivan Vasilyevich Lebedev, Chief of Staff, 360 Guards Rifle Regiment, 115 Guards Rifle Division, 1st Belorussian Front, Soviet Red Army Order of the Red Banner, silver and enamel, reverse with makers stamp and officially numbered 203329 (for extreme gallantry in action on the road to Warsaw), Order of the Red Star, reverse officially numbered 3244751, Medal for Combat Merit, Unnumbered Issue (for advance on Berlin 1945), Capture of Warsaw Medal, Capture of Berlin Medal, Victory over Germany Medal, 30th Anniversary of Armed Forces and a Guards Unit Badge, mounted for wearing

Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

56* Third Reich. Iron Cross, 1st Class 1939, silver with iron centre, vertical pin to the reverse, unmarked, 45mm x 45mm, in original case of issue with riband By family repute, acquired by the vendors father whilst serving in North Africa during WWII. (1) £100 - £150

A scarce Order of the Red Banner Gallantry group Lieutenant Colonel Ivan Vasilyevich Lebedev, his citation reads: ‘During the fighting on Polish territory between 14th and 29th January 1945, comrade Lebedev, serving as the regimental reconaissance officer, exhibited skill in leading reconnaissance operations and accurately and truthfully revealed important enemy objects, firing positions and troop concentrations. Throughout the fighting, reconnaissance operations were conducted continuously under comrade Lebedev’s guidance. The reconnaissance platoons tally comprises 56 Hitlerites killed, while 36 were taken prisoner and 2 trucks, 5 motorcycles and 20 bicycles were captured in good working order. During the capture of the city of Bromberg comrade Lebedev, whilst taking part in a reconnaissance mission, personally captured 5 Hitlerites, one of whom turned out to be a Captain who provided valuable information about the enemy forces. During the fighting for the city of Fandsburg, he served with the regiment’s forward detachment and was severely wounded. For the bravery, courage and initiative he displayed during the fighting with the German invaders and his skill in organizing reconnaissance operations, he deserves the Order of the Red Banner’. Signed and dated 2 February 1945. A folder of research is included with the lot and confirms his award. (9) £350 - £450

57* Third Reich, Iron Cross 1939, 2nd Class, ‘Schinkel’ type with WWI style narrow arms, 43 x 43mm, extremely ﬁne (1)

Lot 56 23

£100 - £150

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Lot 58

Lot 60

Lot 61

58* Finland, Republic. Order of the White Rose, comprising Grand Ofﬁcer’s Star by A. Tillander, Helsinki, silver, silver-gilt and enamel, with vertical pin, maker’s mark and silver marks for 1969, 80mm together with neck badge, silver-gilt and enamel, with corresponding date mark, with neck riband in ﬁtted case of issue

60* Italy, Republic. Order of Merit of the Italian Republic, Grand Ofﬁcer’s set of insignia by Cravanzola, Roma, comprising neck badge and riband, 73mm including tower suspension, silver-gilt and enamel, unmarked, plus Star, 70mm, silver, silver-gilt and enamel, unmarked with lapel rosette, in case of issue

(1)

£200 - £300

59* Imperial Service Medals. A collection comprising Imperial Service Medal, G.V.R. Star issue (William S. Trethowan), good very ﬁne, in card box of issue, together with circular type (3), G.V.R. (Charles Plucknett), G.VI.R. (William Stanley James Hill), E.II.R. (Reginald Julian Turner), generally extremely ﬁne and a nice representation of this medal (4)

61* Romania, Kingdom. Order of the Crown, 2 nd type, Commander’s neck badge with swords, gilt metal and enamel, with short length of ‘war ribbon’, in ﬁtted case of issue (1)

£150 - £200

Lot 59

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

£100 - £150

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62* Royal Victorian Medal, G.V.R., silver, unnamed as issued, extremely ﬁne and toned, in card box of issue (1)

£100 - £150

63* Royal Victorian Medal, E.II.R., silver, on a ladies bow, unnamed as issued, very ﬁne (1)

65* Royal Victorian Order. A group of medals awarded to Captain J.G. Paterson, M.V.O. The Royal Victorian Order (M.V.O.), Member’s 4th Class breast Badge, silver-gilt and enamels, reverse ofﬁcially numbered ‘1427’ 1914-15 Star (Lieut. J.G. Paterson. Gord Highrs), British War and Victory Medals (Capt. J.G. Paterson.), extremely ﬁne, mounted for wearing together with accompanying dress miniature awards including WWII Defence and War Medals

£100 - £150

Captain James Gordon Paterson M.V.O. (1889-1967), Pat as he was known was born in Glasgow. He served with the Gordon Highlanders during WWI and was commissioned Captain with the regiment on 23 November 1915, he was wounded on the Western Front. In 1926 he was appointed Camp Chief for the Duke of York’s Boys Camps which were held at several locations in Southwold, he continued in this role until 1930s and was made a Member of the Victorian Order, 4th class for his service. Paterson reengaged for service during WWII joining the Royal Air Force Reserve (Flight Lieutenant), he was based at the Air Ministry. (4) £300 - £400

64* Royal Victorian Medal, E.VII.R., silver, unnamed as issued, extremely ﬁne and toned, in leather case of issue (1)

£150 - £200

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Lot 66

Lot 68

66* Royal Victorian Order. An unattributed MVO group of eight The Royal Victorian Order, M.V.O., Member’s 4th Class breast badge, silver-gilt and enamel, reverse ofﬁcially numbered ‘1400’ Coronation Medal 1902 Coronation Medal 1911 Jubilee Medal 1935 Coronation Medal 1937 Spain, Kingdom, Order of Merit, Silver Cross of the Order, uniface, silver, with crown suspension, on peacetime riband Portugal, Kingdom, King Carlos I Medal, 1889, bronze, court mounted for wearing, a nice group representing over 50 years of royal service (8)

68* Sweden, Kingdom. Order of the North Star, Grand Cross Star by C.F. Carlman, die stamped silver, five pointed star with ball finials, vertical pin to reverse, 90mm across, in a fitted case the lid marked ‘K N O’, the lid marked ‘C.F. Carlman AB Stockholm’ (1)

£300 - £500

69* The Order of St. John of Jerusalem. Dame of Justice set of insignia, shoulder badge 42mm x 42mm, silver gilt and white enamel on bow riband, star 76mm, silver gilt and white enamel with vertical pin, extremely fine in black leather case of issue together with another shoulder badge, 42mm x 42mm, silver and white enamel on bow riband, extremely fine in a soft leatherette case The Most Excellent Order of the British Empire. M.B.E. (Civil) Ladies 2nd Type shoulder badge, on bow riband, extremely fine in Royal Mint box of issue awarded to Mrs Susan Eva Williams 1 January 1959, with bestowal document

67* Senegal, Republic. National Order of the Lion, Commander set, the breast badge with large ﬁve pointed white enamel ball tipped star applied with lion standing facing left with red enamel ring inscribed ‘Republique Du Senegal, Un Peuple, Un But, Une Foi’, on silver star with vertical pin, 80mm diameter together with gilt and enamel breast badge, 40mm across, in original box of issue

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The Order was instituted on 22 October 1969, it remains Senegal’s highest honour, awarded for exceptional merit and service to the nation and both a civil and military honour. (1) £200 - £300 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

£300 - £500

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70* The Royal Victorian Order. An impressive group of honours and awards bestowed upon Rear Admiral David Charles Cairns, 5th Earl Cairns, G.C.V.O., C.B. The Royal Victorian Order, G.C.V.O., Knight Grand Cross set of insignia, comprising sash badge and breast star, both officially numbered ‘902’, silver, silver-gilt and enamels, the star with pin for wearing , complete with full dress sash, contained in Collingwood, London case of issue, minor damage to the white enamel of sash badge The Most Honourable Order of the Bath, C.B. (Military), Companion’s neck badge, silver-gilt and enamel, unmarked with neck riband in Garrard case of issue 1939-1945 Star Atlantic Star with France & Germany clasp Africa Star Defence Medal War Medal with M.I.D. oakleaf 1937 Coronation Medal 1953 Coronation Medal 1977 Jubilee Medal Last eight Court mounted for wearing, extremely fine, together with conforming miniature dress awards Rear-Admiral David Charles Cairns, 5th Earl Cairns ( 1909-1989), was commissioned as a Lieutenant in 1931, he served as Flag Lieutenant and Signal Officer to Admiral of the Fleet the Earl of Cork and Orrey in the Norwegian Campaign of 1940, for which he was mentioned in despatches. Post war service saw him succeed as 5th Earl Cairns in 1946 before becoming Deputy Director of the Signal Department at the Admiralty in 1950, He went on to be Commanding Officer of the cruiser HMS Superb in 1956 and President of the Royal Naval College, Greenwich in 1958 before retiring in 1961. In retirement Cairns was Marshal of the Diplomatic Corps in the Royal Household of the Sovereign of the United Kingdom from 1961 to 1971. He was also Liveryman of the Worshipful Company of Fishmongers of the City of London, rising to become the Company’s Prime Warden for 1972-73, and for many years was Chairman of the Governing Body of Gresham’s School, Holt, Norfolk. (10) £2,000 - £3,000

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71* WWI. Military Medal, G.V.R. (48899 Sapr W. Unsworth. 201/Fd:Co: R.E.), extremely ﬁne 48899 Corporal William Unsworth, M.M. served on the Western Front with the Royal Engineers from 12 May 1915, he is entitled to a 1914-15 Star trio, Unsworth was wounded on 10 October 1915 and qualiﬁed for a silver War Badge. His Military Medal was pulblished in the London Gazette on 21 October 1916 and was likely to be a Somme award. (1) £200 - £300

72* Military Cross, G.V.R., unnamed as issued, good very ﬁne, in case of issue (1)

£500 - £600

73* WWII. A Distinguished Service Medal group to 2nd Hand J.E. Freer, DSM, MID, Royal Navy Distinguished Service Medal, G.VI.R. (2nd Hd. J.E. Freer, LT/JX. 210702) 1939-1945 Star, Atlantic Star, Defence and War Medal with M.I.D. oakleaf, extremely fine, court mounted, with miniature dress awards plus original paperwork DSM: London Gazette 30 June 1944 (HMT Equerry) ‘for gallantry or outstanding service in the face of the enemy, or for zeal, patience and cheerfulness in dangerous waters and for setting an example of wholehearted devotion to duty, upholding the high tradition of the Royal Navy’ MID: London Gazette 6 May 1941 (HMS Mammoth) ‘for courage, zeal and devotion to duty while serving with the Channel Mobile Balloon Barrage’ The lot includes a letter of congratulations from the Admiralty, a Naval Telegraphic message of congratulation to the 5th Naval group after a successful searching sweep under difficult weather conditions and a commendation to Rear Admiral C.E. Morgan (Admiral commanding Iceland) from Brigadier General G.P. Tourtellot on behalf of the US Army Air Forces in Iceland appreciating the “efficient” co-operation rendered by the personnel of HMS Orvicto in collecting seven survivors from the German aircraft shot down by our fighters on August 5 near Grimsey Island”. HMS Orvicto was a trawler hired for auxiliary patrol and examination service from November 1940 to October 1945. (4) £700 - £1,000

Lot 71

74* WWII. A Distinguished Service Cross group to Sub.Lt. (A) D.J.R. Harvey, DSC, Royal Naval Volunteer Reserve Distinguished Service Cross, G.VI.R., reverse engraved ‘For Bravery & Skill, Determination in air operations while serving in H.M.S. “Victorious” Sub Lieut (A) D.J.R. Harvey, R.N.V.R. 20th May 1942, hallmarks for London 1942, in Garrard & Co. Ltd case of issue 1939-1945 Star, Atlantic Star, Africa Star, War Medal, extremely ﬁne, with a small newspaper cutting, a letter from the recipient’s sister to Spinks dated 1970, giving details of her brother and accepting the offer of £35 for the group plus various copied research

Lot 72

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Sub.Lt. (A) David James Roberton Harvey, DSC, Royal Naval Volunteer Reserve was born in Berkhamstead in 1922, he joined the RNVR in 1940 and advanced to Temporary Sub Lt. (A) in 1941, he was selected for training as an Observer in the Royal Fleet Air Arm, after completing his training he joined 832 Naval Air Squadron which was equipped with the Fairey Albacore as a Torpedo Spotter Reconnaissance Squadron. In August 1941 the squadron embarked on HMS Victorious and while flying an anti-submarine patrol a fault developed and the aircraft ditched into the sea and all the crew including Harvey were rescued off Cape Wrath, Scotland. On the night of 22/23 February 1942 the squadron were on a sweep up the Norwegian coast, on taking off from Victorious their aircraft flew straight into a heavy snowstorm and lost control and they lost contact with the rest of the squadron, however, they continued their mission flying alone for 4.5 hours and made a successful landing at Sumburgh, Shetland Islands, the whole crew were decorated, with 2 DSC's and a DSM. On 9 March 1942 a report that Tirpitz was at sea was reported and at 6.30am a search party of 3 aircraft took off from Victorious which included Harvey, the rest of the squadron formed a strike force and attacked the Tirpitz (unsuccessfully), this was the first time that Tirpitz was ever caught in the open sea. 832 Squadron were also involved in Operation Pedestal, the convoy to Malta and also Operation Torch, the North Africa landings. On the 5 November antisubmarine patrols were resumed and the following day Harvey and his crew were on a ferrying trip to HMS Avenger and them onto Argus, they crashed on Argus but nobody was hurt although Argus's deck was temporarily put out of service. On the night of 6/7 November 1942 Harvey was lost off the Argus. (5) £1,000 - £1,500

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Lot 73

Lot 74

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OBJETS D’ART 76* Pocket compass / sundial. An 18th century pocket combination compass sundial, the brass case with circular brass compass, blued hand under glass, folding circular with a crescent index marked in degrees, folding brass gnomon, 6.5cm diameter, together with another 18th century pocket compass / sundial, with paper compass, blued steel hand under glass, folding gnoman, with paper compass applied to inner brass cover, 5.5cm diameter, plus an 18th century Portuguese compass, the coloured circular paper dial inscribed ‘Emfavorita fe dobrao aspagas’, with three rings inscribed ‘Geral Declarado’, ‘Geral’, ‘Pagas Ordinarias’, under glass set in a brass and ivory case (loose), 6cm diameter Provenance: Collection of Jack Webb (1923-2019), London. (3) £200 - £300

75* Alfred Jewel. A late 19th century replica of the Alfred Jewel, in silver-gilt, with polychrome enamelled image of a standing male with rock crystal cover, the edge with text +AELFRED MEC HEHT GEWYRCAN, with pelleted border above, the ﬁnial formed as a beast-head with suspension emerging from mouth, the base engraved with a foliate decoration, 7cm long, together with a related silver and enamel pendant by Marples & Beasley, Birmingham 1962 plus a souvenir spoon, Sydney & Co, Birmingham 1920 Provenance: Collection of Jack Webb (1923-2019), London. The Alfred Jewel is an Anglo-Saxon pendant dating to the late 9th century and was made during the reign of Alfred the Great. Is made of gold with enamel and quartz decoration and was discovered in North Petherton, Somerset in 1693. It is now on display at the Ashmolean Museum in Oxford. The inscription reads “aelfred mec heht gewyrcan”, which means “Alfred ordered me to be made”. After decades of scholarly discussion, it is now generally accepted that the jewel’s function was to be the handle for a pointer stick for following words when reading a book. There were a number of silver-gilt replicas of the Alfred Jewel produced during the reign of Queen Victoria and were commissioned and distributed by Elliot Stock (a London bookseller and publisher). (3) £500 - £800

77* Ango-Indian. A 19th century Anglo-Indian desk weight, the domed weight with ﬁnely engraved ivory strap-work decoration on a horn ground, 3cm high x 10.5cm wide x 8cm deep, together with a similar desk weight, each with a sandalwood base, some loss of ivory Provenance: Collection of Jack Webb (1923-2019), London. (2)

Lot 76

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

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78* Apple corer. An 18th century apple corer made from a bone, engraved with initials ‘M.D.’ and dated 1787 with foliate and geometric decoration inﬁlled in red, green and black, 14cm long Provenance: Collection of Jack Webb (1923-2019), London. (1)

£70 - £100

79 Art Union of London. A ﬁne Victorian bronze model of the ‘Townley Vase’ after C. Delpech for the Art Union of London, 1871, the substantial vase with volute handles and decorated with a Bacchichanlian procession in high relief, the base signed Art Union of London 1871, C. Delpech Redt, 39cm high, placed on an associated wooden stand for display The Townley Vase is a large Roman marble vase of the 2nd century BC, discovered in 1773 by the Scottish antiquarian and dealer in antiquities Gavin Hamilton in excavating a Roman villa at Monte Cagnolo, Rome. The name was given to the vase by Charles Townley who subsequently purchased it in 1774 for £250. The British Museum purchased the vase in 1805, where it remains today. The Art Union of London was founded in 1837 to promote the interest in British artists and manufacturer of decorative arts. In 1871 a bronze copy of the vase was made by Delpech and copies were produced and given to ten members of the Art Union of London. (1) £200 - £300

Lot 78

80* Automaton. A Victorian miniature stove, the gunmetal case with steel and brass centre and grille, with 4 winding holes and key, inoperable, 21cm high x 21cm wide x 9.5cm deep, seems to be inoperable Provenance: Collection of Jack Webb (1923-2019), London. (1)

Lot 79

£100 - £150

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Lot 81

81* Early Ballooning. An 18th century French fan commemorating air balloon flights in France, 1783, the fan with 30 fine wooden staves (28 with pierced fretwork) united by silk ribbon, one side painted in watercolour with central panel showing the flight above Paris and inscribed ‘premier voyage ... Decembre par Charles et Roberts 1783’ a panel to the left inscribed ‘Experience par Montgolfier’, the other panel ‘Experience faite a Annona 4 Jun 1783’, the reverse side similarly painted with three panels of an air balloon over rural landscapes with figures beneath, additionally painted with pink roses and floral sprays, with brass and mother of pearl loop, in generally fine condition, 30cm (open), in its original card box covered in pink and white floral cotton Provenance: Collection of Jack Webb (1923-2019), London.

4 June 1783 Brothers Joseph-Michel and Jacques-Etienne Montgolﬁer demonstrated their hot air balloon before a crowd of dignitaries in Annonay, France. They experimented with lighter than air devices after observing that heated air directed into paper or fabric bag made the bag rise.

1 December 1783 The first manned gas balloon flight was launched by Jacques Alexander Charles and Nicholas Louis Robert in Paris on 1 December 1783, the flight lasted 2.5 hours. (1) £200 - £300

82* Battle of Trafalgar. An ostrich egg, ﬁnely carved in shallow relief, circa 1805, the 4 sides depicting halflength busts of the Commanders of four famous British naval victories: 1) Admiral Lord Howe, Glorious First of June, 1 June 1794; 2) Admiral John Jervis, 1st Earl of St Vincent, Battle of Cape St Vincent, 14 February 1797; 3) Admiral Duncan, Battle of Camperdown, 11 October 1797; Admiral Lord Nelson, Battle of Trafalgar, 21 October 1805, each presented with backdrop drapery decorations and battle date in an oval rope medallion frame, the Commanders’ names carved within the resulting lozenge frame around the central drill hole at the top of the egg and presented on ﬂags draped from the trumpets blown by winged angels, the base showing Britannia within a hatched oval frame, and surrounded by additional naval and decorative motifs carved into the remaining blank areas, 15cm tall Provenance: Collection of Jack Webb (1923-2019), London. A museum-standard piece showcasing virtuoso ostrich egg carving. The artist has left the work unsigned and Jack’s notes suggest that it may have been made by a French Prisoner of War not long after the Battle of Trafalgar. (1) £700 - £1,000

Lot 82 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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83* Benjamin Franklin. An 18th century American terracotta plaque of Benjamin Franklin by Jean Baptiste Nini 1777, the circular plaque cast in relief with a proﬁle of Franklin facing left seen wearing a fur hat and inscribed ‘B. Franklin Americain’, hole drilled on edge for suspension and damaged, 12cm diameter

86* Bottle. An 18th century glass medicine bottle, one side moulded in relief ‘Dr Lowthers Royal Specific Drops’, the other side ‘By The Kings Patent Nov 1757’, the clear glass bottle with a brown staining, in excellent condition, 8cm long Provenance: Collection of Jack Webb (1923-2019), London. Dr Lowther’s Powders and Royal Specific Anodyne Drops, received the King’s Patent in 1757. The powders were used for all kinds of illnesses including a cure for fits, nervous disorders, hysterics, nervous fevers and other ailments. (1) £100 - £150

Provenance: Collection of Jack Webb (1923-2019), London. Benjamin Franklin (1709-1790) was an American polymath and one of the Founding Fathers of the United States. He was a leading writer, printer, political philosopher, politician, postmaster, scientist, inventor, humorist, civic activist, statesman and diplomat. (1) £100 - £150

84* Boer War. A cast iron novelty money bank, modelled as Paul Kruger smoking a pipe and wearing a top hat inscribed ‘Transvaal Money Box’, the back of his coat inscribed ‘By permission of the Proprietors of the Westminster Gazelie’, painted in green and maroon, 15.5cm high The Transvaal Money Boxes were made by the John Harper & Company, Ltd between 1885-1900. (1) £100 - £150

87* Boundary marker. An 18th century cast iron Parish boundary marker, the rectangular plaque cast in relief ST E B 1775, with ﬁxing hole to each corner, 26 x 21cm Provenance: Collection of Jack Webb (1923-2019), London. A boundary marker is a robust marker that identiﬁes the start of a land boundary or the change in a boundary. A system of parishes, units of ecclesiastical administration and pastoral care, evolved during the middle Anglo-Saxon period and by the end of the 12th century existed in most parts of the country. England had some 8,500 parishes from the Middle Ages, until the late 19th century. The parish was the basic territorial unit in the organisation of the country and the responsibility for local administration was gradually extended by Parliament to include, for instance, the raising of local rates and taxes. It was important for people to know what parish they lived in and where the boundaries were. Parish boundaries were historically marked by stones, and later by cast iron, sheet metal or lead plaques which were displayed at public locations, commonly on the walls of buildings, but also on boundary walls, where they were visible to every passer-by. This Parish boundary marker is believed to be that of the St Edmund and Bartholomew. (1) £300 - £500

85* Bone dice. A collection of George III period bone dice, including three with duty stamp GR below a crown on the 6 pip side, with red ink remaining, seven approximately 12mm, approximately 11mm and seven smaller plus a spinning dice Provenance: Collection of Jack Webb (1923-2019), London. In the early 18th century, stamp duty was extended to cover a number of paper and related items that included playing cards and dice. Dice had stamp duty imposed on their sale between 1711 and 1862, and to show that duty had been paid, they were individually marked with a red ink stamp of a crown with the ruling monarch’s monogram below, as here ‘GR’ for Georgius Rex. (17) £200 - £300

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88* Buchinger (Matthias, 1674-1740). A bookform box with micrography, 1720/21, wooden and ivory bookform box, spine with carved raised bands, sliding lid and lower side with inset glazed calligraphic panels written in sepia ink on paper in a miniscule hand, that to lid with religious script forming the design of a chalice and wafer, within an arched frame of red ink volutes, a little stained, that to lower side with the Ten Commandments on stone tablets, within a similar red ink border, each with inscription below: ‘Dublin febr. the 8 d 1720/21. This is Written by Mathew Buchinger born Without Hands or feet in Germany June the 3 d 1674’, panels 47 x 30mm, overall size 73 x 60 x 19mm Provenance: Collection of Jack Webb (1923-2019), London. Matthias Buchinger, the so-called ‘Little Man of Nuremberg’, was a famous dwarf just 29 inches tall, born without legs and with truncated arms which had ﬁnlike appendages for hands. However, despite such disadvantages, he travelled widely in northern Europe, performing and excelling at many occupations associated with physical dexterity. He is most famed for his remarkable abilities as a calligrapher, specialising in micrography, but he also built highly detailed models of ships in bottles, as well as drew portraits, coats of arms, landscapes and family trees, many commissioned by royalty. He played at least 6 musical instruments, some of his own invention, performing for King George I, amongst others. He also danced the hornpipe, gave magic shows, and displayed his skill as a marksman and swordsman. He is known to have been performing in Dublin in 1720, and Belfast in 1722. Buchinger lived to the ripe old age of sixty-ﬁve, surviving three wives and marrying a fourth. He was famed for the number of mistresses he kept, and apparently fathered at least 14 children by 8 women. Specimens of Buchinger’s calligraphy are rare, and we have not traced another such example of his work set into a box as here. (1) £700 - £1,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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89* Cane. An exceptionally ﬁne 18th century Italian silver-mounted cane, the malacca cane in seven parts each with a silver collar, beautifully engraved with Apostles and their churches in Rome, with plain silver top and ferrule engraved with birds nesting in a tree, no hallmarks, overall length 120.5cm long, with a carrying cover and sleeve Provenance: Collection of Jack Webb (1923-2019), London. (1) £700 - £1,000

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90* Car mascot. A 1930s Bentley winged ‘B’ mascot mounted on a radiator cap, chromed ﬁnish, 9cm high x 9cm diameter Provenance: Collection of Jack Webb (1923-2019), London. (1)

£100 - £150

93* Clock. A 19th century fusee wall clock, the circular white painted dial by ‘J. Hopcraft, Norwich’ with black roman numerals, in a mahogany case with brass fusee movement, pendulum and winding key, the dial probably repainted or restored with single winding hole and evidence of two holes ﬁlled, approximately 35cm diameter (1)

£200 - £300

91* Carriage clock. A later 19th century striking and repeating alarm clock, with carrying handle and repeat button, the white enamel dial with black Roman numerals and subsidiary seconds dial, twin barrel movement and platform lever escapement, striking on a blued steel gong, the brass backplate engraved in English and numbered 3111, some cracking to the seconds dial and discolouration, 12.5cm high, with winding key Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

92* Casket. An early 18th century ivory casket, of rectangular form, with hinged panelled lid, and silvered mounts, including engraved escutcheon, lid with 2 horizontal cracks (one superﬁcial and only visible on underside), base detached, 6.2 x 13.5 x 8.2cm (2.5 x 5.25 x 3.25ins) (1)

94* Clock. A Regency style mantel clock, the satin walnut case of shield form encompassing a circular white enamel dial with black arabic numerals, two winding holes, convex glass door, supported on embonised scroll supports applied with brass decoration on a rectangular plinth, the brass movement with pendulum and keys, 45cm high

£200 - £300

Provenance: Collection of Jack Webb (1923-2019), London. (1) £100 - £200 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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97* Coconut bugbear. A George III period carved bugbear with plated mounts, the coconut carved with a galleon and a fort armed with cannons, with silver-plated ﬁnial and ﬂared base engraved with initials, 17cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

95* Coco de Mer. A ﬁne example of a complete Coco de Mer found in the Syechelles, the polished example measuring approximately 23cm across (1)

£500 - £800

98* Coconut cup. A George III silver mounted coconut cup by JJ, London 1808, the coconut ﬁnely carved with a geometric roundels, the silver cover engraved with initials and a key design, turned wood knop, the cup conforming collar and on three cabriole hoof feet supports, 17cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

96* Coconut basket. A 19th century coconut basket carved as a ‘bugbear’ with ‘Jumbo’ the elephant, crest with initials JF, dated 1884, with other symbols including an anchor, masonic compasses, heart, 10.5cm high x 14cm long Provenance: Collection of Jack Webb (1923-2019), London. (1)

£100 - £150

99* Coconut cup. A ﬁne mid-19th century French coconut cup, carved with Napoleonic iconography, showing Napoleon on his horse, (after the painting by Jacques-Louis David), a proﬁle of Napoleon as Emperor with trumpeting angels, the Imperial eagle and the Legion d'honneur within laurel circles, the cup on a domed base with further Napoleonic symbols and laurel leaf decorations, 20cm high

Lot 97

Provenance: Collection of Jack Webb (1923-2019), London. (1) £500 - £800

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102* Corkscrew. A George III steel peg & worm corkscrew c.1800, cut steel with grooved worm and pierced rounded ends, 16cm long Provenance: Collection of Jack Webb (1923-2019), London. (1)

£70 - £100

100* Coconut cup. A George III Irish silver mounted coconut cup, carved with an armorial of a hand holding ﬂowers within a C-scroll cartouche and with geometric roundels, the silver mounts by Richard Sawyer, Dublin 1805, with silver collar and stem leading to circular foot, 17cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

101* Chalice. A Continental gilt copper chalice and cover probably 17th / 18th century, the dome cover with a cross on a ﬂeur-de-lys type base, the cup turned stem leading to circular foot, split to metalwork on base, 20cm high, with an old label inscribed ‘1964 Puttick & Simpson’

103* Crucifixes. A collection of crucifixes mostly c.1900, including a large altarpiece, the rosewood cross with a brass figure of Christ mounted to each side, 46cm high x 25cm wide together with six handheld crosses each with a figure of Christ mounted, some white metal and ebony, largest 23cm, smallest 12cm

Provenance: Collection of Jack Webb (1923-2019), London. Puttick & Simpson were auctioneers established in 1846. (1) £200 - £300

(7)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £200

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104* Cup. An 18th century brass travelling communion cup, the brass cup of bell shaped ﬂared form with the turned stem and foot neatly secured inside the cup by a threaded screw, the piece unscrewing to reveal base and can be assembled correctly for use, the cup 5cm high and assembled 8.2cm high

106* Desk seal. A Medieval style brass desk seal, probably 19th century, of navette form with a proﬁle of St Anthony holding the baby Jesus, with legend ‘Sigillium Provite Sancti Antonii Portugalie’, the top engraved with acorns and foliate decoration with conforming handle, 6.5cm long

Provenance: Collection of Jack Webb (1923-2019), London. (1)

Provenance: Collection of Jack Webb (1923-2019), London. (1) £100 - £200

£70 - £100

105* Desk Seal. A Victorian Loyal Orange Lodge desk seal circa 1850, the brass seal incised ‘Loyal Institution of England. Albert the Consett’, No 572, the centre with a proﬁle of William III on horseback and inscribed ‘William the III Prince of Orange 1690’, with a brass and fruit wood handle 13cm high together with another similar example for No 48 and a smaller brass example for No 116 Horwich, 6.5cm high Provenance: Collection of Jack Webb (1923-2019), London. The Loyal Orange Institution, commonly known as the Orange Order, is an international Protestant Masonic-style fraternal order based in Northern Ireland. Its name being a tribute to the Protestant king William of Orange, who defeated the army of Catholic king James II in the Williamite–Jacobite War (1688–1691). The Orange Order was founded in County Armagh in 1795, and headed by the Grand Orange Lodge of Ireland, which was established in 1798. Today it also has lodges in the Republic of Ireland, Scotland, throughout the Commonwealth and United States. (3) £100 - £150

107* Desk seal. A ﬁne Indian desk seal c.1820, the carnelian seal ﬁnely engraved in Persian script mounted in silver with a turned ivory handle with traces of red staining, 6cm long Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

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108* Desk seal. A large 19th century Indian seal, the oval carnelian intricately cut with Persian script, set in a foliate engraved silver mount with two suspension loops, 6 x 4cm, a silver swivel fob with engraved carnelian 1.8cm wide, plus a small stone tablet similarly engraved, 2.5cm long Provenance: Collection of Jack Webb (1923-2019), London. (3) £200 - £300

110 Diorama. A Victorian diorama of “Jacko” the ratter c.1850, the plaster model of a terrier presented in a curved display case with a naturalistic effect for display purposes, inset with a circular silver medal, the obverse inscribed ‘In memory of Jacko, the Champion Terrier 14 lb Weight’, the reserve inscribed ‘Presentation Medal to Canine Fancier and M.P.R. Jemmy Shaw London 1852’, general wear and damage throughout, the case, 29cm high x 38cm wide x 13cm deep Provenance: Collection of Jack Webb (1923-2019), London. Jemmy Elton Shaw, also known as Jimm and James was a 19th century pioneer fancier of the early dog show days, a promoter of dog ﬁghting and rat-baiting contests, a breeder of Old English bulldogs, bull terriers and toy terriers and a contributor in the development of fancy rats. Shaw was the landlord of the Blue Anchor Tavern in Bunill Row, St Luke’s, Islington and would hold rat-baiting contests in the basement of the tavern for spectators. He was able to maintain as many as 2000 rats in his tavern for upcoming events. Jemmy owned a black and tan bull terrier named “Jacko” the world record holder for rat killing. (1) £300 - £500

109* Desk seals. A collection of Medieval and later desk seals, including a small navette seal probably silver with Madonna and child and legend 'Sigill Marie D.I. Vmtingefed', 3cm long, another circular brass seal with a medieval helmet and armorial shield, the back with a hinged handle, 3.5cm diameter, another with a proﬁle of a saint and inscribed 'S. Iovs Picouery' and other stamps and seals including a William Ullathorn horn / boxwood seal c.1821 another for Schataú Margoūx C.E.D., Forsan, Schinnen, John Howard, and J. Redhill & Co, all approximately 3cm diameter diameter Provenance: Collection of Jack Webb (1923-2019), London. (14) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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111* Doll. An 18th century miniature wooden doll, with carved hair, articulated arms and legs and wearing boots, 5cm high, a 19th century coconut shell panel with classical female carved in relief, one arm raised looking out over water with land in the distance, 6cm long, a George III brass pipe tamper, a 19th century Bilston enamel box, the lid decorated with a bird on a lozenge within foliate border, 5cm wide, an 18th century miniature cofﬁn with hinged lid enclosing an ivory skeleton, 4cm long and other items

113* Etui . A George III shagreen etui c.1753, the tapered case with silver mounts and plaque engraved ‘J. Dixon 1753’, the hinged lid enclosing a complete set of 6 quill cutters each with tortoiseshell grip, some loss of shagreen around the hinge and under the push button, approximately 8cm high

Provenance: Collection of Jack Webb (1923-2019), London. (10) £100 - £200

Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

114* Gambling ball. A rare ivory gambling ball c.1700, otherwise referred to as a teetotum (lottery), the multi-faceted ball each engraved with a number between 1-32 and additionally inscribed ‘six’ under the number 6, approximately 45mm across Provenance: Collection of Jack Webb (1923-2019), London. Teetotum balls were very much like a spinning dice, however they have faceted numbered sides and when thrown there is an equal chance of any number turning up (which is not the case with dice). Lotteries first began to become an acceptable form of raising money for government funds under Queen Elizabeth I in 1568 - 1569. It was started in order to raise funds for urgent repairs to the harbours and fortifications of England then under threat of invasion from the Spanish. Great pains were taken to ‘provoke the people’ to part with their money and even fortune tellers were consulted about ‘lucky’ numbers. Lotteries later became established by successive Acts of Parliament and were a popular and lucrative means of increasing government revenue and were regularly conducted, both in London and the country, by appointed contractors. Lotteries were not then as they are today confined to monetary prizes, but embraced jewellery, paintings, tapestries, silver, books and even live deer in Syon Park. (1) £500 - £800

112* Duke of Wellington. An early 19th century British Victories bronze medal box, the interior with two ﬁxed paper discs and 11 loose paper discs listing the British victories in Portugal, Spain and France from 1808-1815, 46mm diameter, together with a similar bronze snuff box, probably a reproduction, the base showing a memorial for the Duke dated 1852, 50mm diameter (2)

£200 - £300

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116* Goat collar. An 18th century steel goat collar, the brass label engraved I AM DANL HICKLINGS GOAT PRAY WHOS GOAT ARE YOU, with steel chain and six stage lock, approximately 15cm long Provenance: Collection of Jack Webb (1923-2019), London. There are plenty of dog collars of this period on the market but it is highly unusual to ﬁnd one for a goat. Daniel Hickling must have been very proud of his goat! (1) £200 - £300

115* Game. A collection of early 18th century French ivory counters, a collection of 45 engraved polychrome-stained pieces, comprising: 5 sets each double-sided with numerals 10, 20, 30, 40 and 50, of rectangular canted form with a geometric border, approximately 35mm wide; 4 similar pieces engraved 50 Guinee (2), 20 Guinee, and 40 Guinees, approximately 43mm wide; and 16 pictorial circular counters, each individually engraved with accompanying text on one side, and with a ﬂower or insect on the other, 26mm diameter, presented in a double sided glass and mahogany frame, 18.7 x 27.2cm (7.25 x 10.75ins)

117* Gourd. An early 19th century double gourd, decorated with scrimshaw work showing a hunter presenting a dead rabbit to a lady with buildings and birds amongst foliage, the top engraved with an eclipse of the sun and two pierced hearts, inscribed ANISCE LE 22 DECEMBRE FT LAN 1829, the base with later label inscribed ‘A label originally on this gourd said that it was made on Devils Island’, 17cm high

A rare collection of early decorative counters for a parlour game, the circular pieces each with an inscription relating to the image, for example: 'Sur mil compas un petit' (depicting compasses); 'Rien de plus ﬁdelle' (with dog); and 'Je pleure vostre absence' (showing a ﬂaming heart). (1) £300 - £500

Provenance: Collection of Jack Webb (1923-2019), London. (1) £150 - £200

118* Indian statue. A mixed collection of items including bronze ﬁgure of Ganesha, 6.5cm high, an Indian Hindu god on a lead base, 10.5cm high, bronze collar (probably a slave collar), engraved with initials PM, 14cm diameter, a bronze weight with six points with faces and a hole in the centre, 9cm diameter, a small Indo-Persian folding knife, with 7.5cm curved brass blade, on a long chain, a socket bayonet, with 17cm blade, a tribal wooden paddle, 20cm long and other items Provenance: Collection of Jack Webb (1923-2019), London. (small carton) £100 - £200

119* Indian tray. A large Indian copper tray c.1900, of rectangular form, ﬁnely decorated four ﬁgural panels including warriors on horseback and females dancers, within a foliate geometric borders, 57 x 123cm

Lot 116

(1)

Lot 119 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

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120* Inkwell. A 16th century Italian Renaissance bronze inkwell, with decorative frieze cast with grotesque faces amongst foliage on three leonine supports, 9cm high

123* Keys. A collection of keys, including Medieval iron double ended key, the hollow tubular key with circular sliding handle pierced with A one side and h on the other, 16cm long, the remains of a Roman bronze key, 6cm long, a Victorian steel key with intricate pierced handle bearing interlaced initials and dated 1896, 9.5cm high plus a Victorian steel presentation key, engraved ‘King George’s Field Stepney opened by H.R.H. The Duke of Edinburgh presented to Sir Campbell Stuart’, 9cm long plus two medieval iron spiral keys, 14cm and12.5cm long

Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

121* Japan. A collection of souvenir items, mostly 1920/30s, including lacquered hand comb with gold sprinkled foliate decoration, 8.5cm long and 3 other combs, approximately 15 hand fans including a textile Geisha girl fan, 39cm long, a purple textile purse with red and white tassels, presented in a wooden box with original trade label, 4 green porcelain saki cups, the interior decorated with blue bamboo on a white ground, blue marks to base, 6cm high, and other items

Provenance: Collection of Jack Webb (1923-2019), London. Sir Campbell Stuart GCMG KBE (1885-1972) was a Canadian newspaper magnate. Campbell ran propaganda operations for the British during both WWI and WWII. (6) £100 - £200

Provenance: The family of Dr Harry Stopes-Roe (1924-2014), son of the birth control pioneer Marie Stopes (1880-1958), and his wife Mary, née Wallis (1927-2019), herself the daughter of the illustrious scientist, engineer and inventor Sir Barnes Neville Wallis (1887-1979). The Japanese artefacts in this lot are all believed to have been acquired by or given to Marie Stopes. As a palaeobotanist Stopes had worked in Japan from 1907 to 1909, exploring coal mines in Hokkaido for fossilised plants. See lot 3. (a carton) £100 - £200

124* Keys. A large collection of George III and later door keys, together with a pair of Victorian steel handcuffs, a Victorian brass doorstop in the form of a Boer War period general, 24cm high, an early 20th century Anglo-Indian hardwood box and other items (a carton)

122* Key. A ﬁne Victorian steel key, one side engraved ‘South St Gate’ with VR and crown, the other ‘T Somers Cocks Esq Chapel St’, 9cm long

£80 - £120

125* Knife handle. A 17th century ivory knife handle, ﬁnely carved as a bacchanalian boy sitting on a barrel holding a wine glass and bag of wine, 10cm long, together with another 17th century knife handle, the horn grip carved a king amongst turrets and knotted decoration beneath with a silver terminal, 10cm long

Provenance: Collection of Jack Webb (1923-2019), London. Thomas Somers-Cocks (1815-1899) was a Conservative Party politician and a banker. He was a founding member of the Canterbury Association which was formed in order to establish a colony in the South Island of New Zealand. Somers-Cocks became the banker for the group. (1) £150 - £200

Provenance: Collection of Jack Webb (1923-2019), London. (2) £200 - £300

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126* Locomotive clock. A ﬁne French automaton clock c.1900, the brass case with circular enamel dial with black Roman numerals and two winding holes, a circular aneroid barometer and thermometer applied to the chimney, appears to be in good working condition with a pleasing chime, 43cm long x 39cm high, with key (1)

£1,000 - £1,500

127* Marble bust. A Victorian half-length female white marble bust c.1850, ﬁnely detailed hair and face, wearing classical drapery on a socle base, unsigned but carved to a very high standard, 26cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

128* Marbles. A large collection of approximately 275 Victorian and later glass marbles, various forms and sizes contained in a large glass jar with cover together with 2 smaller glass bowls each containing marbles, condition variable, largest marble 45mm across, smallest 14mm plus a large painted dog sulphide marble, 50mm across

Lot 126

Provenance: Collection of Jack Webb (1923-2019), London. (approximately 275) £300 - £500

Lot 127 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 128 44

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129* Matthew Boulton. A George III ormolu ‘Goat’s Head’ candle vase by Matthew Boulton c.1770, with reversible ﬁnial and nozzle, on ovoid pedestal vase with goats head and laurel festoons on a stepped square base and four ball feet, 19.5cm high Provenance: Collection of Jack Webb (1923-2019), London. Matthew Boulton and John Forthergill made these vases at their manufactory in Soho, Birmingham and sold them at Christie’s throughout the second half of the 18th century. This variation is known as the ‘Goat’s Head’ vase and was produced with a wide assortment of bodies, which included, Derbyshire Blue John, white marble and silver-plate. They proved to be one of the most popular vases amongst the aristocracy and examples can be found in the Royal Collection and many private collections. For further examples please see Goodison (Nicholas). Matthew Boulton (Ormolu), Christie’s 2002, page 331-333. (1) £700 - £1,000

(detail)

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130* Medieval corbel. A stone corbel carved as a head, 12cm high x 11cm wide (1)

132* Mixed silver. An 18th century white metal marrow scoop, 12cm long, a 19th century white metal egg, engraved with swirls, probably a thimble holder, 4cm long, a Victorian Wedgwood plaque, of octagonal form in violet and green set in a gold frame with ﬁne gold chain with pearls, 4.5cm wide, a silver and enamel brooch with a crown and belt inscribed ‘Feare God Honour Ye Kynge, the back with registration number 50967 (Registered 12 June 1886 J.N. Masters, Rye, Sussex), 4cm wide, plus a Georgian silver and enamel brooch with a Hanoverian surcharge on the shield, 4cm wide

£100 - £150

Provenance: Collection of Jack Webb (1923-2019), London. (7)

£100 - £150

131* Mixed items. A mixed collection of items, including a circular terracotta plaque probably late 18th century, with a relief portrait of a military ofﬁcer, chipped, 6cm diameter, a circular oak lid of a box with ivory panel inscribed ‘This box was part of the roof of the House of Commons destroyed by ﬁre, Oct 16 1831, 6.5cm diameter, an 18th century ivory Corpus Christi, lacking arms, 11.5cm long, a Russian circular wax panel of Alexander I, c.1820, set in a brass mount, 5.5cm diameter, an 18th century horn mould for a medallion, engraved Minerva Sacra, 6 x 6cm, a treen whistle probably rosewood, 5.5cm long, four 18th century Bilston enamel boxes, all badly damaged and other items 133* Mortar. A 17th-century bronze mortar, the inverted bell shape with a scroll and shell band running around the midsection, 11.5cm high x 15cm diameter

Provenance: Collection of Jack Webb (1923-2019), London. (a small box) £100 - £200

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£70 - £100

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135* Mourning brooch. James William Cusack, Royal College of Surgeons, Ireland, the circular silver brooch with black enamel, a central star encompassing the initial C, within a pierced circular border interspersed with Celtic knots on a foliate and geometric engraved ground, the back engraved ‘James W. Cusack Obit 25th Sept 1861’, 50mm diameter Provenance: Collection of Jack Webb (1923-2019), London. James William Cusack (1788-1861) was the president of the Royal College of Surgeons in Ireland in 1827, 1847 and 1858. He was educated at Trinity College Dublin. After graduating he joined Dr Steevens Hospital Dublin as resident surgeon and became a bold and dexterous operator. Cusack could use his scalpel without hesitation, and overnight became famous for his speedy ﬁrst aid-treatment of a patient who was bleeding to death from a severed artery due to a gunshot wound. Cusack was also Surgeon-inOrdinary to the Queen in Ireland. (1) £100 - £150

134* Mould. An 18th century plaster mould depicting a piper, probably for gingerbread or butter, ﬁnely detailed wearing long coat and feathered hat with sword to his side, 10 x 4.5cm, with accompanying plaster impression Provenance: Collection of Jack Webb (1923-2019), London. (1)

136* Musical box. A Victorian rosewood inlaid musical box, of rectangular form, the lid inlaid with musical trophies, boxwood and rosewood crossbanding, the front with a printed musical trophies decoration (worn), the hinged lid enclosing a large cylinder and mechanical movement, all teeth and pins appear to be intact and the box is in good working order with a lovely tone when playing, 20.5cm high x 66cm wide x 26cm deep

£100 - £150

Provenance: Collection of Jack Webb (1923-2019), London. Purchased by the owner in 1946 (receipt included with the lot). (1) £400 - £600

137* Napoleon Bonaparte. A 19th century gilt copper panel, commemorating the victory of Austerlitz 2nd December 1805, after the propagandist painting by the painter François Gérard, of oval form cast in relief with a battleﬁeld depiction, Napoleon on horseback surrounded by wounded soldiers and enemy, 10 x 21cm

Lot 136

The plaque commemorates the victory of Austerlitz 2nd December 1805, after the propagandist painting by the painter François Gérard which was presented at the salon of 1810 (now held at the Galerie des Batailles, Versailles). The artist immortalizes the moment when General Rapp brings to Napoleon the ﬂags taken from the enemy, and presents to the emperor the General Russian Repnine, just captured (ﬁgure with head uncovered on the far left of the plaque). The turbaned soldier represents the Mamluk light cavalry engaged under the orders of Rapp in the battle. The Battle of Austerlitz is also known as the Battle of the Three Emperors, and was one of the most important and decisive engagements of the Napoleonic Wars. (1) £70 - £100

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138* Nelson (Horatio, 1st Viscount Nelson, 1758-1805). A small oak box with a yellow metal plaque engraved ‘Victory’ probably early 19th century, the inner lid applied with yellow metal plaque engraved ‘Trafalgar Oct 21-1805’, 1cm high x 7cm wide x 2.5cm deep, together with a 20th century representation of Lord Nelson’s Cofﬁn, the miniature cofﬁn covered in black velvet with paper ornaments and devices, 24cm long with storage box plus a Victorian copper or tin plaque depicting Nelson, 25 x 21cm Provenance: Collection of Jack Webb (1923-2019), London. (3)

140* Pen set. A fine 19th century French pen set, comprising a dip pen and propelling pencil each with a cut glass stem and red and white guilloche enamel with diamond chippings collar, yellow metal mounts with unidentified stamp, 15.5cm long, presented in a fitted green leather case Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

£100 - £150

139* Pocket Sundial. A Steel Equinoctial Pocket Sundial by Samuel Saunders, [London], mid-18th century, circular ring with inset hours ring on pins and partly rotating centre bridge (one screw missing) with month markings in Latin, the hours ring with roman numerals and simple arrowhead half hour markings, engraved ‘Sam: Saunders Fecit’, 5cm diameter, some rubbing and no longer ﬁtting to fold ﬂat

141* Peninsular War. A Regency rosewood campaign box formerly a writing box, of rectangular form with brass recessed handles, keyplate and edges, the lid inset with a shaped brass plaque engraved ‘To Dr Steed of Southampton, a Death bed memento from Capt Charles L Methuen of the Royal Dragoons of their friendship and service together in the Peninsular War 30th June 1826’, lacking interior and recently varnished, 18.5cm high x 50cm wide x 28cm deep

It has not been established which Samuel Saunders made this, there being three instrument makers by that name working in London in the ﬁrst half of the 18th century. The serifs, and particularly the decorative serif on the lower stroke of ‘S’, for both engraved names may suggest that this was the work of the Samuel Saunders who was apprenticed to Jonathan Roberts in the Broderers’ Company in 1699 and with John England in the Stationers’ Company in 1703. He was freed by Patrimony in the Masons’ Company in 1708 and died in 1743. See Gloria Clifton, Directory of British Scientiﬁc Instrument Makers 1550-1851, National Maritime Museum, 1995, p. 244. (1) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Captain Charles Lucas Methuen (1791-1826) was commissioned Lieutenant in 1st Royal Dragoons in 1809, he served in the Peninsular War from 18091814 and was promoted to Captain in 1813. He was Aide de Camp to both Major General Grey and Major General Slade. Methuen died on 15 July 1826 at Polygon, Southampton. (1) £100 - £150

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143* Pipe tampers. An 18th century ivory pipe tamper, carved as a boy on a barrel the chequered base stained red, 8cm long, together with another 18th century ivory pipe tamper carved as a greyhound catching a rabbit, the silver base with faint engraved markings and possibly dated 1740, approximately 7cm long

142* Pieta. A bone carving, probably 17th century, depicting the Virgin Mary cradling the dead body of Jesus, beautifully carved with a rich patina, three holes drilled to base and a cutaway section to the rear suggesting possibly a ﬁnial or handle, 10cm high x 8.5cm wide Provenance: Private Collection, Cotswolds. (1)

Provenance: Collection of Jack Webb (1923-2019), London. (2) £200 - £300

£500 - £800

144* Pipes. A collection of Victorian and later pipes, including a carved wood skull pipe, 14cm long, another carved a female wearing an elaborate hat, 13.5cm long, a calabash pipe, cheroot holders and other items Provenance: Collection of Jack Webb (1923-2019), London. (10)

£70 - £100

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145* Pocket Book. An 18th century Moroccan leather wallet, Tetouan, 1754, hand-stitched red morocco wallet with 2 pockets, densely worked inside and out in gold metal threads with decorative motifs and lettering ‘D. Chapeau 1754’ on one inside pocket and ‘Tetuan’ on the other, one very small hole at one edge and occasional minor loss of threads, 18 x 11cm (7 x 4.25ins), together with 3 other 18th century red leather wallets with gold metal thread embroidery, comprising: another pocket book similar, worn, with embroidered lettering ‘To Mrs. Ann Hosier 1762’ on one inside pocket and ‘With Smith & Court’s Compliments’ on the other; a wallet with one pocket, stitched ‘Cha. Braxtone 1731’ on front beneath flap, and ‘Tetuan’ on the back, with remains of blue silk lining, and toggle fastener; a wallet with stitched date ‘1793’ on front beneath flap, and ‘Moscou’ on the back, metal thread tarnished and some edge-fraying, 2 cream silk pockets, stained, and silk on verso of flap perished, plus a small leather purse similar Provenance: Collection of Jack Webb (1923-2019), London. (5) £300 - £500

146* Printers block. A collection of 18th century printers blocks, including one for Joseph Collins Cross Keys Reading dated 28 February 1738, ﬁnely engraved with two crossed keys, approximately 2.5cm high x 5cm wide x 8cm long, a large example with a Royal Coat of Arms, 2cm high x 15.5cm wide x 10cm deep, a smaller one with Royal Coat of Arms and others Provenance: Collection of Jack Webb (1923-2019), London. There is a Cross Keys pub at Pangbourne, Reading. (small box) £200 - £300

Lot 145

147* Purse Watch. A 1950s Chalet Automatic purse watch, the square silvered dial with baton markers, the brass case stamped US PAT 2640668 US PAT 2719402 in a black snakeskin slide case, in running order (1)

Lot 146

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

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148* Ring. An 18th-century French silver armorial ring, the oval seal bearing the Arms of a Count, size P, 28.8g Provenance: Private Collection, Cotswolds (1) £300 - £500

149* Scent Bottle. A Victorian cameo glass scent bottle by Thomas Webb and Sons c.1880, in the form of a swan’s head, the beautiful blue and white gass bottle carved with feathers, the eyes and beak all ﬁnely delineated, with a replacement silver cap by J.H.W., Birmingham 1902, 23.5cm long Provenance: Collection of Jack Webb (19232019), London. Thomas Webb & Sons was founded in 1837 by Thomas Webb (1804-1869) near Stourbridge, West Midlands. The name T. Webb & Co was adopted in 1842 and later became Thomas Webb and Sons. They specialised in glass making being originally known as the “Crystal King of England” and were particularly noted for their high quality Cameo glass which is created by a process of etching and carving through a layer of opaque white glass, leaving a white relief design on a darker coloured glass body. (1) £700 - £1,000

150* Seal. A George III desk seal St. Nicholas Bay and Canterbury Canal Company, 1811, the oval copper seal ﬁnely detailed with a sailing shop with the legend ‘The Company of Proprietors of the S. Nicholas Bay Harbour and Canterbury Canal’, ‘In Corp. 51st Geo. 3rd 1811’, set into a weighted lead base, 65 x 55mm, together with small card box containing a wax impression of the seal Provenance: Collection of Jack Webb (19232019), London. In 1810 a canal was proposed to run from the coast between Reculver and St Nicholas-atWade to Canterbury, with a harbour for sea-going vessels at the northern end, which would be accessible from Reculver by a new road beginning at the inn, the project never went ahead. (1) £100 - £150

Lot 149 51

151* Seal. A Medieval style brass desk seal, probably 19th century, the navette shaped seal incised with St. George and the Dragon with a legend around the edge, 90 x 55mm, old label applied Provenance: Collection of Jack Webb (19232019), London; purchased from Medals Specialist John Hayward, Piccadilly Arcade, 1965. (1) £100 - £150

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152* Selvi (Antonio Francesco, 1679-1753). Richard Molesworth (1680-1758, 3rd Viscount Molesworth), 1712, bronze medal, the obverse with bust facing right in armour and ornate helmet, the reverse with Bellona grasping the arm of Fortune, 89mm, extremely fine and very rare, sold with a later composite frame with labels attached, and inscribed with provenance Provenance: Collection of Jack Webb (1923-2019), London; Royal United Services Institute sale, Wallis & Wallis,1964 Vannel & . 133; MI II, 391/245; Eimer 453. A pupil of Massimiliano Soldani, Antonio Selvi is best known as the most prolific Baroque medallist in Florence during the twilight of the Medici. His earliest dated medal is 1711 and more than 109 portrait medals and a series of 111 medals commemorating the Medici dynasty are attributed to him. Selvi’s style is indebted to Soldani and he is recorded as having worked in bronze and as a modeller in lead for works in porcelain and in wax for cameos. Field Marshal Richard Molesworth, 3rd Viscount Molesworth (1680-1758) was an Anglo-Irish military officer, politician and nobleman. He served with his regiment at the Battle of Blenheim before being appointed aide-de-camp to the Duke of Marlborough during the War of the Spanish Succession. During the Battle of Ramillies in 1706 Molesworth offered Marlborough his own horse after Marlborough fell from the saddle. Molesworth then recovered his commander’s charger and slipped away, saving Marlborough’s life. Molesworth went on to become Lieutenant of the Ordnance in Ireland, was wounded at the Battle of Preston during the Jacobite rising of 1715, and later became Commander-in-Chief of the Royal Irish Army.Richard Molesworth’s older brother (John Molesworth, 2nd Viscount, 1679 - 1725) commissioned medals of himself and his brother Richard from Antonio Selvi while John was Ambassador Extraordinary to the Grand Duchy of Tuscany. Another example of this medal was sold at auction at Morton & Eden (London), Coins, Medals & Banknotes, 27 June 2018, lot 131. (1) £3,000 - £5,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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153* Snuff box. A George III papier mâché snuff box, of navette form with printed classical decoration depicting a nude male, woman, cupid and other ﬁgures, the side with a female and swan probably depicting Leda and the Swan, the base with ﬂoral decoration, with gilt metal mounts, 10cm long, together with an 18th century steel hand warmer engraved ‘Thos Drake London 1764’ within an elaborate rococo cartouche, 12.5cm long plus an 18th century steel tobacco box, of rectangular form, the lid engraved ‘Tho Thompson 1773’ within a scroll border and surmounted by an elephant, 10cm long

155* Snuff box. A Napoleonic period wooden prison ship snuff box c.1800, the ship with lattice work pen decoration, red hull and castle with three turrets on the lid, 13cm long, presented on a later wooden stand Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

Provenance: Collection of Jack Webb (1923-2019), London. (3) £150 - £200

156* Snuff box. An 18th century walnut snuff box, carved in the form a ladies shoe, inlaid with pewter, the cover with two couples holding hands probably signifying a double marriage, the sides with scroll decoration and foot engraved ‘March The 27 1762’, 15cm long

154* Snuff box. A late 17th century ivory and piqué work oval snuff box, the lid inlaid with a central panel of scrolls formed with brass roundels and some stained red, within a border similarly decorated set into a silver frame and plain ivory base, some piqué missing and the base is loose 2cm high x 10cm wide x 7.5cm deep together with an ivory panel of the same period and similarly decorated, the panel having a slight curve, 7.5cm x 10cm

Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

Provenance: Collection of Jack Webb (1923-2019), London. (2) £200 - £300

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157* Snuff boxes. A collection of 18th century snuff boxes, including a George III blonde tortoiseshell snuff box with piqué work lid, enclosing two hinged compartments 5.8cm wide, a gilt metal snuff box of rectangular form, the lid inlaid with square panels of mother of pearl, brown hardstone and gilt engraved panels, the box engraved with scrolls, 6.5cm wide, together with a similar brass box of shaped form engraved with scrolls, 7cm wide, a white metal box of shaped form inlaid with mother of pearl, 5.5cm wide, plus another circular box

Lot 157

Provenance: Collection of Jack Webb (19232019), London. (5) £200 - £300

158* Snuff boxes. A George III tortoiseshell and piqué work oval snuff box, the lid applied with yellow metal cartouche engraved with initials and surrounded by silver piqué and within a piqué border, with silver frame and plain tortoiseshell base, slight loss to the edge of base,1.5cm high x 7.5cm wide x 5.5cm deep, together with an 18th century French vernis martin circular snuff box, the lid painted with an elderly fortune teller holding the palm of a young ladies hand, with another maiden looking on whilst another maiden rests on the ﬂoor and two men close by, the sides and base decorated with ﬂoral sprays and musical instruments, split to the lid and some loss of lacquer, 7.5cm diameter, an 18th century Frederick the Great copper and brass snuff box, worn, 12cm long, plus a late 19th century tortoiseshell and piqué work cigarette case, 10 x 6.5cm

Lot 158

Provenance: Collection of Jack Webb (19232019), London. (4) £200 - £300

159* Spectacles. A Victorian opticians multi lens frame, carved in horn comprising 10 hinged lens each numbered, 11cm long, another similar with 12 single lens, 12.5cm long, pair of George III brass spectacles with wig extensions and other items Provenance: Collection of Jack Webb (19232019), London. (6) £100 - £150

Lot 159

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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Lot 160

160* Stabler (Harold, 1872-1945). A cloisonné enamel plaque 1914, depicting a child in a festooned chariot drawn by two leopards, signed with initials ‘hs’ lower right, the reverse stamped ‘Harold Stabler London 1914’ in an elaborate silver frame with scroll suspension loop, 11 x 13cm Provenance: Collection of Jack Webb (1923-2019), London. Harold Stabler (1872-1945) was a designer and craftsman in silver, enamels, pottery and glass. He was associated with William Morris and his followers and from 1898 to 1900 he was the manager of the Keswick School of Industrial Art. Stabler made a name for himself as an enameller and his works were exhibited at the Royal Academy in 1916 and 1917. He designed the enamel mace for Westminster Cathedral and also the ceremonial collar of the Royal Victorian Order. He also designed for the Poole Pottery factory during the 1920/30s along with Truda Carter, John Adams and his wife Pheobe. Poole items of this period can be found with the stamp Carter, Stabler, Adams. (1) £700 - £1,000

161* Tantalus. A Victorian oak tantalus, with carved panels and plated mounts, holding three square-cut glass decanters each with stopper, minor nibbles but one with a chip to the rim of neck, with two hinged doors enclosing two compartments and secret drawer beneath enclosing a cribbage board, with key, 34cm high x 39cm wide x 29cm deep (1)

£100 - £150

Lot 161

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162* Taxidermy. A taxidermic barn owl, beautifully preserved in naturalistic setting housed under a glass dome with wooden base, 40cm high (1)

£150 - £200

163* Taxidermy. A taxidermic pike, approximately 75cm long, presented in a glass case, 35cm high x 91cm wide x 14.5cm deep (1)

£200 - £300

164* Taxidermy. A taxidermic ﬁeld mouse, presented on log with wheat and hazelnut, housed under a glass dome with wooden base, 18cm high (1)

£70 - £100

Lot 162

165* Taxidermy. A taxidermic merlin, beautifully preserved in a naturalistic setting with prey in claws, housed under a glass dome with wooden base, 37cm high

Lot 164

(1)

Lot 163 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£70 - £100

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Lot 166 166* Taxidermy. A pair of taxidermic red squirrels, presented in a glass case with naturalistic setting, 43.5cm high x 38cm wide x 14cm deep, together with a cased Corncrake, 26cm high x 25.5cm wide x 11.5cm deep, plus a cased Kestrel, 35cm high x 30.5cm wide x 14cm deep (3)

£100 - £200

168* Taxidermy. A Victorian taxidermic woodcock, ﬁnely presented in an ebonised glass display case with naturalistic setting, the case with a collection label stamped ‘D.O.E. 008303’, 32.5cm high x 38cm wide x 15cm deep (1)

169* Taxidermy. A cased taxidermic kingﬁsher, presented in a naturalistic setting, 25cm high x 19.5cm wide x 11cm deep, together with two further cased specimens, comprising a ring ouzel and a ﬁeldfare, similarly presented

167* Taxidermy. A Victorian taxidermic woodpecker by T. Ellis, Animal & Bird Stuffer, Swaffam dated 1865, presented in a glazed oak case with naturalistic setting and with original trade label, 35cm high x 26cm wide x 16cm deep (1)

£100 - £150

(3)

£100 - £150

Lot 169 57

£100 - £200

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170* Tea Caddy. A Regency mahogany tea caddy, of sarcophagus form with rosewood crossbanding, the inner lid inlaid with a conch shell on an oval green stained ground, with two lift-out canisters and cut glass mixing bowl, on four squat bun feet,16.5cm high x 31cm wide x 16cm deep, with key, together with a Victorian burr walnut veneered tea caddy, of rectangular form with rosewood crossbanding, the hinged lid enclosing, two compartments each with mahogany cover, 11.5cm high x 17.5cm wide x 11cm deep (2)

£100 - £150

171* Temple Bar. A Victorian circular plaque made from the lead removed from the roof when Temple Bar was demolished in 1878, with an image of Temple Bar designed by C.H. & J. Mabey, with the legend ‘Temple Bar Erected 1672, Demolished 1878; This Efﬁgy of it Was Struck From The Lead Formerly on the Roof’, presented in a circular brass frame with bevel glass, 11cm diameter, together with a similar copper plaque, 9cm diameter, presented in a period walnut frame, glazed, frame size, 18.5cm square, plus two small Victorian photographs of Temple Bar

Lot 170

Provenance: Collection of Jack Webb (1923-2019), London. Temple Bar was given this name for its proximity to the Temple law courts. It was an arch and gateway built by Sir Christopher Wren. It was erected to mark the western limit of the City of London, marking the boundary between London and Westminster. Temple Bar was often used for displaying heads and bodies of executed traitors. The Bar was dismantled in 1878 to allow for increased trafﬁc ﬂow and some of the lead was used to make these medals. (4) £100 - £150

172* The First Atlantic Cable. A souvenir section of cable c.1858, the intricate circular steel wire cable with white metal collar to each end, approximately 15cm long, presented in a fine leather covered dome case with black felt lining, the base with a contemporary manuscript label inscribed ‘The first atlantic cable.’ Provenance: Collection of Jack Webb (1923-2019), London. The Atlantic Telegraph Company was a company formed in 1856 to undertake and exploit a commercial telegraph cable across the Atlantic ocean, the first such telecommunications link. The first trans atlantic telegraph cable crossed the Atlantic Ocean from Foilhommerum, Valentia Island, in western Ireland to Heart’s Content, in eastern Newfoundland. The trans atlantic cable bridged North America and Europe, and expedited communication between the two. Whereas it would normally take at least ten days to deliver a message by ship, it now took a matter of minutes by telegraph. Five attempts were made over a nine-year period in 1857, two in 1858 , 1865, and 1866 before lasting connections were finally achieved by the SS Great Eastern with the 1866 cable and the repaired 1865 cable. Additional cable s were laid between Foilhommerum and Heart’s Content in 1873, 1874, 1880 and 1894. By the end of the 19th century, British, French, German and American-owned cable s linked Europe and North America in a sophisticated web of telegraphic communications. (1) £100 - £150

Lot 171

Lot 172

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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Lot 174

173* Tomb plate. A monumental brass tomb plate, probably English, 15th century, engraved with ﬁve boys standing with hands together in prayer, inscribed beneath 'Stephen John Stephen Thomas and George', 21 x 13cm

175* Treen. An 18th century fruitwood nutcracker, richly carved with geometric decoration with a threaded peg and disc handle, old crack to the rim of aperture, 11cm long, together with an 18th century wooden draught, with pressed decoration depicting Cupid embracing the recumbent Venus and with the legend ‘Ille Iocatus Amatur’, the opposite side with the same female smacking cupids bottom and the legend ‘Peccat Ille Verberatur’, 6cm diameter, plus a 19th century Lignum Vitae go-to-bed match holder, 5.5cm high

Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

174* Tools. An interesting collection of 18th century or earlier woodworking tools, comprising a steel plane with ebony handle, 8.5cm long, 3 steel hammers each with elaborate shaped head, largest 15.5cm long, smallest 10cm long, 3 steel chisels each different and with turned and shaped decoration, all approximately 8.5cm long plus a pair of steel pliers with a cut steel ﬁnish, 11cm long Provenance: Collection of Jack Webb (1923-2019), London. (8)

Provenance: Collection of Jack Webb (1923-2019), London. (3)

£100 - £150

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Lot 176 176* Trench Art. A collection of WWI memorabilia, including a bullet pencil from a Princess Mary Christmas tin, Bruce Bairnsfather “Old Bill” pottery tobacco jar, chip to rim, 13cm high, pair of shell case chamber sticks, a copper and brass powder ﬂask embossed with an American eagle, 16cm long, plus a collection of items relating to Miss M.E. Williams, Queen Mary’s Army Auxiliary Corps (Q.M.A.A.C.), comprising a large black and white photograph of 620 Mechanical Transport Company, Royal Army Service Corps, Regents Park, April 1919, plus framed certiﬁcate and three related badges (a carton)

£150 - £200

177* Wall hangings. A pair of 18th century gilt metal wall hangings, each formed with three pierced square panels united by four pierced links, the top with a shaped suspension bar and the lower section with a triangular panel, the whole piece ﬁnely engraved with foliate and scroll decoration and inset with glass cabachons, 82cm long (2)

Lot 177

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

Lot 178

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178* Waterman’s Badge. A George III Thames Waterman’s Licence Badge, the circular silver-plated badge engraved with ofﬁcial licence number 30, with the arms of the Waterman’s Company above and the arms of the City of London below, 11.5cm diameter Provenance: Collection of Jack Webb (1923-2019), London. This very early numbered brassard or arm band was sewn onto the sleeve of a Waterman’s coat and belonged to Thomas Munday whose address is given as 18 Magdalen Circus, Bermondsey in 1803, when the badge was issued. He was afﬁrmed as having been baptised in 1780, had been apprenticed for 7 years to Thomas Dandy Junior from 1795, and was made free in 1802. He appears to have paid quarterage from Michaelmas from 1802-1818 and his mooring is given as St. Olave’s in the quarterage book. The badges were only issued for a short period of time between 1803-1827 and the number would denote the registered number of Munday’s skiff. (1) £300 - £500

179* Wristwatch. A WWII Vertex “Dirty Dozen” military wristwatch, the circular black dial with arabic numerals and luminous markers, sunsidiary seconds dial, the steel case with backplate stamped W.W.W. with broad arrow and serial numbers A 4423 3517339, with black leather strap, general wear to the case and scratches to the glass, in running order Vertex were part of a series of 12 military wristwatches known as "The Dirty Dozen". A total of 15000 were made by Vertex and the watches are easily identiﬁed by the 3 Ws on the backplate which stand for Watch, Wrist, Waterproof. This example is in good original condition. (1) £600 - £800

180* York Hussars. A ﬁne regimental desk seal c.1794-1802, with bloodstone intaglio cut with the arms of the York Hussars and the initial ‘I’, secured by gilt metal on a turned ivory handle Provenance: Collection of Jack Webb (1923-2019), London. In June 1793 Prince Lubnoviski a Pole offered to form a corps of four squadrons dressed in Polish style wearing a scarlet kourka (jacket) with green facings and a white chapska (shako) surrounded by a black turban, with cloak, boots and carry a sword, a carbine and pair of pistols. In May 1794 Lt. Col. Irvine was authorised to arm and equip these men and in August Irvine was made Commandant. They fought at Boxtel, where they were credited for charging at the enemy three times and were later disbanded on 24 July 1802. The ‘I’ engraved on the seal probably represents Irvine. (1) £300 - £500

Lot 180

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ORIENTAL WORKS OF ART

183* Chinese brooch. A 19th century Chinese relief carved ivory brooch, carved with ﬁgures, buildings and trees, set in a gilt metal mount, 6 x 5cm, together with a 19th century foliate carved ivory brooch set in a silver mount, 5 x 4.5cm plus a 19th century ivory brooch of natural form set in silver mount, 6 x 5cm Provenance: Collection of Jack Webb (1923-2019), London. (3)

£100 - £150

181* Amber. A collection of 10 amber beads, probably Chinese, comprising 4 large orange beads, combined weight approximately 42g, each with brass loop 3.5cm long, plus 6 smaller beads, 2cm long combined weight approximately 28g Provenance: Collection of Jack Webb (1923-2019), London. (10)

£100 - £150

182* Axe head. A Chinese archaic bronze ritual axe head, the wide flattened blade with rounded edge, the haft pierced with hole cast with roundels and lines with one large pierced hole flanked by two smaller, 13.5cm x 10cm wide together with another Chinese bronze axe head, green from verdigris, 10cm x 6.5cm, plus a Neolithic stone tool, 8cm long Provenance: Collection of Jack Webb (1923-2019), London. In Chinese culture weapons such as the dagger and axe had a sacrificial meaning, symbolizing the heavenly power of the ruler. (3) £200 - £300

184* Chinese porcelain. A Chinese porcelain hookah base, late 17th century, of mallet form with blue and white ﬂoral decoration, the top of the neck broken, the base with a six-character mark and a label inscribed ‘Mark of Ch’eng Hua 1465-87’ but Kangxi period, 22.5cm high together with a Chinese porcelain lotus tea bowl, early 18th century, the lobed bowl decorated with panels of ﬂowers to both the interior and exterior, with four-character Kangxi mark to base, old repair and small chips to rim and hairline crack, 6cm high x 10.5cm diameter Provenance: Collection of Jack Webb (1923-2019), London. (2) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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187* Cup. A fine 19th century Tibetan silver cup and cover, the cover with hardstone finial, engraved and chiseled decoration with dragons and other mythical beasts richly gilded, the stemmed base with flared rim, collection-number ‘126’ to base, 14cm high x 13cm diameter Provenance: Jonathan Tucker Antonia Tozer Asian Art and Private Collection, Cotswolds. (1) £400 - £600

185* Chinese seal. A 19th century Chinese bronze desk seal, in the form of a duck surmounting a hollow brick base, the base with Chinese characters on an red in-ﬁlled ground, with silver wire inlay, 8.5cm high x 6cm wide x 4cm deep Provenance: Collection of Jack Webb (1923-2019), London. (1)

£100 - £150

188* Funerary pot. A Chinese Neolithic earthenware funerary pot, circa 2000 BC, the ovoid two handle pot painted with a lattice and lozenge decoration, some chips to the rim,19cm high Provenance: Private Collection, Herefordshire, England. The decoration is typical the Pan-Shan culture (2500-2000BC) of Neolithic China who had this distinctively painted pottery. (1) £200 - £300

186* Chinese Spittoon. An 18th century Chinese export porcelain Famille Rose spittoon, probably Yongzheng, with large shaped everted rim decorated with ﬁgures, the ovoid body with enameled birds perched on a branch on a pink ground with marbled handle, polychrome decorated highlighted in gold, the rim has a piece missing and some minor chips, otherwise in good condition, 11cm high x 13cm diameter (1)

£150 - £200

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Lot 189

189* Mahjong. A Chinese hardwood cased mahjong set, with bone and bamboo tiles contained in four drawers with a further drawer beneath containing chips, counters and dice, the brass mounted case with a crack to the sliding door, 15.5cm high x 24cm wide x 16.5cm deep (1)

£100 - £150

190* Medical Figure. A 19th century Chinese ivory female medical ﬁgure, carved as a recumbent nude, some old cracking, 15cm long, presented on a hardwood stand Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

191* Netsuke. A Japanese ivory netsuke, Meiji period 1868-1912, carved as an elder wearing a cloak with swastika symbols, 5cm high, together with a boxwood netsuke carved as a man with a pot on his head, 5cm high, plus another probably carved bone Provenance: Collection of Jack Webb (1923-2019), London. (3)

Lot 190

Lot 191 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

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JEWELLERY

194* Brooch. A Victorian cameo brooch circa 1850, the cameo carved in onyx with a classical female proﬁle, within a large Etruscan style gold mount, the reverse with oval glass aperture for a lock of hair, with safety chain, slight damage to the tip of nose, 5 x 4cm (1)

192* Shrine pendants. A 20th century gold pendant inset with a Buddha, 3.5cm long, together with two smaller, one encompassing a Buddha the other a polished hard-stone, plus a 19th century Chinese steel claw pendant with iron and gold dragon handle and suspension ring, 7.5cm long Provenance: Collection of Jack Webb (1923-2019), London. (4)

£70 - £100

195* Buttons. A framed set of engraved button covers, French, circa 1770s/80s, 8 circular hand-coloured stipple engravings, each depicting a head-and-shoulders portrait of a lady wearing an elaborate hat, diameter 37mm (1.5ins), mounted together on card, framed and glazed, together with: A collection of 18th century and later buttons, including: 14 late 18th century mother of pearl studs, each ﬁnely carved with a star and central paste jewel, brass and mother or pearl back, 16mm diameter; a pair of pair of silver and enamel buttons by J. Aitken & Sons Birmingham 1911, each with a simulated pearl design on a blue and white geometric ground, 35mm diameter; a group of 5 19th century copper and brass buttons, engraved with a starburst within a chiselled edge border, 35mm diameter; a large George III mother of pearl button engraved with a trap pulled by a pair of horses, 45mm diameter; an 18th century mother of pearl button engraved with a rococo design of c-scrolls and lattice-work, 37mm diameter; and various other buttons and cufﬂinks including 14 silver

193* Buckle. A Victorian white metal fox hunting buckle, of oval form ﬁnely decorated with spurs and riding crop, 6cm long x 5cm wide, 38g Provenance: Collection of Jack Webb (1923-2019), London. (1)

£300 - £500

£70 - £100

Provenance: Collection of Jack Webb (1923-2019), London. Picture buttons first became popular in the 1770s, initially in France where they were known as ‘boutons à miniature’. Such items were engraved or hand-drawn and usually mounted onto copper frames with a flat or slightly domed glass cover. They depicted a wide range of subjects, including architectural views, mythological scenes, historical events, and flora and fauna as well as images of ladies such as these. It is rare to find a set, seemingly unused. For similar see The Metropolitan Museum of Art (accession numbers 51.47.55–.58 and 50.231.167–.174). (a small box) £150 - £200

Lot 195 65

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199* Gold Pencils. A collection of 5 Victorian yellow metal propelling pencils, including 2 Sampson Morden & Co, one with a shield shape carnelian seal top and the other set with an amethyst, largest 10cm, smallest 8.5cm

196 Coin. An E.II.R. gold half sovereign, 1980, uncirculated with plastic capsule (1)

£100 - £150

(5)

197* Coins. A small collection of British and World coins, 18th20th century, including a Victoria 1893 gold Sovereign (Spink 3874, with Obverse: Queen Victoria Old veiled bust and Reverse: St George and the Dragon by Benedetto Pistrucci), 1816 George III Halfcrown (Spink 3788), 1826 George IV Penny (Spink 3823), 1892 Victoria Crown (Spink 3921), and 1972 Elizabeth II & Philip Silver Wedding Commemorative twenty-ﬁve pence (crown) coin, etc. and other mostly 20th century coins, (small folder & box)

£300 - £500

200 Gold rings. 3 gold rings comprising, an 18ct gold ring set with a small old cut diamond, 7.7g, together with a 22ct gold wedding band, 4.1g plus a 9ct gold wedding band Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £400

£200 - £300

198* Coins. A George III gold half guinea, 1804, drilled together with a George II shilling, 1734 (2)

£100 - £150

201* Jewellery. An Edwardian 18ct gold bar brooch, set with a small diamond solitaire, stamped 18ct, with pin and safety chain, 4cm long, overall weight 3.2g with a period box, a pair of gents 9ct gold cufﬂinks, with engraved foliate decoration, stamped ‘375’, 6g, boxed, two French 5 franc coins joined together to form a brooch with gold ‘Army Service Corps’ pendant attached, 3.5cm long, 4.5g, a Victorian yellow metal bar brooch inset with a cameo carved as a Grecian female, 5cm long plus a yellow metal tie pin inset with a small diamond with box Provenance: Collection of Jack Webb (1923-2019), London. (5) £150 - £200

202* Jewellery. A mixed collection of items including a novelty silver owl seal fob by Henry Williamson Ltd, Birmingham 1908, with paste eyes and pink stone base and ring suspension, 4cm high, two silver thimbles (one cased), a blue glass scent bottle with silver top and other items

Lot 199

Provenance: Collection of Jack Webb (1923-2019), London. (small tub)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£70 - £100

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204* Mixed jewellery. A Georg Jensen bracelet c.1908 with niello work acanthus links, stamped Georg Jensen with date mark for 1904-08, numbered 5019, 18cm long, together with a mixed collection of costume jewellery including an Arts and Crafts brooch/buckle, with relief carved ivory panel of an lady in Renaissance headdress on silvered and brass setting inset with coloured stones, 9 x 6.5cm, an Art Deco frosted and cut glass pendant in the Lalique style cut with confronting exotic birds, with a white metal loop inset with a paste stone, 6.5cm long, a Ruskin style brooch, with agate cabochon on a pewter mount, lacking pin, 5cm long, an Arts and Crafts miniature white metal photograph frame / brooch with blue enamel decoration, 3.5cm square and other items, contained in an old leather jewellery box Provenance: Collection of Jack Webb (1923-2019), London. (a jewellery box) £200 - £300

203* Mixed gold. A 9ct gold Vertex Revue gentleman’s mechanical wristwatch, the circular silvered dial with gold hands and batons, on a black leather strap, working, together with a pair of 9ct gold cufﬂinks, 7.5g plus 9ct gold St Christopher pendant and a pair of cufﬂinks formed with two small Ottoman gold coins (4)

£150 - £200

205* Mourning ring. A George III mourning ring commemorating General Henry Edward Fox (1755-1811), the yellow metal ring with black enamel set with 10 pearls surrounding a glass aperture, the interior engraved ‘Genl The Right Honble Hy Edwd Fox Obt 18 July 1811, Agt 57’, there has been a repair to the shank, inner circumference 20mm Provenance: Collection of Jack Webb (1923-2019), London. General Henry Edward Fox (1755-1811) was a British Army general, he also served as Governor of Minorca and Governor of Gibraltar. He was educated at Westminster School before being commissioned as a cornet in the 1st dragoon guards in 1770. After a spell at the military academy in Strasbourg he went on to rise to the rank of Captain in 1774. In 1773 he moved to the 38th Foot stationed at Boston, and fought in the American War of Independence and by the end of the war he had risen to Colonel and King’s aide-de-camp. He then moved to command the forces in Nova Scotia (1783-89). Fox was inﬂuential in the creation of the new colony of New Brunswick and then the Chatham barracks (1789-93). Fox served as Inspector-General of the recruiting service from 1795, Colonel of the 10th Foot from 1795-1811, and also Lieutenant-Governor of Minorca (1799-1801) following its capture from the French, Commander-in-Chief of all British Mediterranean forces outside Gibraltar (1801-03) and ﬁnally Commanderin-Chief in Ireland in 1803. He was promoted General in 1808 and Governor of Portsmouth in 1810 and died the following year. (1) £200 - £300

Lot 204

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SILVER 209* Art Nouveau. A ﬁne Edwardian silver vase by Connell of Cheapside, London 1904, of organic form with stylised leaf and vine handles on a long slender tapered body and splayed foot, 46cm high, 47oz Provenance: Collection of Jack Webb (1923-2019), London. (1) £500 - £800

206* Palestine Police. A 1940s 18ct gold Palestine Police ring, with king’s crown insignia, makers mark ‘Areo’, stamped ‘750’, size T/U, 14.7g See lot 24. Provenance: Police Constable Gerald J Green, Palestine Police. (1) £300 - £400

207* Rings. A 22ct gold wedding band, 4.3g together with another 22ct gold wedding band, 4.2g plus a gentleman’s 9ct gold signet ring, 10.4g (3)

£200 - £300

208* Wristwatches. A collection of wristwatches, including three WWI period, silver and enamel watches each with illuminated Arabic numerals, an Edwardian silver open-face pocket watch, the white enamel dial with black Roman numerals, blued steel hands, a 9ct gold wristwatch with 9ct gold bracelet and other items Provenance: Collection of Jack Webb (1923-2019), London. (14)

210* Artificers Guild. A silver plated bowl and cover c.1930 designed by Edward Spencer, the domed cover with coronet type finial, the two stage base on hexagonal base with makers stamps to base, the whole piece with a hammered finish and gilded interior, 14cm high x 14cm diameter

£70 - £100

Provenance: Collection of Jack Webb (1923-2019), London. Edward Napier Hitchcock Spencer (1873-1938) trained in the architects ofﬁce of Henry Wilson (1864-1934) a well known architect, jeweller and designer. The Articiﬁcers Guild was established in 1901 by Nelson Dawson and Spencer who had worked in the Dawsons workshop in Chiswick became a fellow-guildsman and junior designer at the Guild (later becoming Chief Designer). Spencer designed many forms of silverware and often incorporated other materials such as ivory, shagreen, nuts wood or mother-of-pearl. The Guild closed in 1942. (1) £200 - £300

211* Arts and Crafts. A silver-plated bowl and cover c.1920/30s, probably Articifers Guild, the domed cover with entwined ﬁnial, the base with pedestal rope twist base, the interior gilded, the whole piece with a hammered ﬁnish, no markings, 12cm high x 15.5cm diameter Provenance: Collection of Jack Webb (1923-2019), London. See previous lot. (1)

Lot 209

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

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212* Bowl. A George V silver bowl by Atkin Brothers, Shefﬁeld 1918, of circular lobed form, 23cm diameter, approximately 10.5oz together with a pair of brass chimney ornaments cast as sailors the bases inscribed ‘Britains Pride’, 28.5cm high plus Victorian cast iron doorstop with a Royal Coat of Arms, 25cm high and a Victorian oak writing box, 12cm high x 27cm wide x 20cm deep (5)

214* Candlesticks. A pair of 18th century paktong candlesticks, each with detachable sconce, turned column on square base, 23cm high Provenance: Collection of Jack Webb (1923-2019), London. Paktong is a Chinese alloy closely resembling silver. (2) £500 - £800

£100 - £200

215* Desk seal. A mid 18th century French white metal desk seal, with hollow cylindrical tube and square seal with intaglio coat of arms of a lozenge with 3 stars surmounted by a crown with ﬂoral borders, with push button and hinged lid, 7.8cm long Provenance: Collection of Jack Webb (1923-2019), London. (1)

£100 - £150

213* Buckles. Three George III white metal knee-breech buckles commemorating the Jubilee of George III (1809), comprising a rectangular buckle with a proﬁle of George III facing right with “heaven prolong his life” beneath within an acorn and oakleaf border with a banner ‘50th Anniversary 1809’ and four part scroll beneath inscribed ‘Give God Praise Oct 25’, the reverse with a buckle attachment, 52mm x 40mm, with two further shaped oval buckles each with a ‘50’ surmounted by a crown Provenance: Collection of Jack Webb (1923-2019), London. (3) £200 - £300

216* Forks. A collection of George III forks, comprising a set of six dessert forks, by NH, London 1798, each engraved with a family crest depicting a sunburst, 16cm long, 5oz, two dinner fork by James Tookey, London 1784, 20.5cm long, 4oz, plus two dessert forks and four teaspoons, overall weight approximately 15oz (15)

Lot 214

£100 - £150

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218* Liberty & Co. Silver teaspoons designed by Archibald Knox, Birmingham 1932/33, each with stylised heart motif terminal, 11.5cm long together with a set of six Art Deco silver teaspoons by Roberts & Belk Ltd, Shefﬁeld 1935 with Jubilee mark and case, total weight approximately 5.2oz Provenance: Collection of Jack Webb (1923-2019), London. (9)

£100 - £150

217* Georg Jensen. A Georg Jensen silver Cactus dessert spoon and fork designed by Gundorph Albertus c.1930s, various marks, 17cm long together with 2 teaspoons in the same pattern, 10cm long, a Jensen silver Hors d’ Oeuvre fork/spoon and spoon in the Parallel pattern c.1930s, 12.5cm long, a Jensen silver caddy spoon by George Stockwell c.1920s, 11cm long plus a Scandinavian silver cake slice, 15.5cm long, total weight approximately 8oz Provenance: Collection of Jack Webb (1923-2019), London. (8) £200 - £300

219* Mixed silver. A mixed collection of 72 silver items, including a George III brightcut teaspoon by George Wintle, London 1805, a pair of silver Masonic teaspoons by G.F. Westwood and Sons, Birmingham 1922, a silver feeding spoon by Deakin & Francis Ltd, with a hammered ﬁnish and curved bird handle, 10.5cm long, a silver babies rattle, Birmingham 1921, decorated with an image of Little Bo Peep to each side and three bells on a mother of pearl handle, 8cm long, a small Chinese silver dish, on an outsplayed foot, 6cm diameter, silver cheroot and holder, button hooks and other items, displayed in a glazed oak bijouterie cabinet, 72cm high x 44cm wide x 36cm deep (approximately 10 spoons are silver plated) (72)

£200 - £300

220* Mixed silver. A collection of silver cutlery, Victorian and later, including 4 Victorian ﬁddle pattern table forks by Francis Higgins II, London 1899, each engraved with a family crest, together with a serving spoon, a dessert spoon by George Angel and other items, total weight approximately 18oz (12)

Lot 218

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

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224* Mixed silver. A mixed collection of silver, including an 18th century style silver cup by C.F. Hancock & Co Ltd, London 1977, 5cm high x 5.5cm diameter, 68g, a 1977 Silver Jubilee plaque in the form of a stamp, 74g, 8 silver Albert watch chains and other items, combined total weight approximately, 400g

221* Mixed silver. An 18th century white metal pounce pot, with pierced cover on a plain pedestal base and mounted on a terracotta base with gilt decoration, 10cm high, together with an unusual white metal box, of spherical form with sprung hinged lid on a pyramid type base, 10cm high, an American silver salt spoon by J. Sayre, New York c.1789-1818, 10.5cm long, an 18th century silver salt, the octagonal salt with wasted based engraved with initials FM, hallmarks rubbed, 8cm long and other items Provenance: Collection of Jack Webb (1923-2019), London. (small box)

Provenance: Collection of Jack Webb (1923-2019), London. (small box) £200 - £300

225* Mixed silver. A mixed collection of silver, including a Victorian cased butter dish and knife by George Maudley Jackson of St Augustine’s Parade, Bristol, London 1890, of shell form the thumbpiece engraved with a family crest depicting an arm holding a fleur-de-lys, on three ball feet, 13.5cm long, a smaller butter dish by Atkin Bros, Sheffield 1892 of shell form with knife and fitted case, a cased set of six seal top spoons by S. Greenberg & Co, Birmingham 1939 and other items plus a collection of silver plate including a Viners four-piece teaset, Old Sheffield Plate helmet shape cream jug, lobster forks and other items

£100 - £150

(small carton)

£100 - £200

222* Mixed silver. A George III silver cream jug by Robert and David Hennell, London 1796, with brightcut decoration and engraved with initials, reeded scroll handle, 10cm high, 3.5oz, a smaller George II silver cream jug, makers mark worn, London 1742, of baluster form engraved with a family crest depicting a bird with gilded interior, scroll handle on three cabriole feet, 8cm high, 2.5oz plus a George III silver sugar caster, probably by Robert Innes, London 1767, with pierced lattice work cover, 12cm high, 2oz (3)

£150 - £200

223* Mixed silver. A George V silver sauce boat by Edward Barnard & Sons Ltd, London 1912, with shaped edge and ﬂying scroll handle on shell supports with hoof feet, 6.5oz, together with a mixed collection of silver including, a pair of candlesticks, Birmingham 1906, with festoon decoration, 9.5cm high, weighted, a George III salt by Thomas Shepherd, London 1789, on three cabriole supports, 6cm diameter, 1oz, an Edwardian glass ink bottle, makers mark worn, Birmingham 1902, pair of George III sugar tongs, a bon-bon dish by William Neale & Son Ltd, Shefﬁeld, 1897 and other items

226* Mixed silver. An Edwardian silver triple cigar case by George Loveridge & Co, Birmingham 1903, super quality with foliate engraved decoration and presentation inscription dated 1903, the interior gilded, 13cm long, 105g together with a silver cigarette case by William Neale & Sons, Chester 1901, 8.5cm long, 59g, a miniature silver mug by George Betjemann & Sons, London 1897, 4cm high, a vesta case, silver ingot and other items, combined weight approximately 282g

(15)

(9)

£150 - £200

£80 - £120

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227* Pocket Watches. A collection of Victorian and later silver pocket watches, including a silver pocket watch, Birmingham 1848, with circular white enamel dial and black Roman numerals, an Edwardian silver stop watch, three silver watch chains and other items (small bag)

£100 - £150

228* Sifter spoon. A silver sifter spoon by D&J Welby Ltd, London 1951, the plain spoon with a long stem and half pierced bowl, 30.5cm long, approximately 4oz Provenance: Collection of Jack Webb (1923-2019), London. (1)

£70 - £100

229* Silver name brooches. An impressive collection of Victorian and Edwardian silver name brooches, names include Ada, Edith, Martha, Eliza, Florrie, Sophia, Eva, Bessie, Daisy, Lizzie, Alice, Jennie, Fanny, Maud, Blanche, Agnes, Lottie, Pollie, Nellie, Susanna and others, various types and dates, presented in a modern display frame, glazed (43)

Lot 228

Lot 229 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

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230* Soup ladle. An 18th century American silver soup ladle by John Walraven, Baltimore c.1790, engraved with initials and a brightcut edge, 35cm long, 5.5oz

Lot 232

Provenance: Collection of Jack Webb (1923-2019), London. (1) £150 - £200

Lot 233 231* Spoons. A pair of George III silver serving spoons London 1807, two picture back serving spoons, London 1762 and 1757 and one other, together with a pair of 18th century silver scissor action sugar nips probably by Richard Mills, the bowl engraved with the crest of Hardy of Letheringsett Hall, Norfolk, old repairs, 12cm long, combined weight approximately 10oz Provenance: Collection of Jack Webb (1923-2019), London. (6)

£100 - £150

232* Stuart Devlin. A Stuart Devlin silver egg commemorating the Silver Jubilee 1952-1977, the silver-gilt egg numbered 18, hallmarks for Stuart Devlin, London 1977, 7cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

233* Stuart Devlin. A Stuart Devlin silver egg commemorating the wedding of Charles & Diana 1981, the silver gilt egg numbered 20 hallmarks for Stuart Devlin, London 1981, 6cm high, presented in a ﬁtted box

234* Wine label. A George III silver ‘White Wine’ label by John Harvey I, London c.1750, the shaped label engraved in large serif capitals with chain, 5.5cm long

Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

Provenance: Collection of Jack Webb (1923-2019), London. (1)

£100 - £150

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TRIBAL ART 236* Ashanti. A brass Kuduo (lidded vessel) pot and cover of cylindrical form with geometric decoration with cover and swing handle, the base of the pot with a pierced grille, in excavated condition, 8.5cm high Provenance: Professor Leonard E. Newton. Kuduo vessels were popular in the 18/19th century and were the possessions of kings and courtiers in the Akan kingdoms. At the time of death, a person’s kuduo was ﬁlled with gold and other offerings and included in an assembly of items at the burial site. (1) £100 - £150

235* Angola. A Chokwe carved wood headrest, mid to late 20th century, the curved rest above an animal with long tail, 16cm high x 26cm long (1)

£70 - £100

The following lots (236-245) form part of a collection belonging to Professor Leonard E. Newton, a retired Professor of Botany. Leonard lived and worked in Ghana from 1966-1984 and developed a keen interest in the Ashanti culture collecting many of these weights and related items from local traders and markets. He was also good friends with renowned collectors Enid Margaret “Peggy” Appiah (neé Cripps), MBE (daughter of the Right Honourable Sir Stafford Cripps) and Timothy Garrard, who was the world expert in the study of goldweights. Many of these weights were purchased from Peggy and Timothy.

237* Ashanti. A collection of animal gold weights, comprising approximately 130 brass weights of different forms including birds, ﬁsh, snakes, turtles, crocodiles and other items Provenance: Professor Leonard E. Newton. (approximately 130)

£150 - £200

Ashanti goldweights are weights made of brass and used by the Ashanti people as a measuring system, particularly for weighing gold dust which was the currency until replaced by coins and paper money. Each weight had a known weight and would come in many different forms each with a symbolism of Ashanti culture, for example shields are symbols of bravery, stamina, or a glorious deed. A double-edged sword would symbolize a joint rule between female and male, rather than implying violence or rule with fear.

238* Ashanti. A collection of 15 Ashanti bronze ﬁgures, various forms including carriers, riders, warriors, fertility and other items, tallest 8cm, smallest 4cm (15)

Lot 236

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£80 - £120

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241* Ashanti. A collection of Ashanti gold weights, comprising approximately 250 geometric brass weights Provenance: Professor Leonard E. Newton. (approximately 250)

£200 - £300

239* Ashanti. A collection of Ashanti ﬁgural gold weights, comprising 23 brass weights modelled in different forms including, chiefs, carriers and couples Provenance: Professor Leonard E. Newton. (23)

242* Ashanti. A collection of gold weights and related items, comprising, a pair of scales, 10 gold dust spoons, 5 gold dust boxes, 1 scoop, approximately 100 geometric brass weights plus 50 various mixed weights including weapons, tools, plants and fruit

£100 - £150

Provenance: Professor Leonard E. Newton. (approximately 165)

£200 - £300

240* Ashanti. A collection of Ashanti gold weights, comprising approximately 250 geometric brass weights Provenance: Professor Leonard E. Newton. (approximately 250)

£200 - £300

243* Ashanti. A collection of gold weights and related items, comprising, a pair of scales, 10 gold dust spoons, 5 gold dust boxes, 1 scoop, approximately 100 geometric brass weights plus 50 various mixed weights including weapons, tools, plants and fruit Provenance: Professor Leonard E. Newton. (approximately 165)

Lot 241 75

£200 - £300

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244* Ashanti. A collection of gold weights and related items, comprising, a pair of scales, 10 gold dust spoons, 5 gold dust boxes, 1 scoop, approximately 100 geometric brass weights plus 50 various mixed weights including weapons, tools, plants and fruit Provenance: Professor Leonard E. Newton. (approximately 165)

£200 - £300

Lot 246

245* Ashanti. A large collection of Ashanti gold weights, comprising approximately 350 brass weights of different forms including, bells, weapons, geometric and other items Provenance: Professor Leonard E. Newton. (approximately 350)

£200 - £300

246* Ghana. An early 20th century Akuaba wooden fertility doll, carved in the traditional form with outstretched arms, overall painted in black, 39cm high mounted on a perspex base Akuaba women hoping for a child would carry these dolls in their clothes. They traditionally have large round ﬂat heads which represent the moon goddess who was associated with fertility. Once the doll had fullﬁlled its purpose, the mother would place it on her domestic altar, where it was worshipped in a shrine. They were ancestral pieces often handed on to the next generation. (1) £70 - £100

247* Mali. A N’tomo tribal mask, mid to late 20th century, the oval mask with ﬁve horns, applied with tin or aluminium decoration and four bosses, the ears pierced with copper rings, the mouth panel with a marking ‘AD8B DA’, 53cm long Bamana N’Tomo masks of Mali, West Africa were worn by boys as they passed through from child to manhood and were seen as a way of reinforcing lessons taught as they are prepared by elder males in the society for circumcision. (1) £70 - £100 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 247

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248* New Zealand. A 19th century Maori greenstone / nephrite jade ear pendant (koru pounamu), of long plain form, pierced for suspension, 7.5cm long x 1.5cm wide, together with another similar but with old chips near suspension hole, 7.5cm long x 2cm wide

Lot 250

Provenance: Collection of Jack Webb (1923-2019), London. (2) £150 - £200

249* Papua New Guinea. A large Tami Island wooden ceremonial bowl, probably early 20th century, the carved wood bowl of navette form with two lugs and a serpent carved in relief, some old cracking, 23cm high x 50cm wide x 105cm deep The Tami Islands are a group of small islets that lie off the eastern tip of the Huon Peninsula. Up until the 1920s they were the most proliﬁc and inﬂuential centre or art production in North-eastern New Guinea. These carved wooden bowls were the most important trade item produced by the Tami. Many were used as gifts and exchanged at marriage ceremonies. They were used in the preparation and distribution of food during these important feast and rituals. (1) £300 - £500

250* South Africa. A Shona carved wood headrest, early to mid20th century, with curved rest above a V shaped base with two roundels, 19.5cm high x 27cm wide Headrests were carried by the Shona tribesmen when travelling and were very personal objects which were used to support the elaborate coiffures that were fashionable among the men. Headrests were often buried with their owner. (1) £70 - £100

251* West Africa. A pair of 20th century brass ceremonial ladles, each of substantial proportions with ﬁgural handles, the bowls with a geometric spiral design, 39cm long (2)

Lot 249

£70 - £100

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Lot 252

252* Nigeria. A collection of Nok terracotta heads, including a male head wearing headdress and ringed neck, 19cm high, another of a young female wearing incised headress, 17.5cm high and others Provenance: Professor Leonard E. Newton. (5) £200 - £300

253* Indonesia. A Batak bronze ancestoral ﬁgure, modelled standing with hands clenched to chest with two rings to shoulders and a belt with drops, 12cm high (1)

£80 - £120

Lot 253 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

ANTIQUITIES 254* Ancient Egypt. A 26th Dynasty, pale green faïence Shabti, modelled wearing tripartite wig, long beard, arms crossed on chest holding mattock and hoe, back pillar and block plinth, mounted on a later wooden base, total height including base 13cm high Provenance: Collection of Jack Webb (1923-2019), London; purchased in the 1960s. (1)

£100 - £150

255* Ancient Egypt. A bronze ﬁgure of Osiris, Egyptian Ptolemaic or Roman, modelled standing wearing the Atef crown and holding a crook and ﬂail, with a label attached inscribed ‘Egyptian Ptolemaic or Roman, B.M. (British Museum) Attribution 3/8/65’, 10.5cm high Provenance: Collection of Jack Webb (1923-2019), London. Osiris was the god of the afterlife, the underworld, and rebirth in ancient Egyptian religion. (1) £200 - £300

Lot 254 78

Lot 255

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258* Roman. A collection of Roman bronze antiquities, comprising a roundel of Zeus Ammon, 6cm diameter, a bronze ﬁsh, with detailing to the eye, gills and tail, 6cm long, a miniature bronze two handled carrying pot, 7cm long plus a bronze ring, probably Roman, with an incised seal depicting scales, inner circumference 25mm Provenance: Collection of Jack Webb (19232019), London. (4) £200 - £300

259* Roman. A Roman or Etruscan bronze ﬁgure of a warrior probably Zeus, modelled nude wearing a headdress covering one shoulder, one arm raised and the other holding a ball, standing on a later base, (the raised hand is lacking a weapon), 14cm high Provenance: Collection of Jack Webb (19232019), London. (1) £200 - £300

256* Ancient Egypt. An Egyptian bronze cat 500BC - 1st Century AD, modelled standing with ornamental neck costume on a block base with ﬁxing rod, with label attached inscribed ‘Egyptian c.500BC -1st Cent AD, B.M. (British Museum) Attribution 3.8.65’, 10cm high Provenance: Collection of Jack Webb (19232019), London. (1) £200 - £300

260* Whorl. An Ancient agate whorl, of circular form with a pale blue colour, pierced in the centre, 5.5cm diameter, together with a miniature stone vessel, probably Egyptian, the speckled green stone with carved with two handles, 5.5cm high, a miniature Etruscan ewer, black with a fan design, damaged, 4.5cm high plus a small collection of knapped ﬂint tools and other items

Lot 259

Provenance: Collection of Jack Webb (19232019), London. (10) £200 - £300

Lot 258

257* Ancient Egypt. An Egyptian bronze ﬁgure, modelled as a bearded man carrying a pot on his head on a rectangular base, with a label applied inscribed ‘Putticks 23.8.66’ 7.5cm high, together with a small bronze modelled as boy with label attached inscribed ‘Etruscan c.500 B.C., B.M (British Museum) Attribution 3.8.65’, 6.5cm high Provenance: Collection of Jack Webb (19232019), London. Puttick & Simpson were auctioneers established in 1846. (2) £100 - £150

Lot 260

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TEXTILES & FASHION

Lot 261

Lot 263

261* Bag. An early reticule, circa 1790-1800, hand-stitched dark blue satin bag, composed of four sections each shaped with two lobes at the top and terminating in an arrow-shape at the bottom, front and back with gold metal thread embroidery and spangles, edged with clear seed beads, lined with pale pink cotton, original blue silk drawstring ribbon, partly unthreaded and becoming detached, ribbon and bottom of bag embellished with gold metal thread tassels, a little dusty, front and back slightly dulled, length (not including tassels) 15cm (6ins), together with: Fans. A pair of Victorian painted ivory miniature fans, one depicting a coach drawing up in front of houses with several ﬁgures in the foreground, with ruins by a lake on verso, the other with a rural scene depicting a fête champêtre and a shepherd and sheep by a thatched dwelling, with landscape on verso, both approximately 8cm (3ins), each held in crude frame, plus: a small pincushion worked in cross-stitch on linen ‘MAR Remember me 1835’, silk sides and back perishing, 3.5 x 7 x 1cm (1.25 x 2.75 x .25ins); 2 small embroidered circles, late 18th/early 19th century, with sentiments ‘Love The Giver’ and ‘Let Friendship Reign’, dust-soiled, diameter 4.5cm (1.75ins); a Victoria Jubilee red satin rosette, diameter 6.5cm (2.5ins); and 2 Victorian embossed and perforated cream card bookmarks, one stitched with the word ‘sincerity’ in seed beads and mounted in a length of pale pink silk ribbon

262* Bobbins. A collection of lace making bobbins, English, mid 19th century, 34 hand-carved bobbins, all bone, except one of wood, 2 metal wire bound and most highly decorated with coloured dots, bands, and other incised and applied ornamentation, 23 with spangles, 13 with lettering, comprising 3 inscribed with sentiments: “Don’t Tell My Mother”, “Love Me”, “My Love Is Like the Blooming Rose” (latter with spiral lettering) and 10 with names: Sophia, Hannah, Isaac, Dorothy, Diana, William, Sarah, Richard, Mary, Judy, dusty, some rubbed, a few beads coming loose or damaged, length approximately 10cm (4ins) and slightly shorter, all but two sometime displayed on a board (dust-soiled) and secured with thread Provenance: Collection of Jack Webb (1923-2019), London. (34) £100 - £200

263* Chinese Dragon Robe. A brocade silk nine-dragon robe, late Qing Dynasty, blue-ground silk robe woven in gold, with long sleeves and horse-shoe cuffs, depicting nine five-clawed dragons, three on each side, one on each sleeve, and one on interior flap, densely surrounded by various other auspicious symbols, including cloud scrolls, bats, swastikas, cranes, fish, etc., wide lishui border to hem, bauble fasteners, lined with pale blue silk, occasional minor soiling and some wear, with matching fabric at neckline and cuffs perished, and stitching broken to part of one sleeve seam and part of side seams, length 126cm (49.5ins), width cuff to cuff 197cm (77.5ins), together with: An embroidered silk Dragon Robe, late Qing Dynasty, blue-ground silk robe, embroidered with metal threads and coloured silk threads in shades of red, blue, green, purple, and yellow, depicting nine five-clawed dragons in gold thread, and numerous other symbols, including flaming pearls, circular crane motif, cloud scrolls, bats, flower basket, etc., wide lishui border at hem, lined with pale blue silk, vent to centre of front and rear, most of each sleeve and fasteners removed, faded and worn, with occasional small holes or fraying of fabric, and more significant losses to both constructional and decorative stitching, length 137cm (54ins)

Provenance: Collection of Jack Webb (1923-2019), London. (9) £200 - £300

(2)

Lot 262 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

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265* Crewelwork panel. Hunting scene, early 18th century, figurative embroidered panel, hand-stitched in two-tone green wool on brown linen twill, depicting Eastern figures with bows and arrows and spears, hunting various beasts on horseback, with scattered floral and foliate decoration, worked in a variety of stitches, including long & short stitch, stem stitch, French knots, buttonhole stitch, satin stitch, and feather stitch, a little faint staining and very occasional broken stitches, but overall in very good condition, 59 x 80cm (23.25 x 32.5ins), framed and glazed An attractive and unusual piece of early embroidery, most likely a large fragment preserved from a set of bed hangings or curtains. Such crewelwork hangings were a very popular form of English domestic furnishing in the late 17th and early 18th centuries. The designs were often influenced by contemporary Indian embroidered, printed and painted textiles imported into Europe by the East India Company. (1) £200 - £300

264* Clothing. A collection of early-mid 20th century ladies’ garments, comprising: a 1920s embroidered net overdress with short sleeves, frilled skirt with satin ﬂourish pleat at waist, some small holes and repairs; an Edwardian two-piece gown of cream lace and net, trimmed with narrow black velvet ribbon and embroidered appliqués, bodice with long sleeves, skirt with train, some wear and alterations; a late Victorian or early Edwardian long cream silk skirt with train and rufﬂes around the hem, lined, worn; a 1920s dark pink velvet cape with close gathers around neck, lined with 2 similar sprigged cotton fabrics, some tears, especially to hem; 2 1920s black chiffon dresses, both heavily beaded all over, each with some loss of beads; a 1930s black dress by Goydor (styled by Rembrandt), with long sleeves, collared v-neck with bow, pleated upper back, and buttoned half-belt to rear waist; a 1950s black swing coat by Wollands, Knightsbridge; and a black satin fulllength slip; various sizes (10)

£200 - £300

266* Dress. A 1920s evening gown and train, hand-made long dress of pale green ﬁgured lurex, mostly machine-stitched, front of waist ruched at either side, narrow double straps, each pair stitched at top to cross over, side closure with 11 small metal press stud fasteners and some metal hooks and stitched loops, short train at back, area of slight discolouration on back, bust 91.5cm (36ins), waist 79cm (31ins), length of front 131cm (51.5ins), length of back 142cm (55.5ins), together with a matching train with scalloped hem, with lining, piped scallops, twisted cord neckline, and shoulder bows, all in pale green velvet, width 81cm (32ins), length 183cm (72ins), plus a 1920s hand-made unstructured coat dress of dark blue chiffon with geometric pattern in ﬁgured pale beige velvet, with ruched stand-up collar, long sleeves, and front opening fastened with a large self covered button, stitching slightly broken to 2 short areas of seam, and small hole at cuff of one sleeve, sleeves 53cm (21ins), length 107cm (42ins) (3)

Lot 265

£150 - £250

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Lot 267 267* Dress. A changeable silk gown, circa 1850, hand-sewn dress of lilac/pink changeable silk taffeta, with round neck, ﬁtted bodice with gathers at shoulders becoming narrow pleats (some stitching missing) and terminating in v-shaped waist, ﬂared pagoda sleeves trimmed at cuff with double row of scalloped ruched pink silk ribbon, and gathered skirt with cartridge pleats at back, front opening with scalloped edge trimmed with ruched pink silk ribbon and 8 (of 10) decorative acorn buttons, opening closed by 19 brass hooks and corresponding embroidered eyelet holes, lined with cream cotton and with integral linen pocket to right-hand seam, small pale mark just above waist beside right-hand side seam, bust 81cm (32ins), waist 61cm (24ins), sleeves 51cm (20ins), length 140cm (55ins) A beautiful gown, preserved in remarkably good condition. (1) £200 - £300

269* Embroidered pictures. A pair of Quaker samplers by Martha Harrison, early 18th century, worked in coloured silks on a black wool ground, in a variety of stitches, including cross stitch, tent stitch, and Algerian eye stitch, one depicting flowers and animals (a hare, a horned cow, 3 dogs), and the other depicting a pyramidal fruit tree surrounded by other stylised trees and flowers, and 4 birds, each approximately 18.5 x 13 cm (7.25 x 5 ins), matching frames, first item with paper label on verso inscribed in brown ink: 'Given to E. Ward's mother by a Quaker Martha Harrison, A O SIMS from Eliza Ward about the 8th October 1902, they are about 200 years old', together with 2 other embroidery pictures: a 19th century floral picture in petit point using silks, 15 x 13 cm (6 x 5 ins), framed and glazed; and an early 20th century still life picture of a lobster, dead fowl, and fruit, in gros point using wool, 18 x 26cm (7 x 10.25ins), framed and glazed Provenance: Collection of Jack Webb (1923-2019), London. (4) £200 - £300

268* Embroidered picture. Tobias and the Angel, 17th century, needlepoint embroidery worked in tent stitch on canvas, in a variety of coloured silks, depicting Tobias in the centre carrying a large ﬁsh, with an angel on one side and a dog on the other, in a landscape with numerous ﬂoral motifs, birds, and insects, and Tobias pictured again on the right, joining hands with that of a lady, before a turreted building, slightly faded, and occasional loss of threads, 25 x 35cm (10 x 13.75ins), 18th century gilded fruitwood frame, glazed Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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270* Embroidered pictures. A pair of embroideries, 17th century, 2 oval embroideries, probably originally forming hand-held ﬁre screens, each with matching design of an urn, ﬂower stems and tendrils, including lilies, and fruit, including apples, pears, and pomegranates, worked in chain-stitch on a beige ground, in shades of blue, green, brown, and cream, and incorporating metalled threads (dulled), a little toned and faded, one with faint damp-stain to left-hand side, each 20.5 x 17cm (8 x 6.5ins), green velvet mounts, framed and glazed

273* Fan. An Edwardian spangled fan, Duvelleroy, circa 1910, black double gauze leaf elaborately decorated with silver spangles, fabric becoming a little loose at lower edge on verso and with short split, mounted on pierced and silvered ivory sticks, brass loop with black velvet carrying ribbon, length 23cm (9ins), contained in original ivory paper-covered card box (lightly spotted in places), maker’s embossed gold label mounted inside lid (1)

Provenance: Collection of Jack Webb (1923-2019), London. (2) £150 - £200

£80 - £120

271 Fabric samples. A large trade volume of textile samples, French, circa 1870s, approximately 100 leaves, with varying numbers of mounted woven fabric samples to rectos and versos (some gaps, and some loosely inserted), mainly brocade and tapestry fabrics, various sizes, mostly tipped-in with adhesive, but some attached with pins, most samples with manuscript paper label, a few with ink stamp ‘Cysoing’, numerous annotations in pencil and ink (stock numbers, colours, etc.), four-digit stencilled number at head of each page, some fraying and tears (with loss) to leaves, dust-soiled in places, original cloth with rivets and exposed stitching on spine, worn, ink stencilled spine labels ‘Reference’ and ‘7400’, large thick folio (1)

£200 - £300

274* Gentleman’s suit. An Edwardian velvet court suit, three piece court suit of navy blue velvet, comprising: tailcoat, bodice with quilted lining of cream twill, and tails lined with black twill, lining perishing at underarms and a little worn at neck, 6 steel cut buttons to front, 2 on the back of the waist, and 1 on the end of each tail, chest 101.5cm (40ins), sleeves 66cm (26ins), length 108cm (42.5ins); breeches, lined with cream silk, 3 steel cut buttons and matching buckle at knees (1 button missing), waist 109cm (43ins), length 90cm (35.5ins); and waistcoat, lined in cream twill, lining slightly torn at neck, 4 steel cut buttons to front, length 65cm (25.5ins)

272* Fan. A lithographed fan, late 19th century, folding paper fan, hand-coloured lithographed leaf, depicting a seated elderly gentleman holding forth to an audience of young ladies and gentlemen, within a decorative frame highlighted in gold, incorporating volutes, ﬂowers, baskets, grapes, and shells, some folds a little rubbed, and a few short edge-nicks, elaborately carved mother-of-pearl sticks with gilt detail, 27cm (10.5 in), loop with long yellow and gold metalled thread tassel, displayed in a glazed gilt frame, with moulded ﬂoral decoration, with manuscript label attached ‘Presented to Chiddy’s gt. Aunt Eliza by Gov. of Cuba’ (1)

A beautifully-made court suit in very good condition. (3)

£100 - £150

£150 - £200

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275* Japanese. An early 20th century kimono, hand-made kimono of ivory silk damask with ﬁgured woven design of chrysanthemums and geometric fretwork, overprinted with ﬂoral and foliate design of peonies, chrysanthemums, irises, bamboo, and fruit, with handpainted outlines in gold, a few minor marks, lined with pale yellow silk (spotted) and cream border edged with graduated red dye, length 155cm (61ins) A rather striking and attractive kimono in very good condition. (1) £100 - £150

276* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1959, hand-embroidered in coloured wools on a fawn brocade ground, with all over floral design of trailing foliage and large flowers, in shades of green, pink, orange, green, yellow, blue, and purple, using long & short stitch, stem stitch, French knots, and satin stitch, selvedges to sides, upper and lower edges hemmed with machine-stitching, .5cm closed tear to lower left corner (not affecting embroidery), manufacturer’s card label stitched through two eyelets to one corner, bearing company monogram and giving typed and manuscript information: ‘Crewel-Craft Embroidery, Emb: April 1959, Gayton. A design in the late Georgian style showing French influence. (Circa 1780 A.D.)’, adhesive fabric manuscript label to verso ‘Gayton crewel, fawn damask ground’, 273 x 129.5cm (107.5 x 51 in) Rare large embroidered panel by Arthur H. Lee in excellent condition, most likely a sample piece, and never used. Important textile designer and manufacturer Arthur H. Lee (1853-1932) founded his prestigious family firm in Bolton in 1888, subsequently building a factory in Birkenhead in 1908. The company continued throughout the 20th century under the direction of Arthur’s three sons and five grandsons before closing in 1970. The American branch of the firm, Lee Jofa, is still in existence in New York. As well as developing innovative methods of weaving tapestry cloths, and producing high-quality hand-blocked fabrics, Lee is particularly known for his revival of the practise of hand-crafted needlepoint and crewelwork. Such pieces now seldom appear on the market. (1) £500 - £800

Lot 276 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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278* Nightcap. An early 17th century gentleman’s nightcap, handstitched pale pink silk cap of four pieced sections with up-turned brim, each section embroidered in cream thread with a circular motif and matching rectangular panel on brim, consisting of a framework of outlined satin stitch volutes and leaves enclosing woven latticework, small tassel at top, faded and occasional soiling, worn, with some splitting to seams and perishing of silk, embroidered threads loose or missing in places, 18 x 33cm (7 x 13ins) Provenance: Collection of Jack Webb (1923-2019), London; purchased by the owner at Christie’s, circa 1961. A rare survival. Elaborate nightcaps such as these were part of the informal evening attire of a well-to-do gentleman, worn at home after the rigours of the day were over. A nightcap was a very necessary garment in times of poorlyheated, often draughty, houses, and for most people it would have been a plain and purely functional affair; the silk fabric of this cap and the skilful needlework decoration suggests that this particular item was designed to be worn during a relaxed evening’s entertainment with close friends, proclaiming as it does something about the wearer’s wealth and social standing. (1) £200 - £300

277* Marcel Fenez. A brocade dress, circa 1960s, long-sleeved brocade dress, patterned and horizontally striped, in pink, purple, green, and gold metallic threads, on a yellow ground, with standup collar, and 9 domed matched covered buttons to front, with corresponding fabric loops, yellow satin lining, label of designer ‘Marcel Fenez création de Paris’, with size ‘10’ label and additional label ‘this garment to be dry cleaned’, one sleeve and hem lengthened, bust 90cm (35.5 in), waist 92cm (36 in), sleeves 50cm (19.75 in) and slightly longer, length from shoulder 91.5cm (36 in), together with: Macphail. A full-length ﬂoral dress, circa 1960s, long gown of printed sheer cotton, with a pattern of large ﬂowers in green, blue, white, and black, with neck frill and large puffed sleeves, gathered skirt, and black velvet ribbon trim to neckline, with matching bows on sleeves, zip fastener to rear, matching fabric belt with metal eyelets and black velvet ribbon, dress lined with green cotton, label at nape ‘Macphail model, Made in London, 36’, sometime shortened and hemmed by hand, bust 86cm (34 in), waist 66cm (26 in), sleeves 38cm (15 in), length from shoulder 132cm (52 in), plus another fulllength Macphail gown, of bright rose cotton sateen, sleeveless, with ruched bodice, zip closure to rear, and matching satin lining, shortened and hemmed by hand, a few marks to top of front skirt and a tear in lower hem, size 34, and other 1960s/70s clothing, including a full-length sleeveless gown of orange chiffon with boned ruched bodice, by Elizabeth Miller, London, size 36 (zip fastening to rear with pull separated from one side); a brightly-patterned maxi skirt and matching bodice; three suede leather mini skirts (one of multi-coloured patchwork); and a suede leather waistcoat

279* Piper (John). Stones of Bath, 1960, screen-printed cotton, with abstract design featuring buildings in Bath in shades of green, ochre, terracotta, brown, black, cream, and grey, machinehemmed along left-hand edge, remaining edges raw, 150 x 103cm (59 x 40.5ins), together with: Two lengths of abstract printed bark fabric, American, 1950s, screen printed cream cotton, with pattern of geometrical shapes, including a boomerang and a wide ﬂower urn, in shades of red, olive green, black, pale yellow, and gold, selvedges lettered ‘Guaranteed Vat Print Preshrunk’, short edges raw, some light vertical toning and wear (one piece with a number of pulls and small holes, the other with larger holes along one vertical edge), each piece 251.5 x 122cm (99 x 48ins)

Provenance: From the families of Marie Carmichael Stopes (1880-1958) and Sir Barnes Neville Wallis (1887-1979) by direct family descent. (13) £100 - £150

‘Stones of Bath’ is one of the ﬁve fabrics designed by John Piper (19021993) for Arthur Sanderson’s prestigious Centenary Collection in 1960, and it was exhibited at the John Piper retrospective exhibition at The Tate Gallery, London, in 1983. Possibly designed by Michelle Wetherbee, the striking pattern of the second item forms the cover of Fabulous Fabrics of the 50s, by Gideon Bosker, Michele Mancini and John Gramstad, San Francisco: Chronicle Books, 1992. (3) £100 - £200

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282* Slipper fronts. A pair of 18th century slipper fronts, possibly Ottoman Empire, each with pressed and engraved steel mounts decorated with a vase of ﬂowers, birds, and entwining foliate tendrils, one with a few breaks, hand-stitched onto a red felt cloth base, 12 x 14cm (4.75 x 5.5ins) Provenance: Collection of Jack Webb (1923-2019), London. A pair of rare and highly decorative slipper fronts, clearly once owned and worn by a person of status. (2) £300 - £500

280* Sampler. An unusual mathematical needlework by Sarah Jane Lester, circa 1840, stitched in red cotton thread ‘The national debt is computed to be eight hundred millions, and the population of the United Kingdom twenty ﬁve millions, what sum from each person would pay the whole debt’, with the numerical divisional calculation beneath, all in cross-stitch, and embroiderer’s name along lower edge in Algerian eye stitch, 13 x 22cm, in a period maple veneered frame, glazed, frame size 22.5 x 31.5cm Provenance: Collection of Jack Webb (1923-2019), London. It is very rare to ﬁnd a sampler depicting arithmetic instead of letters and numbers or pictorial motifs. The Metropolitan Museum of Art has one such needlework by a Mary Ann Sadler, aged 9, whose work is headed ‘Compound Division’ with a series of stitched calculations beneath (accession number 57.122.742). The sampler offered here has an additional interest as an item of social history, giving as it does details of population and national debt, clearly a subject relevant then as it is now. (1) £200 - £400

283* Taylor (Elizabeth, 1932-2011). A pair of trousers belonging to Elizabeth Taylor, Harrods, purple suede leather cigarette pants, with two slit pockets, silver zip closure (slightly worn to bottom end, but still operating) and suede button to right-hand side, and variable lilac satin lining, with label of Harrods Ltd London, and additional label ‘High Grade Sportswear, size 24, Made in England’, some mottling and minor marks, waist 57cm (22.5 in), length 99.5cm (39.25 in)

281* Shawls. A large lurex shawl, 1920s, with pattern of large ﬂowers in purple, red, and gold, on a black ground, with wide black fringed edge, shawl 122 x 118cm (48 x 46.5ins), fringe length 53cm (21ins), together with 2 other 1920s shawls, comprising: a black net shawl with all-over silk embroidered pattern of bright multicoloured ﬂowers and leaves, black fringing to scalloped edge, 140cm (55ins) square, fringe length 13cm (5ins); and a black lurex shawl with large central panel of stylised plant forms in silver, enclosed by a black chiffon border with a silver square panel at each corner, pair of black chiffon straps on reverse to aid wearing, 128cm (50.5ins) square (3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Provenance: Given by Elizabeth Taylor to one of Richard Burton’s family members; passed to the family of Marie Carmichael Stopes (1880-1958) and Sir Barnes Neville Wallis (1887-1979), and thence by direct family descent. Elizabeth Taylor’s tiny waist is legendary - in 1951 it was said to be 21 inches - and close-ﬁtting cigarette pants were one of her signature styles in the 1950s and 1960s. (1) £200 - £300

£200 - £300

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284* WWII. Propaganda headscarf ‘Into Battle’, London: Jacqmar, 1940s, screen printed rayon scarf with large star design of regimental badges on a pink ground, e.g. The Royal Hussars, The Lancashire Fusiliers, 25th Dragoons, etc., bordered with repeated slogan ‘Into Battle’ printed in black on a pale blue ground, and maker’s name ‘Jacqmar’ to each edge, rolled hem, a couple of tiny holes to one corner, 91.5 x 87cm (36 x 34.5ins), together with 2 WWII cotton handkerchiefs, screen printed with cartoon illustrations by Herbert Samuel Thomas, showing various scenes and images, e.g. a parachute, a kissing couple, drinking sailors, an officer with binoculars resting on a shooting stick and blowing smoke rings, etc., all with humorous captions, both faded from laundering, each 44cm (17.25ins) square During the Second World War Jacqmar’s of Mayfair produced a number of different scarf designs with themes reflecting the state of the country at war; these are now all highly collectable, and examples are held by the Imperial War Museum and the V&A. Such scarves were morale boosters, and made for the export as well as home market. They were often bought as gifts for sweethearts, and a scarf could transform an outfit or add some glamour at a much lower cost than say a new dress, although Jacqmar was an upmarket label. Their most sought after and famous scarves of the war years were designed by Arnold Lever, and he continued his work for the company even after being called up and joining the RAF. After the war he established his own design studio, where he did work for Liberty, amongst others. Herbert Samuel Thomas (1883-1966) started out as a metal engraver, but became a highly successful illustrator and cartoonist. At the outbreak of the First World War he enlisted with the Artists’ Rifles alongside other notable illustrators such as Paul Nash. He produced cartoons for a number of periodicals, including Pick-Me-Up, The Bystander, The Graphic, Punch and London Opinion. During the Second World War he designed posters, including the series ‘Is your journey really necessary’ produced in 1942 for the Railway Executive Committee, and he also designed postcards, published cartoon books and sketched portraits. These handkerchiefs are unusual survivals of his work. (3) £150 - £200

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285* Guida (John, 1896-1965). Fashion illustration, c. 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model with one arm akimbo in a longsleeved charcoal grey evening dress with white collar, inscribed ‘(?)John’ in thick grey watercolour lower right with numerals ‘937’, a little marginal soiling, sheet size 70 x 50cm (27.5 x 19.75ins)

287* Guida (John, 1896-1965). Fashion illustration, c. 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in a pink jacket and pencil skirt with white blouse and cream bonnet, signed ‘John’ in black charcoal by the artist lower right with numerals ‘930’, a few minor marks to extremities, sheet size 70 x 50cm (27.5 x 19.75ins)

(1)

£200 - £300

286* Guida (John, 1896-1965). Fashion illustration, c. 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model with one arm outstretched in a dark brown evening dress with cravat, signed ‘John’ in black charcoal by the artist lower right with numerals ‘931’, a little soiling, sheet size 70 x 50cm (27.5 x 19.75ins)

288* Guida (John, 1896-1965). Fashion illustration, c. 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model with arms akimbo in a green long-sleeved ball gown with pencil hatching, signed ‘John’ in black charcoal by the artist lower right with numerals ‘926’, sheet size 70 x 50cm (27.5 x 19.75ins)

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

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289* Guida (John, 1896-1965). Fashion illustration, c. 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in a beige Empire dress with matching bonnet and fur stole, inscribed boldly in pencil upper left, ‘ ‘Concorso ippico, 4a giornata’, signed ‘John’ in black charcoal by the artist lower right with numerals ‘933’, a few minor marks and spots, sheet size 70 x 50cm (27.5 x 19.75ins)

291* Guida (John, 1896-1965). Fashion illustration, c. 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in a white evening dress with striped blue and white jacket, inscribed in pencil upper left, ‘alghi blu’ and signed ‘John’ in black charcoal by the artist lower right with numerals ‘933’, sheet size 70 x 50cm (27.5 x 19.75ins)

(1)

£200 - £300

290* Guida (John, 1896-1965). Fashion illustration, c. 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in a green jacket and pencil skirt outﬁt, signed ‘John’ in black charcoal by the artist lower right with numerals ‘931’, a few minor marks and spots, sheet size 70 x 50cm (27.5 x 19.75ins) (1)

£200 - £300

292* Guida (John, 1896-1965). Fashion illustration, c. 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in a striped evening dress with handkerchief sleeves, boldly inscribed in pencil upper left, ‘Lauriu’ and lower right, ‘ tessuti a righe disposti a spine e a quadri. ampie maniche a fazzoletto - note di colore’ , and signed ‘John’ in black charcoal by the artist lower right with numerals ‘932’, a few scattered minor marks, sheet size 70 x 50cm (27.5 x 19.75ins)

£200 - £300

(1)

£200 - £300

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CERAMICS & GLASS

294* Aigner (Richard, 1867-1925). The Kiss, Munich: Rosenthal, porcelain figure group, depicting two nude figures embracing with a kiss, the female figure seated on a plinth with patterned blue drapery, plinth impressed ‘Richard Aigner: München’, base with green stamp and other markings, height 25.5cm (10ins)

293* Pilotelle (George, 1845-1918). Susan, Countess of Malmesbury’s Wedding, pen, ink and wash drawing on artist’s board (blind-stamped ‘Reynold’s Bristol Board’ upper left corner), depicting a lady in a wedding dress with gigot sleeves, and showing her in a two-piece gown behind, signed to lower margin, titled in ink lower left, some staining and marks, 38 x 31cm (15 x 12.25ins), mounted, framed and glazed, calligraphic ink label on backboard ‘Original Drawing Reproduced in the “Lady’s Pictorial.”

(1)

Provenance: Bequeathed by Susan, Countess of Malmesbury to her niece Barbara, and thence by descent. French émigré artist George Pilotelle was one of the leading designers of fashion and theatrical costume in London at the end of the 19th century and into the early 20th century, his designs frequently appearing in prominent periodicals for women, such as Lady’s Pictorial and The Gentlewoman. Susan Harris (née Hamilton), Countess of Malmesbury (1854-1935), married Victorian statesman James Howard Harris, 3rd Earl of Malmesbury (18071889) in 1880. She later, in 1896, married British army ofﬁcer Major-General Sir John Charles Ardagh (1840-1907). The Countess was a fellow writer, friend and correspondent of Thomas Hardy. The two saw a great deal of each other, particularly during the period between her marriages. Hardy’s marriage to Emma Gifford had become increasingly troubled, and it is telling that it was Susan with whom Hardy dined on his birthday in 1892, not his wife. Hardy’s second wife, Florence, in her biography of her husband, relates an anecdote of April 1894: “At Lady Malmesbury’s one of her green linnets escaped from its cage, and he [Hardy] caught it - reluctantly, but feeling that a green linnet at large in London would be in a worse predicament than as a prisoner.” (1) £150 - £200

295* Beswick. A set of six Walt Disney pottery ﬁgures each with gold stamp, compising Goofy, Pluto, Mickey Mouse, Minnie Mouse, Thumper and Donald Duck, some crazing otherwise overall condition is good, approximately 11cm high (6)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

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298* Glassware. A ﬁne Victorian glass jug and two tumblers, all exquisitely engraved with giraffes, spiderweb and stork, the jug of elongated ovoid form with moulded ribbon decoration, 22cm high, the tumblers each with circular foot, 13cm high Provenance: Collection of Jack Webb (1923-2019), London. (3) £200 - £300

296* Blanc de Chine. A pair of Bacchus figures, 19th century, moulded porcelain figures with applied decoration, all-over blanc de chine white glaze, one depicting a standing Bacchus leaning on a tree stump holding a bunch of grapes aloft, with a fawn drinking from a goblet sitting on a barrel beside, lower part of fawn’s leg missing and small chip in back of Bacchus’s ankle, height 27cm (10.5ins), the other showing Bacchus seated on a rococo plinth (latter with superficial crack), holding the stem of a goblet in one hand (cup missing) and a pitcher in the other, height 20cm (8ins) (2)

£150 - £200

297* Crimean War. A Victorian terracotta bust modelled as Mary Seacole the Jamaican Nurse and Heroine of the Crimean War by Count Gleichen, 1871, the half bust seen wearing her Crimean War medals, the rear inscribed ‘G’ and dated 1871, on a socle base, additionally inscribed recently ‘Mrs Mary Seacole of Crimean War Fame by Count Gleichen’, approximately 30cm high Provenance: Collection of Jack Webb (1923-2019), London. Mary Grant Seacole (1805-1881), the Jamaican Nurse and Heroine of the Crimean War was born in Kingston, Jamaica. Her mother was creole and her father a Scottish soldier. Mary moved to London in 1836 and married a sick husband who died soon after they were wed. At the outbreak of the Crimean War she applied to the War Office to be allowed to nurse sick and wounded servicemen, but was not accepted by either the Government or Florence Nightingale. Undaunted, she joined with a Mr Day, and they went to the Crimea to open a restaurant which she called the “British Hotel”. Mary helped the sick and wounded at Scutari and went to Sebastopol and opened a “mess table and comfortable quarters for sick and convalescent officers”, she tended to the wounded from Balaklava. She was present at the assault on the Redan on 18 June 1855, tending to the wounded, even seeking such men on the battlefield. She returned to England and declared herself bankrupt, however in 1857 the firm was declared free of bankruptcy and some of her grateful and influential friends such as Major General Lord Rokeby, Sir William Russell and Count Gleichen started a fund for her. The row of pearls which she is wearing in this bust was left in her will to one of the daughters of Lord Gleichen. The bust was exhibited at The Black Cultural Archives in 1993. (1) £700 - £1,000

Lot 297

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299* Glassware. A Loetz style glass shoulder vase, with an iridescent lustre ﬁnish, 19cm high together with two similar glass vases of long tapered form, plus small yellow lustre glass vase with silver ﬂoral overlay decoration, 15cm high plus a porcelain table lamp in the form of an owl, 19cm high Provenance: Collection of Jack Webb (1923-2019), London. (5)

301* Metcalfe (Percy, 1895-1970). An Ashstead Potters Ltd ‘Lion on Industry’ c.1925, the pottery lion with a sand coloured glaze, printed mark to base, one tooth has tip missing, 18cm high Provenance: Collection of Jack Webb (1923-2019), London. Percy Metcalfe is primarily known for his medal designs, notably the George Cross. However, he also produced designs for the theatre, sculptures and architectural pieces, in addition to his works for the Ashstead Potters. In 1923 Sir Lawrence Weaver was appointed to plan and run the British exhibits at the British Empire Exhibition and it was decided that two commemorative medals would be produced. One for the exhibitors and the other as a souvenir medal sold to the public. Ten designers were asked to submit designs and Metcalfe’s designs won. Metcalfe was asked to produce a symbol ﬁtting of the “modern British Empire” for the “Palace of Industry” at Wembley and the result was this lion with the original large stone sculpture modelled in his Barnes, South West London. The Ashstead factory reproduced large and small versions of the lion in various glazes. (1) £100 - £150

£70 - £100

300* Holloway (Milwyn). Eagle perched on a rock with mountainous landscape with lake in the background, handpainted porcelain plaque, signed lower right and numbers VI, 15 x 15cm, mount aperture, giltwood frame, overall condition appears to be good, with no obvious defects, frame size 31 x 30.5cm Milwyn Holloway was a Royal Worcester artist who trained under Harry Davis. (1) £100 - £150

302* Nailsea. A Victorian Nailsea glass cane, with red and white cotton airtwist decoration, in good original condition, 91.5cm long, housed in a ﬁtted wood box Provenance: Collection of Jack Webb (1923-2019), London. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£70 - £100

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303* Pilkington. A Royal Lancastrian pottery bowl by William Mycock 1926, the circular lustre bowl with a blue ground and green scroll border, various marks to base and dated 1926, general surface wear and crazing, 28cm diameter Provenance: Collection of Jack Webb (1923-2019), London. (1)

£100 - £150

304* Pilkington. A Royal Lancastrian pottery vase, the lustre vase with red ﬂowers and silver scrolls, various marks to base and impressed ‘2635’, 4 chips to the rim of base, crazing, 20cm high Provenance: Collection of Jack Webb (1923-2019), London. (1)

306 Porcelain plaque. A young mother and her children in a landscape, mid 19th century, painted porcelain, showing a young peasant woman holding a baby aloft, and a small girl clutching her skirt, with trees and a cottage in the background, signed lower right and on label on verso ‘Muller Fraiden’, 17.5 x12.5cm (7 x 5ins), with carved wooden rococo frame (broken with loss), together with: Berlin Porcelain. Portrait of an Italian Renaissance lady, circa 1890, ﬁnely painted porcelain plaque, in the style of the Kõnigliche 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 4.5in)

£100 - £150

305* Pilkington. Royal Lancastrian pottery vase c.1930, of ovoid form with slender neck and a two tone blue marbled glaze, impressed marks to base, numbered 2107 with stilt marks, in good condition with no obvious damage or restoration 17.5cm high (1)

£30 - £50

(2)

£100 - £150

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307* Powolny (Michael, 1871-1954). A Tango glass vase, brownribbed yellow glass squat vase, height 11.5cm (4.5ins) (1)

£200 - £300

308* Royal Doulton. A Royal Doulton flambé pottery vase designed by Charles Noke, the tall vase depicting Omar Khayyam ‘come, fill the cup and in the fire of spring your winter garment repentance fling’ Edward Fitzgerald, Omar Khayyam Ed.4.VII, various marks to base, some worn and numbered 478914, damage to the neck, 25cm high Provenance: Collection of Jack Webb (1923-2019), London. (1)

£70 - £100

Lot 307

309* Royal Crown Derby. A 1930s porcelain figure modelled as the German actress Anny Ahlers, the base with red backstamp and ‘Specially Produced By’, the figure rests on a rosewood base, in good condition, 30cm high and scarce Provenance: Collection of Jack Webb (1923-2019), London. Sold with a letter from Royal Crown Derby dated 1975 in which the company identifies the figure for the owner. The figure was modelled by Tom Wilkinson head modeller at the time. Anny Ahlers (1907-1933) was a German actress and singer. On 14 March 1933, she died after jumping out of her flat window, her death was blamed on the combination of morphine which she was taking for tuberculosis and sleeping pills which she was taking due to insomnia. (1) £200 - £300

Lot 308

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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310* Cox (Bryan). A pair of Harriers facing, circular handpainted porcelain plaque, signed, in good original condition with no obvious defects, 26.5cm diameter, mount aperture, giltwood frame, frame size 42 x 42cm

312* Cox (Bryan). Fox Hounds and a Terrier, circular handpainted porcelain plaque, signed, in good original condition with two small blemishes on the lower section otherwise no obvious defects, 27cm diameter, mount aperture, giltwood frame, frame size 42 x 42cm

Bryan Cox was an artist for Royal Worcester. (1)

£200 - £300

313 Royal Worcester. A collection of Royal Worcester dogs, comprising English Bulldog (2945), Alsation (3295), two Spaniels (2944), Airedale, seated (2942), Airedale, standing (3027), Corgi (3243), Pekingese (2941), in good condition with no obvious defects

311* Cox (Bryan). A pair of Harriers side proﬁle, circular handpainted porcelain plaque, signed, overall condition good, a couple of underglaze paint drops otherwise with no obvious defects, 26.5cm diameter, mount aperture, giltwood frame, frame size, 42 x 42cm Bryan Cox was an artist for Royal Worcester. (1)

£200 - £300

(8)

£200 - £300

£100 - £200

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314* Royal Worcester. “Calves” modelled by Doris Lindner, model number 3146, green factory mark to base, in good condition with no obvious sign of restoration or damage, 11cm high

316* Royal Worcester. A collection of dog brooches, comprising Setter, 6cm long, Cocker Spaniel, 5cm long, Bedlington Terrier, 5cm long and two others, in good condition with no obvious defects

(1)

(6)

£100 - £200

317* Royal Worcester. A collection of Royal Worcester dogs, comprising Airedale Terrier (3029), Cocker Spaniel (3033), Pekingese (3034), Cocker Spaniel (2944), Pekingese (2941), Airedale Terrier, seated (2942), black Cocker Spaniel (2944), overall condition good with no obvious defects

315* Royal Worcester. “Kids at Play” modelled by Doris Lindner 3153, green factory mark to base, 11.5cm high together with another by the same modeller “Young Spotted Deer” 3316, black factory mark to base, 12.5cm high, both appear to be in good condition with no obvious restoration or damage (2)

£100 - £200

(7)

£100 - £200

318* Royal Worcester. A collection of kittens modelled by Doris Lindner, each comprising three kittens (3141 / purple puce mark), (3141 / black puce mark) and one other lacking any marks, the latter with slight damage (3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £200

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322* Royal Worcester. A pair of Royal Worcester models of a Redstart and Gorse modelled by Dorothy Doughty c.1968, each with a certiﬁcate of authenticity (151 Cock & Hen), printed factory marks to base, tallest 26cm, cock with one loss of gorse, the other has no obvious defects, each on wooden base together with Nightingale and Honeysuckle, numbered 275 with certiﬁcate of authenticity, no obvious defects

319* Royal Worcester. A Royal Worcester model of a Robin by Dorothy Doughty c.1964, modelled perched on a twig in a naturalistic setting, factory stamps to base, minor losses of green, 16cm high on a wooden base, together with another model of a Bearded Reeding by James Alder c.1976, numbered 92, possible hairline crack, 28cm high, on a wooden base (2)

(3)

£70 - £100

323* Royal Worcester. A red setter modelled by Doris Lindner, numbered 2952, purple puce mark to base, 13cm long 320* Royal Worcester. A pair of Bob-White Quail models by R. Van Ruyckevelt, modelled standing and the other nesting each with naturalistic setting, tallest 19cm, each on a wooden base, base numbered 459, and 448, larger piece with one leaf missing (2)

(1)

£70 - £100

321* Royal Worcester. A pair of Mallard models by R. van Ruyckevelt c.1967, modelled as a male and female, each with certiﬁcate of authenticity numbered 313 the female with hairline cracks to rushes, the male with 44cm wingspan (2)

£70 - £100

324* Royal Worcester. A Royal Worcester two handled vase by Harry Davis, painted with a moorland landscape with sheep, signed lower right, richly gilded on a green ground, purple puce mark to base and numbered 2009, several old hairline cracks more noticeable to the interior, 22.5cm high

£100 - £150

(1)

£100 - £200

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327* Royal Worcester. A pair of Royal Worcester models of a Less Whitethroat & Wild Rose modelled by Dorothy Doughty c.1964, each with a certiﬁcate of authenticity (122 Cock & Hen), printed factory marks to base, approximately 25cm high, one with a piece of green foliate stem broken but glued, the other has no obvious defects, each on wooden base together with Bearded Reedling, numbered 92 with certiﬁcate of authenticity, some loss (3)

325* Royal Worcester. A Royal Worcester model of Chiff Chaff and Hogweed modelled by Dorothy Doughty c.1964, with certiﬁcate of authenticity numbered 116, no obvious defects, approximately 42cm high, on a wooden base (1)

£70 - £100

328* Royal Worcester. A pair of Royal Worcester models of a Wren and Burnet Rose modelled by Dorothy Doughty c.1964, each with a certiﬁcate of authenticity (124 Cock & Hen), printed factory marks to rear, tallest 15cm, cock with crack piece green foliate stem and one piece of leaf missing, the other has no obvious defects, each on wooden base together with Grey Wagtail and Celandine, numbered 126 with certiﬁcate of authenticity, no obvious defects

£100 - £150

(3)

£70 - £100

326* Royal Worcester. A collection of fox hunting menu holders, comprising a fox (2956) with ‘Henry Sandon Collection’ to verso, three hounds, numbered 2953, 2954, 2955, each with purple puce mark, overall condition is good with no obvious defects

329* Royal Worcester. A collection of Royal Worcester puppies, comprising a model of three labrador puppies (3130 / black puce mark), another of the same model but damaged foot, plus group of three Pekingese puppies (3118 / black puce mark)

(4)

(3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

£100 - £150

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Lot 330 330* The City of London Tavern. A blue and white pottery dish c.1830, of lozenge form printed with a view of the Tavern and London Coat of Arms, the border with foliate decoration and crowns, impressed mark ‘8’ on base, crazing and old chip to rim of base, 27cm wide Provenance: Collection of Jack Webb (1923-2019), London. The lot includes and photocopied image of The City of London Tavern on Bishopsgate Street c.1809. The City of London Tavern was a notable meeting place during the 18th/19th centuries. The original tavern was destroyed by ﬁre in 1765 and the new building was designed by William Jupp. It opened in 1768 and was demolished in 1876. (1) £70 - £100

331* Wilson (John, 1785-1854). A Victorian Copeland parian ﬁgure of the writer Prosfessor John Wilson, modelled standing with a robe across his shoulder, one hand holding a scroll resting on a column, the base impressed ‘Jn Steell. R.S.A. Sculpt. F. linr 1866’, the rear ‘Royal Association Edinburgh Published August 1866 Copeland’, 45cm high Provenance: Collection of Jack Webb (1923-2019), London. John Wilson of Elleray FRSE (1785-1854) was a Scottish advocate, literary critic and author, he was also known as the pseudonym Christopher North of Blackwood’s Edinburgh Magazine. Wilson was professor of Moral Philosophy at the University of Edinburgh from 1820-1851. (1) £100 - £150

Lot 331 99

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FURNITURE 332* Book trough. A George III style mahogany book trough, with brass gallery top above four classical brass columns each with a Victorian gilt metal button, on a stepped base, 36cm high x 41cm wide x 17cm deep Provenance: Collection of Jack Webb (1923-2019), London. (1)

Lot 332

£100 - £150

333* Cabinet. A ﬁne early 19th century Italian cabinet, the rosewood veneered cabinet of rectangular form, inlaid with ivory panels engraved or etched depicting scenes from classical mythology, with brass corner straps and large carrying handles, the hinged fall with original key enclosing, a central architectural cabinet door with a drawer above and below ﬂanked by a pair of drawers and a deeper drawer below with a dummy drawer front, the interior of the fall inset with engraved ivory panels with line inlay formation, 39cm high x 92cm wide x 35.5cm deep, on a later 19th century ebonised and inlaid stand, with glass covered single drawer with brass lock stamped 'V.R. Patent, Brooks' s Double Lever Lock', on square tapered supports united by a stretcher, 79cm high x 102cm wide x 43cm deep Provenance: Collection of Jack Webb (1923-2019), London. The lot is sold with an original copy of The Antique Dealer and Collectors' Guide dated December 1946 in which an article features the cabinet with an illustration, Jack Webb writes to the editor asking for more information about the cabinet. A typed letter from the editor together with black and white photographs is also included. The article suggests that "this very attractive example is typical of the portable cabinets made during the late 18th and early 19th centuries, when panels of etched ivory were inlaid in backgrounds of ebony, tortoiseshell, or one of the fashionable Oriental woods which were just reaching European cabinet makers. The etched pictorial scenes, if read in sequence, will usually associate themselves with a story of classical mythology, but historical subjects were also portrayed", and that the "style and form indicate that this cabinet was made between 1805 and 1820. If the lines of the etching are tinted brown by the use of silver nitrate as the etching medium, this is further indication that the work belongs to the early 1800's, when the silver nitrate method of etching ivory was in full favour. Formerly the lines were black, the etching medium having been sulphuric acid." (1) £3,000 - £5,000

334* Canterbury. A William IV period mahogany canterbury c.1830, with four divisions above a drawer with circular brass handles and gesso moulding, on four ﬂuted and turned supports each with brass cup castor, split to the wood and two roundels missing and half of one in the drawer, 53cm high x 47cm wide x 31cm deep Provenance: Collection of Jack Webb (1923-2019), London. (1)

Lot 334

Lot 333

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

100

£150 - £200

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Lot 333

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335* Chest. A fine George II domed chest by Smith & Lucas c.1730, the brown leather chest with GR cypher flanking an elaborate brass crowned lock plate, with pierced brass corners, the lid finely detailed with brass studs formed to represent tulips within a studded scroll border, the whole piece finely decorated with brass studs, with two large carrying handles, the hinged lid enclosing original paper trade label for Smith and Lucas, Coffer & Plate Case Makers to his Majesty, lined with marbled paper, some loss of leather and cracking commensurate with age, 54cm high x 106cm wide x 56cm deep Provenance: Collection of Jack Webb (1923-2019), London. A manuscript note is included inscribed ‘This Royal Travelling Chest or Coffer made of wood and covered in fine Russian leather specially imported for that purpose, is of George II Period 1727-1760, and bears his Royal Coat of arms on the original maker’s label put inside the lid when it was made by “Smith and Lucas, Plate Case and Coffer makers to the King (George II). Edward Smith is especially mentioned in “Dictionary of English Furniture” Vol II as making these chests for George II and his Court. Probably made to contain Royal Uniforms, Regalia, etc and to travel with the Royal Baggage’. A similar chest is displayed in the Queen Anne Bedroom at Warwick Castle, it bears the monogram AR for Queen Anne. (1) £3,000 - £5,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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336* Davenport. A Victorian rosewood davenport c.1840, the sloping fall with gallery and green tooled leather inset enclosing two drawers, with a drawer to the side enompassing two ink bottles and pen tray, beautifuly hinged to swing round for use, the hinge stamped ‘Horne Patent’, above four side drawers and four dummy drawers to the opposite side, stylised scrolls to the kneehole aperture on iron castors, some wear commensutate with age and use, 95cm high x 56.5cm wide x 59.5cm deep

337* Davenport. A Victorian walnut davenport, with raised cupboard enclosing stationary compartments the hinged fall with tooled leather inset, enclosing three compartments, with four side drawers and four dummy drawers to the opposite side each with brass handles, with turned pillars to the kneehole, the whole piece with chequered inlay and carved frieze with roundel, on ceramic castors, 90cm high x 52.5cm wide x 52cm deep (1)

Provenance: Collection of Jack Webb (1923-2019), London. (1) £100 - £200

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£70 - £100

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338* Display cabinet. A large Edwardian rosewood and mahogany shop display cabinet, with four large glass doors with brass handles stamped E. Pollard & Co, London, enclosing 12 shelves, old wallpaper lining on vacant aperture base, 184cm high x 290cm wide x 37cm deep Provenance: Collection of Jack Webb (1923-2019), London. E. Pollard & Co, Clerkenwell Road London were famous for supplying shop ﬁttings in the early 20th century. (1)

Lot 338 as it was in situ in Jack’s “Museum Room”, London. Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

104

£700 - £1,000

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339* Display cabinet. An early 20th century table top display cabinet, probably stained pine with bowed glass and hinged door to the rear, 19.5cm high x 75.5cm wide x 43.5cm wide Provenance: Collection of Jack Webb (1923-2019), London. A useful lot for an Antiques Dealer! (1)

£70 - £100

340* Oak panel. A large 18th century carved oak panel with six panels, the upper three with arches the lower three with lozenge ﬂanked by two roundels, with intials I.W.M. 1700, old worm holes evident and four holes drilled for wall ﬁxing, 96cm high x 135cm wide (1)

£500 - £800

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341* Medal Collectors Cabinet. A ﬁne Victorian mahogany medal collectors cabinet, the rectangular top above two panelled doors enclosing 50 shallow drawers above 6 deeper drawers each with turned wooden handle, on bun feet, each drawer has a sticker indicating the drawer number and Battalion of the Middlesex Regiment and other areas of collecting, with key, old split to the top and general wear commensurate with age, 101cm high x 103xm high x 45cm deep Provenance: Collection of Jack Webb (1923-2019), London. This cabinet housed Jack’s medal collection, which is due to be sold at DNW, London on 20 August 2020. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£2,000 - £3,000

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PAINTINGS & PRINTS

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OLD MASTER PAINTINGS & DRAWINGS Friday 31 July commencing at 10am

342* Flemish School. Massacre of the Innocents, first quarter 17th century, oil on canvas, depicting a frenzied scene of warring figures, with infants being torn from outstretched arms in the foreground, and being thrown from a large arched bridge or viaduct in the middle ground, with a vista of a classical city to the right, including a domed basilica and a monumental gateway with drawbridge, heavily darkened in places and with surface wear, including central vertical split with old restoration, several small circular piercings to the canvas, and one or two other small closed tears or marginal defects, old re-lining, mounted on a later 18th or early 19th century stretcher with hand-made nails, 117 x 171.5cm (46 x 67.5ins) Provenance: Acquired by the Bednarski family on the Portobello Road, West London in 1960; by descent to Adriana Dixon (née Bednarski) in 1970 (at which time the painting was valued for insurance purposes by Christie’s at £1,000); purchased by the present owner in 2019. An important work, not just for its scale, but also for the variety of elements and details in the composition. The rendering of the architecture, the skilful portrayal of burnished armour, and the addition of earrings on two of the figures, suggest a competent artist. The treatment of the subject stands comparison to the compositions of Pieter van Lint (1609-1690) and his teacher Artus Wolfaerts (1581-1641), both of whom produced large-scale works, as well as Peter Paul Rubens (1577-1640) whose own renderings of this same subject are well-known. (1) £8,000 - 12,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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343* After Antonio Canaletto (1697-1768). View of Venice, with the Doge’s Palace and the Salute, oil on canvas, a mid-19th century copy (or version) of one of Canaletto’s famous views of Venice, unsigned, relined, 49 x 87cm (19.25 x 34.25ins), unframed Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £400

Lot 345

344* Dutch School. Italianate Landscape with Peasants Resting, circa 1700, oil on wood panel, strengthened with three vertical wooden battens to verso, two old horizontal splits, 43.5 x 53cm (17 x 21ins) A Dutch Italianate landscape with classical ruins, similar to the work of Nicolaes Berchem (1620-1683), Jan Both (circa 1615-1652) and Karel du Jardin (1622-1678). (1) £300 - £500

345* Italian School. Baptism of Christ, ﬁrst half of the 17th century, oil on canvas, old relining, a few surface abrasions and overall old craquelure, on old stretcher, numbered 1221 in black paint to stretcher and to verso of canvas in an old hand, 42 x 31.5cm (16.5 x 12.4ins), with later gilt frame (1)

346* Italian School. Portrait of an Astronomer, said to be Galileo, 17th century, oil on canvas, relined and restored, head and shoulders portrait of an elderly bearded gentleman proﬁle to left looking through a telescope, canvas slightly bowed, and a few minor indentations, 9 cm split to lower right corner, 64 x 91cm (25.25 x 35.75ins), verso with Sotheby's printed catalogue description, ink stamps 'Collection of Wilfred Tomlinson', and manuscript note 'restored 1983'

£300 - £500

Provenance: Sotheby's, 28th July 1983, lot 608; collection of Wilfred Tomlinson. (3) £400 - £600

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347*Morland (Henry Robert, 1716-1797). Girl with a Candle, circa 1765-70, colour pastels on paper, laid down on canvas, 56 x 43.5cm (22 x 17.1 in) mount aperture, overall size including frame 69 x 57cm (27 x 22.5 in), contemporary or near-contemporary moulded gilt frame, with single leaf decoration to each corner, 20th century printed label attached to lower edge ‘Wright of Derby. Young woman holding a candle-pastel-22 ins. by 17 ins.’, old auction stencil to verso 751 NF Provenance: Mrs De Walter Storff; Christie’s London, 11 June 1963, lot 66, sold for 6 guineas to Smith; Lady Huntington-Whiteley, Ripple Hall, near Tewkesbury, Gloucestershire (descendant of Stanley Baldwin). The auction stencil to verso identiﬁes this work as a pastel, 22 x 17ins), by Wright of Derby, A Young Woman holding a Candle, vendor Mrs De Walter Storff, buyer Smith. However, this work has now been conﬁdently attributed to Henry Morland by Neil Jeffares and included in his online archive (www.pastellists.com/Articles/MORLAND.pdf) as attributed to Henry Morland (J.547.1335). A mezzotint version in the same direction by James Watson (1740-1790) after Henry Morland exists in both proof and lettered states in the British Museum (Chaloner Smith 1883, 163; Gordon Goodwin, British Mezzotinters (1904) 193). Another mezzotint version of the painting, with some differences, was published by Philip Dawe (17501785) as The Pretty Maid with her Apron before the Candle. Henry Morland exhibited a painting in crayons entitled Servant with a Candle at the Society of Artists in 1765, number 86. (1) £700 - £1,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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348* Rathbone (John, 1750-1807, & George Morland 1763-1804). Landscape, oil on wood panel, depicting a pastoral scene with sheep before a large thatched barn near trees, two bucolic ﬁgures and a dog in the foreground, some craquelure, 24.9 x 34.1cm (9.75 x 13.5ins), framed, verso with remains of old label inscribed in an early hand ‘Landscape by George Morland and John Rathbone, signed by both’ and with part of old red wax seal monogrammed ‘J P D’ We have not been able to discern signatures of either artist on this work. George Morland and Julius Caesar Ibbetson both frequently collaborated with John Rathbone, painting the ﬁgures in his landscapes. (1) £200 - £300

Lot 348

349* After Richard Wright (1720-1775). Sea Piece with a Squall of Rain (The Fishery), oil on canvas, a later 18th century (circa 1770-90) copy after the famous painting by Richard Wright now in the Yale Center for British Art, Newhaven, and based on William Woollett’s engraved version of the painting published by Woollett and John Boydell in 1768, the original canvas trimmed to margins, and with later relining, chipped with minor loss to extreme edges in a few places, 59 x 79cm (23.25 x 31ins), old carved wood frame, together with a framed and glazed impression of the engraved version by William Woollett, old black and gilt frame, glazed, with printed caption to lower margin removed and pasted to verso of the frame Provenance: Collection of Jack Webb (1923-2019), London. The original painting in the Paul Mellon Collection measures 35.5 x 53ins. (1)

£700 - £1,000

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350* Attributed to Pier Francesco Mola (1612-1666). Woman and child seated on a stone, pen, brown ink and brown wash on pale cream laid paper, with arched top, laid down on later thick backing paper, some small losses to left hand margin, collector’s mark to lower left corner (Lugt 629), 260 195mm (10.25 x 7.7ins) Provenance: Richard Cosway (1740-1821), English miniature painter and watercolour artist; Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. According to a handwritten inventory of the contents of Cosway’s house at 20 Stratford Place, drawn up in 1820, his collection of 2,672 drawings were arranged by artist, subject and dimensions in 29 portfolios, books and boxes (see note in Lugt online). (1) £500 - £800

351* Bemmel (Willem van, 1630-1708). River landscape with bridge & town beyond, black chalk and grey wash on thick laid (watermak of encircled anchor beneath star), dark grey wash frame border lines, few discreet paper repairs to old folds and edges, signed and partially inscribed in pen & ink to verso ‘Bemel del: No[ribergae]’, 440 665mm (17.25 x 26.25ins), gilt frame, glazed Provenance: Anonymous sale, Sotheby’s Amsterdam, 14 November 1988, lot 108; Private UK Collector. Willem van Bemmel was the younger brother of landscape painter Jacob Gerritsz van Bemmel (1628-1673) of Utrecht. They both studied under Herman Saftleven from 1645 to 1647. Willem travelled to Italy, spending the years 1647 to 1649 in Venice, 1649 to 1653 in Rome, also travelling to Naples and London. He was in Kassel between 1656 and 1662. In 1662 he moved to Augsburg before settling in Nuremberg, where he married. He is known for his Italianate landscapes and is the originator of the German von Bemmel family of painters of Nuremberg. (1) £2,500 - £3,500

Lot 350

Lot 351 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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352* Attributed to Jan Breughel the Elder (15681625). Studies of ﬁsh, an eel, and bear catching a salmon, pen and brown ink on cream laid paper, uneven margins (archivally restored with later matching laid paper to form a rectangular format), overall sheet size 80 x 139mm (3.2 x 5.5ins) Provenance: Private Collection, UK. (1)

£300 - £500

Lot 352

353* Cantagallina (Remigio, circa 1582-1656). View of Pesaro, pen and brown ink on laid paper, with watermark of crossed arrows surmounted by a six-pointed star (similar to Briquet 6299, according to whom this paper was known to be in use in Rome between 1527 and 1566), double-rule outer border in matching brown ink, tipped onto later laid paper, with additional double framing lines in brown ink, sheet size 146 x 218mm (5.75 x 8.6ins), window-mounted Provenance: Probably from an album of 105 drawings of Tuscan views, mostly by Cantagallina, inscribed ‘Vedute di Toscana d’Jacopo Ligozzi’, and with provenance as follows: The Rev. Dr. Henry Wellesley, Oxford; his posthumous sale, London, Sotheby’s, 25 June 1866 onwards, lot 954 (‘A Portfolio with leaves, containing 105 drawings in Pen and Sepia, Views in Tuscany, by Jacopo Ligozzi’); Sir David Kelly, London; his sale, London, Hodgson’s, 26 November 1954, lot 596 (‘Original Sepia and Wash Drawings of Scenery, Antiquities, Buildings etc. of Tuscany by Jacopo Ligozzi, Remigio Cantagallina and others’); Hans M. Calmann (1899-1982), London; Private Collection, Herefordshire, UK.

Lot 353

The present work is accompanied by a card sheet (used to protect the drawing) with a presentation inscription in pencil to the present owner ‘With all good wishes for Christmas and a Happy New Year from Hans & Gerta Calmann. I hear you have a liking for Pesaro’. Hans Calmann, a stockbroker by profession was born in Hamburg, but forced to flee Nazi Germany for England in March 1937. In 1941 he opened a gallery in Davies Street, London, later moving to Bruton Place in 1963, where he remained until his retirement in 1973. Calmann presented drawings by Parmigianino, Mola and Cantagallina to the Ashmolean Museum, amongst other works. Remigio Cantagallina was born in Borgo San Sepolcro, near Arezzo in 1575, and spent the majority of his career in Florence. Influenced by Northern artists such as Paul Bril, Cantagallina himself influenced landscape artists working in Florence in the first half of the 17th century, including Jacques Callot. According to Filippo Baldinucci, Cantagallina was ‘celebre in disegnar paesi a penna’ (famous for his landscape drawings in pen). Finished landscaped drawings such as the present work are typical of his output, and were most likely intended as autonomous works in their own right. The landscape drawings are characterised by “an intimate feeling for contemporary life and trees with lively, twisting trunks and tightly defined clusters of leaves” (Italian Drawings from the Bick Collection, Dartmouth College, New Hampshire, 1971, catalogue number 24. Given the provenance of the dealer Hans Calmann, this drawing is likely to have come from an album of landscape drawings formerly in the collection of the scholar and antiquary Dr. Henry Wellesley (1791-1866), nephew of the Duke of Wellington, that appeared in auction in London in 1954. Although titled ‘Vedute di Toscana d’ Jacopo Ligozzi’, the album was in fact largely made up of highly finished drawings by Cantagallina, several of which were signed. The album was acquired by Hans Calmann, and the drawings were dispersed over the next few years. Examples are today in the Fondation Custodia (Frits Lugt Collection), Paris, the Ashmolean Museum, Oxford, Pierpont Morgan Library, New York, Princeton University Art Museum, Detroit Institute of Arts, National Gallery of Art in Washington, D.C., and elsewhere. See stephenongpin.com, Remigio Cantagallina, A Tuscan Landscape with Figures by a River (accessed 22 April 2020), from which the information on provenance has been sourced. (1) £1,500 - £2,000

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354* After Annibale Carracci (1560-1609). The Drunken Silenus, circa 1595-1602, 17 th century pen and brown ink over a counterproof printed in pale red, on heavy laid paper, after the engraving by Annibale Carracci of his own design for the Tazza Farnese, the engraved silver dish made for Cardinal Odoardo Farnese, light additions in pencil suggesting some vine leaves as a covering for the genitals of the main serving satyr, inscribed in pencil to verso at head R. 1796, in an early hand (probably 18th or early 19th century), framed and glazed, with section of white card to verso to which is attached an old Sotheby’s catalogue entry ‘154. Italian School, 17th Century. The Drunken Silenus, pen & ink, over red contre-épreuve’, above which is another printed note ‘Bought at Sotheby’s date 20.7.67 lot no. 154 See Bohlin Prints and Related Drawings by the Carracci Family (1979) 19. Carracci’s original design for the standing dish, engraved on a silver plaque, is now in the Museo Nazionale, Naples, and was used for taking prints. The biographer Bellori gave the work the highest praise, saying it equalled Raphael and the ‘idea piu perfetta’ of classical antiquity. (1) £400-600

355* D’Anna (Vito, 1718-1769). Seated Prophet pointing to an open bible with kneeling saint and putti, black and grey wash on a pale grey chalk prepared ground, on laid paper, heightened with white body colour, signed in brown ink lower right ‘Vito D’Anna Pallermitano’, some marks and slight damage to sheet edges, restored and laid down on 20th century card window-mount, sheet size 386 x 282mm (15.25 x 11.1ins) Lot 354

Sicilian artist Vito D’Anna lived and worked in Palermo, and is chieﬂy known for his frescoes in a variety of palaces and churches in the region. (1) £300 - £500

Lot 355

Lot 356

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Lot 357

356* Dutch School. Designs for Metalware, circa 1720s-30s, 3 pen, brown ink and brown and grey wash studies for ewers or urns, on laid paper, two sheets bearing the watermark of Dutch paper manufacturer HW Schoen, with a motif of a lion rampant with a clutch of arrows within a crowned circle bearing the legend Pro Patria Eiusque Libertate to border, and Vryheit at foot, one drawing (with design in grey wash) with additional study of a bearded old man to verso in black chalk, one with overlaid alternative design for the top of the jug, the other two sheets mainly in brown ink and wash, some toning and discolouration, sheet size 285 x 195mm (11.2 x 7.75ins) or similar, the two sheets primarily in brown ink and wash both with additional pencil study of a vase to verso with annotations

357* Attributed to Jan Jozefsz. van Goyen (1596-1656). River Scene with thatched buildings and boatman, black chalk on laid paper, 115 x 225mm (4.5 x 8.9ins), inlaid to modern cream paper, window-mounted Provenance: Private Collection, Herefordshire, UK. A pioneer of naturalistic landscape, Jan van Goyen's drawings are typically executed in black chalk. The British Museum have an album of similar drawings gifted by Count Antoine Seilern, and previously owned by John Perceval, 1st Earl of Egmont (1683-1748), and Sir Thomas Phillipps (1792-1872). (1) £1,000 - £1,500

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. The paper maker H.W. Schoen was active in Zandijk between 1707 and 1743. (3) £200 - £400

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Lot 359

358* English School. The Crucifixion, early 19th century, pencil on laid paper, depicting the crucifixion of Christ, with 2 kneeling male figures at the foot of the cross, one pointing at Christ, some surface abrasion and small holes (repaired on verso), large watermark of a crown and shield with Strasburg Lily, signed in brown ink to lower right corner ‘Van dyke’, inscribed in pencil in an early hand on verso ‘Del Lippi da Marmantile’ [Lorenzo Lippi?], sheet size 36.1 x 26.6cm (14.25 x 10.5ins), mounted, together with another drawing, late 18th/early 19th century, pencil on laid paper, laid down on card, depicting 4 prophets, lightly toned and spotted, sheet size 35.6 x 23cm (14 x 9ins), mounted (2)

£200 - £300

359* Finch (Heneage, 1751-1812). At Tenby, circa 1790, pen and brown and grey ink, with grey and brown wash on laid paper, laid down on a sheet of laid paper with title inscribed in ink to lower left margin, image size 209 x 262mm (8.25 x 10.3ins), framed and glazed Provenance: Private Collection, Herefordshire, UK. Heneage Finch, 4th Earl of Aylesford, styled Lord Guernsey from 1757 to 1777 sat in the House of Commons between 1772 and 1777. He was also a gifted draughtsman and etcher. The National Gallery of Art, Washington DC has another view of Tenby of similar dimensions, which they date to the 1790s. (1) £300 - £500

360* French School. Courting couple, 17th century, sepia watercolour on paper, showing a young lady and gentleman in an interior, with another lady looking through a window to the left, and a vista of a large house beyond on the right, tiny chip to right-hand edge, 15.8 x 13.4cm (6.25 x 4.25ins), sometime laid down on card with border of black pen & ink lines and gold paper, attributed in pencil to lower margin ‘Beaubrun’, mounted Provenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. (1) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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361* French School. Landscape with Waterfall, later 18th century, large-scale colour pastel on laid paper, with later canvas relining, 58 x 71cm (23 x 28ins) frame aperture, period moulded gilt frame, glazed, with slight damage to frame mouldings, remains of old Agnew’s of London label to verso, and modern auction stencil to stretcher FA949 Provenance: Private Collection, Herefordshire, UK. (1)

£1,500 - £2,000

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362* Grimaldi (Giovanni Francesco, 1606-1680). Study of Trees in a River Landscape, pen and brown ink on laid paper, sheet size 290 x 202mm (11.4 x 7.9ins), tipped on to later backing paper, inscribed in an early hand at foot ‘G.F. Grimaldi’ in red/light purple pencil, additionally inscribed in a 19th century hand ‘Bimbo cowl’Oua Corridore dei Candellabri no 194 Museo Vaticano’, together with another similar drawing by Grimaldi, a study of trees, pen and brown ink on laid paper, laid down on old laid paper with ruled outer border in brown ink, inscribed to lower margin of the backing paper in pencil in a 19th century hand ‘Jean Francois Grimaldi, dit Le Bolognèse’, and additionally inscribed in red pencil’ G.F. Grimaldi’ in the same hand as the ﬁrst drawing, early indecipherable ink mark to verso, sheet size 287 x 206mm (11.25 x 8.1ins) (2)

£1,000 - £1,500

363* Attributed to Baldassare Franceschini, Il Volterrano (16111689). Design for a Side Chapel, red chalk on laid paper, the full sheet untrimmed, bears numeral 9 (or 6) in ink in an old hand to lower right corner, sheet size 575 x 440mm (22.5 x 17.25ins), framed and glazed Provenance: Private Collection, Herefordshire, UK. (1)

Lot 362 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£700-1,000

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365* Italian School. Saint Sebastian, circa 1600-1650, sepia pen & ink drawing on laid paper, with crossed keys watermark, depicting a man tied to a tree, with shield, helmet, and spear beside, sheet size 22.9 x 17.7cm (9 x 7ins), together with: Male nude with putti, circa 1600, sepia pen & ink drawing, depicting a muscular bearded man with cavorting putti behind, circular collector’s black ink stamp of Richard Cosway with monogram ‘RC’ to right-hand edge (Lugt 628), toned and soiled, with minor edge-fraying, laid down on a piece of contemporary Italian letterpress, 12 x 24cm (4.75 x 9.5ins), and an 18th century reproduction print on laid paper of an old master drawing of Mary anointing Jesus’ feet, verso with collector’s monogram stamp ‘BW’ in black ink (Lugt 4451: unknown mark, early 20th century, found on drawings in a number of museum collections, e.g. V&A, J. Paul Getty Museum)

364* Sienese School. The Miracle of Soriano: the Madonna, the Magdalene and St. Catherine of Siena appearing to a Dominican Friar, pen and brown ink and wash on laid paper, sheet size 371 x 248mm (14.6 x 9.75ins), tipped on to late 18th or early 19th century backing paper with wash ruled border, window-mounted Provenance: Christie’s New York, Old Master Drawings, 30th January 1997, lot 25; Private Collection, Herefordshire, UK. (1) £700-1,000

Provenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Provenance (second item): Collection of the portrait miniaturist Richard Cosway (1742-1821). Cosway was an important collector of old master paintings, drawings and prints, sculpture and objets d’art. A sale of Cosway’s old master paintings, organised by Messrs. Hammersley and Co., Bankers, Pall Mall, was held in 1791, with a catalogue entitled: A catalogue of the entire collection of pictures of Richard Cosway, Esq. R.A. principal painter to His Royal Highness the Prince of Wales, in the great saloon, and eight other apartments, of his house in Pall Mall, containing the undoubted works of the great masters of the Florentine, Roman, Venetian, Lombard, Flemish, and Dutch Schools. There was another auction of Cosway’s art collections by James Christie in March 1792, and further sales after the artist’s death, in 1821, 1822 and 1828. (3) £200 - £300

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366* Le Sueur (Eustache, 1617-1655). Robed male holding a staff, possibly Saint John, seen walking in proﬁle, black chalk on pale blue laid paper, heightened with touches of white chalk, laid down on cream backing paper, inscribed in pencil lower left with artist’s name in a later hand, collector’s mark to extreme lower left corner of a Maltese Cross blindstamp within a circle, sheet size 371 x 248mm (14.6 x 9.75ins), tipped on to late 18th or early 19th century backing paper with wash ruled border, numbered in brown ink at head ‘No. 84’ inset to later backing paper, window-mounted

367* North Italian School. An Antique Frieze, circa 1775-1800, a pair of gouache ornament designs on red prepared laid paper, collector’s mark HF within a circle to lower right corner of one sheet, 27 x 30cm (10.75 x 11.75ins), matching gilt frames, glazed

Provenance: Formerly in the collection of Peter Ward-Jackson (1915-2015), curator at the V & A Museum, London. (1) £700 - £1,000

Provenance: Hugo Fleischhauer (1863-1930), Stuttgart (Lugt 1306b). Private Collection, Herefordshire, UK. (2) £300 - £400

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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368 Attributed to William Young Ottley (1771-1836). Sketchbook from the artist’s tour of Italy, circa 1791-99, 75 leaves of laid paper (cockerel watermark; countermarked ‘D’), unfoliated, leaves [1-2] with pencil annotations in Italian and an architectural pencil sketch (somewhat faded), leaf [3] with annotated bookplate of Thomas Ashby and additional annotation ‘Drawings by Wm Young Ottley’ probably in Ashby’s hand, 4 medial leaves left blank, the remaining 68 leaves containing 25 sketches in pen and brown ink over occasional traces of pencil and approximately 43 pencil sketches, nearly all rectos only (one sketch to a page; one pencil sketch double-page; one on verso), mainly studies after paintings but several apparently from life (including landscapes, clothed figures, and 3 sketches captioned ‘Nature’ and depicting a boy with a dog, a woman with a child on her back, and a crouching boy), 12 further sketches with legible manuscript captions (see note), tide-mark to upper outer corners gradually fading and receding but touching edges of image in about 10 cases, cords split between penultimate and final quires, first 3 leaves and final quire (6 leaves) with modern clear tape reinforcement in gutter, floral-patterned endpapers, contemporary Italian vellum binding with envelope flap, vellum soiled, tie perished, 4to (18.2 x 13.7cm) Provenance: 1. Thomas Ashby (1874-1931), British archaeologist in Italy and director of the British School at Rome (bookplate, with manuscript aquisition note ‘Wey[?], Charing X Rd, 18/7/6, 2 vols, Vol 2’). 2. Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Ottley, the son of a plantation owner entered the Royal Academy in 1787, studying briefly under John Brown, and was in Italy from 1791 to 1799. After his return to London ‘ Ottley established himself as a writer, connoisseur, and marchand-amateur. He was elected a fellow of the Society of Antiquaries and, as a leading arbiter of taste, he advised others on the purchase of works of art’ (ODNB). He was responsible for a number of ambitious art publications and in 1833 became keeper of prints and drawings at the British Museum. A number of the sketches have manuscript captions in Italian referring to the original work, the artist or its location, the inconsistencies in spelling suggesting a non-native author. These include ‘Bologna, Domenchino [sic] in S. Agnese’ (after Domenichino, Martyrdom of St Agnes; a section), ‘Turino palazo [sic] Reale, Carlo Cignani’ (after Cignani, Adonis and his Dog, cf. Palgrave, Hand-book for Travellers in Northern Italy, 1847, p. 20), and ‘Tizziano [sic], palazzo Reale a Parigi’ (after Titian, Venus Anadyomene); briefer captions indicate originals by Guercino (the sketch depicting a woman holding a jug), ‘Reggio’ (presumably Raffaellino da Reggio), and Coreggio (‘Coreggio a Parma’); the Palazzo Caprara and the Palazzo Bonfiglioli are cited as locations for originals which are otherwise unidentified. (1) £700 - £1,000

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369* Picart (Bernard, 1673-1733). Jesus with the Samaritan Woman at Jacob’s Well, brown and grey wash and pencil with black ink, on pale cream laid paper, inscribed in pencil to verso in a later hand ‘Jesus & la Samaritaine’, sheet size 323 x 215mm (12.75 x 8.5ins), tipped-on to old laid paper backing sheet, with ruled wash border, watermarked D&C BLAUW IV [circa 1750 or later], inscribed in another later18th century or early 19th century hand to lower right corner ‘B. Picart’ Provenance: Possibly Collection of Alfred Beurdeley (1847-1919), French cabinet maker, whose collections were sold in over twenty auction sales between 1920 and 1921 (later pencil inscription to lower left corner of backing sheet); Friedrich Winkler (1888-1965), German art historian, director of the Kunstbibliothek Berlin, later curator of the Kupferstichkabinett Berlin, and author of Die Zeichnungen Albrecht Durers (1936-39); Eva Winkler Dencker (1923-2017), Los Gatos, San Jose, California (information on the Winkler ownership supplied in the catalogue entry for this work by Swann Galleries, Old Master Drawings, November 5, 2019, lot 98). This accomplished wash drawing depicts the crucial moment in this famous bible story (St. John’s Gospel, Chapter 4, Verses 1-40), when Jesus reveals himself to the Samaritan woman as the messiah, with her dawning realisation of his message as the disciples return with food from the nearby village of Sychar. The present drawing is likely to have been intended for engraving and subsequent publication, possibly in one of Picart’s many folio historical publications, such as the Ceremonies et Coutumes Religieuses, published in Amsterdam between 1723 and 1743. (1) £700 - £1,000

Lot 369

Lot 370 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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370* Attributed to Giovanni Antonio da Pordenone (1483/41539). Design for a frieze of ﬁghting putti, pen and brown ink with brown wash, heightened with white chalk on pale blue-grey paper, inscribed in brown ink to verso ‘S.V. n:°66’, additionally inscribed in pencil ‘Giulio Campi I think JBS [James Byam Shaw], further inscribed (probably in a later hand) ‘dal Pordenon’, sheet size 130 x 207mm (5.2 x 8.2ins), mounted to cream laid paper, with triple rule ink outer border lines in coloured ink, window mounted, inscribed to verso of mount in pencil P.W. Ward-Jackson to upper right, and to centre ‘Giulio Campi AEP thinks probably Pordenone’ [in the hand of James Byam Shaw], framed and glazed Provenance: Zaccaria Sagredo, 1653-1729 (Lugt 2103a), renowned Venetian collector; Padre Resta ?; Private collection, Herefordshire, UK. The collection of drawings formed by Zaccaria Sagredo has been the subject of increased attention and study from the 1960s onwards. According to the substantial note in Lugt online, the collection numbered 8000 drawings, gathered mainly in 57 volumes, according to an inventory of 1738 now in the Museo Civico Correr Library, Venice. In 1762, some drawings and volumes of drawings were sold to the British Consul Joseph Smith (1682-1770), and his successor John Udny (1727-1800), including 4 volumes of drawings by Castiglione which were subsequently sold to King George III and now reside at the Royal Library, Windsor. Further drawings from 4 volumes of the Sagredo collection were later sold by Christie’s, London, Sunderland Collection of Drawings by Old Masters; comprising works of the Italian, Flemish, and German Masters, formed originally by the Bonﬁglio Family, of Bologna..., June 15, 1883. Literature: See Charles E. Cohen, The Drawings of Giovanni Antonio da Pordenone, Florence, 1980. (1) £1,500-£2,000

Lot 371

371* Dutch School. Tobias and the Angel, first half 17th century, sepia pen & ink sketch on laid paper, some soiling and marks, further pen & ink sketches to verso (5 figure studies), 2 nicks in upper edge, sheet size 16.4 x 20.9cm (6.5 x 8.25ins), tipped onto early-mid 19th century laid paper watermarked 'JW', with contemporary pencil attribution 'Eckhout' to lower margin, together with: Hermit and dog, mid 17th century, sepia pen & ink drawing on laid paper (laid down on paper), of a man seated beside a tent with a dog, and a church in the background, toned and a little rubbed, sheet size 9 x 13.3cm (3.5 x 5.2 ins), mounted, plus a late 16th/early 17th-century pen & ink sketch on laid paper, head & shoulders portrait half-profile to right of a bearded man in a hat, indistinctly inscribed in a contemporary hand to left-hand margin ' ? bouroy', sheet size 6.7 x 4.4cm (2.5 x 1.75ins), tipped onto laid paper and mounted on board, and a 17th-century pen & ink drawing on laid paper (laid down on paper) of a church procession, dust-soiled, 16.3 x 25.2cm (6.5 x 10ins), mounted

372* After Jan van der Straet (Johannes Stradanus, 1523-1605). The Capture of Milan, from Mediceae Familiae Rerum Feliciter Gestarum Victoriae et Triumphi, 1583 [or later], an enlarged nearcontemporary copy in pen, black ink, brown wash and brown ink and pencil on laid paper, early 17th century, 202 x 295mm (8 x 11.6ins), window-mounted

Provenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. (4) £300 - £400

See New Hollstein 355; Baroni Vannucci, Jan van der Straet (1997), 691.12. An early copy in brown wash of the third plate in a series of eight depicting battles outside Tuscany, from the series of 20 engravings (plus title page) entitled Mediceae Familiae Rerum Feliciter Gestarum Victoriae et Triumphi, illustrating the various triumphs of the Medici family of Florence, which were engraved by Hendrick Goltzius and Philips Galle after Johannes Stradanus, and published by Galle in 1583. The British Museum has a Flemish copy of the motif of the horse tethered to the tree, taken from the same published engraving (SL, 5219.43). (1) £700 - £1,000

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373* Testa (Pietro, 1611-1650). Study for the Sacrifice of Iphigenia, circa 1638, pen and brown ink on pale cream laid paper, inscribed in brown ink in a near-contemporary hand to upper right corner ‘Renbran’, mounted on later (probably 20th century) pale blue backing card, sheet size 120 x 197mm (4.75 x 3.8ins), window-mounted Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. The present owner received confirmation of the attribution of this drawing to Pietro Testa from Professor Ann Sutherland Harris dated May 19, 1985, in which Professor Harris stated that the drawing is a study for The Sacrifice of Iphigenia (Galleria Spada, Rome). (1) £1,500 - £2,000

Lot 373 374* Circle of Adam Frans van der Meulen (16321690). Soldiers Returning to Camp, mid-17th century, pen, brown ink and brown wash on laid paper, indistinctly inscribed to lower right ‘gorsle’, some marks and creases, and slight damage, laid down on old backing paper, with added single outer ruled border in brown ink, sheet size 27 x 36cm (10.5 x 14.25ins), modern gilt frame, glazed Provenance: Formerly in the collection of Ruth Ezra (Mrs Raymond Sawyer) of Chestnut Lodge, Cobham, Surrey, granddaughter of Frederick David Sassoon (1853-1917). (1) £400 - £600

Lot 374 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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Lot 375

375* Venetian School. Bacchanalian wooded scene with sleeping Venus, Cupid and Satyr blowing horn, surrounded by putti leading a tiger & elephant, with satyrs attending, later 17th century, pen & ink, black chalk, and brown wash on brownwash laid paper, heightened with white, ink inscription ‘Cyro Ferri’ to lower edge, laid on 18th century paper/card with line border, inscribed in pencil to verso in a 20th century hand ‘Luca Giordano/ Coll A.P. Oppé’, 380 x 522mm (15 x 20.5ins), framed and glazed Provenance: Adolph Paul Oppe (1878-1957) (according to pencil inscription to verso of mount. (1) £2,000 - £3,000

376* Beilby (William, 1743-1819). View of Banks Fee House in Gloucestershire the Seat of John Scott Esq., cira 1760s, pen, ink & monochrome watercolour on wove paper, watermarked J. Whatman, lower blank margin with caption and armorial (slight cropping at foot), signed lower left, few horizontal creases, image size 365 x 325mm, sheet size 430 x 370mm The renowned glass decorator William Beilby of Newcastle was also a recognised drawing master and topographical artist. Banks Fee House at Longborough, near Stow-on-the-Wold, Gloucestershire was constructed for John Scott around 1760. A portrait of John Scott by the fashionable portraitist Pompeo Batoni, dated 1774 is held at the National Gallery, London. (1) £300 - 400

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OLD MASTER PRINTS 377* Andrea (Nicolaus, circa 1550 - 1606/16). Portrait of Stanislaus Sabinus von Stracza, 1590, ﬁne copper engraving on laid paper, dated in the image lower left, a rich, heavily inked impression, plate size 424 x 326mm (16.7 x 12.8ins), sheet size 443 x 340mm (17.5 x 13.4ins) Hollstein 10; Andresen 7. A highly ornate engraved portrait taken from life (‘ad vivum delineabat’) of Stanislao Sabino, or Stanislaw Sabinka, mayor of Vilnius in Lithuania, court administrator, superintendent of the Mint, medical doctor, and King’s secretary. (1) £300 - £500

378* Bartolozzi (Francesco, 1727-1815). Selim or The Shepherd’s Moral, after Angelica Kauffmann, 1788, stipple engraving printed in brown on laid paper, 390 x 490mm (15.4 x 19.25ins) mount aperture, attractive period neo-classical gilt frame, glazed (unexamined out of frame) (1)

£200 - 300

379* Beham (Hans Sebald, 1500-1550). Frieze with Two Tritons, woodcut on laid paper, with watermark of a crowned serpent, a very good impression and in good condition, with collector’s mark of the Graf von Lepell Sammlung, and Kupferstich Sammlung der Konigl. Museen to verso, sheet size 225 x 460mm (8.9 x 18.1ins), window-mounted Provenance: W. Graf von Lepell; Count Wilhelm Heinrich Ferdinand Karl von Lepell (1755-1826, Lugt 1672); Berlin, Kupferstichkabinett der Staatlichen Museen (Lugt 1606). Pauli, Hans Sebald Beham, Kritisches Verzeichniss, 1346; Hollstein 1346. Exhibited: Colnaghi, London, 500 Years of Fine Prints, 1976, number 67. (1) £700 - £1,000

Lot 377

Lot 379

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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381* Burgkmair (Hans). The Triumph of Maximilian I, 1516-18, single woodcut from the series of 236, on laid paper, with watermark of a spread eagle within a circle, probably later 16th century, with handwritten inscription in brown ink (late 18th or early 19th century) to banner ‘Triumphal Procession of the Empr. Maximilian 1st - drawn by Hans Burgmair under the direction of the Empr.’, sheet size 382 x 367mm (15 x 14.5ins) (1)

£200 - 300

380* Bolswert (Boetius Adamsz, 1580-1633). Four Landscapes, after Abraham Bloemaert (1566-1651), circa 1630, the set of 4 rustic landscapes with thatched cottages after Bloemaert (Landscape with Ganymede, Landscape with the Temptation of Saint Anthony, Landscape with Tobit and The Angel, & Landscape with Two Figures by a Pond), on laid paper, trimmed to plate margins, sheet size 198 x 262mm (7.8 x 10.25ins), each window-mounted, with Christopher Mendez printed label to the ﬁrst in the series (1)

£300 - £500

382* Collaert (Adriaen, circa 1560-1618). Amerigo Vespucci on his ship, plate 3 from Americae Retectio (The Discovery of America), published by Philip Galle, Antwerp, circa 1598, copper engraving on laid paper by Collaert after Johannes Stradanus, with two lines of Latin text at foot ‘Americus Vespuccius Florentinus portentosa navigatione ad Occasum atque ad Austrum duas Orbis terrarum partes, nostris oris quas incolimus maiores, et nullis antea nobis notas saeculis, aperuit, quarum alteram de suo nomine Americam mortalium consensus nominavit. An. Sal. M. IIID’, trimmed to image, some minor marks and a few short tears and abrasions to top margins repaired with archival tissue and paper, sheet size 210 x 282mm (8.25 x 11.1ins) Hollstein 469. Sabin 92665. See R.V. Tooley, One of the Rarest Picture Atlases, Americae Retectio, 1592, The Map Collector, no. 2, March 1978, 22-24. The third of four plates from the ﬁrst edition of Americae Retectio, commemorating the successive discoveries of America by Christopher Columbus, Amerigo Vespucci and Ferdinand Magellan. The engraved inscription reads: Amerigo Vespucci of Florence by a portentous voyage to the west and south opened up two parts of the globe, larger than the portion we inhabit, and not known to any before us, the second of which by the common consent of mankind had been called America after his name’. (1) £300 - £500

Lot 381

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383* Della Bella (Stefano, 1610-1664). Diversi Capricci, the complete set of 24 etchings on cream laid paper, each with partial watermark, the third state (of 4), published by Nicolas Langlois in Paris, circa 1644-47, all with good margins, minor loss to centre of left blank margin, and similar slightly larger nick with loss to centre of left blank margin of the 4th plate, plate size 82 x 99mm (3.25 x 3.8ins), or very slightly smaller, sheet size 145 x 153mm (5.75 x 6ins), each loose in window mount De Vesme 128-151. (24)

£500 - £800

384* Della Bella (Stefano, 1610-1664). Temple of Concord and Roman Forum, from the series Sei Grandi Vedute, circa 1656, etching on laid paper, with watermark of bunch of grapes, the rare proof before addition of the printed inscription to lower margin, very small hole towards upper left corner, generally in very good condition, plate size 305 x 273mm (12 x 10.75ins), with narrow margins, sheet size 310 x 280mm (12.25 x 11ins) De Vesme 835 ﬁrst state (of 5). According to Jombert ‘supérieure à tout ce qui a paru de lui depuis son retour de France’ (Essai d’un catalogue de l’oeuvre d’Etienne de la Belle, Paris, 1772, pages 183-184. According to Robin Halwas, the ﬁrst state of this etching, ‘an artist’s working proof before addition of inscription, reputedly survives in a unique impression (in Vienna, Albertina)’. See robinhalwas.com/200207-stefano-della-bella-suite-of-six-etchingsof-rome-and-the-roman-campagna, online. (1) £300 - £400

Lot 383

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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386* Durer (Albrecht, 1471-1528). Hercules conquering the Molionide Twins, circa 1496, woodcut on heavy cream paper, a Meder 3 c impression, with the vertical split in the woodblock showing, trimmed to borderline, sheet size 390 x 280mm (15.3 x 11ins)

385* Durer (Albrecht, 1471-1528). Hercules conquering the Molionide Twins, circa 1496, woodcut on cream laid paper, a Meder III a-b impression, a very good, strong impression, trimmed to borderline, sheet size 393 x 283mm (15.5 x 11.2ins), hinged with paper to early 20th century mounting card

Bartsch 127: Meder, Hollstein 238; Schoch Mende Scherbaum 105. Printed around 1700. (1) £300 - £500

Bartsch 127: Meder, Hollstein 238; Schoch Mende Scherbaum 105. (1) £1,000 - £1,500

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387* Durer (Albrecht, 1471-1528). The Holy Family with Three Hares, circa 1498, woodcut on pale cream heavy laid paper, without watermark, a Meder i impression, probably 18th century, the plate worn in many places, with borderline broken, sheet size 400 x 290mm (15.75 x 11.4ins), together with three woodcuts from The Large Passion (1498-99): Ecce Homo, plate 4, The Cruciﬁxion, plate 6, and The Lamentation for Christ, plate 7, all much later, reworked impressions, probably late 19th or early 20th century, printed on off-white laid paper without watermark, the ﬁrst plate with some losses to upper left and lower right corners, the second plate with slight loss to upper left corner, sheet size 400 x 290mm (15.75 x 11.5ins) Bartsch 102; Meder 212; Schoch Mende Scherbaum 108. (4)

£200 - £300

388* Durer (Albrecht, 1471-1528). The Virgin Crowned by an Angel, 1520 [but later], copper engraving on laid paper, probably 17th century, trimmed just inside the plate mark, sheet size 135 x 97mm (5.35 x 3.8ins), together with: Leonart (Johann Friedrich, 1633-circa 1680), Agnes Durer, circa 1670, mezzotint on laid paper, with partial watermark of a foolscap, inscribed to lower edge ‘Agnes Albertidureri Conjux’, and signed to lower right corner ‘J.F.L.’, trimmed to plate margins, sheet size 101 x 63mm (4 x 2.7ins) See Hind 94 for the ﬁrst work. The mezzotint portrait of Durer’s wife Agnes was in fact based on that artist’s drawing entitled ‘Death of Lucretia’, dating from 1508. (2) £200 - £300

Lot 388

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390* Simon (Jean Pierre, circa 1750-circa 1810). Titania, Queen of the Fairies, Bottom, Fairies Attending (Shakespeare, Midsummer Night’s Dream, Act IV, Scene I), mezzotint and aquatint on wove paper, published by J. & J. Boydell at the Shakespeare Gallery, Sept. 29, 1796, a few minor marks and pale toning to margins, margins close-trimmed, sheet size 498 x 635mm (19.6 x 25ins), together with: Ryder (Thomas, Senior, 1746-1810, & Ryder, Thomas, Junior). Oberon, Queen of the Fairies, Puck, Bottom and Fairies Attending (Shakespeare, Midsummer Night’s Dream, Act IV, Scene I), 1803, etching and stipple engraving on wove paper, published by J. & J. Boydell, at the Shakespeare Gallery, Decr. 1, 1803, some marks and overall discolouration, margins close-trimmed, plate size 495 x 630mm (19.5 x 24.75ins), sheet size 504 x 643mm (19.8 x 25.3ins), matching later frames, glazed Weinglass 118 & 119. (2)

£150 - 200

389* Fletcher (Henry, active 1710-1750). May, June, July, August & September, from Twelve Months of Flowers, circa 1730, ﬁve engraved plates on laid paper, with hand-colouring, after Pieter Casteels, published by Robert Furber, Gardiner at Kensington, 1730, some light overall toning, a few minor marks to margins, plate size 41 x 31.8cm (16.2 x 12.5ins), sheet size 17.1 x 13 ins, each window-mounted See Dunthorne, Flower and Fruit Prints, 113; Nissen BBI 674; Tomasi, Oak Spring Flora, 37. (5) £500 - £800

391* Goudt (Hendrick, 1582/88-1630/48). The Mocking of Ceres after Adam Elsheimer, 1610, etching and engraving on laid paper, a good dark impression, trimmed just inside the plate mark, remains of paper mounting hinges to top margin verso, and two small ownership stamps to verso (Lugt 3926 and Lugt 4812), sheet size 315 x 247mm (12.4 x 9.75ins) Provenance: Hubert Georges Désiré Dupond (1901-1981/82), Brussels; Albert Aaron Feldmann (1920-1999). Bartsch, Hollstein 5. The second of only seven prints by Goudt, all of which were engraved after paintings by the German artist Adam Elsheimer, who had established himself in Rome at this time. The story is taken from Ovid’s Metamorphoses, and illustrates an episode during the search by the goddess Ceres for her daughter Persephone. The goddess stops at a cottage where she is offered a bowl of hot broth by an old woman. A little boy appears and mocks her for drinking so greedily, for which the goddess turns him into a lizard. (1) £400 - £600

Lot 390

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392* Goya (Francisco de, 1746-1828).Disparate Pobre (Two Heads are Better than One), plate 11 from Los Proverbios, etching with aquatint on pale cream laid paper, from the third edition published in 1891 for the Real Academia, Madrid, in an edition of 100 copies, numbered 11 to top right corner, plate size 245 x 350mm (9.7 x 13.75ins), sheet size 310 x 435mm (12.2 x 17.2ins), framed and glazed Delteil 212; Harris 258. (1)

Lot 393

£300-500

393 Gole (Jacob, 1660-1737). Two Dancers in Costume, mezzotint on laid paper, with Strasburg Lily watermark, three marginal tears with slight loss to upper right corner (slightly affecting engraved area), and lower right corner (blank margin only), with collector’s manuscript mark in pencil to verso ‘TN7’ (Lugt 2415), and with inscription below the image, also in pencil, possibly in the same hand ‘Dancers in the reign of William & Mary’, and further collector’s manuscript mark to lower left corner below the image ‘HCE 22’ (Lugt 1299a, unidentiﬁed), plate size 260 x 340mm (10.2 x 13.5ins), sheet size 282 x 347mm (11.15 x 13.75ins), together with: Bang (Hieronymus, 1553-1630). Suite of 8 Putti, 8 copper engravings printed on 4 sheets, with watermark of a serpent coiled around a ﬂower with letters NMH below, plate size 128 x 92mm (5 x 3.7ins), sheet size 119 x 330mm (7.9 x 13ins), plus other various Old Master prints, including Hendrick Goltzius (1558-1617), The Entombment, 1596 [or later], copper engraving on laid paper, trimmed to plate margins, Virgil Solis (1514-1562), Socrates Ridden by His Wife Xantippe, miniature copper engraving on laid paper, trimmed just inside the plate mark, a late copy after Federico Barrocci’s Annunciation, 1585, without cat to left foreground, or engraved name of the artist to lower right corner, Pieter van Lisebetten (circa 163-1678), The Flaying of Marsyas after Jacopo Palma, and 26 later 18th and 19th century reworked or copied etchings after Rembrandt (40)

Lot 394

£200 - 400

394* Hogarth (William, 1697-1764). O the Roast Beef of Old England, &c., 1749, etching and engraving on laid paper, the second state (of 2), by Charles Mosley and William Hogarth, a good strong impression, a few light marks and pale toning to sheet edges, minor vertical hairline crease to centre of the image, plate size 385 x 460mm (15 x 18ins), sheet size 475 x 640mm (18.5 x 25.25ins), window-mounted Paulson 180, ii/ii. (1)

395* Hollar (Wenceslaus, 1607-1660). Hascomb Hill, etching on laid paper, a good dark impression of the ﬁrst state, trimmed just inside the plate border, sheet size 80 x 134mm (3.2 x 5.3ins), window-mounted

£200 - £300

Pennington 950 i/iii; New Hollstein (Hollar part II) 461 i/iii. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

132

£150 - £200

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398* Laurie (Robert, circa 1755-1836). Landscape with storm and ﬁshermen by the river, ﬁne mezzotint on laid paper, with indistinct watermark, published by Robert Sayer, and published January 30, 1773, central vertical crease where previously folded, closed tear repaired to lower margin at right, without loss, plate size 452 x 550mm (17.75 x 21.7ins), sheet size 466 x 570mm (18.4 x 22.5ins)

396* Jackson (John Baptist, 1701-circa 1780). Melchisedek meeting and blessing Abraham, after the victory over the Kings, after Giovanni dal Ponte, circa 1741, chiaroscuro woodcut, printed in dark brown, light brown, pale yellow and black on laid paper, from the published volume of 24 large chiaroscuro woodcuts entitled Titiani Vecelli, Pauli Caliarii, Jacobi Robusti, et Jacobi de Ponte, Opera Selectiora... ligno coelata, et coloribus adumbrata, Venice, 1745, a good, strong impression, a few short closed tears to margins, with old paper restoration to verso, light soiling to sheet edges, inscribed in ink in an early French hand ‘Abraham rencontre Melchisedech, gravure en bois par J.B. Jackson et impm. en clairobscur, d’après P. Veronese’ to the edge of the lower blank margin, sheet image size 575 x 380mm (22.7 x 15ins), sheet size 635 x 445mm (25 x 17.5ins), framed and glazed (1)

(1)

£200-300

397* Kauffmann (Angelica, 1741-1807). Woman Resting Her Head on a Book, 1770, etching and aquatint printed in brown on off-white laid paper, some light spotting, plate size 192 x 158mm (7.5 x 6.25ins), with margins, framed and glazed (unexamined out of frame) Andresen, Deutsche Peintre-Graveur, 31. Sometimes thought to be a depiction of the artist herself. (1)

£200 - £300

399* Liotard (Jean Etienne, 1702-1789). Portrait of Maria Theresa, Empress of Austria, circa 1780, mezzotint engraving on laid paper, with partial watermark of a bunch of grapes ﬂanked on either side by a standing ﬁgure, generally toned, with margins, plate size 164 x 130mm (5.1 x 6.5ins), sheet size 196 x 176mm (7.8 x 6.9ins) Roethlisberger & Loche, L’Opera Completa di Liotard, 527. (1)

£300 - £400

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£200 - £300

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Lot 400

400* After Paul Bril (c.1553/54-1626). Five landscapes, early 17th century, etching & engraving on laid paper, including two by Johannes Sadeler (1550-1600) after Paul Bril, and one by Willem van Nieulandt (1584-1636) after Bril, and two others, each closetrimmed, image size 195 x 270mm (7.75 x 10.75ins) & smaller, framed and glazed (5)

401* Piranesi (Giovanni Battista, 1720-1778). Carceri d’Invenzione, plate IV, circa 1749 [but later], etching on heavy pale cream laid paper, with plate number (IV) to upper right corner of the image, and signature Piranesi F. to lower right corner of the image, the later re-issue of the second state, probably early 20th century, a very good, strong impression, central horizontal crease where previously folded, plate size 550 x 413mm (21.5 x 16.25ins), sheet size 815 x 550mm (32 x 21.6ins)

£300 - £500

Hind 4. (1)

£600 - £800

402* Piranesi (Giovanni Battista, 1720-1778). Camera Sepolcrale pochi passi distante da quella gia descritta della Famiglia di L. Arrunzio nella stessa vigna, scoperta l’anno 1736. (plate XVI from the Antichita Romane, 1750-56), etching on thick laid paper, probably from the third edition issued in 1785, plate size 40 x 59.5cm (15.75 x 23.5ins), sheet size 51.8 x 73cm (20.4 x 28.75ins), framed and glazed with old P. & D. Colnaghi & Co. Ltd. label to verso, giving the title as ‘The Interior of a Tomb near that of the Arrunzio Family’ Focillon 238; Wilton-Ely 373; Ficacci 230. (1)

Lot 401

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£200-300

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404* Baillie (Captain William, 1723-1810). The Three Trees after Rembrandt, 1758 ,etching with drypoint and roulette on laid paper, fourth state (of 6), with the addition of lightning and monogram W.B. to centre of left margin, with short margins, plate size 210 x 280mm (8.25 x 11ins), sheet size 217 x 290mm (8.5 x 11.5ins), together with a reproduction on laid paper of Rembrandt’s self-portrait in a feathered cap with plume, circa 1638, etching on laid paper without watermark, trimmed to plate mark, sheet size 137 x 102mm (5.4 x 4ins), both framed and glazed (2)

403* Rembrandt Harmensz van Rijn (1606-1669). The Stoning of St. Stephen, 1635, etching on laid paper, a posthumous, late 18th century impression, reworked, by Claude Henri Watelet or PierreFrancois Basan (1789) or his son Henri Louis Basan (1807), pale mount stain, plate size 95 x 85mm (3.75 x 3.3ins), sheet size 120 x 105mm (4.75 x 4.1ins)

£400-600

405* Delaune (Etienne, 1518/19-1595). Apollo and The Muses on Mount Parnassus, after Niccolo dell’Abbate, 1569, copper engraving on laid paper, plate size 40 x 55mm (1.6 x 2.2ins), sheet size 50 x 65mm (2 x 2.5ins), together with Narcissus, after Rosso Fiorentino, 1569, copper engraving on laid paper, plate size 56 x 40mm (2.25 x 1.6ins), sheet size 65 x 50mm (2.5 x 2ins), plus Grandhomme (or Granthomme, Jacques, active circa 1550), Venus and Adonis, & Death of Adonis, two copper engravings on laid paper, numbered 2 and 3 below the image respectively, each with four lines of latin text to lower margin, plate size 77 x 61mm (3.1 x 2.4ins), sheet size 85 x 66mm (3.3 x 2.6ins) and similar, and Delaune (Etienne, 1518/19-1595), Histoire de Jonas, 1569, the set of four miniature engraved illustrations to the story of Jonah and the Whale, each with latin title dated 1569 to top margin, trimmed just inside the plate mark, one (Conservatus Jonas e vomitur a pisce) with slight loss to lower left corner, sheet size 38 x 55mm (1.5 x 2.2ins) and similar, and two other similar 16th century small-scale copper engravings on laid paper, depicting the Birth of Christ, and the Cruciﬁxion, each within an elaborate oval decorative border, all hinge-mounted

Hind 125; New Hollstein 140; Bartsch, Hollstein, Nowell-Ustike 97. (1) £700 - £1,000

Robert-Dumesnil, Le Peintre-Graveur Francais IX, 41, 100, for the ﬁrst work. (10) £200-400

Lot 404

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407* Rigaud (Jacques, c.1671/91-1754). Vue du Chateau et d’une partie de la ville de Versailles, du côté de l’estang, engraving on wove paper, 240 x 470mm (9.5 x 18.5ins), mounted, framed & glazed, P. & D. Colnaghi & Co. Ltd. label to back board (1)

£150 - £200

408* Roccheggiani (Lorenzo). Vaso Antico di Metallo di Mitridate... Cornucopio antico gia posseduto dal Cavalier Piranesi... Candelabro antico gia posseduto dal Sigr. Antonio d’Este..., plate XCIV from Raccolta di Cento Tavole Rappresentanti i Costumi Religiosi Civili, e Militari degli Antichi Egiziani Etruschi, Greci e Romani, Rome, Giacomo Raffaelli, 1804, etching on pale cream laid paper, together with three other engraved plates from the same series, numbered XCIII, XCVIII, and XCIX, plate size 183 x 298mm (7.2 x 11.75ins) all with margins, modern matching silver gilt frames, glazed (4)

£200 - 300

406* Piranesi (Giovanni Battista (1720-1778). Catalogo delle Opere date ﬁnora alla luce da Gio. Battista Piranesi, circa 1769, etching on laid paper, a good, dark impression, several light creases, some marks, creasing and soiling mainly to blank margins, with a few associated closed tears, plate size 400 x 297mm (15.75 x 11.75ins), sheet size 500 x 420mm (19.7 x 16.5ins), together with a single sheet portion only of the Pianta di Roma e del Campo Marzo, circa 1774, consisting of the lower portion of the design only, with the 3-line title to the index but not the index itself at foot (some damage) Focillon 1. 27 states of this catalogue of Piranesi’s works are known. The present example lists up to 90 of the Vedute di Roma, ending with the Avanzi del Tempio del Dio Canopo nella Villa Adriana in Tivoli, which was issued circa 1769. (2) £300-500

409* Sadeler (Jan or Johannes, the Elder, 1550-1600). Christ crowned with thorns, from The Passion of Christ (Passio verbigenae quae nostra redemptio Christi), circa 1580-90, copper engraving on cream laid paper, after Marcus Gheeraerts the Elder (c. 1520-c. 1590), trimmed just outside the plate border, plate size 162 x 112mm (6.4 x 4.4ins), sheet size 166 x 116mm (6.55 x 4.55ins), window-mounted Hollstein XXI, 213. The sixth of a thirteen-part series of ornament prints depicting the passion of Christ. (1) £100 - £150

Lot 407

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410* Saint-Aubin (Gabriel de, 1724-1780). Frontispiece for the Recuil de Poesies by Michel Jean Sedaine, 1757, etching on laid paper, the second, deﬁnitive state (of 2), with the etched name of the artist carefully removed, inscribed in brown ink to foot of lower blank margin Sedaine, plate size 142 x 85mm (5.5 x 3.25ins), sheet size 152 x 88mm (6 x 3.4ins), hinged to modern window-mount Dacier 14a. (1)

£200 - £300

411* Spilsbury (Jonathan, circa 1737-1812). Miss Jacobs, after Sir Joshua Reynolds, 1762, mezzotint on laid paper, the rare proof before letters, a rich, velvety impression, inscribed in pencil to lower blank area in a 19th century hand ‘Miss Jacob - by Sir J. Reynolds - ﬁne and rare proof by Spilsbury’, plate size 505 x 355mm (20 x 14ins), with margins, antique-style black and gilt frame, glazed, with Thomas Agnew & Sons printed label to verso, and typewritten catalogue entry Chaloner Smith (1883) 21, i/ii; Hamilton 111; O’Donoghue 1. The published state of this mezzotint obtained the highest premium in the year 1761, granted by the Society for the Encouragement of Arts, Manufactures and Commerce, as stated in the caption to the published state. The work apparently depicts the artists’ model Esther Jacobs. (1) £200 - £300

Lot 410

412* Tempesta (Antonio, 1555-1630). Sixteen illustrations to Torquato Tasso’s Gerusalemme Liberata, circa 1620-25, 16 etchings on laid paper, numbered I-III, V-IX, XII, XIV-XX, published by Francois Langlois il Ciartres, without the title page (or frontispiece) to the set, and plates IV, X, XI, and XIV, plate size 145 x 185mm (5.75 x 7.25ins), sheet size 162 x 201mm (6.4 x 8ins), or very similar Illustrated Bartsch, volume 37, numbers 91-111 (Bartsch 1208-1227). Literature: Eckhard Leuschner, Antonio Tempesta’s Drawings for a ‘Gerusalemme Liberata’, Master Drawings, volume 37, number 2 (Summer 1999), pages 138-155. Sixteen from a total of 21 etchings (title page and plates numbered I-XX), depicting scenes from Tasso’s Gerusalemme Liberata, the epic poem based on events of the First Crusade and the conquest of Jerusalem, ﬁrst published in 1581. The 20 numbered plates illustrate each one of the 20 cantos in the poem. (16) £300 - £500

Lot 411

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413* Vasi (Giuseppe, 1710-1782). Monastero, e Chiesa di S. Egidio in Trastevere delle Suore Carmelitane, Chiesa e Monastero di S. Maria Annunziata, delle Suore Domenicane Neofite, Monastero, e Chiesa della SS. Annunziata delle Religiose Turchine, & Collegio de Neofiti, from Delle Magnificenze di Roma Antica e Moderna, Rome, 1747-1761, together 4 etchings on laid paper, numbered 147, 150, 157 and 169 respectively, each with narrow margins, plate size 220 x 337mm (8.7 x 13.3ins), sheet size 235 x 350mm (9.25 x 13.75ins), or very similar, together with: Bolswert (Boetius Adamsz, 1580-1633). Landscapes with Farmhouses after Abraham Bloemaert, 1613-14, 3 etchings on cream laid paper, each with posthorn watermark, being plates 8, 15 and 18 from the set of 20 landscapes by Bolswert after Abraham Bloemaert (Hollstein 338-357 for the set), each with wide margins, plate size 151 x 243mm (6 x 9.5ins), sheet size 233 x 317mm (9.2 x 12.5ins) or very similar, plus a duplicate of plate 8 from the same series, trimmed to plate margin, and laid down on modern card, and Swanevelt (Herman van, 1600-1655). The Little Waterfall, etching on laid paper (Bartsch 80; Hollstein 106, IV), trimmed to plate margins, and tipped onto old laid backing paper, 182 x 277mm (7.1 x 10.9ins), plus other various Old Master prints: 16 etchings on laid paper by Abraham van Diepenbeeck (1596-1675), from Michel de Marolles Tableaux du Temple des Muses (Paris, Nicolas Langlois, 1655), some full sheet, others trimmed to margins and mounted on old card, and 5 others various (Weisbrod after Pieter Bout, Le Chasseur prenant des forces, Ridinger, Die Wilde Sau oder Schwein, William Barnard after John Meheux, View of Hopping Dick's House, mezzotint, Fantetti after Raphael, Extendit Moyses manum contra mare, and Eynhoudts after Rubens (the last two with some damage to margins), various sizes (30)

415* Woollett (William, 1735-1785). Jacob and Laban, or Le Grand Pont, after Claude Lorrain, 1783, etching on laid paper, the ﬁfth state, as published by John Boydell, October 29th, 1783, a very good impression with contrast, plate size 560 x 780mm (22 x 30.75ins), with wide margins, 19th century black and gilt frame, glazed (unexamined out of frame) Fagan, Catalogue Raisonné of the Engraved Works of William Woollett, Fine Art Society, 1885, CXVI. (1) £200 - £300

£200 - £300

414* Scolari (Stefano, active circa 1650-1687). The Wedding Feast at Cana, etching on two sheets of laid paper, some marks and scattered water stains, trimmed to the image, laid down on old backing paper, sheet size 399 x 644mm (15.7 x 25.3ins), together with other various Old Master prints, various, including Wenceslaus Hollar, Spring, and Winter, from The Four Seasons, 1641, etching on laid paper, with watermark, both trimmed inside the plate mark, some overall browning and one or two marks to margins, sheet size 247 x 176mm (9.75 x 6.9ins), two further etched portraits of Lady Guildedord and Lord Anthony Denny by Hollar after Holbein, 1647, Sebastien Vouillemont after Raphael, The Supper at Emmaus, 1642, A.V. Hoorn after Rubens, Venus and Mars, Pieter van der Borcht (1530-1608), Adam Naming the Animals (Genesis II, 20), Lucas van Leyden, Saint with a Setsquare (with some damage), Johann Theodore de Bry after Abraham Bloemaert, The Golden Age, etc., mostly 16th & 17th century (19)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

416* Zanetti (Anton Maria, 1680-1767). The Virgin and Child with Saint John the Baptist, after Parmigianino, [1722], chiaroscuro woodcut on laid paper, printed with three blocks: black, pale blue and pale yellow, without the printed dedication to lower margin, sheet size 241 x 142mm (9.5 x 5.6ins), tipped on to modern window mount, framed and glazed Bartsch, Le Peintre Graveur XII, 174, 34. (1)

£300 - £500

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£500 - £800

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417* After Maarten De Vos (1532-1603). Jonah Cast on Shore by the Fish, Malines, 17th century, Southern Netherlandish alabaster plaque carved in high relief, highlighted in gold, depicting Jonah on the shore beside a fearsome sea monster, part of a city with tower and boats upper left, and a boat with Jonah being thrown overboard upper right, with initials ‘I D F’ in gold on cartouche to lower raised edge, some cracks and loss, with repairs and wax inﬁlling (especially to upper left), sometime mounted on wood panel, 21 x 30.5cm (8.25 x 12ins), framed and glazed Provenance: Collection of Jack Webb (1923-2019), London. Adaptation of an engraving by Anton Wierix II (circa 1555/59-1604), after a drawing by Maarten de Vos, from a series of engravings entitled Theatrum Biblicum, issued around 1585. A 17th century Malines alabaster relief of the ‘Adoration of the Magi’ was sold at Bonhams in 2016, similarly inscribed ‘I D F’ to lower edge below the image. (1) £300 - £500

Lot 418

418* Mondella (Galeazzo, called Il Moderno, 1467-1528). The Flagellation of Christ, circa 1510 [but later], bronze relief plaquette, showing the scourging of Christ at the pillar below a twin barrel-vaulted ceiling, initialled P.V.R. to lower edge, integral hanging loop to verso, 14 x 10.5cm (5.5 x 4ins) Provenance: Collection of Jack Webb (1923-2019), London. Literature: Douglas Lewis, ‘The Plaquettes of “Moderno” and His Followers’, Studies in the History of Art, volume 22, ‘Symposium Papers IX: Italian Plaquettes’, Washington, 1989, pages 105-141. Galeazzo Mondella (1467-1528), prominent goldsmith and guild master of Verona, and perhaps the most accomplished artist of Italian Renaissance plaquettes. His work, which included both sacred and profane subjects (including the Labours of Hercules and the Life of Christ) was inﬂuenced by Mantegna and other artists in his native Veneto, as well as by fellow artists such as “Antico” (Pier Jacopo Alari Bonacolsi, circa 1460-1528), whose “trade” name almost certainly inﬂuenced his own. ‘P.V.R.’ may represent the name of the foundry that created this later casting. (1) £300 - £500

419* After Guglielmo della Porta (circa 1500-1577 ). The Entombment, possibly 18th century, gilt bronze relief plaquette, depicting Nicodemus and Joseph of Arimathea lowering the body of Christ into a sarcophagus as the mourning Madonna, the three Marys, and Saint John look on, before a backdrop of overgrown classical arches, 25.7 x 20.8cm (10 x 8ins) Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

Lot 419

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FAR EASTERN & INDIAN ART

420* Chinese Brush Drawings. Floating Prawns, early 20th century, black and grey ink and wash on paper, with script and red seals to upper portion of right margin, some marks and creasing, closed tear towards centre of lower margin, generally without loss, sheet size 82 x 43.5cm (32.25 x 17ins), together with three other Chinese brush drawings and calligraphy on paper, probably early 20th century, and a 20th century abstract calligraphic colour woodblock print, each framed or glazed (the latter windowmounted only), various sizes (5)

421* Chinese School. A group of eight Chinese brush drawings, early 20th century, 7 brush & monochrome watercolour on laid paper, depicting vegetation, animals, and birds, each with circular red ink stamp and signature in black ink lower right, spotted, all with horizontal fold, and with contemporary manuscript slip attached with a pin to top left (one pin missing), e.g. ‘Snowy heron and reed’, ‘A monky [sic] and reﬂection of moon in the lake’, ‘Moon and owl’, ‘Bamboo’, sheet size 43 x 14cm (17 x 5.5ins), and a larger sheet of drawings similar, comprising 3 drawings of plants, 2 folds, partly spotted and toned, sheet size 58.5 x 44.5cm (23 x 17.5ins)

£100 - £200

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£100 - £150

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422* Chinese School. An 18th century reverse painting on glass, depicting ﬁgures in Western dress engaged in various pursuits amongst trees in a garden before a cluster of buildings, including children playing and a young gentleman seated on the ground smoking a clay pipe, slightly rubbed in places, 32 x 37.5cm (12.5 x 14.75ins), framed Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

423* Chinese School. Seven Deities, 1931/2, seven watercolours on paper, each laid on separate pasteboard panel, rubbed, soiled and worn, small metal pins or holes through corners, some delamination of panels, rodent-damage to left edge of one image and to lower right corner of another, Chinese manuscript captions verso, 44.5 x 24cm The Chinese captions on the versos suggests that these are copies of older paintings done in the twentieth year of the Republic of China. (7) £400 - £600

Lot 422

Lot 423

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424 Company School. Two soldiers, mounted on camelback, with riﬂes, 19th century, watercolour and gouache on paper, collector’s stamp to lower right corner, numbered in Arabic script, 228 x 311mm (9 x 12.25ins), mounted (1)

£500 - £800

Lot 426

425* Mughal School. Princess reclining on a divan, Delhi, circa 1815, watercolour and gouache on brown paper, heightened with gilt, sheet size 24 x 18cm (9.5 x 7ins) (1)

£100 - £150

Lot 427

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426* Mughal School. Court scene with female anointing ceremony, 18th century, pen, ink and watercolour on paper, heightened in gold within decorative borders, 40 x 32.5cm (15.75 x 12.75ins), framed and glazed (1)

£200 - £400

427* Mughal School. Court scene with princess and attendants presenting gifts to assembled females, with dancing girls, 18th century, pen, ink and watercolour on paper, heightened in gold within decorative borders, 39 x 34cm (15.25 x 13.25ins), a little light soiling to image and a couple of small areas of borders rubbed, framed and glazed (1)

£200 - £400

428 Rajasthan School. Lady seated on a terrace with companion, thinking of her absent lover, (illustration to the musical mode Patamanjari Ragini), 18th century, pen, ink and watercolour heightened in gold, calligraphic verse at head on yellow ground, 27 x 16cm (10.5 x 6.25ins) mount aperture, framed and glazed, together with: Indian Miniature. Portrait of a nobleman, 19th century, pen and ink drawing on paper, heightened in gold (small split to lower portion of jama). unﬁnished, a little light soiling, 14.5 x 6.5cm (5.75 x 2.5ins) mount aperture, framed and glazed (Margin)

£150 - £200

429* Utamaro (Kitagawa, 1753-1806). Bijin reading a book, Edo period, circa 1790, tate-e nishiki-e, colour woodblock print, later 20th century edition, mica sprinkled paper, 37 x 26cm (14 x 10.25ins), mount aperture, framed and glazed, together with Hokusai (Katsushika, 1760-1849), Fuji seen from Mishima Pass, Fujimi Fuji viewed from field in Owari Province & Kajikazawa in Kai province, from the series of Thirty-six Views of Mount Fuji, circa 1826, and three oban yoke-e nishiki-e, colour woodblock prints, early 20th century issues, each with artist’s signature and print title to upper left corner, 24.5 x 37cm (9.75 x 14.5ins) mount aperture, all framed and glazed, together with Mughal School, Falcons, Delhi, late 19 th century, a pair of miniature paintings, watercolour and gouache on stiff paper, floral borders, 20.5 x 12.5cm (8x 5ins), framed and glazed, together with Chinese School, portrait of a seated boy emperor, early 20th c., opaque watercolour on silk, artist’s red inkstamp top left, a couple of small spots, within patterned silk border, 45 x 25.5cm (17.75 x 10ins), framed and glazed and Kotozuka (Eiichi, 1906-1979), Studies of bamboo, published by Uchida, 1960,pair of oban nishiki-e tate-e, colour woodblock prints, each with artist’s seals to lower corners, slight spotting to one image, 39 x 26cm (15.25 x 10.25ins) mount aperture, framed and glazed, together with another Japanese colour woodblock print showing fishermen on a river (10)

Lot 428

£200 - £300

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PORTRAITS & MINIATURES

430* English School. Portraits of Major John Bell and Captain Robert Bell, circa 1743, two oval portraits in oils, showing father and son?, presented together in a double-sided oval gold frame engraved around the edge ‘John Bell Major in Lt Genll Harrison’s Regt 1743’ and ‘Robt Bell Capt of Grenadrs in Do 1743’, each side with convex glass (small edge-chip on one side), elaborate suspension loop, overall size (including loop) 55mm x 41mm (2.25 x 1.5ins) According to our research, Harrison's Regiment would appear to refer to the regiment under the command of Lieutenant General Henry Harrison, which, alongside a regiment commanded by Thomas Wentworth, was involved in the expedition to the West Indies in the 1740s designed to capture Spanish ports and control trade, which included the Battle of Cartagena in 1741. (1) £500 - £800

432* English School. Lady Doleman, circa 1700, oval head and shoulders portrait of a lady with dark curly hair, the top of her blue dress just visible, set into a yellow metal brooch frame (glazing a little scratched), enamel back painted with lettering ‘Lad. Doleman’ and volute decoration in pink and black, fastener broken with loss, 25 x 21mm, together with another early portrait miniature, depicting a young boy wearing a wig, a neck ruff, and a blue and gold coat, slightly rubbed, initialled in gilt lower right ‘SH’, 14 x 11mm, set into a yellow metal ring, shank broken

431* English School. Portrait of a young gentleman, circa 1820, plaster portrait bust of a young gentleman proﬁle facing right, 8 x 5cm (3.25 x 2ins), mounted on a red painted ground, oval wooden framed, glazed Provenance: Collection of Jack Webb (1923-2019), London. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Provenance: Collection of Jack Webb (1923-2019), London. (2) £200 - £300

£70 - £100

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433* Miniature. Portrait of a young lady in elaborate costume, circa 1920-1930, watercolour and gouache on milk glass, threequarter length portrait of a lady wearing a lavishly embroidered and beaded gown, depicting bees and other decorative motifs, and an ornate jewelled headdress with crescent moon, her head silhouetted against a gold-edged blue disc, seated on a carved stone throne with animal heads, before patterned purple drapes, 19.8 x 14.3cm (7.75 x 5.5ins), framed and glazed Provenance: Collection of Jack Webb (1923-2019), London. An exquisitely detailed portrait, evidently by an accomplished artist, possibly of an early 20th century actress or royal personage. (1) £300 - £500

434* Miniatures. Portraits of young beauties, mid 19th century, 3 oval painted enamel head-and-shoulder portraits of 18th century ladies wearing elaborate hats, each set into a brooch or pendant silvered frame inset with paste stones (all with some damage), one with image additionally inset with stones, 32 x 30mm and slightly smaller, together with 4 other miniature paintings, including an 18th century circular painting on enamel of ﬂowers in a vase with a church and a dwelling in the background, set into a cut steel frame, diameter 28mm, plus 2 miniature carved ebony frames Provenance: Collection of Jack Webb (1923-2019), London. (9) £200 - £400

Lot 433

Lot 434

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435* Russian Icon. Pokrov Presvyatoy Bogoroditsiy [‘Mantle of the Blessed Mother of God’], early-mid 19th century, oil on thick oak panel, depicting Saint Romanos the Melodist at centre, ﬂanked by Saint Andrew the Fool and the young Saint Epiphanius on left, and Emperor Constantine and Empress Helena on right, Virgin Mary with mantle above, rubbed and marked, some worming (more evident on reverse), chips to foot from removal of tack, 29 x 20.7cm, together with: Votive Paintings. Three votive paintings, France, 19th century, each in watercolour on vellum over reverse-bevelled wooden panel, depicting Jesuit saints Stanislas Kostka (1550-1568) and Aloysius de Gonzaga (1568-1591), and the Virgin Mary cradling the infant John the Baptist transﬁxing the brazen serpent, each with some surfacemarks and minor defects, 20.6 x 14.6cm

436* Russian Icon. Saint Demetrios Slaying King Kaloyani, early 19th century, oil on wood panel, depicting a Saint on horseback spearing a fallen king, with two cyrillic inscriptions in red to upper left and right, some surface damage to lower portion, inscribed on verso ‘Captn E.H. Seymour R.N. Got when we took Kertch in 1855, I being a Midshipman in the “Terrible”.’, 25.4 x 19.3cm (10 x 7.5ins) Provenance: Collection of Jack Webb (1923-2019), London. Admiral of the Fleet Sir Edward Herbert Seymour GCB GCVO OM PC LlD (1840-1929) entered the Royal Navy in 1852. He served as junior ofﬁcer in the Black Sea during the Crimean War, and it was here that he recovered the icon. In his memoir, My Naval Career and Travels published in 1911, he recalled: ‘Kertch was pillaged and looted by allies. I remember entering its museum; the building was still standing, but its contents destroyed or taken away. Outside the doors was the inscription in French to the effect that we were at war with the present and not with antiquity, &c. The notice taken of it was to carry off what people could, and smash the rest. This, however, was only in keeping with what happened in war’. Seymour later served in the Second Opium War in China, the Taiping Rebellion, and the Egyptian War of 1882. During the Boxer Rebellion he led an expedition to relieve the besieged diplomatic legations in Peking; the expedition was defeated by Chinese and Boxer forces and had to return to Tianjin. Although the mission had failed, on Seymour’s arrival back at Portsmouth he and his men were welcomed by thousands of people lining the beach and pier. Saint Demetrios was probably a deacon martyred at Sirmium by the Emperor Maximilian around the 3rd century; he was later transformed by popular imagination into the great warrior saint, second only to Saint George in popularity. His cult developed in Salonika, where he was known as ‘The Great Martyr’. He is traditionally shown, as here, slaying the King of the Inﬁdels. (1) £300 - £500

Provenance (Three votive paintings): Each with ownership inscription ‘Mrs Townshend Wilson’ to reverse of panel; this is possibly Georgina Townshend Wilson (1821-1894), née Hope-Vere, extra woman of the bedchamber to Queen Victoria from 1890 until her death. (4) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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19TH CENTURY PAINTINGS, WATERCOLOURS & DRAWINGS

437* Caba y Casamitjana (Antonio, 1838-1907). Portrait of gentleman, 1882, oil on canvas, head and shoulders portrait of a bearded gentleman wearing a brown jacket and waistcoat, with a blue cravat, signed and dated to right-hand margin, verso with canvas manufacturer's large oval ink stamp Planella of Barcelona, 54 x 44cm (21.25 x 17.25ins), framed (1)

£300 - £500

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438* Attributed to Nicholas Chevalier (1828-1902). Portrait of Queen Victoria, after Franz Xaver Winterhalter (1805-1873), circa 1857-1861, oil on canvas, three-quarter length portrait half-profile to left, depicting a young Queen Victoria against a landscape, wearing a white silk satin and lace gown and the Order of the Garter, her hands crossed one over the other, and a pink and a white rose hanging down on stems from her left hand, with a gold locket around her neck, sapphire and diamond brooch, a jewelled armband, and a sapphire and diamond tiara worn at the back of her plaited and looped hair, superficial scratch to lower right, and a few small unobtrusive marks upper left, sometime trimmed and re-lined, with some splitting to edges of re-lining at corners, stretcher with old printed label ‘44800’, 139.7 x 105.3cm (55 x 41.5ins), contemporary substantial gilt moulded wood frame, with borders of stylised acanthus leaves and voluted drawer handles, and scrolling ribbon motif to outer edge, some discolouration and minor superficial chipping to gilt in a few places, with old framer’s label on verso ‘Richard Foster Norton, 83 Collins St. East, Melbourne’, together with two typed letters relating to the painting: one from J.F Kerslake, Assistant Keeper at the National Portrait Gallery, London, dated 30th September 1964, stating “Your portrait is a version of the well-known portrait of Queen Victoria by Winterhalter painted in 1842”; the other from Ursula Hoff, Acting Director of the National Gallery of Victoria, dated 10th October 1968, saying “ ... the portrait of Queen Victoria, after Winterhalter, is hanging at Government House in Melbourne ... “ Provenance: Collection of Jack Webb (1923-2019), London. In 1842 Franz Winterhalter was asked to paint Queen Victoria’s portrait, as well as a companion piece depicting Prince Albert. They were the first of many works to be commissioned from the artist, and the finished paintings were hung on the walls of the White Drawing Room at Windsor Castle, where they hang still. The portrait of Victoria proved to be one of the most popular and reproduced images of her, and many replicas were produced for relatives, other sovereigns, organisations, and institutional buildings, some executed by Winterhalter and his studio, others by various artists. Indeed, almost immediately Winterhalter was asked to paint copies for presentation to King Louis-Philippe of France, who installed them in the Musée du Roi at Versailles where they remain today. This second version of the Queen is markedly different from the first, depicting a more elegant and formal sovereign, wearing the Order of the Garter, amongst other additional details. In the mid 1850s copies of Winterhalter’s pair of paintings arrived at Government House in Melbourne, that of the Queen being based on Winterhalter’s second version of the sovereign. The fact that the present work also echoes version two, and the presence of the Melbourne-produced period frame would indicate that it is a high quality copy of the Melbourne portrait. Indeed it is known that a copy was made for Government House in Sydney, and therefore this may have been that copy (whose current whereabouts we have been unable to establish). Richard Foster Norton - gilder, carver, frame maker and print seller - was active between 1855 and 1865, and was known to be working at 83 Collins Street East between 1857 and 1861, suggesting that the painting was made fairly soon after the arrival in Melbourne of the first pair. Russian-born artist Nicholas Chevalier is one of the very few artists working in Melbourne at the time who was capable of producing a work of this quality, and who already had close connections with the British royal family. He studied painting and architecture in Switzerland and Munich, and in 1851 he travelled to London to see the Great Exhibition, where he trained as a lithographer and exhibited at the Royal Academy. His first association with royalty appears to have been at this time, when he designed the setting for the Koh-i-Noor diamond and was commissioned to design a fountain for the grounds of Osborne House. After studying for a time in Rome he sailed to Australia, arriving in Melbourne in February 1855. His work there as an artist was numerous and varied: amongst other things he worked as a commercial illustrator, was instrumental in founding the Victorian Society of Fine Arts, had his oil painting 'The Buffalo Ranges, Victoria' chosen as the first Australian work of art to be purchased for the National Gallery of Victoria in 1865, and later, after settling in London in 1870, worked for the London Selection Committee of the Art Gallery of NSW, assigned to purchase watercolours by living British artists. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News. He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872. On his return to England his association with the royal family strengthened, and he received numerous commissions, including that from Queen Victoria in January 1874 to go to Petersburg and document in paint the marriage of the Duke of Edinburgh. Chevalier’s work demonstrates a versatility of technique and subject matter, from the execution of small-scale cartoons and landscape watercolours, to the production of large portraits in oils. A comparison with the portrait of ‘Dr Maund’ in the National Gallery of Victoria, painted in 1863, shows a similarity in the delicacy of the brushwork to delineate, for instance, the eyebrows and other fine details, as well as a similar use of bodycolour to produce subtle highlights to eyes, nails, jewellery, and other details. Chevalier seems to have favoured setting his subjects in sharp relief against a dark background, which he did when painting his own self-portrait, and thus would perhaps have been a natural choice to reproduce a picture in which a dark backdrop was dictated and the subject must shine. Literature: Richard Ormond and Carol Blackett-Ord, Franz Xaver Winterhalter, National Portrait Gallery, 1987, page 190. (1) £4,000 - £6,000

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Lot 438

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440* Continental School. Young Woman Smoking, possibly Spanish, circa 1860s, oil on tin, depicting a dark haired young woman wearing a shift and reclining in bed, holding a cigarette in her left hand and exhaling smoke, with letters and a book in front of her on the bed, and playing cards and a spill holder in the form of a devil on the green cloth-covered table beside, overall craquelure and some minor flaking to top left, 17 x 20cm (6.5 x 8ins), gilt moulded frame Provenance: Collection of Jack Webb (1923-2019), London. An unusual early portrayal of a woman smoking a cigarette. In the 19th century, when smoking was not considered appropriate for genteel females, and before the first commercially produced cigarettes, Spanish women were particularly noted for the habit of smoking hand-rolled cigarettes. The message of the painting reinforces the widely-held view that women who smoked were morally lax, depicting as it does the subject in abandoned pose with tumbling locks, scattered love letters and playing cards, and a devil-figure spill vase. (1) £200 - £300

439* Manner of John Constable (1776-1837). Landscape with ﬁgures, oil on board, depicting a rustic view with two country ﬁgures and a large tree beside a pond with ducks, a winding lane leading towards a cottage, verso with a seascape depicting sailing vessels tossed about in a storm, support bowed, with some cracking in paint surface and wear to edges on recto, 22.9 x 22.3cm (9 x 8.75ins) (1)

£200 - £300

441* Continental School. The Love Letter, circa 1840-50, oil on wood panel, half-length portrait of a seated dark-haired young woman wearing a white gown with ﬁtted bodice and frilled short sleeves, a ruby brooch with pearl droplets, bracelets of pearls and blue silk ribbon with ruby ornament, a strand of pearls in her hair, and ﬂower ornaments in her dress and hair, holding a closed fan and a handkerchief in one hand, and a small envelope with red wax seal in the other, against a green curtain drawn back to reveal a grand arcaded staircase with carved columns and balustrade, hung with a chandelier, overall craquelure, 48.5 x 37.9cm (19 x 15ins), framed

Lot 440

Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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443* English School. Good-bye Sweetheart Good-bye, 1883, oil on canvas, showing a Hussar on horseback with his sweetheart, titled, and indistinctly signed C. A. Hood (?) and dated verso, 56 x 41cm (22 x 16ins), period gilt frame Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

442* Eichstaedt (Rudolph, 1857-1924). Interior scene with square piano, oil on canvas, showing a drawing room with square piano, with paintings on the wall behind, and a gilt mantel clock on top, a small chest with tall mirror, large round table with ﬂoral green cloth atop, two salon chairs, a work-table, and a bay window with tasselled valance, giving a view out to a garden, signed lower right, 62 x 82cm (24.5 x 32.25ins), framed (1)

£300 - £500

444* English School. Marquis of Anglesey, 19th century oil on canvas, showing Henry William Paget, 2nd Earl of Uxbridge, 1st Marquess of Anglesey on horseback advancing, unsigned, relined, 41.5 x 32cm (16.25 x 12.5ins), ebonised and gilt frame Provenance: Collection of Jack Webb (1923-2019), London. Field Marshal Henry William Paget, 1st Marques of Anglesey (1768-1854) was a British Army ofﬁcer and politician. He took part in the Flanders Campaign and then commanded the cavalry for Sir John Moore’s army in Spain during the Peninsular War. During the Hundred Days War he led the charge of the heavy cavalry against Comte d’Erlon’s column at the Battle of Waterloo. At the end of the battle he lost part of one leg to a cannonball. (1) £200 - £300

Lot 443

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445 English School. Portrait of a Young Gentleman, circa 1810, oval oil on copper, depicting a young man in blue coat and white cravat, some surface-marks and scratches, oval gilt-wood frame, 25 x 35.5cm, together with: Rustic Landscape with Animals, circa 1770-80, oil on copper, landscape with woman milking, horses in stable, sheep, and boy with dog, some marks and surface-loss, 31 x 25.5cm (2)

£150 - £200

446* English School. Wounded officer, circa 1815, oil on tin, showing an officer in distress wearing a scarlet tunic and semireclining under a tree, a musket on the ground in front, and an army regiment with foot soldiers and a mounted officer in the distance, overall craquelure, 12.6 x 10.4cm (5 x 4ins), contemporary gilt moulded frame Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

Lot 445

447* Frankland-Russell (Sir Robert, 1784-1849). Landscape with bridge over river, oil on wood panel, depicting a shallow stony river and stone bridge, with trees and cottages, against a background of hills, 18 x 24.2cm (7 x 9.5ins), gilt moulded frame bearing artist’s name and date Sir Robert Frankland-Russell, 7th Baronet, was M.P. for Thirsk in Yorkshire between 1815 and 1834, and High Sheriff of Yorkshire in 1838. He was a keen and accomplished artist, following in the footsteps of his father, a watercolourist who had studied under John Malchair. A series of Sir Robert’s comic hunting scenes were reproduced as engravings in Indispensable Accomplishments published in 1811, a work which directly inspired Henry Alken Senior. (1) £150 - £200

Lot 446

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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448* Frere (Edouard, 1819-1886). Girl with Cooking Pot at the Stove, 1866, oil on panel, interior scene with a small dark-haired girl in a green dress reaching with a ladle into a ceramic cooking pot atop a cast iron stove, signed and dated lower left, faint ink number to verso G2127, 25 x 20cm (10 x 8 in), gilt moulded frame (1)

£500 - £800

449* Frith (William Powell, 1819-1909). Bedtime, oil on wood panel, depicting a young mother with ringlets wearing a bluetrimmed white gown, holding a small child on her knee, with washing accoutrements on a table to the right, and a layette basket on a wooden chair to the left, signed lower right and dated 1867, 21.6 x 28.3cm (8.5 x 11ins), framed, with Fine Art Society label dated August 1961 in manuscript, and white chalked numbers 'lot 116, 216189' to verso (1)

£5,000 - £7,000

Lot 448

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Lot 450 450* Gale (William, 1823-1909). The Sick Child, oil on wood panel, signed with monogram to lower left corner, short surface scratch to the hair of the young mother (slightly over 1cm), 22.5 x 30cm (8.75 x 11.8ins) mount aperture, period gilt moulded frame, glazed, with old label of Leggatt Brothers, 77 Cornhill E.C. and at 62 Cheapside to verso

451* Harris (Edwin, 1810-1895). Landscape with windmill, oil on canvas, depicting a large windmill and 2 small cottages on a heath, with a wagon on a track beside, signed lower right, 18 x 25.5cm (7 x 10ins), framed Edwin Harris, well-known for his topographical scenes of New Plymouth and Nelson, emigrated to New Zealand with his wife Sarah and their children in November 1840. The trials and tribulations which beset them in this foreign country were numerous, including losing most of their possessions when their log hut burnt down 2 months after arrival. Edwin began work there as a civil engineer, surveyor, and architect, and subsequently became a drawing master at a school in the town of Nelson. He instructed all his children in the rudiments of sketching and painting, and Emily (1837-1925), the second of his five children, experimented with a variety of artistic techniques, painting landscapes and botanical studies in watercolour and oils, as well as producing items painted on satin such as fire screens and fans. She exhibited these latter items locally as well as sending them for exhibition at the 1886 Colonial and Indian Exhibition in London. In an attempt to bolster her family’s finances she also had her work published in 1890 in three books, entitled New Zealand Flowers, New Zealand Ferns and New Zealand Berries, each containing 12 lithographs after her paintings, and a further title, Fairyland in New Zealand, was published containing her illustrations. In 1924 63 of her watercolours were purchased by the Alexander Turnbull Library in Wellington for 10 shillings each, and her father’s work is represented in a number of public collections in New Zealand. (1) £200 - £300

Provenance: Collection of Jack Webb (1923-2019), London. (1) £700 - £1,000

Lot 451

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452* Houston (George, 1869-1947). Scottish summer landscape with sheep grazing, oil on canvas, signed lower right, 45 x 61.5 cm (17.75 x 24 ins), period moulded gilt frame (1)

£600 - £800

453* Jarvis (G.O., late 19th/early 20th century). ‘Nelson’, 1903, oil on board, titled in white to lower centre ‘NELSON’, signed and dated 23/5/03 in pale red to lower right corner, a few minor surface marks, period Maplewood veneer frame, with typewritten note regarding the ship to verso Provenance: Collection of Jack Webb (1923-2019), London. The iron ship Nelson, 1247 tons, was built in August 1874 by Robert Duncan of Port Glasgow for Patrick Henderson, as a sister ship to the Auckland, Canterbury, Dunedin, Invercargill, and Wellington. In 1877 Henderson amalgamated with Shaw, Savill, and this ship was employed by them on the New Zealand run. (1) £200 - £400

Lot 452

454* After John Henning (1771-1851). Parthenon Frieze, mid 19th century, copper electrotype relief panel, with 2 hanging chains on verso, 33.9 x 132.3cm (13.25 x 52ins) During the 18th and 19th centuries interest in classical sculpture was at its height, and the famous Parthenon frieze was part of Lord Elgin's collection of Greek sculpture, displayed at his London home from 1808 to privileged guests. Scottish artist John Henning was one of the ﬁrst to access the collection and he embarked on a project of making models of the Parthenon frieze, ﬁrst in ivory and subsequently in plaster, which were widely copied and reproduced, usually on a much smaller scale than the present work. (1) £800 - £1,200

Lot 453

Lot 454

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455* Attributed to Thomas Luny (1759-1837). A Sixth-rate 32-gun frigate setting out at dawn, with other shipping, off Plymouth Sound, oil on canvas, signed Luny on a piece of driftwood to lower left corner, some surface marks and partial craquelure, with a number of small chips and subsequent loss, 42 x 64cm (16.5 x 25ins), gilt frame Provenance: Collection of Jack Webb (1923-2019), London. With a typewritten letter from Jeremy Rye of Sotheby’s to Jack Webb, dated 6 July 1999, referring to this and other pictures, attached to verso. (1) £700 - £1,000

456* Pegrum (E.J.,19th century). The Maria and Hercules, circa 1860, oil on canvas, showing the three-mast sailing ship Maria and paddle steamer Hercules in choppy waters with a tower and landscaped background (possibly off Plymouth), signed lower left, relined, 61 x 91.5cm (24 x 36ins), modern gilt frame (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£500 - £800

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457* After Henry James Richter (1772-1857). School in Uproar, oil on canvas, depicting schoolboys larking around, impersonating the master, spilling ink, chalking a caricature on the door, throwing books, etc., with a glowering school master seen at the open door brandishing a cane, overall craquelure and some ﬂaking at edges, 46.4 x 57.4cm (18.25 x 22.5ins), framed Henry Richter’s works became highly popular through the medium of engraving; his painting The School in an Uproar was reproduced by several different publishers, and even appeared printed on pocket handkerchiefs. (1) £300 - £500

458* Seymour-Lucas (Marie, 1855-1921). Still life of ﬂowers, oil on canvas, depicting yellow and white daisies, roses, and clematis ﬂowers, with ferns and grasses, in a bulbous green glass vase, signed in red lower left, 26.5 x 22cm (10.5 x 8.5ins), framed, with old framer’s label on verso ‘C. Sheppard, Victoria Crescent, The Broadway, Wimbledon’ French-born artist Marie Seymour-Lucas, née Marie Cornelissen, was sent to England by her parents to study painting. She attended St. Martin’s Lane Academy and then the Royal Academy where she met John Seymour-Lucas, who became her husband. After marrying she spent the rest of her life in England. She is best known for historical works, genre scenes, and domestic scenes with children. (1) £150 - £200

Lot 457

459* English School. The Shipwreck, early 19th century, oil on canvas, depicting a British three-masted galleon listing in stormy seas, with ﬁgures trying to board a lifeboat full of people, and several other vessels being tossed around by the sea, including another sailing ship and smaller boats with ﬁgures clinging to them, within a white-painted border, overall craquelure, 45.3 x 60cm (17.75 x 23.5ins), framed (1)

Lot 458

157

£200 - £300

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460* Smith (P.H., 19th century). Coastal scene, oil on canvas, showing ﬁsherman and boat on a beach, signed lower left 23 x 30.5cm (9 x 12ins), gilt moulded frame (1)

£100 - £150

461 No Lot

Lot 463

462* Ball (Wilfrid Williams, 1853-1917). “Autumn Morning”, Minehead, Somerset, 1900, watercolour, signed lower right, slight overall toning, ‘Minehead, Somerset’ and Newman Fine Art gallery labels to verso, 15.5 x 26.5cm (6.25 x 10.5 in), framed and glazed

Lot 464

Wilfrid Ball (1853-1917), watercolour painter, etcher and illustrator, studied at the Heatherley School of Art, and exhibited at the R.A., R.S.E., and the R.I.. He became President of the Society of British Artists in 1886. His watercolours of the Southern Counties of England, were exhibited at the Fine Art Society in 1904, and published in two A. and C. Black colour guides - Sussex (1904) and Hampshire (1909). (1) £200 - £300

463* Ball (Wilfrid Williams, 1853-1917). Battle, Sussex, circa 1905, watercolour, signed lower left, 29.5 x 23cm (11.5 x 9 in), framed and glazed (1)

£200 - £300

464* Ball (Wilfrid Williams, 1853-1917). Boats Drawn up near the Mouth of a River, watercolour, slight overall toning, Laurence Oxley Gallery, Alresford label to verso, 22.5 x 19.5cm (8.75 x 7.75 in), framed and glazed (1)

465* Ball (Wilfrid Williams, 1853-1917). Bosham, West Sussex, 1894, watercolour, signed lower left, Heather Newman Gallery label to verso, 16 x 25cm (6.25 x 9.75 in), framed and glazed

£150 - £200

(1)

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£200 - £300

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468* Ball (Wilfrid Williams, 1853-1917). ‘New Amsterdam’, 1889, watercolour, signed lower left, old Robert Dunthorne, London label with ‘Rembrandt Land Exhibition (72)’ inscription, and Swan Gallery, Sherborne label to verso,14.5 x 24.5cm (5.75 x 9.5 in), framed and glazed (1)

£150 - £200

466* Ball (Wilfrid Williams, 1853-1917). Brixham, Devon, 1892, watercolour, signed lower right, slight overall toning, 15 x 24.5cm (6 x 9.5 in), framed and glazed (1)

£200 - £300

469* Ball (Wilfrid Williams, 1853-1917). Rotenburg, Lower Saxony, Germany, 1891, watercolour, signed lower right, old Abbey Galleries, London label to verso, 14 x 24.5 (5.5 x 9.75 in), framed and glazed (1)

£150 - £200

467* Ball (Wilfrid Williams, 1853-1917). Goring, West Sussex, 1905, watercolour, signed and dated lower left, 23 x 19cm (9 x 7.5 in), slight overall toning, framed and glazed (1)

£200 - £300

470* Attributed to David Wilkie (1785-1841). Study of a mother nursing her child, black, red, and white chalk on brown wove paper, depicting a seated young peasant woman wearing a white bonnet, nursing a small child, with a detail of the suckling baby’s head top left, creases at corners, 25 x 27.7cm (10 x 11ins), mounted, framed and glazed, with Christie’s consignment label to verso dated Aug 2006, black auction stencil WF145, and marked in white chalk ‘DRG WF145 RL6’ to verso (1)

Lot 468

159

£150 - £200

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471* Bertin (Francois-Edouard, 1797-1871). View on the outskirts of Marseille, pencil on pale blue-green wove paper, heightened with white chalk, inscribed ‘Marseille’ in brown ink to lower right corner, some light handling marks to sheet edges, and minor loss to upper margin towards upper right corner, sheet size 395 x 563mm (15.5 x 22.2ins), together with: Rosenlaui, Switzerland, pencil on pale brown laid paper, heightened with dark brown chalk, with contemporary inscription in brown ink to upper right corner ‘Rosenlaui’, sheet size 440 x 490mm (17.3 x 19.25ins), window-mounted Provenance: Eric Carlson (1940-2016), Professor of Art History at SUNY-Purchase, and art dealer in New York who specialised in 19th century French drawings and prints. These two drawings formed part of lots 115 and 124 in a sale at Swann Galleries, Old Master Drawings, November 5, 2019. (2) £700 - £1,000

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473* Buckler (John, 1770-1851). Interior View of Dodington Church, Gloucestershire, 1814, watercolour on paper, signed and dated lower right, titled to margin, image size 38 x 28.5cm (15 x 11.025ins), marbled paper mount aperture, frame size, 80.5 x 65cm (31.75 x 25.5ins), modern gilt frame, glazed Dodington Church (St Mary’s), Gloucestershire was completed circa 180005 by architect James Wyatt. The house and grounds were designed for Sir Christopher Codrington. St Mary’s is a magniﬁcent domed church, Grade I listed and connected to the house via a curved conservatory. During WWII Queen Mary regularly worshipped in the church. Today the estate is owned by the entrepreneur Sir James Dyson. John Buckler Senior (1770-1851) was a British artist and architect who produced many drawings of churches and other historic buildings, recording much that has long since been altered or destroyed. Forty-four volumes of his sketches are held by the British Library and other collections are at the Wiltshire Museum in Devizes, Taunton Museum, the William Salt Library, Stafford and Bodleian Library, Oxford. (1) £300 - £500

472* Boyce (George Price, 1826-1897). Valley of Lledr, August 1st, 1849, watercolour and pencil on wove paper, signed in pencil lower right, and also inscribed in pencil to lower left, ‘Valley of Lledr Aug 1/49 - G.P.B.’, sheet size 200 x 298mm (7.8 x 11.75ins), framed and glazed Provenance: Private Collection, Herefordshire, UK. This early watercolour study dates from the time of Boyce’s ﬁrst meeting with David Cox at The Royal Oak in Bettws-y-Coed, in the autumn of 1849, the moment at which Boyce decided to become a painter, after years of study as an architect. He was also introduced in the same year to Dante Gabriel Rossetti by Thomas Seddon, and was subsequently closely associated with the Pre-Raphaelite movement. (1) £300 - £500

474* Cheret (Gustave Joseph, 1838-1894). Design for a Vase, pen, black ink and grey and black wash on wove paper, bears monogram JC lower right, sheet size 210 x 138mm (8.25 x 5.4ins), with separate handwritten title ‘Vase’ on light blue paper, printed sticker containing the number 901, and facsimile signature of Joseph Cheret separately mounted below, window-mounted Provenance: Eric Carlson (1940-2016), Professor of Art History at SUNYPurchase, and art dealer in New York who specialised in 19th century French drawings and prints. (1) £150 - £200

Lot 473

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475* Delamarre (Captain Adolphe Hedwige Alphonse, 1793-1861). Camels crossing the Alcántara Bridge, Spain, 1844, pencil and watercolour, depicting 2 camels and 2 ﬁgures, one mounted, traversing a partly ruined viaduct, with river below and boulders either side, inscribed by the artist in pencil upper left ‘Alcantara dessiné d’un point pris en amont (1844)’, 22.5 x 28.5cm (9 x 11.25ins), mounted, incorporating artist’s name above and title below in black ink in a calligraphic hand, framed and glazed, with hand-written label of provenance to verso Provenance: Christie’s, London, 12th June 2005, lot 129. The Museu Nacional d’Art de Catalunya in Barcelona holds a number of landscape watercolour drawings by Captain Delamarre. (1) £150 - £200

476* Drawings & Watercolours. Portrait of a young woman, 1875, pencil on wove paper, head study of a pensive young woman with her hair piled on top of her head, dated in pencil lower right ‘23 Jan 75’, some minor marginal ﬁnger-soiling, sheet size 30.2 x 22.5cm (12 x 8.75ins), mounted, together with another head study of a woman, charcoal on laid paper with Michallet watermark, toned, pin hole to each corner, sheet size 30.4 x 23cm (12 x 9ins), mounted, plus a pair of Welsh landscape watercolours mounted together, each 12 x 16.5cm (4.75 x 6.5ins), and 7 others (5 duotone watercolours of cats by Derrick Sayer, 3 for Beverley Nichols’ ‘Cats’ A.B.C.’; a pastel of 2 donkeys looking over a stable door by Christine Sapieha; and a watercolour of a wayside cruciﬁx shrine), contained together in a large black cloth solander box

Lot 475

(a portfolio)

£200 - £300

477* Duncan (Edward, 1803-1882). The Bell Buoy, 1860, watercolour on paper, heightened with white bodycolour, signed and dated lower right, 35.5 x 52cm (14 x 20.5ins) mount aperture, gilt frame, glazed, with handwritten labels to verso by Elizabeth van Horn, dated 1971 Provenance: Elizabeth van Horn, Norwich; Collection of Jack Webb (19232019), London. With two autograph letters by Elizabeth van Horn to Jack Webb, dated June 1972, gifting the present work to him, contained in envelope attached to verso. (1) £200 - £400

Lot 476

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478* English School. An album of pencil drawings, 1850-1 885, 74 pencil drawings (a few with watercolour) on 25 leaves of thick coloured paper, mostly figure and costume studies, some annotated with initials J.W.L., date, titles, place names (e.g. Monmouth, Newhaven, Conway Castle, St. Paul’s, Albert Hall), including 3 of a woman painting at an easel, several of cats, some of peasant labourers, tipped-in on rectos only, typically several to a page, 23 x 14cm (9 x 5.5ins) and smaller, album leaf 25.5 x 37cm (10 x 14.5ins), leaves hinged at gutter with brown adhesive tape, bookplate of H.H. Harrod designed by G. Ledward on inside front board (no pastedowns), makeshift binding of boards covered with old brown paper, that to upper cover with early manuscript shelfmark label, oblong folio, together with An album of watercolours and pencil drawings, 1823-1867, 67 pencil drawings (a number with watercolour, some sepia) on 24 card leaves, mostly topographical studies of English buildings and places, including some landscapes, a few with figures, many titled, and some dated, e.g.: Mickleham Church, Surrey; Taring, Sussex; Dorking, Surrey; Ashford, Kent; Sessions House, Horsham; Salcombe, Devon; Thomas à Becket’s House, Tarring; Burnham, Somerset; Rectory, Brighton; Nelley Abbey, Hampshire; West Gate, Canterbury; Wimborne Minster, Dorset; Hampton Court Palace, generally toned throughout, mounted on rectos and versos, mostly 1 or 2 to a page, some tipped-in over another, approximately 21 x 26cm (8.25 x 10.25ins) and smaller, sheet size 36 x 26cm (14.25 x 10.5ins), original black half morocco, worn, with deficient spine and upper cover detached, boards covered with old brown paper, that to upper cover with early manuscript shelfmark label and historic lot number label, folio

479* English School. An album containing 41 studies of Continental & British landscapes etc., mid 19th century, including pencil views of the passes of the Alps, some after William Brockedon, such as Pass near La Thuille, View of Arc Valley from Saint-Michel-de-Maurienne, the ascent of the Little St. Bernard, and British views including Ben Lomond & Loch Ard, Matlock High Tor Derbyshire, St. Constantine’s Cell, Derwent Water, etc. and few pen & ink studies including Castle of Ashby and interior of the Newcastle Castle Chapel, plus ﬁve watercolour studies of plants including passion ﬂower and ivy, etc., mostly on artist card or thick wove paper, many mounted into album (some loosely inserted), all edges gilt, contemporary red velvet, gilt & blind blocked decoration to boards, upper joint split and near detached, worn, decorative brass clasp, folio (images approximately 240 x 180mm and smaller) (1)

Provenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Henry H. Harrod was the author of several books of fairy tales, and son of the founder of Harrods, Charles Henry Harrod. (2) £200 - £300

163

£200 - £300

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481* English School. Old Bridge at Hampton, Middlesex, circa 1870, watercolour on wove paper, depicting a sunset landscape of a bridge spanning a wide river, with the Mitre Hotel & Tavern on the right, and a blue-clad ﬁgure punting in the foreground, 27.5 x 39.3cm (10.75 x 15.5ins), mounted (with calligraphic inscription in brown ink attributing the work to Samuel Palmer), framed and glazed, remains of typed label on verso with title and ‘F.L. Griggs’ (1)

£150 - £200

482* English School. English Country Houses, circa 1840, three fine watercolours on wove paper, showing attractive gabled houses with mullion windows, ornate chimneys, one with tower, each property depicted within gardens and parkland, with figures strolling figures and on horseback, some light spotting, each neatly laid down on mountboard with gilt rule border, images sizes 237 x 358mm and two measuring 237 x 380mm (9.5 x 14ins), gilt frames, glazed, together with three monochrome photographs of the watercolours, each with Royal Commission on Historical Monuments (England) label to verso with negative number references BB85/1701, BB85/1702, BB85/1703

480* English School. Dancing Faun, late 19th century, black and white chalk on dark brown wove paper, full length study after a classical sculpture of a male nude playing the crotala (pair of cymbals) and working a scabellum (clapper) with his right foot, 56 x 33cm (22 x 13ins), mounted, framed and glazed An accomplished study after the famous life-size ancient Hellenistic marble statue which was first recorded in 1665 as part of the collection of the Grand Duke of Tuscany in Florence; in 1688 it was recorded as being in the Tribuna of the Uffizi, Florence, and in September 1800 the sculpture was sent to Palermo along with other treasures to avoid plunder by the French army, returning to the Tribuna in 1803. Two other versions were excavated in Rome in the 1630s, and casts were made of the Uffizi faun from the 1680s onwards, an example of which is in the Royal Academy in London. (1) £200 - £300

Provenance: Collection of Jack Webb (1923-2019), London. (3) £300 - £500

483* French School. Une fête a Strasbourg en 1779, early-mid 19th century, watercolour and gouache on card, depicting a picturesque scene with turreted buildings, sailing vessels on the river, and ﬁgures promenading, with one on horseback, lightly toned, indistinctly signed in red lower right, 10.4 x 21.3cm (4 x 8.25ins), manuscript title to mount, framed and glazed (1)

Lot 481

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

164

£100 - £150

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485* Follower of Samuel Hieronymous Grimm (1733-1794). Courting couple in a landscape with waterfall, watercolour on card, depicting a rural landscape with horned cattle, sheep, a donkey, and a young peasant couple, on a lane beside a steep waterfall, with a ﬁgure on the wooden bridge above, and a cottage and trees, trimmed to an oval and laid down on paper, sheet size 41.9 x 31.6cm (16.5 x 12.5ins), mounted (1)

£150 - £200

484* Gigante (Gaetano, 1770-1840). Neapolitan landscape with monastery, 1836, pencil on paper, depicting a monastery set into a wooded hillside, with ﬁgures, including a monk, in the foreground, and a vista of mountains beyond, discoloured, edges a little chipped in a few places, signed and dated lower right, sheet size 29.1 x 44.6cm (11.5 x 17.5ins) (1)

£200 - £300

486* Haag (Carl, 1820-1915). Italian peasant girl in a landscape, 1899, watercolour with bodycolour on card (additionally laid down on card by the artist), full-length portrait of an Italian woman wearing regional costume, including a white tasselled headdress and suede laced moccasins, standing amongst wild ﬂowers against a sunset panorama of hills and ruins, signed and dated lower right, sheet size 50.6 x 35cm (20 x 13.75ins), mounted (1)

Lot 485

165

£700 - £1,000

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488* Hayter (George Hayter, 1792-1871). A pair of ﬁgure studies, 2 pencil sketches on paper, one of a female nude, toned and a little water-stained, with pencil attribution on verso, sheet size 20.2 x 13.1cm (8 x 5ins), mounted; the other of a seated lady, her face in semi-proﬁle, with one arm aloft and the other on her shoulder, sheet size 22.7 x 17.8cm (9 x 7ins), mounted (2)

£100 - £150

487* Haag (Carl, 1820-1915). The Tambourine Player, 1853, watercolour with bodycolour on card, full-length portrait of an Italian woman with black plaited hair and pendant earrings, wearing regional costume and holding a tambourine, titled ‘Donn d’Albano’ lower left, signed and inscribed ‘Roma 1853’ lower right, sheet size 50 x 34.8cm (19.75 x 13.75ins), mounted (1)

£500 - £800

489* Heath (William, 1795-1840). Grand Shaft Barracks, Dover, 1836, pen, ink and watercolour, heightened with bodycolour, signed and dated lower left, 38 x 40cm (15 x 15.75ins) mount aperture, Hogarth-style frame, glazed Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

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Lot 490

490* Herkomer (Hubert von, 1849-1919). Panoramic View of Florence from the Monastery of San Francesco at Fiesole, 1877, watercolour on paper, heightened with white bodycolour, laid down on heavy backing paper, signed and dated, 42 x 71.2cm (16.5 x 28ins), period gilt frame, glazed, with contemporary handwritten label to verso (faded and generally illegible) Provenance: Private Collection, Herefordshire, UK. (1)

£3,000 - £4,000

491* Howitt (Samuel, 1756/7-1822). Study of a wild goat in a landscape, watercolour on album leaf, depicting a goat lying on a rocky outcrop, signed lower right, titled to lower margin ‘Capra Linn. Mus.’, frayed to left-hand edge, sheet size 24.6 x 19cm (9.75 x 7.5ins), mounted, together with a sketchbook belonging to the artist, containing unﬁnished watercolours of a Morocco Ram and a Redtailed Monkey, and two pencil sketches of hares, Contents leaf in ink partially ﬁlled-in, remaining leaves blank (or with line border and pencil title below), stitching broken and original wrappers detached and soiled, enclosed by contemporary marbled boards, 4to (2)

Lot 491

£200 - £300

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492* Circle of Edward Lear (1812-1888). Italian landscape, pencil on grey wove paper, depicting a landscape with trees and arcaded building, possibly the Monastery of St. Scholastica, Subiaco, trimmed inscription upper left ‘going into Sky/Trees in ... distance/[h]ighlights ‘, and further indistinct word to right-hand margin, sheet size 27.6 x 41.7cm (11 x 16.5ins), mounted, framed and glazed (1)

£300 - £500

494* Loud (Arthur Bertram, 1862-1930). An album of drawings and watercolours, seven tipped-in drawings by Arthur Bertram Loud, comprising: a pencil sketch of a terrier, signed and dated 1914 lower left, and titled in pencil on album leaf below image ‘A Faithful Friend’; a grisaille watercolour of an elderly woman entitled ‘The Old Cottager’, titled and signed in pencil to album leaf; a small pencil drawing of a terrier in profile mounted above a pencil drawing of the back view of a man on horseback, both initialled lower right, latter additionally dated 1910; a watercolour of two terriers lying down, pencil title ‘Doggies’ and signature on album leaf; a watercolour of stonework, garden gate, and path, dated Sept 28th lower left, pencil signature and title ‘A Welsh Cottage’ to album leaf; and a pencil drawing of a windmill, pencil signature and title ‘The Old Mill at Waterloo’ on album leaf, with several drawings by other artists direct on album leaves, comprising: A pencil sketch of a foliage sprig by Gertrude Jekyll, titled ‘Sweet Bay’ and signed by her in pencil; a watercolour by Arthur Kynaston (1876-1919), depicting a young lady and two naked children in a garden, signed lower right, additionally signed, dated March 1909, and titled ‘“Bloom of Spring”’ in ink below image; a watercolour landscape with Florence Cathedral, entitled ‘“Florence at Evening”’, signed by Muriel Burnett; and a pen & ink drawing by Winifred Cooper (1879-1931), of a wistful young lady leaning on the plinth of a statue of the Virgin Mary, within a frame of sunflowers incorporating three verses by Jean Moréas, signed and dated 1910 lower left, one page of manuscript quotations near front of volume signed ‘Winnie’ and dated 1908, remainder of album blank, album leaves 20.5 x 15cm (8 x 6ins), gilt floral endpapers, all edges gilt, original sheep, spine rubbed, spine ends and corners worn with loss, upper cover elaborately gilt blocked with a rose wreath and borders, 8vo

493* Linnell (James Thomas, 1820-1905). A collection of 9 figure and landscape studies, including four studies of male figures in black & white chalks on grey & brown wove paper, sheet size 290 x 455mm (11.5 x 18ins) and smaller, all mounted, and two studies of male & female figures including corn gatherers, in black & white chalks on green & brown wove paper, 200 x 235mm (8 x 9.25ins) and smaller, and a landscape study in coloured pencils on pale brown wove 135 x 200mm (5.25 x 8ins), mounted; a wooded hillside landscape in watercolour & white chalk on light brown wove, 103 x 155mm (4 x 6ins), mounted and a small landscape study with figures in watercolour on brown wove, 65 x 110mm (2.5 x 4.25ins), contained together in drop-back box (9)

£250 - £350

Arthur Bertram Loud was a painter of portraits and landscapes, working mainly in oils. As a boy he was taught by his father, artist Charles Jones (whose surname he dropped in 1908 when he changed his name by deed poll). In 1880, at the age of 17, Loud entered the Royal Academy Schools, and he subsequently studied at the Académie Julian, arrriving there in 1883. He exhibited at the Royal Academy from 1884 onwards, and in 1890 followed in his father’s footsteps by becoming an elected member of the Royal Cambrian Academy. (1) £150 - £200

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495* Lundgren (Egron Sillif, 1815-1875). The Swedish Opera, circa 1850, pencil with watercolour, heightened with bodycolour, on brown wove paper, depicting a throng of ladies and gentlemen in an interior, 17 x 24.7cm (6.75 x 9.75ins), mounted, framed and glazed, with Maas Gallery printed label on verso (1)

£100 - £150

497* Melville (Arthur, 1855-1904). A small archive of ephemera including a photograph by Frederick Hollyer, comprising: a platinum print head and shoulders portrait of the artist, image size 14.1 x 97cm (5.5 x 3.75ins), Frederick Hollyer’s black ink studio stamp on verso of mount with 9 Pembroke Square address; a single preprinted sheet headed ‘Dr. to The London Necropolis Company’ and completed in manuscript, pertaining to the artist’s burial on 10th July 1909 (4 folds, a couple of tears); an auction catalogue pertaining to sale of the art collection of the late Arthur Melville to be held by Dowell’s Ltd., No. 18 George Street, Edinburgh, 11th March 1922; an 11pp. folded typed report ‘Arthur Melville’s Executry’ containing ‘Abstract of Accounts’ and ‘Scheme of Division’, by Messrs Scott-Moncrieff, Thomson & Shiells, C.A., Edinburgh, dated 14th May 1924; a 5pp. folded typed ‘Inventory and Valuation of Oil Paintings, Water Colour Drawings, Sketches, &c., belonging to the Estate of the late Arthur Melville, A.R.S.A., R.W.S., within Dowell’s Rooms, No. 18 George Street, made on the basis of probable sale values, 20th October 1924’; a ticket for entry to an exhibition of Melville’s work at the Royal Glasgow Institute, September and October 1907; a copy of The Studio, Vol. 37 No. 158, May 15, 1906, containing an article about the artist, original printed wrappers, frayed, with some loss to spine ends, faint pencil ownership name to upper corner of front cover ‘Mrs Melville’, 4to; 2 exhibition catalogues of Melville’s work, at the Royal Institute of Watercolours, 1906, and the Royal Glasgow Institute, 1907, and a few other ephemeral items Scottish painter Arthur Melville is particularly celebrated for his innovative methods of working, especially his watercolour technique, which produced both an intensity of colour and dramatic treatments of light and form. He travelled widely, and is particularly prized for his oriental subjects. Frederick Hollyer (1838-1933) is well known for his portraits of artistic and literary ﬁgures such as William Morris, John Ruskin and Edward Burne-Jones. (12) £200 - £300

496* Meissonier (Jean Louis Ernest, 1815-1891). Study of the facade of a medieval building, pencil and watercolour on wove paper, signed with monogram lower left, 55 x 45mm (2.2 x 1.8ins), hinged to window-mount Provenance: Eric Carlson (1940-2016), Professor of Art History at SUNYPurchase, and art dealer in New York who specialised in 19th century French drawings and prints. (1) £150 - £200

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498* Munro (Thomas, 1759-1833). Landscape with trees, charcoal and grey wash on wove paper, depicting a country lane leading to a church, with trees, 19 x 13.6cm (7.5 x 5.25ins), mounted, together with 2 other landscapes similar, one with a castle and tree, on laid paper, the other with trees on a bank, on blue tinted wove paper, both mounted, all with a few small pin holes (3)

£200 - £300

499* Follower of John Frederick Lewis (1805-1876). Portrait of a Mexican man, mid 19th century, watercolour on card, sometime laid down on paper, full-length rear-view study of a man standing in a cave with a vista of hills and trees, wearing colourful tasselled scarves and head-covering, with a brimmed black hat and boots, sheet size 31.3 x 22.8cm (12.25 x 9ins), mounted, framed and glazed, with J.S. Maas and Co Ltd gallery label on verso, dated 1961, attributing the work to John Frederick Lewis (1805-1876) (1)

£200 - £300

Lot 498

500* After Thomas Phillips (1770-1845). Lord Byron, mid 19th century, grisaille watercolour on paper, laid down on canvas, halflength portrait of the poet, half-proﬁle to left, his right hand resting on a table, 36.5 x 28cm (14.25 x 11ins), gilt moulded frame glazed (1)

Lot 499

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

170

£200 - £300

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502* Prinsep (Emily Rebecca, 1798-1860). Hastings, Sept 1858, watercolour on paper, depicting a view of All Saints Church, Hastings, against a backdrop of the town looking out to sea, titled, dated, and signed lower left, sheet size 17.4 x 27cm (6.75 x 10.5ins), mounted, together with: Hastings, 1853, watercolour, depicting the beach with buildings along the front and Hastings Castle on the cliff, titled and dated lower left, some minor stains at corners where mounted, sheet size 17.6 x 26.6cm (7 x 10.5ins), mounted, framed and glazed, plus another similar watercolour view of Hastings

501* Prinsep (Emily Rebecca, 1798-1860). Brighton, Oct 1824, grisaille watercolour on paper, depicting seascape with sailing boats in the water and on the shore, and figures, with garments drying on nets in the foreground (trimmed to lower margin), titled and dated lower right, sheet size 13.4 x 18.3cm (5.25 x 7.25ins), mounted, framed and glazed, together with: Canterbury Cathedral, 17 Aug 1833, pencil on paper, showing part of the Abbey ruins, and the Cathedral, signed, dated, and titled to lower margin ‘old arch of a fireplace Canterbury from Mr. Peel’s garden’, slight toning to upper corners, sheet size 18 x 27.7cm (7 x 11ins), mounted, Canterbury Cathedral, 19 Aug 1833, pencil on paper, signed, dated, and captioned ‘from Mr. Peel’s garden Canterbury Cathedral’ in pencil to lower margin, slightly trimmed to top edge, minor adhesive marks to corners, sheet size 18.9 x 28 cm (7.5 x 11 ins), Governor’s House, Dover Castle, 5 July 1833, pencil on paper, depicting a large dwelling with a horse-drawn vehicle on front and figures in the foreground, titled, dated, and initialled to lower margin, slightly marked to upper left corner, sheet size 15.5 x 27.2cm (6 x 10.5ins), mounted, Dover Castle, 18 July 1833, pencil on paper, depicting a view of Dover from the sea, with the white cliffs and the castle, titled, dated, and initialled to lower margin, sheet size 15.5 x 22.1cm (6 x 8.75ins), mounted

For biographical information see lot 501. (3)

Although an enthusiastic and skilful painter of English landscapes, scenes of domestic life, and portraits, little appears to be known about Emily (christened Amelia) Prinsep, who seems to exist in the shadow of her more well-known brother, James Prinsep (1799-1840), and others from her large and inﬂuential family. James was a scholar, orientalist and antiquary, as well as an expert in numismatics, who made his fortune in India and helped a number of family members rise to prominent positions in India. Amongst a great many other pursuits he was himself a talented artist, and studied architecture under Augustus Pugin. Two of Emily’s other brothers, Thomas and William, were also accomplished artists. (5) £300 - £500

£200 - £300

503* Prinsep (Emily Rebecca, 1798-1860). London Road, Tunbridge Wells, Sept 1855, watercolour on paper, depicting a halftimbered gabled house with tall chimneys elevated above a wide track with horse-drawn vehicles and ﬁgures, and a vista of countryside with a distant house, titled, dated, and signed lower right, sheet size 17.7 x 26.7cm (7 x 10.5ins), mounted, together with: Tunbridge Wells, 28 July 1829, pencil and monochrome wash on paper, depicting parkland with mature trees and ﬁgures, with glimpses of buildings and wagons, titled, dated, and signed to lower margin (slightly trimmed), 17.8 x 26.7cm (7 x 10.5ins), mounted, Tunbridge Wells, 15 Oct 1832, pencil on paper, showing a view of the town nestled amongst trees, and a winding track in the foreground, titled, dated, and signed to lower margin, a few slight marks to upper margin, sheet size 15 x 24.2cm (6 x 9.5ins), mounted, plus 2 other smaller pencil drawings of Tunbridge Wells, dated 1832, both signed, mounted together on an album leaf, 13.5 x 20.3cm (5.25 x 8ins) and 12.3 x 16.4cm (5 x 6.5ins) For biographical information see lot 501. (5)

171

£300 - £500

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504* Probyn (William of Longhope, active circa 1830). Portraits of Niccolo Paganini, two pen, ink and black and grey wash portraits, some light soiling, one captioned beneath ‘Paganini’, with a line from Lord Byron... ‘Like a tree on ﬁre with lightning, with ethereal ﬂame. Kindled he seems and blasted’..., and ‘drawn by Wm. Probyn of Longhope’, 28 x 22cm (11 x 8.75ins), framed, the other captioned ‘Paganini’ and signed with initials, 26.5 x 21cm (10.5 x 8.25ins) mount aperture (2)

£200 - £300

505* Richmond (George, 1809-1896). Young woman emerging from rushes, pencil on pale cream/off-white laid paper, signed with initial lower right, 185 x x 120mm (7.3 x 4.7ins) mount aperture, framed and glazed (1)

£200 - £300

Lot 504

506* Stannard (Henry John Sylvester, 1870-1951). “The Back of a Farm at Riseley, Bedfordshire”, watercolour, signed lower left, 27.5 x 37.5cm (10.75 x 14.75ins) mount aperture, framed (1)

507* Stocks (Walter Fryer, 1842-1915). Landscape with sheep, 1864, watercolour heightened with bodycolour, depicting a hillside view with homesteads, trees, and cattle, a cluster of sheep in the foreground, signed and dated lower left, 14.2 x 23.3cm (5.5 x 9ins), mounted, framed and glazed, with Heather Newman gallery label on verso stating ‘Provenance: the artist’s Studio Sale’

Lot 505

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

172

£80 - £120

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508* Stothard (Thomas, 1755-1834). Girls Bathing, watercolour and traces of pencil, depicting six naked or semi-clad young females, in or around a small pool in a forest glade, another lady beginning to disrobe, and two others, one holding a basket and a blue cloak, the other as look-out at the entrance to the clearing, 27 x 20cm (10.5 x 8ins), mounted, framed and glazed, verso with J.S. Maas label, and a mounted early manuscript copy of a ‘Saturday Review’ article pertaining to the painting dated Novr. 13. 1869 Exhibited: J.S. Maas & Co Ltd, Exhibition of Drawings 1720-1920, July 1966, number. 102. (1)

173

£1,000 - £1,500

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509* Circle of Thomas Stothard (1755-1834). The Night Visitation, watercolour on J. Whatman paper, depicting a young lady in a white gown semi-reclining on a bed, with three spectral maidens in ﬂowing robes standing on a cloud and bending over her, with drapery and a candle beside a tracery window through which a full moon shines, a few tiny ink spots, small crease to upper left corner, 18.1 x 13.8cm (7.25 x 5.5ins), mounted, framed and glazed (1)

£100 - £150

510* Attributed to Edward Richard Taylor (1838-1911). Portrait of a young girl, oil and watercolour on card, with traces of pencil, head and shoulders portrait of a young girl with brown eyes and brown bobbed hair, with 20th century pencil attribution on verso, sheet size 30.7 x 25.4cm (12 x 10ins), together with another portrait of a young girl, coloured chalks on grey wove paper, head and shoulders portrait of a blue-eyed girl with long fair hair, sheet size 30.8 x 25.6cm (12 x 10ins) (2)

£100 - £150

Lot 509 511* Truscott (Walter H., died 1890). Suakin, 1885, watercolour on paper, showing a nurse and patients in the military hospital at Suakin in Sudan, during the Mahdist Revolt of 1885, signed and dated lower right, 23.5 x 40cm (9.25 x 15.75ins), mount aperture, framed and glazed Provenance: Collection of Jack Webb (1923-2019), London. (1) £150 - £200

512* Turner (William, of Oxford, 1789-1862). Skiddaw, Lake District, pencil on thick pale grey paper, showing a view of mountains across a lake, indistinctly titled ‘ ...wick(?) Lake, Skiddaw’ and initialled W.T. lower right, 26.5 x 37.2cm (10.5 x 14.5ins), mounted, framed and glazed

Lot 510

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

174

£150 - £200

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513* Attributed to William Turner of Oxford (1789-1862). Landscape with distant view of Oxford, early 19th century, watercolour on paper, unsigned, a few minor surface marks, edges slightly unevenly trimmed, laid down in modern window-mount, sheet size 35 x 49.5cm (14.75 x 19.5ins) (1)

514* Attributed to William Turner of Oxford (1789-1862). Stonehenge, black, dark grey and light grey wash over pencil on paper, laid down on backing paper, inscribed in a 19th century hand [Stu]dy by Wm Turner (Oxford), framed and glazed Provenance: Collection of Jack Webb (1923-2019). London. (1) £200 - £300

£200 - £300

515* Varley (William Fleetwood, 1785-1856). ‘A Composition from the Misteries of Udolpho’, 1824, watercolour with traces of pencil, unsigned, sheet size 370 x 505mm (14.5 x 19.8ins), laid down on modern millboard, framed and glazed With two photocopied pieces of paper attached to verso reproducing an inscription and signature by the artist to verso of the sheet. The ﬁrst with title ‘A Composition from the Misteries of Udolp[ho], Willm. Varley 182 [4], £3.’, the second bearing a handwritten date 15-7-24. With an accompanying handwritten note ‘Photostats by Ken Downs of Surrey Print & Watercolour Cleaning Company on reverse of drawing before laying down on fresh millboard.’. (1) £200-300 175

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516* Bourne (Herbert, 1820-1907). The Last of England, after Ford Madox Brown (1821-1893), oval engraving on pale cream wove paper, published in the Art Journal in 1870, image size 23 x 21.3cm (9.1 x 8.4ins), sheet size 29 x 24cm (11.5 x 9.5ins), period carved wood frame with gilt inner slip, with Maas Gallery label to verso

PRE-RAPHAELITE & 19TH CENTURY PRINTS

(1)

£100 - £150

517* After Edward Coley Burne-Jones (1833-1898). The Birth of Galatea, The Godhead Fires, by Charles William Campbell, London: Robert Dunthorne, 1885, mezzotint on chine collé, depicting Pygmalion’s statue Galatea stepping forward from her plinth and being received by a garlanded divinity standing in a pool of light with doves at her feet, with a ﬁgure kneeling at a statue in the background beside a bowl of burning incense, signed in pencil by Burne-Jones lower left and Campbell lower right, mount-stained and spotted, 1” closed tear in right-hand blank margin, plate size 46.4 x 36.3cm (18.25 x 14.25ins) After the painting of 1878, from the second series of four paintings illustrating William Morris’s cycle of epic poems The Earthly Paradise, now at Birmingham Museums and Art Gallery (1903P25); the ﬁrst series is in the collection of Sir Andrew Lloyd Webber. (1) £200 - £300

Lot 516

518* Dobie (James, 1849-1923). Circe offering the cup to Ulysses, after Johh William Waterhouse (1849-1917), etching on off-white wove paper, as published in the Magazine of Art, circa 1880s, plate size 25.5 x 15.75cm (10.2 x 6.3ins), with margins, period gilt wood frame, glazed, with Maas Gallery printed labels to verso, together with Fata Morgana, after George Frederick Watts (1817-1904), etching on pale cream wove paper by James Dobie after G.F. Watts, as published in the Magazine of Art, 1893, plate size 26 x 18.5cm (10.25 x 7.4ins), period ebonised wood and gilt frame, glazed, with Maas Gallery label to verso

Lot 517

(2) Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

176

£70 - £100

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519* After Gustav Doré (1832-1883). Paolo and Francesca, by Francis Holl, London: Beeforth & Fairless, 1871, etching, engraving, and stipple, depicting Paolo and Francesca loosely enveloped in ﬂowing drapery and carried through the air together, with other damned souls blown in a stream behind them, and Dante and Virgil on a rocky outcrop below, a few light fox spots, Printsellers Association oval blindstamp lower left below image, signed in pencil to lower margin by Doré and Holl, image size 43 x 30.5cm (17 x 12ins), mounted A scene taken from Dante’s Divine Comedy, Inferno, Canto V. (1) £150 - £200

520* After Jean-Jacques Henner (1829-1905). Une Creole, 1888, etching on pale cream laid paper by Mademoiselle Poynot after Henner, printed by A. Salmon & Ardall, Paris, image size 24.9 x 18.6cm (9.85 x 7.35ins) with margins, period stained wood frame with gilt inner slip, glazed, with Maas Gallery label to verso (1)

£70 - £100

Lot 519

521* Hollyer (Frederick, 1837-1933). The Borgia Family, circa 1890s, platinotype photographic reproduction of the original watercolour by Dante Gabriel Rossetti, 26 x 28.5cm (10 x 11.25ins), period dark oak frame with gilt slip, glazed, with Maas Gallery label to verso (1)

Lot 520

177

£100 - £150

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Lot 524 522* Hollyer (Frederick, 1837-1933). The Salutation of Beatrice on Earth, after Dante Gabriel Rossetti (1828-1882), platinotype reproduction, 26 x 28cm (10.25 x 11ins), period stained wood frame with gilt inner slip, glazed, with Maas Gallery label to verso (1)

£100 - £150

523* Hollyer (Frederick, 1838-1933). Circe, circa 1890s, platinotype photograph of the picture by Edward Burne-Jones (1833-1898), 34 x 49.5cm (13.25 x 19.5ins), framed and glazed (1)

£200 - £300

524* Hollyer (Frederick, 1838-1933). Dante and Beatrice in Eden, circa 1890s, platinotype photograph of the picture by Dante Gabriel Rossetti (1828-1882), 25 x 27cm (10 x 11ins), framed and glazed (1)

£150 - £200

525* Hollyer (Frederick, 1838-1933). Pygmalion and the Image: The Heart Desires, circa 1890s, platinotype photograph of the picture by Edward Burne-Jones (1833-1898), 33 x 25cm (13 x 10ins), together with two further platinotype photographs by Hollyer of pictures by Burne-Jones, Sea Nymph [and] Wood Nymph, 26.5 x 26.5cm (10.5 x 10.5ins) and 17 x 17cm (7 x 7ins), all framed and glazed (3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

178

£200 - £300

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Lot 526

526* Hollyer (Frederick, 1838-1933). Pyramus and Thisbe, circa 1890s, three platinotype photographs of pictures by Edward Burne-Jones (1833-1898), presented as a triptych, 30.5 x 56.5cm (12 x 22.25ins), framed and glazed (1)

£200 - £300

527* Hollyer (Frederick, 1838-1933). The Call of Perseus [and] Perseus & Atlas, circa 1890s, platinotype photographs of the pictures by Edward Burne-Jones (1833-1898), 30 x 25cm (12 x 8ins) and 26 x 32cm (10.25 x 5ins), framed and glazed (2)

£200 - £300

Lot 527

179

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528* Phillips (Susan Katherine, née Holdsworth, 1831-1897). An unpublished manuscript poem on Holman Hunt’s ‘The Awakening Conscience’, circa 1854, 4 pages of handwritten verse on seven 8line verses in brown ink, on a single folded sheet of pale blue laid paper, with partial watermark, oval blindstamp to head of first page of The Athenaeum, the final page inscribed with contemporary inscription in pencil at end ‘Mrs H. Philipps’, titled to head of first page ‘The awakened conscience. Painted by W.HHunt, 1854.’, size (when folded) 181 x 109mm (7.2 x 4.3ins), together with an autograph manuscript note by the artist Lady Elizabeth Butler (1846-1933), on one side of a single sheet of notepaper, with embossed address Plas Newydd, Nr. Ruthin, N. Wales, stating ‘These are chiefly drawings done after joining the School of Art in 1866 & before. Some alluded to in my autobiography. E.B.

529* Hunt (William Holman, 1827-1910). The Shadow of Death, [1878], uncoloured mezzotint and mixed method engraving, by Frederick Stacpoole after William Holman Hunt, on india wove, captioned ‘In progress for the Publishers Messrs Thos Agnew & Sons, 5 Waterloo Place, London’, signed in pencil by the engraver, image size 73 x 57.5cm (28.75 x 22.5ins), framed and glazed (1)

£300 - £500

The poem reads: ‘She has started from his clasp/The Clasp so careless now/Her long rich tresses rippling gold/Fling backward from her brow. Her small hand fiercely clenched/Her sweet lip ghastly white/Why will he wake that measure yet/’Oft in the stilly night’/’Oft in the stilly night’/She has some that strain so oft/When no phantom memories haunted/The cadence low & soft/Ere her cheek had learned to kindle/Tio passion’s burning name/Ere to the life the poison/To the Eve the Tempter came/’Those early days those early days’/From her guilty dream awaking/The rose she clasped is fading fast/The reed she leant on - breaking - /The taunting laugh is on the life/That breathe the passionate vow/So young - so pure, so happy then/Oh God - Oh God - and now. ‘Oft in the stilly night’/The strain goes mocking on/Does she heed them does she hear them/Low notes & scornful tone/The misery is in her heart/The anguish in her brain/Yet the chords that he is touching/Add another thrill to pain/Back to thy task for child/Thy little reign is over/Go wreathe the curls & tune the voice/To charm the sated lover/Place those cold fingers gratefully/In that witless hand of his/He will not soothe one tear of thine/Smile for his careless kiss... This unpublished poem on one of the most famous of all pre-Raphaelite paintings, Holman Hunt’s The Awakening Conscience is the work of Susan K. Phillips, née Holdsworth, poet and wife of the portrait painter Henry Wyndham Phillips (1820-1868), a close friend of G.F. Watts. A volume of her poems entitled On the Seaboard and Other Poems was published by Macmillan in 1878. Holman Hunt’s painting was first exhibited at the Royal Academy in 1854, and proved highly controversial. It was exhibited several times over the next few years, including at the Manchester Art Treasures exhibition of 1857 (to which both Holman Hunt and the Phillips were visitors). (2) £150 - £200

Lot 530

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

180

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530* After Frederic Leighton (1830-1896). Study for The Spirit of the Summit, photographic reproduction, seated female drapery study, image size 26.9 x 17.7cm (10.5 x 7ins), mounted, framed and glazed (1)

£70 - £100

Lot 533 531* Lowenstam (Leopold, 1842-1898). This is Our Corner, after Sir Lawrence Alma-Tadema (1836-1912), circa 1880s, engraving on off-white wove paper, depicting the artist’s children Laurense and Anna Alma-Tadema, image size 23 x 19.2cm (9.1 x 7.6ins), with margins, period black and gilt frame, glazed, with Maas Gallery label to verso (1)

£100 - £150

532* After Edward John Poynter (1836-1919). Nausicaa and her Maids, by Charles O. Murray, London: J.S. Virtue, 1898, engraving, signed in pencil by the artist and the engraver, toned, image size 18.6 x 55cm (7.25 x 21.5ins), framed (1)

£70 - £100

533* Pre-Raphaelite Book Illustrations. A collection of approximately 100 mostly wood-engraved reproductions after Pre-Raphaelite artists, circa 1860s-70s, wood engravings on paper by Dalziel, W. B. Gardner, W. J. Linton, W. Small and others, after D. G. Rossetti, Ford Madox Brown, Holman Hunt, Millais, Arthur Hughes, Frederick Leighton, Simeon Solomon, Frederick Sandys, etc., each mounted on coloured card, various sizes, contained in old solander box (100)

534* After Dante Gabriel Rossetti (1828-1882). The Salutation of Beatrice, from a Drawing by D.G. Rossetti, Sprague & Co., circa 1890, photolithograph on pale green paper, 24 x 21cm (9.25 x 8.5ins), period-style wood frame with gilt inner slip, glazed, with Maas Gallery label to verso (1)

£70 - 100

181

£100 - £150

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537* After George Frederick Watts (1817-1904). Orpheus and Eurydice, by Frank Short, published by Frederick Goulding, 1889, mezzotint, signed in pencil by the artist, engraver, and publisher, image size 31.5 x 49.8cm (12.5 x 19.5ins), framed

535* Severn (Walter, 1830-1904). Nearing Home, 1861, etching on chine appliqué, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), plate size 18.8 x 23.5cm (7.5 x 9.3ins), stained oak frame with gilt inner slip, glazed, with Maas Gallery label to verso, together with Clayton (J.N., 19th century). Mother’s Love, etching, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), 102 x 130mm (4.1 x 5.2ins) mount aperture, period stained wood frame with gilt inner slip, glazed, with Maas Gallery label to verso, plus Horsley (John Callcott, 1817-1903), Madame se chauffe, 1872, etching on chine appliqué, as published in Etchings by the Etching Club, published by the Art Union of London (1872), plate size 20 x 15cm (8 x 6ins), period black and gilt frame, glazed, with Maas Gallery label to verso (3)

(1)

£100 - £150

£150 - £200

538* After George Frederick Watts (1817-1904). Self-Portrait, by Charles William Campbell, mezzotint, unpublished trial proof, halflength portrait half-proﬁle to right, showing the artist wearing a wide-brimmed hat, plate size 49.5 x 36.7cm (19.5 x 14.25ins), framed and glazed, with The Mass Gallery label on verso Provenance: Family of the engraver and thence by descent. The original painting is in the Tate, London (N01561). (1)

536* After George Frederick Watts (1817-1904). Study for the head of Sir Gallaghad, photolithographic reproduction on pale cream wove paper, printed in orange-brown, 22.5 x 16.5cm (9 x 6.5ins) mount aperture, period wood frame, glazed (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

182

£100 - £150

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ETCHINGS & WOODCUTS 1850-1950

541* Cameron (David Young, 1865-1945). Isles of Loch Maree, 1923, etching with drypoint in black on thin tissue paper, with plate tone, signed in pencil, plate size 17.5 x 35.2cm (6.9 x 13.8ins), sheet size 20.8 x 36.5cm (8.3 x 14.5ins), tipped-on to backing card Rinder (1932) 469, iv/vi. (1)

£70 - £100

539* Besnard (Albert, 1849-1934). La Visiteuse, 1893, lithograph on wove paper, showing a family seated around a candlelit dinner table with a skeleton visible in the shadows, partial faint blind stamp (L’Estampe Originale) lower left corner, signed in brown ink to lower right margin below image, short tear to blank upper right corner, plate size 35.5 x 45cm (14 x 17.75ins), sheet size 42 x 53cm (15.75 x 20.75ins), mounted Godefroy 200. Published in L’Estampe Originale in an edition of 100 proofs. (1) £200 - £300

540* Broad (Kenneth, 1889-1959). ‘A Sussex Farm’, colour woodcut, signed, titled and numbered 41/150 in pencil, a few light scattered spots, image size 251 x 349mm (9.9 x 13.75ins), period frame, glazed (mount discoloured), unexamined out of frame (1)

542* Cezanne (Paul, 1839-1906). Guillaumin au Pendu, 1873, etching on cream wove paper, plate size 156 x 117mm (6.2 x 4.6ins), sheet size 278 x 188mm (11 x 7.5ins), together with: Israels (Joseph, 1824-1911). Huiswaarts (Homeward Bound), etching on cream laid paper, signed in brown ink to lower left, plate size 135 x 95mm (5.35 x 3.7ins), sheet size 222 x 156mm (8.8 x 6.3ins) plus other 19th century etchings by Richard Redgrave (Ministering Angels, 1857), D.C. Read (The Shepherd, signed in pencil, and In The Mountains), Arthur James Lewis (The Shepherd, Waterfall, 1861 and A Country Walk, 1861), & F. Powell (The Rainbow, 1861)

£150 - £200

Cherpin 2 for the ﬁrst work. (9)

183

£200 - £300

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544* Daubigny (Charles Francois, 1817-1878). Le Chant du Coq (L’Aube), etching, a proof before letters, plate size 172 x 137mm (6.75 x 5.4ins), with margins, framed and glazed, with label of The Little Gallery, 5 Kensington Church Walk, London to verso, together with: Clair de Lune a Val Mondois, 1877, etching on laid paper, the 4th state (of 4), printed by A. Cadart, Paris, and published in the Gazette des Beaux-Arts, in 1878, plate 170 x 236mm (6.7 x 9.3ins), sheet size 179 x 268mm (7 x 10.5ins), hinged onto 20th century window mount, plus five other various etchings: Stephen Gooden (1892-1955), The Dairy Maid and the Jar of Milk (The Fables of Jean de la Fontaine), 1931, fine impression of the 4th and final state (Dodgson 76), Joseph Pennell (1858-1926), Venice, 1883, etching, as published in The Portfolio, Marcellin Desboutin (1823-1902), Portrait of Puvis de Chavannes, 1895, original etching with drypoint (Clement-Janin 204), 2nd state (of 2), with title, from the edition of 360 on wove paper published by Floury in 1922, Francis Ernest Jackson (1872-1945), Portrait of the Artist’s Wife, 1907, lithograph, as published in The Neolith in 1907, and Theo van Rysselberghe (1862-1926), Henri de Regnier, 1898, lithograph on cream laid paper, watermarked Van Gelder Zonen, as published in Pan, volume 4, number 1, 1898, all window-mounted, most with William Weston Gallery label to verso of the mount

543* Conder (Charles Edward, 1868-1909). Schaunard’s Studio (Plate 1 from The Carnival Set), 1904, lithograph printed in redbrown ink on cream wove paper, from the series of six lithograohs entitled The Carnival Set published in 1906, an unsigned proof aside from the edition of 50 signed published impressions, signed and titled SHAUNARD - LA VIE DE BOHÈME in the image, image size 21.9 x 29.8cm, sheet size 25.3 x 33.3cm (10 x 13.1ins), short closed tear to centre of upper margin, mount-stained and with some overall toning and several spots of discolouration, framed and glazed, with J.S. Maas & Co. Ltd label to verso Dodgson 14. (1)

Delteil 91 & 127 for the ﬁrst and second works. (7)

£200 - £300

£150 - £200

545AR* Drury (Paul, 1903-1987). September, 1928, etching on wove paper, depicting two countrywomen and a small girl picking apples beside a thatched cottage, oast houses, and sheep, the second printing published by Garton & Cooke in 1987, in an edition of 100 impressions, signed in pencil lower right below image and numbered 17/100 lower left, crease to lower blank margin, plate size 10 x 12.8cm (4 x 5ins), sheet size 24.5 x 28.5cm (9.75 x 11.25ins) Garton 24. (1)

Lot 544

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

184

£200 - £300

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546* Dunoyer de Segonzac (Andre, 1884-1974). Nu Accroupi, etching on paper, an artist’s proof, signed and inscribed ‘epreuve d’artiste’ in pencil, toned and spotted, plate size 8.1 x 17.2cm (3.25 x 6.75ins), with handwritten inscription by the artist in French to verso ‘Pour Miss Melville. En souvenir des gentils et exquis divers du Mas Sainte Anne à Saint-Tropez. Très amicalement. A. Dunoyer de Segonzac Juilliet 1948’, and circular ink stamp ‘A.D.S. Paris’, mounted, framed and glazed (1)

£100 - £150

548* John (Augustus, 1868-1961). Lady with fur tipped cape, etching on cream paper, the ﬁrst state (of 2), plate size 90 x 76mm (3.5 x 3ins), with margins framed and glazed, with Leicester Galleries exhibition label to verso Campbell Dodgson 39, i/ii. Exhibited: Etchings by W.R. Sickert and Engravings, Etchings & Lithographs by 19th & 20th Century Masters, Leicester Gallery, December 1967, number 87. (1) £200 - £300

547* Griggs (Frederick Landseer, 1876-1938). Fen Monastery, 1923, etching on cream laid paper, a very good impression, being one of 44 impressions of the sixth state, signed in pencil lower right, with Dovers House Press stamped monogram to verso, numbered 3 in ink, short margins, plate size 165 x 247mm (6.5 x 9.8ins), sheet size 172 x 253mm (6.8 x 10ins), window-mounted Comstock 31.vi. With original wrapping paper and label of William Weston Gallery. (1) £300 - £500

185

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550AR* Langmaid (Rowland, 1897-1956). Westminster, etching with aquatint, showing the Houses of Parliament and Westminster Bridge, signed and titled in pencil, plate size 15.2 x 19.8cm (6 x 7.75ins) with margins, mounted, framed and glazed (1)

551* Leighton (Clare, 1898-1989). The Reddleman’s Van, The Shepherd, Clump of Trees, Two heath scenes, and one of thatched buildings, circa 1929, together six woodcut illustrations to The Return of the Native, by Thomas Hardy (published by Macmillan & Co. in 1929), from the edition of 30 proofs on japan, each signed, The Reddleman’s Van numbered 27/30, Clump of Trees numbered 25/30, and The Shepherd also titled in pencil by the artist, various sizes (Clump of Trees 175 x 120mm, heath scenes 40 x 85mm sheet size), four in card window-mounts

549* Kinney (Troy, 1871-1938). Roshanara - from Nautch of India, Ratan Devi accompanying, etching with drypoint, signed in pencil and numbered 27/50, 22 x 31 (8.75 x 12.25ins), together with “Rehearsal - Mr Alexander Gavrilov and Miss Geraldine Spencer” and “Footlight - Fantasy from poses by Miss Cecilia d’Andrea and Mr Harry Walters”, both signed in pencil and framed & glazed, plus “Doris Niles - Moment in Fandanguillo”, etching with drypoint, signed in pencil, 32.8 x 24.8cm (12.5 x 9.75ins), and three other drypoint etchings by Kinney: “Sophie Pffariz in Cleopatra from the Dance of Jewesses” limted edition 88/92, “Zephyr - Fantasy” limited edition 87/120 and “Summer Day - Fantasy”, all signed in pencil, all framed & glazed (7)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£70 - £100

(6)

£150 - £200

186

£300 - £500

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553* McBey (James, 1883-1959). The Shower, 1912, etching and drypoint on pale cream laid paper, from the published edition of 40 proofs, signed and numbered XV in ink to lower margin, pale mount stain, plate size 181 x 314mm (7 x 12.3ins), sheet size 237 x 366mm (9.3 x 14.4ins), framed and glazed, with old gallery label for Graven Image, Celia E. Bailey to verso Hardie, Etchings and Dry Points from 1902 to 1924 by James McBey, 118. (1) £200 - £300

552* Liebermann, (Max, 1847-1935), Badende Knaben, 1904. etching on thick wove paper, plate size 180 x 240mm (7 x 9.5ins), sheet size 318 x 450mm (12.5 x 17.75ins), together with six other etchings and lithographs by various artists: Walter Leistikow (Markische Landschaft), Max Klinger (Weiblicher Akt), Leopold von Kalckreuth (Rubenarbeiterinnen), Arthur Kampf (Taubenliebhaber), Hans Herrmann (Dordrecht) & Ludwig von Hofmann (Springende Madchen), all published by the Deutscher Kunstverein zu Berlin, 1904-1905, all unsigned, with printed name and title, and initials DRV to lower margin of each print, occasional minor marginal spotting and one or two light marginal creases, similar sizes, loosely contained in original publisher’s cloth portfolio (7)

554* Menpes (Mortimer, 1855-1938). Studies of George Meredith, circa 1900, etching on laid paper, plate size 23 x 27cm (9.1 x 10.7ins), with margins, framed and glazed, with Michael parkin Fine Art Ltd label to verso Exhibited: Artist and Writers, Michael Parkin Fine Art, October-November 1976, catalogue number 30. (1) £100 - £150

£200 - £300

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555* Palmer (Samuel, 1805-1881). The Homeward Star, 1880-83, etching on pale cream laid paper, the third state (of 4), with lettering removed, printed by F.L. Griggs, with Dover’s House Press stamp to lower margin, mount stained, plate size 131 x 187mm (5.2 x 7.4ins), sheet size 217 x 250mm (8.5 x 9.8ins), framed and glazed Lister E14 iii/iv. The third state, printed in 1924 in an edition of only 20 impressions. (1) £200 - £400

557* Renoir (Pierre Auguste, 1841-1919). Baigneuse, 1910, etching on cream laid paper, a later impression from the original plate, plate size 165 x 110mm (6.5 x 4.3ins), sheet size 315 x 257mm (12.4 x 10.1ins) Delteil 23. (1)

556* Sickert (Walter Richard, 1860-1942). Femme de Lettres, 1911-12, etching on cream laid paper, the 7th state (of 7), as published by Carfax & Co in 1915, very pale mount stain, plate size 150 x 180mm (5.9 x 7ins), sheet size 222 x 307mm (8.75 x 12.1ins), framed and glazed, with Leicester Galleries label to verso for the exhibition Etchings by W.R. Sickert and Engravings, Etchings & Lithographs by 19th & 20th Century Masters, December, 1967, to verso Bromberg 149 vii/vii. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300-500

188

£200 - £300

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559* Knight (Laura, 1877-1970). Carting Corn, etching and drypoint on pale cream laid paper, from the published edition of 100 impressions for the Print Collectors Clubs issued in 1943, with monogram PC within the plate to lower left corner, signed and titled in pencil, plate size 200 x 315mm (7.9 x 12.4ins), sheet size 267 x 407mm (10.5 x 16ins) (1)

558* Sandford (Lettice, 1902-1993). Illustrations to The Song of Songs, 1936, four copper engravings on cream laid paper, including three which were not used for the published edition by the Golden Cockerel Press, each signed in pencil, plate size 25 x 18.5cm (9.75 x 7.25ins), sheet size 37.5 x 28cm (14.75 x 11ins)

£200 - 300

560AR* Tanner (Robin (1904-1988). December: Elegy for the English Elm, etching on wove paper, depicting an ancient chapel with bell tower, set in a valley surrounded by large skeletal trees, with an old iron plough in the foreground, the scene lit by a crescent moon, proof copy, signed in pencil to lower margin 'Robin Tanner fec. et imp. 1979' and further inscribed by the artist in pencil '"December": This impression (on Wm. Morris's "Apple" paper, made for him by Joseph Batchelor of Little Chard, Kent) was printed for Gordon Cooke at Kington Langley, Wiltshire in January 1979 R.T.', plate size 29.5 x 24.1cm (11.75 x 9.5ins), sheet size 42.5 x 33cm (16.75 x 13ins), mounted

Chanticleer 110. Only one of these four illustrations (depicting a standing man and woman) was used in the published edition, on page 23. The other three engravings are from the set of six unused illustrations which were issued as an extra suite. (4) £300 - £400

Garton 39, ii/ii, for the published edition of 25 impressions issued by Garton & Cooke in 1984. This impression printed by the artist for Gordon Cooke in 1979. (1) £300 - £400

Lot 559

189

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563AR* Tanner (Robin, 1904-1988). Wiltshire Roadmaker, 1928, etching on wove paper, depicting a labourer and his tools, seated beside a wooden signpost before an ancient barn, signed in pencil to lower margin below image, plate size 10 x 14.8cm (4 x 5.75ins), sheet size 23 x 28cm (9 x 11ins), mounted Garton 6, iv/iv. From the edition of 12 impressions only published by Garton & Cooke in 1984. (1) £150 - £200

561AR* Tanner (Robin, 1904-1988). Crocus, silverpoint drawing, depicting several crocus blooms, inscribed to left of image ‘G.C. from R.T.’, 15 x 10cm (6 x 4ins), mounted, framed and glazed Inscribed to Gordon Cooke. (1)

£200 - £300

564* Thorpe (Hall, 1874-1947). Summer, colour woodcut on wove paper, signed and titled in pencil to lower margin, very faint mount stain (generally a very good impression), image size 35 x 27.5 cm (13.75 x 10.9 ins), sheet size 42 x 33 cm (16.5 x 13 ins), laid down on backing card

562AR* Tanner (Robin, 1904-1988). The Clapper Bridge, 1972, etching on wove paper, depicting a clapper bridge over the River Leach, with St. Andrew’s Church in the background, signed in pencil to lower margin, plate size 17.7 x 24.6cm (7 x 9.75ins), framed and glazed Garton 27 iii/iii. From the edition of 12 impressions only published by Garton & Cooke in 1982. (1) £200 - £300 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Provenance: Collection of Jack Webb (1923-2019), London. (1) £150 - £200

190

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565 Strang (William, 1859-1921). ‘The Citadel’, etching with drypoint on cream wove paper, signed in pencil, plate size x 354mm (10 x 13.9ins), with margins, window-mounted, together with: Legros (Alphonse, 1837-1911). La Vallée, etching with drypoint on pale cream laid paper, from the only state printed in an edition of 74 impressions, signed in pencil, plate size 102 x 225mm (4 x 8.8ins) with margins, plus other various etchings, including Douglas Ion Smart (1879-1970), Thames Barges, etching on off-white wove paper, a ﬁrst proof, signed in pencil, plate size 125 x 175mm (4.95 x 6.95ins), with margins, framed and glazed, woodcuts by T. Sturge Moore and Charles Shannon, Alfred Rethel (1816-1859), Ein Todtentanz aus dem Jahr 1848 (A Dance of Death for the Year 1848), complete set of six wood engravings (Leipzig, Georg Wigand, 1849), etc (22)

567* Walcot (William, 1874-1943). Arc San Carlo, Naples, 1921, etching with drypoint on cream wove paper, signed in pencil, limited edition 300 UK and 100 US copies, plate size 17.7 x 16.7cm (7 x 6.5ins) with margins, mounted, framed and glazed, together with: St. Peter’s, Rome, 1919, etching on cream wove paper, signed in pencil, some pale toning, small mark to lower left corner, plate size 15.1 x 17.4cm (6 x 6.75ins) with margins, mounted, framed and glazed, 42nd Street, New York, etching with drypoint on cream wove paper, signed in pencil, toned, plate size 13.3 x 18.5cm (5.25 x 7.25ins) with margins, mounted, framed and glazed, Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15cm (8.5 x 5.75ins), sheet size 36.8 x 24.7cm (14.5 x 9.75ins), plus 3 framed and glazed reproductions of etchings by Walcot

£200 - 300

(7)

568* Walcot (William, 1874-1943). Cornhill and the Royal Exchange, London, circa 1933-35, etching with drypoint on cream wove paper, signed in pencil, plate size 17.7 x 19.8cm (7 x 7.75ins) with margins, mounted, framed and glazed, together with: Trafalgar Square, London, 1924, etching with drypoint and aquatint on cream wove paper, signed in pencil, some pale toning, plate size 9 x 18.2cm (3.5 x 7ins) with margins, mounted, framed and glazed, Fleet Street, 1931, etching on cream wove paper, signed in pencil, toned, 3cm closed tear in lower blank margin, plate size 16 x 22.5cm (6.25 x 9ins), sheet size 23.4 x 29.1cm (9.25 x 11.5ins), mounted, Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15cm (8.5 x 5.75ins), sheet size 36.8 x 24.7cm (14.5 x 9.75ins)

566* Walcot (William, 1874-1943). The Caravan, 1928, etching with drypoint and aquatint on cream wove paper, signed and numbered 37/75 in pencil, plate size 17.7 x 22.7cm (7 x 9ins), sheet size 27.5 x 36.7cm (10.75 x 14.5ins), mounted, together with: Kom Ombo, 1928, etching with drypoint and aquatint on cream wove paper, signed in pencil, a proof aside from the published edition of 75, this impression marked ‘hp. 6’, plate size 16 x 20.5cm (6.25 x 8ins), sheet size 26.7 x 39.8cm (10.5 x 15.75ins), mounted, The House of Sallust, 1920, etching with drypoint and aquatint on cream wove paper, signed in pencil, single fox spot, limited edition 250 UK and 50 US copies, plate size 15 x 20cm (6 x 7.75ins) with margins, mounted, framed and glazed (3)

£200 - £300

(4)

£200 - £300

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£200 - £300

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Lot 570

569* Walcot (William, 1874-1943). Durham Cathedral, etching on cream wove paper, signed in pencil, some light spotting, plate size 16.8 x 20.2cm (6.5 x 8ins), sheet size 25.7 x 31.3cm (10 x 11.25ins), mounted, together with: WWI Warship and Submarine on the Firth of Forth, etching on cream wove paper, signed in pencil, one or two pale fox spots, plate size 9 x 12cm (3.5 x 4.75ins) with margins, mounted, framed and glazed, The Portico, Newcastle Central Station, 1922, etching with drypoint on cream wove paper, signed in pencil, limited edition 300 UK and 100 US copies, toned, plate size 9.5 x 14.7cm (3.75 x 5.75ins), with margins, mounted, framed and glazed Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, plate size 21.6 x 15cm (8.5 x 5.75ins), sheet size 36.8 x 24.7cm (14.5 x 9.75ins) (4)

£200 - £300

571* Walcot, (William, 1874-1943), Kom Ombo. 1928, etching and drypoint on wove paper, signed and numbered 25/75 in pencil, plate size 160 x 205mm (6.3 x 8ins), sheet size 270 x 395mm (10.6 x 15.5ins), mounted, together with The Caravan, 1928, drypoint etching with aquatint, on wove paper, from the edition of 75, published by the Fine Art Society, signed, and numbered 25/75 in pencil, plate size 177 x 230mm (7 x 9ins), sheet size 275 x 385mm (10.75 x 15.2ins), mounted

570* Walcot (William, 1874-1943). Houses of Parliament and Westminster Bridge, London, etching with aquatint on cream wove paper, signed in pencil, plate size 16 x 30cm (6.25 x 11.75ins) with margins, mounted, framed and glazed, together with: Chelsea Old Church, London, 1924, etching with drypoint on cream wove paper, signed in pencil, limited edition of 100 for the Print Collectors’ Club (plus 7 proofs) with monogram upper left corner, plate size 9.4 x 14.8cm (3.75 x 5.75ins), sheet size 9.25 x 12.5ins), Downtown Manhattan from the East River, 1924, etching with aquatint on cream wove paper, slightly creased to lower blank margin, plate size 21.6 x 15cm (8.5 x 5.75ins), sheet size 36.8 x 24.7cm (14.5 x 9.75ins) (3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

(2)

£200 - £300

192

£150 - £200

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20TH CENTURY PRINTS, DRAWINGS, WATERCOLOURS & PAINTINGS

Lot 573

572AR* Aitchison (Craigie, 1926-2009). Get Well Soon, 1969, colour screenprint on wove paper, printed at Kelpre Studio, and published in an edition of 150 impressions, signed, dated and numbered 141/150 in black ink towards lower margin, the full sheet, some very light, unobtrusive spotting to the lower portion, sheet size 810 x 455mm (31.9 x 17.9ins), framed and glazed (1)

£400 - £600

573AR* Blake (Peter, 1932-). Composition (trompe l’oeil collage), 1956, colour lithograph, signed and dated 56 in pencil to lower right, 176 x 225mm (7 x 8.9ins), laid down on later card With an autograph letter signed by Peter Blake, dated June 22nd 1997, describing the present work, its origins, and authenticating his own signature. An early lithograph by Peter Blake for Ark magazine, the journal of the Royal College of Art, produced in the same year that Blake graduated from the RCA. (1) £300 - £500

574* Christo (1935-2020). 10 Million Oil Drums Wall. Project for the Suez Canal 1967-72, London: Fischer Fine Art, 1972, the complete set of three colour screenprints (now framed), each signed by the artist and numbered 69/70, with map, also signed and numbered, title, explanatory sheet and photograph loose and contained in original publisher’s illustrated foldover box, 57 x 72.5cm (22.5 x 28.5ins) (4)

193

£700 - £1,000

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Lot 575

575AR* Clarke (Graham, 1941-). Bromley South, 1963, the rare early uncoloured woodcut panorama on wove paper, unsigned, laid down on card window mount (glued to edges only), with some light overall toning and a few short closed tears to lower margin, sheet size 380 x 1335mm (15 x 52.5ins), window-mounted, together with: Mary I, circa 1965, colour linocut, an artist’s proof, signed, titled and marked (Proof) in pencil, 760 x 635mm (30 x 25ins), old gilt moulded frame The panoramic view of Bromley South is one of Graham Clarke’s earliest productions, cut from a plank of lime wood given to the artist by Edward Bawden, and issued in a small unnumbered edition in 1963. (2) £200 - £300

577AR* Clarke (Graham, 1941-). Quite Cricket, aquatint printed in colours on thick handmade paper, with circular Graham Clarke blindstamp to lower left corner, and with oval blindstamp of Alex Gerrard Fine Art Ltd. to lower right corner, published in an edition of 400 impressions, signed, titled and numbered 268/400 in pencil, plate size 345 x 540mm (13.5 x 21.25ins), sheet size 440 x 640mm (17.3 x 25.2ins), framed and glazed, together with: Left Right oops!, hand-coloured etching with aquatint, published by Alex Gerrard Fine Art Ltd. in an edition of 250 impressions, signed, titled and numbered 119/250 in pencil, oval blindstamp of Alex Gerrard Fine Art Ltd. to lower left corner, circular Graham Clarke blindstamp to lower right corner, plate size 340 x 537mm (13.5 x 21.2ins), sheet size 435 x 630mm (17.1 x 24.8ins), framed and glazed (2)

576AR* Clarke (Graham, 1941-). Lloyds Bookshop, Wimbledon, 1964, colour linocut, signed, titled and numbered 17/20, plate size 450 x 610mm (17.75 x 24ins), framed and glazed, together with: Rose & Crown, Wimbledon, 1964, colour linocut, signed, titled and numbered 2/20, some light spotting, mainly to margins, plate size 450 x 610cm (17.75 x 24ins), sheet size 630 x 890mm (24.8 x 35ins), with left and right hand margins folded over, window-mounted (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

194

£300 - £400

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579 Dorazio (Piero, 1927-2005). Pablo Neruda, “La Nave” e Altri Testi, introduction by Rafael Alberti, Milan: M’Arte Edizioni, 1973, 3 colour lithographs by Piero Dorazio, each signed and numbered by the artist, facsimile leaf numbered and signed by Alberti, contents loose as issued and contained in original wrapper, matching chemise and slipcase, 38.5 x 28.5cm (15 x 11.25 in), limited edition 29/110, together with Sugai (Kumi, 1919-1996). Nathaniel Tarn, October: The Silence, Milan: M’Arte Edizioni, 1970, 2 colour lithographs, each signed and numbered by the artist, facsimile leaf signed by Tarn, lacking the 2 additional proofs of the lithographs, contents loose as issued and contained in original wrapper, matching chemise and slipcase, limited edition 26/30, from a total edition of 106, with two others: Bona de Pisis and Giuseppe Ungaretti, Croazia Segreta, M’Arte Edizioni, Milan, 1970, with two signed and numbered lithographs by de Pisis but lacking the additional 2 proof lithographs, limited edition 14/30, from a total edition of 119, and Ruﬁno Tamayo and Miguel Angel Asturias, Amanecer en el Delta Parana, M’Arte Edizioni, 1972, lacking the lithographs by Tamayo, all folio (4)

£300 - £500

580* Finlay (Ian Hamilton, 1925-2006). Apollo and Daphne, Design for a Wall, Wild Hawthorn Press, 1992, offset colour lithograph by Ian Hamilton Finlay, Ron Costley and Gary Hincks, sheet size 28.5 x 102cm (11.25 x 40.2ins), framed and glazed, with Ingleby Gallery, Edinburgh label to verso, together with: Sea Coast, after Claude Lorrain (Liber Veritatis, 1667), Wild Hawthorn Press, 1985, offset colour lithograph by Ian Hamilton Finlay and Gary Hincks, printed in an edition of 250, 50 x 53.5cm (19.75 x 21ins), framed (2)

578* Corneille (Pierre, 1922-2010). Femme et Chat, 1977, colour etching and aquatint, from the published edition of 100 impressions published by Edition Suede, with publisher’s blindstamp to lower left corner, signed, dated, and numbered 70/100 in pencil, sheet size 64 x 49.5cm (25.2 x 19.5ins), framed and glazed (1)

£100 - 150

£150 - 200

581 Boncompain (Pierre, 1938-). André Gide, Les Nourritures Terrestres, Lithographies Originales de Pierre Boncompain, Paris: Editions Michele Trinckvel, 1990, 30 lithographs by Boncompain including 10 in colour, twenty-six lithographed illustrations to text, original printed wrappers, contained in publisher’s yellow cloth solander box decorated and lettered in black, large folio, additionally housed in publisher’s cardboard box with printed label on side Limited edition 236/300 copies, signed by the artist in pencil to colophon and to frontispiece. (1) £200 - £400

Lot 579 195

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582* Hilton (Matthew, 1948-). Untitled, 1988, colour linocut on laid paper, signed, dated, and numbered 3/4 V, image size 455 x 385mm (18 x 15ins), sheet size 520 x 420mm (20.5 x 16.5ins), together with: Ackroyd (Norman, 1938-). Skellig Rain, 1998, aquatint on heavy handmade paper, signed, dated, titled and numbered 75/90 in pencil, plate size 196 x 260mm (7.75 x 10.2ins), sheet size 255 x 330mm (10 x 13ins), plus four other prints by contemporary British artists: Alison Heath, City, signed, titled and numbered 2/15 in pencil, Richard McEvoy, ‘Tooo’, 1987, signed, dated, titled and numbered 1/6 to verso, Caroline Macey, Self Portrait, 1983, wood engraving on wove paper, signed, dated, titled and marked A/P, and a proof aquatint entitled Directing Trafﬁc, signed ‘Piper’, and dated 86 (6)

£200 - £300

583AR Hockney (David, 1937-). Red Square and The Forbidden City, 1982, colour lithograph on Somerset satin-finish mould-made rag paper, printed in five colours at Petersburg Studios, New York, 1982, in an edition of 1000, signed and numbered 38/1000 in pencil, folded three times, as issued, overall size 495 x 540mm (19.5 x 21.25ins), loosely contained in original red printed sleeve, with a copy of the published edition of China Diary by Stephen Spender and David Hockney, published by Thames and Hudson, 1982, bound in original red cloth gilt in fine condition, with original publisher’s card slipcase Tokyo 254. (2)

Lot 582

Lot 583 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

196

£1,000 - £1,500

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585AR* Jacklin (Bill, 1943-). Dusk on 42nd Street, New York, 1989, etching on heavy pale cream handmade wove paper, a trial proof, aside from the published edition of 30 impressions, signed and marked in pencil ‘Trial Proof I’, plate size 450 x 350mm (17.75 x 13.75ins), sheet size 640 x 560mm (25 x 22ins) (1)

£150 - £200

586* Katz (Alex, 1927-). Alex Katz, Timothy Taylor Gallery, June 2004, colour reproduction poster for the exhibition at Timothy Taylor Gallery, London, signed and inscribed by the artist lower left ‘For Craigie. Alex Katz’, several horizontal creases, sheet size 200 x 70cm (78.75 x 27.5ins) Inscribed to fellow artist Craigie Aitchison (1926-2009). (1)

£150 - £200

584* Holland (Harry, 1941-). Mother, lithograph on pale cream watermarked wove paper, an artist's proof, signed, marked A/P, and inscribed 'To Gordon C. (and whom it may concern)' in pencil to lower margin, image size 216 x 300mm (8.5 x 11.75ins), sheet size 400 x 480mm (15.75 x 19ins), framed and glazed, together with: Hulde aan Electriciteit, 1982, lithograph on white wove paper, from the published edition of 30 impressions, signed, numbered 16/30, image size 258 x 275mm (10.2 x 10.8ins), with full margins, plus: Seated Nude, 1982, lithograph on white wove paper, an artist's proof, signed and marked A/P in pencil to lower margin, image size 270 x 210mm (10.6 x 8.3ins), with full margins, all framed and glazed (3)

£200 - £300

587* Lloyd (Reginald J., 1926-). Sunrise with crocuses and snowdrops, 1996, etching on thick wove paper, with pencil signature, date, and ‘proof’ to lower margin below image, image size 14.8 x 20.1cm (5.75 x 8ins), sheet size 25.9 x 39cm (10.25 x 15.25ins), together with 8 other etchings by R.J. Lloyd, comprising 4 Girl and Screen series (artist’s proofs, except one 2/20 copies), 3 identical of a ram, and one of a kingﬁsher, all artist’s proofs, all signed, together with Greg (Barbara, 1900-1983). Landscape with sheep, woodcut on japanese tissue, showing sheep under spreading trees, signed in pencil to lower margin, image size 10 x 16.4cm (4 x 6.5ins), sheet size 15 x 27.2cm (6 x 10.75ins) (10)

Lot 585

197

£150 - £200

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589* Moser (Koloman, 1868-1918). Mobelstoff Mondblume, Meauquettes Weberei (from Die Quelle), Vienna, Verlag Gerlach & Schenk, 1901, colour lithograph, image size 225 x 275mm (8.9 x 10.8ins), with margins, framed and glazed, with P. & D. Colnaghi & Co. Ltd. label to verso (unexamined out of frame) Exhibited: The Vienna Secession, P. & D. Colnaghi, 19th December-20th January 1978, Number 81. Issued in the portfolio of 30 designs entitled Die Quelle: Flachen Schmuck (The Source: Ornament for Flat Surfaces), edited by Martin Gerlach. (1) £150 - £200

588* Martin (Frank, 1921-2005). The Birds, colour woodcut on handmade laid paper, with Alecto Editions blindstamp to lower left corner, signed, titled and numbered 15/30 in pencil, image size 64 x 34cm (25.2 x 13.5ins), sheet size 83 x 52.5cm (32.7 x 20.75ins) together with Baboons, woodcut printed in black on mustard yellow paper, signed, titled and numbered 29/30, some light creases, sheet size 52 x 74.5cm (20.5 x 29.25ins)

590AR* Mourad (Joumana, 20th/21st century). Blue Fish, 1998, colour screenprint on BFK Rives handmade paper, printed at the Atelier du Safranier, Antibes, in an edition of 180 impressions, signed ‘Mourad 98 Vence’, titled and numbered 133/180 in pencil, sheet size 570 x 760mm (22.3 x 30ins)

(2)

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

198

£200 - £300

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591AR* Nash (John, 1893-1977). Harvesting Cornﬁelds, 1942, ﬁne colour reproduction print, published by Frost & Reed, signed in pencil, with publisher’s blindstamp lower left, image size 46 x 76cm (18 x 30ins), sheet size 66 x 90.5cm (55cm x 87ins) (1)

593AR* Paolozzi (Eduardo, 1924-2005). Kew III, 1998, lithograph on Somerset wove paper, artist’s proof, with pencil inscription ‘A/P’, artist’s signature, and date to lower margin below image, sheet size 31 x 41cm (12.25 x 16ins)

£150 - £200

(1)

592 Various Artists. Plakat, numbers 1-10, Woodchester, Gloucestershire, Openings Press, [1968], the complete set of ten broadside visual poems, printed on card, in black and one other colour to rectos only, 26 x 20.2cm (10.25 x 8ins)

£100 - £150

594AR* Paolozzi (Eduardo, 1924-2005). Underground Design, Folio X, Architectural Association, 1986, the complete folio of 18 screenprints (thermographic prints), and one colour lithograph, signed and dated 1985 in pencil, each 305 x 305mm (12 x 12ins), all loosely contained in original publisher’s black card drop-over bookbox, a few marks, bookbox 320 x 320mm (12.5 x 12.5ins)

Printed by the Openings Press, founded by Dom Sylvester Houedard and John Furnival in Woodchester, Gloucestershire, in 1964, an avant-garde small press which published concrete and visual poetry. The series consists of (in order): typestract by dom sylvester houedard, rhythm machine by richard loncraine, semiotic drawing by john furnival, calendar by b.p. nichol, fauve poem by ian hamilton ﬁnlay, hommage to vietnam by jiri valoch, engrenage by julien blaine, c loopseend by tom phillips, loakrime, idol of the shattered pyramid by philip ward, and landscape 2, by george dowden. (10) £300 - £400

(1)

199

£300 - £500

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595AR* Phillips (Tom, 1937-). The Wood Suicides, Canto XIII, from the Dante’s Inferno set, 1982, colour screenprint, signed and marked ‘printer’s proof’ in blue pencil, image size 552 x 394cm (21.75 x 15.5ins), sheet size 758 x 551mm (29.8 x 21.75ins), framed and glazed (1)

£150 - 200

596AR* Picasso (Pablo, 1881-1973). Picasso, Galerie Beyeler-Bâle, Janvier-Mars 1967, colour lithograph poster, printed by Henri Deschamps, and published by Atelier Mourlot, Paris, in an edition of 1600, some toning and light marginal discolouration from old backboard, horizontal crease directly below the image (where previously folded), 77 x 50.5cm (30.25 x 19.9ins) Czwiklitzer 298. (1)

£150 - £200

Lot 595

597AR* Picasso (Pablo, 1881-1973). Maitres de l’Art Moderne, Galerie Beyeler-Bâle, Baumleingasse 9, 15 Aout-15 Octobre 1956, colour lithograph poster, printed by Henri Deschamps, and published by Atelier Mourlot, Paris, some overall toning, horizontal crease immediately below the image (where previously folded), a few small stab holes to left margin, remains of sellotape to corners, sheet size 76 x 53.5cm (30. x 21ins) Czwiklitzer 120. (1)

£100 - £150

Lot 596 Lot 598 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

200

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598 Tetrad Press. Pamphlets, Volume 1 Numbers I-X, London, 1970, ten bifolia, each printed with a poem and accompanying colour screenprint, each signed and numbered (numbering varies) by the author and the artist (where the latter is not also the author), together with two typed letters signed from Ian Tyson to Martin Armstrong relating to the purchase of the Tetrad Pamphlets, and a 2-leaf stapled checklist of Tetrad Press publications with prices, housed together in original grey paper-covered solander box, with printed paper spine label (toned and edge-frayed), small mark to upper cover, 4to Limited edition, one of 50 copies signed by authors and artists, of a total edition of 500 copies. Titles as follows: 23rd Light Poem or Larry Eigner, text by Jackson MacLow, image by Ian Tyson; Mask Masque, text and image by Ian Tyson; Poem, Nov: 1968, text by Larry Eigner, image by Derrick Greaves; The Alphabet Twice, text and image by Richard Pinkney; Sweet Pictorial Reason, text and image by Derrick Greaves; Knights Eminence, text and image by Ian Tyson; Correspondence, text by Roy Fisher, image by Tom Phillips; A Verse from The Death of a Guiser, text by Petre Andreevsky, image by Richard Pinkney; Lesbia Waltz, score by Tom Phillips; The Directions, text by Jerome Rothenberg, image by Tom Phillips. (1) £150 - £200

Lot 600

599* Thornton (Valerie, 1931-1991). Queen’s College, Oxford, colour etching on pale cream heavy wove paper, signed, titled and numbered 37/50 in pencil, mount stained, plate size 40 x 52cm (15.75 x 20.5ins), sheet size 56.5 x 67cm (22.25 x 26.5ins) (1)

£150-200

600AR* Cathelin (Bernard, 1919-2004). Nature Morte, colour lithograph on off-white wove paper, an artist’s proof, signed and marked E.A. in pencil to lower margin, image size 620 x 445mm (24.5 x 17.5ins), sheet size 680 x 495mm (26.75 x 19.5ins), framed (1)

£150-200

Lot 601

601 Tyson (Ian, 1933- ). The 17 Horse Songs of Frank Mitchell, Nos. X-XIII, Jerome Rothenberg, Total Translations from the Navaho Indian with images by Ian Tyson, Tetrad Press, 1969, 4 colour silkscreen plates on handmade paper, loose as issued and contained in original dropback box (slight fading to cover), 4to, 31 x 25.5cm (12 x 10 in), limited edition 1/50, signed by author and artist from a total edition of 250, together with Sykes (Sandy, 1944- ). Lament for Ignacio Sanchez Mejias, by Frederico Garcia Lorca, translated by Neil Crawford, W S A P Editions, Wimbledon School of Art, 1987, 5 woodcuts, loose as issued in original wrapper, slipcase, folio, 34 x 24.5cm (13.25 x 9.75 in), limited edition 3/40, signed by artist and translator, with six others: 10. Kenneth Koch, linocuts by Dale Devereux Barker, 1995 (limited edition 10/22), The Iron Siege of Pavia. Etchings by Deanna Petherbridge, Camberwell School of Arts and Crafts, 1975 (limited edition 12/20), Stephen Spender, Sculptor and Statues. Homage to Henry Moore, circa 1986, printed poem on a single folded sheet, (inscribed by Spender ‘to Nikos and David with love from Stephen’, plus his single sheet poem ‘Art Student’, inscribed, 1970), Anthony Conran’s Claim Claim Claim. A Book of Poems, with six prints by Ronald King, Circle Press, 1969 (limited signed edition 29/50, from a total edition of 250), and 2 copies of A Line That May Be Cut, Poems from 1965 by Larry Eigner, with Five Prints and Endpapers by Ian Tyson, Circle Press, 1968 (limited signed editions 16/250 & 152/250) (8)

£300-400

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602 Tyson (Ian). Screens 1 - XIV, Kelpra Editions, 1976, 15 screen prints on 5 sheets (four bifolia), each sheet signed by the artist, with tissue guards, single sheet size 50 x 35cm (19.5 x 13.75ins), loosely contained (as issued) in card folder within black cloth-backed boards, and black cloth slipcase (latter marked and slightly rubbed), folio Limited edition, 7/50 copies, signed by the artist. (1)

£200 - £300

603 Tyson (Matthew, 1959-). A Wish, by Robert Creeley, 1994, six hand-painted illustrations in watercolour and gouache, sheet size 37 x 28cm, orig. green astro-turf binding, large 4to, numbered 2 from an edition of only 5 copies, signed by artist and author, together with an original printed card by the same artist, entitled ‘Diversion’, pub. Imprints, 1995, containing a screen print in silver, sheet size 25 x 16.5cm, signed by artist and numbered to verso 4/15, together with Grunberg (Maty, 1943-). T8 Colours Erosion-Grid, 1978, eight colour serigraphs, printed by Spinks Studios Ltd, London, each signed in pencil and marked A/P, a proof copy aside from the edition of only thirty numbered and signed copies, loosely contained in orig. printed wrappers, with black mock leather dropover book box, lettered in silver, very sl. rubbed, square 4to (22 x 26cm), and Preece (Lawrence, 1942-). Illuminations, Vittoria Pozzi, Stamperia Calcograﬁca, circa 1980s, sixteen uncoloured aquatints (complete), each signed in pencil and numbered 5/10, sheet size 33 x 27.5cm, loose in original publisher’s drop-over bookbox, folio The painter and printmaker Maty Grunberg was born in Skopje, Yugoslavia, in 1943, and studied at the Bezalel Academy of Arts and Design in Jerusalem from 1963 to 1966, where he was an assistant to the artist’s Yaacov Agam, Danny Karavan and Igael Tumarkin, and later at the Central School of Art and Design in London, where he was taught by Norman Ackroyd (1969-1972). He was awarded the Prix du Salon for graphics in Paris in 1972. The artist’s paper erosion works were exhibited in London at the Stefan Maltz Gallery (1977), Etra Arte, New York and Thumb Gallery, London (1978), and again at the Thumb Gallery, London, in 1981. (3) £150 - £200

Lot 603

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604* Utrillo (Maurice, 1883-1955). Rue Cortot, 1940, offset colour lithograph on cream wove paper, printed in an edition of 250 impressions, signed in brown ink to lower margin, and numbered in pencil 76/250, pale mount stain, and faint water stain to lower blank sheet edge, image size 465 x 330mm (18.25 x 13ins), sheet size 655 x 500mm (25.75 x 19.75ins), framed and glazed (1)

£150-200

605 Various Artists. A Tribute to Birgit Skiold 1923-1982, The Birgit Skiold Memorial Trust, 1983, portfolio of ﬁve etchings and aquatints by Y. Shiraishi, J. Murphy, John Hubbard, Bill Jacklin and Michael Kidner, limited edition of 25, each signed and numbered 18/25 by the artist, 30 x 30cm (11.75 x 11.75in), loosely contained in printed folder, 4to (1)

£150-200

Lot 604

606* Various Artists. A Celebration of the Bicentenary of the A.G.B.I. 1814-2014, colour digital print on Somerset Enhanced handmade paper, printed with Epson UltraChrome archival inks, published in an edition of 50 impressions only, together with 42 artists’ proofs, this impression an artist’s proof numbered A/P XXXIV/XLII, and signed in pencil by all 42 participating artists to outer margins, in excellent condition, image size 53 x 62cm, sheet size 70 x 80cm Published in support of the Artists’ General Benevolent Institution. Artists’ signatures include Ivor Abrahams, Peter Blake, Tom Phillips, Patrick Hughes, Joe Tilson, Chris Orr, Ken Howard, Paul Huxley, Roger McGough, Gavin Turk, Stephen Farthing, Bruce McLean, Michael Craig-Martin, Maggi Hambling, Nicola Hicks, Gary Hume, David Mach, William Packer, Barbara Rae, and others. (1) £300 - £400

Lot 605

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607AR* Villon (Jacques, 1875-1963). Nuages, circa 1959, etching on cream wove paper, printed by Georges Le Blanc, Paris, and published by Pierre de Tartas, Paris in 1959, in an edition of 60 impressions, signed, numbered 11/60, with publisher’s circular blindstamp to lower left margin, some light soiling and handling creases, plate size 310 x 540mm (12.25 x 21.25ins), sheet size 505 x 705mm (20 x 27.75ins) (1)

609AR* Ackroyd (Norman, 1938- ). Skellig Rocks, 1987, watercolour on paper, titled, signed, and dated lower right, 24.8 x 32cm (9.75 x 12.5ins), mounted, framed and glazed

£200-300

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608* White (Ken, 1943-). Mechanics, two colour prints, one depicting two mechanics working on a vehicle, the other showing two men welding a locomotive, signed and numbered 10/500 and 11/500 respectively in pencil to lower margin below image, image size 25.7 x 25.7cm (10 x 10ins), matching mounts and frames, glazed (2)

610AR* Dodd (Francis, 1874-1949). Portrait of Thomas Hardy, 1929, black chalk on cream wove paper, signed, dated Apr 25 1929, and inscribed T. Hardy by the artist, sheet size 380 x 280mm (15 x 11ins), framed and glazed, with Michael Parkin Fine Art Ltd. label for the exhibition Artists and Writers, October-November 1976, to verso

£100 - £150

Provenance: Private Collection, Herefordshire, UK. (1)

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£300 - £400

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£500-800

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613* British Neo-Romantic School. Composition, circa 1950s, gouache, crayon, and black ink, on paper, 37.5 x 53cm (14.75 x 21ins), mounted, framed and glazed (1)

£200 - £300

611* Bérard (Christian Jacques, 1902-1949). Portrait of a man, black and red ink drawing on celluloid, showing a young gentleman seated, signed in red lower right, sheet size 12.5 x 9.9cm (5 x 4ins) (1)

£100 - £150

612* Brabbins (Oliver Gilmore, 1912-1973). The Paddle Steamer Freshwater in Portsmouth Docks, circa 1930s, watercolour and black chalk on paper, signed upper left, sheet size 34 x 42cm (13.5 x 16.5ins), glue stain near upper margin Provenance: Collection of Jack Webb (1923-2019), London. (1)

614AR* Dobson (Frank, 1886-1963). Female Nude, circa 1930s, red chalk on heavy wove paper, signed in pencil lower left, sheet size 360 x 257mm (14.2 x 10.1ins), inset to later backing paper, window-mounted

£100 - £150

Provenance: Formerly in the collection of Peter Ward-Jackson (1915-2015), curator at the V & A Museum, London. (1) £700 - £1,000

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617* Emanuel (Frank Lewis, 1866-1948). Sketchbook, circa 1930, 39 pencil drawings, each tipped-in singly on rectos, comprising landscapes and seascapes, some with ﬁgures and animals, some titled, ‘La Bernerie’, ‘Port Bou’, ‘Kampueersche Toren Veere’, ‘Muiderberg’, ‘The Spanish House Zierikzee’, some signed or initalled, one dated 1930, sheet size 18 x 27cm (7 x 10.5ins) and smaller, several spotted or lightly marked, page block loose in card and paper wrappers, slim folio London-born artist Frank Emanuel studied at the Slade School of Fine Art under Alphonse Legros, then at the Academie Julian, Paris, under Bouguereau. (1) £150 - £200

615* Dodd (Phyllis, 1899-1995). Female nude study, pencil on paper, depicting two full-length female nude studies, one in profile, signed lower right, spotted, some marginal creasing, two short edge tears (encroaching beyond margin but not touching image), verso with another figure study in pencil by the artist, of a threequarter length male nude, crossed through with a pencil line, sheet size 30.2 x 26.5cm (12 x 10.5ins), mounted (aperture size 29.2 x 17.9cm/11.5 x 7ins) This study was executed around 1925 whilst Phyllis Dodd was a student at the Royal College of Art. Prior to her 4 years at the RCA, where she met her future husband, artist Douglas Percy Bliss (1900–1984), she spent 4 years studying at the Liverpool School of Art. She was a prolific painter, specialising in portraiture, who exhibited widely, often alongside her husband. In 1945 the couple moved to Glasgow when Percy was appointed Director of the Glasgow School of Art. (1) £200 - £300

618* Emanuel (Frank Lewis, 1886-1948). Portrait of Archibald Standish Hartrick, 1884, black chalk heightened with white chalk on grey-green laid paper, watermarked ‘PL BAS’, proﬁle head study of the artist as a moustachioed young man, titled, signed, and dated in pencil lower left, some marginal creasing, verso with corner residue where previously adherred, sheet size 35.7 x 26.9cm (14 x 10.5ins) Scottish painter and lithographer Archibald Hartrick probably met Emanuel at the Slade or the Académie Julian, both of which they attended. During his time in France Hartrick also became acquainted with, and drew, Gauguin, Van Gogh and Toulous-Lautrec. On returning to Britain he continued to paint and exhibit widely, as well as working as a book illustrator and proliﬁc magazine artist. He taught drawing at the Camberwell School of Art, and lithography at the Central School of Art, and was a founder member of the Senefelder Club. (1) £200 - £300

616* Drummond (Malcom, 1880-1945). The Orangery, Kew Gardens, pen & sepia ink on paper, depicting a large orangery amongst trees with ﬁgures, toned, 14 x 15.7cm (5.5 x 6.25ins), mounted, framed and glazed, verso with remains of typed title label, Thos. Agnew sticker, and large black stencilled number Painter and printmaker Malcolm Drummond is particularly known for his paintings of everyday urban scenes and interiors. Inﬂuenced by the PostImpressionists and Walter Sickert (whose pupil he was), he was a founding member of both the Camden Town Group and the London Group. (1) £150 - £200 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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619* Gere (Charlotte, 1937- ). Spring ﬂowers, 2002, watercolour on wove paper, depicting a frieze of plant stems, comprising pansies, forget-me-nots, pinks, violas, daisies, rosemary, ferns, and an ivy leaf, signed and dated lower left, 29.5 x 49cm (11.75 x 19.25ins), mounted, framed and glazed

621AR* Glass (Margaret, 1950-). ‘Going to the mark’, 1992, pastel on paper, depicting a seascape with yachts under a bright blustery sky,, initialled and dated lower left, 42.3 x 55.4cm (16.5 x 21.75ins), mounted, framed and glazed, verso with manuscript title label in the artist’s hand

As well as an artist known particularly for her draughtsmanship of ﬂowers, Charlotte Gere is an art historian and writer, curator and nineteenthcentury decorative arts specialist. (1) £200 - £300

(1)

620AR* Glass (Margaret, 1950-). At Lowtide: Woodbridge, 1987, pastel on paper, depicting sailing craft on the river at sunset, initialled and dated lower right, 54.5 x 75cm (21.5 x 29.5ins), framed and glazed, verso with artist’s printed card label (1)

£100 - £150

622AR* Glass (Margaret, 1950-). Spring day: Dawn, 1993, pastel on paper, depicting a landscape with wooden bridge over a river, and trees, initialled and dated lower right, 23.6 x 32.7cm (9.25 x 12.75ins), mounted, framed and glazed, verso titled in the artist’s hand and with her ink stamp

£150 - £200

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£80 - £120

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623AR* Glass (Margaret, 1950- ). Sunrise: Pinmill Hard, 1987, pastel on paper, depicting an estuary with 2 large moored sailing boats, and numerous smaller craft, initialled and dated lower right, 37.8 x 55.7cm (15 x 22ins), mounted, framed and glazed, artist’s printed card label on verso (1)

625* Heath (Isobel Atterbury, 1909-1989). Abstraction 182, watercolour on paper, titled and signed lower right , additionally inscribed ABC, sheet size 37.5 x 48.5cm (14.75 x 19ins), modern frame, glazed

£150 - £200

Isobel Atterbury Heath (1908-1989) was a British artist and poet active in St Ives, Cornwall. During WWII she worked as an illustrator for the Ministry of Information, painting and drawing workers in ordinance factories and at a camouﬂage factory in St Ives. She also sketched British and American troops stationed in Cornwall. She was a member of the St Ives Society of Artists and exhibited with them throughout her life. (1) £70 - £100

624AR* Glass (Margaret, 1950- ). Towards Dedham, 1992, pastel on paper, depicting a landscape with river, trees, and cattle, with a church tower in the distance, initialled and dated lower right, 42.8 x 55.5cm (16.75 x 21.75ins), mounted, framed and glazed, verso with manuscript title label in the artist’s hand (1)

626AR* Herman (Josef, 1911-2000). The Golden Eagle, ink and monochrome wash on paper, depicting two ﬁshermen seated beside a boat with lettered name on its side, 15.6 x 24.1cm (6.25 x 9.5ins), mounted, framed and glazed

£100 - £150

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208

£200 - £300

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627* Hess (Reinhard, 1904-1998). Still Life with jug, glass, loaf of bread, plates of food & knife, 1948, pencil, watercolour and gouache on wove, initials and date lower left, signed and dated to verso, 52 x 65cm (20.5cm x 25.5ins), framed & glazed (1)

Lot 630

£200 - £300

628* Hitz (Dora, 1856-1924). Portrait of a peasant girl, pencil on paper, three-quarter length portrait of a young woman wearing a shawl and cap, signed lower left, 23 x 15.4cm (9 x 6ins), mounted, framed and glazed, together with a print after Dora Hitz’s ‘Spring’ from Girl’s Own Annual Dora Hitz was courtpainter to the Romanian Royal Family, a member of the Novembergruppe of German Expressionist artists and architects, and cofounder of the Berlin Secession. She travelled widely on the continent (especially throughout Brittany and Normandy), and in addition to book illustration she painted murals and was particularly known for her portraits. (2) £100 - £150

629 No lot 630AR* Holland (Harry, 1941-). Waiting Room, circa 1982, charcoal and chalk on heavy wove paper, signed in pencil lower right, image size 205 x 220mm (8 x 8.7ins), sheet size 265 x 355mm (10.5 x 14ins), framed and glazed (1)

£200 - £300

631AR* John (Augustus, 1878-1961). Signed menu with vignette illustration, 2 July 1919, six menu lines in blue ink, dated and signed by Augustus E. John at foot, written over a pencil and wash drawing of a red squirrel, inscribed for Dolly upper left, 16 x 13cm (1)

£200 - £300

Lot 631

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Lot 632 632* John (Gwendolen, 1876-1939). Seated Nude, charcoal on cream laid paper, 21 x 26cm (8.25 x 10.25ins), light mount toning towards sheet edges, framed and glazed, with Redfern Gallery label to verso giving the title “Nude”, artist’s name and purchaser Ward Jackson Esq, dated November 1st 1949, and old auction stencil DC280 Provenance: Private Collection, Herefordshire, UK. (1) £1,000 - £1,500

633* Lambourg (A., 20th century). Girl on a beach, gouache and watercolour on grey paper, depicting a girl sitting on the sand looking out at the sea and cliffs, signed lower right, 30.5 x 50.5cm (12 x 19.75 in), mounted, framed and glazed (1)

Lot 633

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210

£300 - £500

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635* Luce (Maximilien, 1858-1941). Two portrait sketches, pencil on paper, one depicting a proﬁle view of a man in top hat, the other a head-and-shoulders sketch of a man, one signed lower right, sheet size 76 x 62mm (3 x 2.5ins) and similar, the ﬁrst work with upper left blank corner excised, laid down on later card Provenance: Eric Carlson (1940-2016), Professor of Art History at SUNYPurchase, and art dealer in New York who specialised in 19th century French drawings and prints. (2) £150 - £200

634* Le Bas (Damian, 1963-2017). ‘Phantasmagoria’, late 20th century, gouache on laid paper, signed lower left, sheet size 70 x 50cm (27.5 x 19.75ins), laid down on card, window-mounted Provenance: Monika Kinley (1925 - 2014), British art dealer, collector, curator, and one of the earliest enthusiasts for Outsider Art, soon after the opening in 1976 of Jean Dubuffet’s Collection de l’Art Brut in Lausanne. Having first worked at Tate Britain and in commercial galleries, in 1977 Monica Kinley met the art dealer Victor Musgrave, who in collaboration with Roger Cardinal, curated the seminal Outsiders exhibition at London’s Hayward Gallery in 1979. This led to the formation of the Outsider Archive, a collection which Musgrave hoped would eventually form the core of a specialist museum in Britain. Following Musgrave’s untimely death in 1984, Kinley took over the collection, committing herself to expanding - and finding a home for - the collection. She subsequently curated the touring exhibitions In Another World (Arts Council, 1987) and Inner Worlds Outside (Whitechapel, 2000). After a 10 year loan to the Irish Museum of Modern Art in Dublin, the Musgrave Kinley Outsider Art Collection of 800 works was gifted to the University of Manchester’s Whitworth Art Gallery in 2010. Damian Le Bas was born in Sheffield in 1963 to a family of Irish travellers, and studied at the Royal College of Art London between 1985 and 1987. Once described by the writer, critic and jazz singer George Melly as a “tribe of one”, Le Bas was a champion of Roma culture, and one of sixteen artists who took part in Paradise Lost, The First Roma Pavilion at the 52nd Venice Biennale in 2007. His work has been exhibited widely around the world. (1) £200 - £300

636* Naviasky (Philip, 1894 - 1983). Santa Maria della Salute, Venice, 1949, watercolour heightened with gouache and coloured crayons, signed and dated, approx. 46 x 64cm (18 x 25.25ins), framed and glazed (1)

211

£100 - £150

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637* Orpen (William, 1878-1931). Portrait of a Young Girl, pencil on thin pale cream wove paper, stamped with the number 44 to upper right corner and numbered in brown ink to verso 3843 in lower right corner, some light toning to sheet edges, sheet size 279 x 198mm (11 x 7.8ins), framed and glazed, with Christie’s auction stencil 754SD to verso, and gallery label of The Little Gallery, 5 Kensington Church Walk, London, W.8 Provenance: Private Collection, Herefordshire, UK. (1)

£300-500

638AR* Phillips (Tom, 1937-). After Bamforth. Scenes that are Brightest (2). Series 4958/2. XIV. V. MCMLXXIII, 1973, watercolour heightened with bodycolour, outer border in brown gouache, title inscribed in black ink by the artist to lower edge, image size 113 x 77mm (4.5 x 3ins), sheet size 148 x 120mm (6.5 x 4.75ins), mounted The original design for a colour lithograph by Tom Phillips published in a signed edition of 50 impressions in 1973. (1) £300 - £400

Lot 637

639* Pickles (Kathy, 20th/21st Century). Fritillaria Meleagris, 1995, ﬁne botanical watercolour on off-white paper, signed and dated ‘95 lower left, 298 x 194mm (11.8 x 7.7ins) mount aperture, framed and glazed Botanical artist Kathy Pickles studied at Canterbury College of Art and then textile design at Winchester School of Art before going to Sussex University where she gained a degree in the History of Art. Her work has been exhibited seven times at the Royal Horticultural Society’s Flower Show, on each occasion winning a gold medal (1991-94, 1996, 2015, 2017). Her Gold Medal in 2015 was for 16 paintings of Fritillaria and Helleborus. (1) £200 - £300

Lot 638

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640* Power, (Cyril, Edward, 1872-1951). The Mount, Bury St Edmunds, c. 1930s, watercolour on paper, pencil date lower left, signed lower right, thin brown paper border created before painting with brushstrokes touching margins, 54 x 36.5cm (21.25 x 14.5ins), together with Still Life of a Vase of Flowers on a Table, c. 1935, watercolour on paper, unsigned and undated, pencil title details to verso, 28.5 x 38.5cm (11.25 x 15ins), plus Vase of Flowers with Reﬂection, 17 May 1932, oil on thick paper, unsigned, pencil title and date to verso, and Easter Mass, Sabbato Sancto, Westminster Cathedral, 1944, corner pin holes, 39.5 x 29cm (15.5 x 11.5ins), plus Attributed to Bernard Buffet (1928-1999), Factory with chimney behind a long brick wall, watercolour on off-white thick paper mounted on card, brown and grey colours, signed and dated upper left ‘Bernard Buffet 41’, within double-rule pencil border, some marginal toning andcreases, 10.5 x 21.5cm (4.25 x 8.5ins) Provenance: Giles Power, grandson of the artist. (5)

£300 - £500

641AR* Rakoczi (Basil Ivan, 1908-1979). Sainte-Agnès, February 1947, watercolour with pen & black ink on heavy wove paper, signed lower right, additionally signed and inscribed to verso ‘St. Agnès Basil Rakoczi Feb 47’ in ink, sheet size 25.5 x 35.7cm (10 x 14ins), period frame, glazed Provenance: Private Collection, Berkshire, UK. Basil Rakoczi was born in Chelsea to an Irish mother and Hungarian father. After attending Brighton School of Art, he studied at the Académie de la Grande Chaumière in Paris. Rakoczi set up a studio at 8 Fitzroy Street, Belgravia in 1932, and in 1935 founded the Society for Creative Psychology with Herbrand Ingouville-Williams, for study and development based on the ‘natural rhythm of life’, with a focus on group therapy, psychoanalysis and art. He was taken up by the progressive gallerist Lucy Wertheim in the late 1930s, alongside Barbara Hepworth, Christopher Wood, and Norah McGuinness. Following the death by suicide of his close friend and fellow-artist Kenneth Hall in July 1946, Rakoczi moved to France where he lived for the rest of his life. In 1947 he studied brieﬂy with Ossip Zadkine, and in the same year met the Belgian artist Maurice Brasseur, with whom he later shared a studio in Paris. The present work depicts the village of Sainte-Agnès, a village high up in the Alpes-Maritimes, a few kilometres inland from Roquebrune-Cap-Martin and Menton. (1) £400 - £600

Lot 640

Lot 641

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642* Reynolds (Daphne, 1918-2002) . Mangrove Swamps, New Zealand, watercolour on paper, depicting a sunset landscape with hills, initialled lower right, artist’s name and title on old typed label to verso (with more recent manuscript label beneath), 12.5 x 16cm (5 x 6.25ins), framed, together with: Rainy Day in Tokyo, mixed method etching on thick wove paper, signed, titled, and numbered 5/30 in pencil to lower margin beneath image, plate size 24.7 x 20.2cm (9.75 x 8ins), sheet size 49.5 x 37cm (19.5 x 14.5ins), mounted (2)

644* Seits (Johann, 1887-1967). Grue Loznica, a square rigged ship 1928, watercolour on paper, signed and dated lower right, 10 x 14cm (4 x 5.5ins), framed and glazed together with Lagroste (Marguerite, 1865-?). Still life of ﬂowers on a black ground, watercolour on paper, signed lower left, 17 x 17.5cm (6.75 x 7ins), glass smashed, framed, plus 3 20th century miniature landscape oil on boards by Tom Dale, 4.5 x 7.5cm (1.75 x 3ins ), mount aperture, all framed, and other items (6)

643* Rowles (Stanley Charles, 1887-1987). Rural Landscape, oil on canvas, 28 x 37cm (11 x 14.5ins), gilt gesso frame with attribution plaque (Ex Studio Collection), together with Maundrell (Charles, 1860-circa 1924) Landscape with clump of trees, watercolour on paper, signed lower left, 11.5 x 19.5cm (4.5 x 7.6ins), framed and glazed and Riddel (James, Alick, 1857-1928) Summer Landscape, oil on board, showing a farmhouse and hayrick, signed lower right, 29 x 39cm (11.5 x 15.25ins), carved gilt frame (3)

645* English Sketchbook. Album of drawings and watercolours by an unidentiﬁed female artist, circa 1930s, approximately 30 pages (including a few detached and additional loose leaves) ﬁlled with pencil drawings (some pages with several sketches) and 6 watercolours, comprising mainly portraits and head studies, children at play, and landscapes and buildings, some pages blank, occasional light spotting and edge-fraying, leaf size 18 x 27cm (7 x 10.5ins), original ringbound sketch book (a little marked and worn), with owner’s name written indistinctly to upper cover ‘F.J. Hartley’, oblong 4to

£150 - £200

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£100 - £150

£200 - £300

214

£150 - £200

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646AR* Smith (Stan, 1929-2001). Mushrooms on a blue plate, watercolour on paper, unsigned, 29 x 41cm (11.5 x 16ins), framed and glazed, The Moving Gallery label verso

648AR* Spender (Humphrey, 1910-2005). Pembrokeshire, 1973, gouache on paper, titled, signed, and dated lower right, 16 x 21cm (6.25 x 8.25 in), mounted, framed and glazed

(1)

£100 - £150

£200 - £300

649AR* Spurrier (Steven, 1878-1961). Two women conversing, 1925, charcoal on paper, depicting two seated women, one in proﬁle, inscribed to lower left ‘Spurrier, Nice, 1925, Practise drawing’, and additional indistinct inscription to lower margin (names of sitters?), 20.5 x 31cm (8.25 x 12 in), mounted, framed and glazed, Panter & Hall label on backboard

647* Smythe (Reg, 1917-1998). Station Hotel, 1943, pen, ink, and watercolour, showing a street scene with a large red brick steepgabled hotel, next to a small circular domed building with cupola and spire, and two old timbered ediﬁces, with ﬁgures on the street in front, including children playing and several soldiers in combat gear, signed and dated lower right, some faint edge-creasing and light spotting, small damp-stain and consequent closed tear, 38 x 55cm (15 x 21.5ins), framed and glazed

(1)

An early work by British cartoonist Reg Smythe who is best-known for the popular, long-running Andy Capp comic strip. (1) £150 - £200

215

£200 - £300

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651* White (Caroline, 20th c.). “Le Tholonet”, 1986, mixed media on intricately cut and pierced card with scoring, showing steps up to an arched doorway, signed and dated lower right, inscribed by the artist on the verso, 55 x 22cm (21.75 x 8.75ins), framed and double-glazed, together with “Street in Callian”, mixed media on intricately cut and pierced card with scoring, showing a narrow street with tall buildings on either side, signed and dated lower right, inscribed by the artist on the verso, 54.5 x 22cm (21.5 x 8.75ins), framed and double-glazed Caroline White has been a professional artist for over 30 years. She studied at St. Martin’s School of Art from 1969, and subsequently lectured on sculpture at Bristol from 1974 until 1990. She left England in 1990 to live in France where a life of rural isolation allows her to concentrate on her work. Her paintings and sculptures are in many public and private collections, notably in England, the USA, France, Germany,Spain, South Africa and Japan. Architecture, particularly Romanesque architecture, is a great influence on her work, and she writes: ‘All my work is principally a process of evolution, beginning with drawings made in situ in which I attempt to understand the structure and content of a subject, and developing into forms of two or three dimensions which are increasingly abstract in nature. Underlying all these forms is astrongly geometric structure of arcs, circles and ellipses drawnthrough the space in an attempt to reflect the infinite possibilities of form, light and colour.’ (2) £100 - £150

650AR* Warren (Tony, 1930-1994). Ketch “Alpha”, gouache on artist’s board, depicting a large sailing vessel on the sea, with a headland on the left and a buoy on the right, 56 x 76cm (22 x 30ins), title label on verso with additional inscription ‘built by C.B. Kelway of Truro 1871, sank in Bideford Bay 1933’, framed and glazed (1)

£100 - £150

652* Newhaven. Fishing boats in Newhaven harbour, circa 1950s, oil on canvas, unsigned, including two boats with Newhaven registration codes, 60.5 x 75.cm (23.75 x 29.75ins), unframed (1)

653* Goosen (Frits Johan, 1943-). “Balder”, oil on board, seascape depicting 5 large sailing ships, signed lower right, additionally signed and titled on verso, 18 x 30cm (7 x 11.75ins), framed, together with a catalogue of the artist’s work

Lot 651

(2) Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£80 - £120

216

£200 - £300

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655* Hammerslough (Ruth, Helprin, 1883-1983). Portrait of a Young Girl, oil on board, signed upper right, 25.5 x 20.5cm (10 x 8ins), period wood frame American artist who also worked under the pseudonym Ruth Ford Harper, born Washington D.C. on 3rd September 1883, and studied under William Merritt Chase (1849-1916). In 1920 she settled in Paris, living in Montparnasse with a variety of famous artists nearby, including Man Ray, Foujita, Duchamp, Picabia, Mayakovsky and others. As R. Ford Harper she is best known for her postcard illustrations, magazine covers and calendars, in the manner of Charles Dana Gibson. (1) £200 - £300

654* Goosen ( Frits Johan, 1943- ). Seascape with sailing ships, oil on bevel-edged board, depicting 4 large sailing vessels, signed lower right, verso with additional oil painting, comprising a riverscape with a man and his dog in a small motorised boat by the bank with trees, and sailing boats beyond, signed lower left, 18 x 30cm (7 x 11.75ins), framed (1)

£200 - £400

656* Jenkinson (Geoffrey, 1925-2006). Church Moonlight,Taos Pueblo, New Mexico, 2001, oil on canvas over wooden board, signed lower right, 33.5 x 51cm (13.25 x 20 in) (1)

£150 - £200

657AR* Kermadec (Eugene de, 1899-1976). Nature Morte, oil on canvas, depicting bottles and jars on a table, signed lower right, 22 x 27.5cm (8.75 x 10.75ins), framed

Lot 655

(1)

217

£300 - £500

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659* Lipczinski (Albert, 1876-1974). Portrait of an Ofﬁcer, circa 1915, oil on board, signed lower left, 46 x 37.5cm (18 x 14.75ins), maplewood veneer frame Provenance: Until recently in the collection of Diana Keast (nee Harman, younger daughter of Martin Coles Harman, who bought Lundy Island in 1925), the last surviving member of the Harman family. The Polish artist Albert Lipczinski came to Liverpool in the late 1890s, to study art at Liverpool University Art School and became part of the bohemian artistic group centred on the University, the Sandon Society Studios, and the painter Augustus John. Lipczinkski’s portrait of Dorothy Reilly wearing a Japanese kimono was exhibited alongside avant-garde post-impressionist works by Van Gogh, Gauguin, Matisse and Signac in a groundbreaking exhibition of modern art by post-impressionists and local artists held at the Sandon Studios Society, in Liverpool, in 1911. A ﬁrst biography of the artist by David Bingham was published in 2011, coinciding with an exhibition of the artist’s work at the Williamson Art Gallery in Birkenhead. (1) £300 - £500

658* Kotka (Peter, 1955- ). Rhone millésimé du Nord, oil on linen panel, trompe l’oeil still life of a bottle of wine, a half-empty wine glass, a small bunch of grapes, and a bottle opener with cork still attached, within a wood crate alcove, signed lower right, 44.7 x 34.5 ins (17.5 x 13.5ins), framed, with artist’s printed labels on verso (1)

£200 - £300

660* Maclagan (Dorothea Frances, 1895-1982). Dawn, oil on canvas, depicting a semi-nude sculptural female figure, seated before a masonry wall, with two cavorting putti on her lap, and two owls beside, against star-spangled dark blue drapery revealing a cockerel on a plinth against a dawning sky, slightly rubbed upper right (and loss of a few small flakes of paint), 30.5 x 22.5cm (12 x 8.75ins), framed, with artist’s handwritten label to verso Dorothea Maclagan studied at the Byam Shaw School of Art in London between 1914 and 1917, subsequently spending 5 years at the Royal Academy Schools where she was tutored by Sir George Clausen and Ernest Jackson, amongst others, and won a number of medals. She kept a studio in London throughout the 1920s, later moving to Meadle in the Vale of Aylesbury in the 1930s. She moved in artistic circles, counting Glyn Philpot, Vivian Forbes and John Nash amongst her friends, and she exhibited widely, particularly at the Royal Academy. She married the painter Philip Douglas Maclagan (1901-1972). This piece is typical of Dorothea’s work in small scale figure composition, with its subtle air of introspection and intimacy. (1) £100 - £150

Lot 659 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

218

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661AR* Masson (Andre, 1896-1987). Le Soir, 1951, oil on canvas, signed lower left, some light surface discolouration, 56 x 58cm (22 x 23ins), moulded frame, with Galerie Simon, Paris label to verso, giving the artist’s name, title, size, number 04141, and photo number 50290, additional printed label for the Leicester Galleries, London, New Year Exhibition, January 1952, Catalogue No. 48, and purchaser’s name P.W. Ward Jackson, Esq. to verso, Provenance: Formerly in the collection of Peter Ward-Jackson (1915-2015), curator at the Victoria & Albert Museum. (1)

219

£2,000 - £3,000

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662AR* Masson (Andre, 1896-1987). Montagne en hiver, 1951, oil on canvas, signed with initials and dated lower left, 54 x 65cm (21.25 x 25.5ins), period gilt moulded frame, with Galerie Simon, Paris label to verso, giving the artist’s name, title, size, and stock number 04042, and photo number 50270, and small printed label for the Mayor Gallery, bearing the number 3926, additionally inscribed by the artist with title and date to verso of the stretcher Provenance: Formerly in the collection of Peter Ward-Jackson (1915-2015), curator at the Victoria & Albert Museum. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

220

£2,000 - £3,000

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663*McClure (Victor, 1887 - 1963). Guadiana de la Serena, Spain, oil on board, signed by the artist to lower right, exhibition label to verso, 42 x 66cms (16.5 x 26ins), framed and glazed in conservation glass (1)

£100 - £150

664*McGarry (Pip, 1955- ). Chobe Buffaloes, 2000, oil on canvas, depicting 3 buffaloes and 2 white egrets amongst arid vegetation, signed and dated lower right, 51 x 76.5cm (20 x 30ins), framed, together with a printed letter signed by the artist, thanking the owner for purchasing the painting, and mentioning a published feature about the artist’s work (1)

£400 - £600

221

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665* Mulio (Javier, 1957-). Still Life, trompe l’oeil oil on panel, depicting a ﬂuted stemmed glass half full of water, with 2 greengages beside and 2 droplets of water in front, indistinctly signed in red lower right and on verso, 35.9 x 25.7cm (14 x 10ins), framed Spanish artist Javier Mulio took up painting at the age of 14, having been brought up in the artistic community of Alcoy. From the age of 18 he studied under the artist and teacher Mila Gomez in his home town, and subsequently began painting professionally as well as exhibiting internationally to critical acclaim. Mulio is often called a hyper-realist, and is particularly known for his meticulously painted still life compositions of glass, fruit and liquid, typiﬁed by their simplicity and timelessness. (1) £200 - £300

666* Nygaard (Olav, 1938- ). ‘Disig Morgen’ (Misty Morning), 1966, oil on canvas, signed lower right, 64 x 44cm (25 x 17.25 in), framed (1)

£200 - £300

Lot 665

667* Seligman (Lincoln, 1950-). Lilo, oil on canvas, signed lower right, 40.5 x 40.5cm (16 x 16ins), framed with label of Quantum Contemporary Art, London to verso Provenance: Private Collection, Bristol, England. (1)

Lot 666 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

222

£100 - £200

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Lot 669

668AR* Tindle (David, 1932-). Self Portrait, 1974, oil on wood panel, inscribed by the artist to verso 'David Tindle 1965. Head, oil 8 1/4" x 6 1/2"', 21 x 16.8cm (8.25 x 6.6ins), period wood frame Provenance: John Couzins (1948-2009), photographer, who had a photographic sitting with David Tindle in 1974, at which time the present work was obtained. (1) £400 - £600

669 Van Abbe, (Salomon, 1883-1955). Portrait of Man with Pipe, oil on canvas, half-length proﬁle to left, showing a seated gentleman with pointed beard and moustache, and small round glasses, holding a pipe in his left hand, signed in red lower right, re-lined, 51.5 x 41cm (20.25 x 16ins), framed (Margin)

£100 - £150

670* Whittall (John, 1947- ). Richmond Park, 1975, oil on board, depicting a lake surrounded by trees in summer, signed lower right, 20.5 x 28.7 cm (8 x 11.25 ins), framed, artist’s name, title, and date on verso, and additional note in ink (rubbed) ‘Colln. Brinsley Ford’ According to the inscription on the verso of the frame, this oil is from the collection of art historian Sir Richard Brinsley Ford (1908-1999). (1) £200 - £300

Lot 670

223

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WILDLIFE ART

673AR* Harrison (John Cyril, 1898 - 1985). Pair of Red-crested Pochards, watercolour and gouache, signed by the artist to lower right, 21 x 30.5cms (8.25 x 12ins), mounted, framed and glazed

671* D’Silva (Carl). Lesser Florican, 1989, oil on board, signed and dated by the artist to the lower right, 30 x 40.5cms (12 x 16ins), framed, Mall Galleries label to verso of frame (1)

(1)

£50 - £80

672AR* Harrison (John Cyril 1898 - 1985). White-Fronted Geese on the stubbles, watercolour and gouache on paper, signed by the artist to lower right, 32.5 x 46cms (13 x 18ins), mounted, framed and glazed (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£70 - £100

674AR* Harrison (John Cyril, 1898 - 1985). Wigeon in Flight, watercolour and gouache on paper, signed by the artist to lower right, 33 x 46cms (13 x 18ins), mounted, framed and glazed, Tryon Gallery label to verso of frame

£200 - £300

(1)

224

£200 - £300

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677* Proud (Alastair 1954-). Study of Tiercel Peregrine, watercolour, heightened with bodycolour, titled and signed in pencil lower left and lower right respectively, 18.2 x 15.6cm (7.25 x 6.25ins), mounted, framed and glazed, together with: Haywood (John Frank, 1936-1991). Study of a Peregrine, watercolour, signed lower right, 28 x 22.5cm 11 x 8.75ins), mounted, framed and glazed (2)

£100 - £200

678* Rickman (Philip, 1891 - 1982). Bufﬂehead Duck & Pair of Barrow’s Goldeneyes, 1973 & 1971 respectively, two watercolours, each signed and dated by the artist to the lower left, 24. 5 x 38.5cms (9.75 x 15.25ins) and 27 x 50cms (10.5 x 19.5ins) respectively, both mounted, framed and glazed (2)

£100 - £200

675* Hughes (H.R.). Windscreamer (Kestrel), gouache and watercolour, depicting a kestrel atop an old wooden gate post, with grasses and ﬂoating seedheads, signed lower right, mounted, framed and glazed, verso with artist’s printed label and gallery labels (1)

£100 - £150

679* Rickman (Philip, 1891 - 1982). Egyptian Goose & Pair of Coscoroba Swans, 1962 & 1971, two watercolours, each signed and dated by the artist, the swans to the lower left, the goose to the lower right, the Coscoroba Swans are additionally inscribed ‘For C.M.’, each approximately 28 x 39.5cms (11 x 15.5ins), mounted, framed and glazed

676* Millais (John Guille 1865 - 1931). Sea Eagle swooping on Mergansers, 1916, watercolour and gouache on paper, signed and dated by artist to lower left, laid on later card, 34 x 47cms (13.5 x 14.5ins), mounted

(2)

The painting retains its original backboard with Gallery Thirty-Three label on verso (1) £100 - £200

225

£150 - £200

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681* Rickman (Philip, 1891 - 1982). Pair of Upland Geese & Duck on a pond in autumn, 1932 & undated, two watercolours on paper, each signed by the artist (the Upland geese dated 1932), 22.5 x 31.5 (9 x 12.5ins) and 25 x 33.5cms (10 x 13.25ins) respectively, mounted, framed and glazed (2)

682* Rickman (Philip, 1891 - 1982). Wigeon & Shelduck on a Lake [and] Smew by a Loch, 1968 & 1958 respectively, pair of watercolours and gouache on board, signed and dated by the artist to lower left, each 57 x 78.5cms (22.5 x 31ins)

680* Rickman (Philip, 1891 - 1982). Nuthatch, watercolour on paper, signed by the artist to lower left, 35 x 25cms (14 x 10ins), mounted, framed and glazed, Tryon Gallery label to verso of frame (1)

(2)

£70 - £100

Lot 682 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

226

£200 - £300

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683* Rickman (Philip, 1891 - 1982). Woodcock at dusk, 1970, watercolour on paper, signed and dated by the artist to lower left, 25 x 32cms (10 x 12.5ins), mounted, framed and glazed (1)

£70 - £100

685AR* Robjent (Richard, 1937 - ). Pair of Merlins at their Nest, 1982, watercolour and gouache on board, signed and dated to lower right, 58 x 47cms (23 x 18.5ins) (1)

£100 - £150

684AR* Robjent (Richard, 1937 - ). Pair of Gyr or Icelandic Falcons, 1982, watercolour and gouache on board, signed and dated by the artist to lower right, 78 x 57cms ( 30.75 x 22.5ins) (1)

£100 - £150

686AR* Robjent (Richard, 1937 -). Sparrowhawk, watercolour on paper, 31.5 x 23cms (12.5 x 9ins), mounted, framed and glazed (1)

227

£70 - £100

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687* Rollinson (W. Geoffrey, 1946-). Otter, 1984, watercolour, heightened with bodycolour, depicting an otter on the bank of a river beside rocks and tree roots, signed and dated lower right, 26.5 x 36.5cm (10.5 x 14.25ins), mounted, framed and glazed, inscribed by the artist on verso and with his printed label, together with Nance (Mike, 20th/21st century). Badger, oil on board, depicting a badger emerging from a hole, slightly marked to left upper margin, signed lower right, 45.5 x 60.5cm (18 x 23.75), framed (2)

£200 - £300

688* Selley (Lyndsey, 20th-21st century). Escaping from the Heat, 2000, gouache on paper, depicting a tiger in a river, signed and dated lower right, 42 x 53cm (16.5 x 21ins), mounted, framed and glazed (1)

Lot 687

Lot 688

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

228

£400 - £600

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PRINTED BOOKS & MAPS The David Wilson Library of Natural History Part II Spanish Manuscripts, Early Printed Books 9 SEPTEMBER 2020

Gould (John). The Birds of Great Britain, 1st edition, London, 1862-73. With 367 hand-coloured lithographic plates, contemporary morocco richly gilt. Estimate £15,000-£25,000

For further information please contact Dominic Somerville-Brown dominics@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 live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + VAT (Invaluable) or 4.95% + VAT (the-saleroom) 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 debit cards in the UK. Credit Cards: We accept Visa and Mastercard. It is advisable to let your card provider know in advance if you are intending to purchase. This reduces the time needed to obtain authorisation when the payment is made. Bank Transfer: All transfers must state the relevant invoice number. 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. Note to Overseas Clients: All payments must be made by bank transfer only. No card payments will be accepted unless by special prior arrangements with the auctioneers. 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) or Pack and Send (tel: 01635 887237) 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.

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number 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 and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.

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CLASSIC & CONTEMPORARY PHOTOGRAPHY CAMERAS & ACCESSORIES THE JACK WEBB COLLECTION OF MILITARY CASED IMAGES & CDVS 18 NOVEMBER 2020

Three-quarter plate daguerreotype of a British military and family group, taken outdoors in Captain Francis Claude Burnett's compound, Dum Dum Artillery Station, Calcutta, February 1847. Provenance: The Jack Webb Collection. Estimate Â£3,000-5,000

For further information and to consign please contact Chris Albury chris@dominicwinter.co.uk | 01285 860006

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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 20% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 20% 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 20% 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 theAuctioneer 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 lower estimate, 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.

Lot 408