Old Master & 19th Century Art - Tuesday 7 July, 14:00

Tuesday 7 July 2026, 14:00

Old Master & 19 th Century Art

Tuesday 7 July 2026, 14:00

Viewing exclusively at the Barley Mow Centre, W4 4PH

Friday 3 July

Saturday 4 July

Sunday 5 July

Monday 6 July

10:00 - 17:00 (Evening Preview - 17:00 - 20:00)

11:00 - 15:00

11:00 - 15:00

10:00 - 17:00

Tuesday 7 July 10:00 - 14:00 (Auction begins at 14:00)

Glossary of Terms

Sir Thomas Lawrence

A work by the artist.

Attributed to Sir Thomas Lawrence

A work of the period, which may be in whole or part, the work of the artist.

Studio of Sir Thomas Lawrence

A work by an unknown hand, which may have been executed in the studio of the artist.

Circle of Sir Thomas Lawrence

A work from the period of the artist and showing their influence.

Follower of Sir Thomas Lawrence

A work executed in the style of the artist, but not necessarily by a pupil.

Manner of Sir Thomas Lawrence

A work executed in the style of the artist, but at a later date.

After Sir Thomas Lawrence

A copy of any date after a work by the artist

This one doesn’t end in a full stop like the others.

Signed / Inscribed / Dated Sir Thomas Lawrence

The work has been signed / inscribed / dated by the artist.

Bears signature / inscriptuon / date of Sir Thomas Lawrence

The signature / inscription / date are probably not by the hand by the artist.

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After Cesare da Sesto (Italian, 1477-1523)

Madonna and Child (Madonna dell’Albero)

inscribed ‘Di Cesare da Sesto’ (on stretcher bar verso) oil on canvas

Unframed: 50 x 40 cm. (19 3/4 x 15 3/4 in.) Framed: 59.5 x 52 cm. (23 1/2 x 20 1/2 in.)

£3,000 - 5,000

Provenance

Private collection, UK

The original is held in the Brera Pinacoteca, Milan, inv. no. 326 and was painted c.1512-1520.

Attributed to Alessandro Gherardini (Italian, 1655-1723)

The Assumption of the Virgin oil on canvas

Unframed: 94 x 67 cm. (37 x 26 3/8 in.)

£700 - 1,000

Provenance

Sir William Drummond Stewart, Bt.

Sale; Christie’s, London, 30 October 1987, lot 181

Private collection, UK

After Bartolomé Esteban Murillo (Spanish, 1618-1682)

The Madonna and Child oil on canvas

Unframed: 158 x 107 cm. (62 1/4 x 42 1/8 in.)

£400 - 600

Provenance

Sale; Christie’s, London, 6 July 1995, lot 44

Private collection, UK

The original, executed circa 1650-55, is in the Palazzo Pitti, Florence (See Bartolomé Esteban Murillo, Exh. Cat., 1982/83, P.151, No. 11, ILL).

4

Attributed to Michelangelo Anselmi (Italian, 1492-1554)

Two studies of Sibyls both red chalk on paper first with a watermark remnant of the edge of a circle (upper edge)

First sheet: 13 x 18.8 cm. (5 1/8 x 7 3/8 in.)

Second sheet: 13.2 x 19.2 cm. (5 1/4 x 7 1/2 in.) (both unframed, held in a shared mount)

£1,000 - 1,500

Provenance

Possibly Richard Cosway (1740-1821), London

Literature

Mary Vaccaro, ‘Correggio, Francesco Maria Rondani, and the Nave Frieze in San Giovanni Evangelista’, in Mitteilungen des Kunsthistorischen Institutes in Florenz, LX, 2018, pp. 388-89, figs. 17-18

This pair of drawings relates to the Prophets and Sibyls depicted in the frieze that runs the length of the nave of San Giovanni Evangelista, Parma, executed by Correggio and his workshop. They are identical in handling and close in size to a group of six drawings of different figures from the frieze by Michelangelo Anselmi, sold at Christie’s, 5 July 2011, lot 14. Anselmi is known to have worked on the project, and at the time the autograph status of the drawings was supported by Elisabetta Fadda (‘Drawings by Michelangelo Anselmi for S. Giovanni Evangelista in Parma’, Master Drawings, LI, 2012, pp. 507-22). Six years later, Mary Vaccaro (as above, pp. 381-403) questioned their autograph status. Following the publication of her article, the same group was offered twice at Sotheby’s as ‘attributed to Anselmi’: first on 3 July 2025 (lot 699), and recently on 15 April 2026 (lot 149).

It is likely that this pair of Sibyls originally belonged to the aforementioned group. Similarities in handling and dimensions aside, two of the six auctioned drawings have a fragmentary watermark - ‘CC’ encircled and surmounted by a trefoil - presenting evidence that they were cut from a larger sheet of paper. Two others also bear the collector’s mark of Richard Cosway (1740-1821). The remains of a circular watermark on the first drawing (above) strongly suggests that both drawings were executed on the same paper as the other six, and most likely also came from Richard Cosway’s collection.

Lombard School (late 16th century)

Grotesque female head in profile black chalk on paper

Unframed: (sheet): 14.1 x 9.4 cm. (5 1/2 x 3 3/4 in.)

£1,000 - 1,500

Clearly inspired by Leonardo’s grotesque heads, the draughtsman has not sought to mimic the handling of his drawings or that of his pupil, Francesco Melzi (1491-1570). Delicately executed, this highly expressive head is executed with finely sharpened chalk, the linework as subtle and rapid as that of a silverpoint drawing. Peripheral sketches at the upper and lower right include a slightly modified profile, and what appear to be rapid drapery annotations.

Remarkably there is a distinct similarity, albeit in reverse, with the profile of Abra, Judith’s handmaiden, in Caravaggio’s Beheading of Holofernes (Rome, Galleria Nazionale d’Arte Antica, no. 2533). Difference in the angle of the gaze, the turn of the shoulders, the fringed cap - and, not least, the wart on the nose - preclude this from being a copy. However, the distinct curve at the upper right, just beneath the faintly sketched head, appears to relate to Judith’s shoulder as seen in Caravaggio’s painting. Likewise, the sharp triangular annotation directly below could well be related to the folds of Abra’s sack, into which Judith deposited the severed head. Evidence therefore suggests that a Caravaggista was responsible for this rapid sketch, possibly with a variation on the master’s striking composition in mind.

After Taddeo Zuccaro (Italian, 1540-1609)

Study of a prophet, after Taddeo Zuccaro’s fresco in Sant’Eligio degli Orefici, Rome (1566) bears collector’s stamp (L.2908) (lower edge)

pen & ink with brush & wash, heightened with white lead on blue paper silhouetted and laid to a new conservation support Unframed (silhouetted): 14 x 13 cm. (5 1/2 x 5 1/8 in.)

£400 - 600

Provenance

An unidentified mid-17th century English (?) collector, possibly Nicolas Lanier (1588-1666) (L. 2908)

References

Jeremy Wood, ‘Nicolas Lanier (1588-1666) and the origins of drawings collecting in Stuart England’, in Collecting Prints & Drawings in Europe c.1500-1750, eds. Baker, Elam & Warwick, Abingdon 2003, pp. 91-93

Italian Mannerist School (16th century)

Scenes from the life of a Saint pen and brown ink over black crayon lines, black wash

Unframed: 23 x 20 cm. (9 x 7 7/8 in.) Framed: 58.5 x 43.5 cm. (23 x 17 1/8 in.)

£300 - 500

Provenance

Sale; Tajan, Paris, 18 November 2015, lot 3

With Mazarini Gallery, Lyon, 2016

Private collection, UK

School of Fontainebleau (c.1580)

Three dancing figures

pen & ink, heightened with white lead on laid paper

Unframed: 25 x 20.1 cm. (9 7/8 x 7 7/8 in.) Mounted: 32.7 x 25.8 cm. (12 7/8 x 10 1/8 in.)

£3,000 - 5,000

Provenance

Sir Jack and Lady Baer, Kensington

By whose estate sold; Sworders, 11 October 2022, lot 335, (as Italian School, 17th century)

Northern Italian School (16th century)

Portrait of a Greek Goddess, possibly Hygieia numbered ‘108’ (upper right), with collector’s stamp (L.3400) (lower left) brown ink with heightening

Unframed: 20.5 x 10 cm. (8 x 3 7/8 in.) Framed: 51.5 x 36.5 cm. (19 7/8 x 14 3/8 in.)

£1,500 - 2,500

Provenance

Wolfhart F. Bürgi (1901-1989) (L.3400)

Private collection, UK

In Greek mythology, Hygieia is primarily recognised as the goddess of health, sanitation and hygiene.

Follower of Salvator Rosa (Italian, 1615-1673)

A warrior, possibly Hercules pen and brown ink, wash

Unframed: 22 x 14 cm. (8 5/8 x 5 1/2 in.) Framed: 39.4 x 30.7 cm. (15 1/2 x 12 1/8 in.)

£400 - 600

Provenance

Private collection, UK

Circle of Carlo Maratta (Italian, 1625-1713)

Study of a putto blowing the wind red chalk on blue-grey paper

Unframed: 14 x 17 cm. (5 1/2 x 6 3/4 in.) Mounted: 21.3 x 23 cm. (8 3/8 x 9 1/8 in.)

£400 - 600

Provenance

Prof. Francis & Larissa Haskell, Oxford

Lorenzo Todini (Italian, 1646-1689)

A still life of flowers in an ornate vase gouache with gold highlights on vellum Unframed: 42.5 x 29.5 cm. (16 3/4 x 11 5/8 in.)

Framed: 51.5 x 38.3 cm. (20 1/4 x 15 1/8 in.)

£10,000 - 15,000

Dr Bliznukov has suggested that this work was likely executed in the same period as another drawing by the artist, which also depicts flowers in a deep blue vase with golden decorations, now in the former Medici collections at Poggia a Caiano (dated to 1684).

Todini was born in Florence in 1646, however it is probable that his family hailed from Todi (a small town in Perugia), based on his name. Todini’s works are rare outside of Northern Italy, where the majority of them are held within private collections and Tuscan institutions.

The artist was the son of an associate or member of the Court of the Medici, and his godfather was Lorenzo de’Medici (after whom he was likely named), one of the great artistic patrons of his age. (1)

Comparison can be made with artists of the period favouring similar subject matter to the present example, such as Giovanna Garzoni (1600-1670) and Octavianus Montfort (active c.1650-1700) who generally follow a simple formula: flowers in vases atop marbled pedestals, most often blue delftware but occasionally the elaborate blue and gold vases. Todini’s elaborate vases with fantastical handles are highly distinctive within the genre of ‘fiori su pergamene’ that was so fashionable in the first half of the seventeenth century in Florence.

We are grateful to Dr Andrei Bliznukov for his assistance in cataloguing this work and confirming the attribution on the basis of digital images.

References

1. M.M. Simari, ‘Seguendo le orme della Garzoni a Firenze: Lorenzo Todini, Artemisia Todini e Luisa Maria Vitelli - In margine alla mostra pergamene fiorite’, in Amici di Palazzo Pitti Bulletin (2014), p.41

Please note that this work will be included in the forthcoming catalogue raisonné by Dr Andrei Bliznukov.

Antonio Domenico Gabbiani (Italian, 1652-1726)

A resting shepherd and traveller in a wooded pastoral landscape signed ‘Gabbiani’ (lower left), stamped ‘F’ (lower right, and numbered ‘35’ (upper right), bears collectors mark ‘HF’ (stamped to the backboard) pen and black ink (tondo, within an ink drawn line)

Unframed: 19.6 x 19.2 cm. (7 7/8 x 7 1/2 in.) Framed: 27 x 27 cm. (10 5/8 x 10 5/8 in.)

£180 - 220

Provenance

Private collection, UK

After Benedetto Luti (Italian, 1666-1724)

A satyr bound to a tree red chalk on paper

Unframed: 18.2 x 38 cm. (7 1/8 x 15 in.) Framed: 40.5 x 50.5 cm. (16 x 19 7/8 in.)

£300 - 500

Provenance

Private collection, UK

This drawing is after Benedetto Luti’s ‘A satyr bound to a tree’, held in the Ashmolean Museum, Oxford, no. WA1958.42

Northern Italian School (17th century)

The rug seller sanguine chalk

Unframed: 30 x 20 cm. (11 3/4 x 7 7/8 in.) Framed: 51 x 40.5 cm. (20 x 16 in.)

£300 - 500

Provenance

Private collection, UK

Italian School (late 19th-early 20th century)

The Arch of Janus, Rome inscribed ‘l’arco di Giano Roma’ (upper center) pen and brown ink wash, within cartouche ink drawn lines

Unframed: 18 x 26 cm. (7 1/8 x 10 1/4 in.)

£300 - 500

Provenance

Private Collection, UK

Located near the Forum Boarium, the Arch of Janus was built in the 4th century AD and stands as the only remaining four-sided (quadrifrons) arch in Rome.

Austro-Venetian School (c.1750)

A Saint’s vision of the crucifixion and judgement, possibly of St John the Divine pen & ink with grey wash on laid paper

Unframed: 20 x 11.5 cm. (7 7/8 x 4 1/2 in.) Mounted: 24.5 x 15.2 cm. (9 5/8 x 6 in.)

£400 - 600

Provenance

Private collection, U.S.A. (until 2025)

Attributed to Francesco de Mura (Italian, 1696-1782)

The Triumph of Judith bears inscriptions (recto and verso) pen & brown ink, brown & grey wash, squared for transfer in black chalk Unframed (sheet): 27.8 x 34.4 cm. (11 x 13 1/2 in.) Mounted: 41 x 56 cm. (16 1/8 x 22 in.) Prof.

£700 - 1,000

Provenance

Luigi Schiapparelli (1871-1934), historian and palaeographer (inscribed upper right, verso) Armando Perera (active c.1911- c.1950), gallerist, (signed lower right, recto)

Literature

Nicola Spinosa, ‘Francesco Solimena (1657-1747) e le arti a Napoli’, Rome 2018, vol. I, p. 490, no. 227 (as ‘replica di bottega’ of the Triumph of Judith in the Kunsthistorisches Museum, Vienna)

Here the handling is extremely close to that of De Mura’s known drawings, as are the facial types and varied drapery structures. Moreover, the squaring confirms that it is the modello for the studio replica of The Triumph of Judith by his master, Francesco Solimena (1657-1747). The painted replica, preserved in the Guildhall Collection, Abingdon-on-Thames, is not a straight copy, but a variation on Solimena’s original in the Kunsthistorisches Museum, Vienna (no. 6915). De Mura omitted the head of the Medusa on the shield of the warrior standing at the right, but introduced a barking dog (left foreground), and replaced the child in Solimena’s original with a bearded dignitary (lower right corner).

There is an additional replica by another studio member in The Memorial Art Gallery, University of Rochester (New York State) which varies even more radically from Solimena’s original, yet includes details from De Mura’s modello and the Abingdon Guildhall painting. Solimena frequently produced studio replicas of his most successful compositions and variations from the prime versions were not uncommon. The intention behind introducing such conspicuous variations into a celebrated composition may have been to reassure patrons that they were commissioning works that echoed the original, yet still displayed a measure of inventiveness as opposed to being mere copies.

Florentine School (17th century)

The excavation of cut stones titled ‘Scavo delle Pierre di Taglio’ (upper centre) and indistinctly signed ‘Franco ...’ (lower right) pen and brown ink and light brown wash

Unframed: 27 x 19 cm. (10 3/4 x 7 1/2 in.) Framed: 50.5 x 37.5 cm. (19 7/8 x 14 3/4 in.)

£600 - 800

Provenance

With Jean-Luc Baroni, 38 Duke Street, St James, London

Where purchased by a private collector

Thence by descent to the present owner

Exhibited

Douwes Fine Art, Old Master Drawings, 29 July - 11 July 1981, no. 14 (presented by Jean-Luc Baroni)

Attributed to Antonio Visentini (Italian, 1688-1782)

An architectural sculptural group of garden statues depicting the four seasons upon plinths pen and black ink with black ink wash

Unframed: 20.5 x 33.5 cm. (8 x 13 1/8 in.) Framed: 36.5 x 39 cm. (14 3/8 x 15 3/8 in.)

£400 - 600

Provenance

With William Thuillier, London

Private collection, UK

Manner of Giovanni Domenico Tiepolo (Italian, 1727-1804)

A pair of caricature standing figures one signed with monogram (lower right) pen and black ink within ink drawn lines

First unframed: 19.3 x 12.5 cm. (7 5/8 x 4 7/8 in.) Framed: 36 x 29 cm. (14 1/8 x 11 3/8 in.)

Second unframed: 19 x 12 cm. (7 1/2 x 4 3/4 in.) Framed: 36 x 29 cm. (14 1/8 x 11 3/8 in.)

(2, a pair)

£400 - 600

Provenance

Private collection, UK

Italian School (17th century)

The Basilica of Santi Cosma and Damiano pen and ink with grey wash on laid paper

Unframed: 22.5 x 29.5 cm. (8 7/8 x 11 5/8 in.)

£300 - 400

Provenance

Private collection, France

This drawing was executed after 1632, as this was the year that Urban VIII commissioned the church’s restoration, at which point the small cupola was added to the building.

Northern Italian School (17th century)

A capriccio view of Rome

pen and brown ink wash, and point of brush

Unframed: 8.5 x 8.5 cm. (3 1/4 x 3 1/4 in.) (tondo) Framed: 20 x 19 cm. (8 x 7 1/5 in.)

£300 - 500

Provenance

Private collection, UK

British School (early 19th century)

An extensive view of Trento c.1814

watercolour, pen and brown ink wash

Unframed: 15.5 x 19 cm. (6 1/4 x 7 1/2 in.) Mounted: 26.5 x 30 cm. (10 1/2 x 12 in.)

£200 - 300

The Council of Trent (1545-1563) was a major assembly of leaders of the Catholic Church held in Trent (modern-day Trento). It was convened in response to the challenges posed by the Protestant Reformation and became the central event of the Catholic Counter-Reformation.

European School (c.1836)

Study of Charity flanked by figures of faith inscribed, initialled and dated ‘From Raffaelos Arabesque, E.P 1836’ (lower left) pen and black ink wash

Unframed: 16 x 28 cm. (16 1/4 x 11 in.) Framed: 27 x 40 cm. (10 1/2 x 16 in.)

£300 - 500

Provenance

Private collection, UK

Italian School (mid-late 19th century)

Elegant figures on a Venetian terrace, possibly Murano indistinctly inscribed ‘[...] Murano’ (on the reverse) watercolour

Unframed: 21 x 16.5 cm. (8 1/4 x 6 1/2 in.) Framed: 28 x 22.5 cm. (11 x 8 7/8 in.)

£200 - 300

Provenance

Private collection, UK

Raffaello Morghen (Italian, 1758-1833), After Guido Reni (Italian, 1575-1642)

The Chariot of Aurora engraving

Unframed (plate): 51 x 91.5 cm. (20 1/8 x 36 in.) Framed: 70.5 x 111 cm. (27 3/4 x 43 3/4 in.)

£400 - 600

Carlo Fachinetti (Italian, 1870-1951), After Sandro Botticelli (Italian, 1445-1510)

The Allegory of Spring signed ‘Carlo Fachinetti’ (lower left)

watercolour on paper, heightened with gold

Unframed: 56 x 23.5 cm. (22 x 9 1/4 in.) Framed: 67.5 x 35 cm. (26 1/2 x 13 3/4 in.)

£200 - 300

Provenance

With Hollywood Road Gallery, London, by 24 November 1995. Private collection, UK

Italian School (early 18th century)

St. Jerome oil on panel

Unframed: 41.5 x 40.3 cm. (16 1/2 x 17 in.)

£700 - 900

Unframed: 76 x 92 cm. (29 7/8 x 36 1/4 in.) Framed: 114 x 100 cm. (45 x 39 1/2 in.)

£1,800 - 2,200

After Leandro Bassano (Italian, 17th century)

Lazarus and Dives oil on canvas

Unframed: 100 x 166 cm. (39 1/2 x 65 in.)

Framed: 113 x 182 cm. (44 1/2 x71 5/8 in.)

£1,000 - 1,500

Provenance

Private collection, UK

Multiple versions of this composition were created in the Bassano workshop, the prime example of ‘Lazarus and Dives’ can be found at the Prado Museum, Madrid, no. P000029.

Circle of Salvator Rosa (Italian, 1615-1673)

Travellers on a rocky coastal path oil on canvas

Unframed: 41 x 65 cm. (16 x 25 1/2 in.) Framed: 56 x 81 cm. (22 x 32 in.)

£800 - 1,200

Provenance

Private collection, UK

Elisabetta Marchioni (Italian, act.1700)

Carnations, tulips and roses in an urn in a rocky landscape oil on canvas

Unframed: 94.5 x 133 cm. (37 1/8 x 52 3/8 in) Framed: 118 x 157 cm. (46 1/2 x 61 3/4 in.)

£4,000 - 6,000

Provenance

Sale; Sotheby’s, London, 9 July 1998, lot 372 (as Margherita Caffi)

Sale; Christie’s, London, 25 April 2007, lot 269 (as attributed to Margherita Caffi)

Little is known about Elisabetta Marchioni’s early life, with biographer Francesco Bartoli serving as the primary source of information on her career. It is believed that Marchioni worked predominantly in Rovigo, where she produced mostly floral subjects. She was the wife of Goldsmith, Sante Marchioni.

Francesco Bartoli recalls that Marchioni was a ‘celebre Pittrice di Fiori’ [‘celebrated Painter of Flowers’]. He goes on to note that ‘Grazioso pennello ella ebbe , e cercò d’ imitar la natura. L’ occhio dell’ osservatore resta talmente appagato nel vedere ne’ suoi dipinti freschezza, e verità, che mai non si staccherebbe da’ di lei Quadri’ [She possessed a graceful brush and sought to imitate nature. The eye of the observer remains so completely satisfied upon seeing the freshness and truth in her paintings, that one would never want to detach oneself from her pictures.]. (1)

The present work beautifully showcases her ability to command the viewer’s attention; by casting her vibrant floral subjects against a dark, atmospheric background, she masterfully elevates them as the focal point of the composition.

We are grateful to Alberto Crispi for suggesting the attribution to Elisabetta Marchioni, and Dr. Gianluca Bocchi for endorsing the attribution to this artist.

References

1. F. Bartoli, ‘Le pitture, sculture ed architetture della città di Rovigo’, Venice 1792, pp. 318-319

Stefano Pozzi (Italian, 1699-1768)

Rinaldo and Armida; Erminia and the Shepherds oil on canvas

Each unframed: 99.2 x 74.5 cm. (39 x 29 3/8 in.) Each framed: 118.5 x 94 cm. (46 5/8 x 37 in.) (2, a pair)

£20,000 - 30,000

Provenance

Acquired in the mid-19th century by a private collector

Thence by descent

Sale; Sotheby’s, London, 26 April 2007, lot 123

Literature

A. Pacia in, I Pozzi, G. Michel, A. Pacia & S. Susinno (eds), Bergamo 1997, p. 161, cat. no. 59B (as location unknown and not reproduced since only known by the authors from old photographs).

These two mythological pictures by Stefano Pozzi are typical of the types of paintings being produced by artists belonging to the generation after Carlo Maratta who worked in Rome during the first half of the 18th century.

Pozzi trained under Agostino Masucci, himself a pupil of Maratta. In 1739 he was admitted to the Accademia di San Luca and by 1739 he became Regent of the Pontifical Academy of Fine Arts and Letters of the Virtuosi al Pantheon. Following the death of Agostino Masucci in 1758, Pozzi suceeded him as the as the official painter of the Papal Palaces. In his role as ‘custode delle pitture’ Pozzi was also employed to restore works of art in the Vatican collections. Under Pope Clement XIII he produced modelli for the tapestries in the Cappella Paolina and frescoed the Museo Profano in the Vatican. Other frescoed decoration includes the Sala degli Specchi in the Palazzo Doria Pamphilij, on which he worked in 1767-68 and for which four bozzetti survive.

The subjects in the present examples are taken from Torquato Tasso’s poem ‘Gerusalemme Liberata’, first published in 1581. These scenes were often depicted by 17th- and 18th century artists, however, Pozzi’s representation follows the fashionable Rococo style of the period. Pozzi has set his figures within natural Italianate surroundings; the lovers Rinaldo and Armida sit in the shaded garden of a palace, Erminia and the shepherds are in a hilly landscape suited to the pastoral setting of the scene.

Preparatory sketches for both paintings are held in the Kunstmuseum der Stadt, Düsseldorf, as well as a sketch relating to the seated putto in Rinaldo and Armido in the Cooper Hewitt Museum, New York. The drawings have been dated to the 1740s by Michel and Susinno and a similar dating may be proposed for the present pair of paintings. (1)

References

1. For the drawings in the Kunstmuseum der Stadt, Düsseldorf, inv. nos. FP 3392 and FP 3409, see A. Pacia, in Michel & Susinno, op. cit., p. 161, cat. no. 59B, reproduced on p. 232.

Attributed to Lazarus van der Borcht (Flemish, before 1575 - after 1611)

The Nativity bears inscription ‘A 124 Brugola’ and ‘L. v.d. Bocht’ (verso) oil on copper

Unframed: 30 x 20.8 cm. (11 3/4 x 8 1/4 in.) Framed: 47.5 x 38.5 cm. (18 3/4 x 15 1/8 in.)

£6,000 - 8,000

Provenance

Private collection, Bonn, Rhineland

Lazarus van der Borcht was a landscape painter working in the Mannerist style that ultimately derived from Gillis van Coninxloo and Anton Mirou. Here he sets the scene of the Nativity in a sweeping landscape, and enlivens the composition with the colourful additions of the chickens on the stable roof and the stork in the sky above.

Paintings executed on copper, as this one is, allow for great amount of detail on a small surface. The artist uses the medium to the fullest, setting the intimate biblical scene against a broad and expansive landscape. Armies appear to be on the march among the fields and forests, oblivious to the birth of Christ. Beyond the armies is a hazy cityscape, perhaps the artist’s conception of what Jerusalem looked like at the time.

Lazarus van der Borcht was active in the early part of the 17th Century, and recorded as a master in Antwerp’s Guild of St. Luke in 1601. A painting nearly identical to the present work was sold at Sotheby’s, New York, 26 January 2007, for USD 84,000 (lot 127).

Cornelis Adamsz. Willaerts (Dutch, 1600-1666)

The Finding of Moses signed and dated ‘C.Willaerts. 1663’ (lower left) oil on canvas

Unframed: 50.7 x 64.5 cm. (20 x 25 3/8 in.) Framed: 71.5 x 85 cm. (28 1/8 x 33 1/2 in.)

£4,000 - 6,000

Provenance

Sale; Christie’s, London, 28 January 1916, lot 57 Cornelia Craven, Countess of Craven (1877-1961)

Her estate sale; Sotheby’s, London, 15 January 1969, lot 120 Sale; Nadeau’s Auction Gallery, Inc., Windsor, Connecticut, 1 January 2019, lot 380 Private collection, Newport, Rhode Island, until 2024

This elegant painting was formerly part of the renowned Craven Collection, amassed by the Earls of Craven at their 900-year-old family seat, Coombe Abbey. After the death of the 4th Earl of Craven, Cornelia Craven, Countess Craven, sold the Abbey in 1923 and relocated to Hamstead Lodge at Hamstead Marshall. There, she continued to live in Edwardian elegance taking with her many paintings, including this work, which remained in the family collection until it was sold in 1968 to pay for death duties of two family members.

This painting tells one of the origin stories of the Bible, and a critical moment in the history of the Jewish people; the rescue of the infant Moses by Pharaoh’s daughter from the waters of the Nile. Pharaoh’s daughter, finely dressed, bejewelled and shielded from the sun by an umbrella, is seen to the right of the composition; to the left, her maidservants, one of them cradling an infant. On the ground we see the ‘ark of bulrushes’ fashioned by Moses’ mother. Here the artist has taken license in painting what looks like an elaborate woven basket from the 17th century.

Cornelis Adamsz. Willaerts (1600-1666) was a Dutch Golden Age painter, who was almost an exact contemporary of Rembrandt (1606-1669). Willaerts was known for his paintings of biblical and mythological subjects, that present contemporary figures within biblical scenes.

Attributed Gerrit Willemsz. Horst (Dutch, 1612/13-1652)

The Cleansing of the Temple oil on panel

Unframed: 40.5 x 79.5 cm. (16 x 31 1/4 in.) Framed: 61 x 100 cm. (24 x 39 3/8 in.)

£4,000 - 6,000

Provenance

Private collection, Germany

Sale; Hampel Fine Art, Munich, 21 March 2024, lot 356

Horst was a Dutch Golden Age painter active in Amsterdam. In June 1626 he became a pupil of Antonie Hendricksz. Lust and may have been an assistant in Rembrandt’s workshop. He specialised in historical and Biblical subjects (especially from the Old Testament).

Flemish School (17th-18th century)

Peasants travelling through the countryside oil on panel

Each unframed: 10.5 x 27.5 cm. (4 1/8 x 10 3/4 in.) Each framed: 16.5 x 33.5 cm. (6 1/2 x 13 1/8 in.) (2, a pair)

£800 - 1,200

Provenance

Private collection, UK

Circle of David Vinckboons (Dutch, 1576 - after 1632)

Soldiers looting a house oil on copper

Unframed: 9.2 x 17.4 cm. (3 5/8 x 6 7/8 in.)

Framed: 21.5 x 29.5 cm. (8 1/2 x 11 5/8 in.)

£600 - 800

Provenance

Sale; Christie’s, London, 22 February 2006, lot 1967

Private collection, UK

Roelof Koets the Elder (Dutch, 1592-1654)

Still life with roemer, silver beakers, fluted glass, books, lemons, grapes, strawberries, bread and ham oil on canvas

Unframed: 113 x 83 cm. (44 1/2 x 32 5/8 in.)

£10,000 - 15,000

Provenance

Private collection, Rome and Brussels

From whom gifted to the present owner in 2005

The influence of Foris van Dijck and Pieter Claesz is evident in the present painting by Koets, who was both influenced by and worked collaboratively with these prominent Haarlem School artists. (1) Irene Geismeier noted that Koets has been recognised by scholars not only as a collaborator but also as an imitator of Pieter Claesz (2); for an example of such collaboration see an oil on panel, dated 1644, last recorded with Robert Noortman by 1980 (Brunner-Bulst, 2004, no. 134, https://rkd.nl/images/623).

Characterised by a deliberate scattering of objects, Koets’ still life paintings resonate strongly with the compositions of van Dijck and Claesz. The present work beautifully demonstrates that influence; grapes and vine leaves cascade from a wicker basket, while a whole and a partially peeled lemon rest on a gleaming silver dish set against a backdrop of draped white cloth. From the upper left, soft light filters across the scene, catching the glass surfaces of a roemer and a fluted goblet. The arrangement is completed by a stack of books to one side, a single bread roll, and a richly coloured sliced ham in the background. The compilation of all the varied textures showcases the artist’s talent and mastery of still life painting.

We are grateful to Dr Fred Meijer for endorsing the attribution to Roelof Koets the Elder.

References

1. Willigen, A.v.d., Meijer, F.G., ‘A dictionary of Dutch and Flemish still-life painters working in oils, 1525-1725’, Leiden 2003, p. 126

2. Geiseier, Irene. ‘Gerrit Heda Und Roelof Koets, Zu Zwei Berliner Stilleben’, in Oud Holland, vol. 85, no. 3, 1970, pp. 182–86

41

Attributed to Gérard de Lairesse (Dutch, 1641-1711)

The Deification of Aeneas bears later inscription ‘P Tiedeman’ (on the reverse and lower right on the mount) pen and brown ink wash

Unframed: 22 x 21 cm. (8 3/4 x 8 1/4 in.) Framed: 41 x 34.5 cm. (16 1/8 x 13 1/2 in.)

£250 - 350

A rare subject, ‘The Deification of Aeneas’ appears to have been depicted by only several artists in Amsterdam during the late 17th century, these include Karel du Jardin in 1665 (https://rkd.nl/ imageslite/118149) and Jan van Neck in 1683 (https://rkd.nl/images/244187). The attribution to Gerard de Lairesse is based on close comparison to his drawings of ‘Saint Anthony’ and ‘Allegorical representation with the river gods of the Amstel and the IJ in front of a niche’, created for the Amsterdam Leprozenhuis (Amsterdam, Stadsarchief). The present work could also be considered an early sketch for a painting of the same subject, painted circa 1665/66, where comparison can be drawn with the repoussoir figure seen to the right of the composition.(1)

We are grateful to Jasper Hillegers for his assistance with the cataloguing of this lot.

References

1. Roy, A., ‘Gérard de Lairesse (1640-1711)’, Paris 1992, pp. 201-202, no. P.15.

Circle of Karel van Mander the Elder (Flemish, 1548-1606)

David returning from Jerusalem with the head of Goliath collector’s stamp (L. 2237) (lower right), further collector’s stamp (L. 2812) (verso lower left) sepia ink & wash

Unframed: 19 x 15.5 cm. (7 1/2 x 6 1/8 in.) Framed: 35.5 x 30.5 cm. (14 x 12 in.)

£300 - 500

Provenance

Baron Carl Rolas du Rosey (1784-1862), Dresden, L. 2237

His sale; Rudolph Weigel, Leipzig, 5 September 1864, lot 4658 (as Karel van Mander)

G. Munch (1810-1881)

A. Twietmeyer, Leipzig, by 1882

Dr Richard Alexander Katz, (circa 1850-1934), L. 2812

With Alistair Mathews, by 1961

Sale; Chorley’s, Gloucester, 27 April 2021, lot 342 (as Circle of Frans Francken the Younger)

43

After Frederick Bloemaert (Dutch, 1616-1690)

Holy Family bears inscription ‘4 S’ and later inscription ‘Maratta’ (verso) pen & brown ink, brown wash, white bodycolour on paper Unframed: 25.4 x 20 cm. (10 x 7 7/8 in.)

£400 - 600

An early replica of Frederick Bloemaert’s engraving and chiaroscuro woodcut based on a drawing of the early 1620s by his father, Abraham (Dordrecht 1564-Utrecht 1651). The print was published in the mid1650s in Het Tekenboek (plate number 75 of 173), an artist’s model book with engravings by Frederick after his father’s designs.

Where the published print is numbered ‘75’, this drawing is closest in scale, tone and handling to an unnumbered proof in the Rijksmuseum (no. RP-P-BI-1203), which measures 21.2 x 16.9 cm. This suggests that the draughtsman had access to the production of the Tekenboek prints in its early stages.

The handling of ink, wash and bodycolour vividly replicate the impression of radiant figures emerging from a densely hatched background. The draughtsman skilfully mirrored Frederick’s use of tone blocks in beige and brown to sharpen the sculptural definition of forms. However, the warmer tonalities of the drawing render the composition more atmospheric, as though the figures are glowing in the light of an open fire.

Manner of David Teniers the Younger (18th century)

Peasant scenes first oil on panel, second oil on copper

Each unframed: 9 x 12.2 cm. (3 1/2 x 4 3/4 in.) Each framed: 15.5 x 19 cm. (6 1/7 x 7 1/2 in.) (2, a pair)

£300 - 500

Provenance

Private collection, UK

Circle of Rembrandt van Rijn (Dutch, late 17th century)

Portrait of gentleman wearing a brimmed hat, bust length oil on panel

Unframed: 15 x 11.5 cm. (5 7/8 x 4 1/2 in.) Framed: 33 x 29.5 cm. (13 x 11 5/8 in.)

£1,000 - 2,000

Provenance

Sale; Galerie Koller, Zürich, March 2007, lot 3054, where purchased by the present owner

Manner of Joos Van Craesbeeck (Flemish, c.1605/06-c.1660)

Man with fur hat and clay pipe oil on canvas

Unframed: 22 x 17 cm. (8 3/4 x 6 3/4 in.) Framed: 30 x 25 cm. (12 x 9 3/4 in.)

£300 - 500

A well observed copy after the original is housed in the Staatliche Kunsthalle in Karlsruhe, Germany, as ‘Attributed to Joos van Craesbeeck’.

Jacob van der Ulft (Dutch, 1627-1689)

A capriccio of an obelisk and a classical temple; A capriccio of ships off a classical harbour each illustrated ‘J. van der Ulft’ (mount, lower centre) watercolour, pen and brown ink (2, a pair)

£3,500 - 4,500

Provenance

Sale; Christie’s, London, 12 June 2005, lot 90 Private collection, UK

Jacob van der Ulft was most recognised for his architectural and topographical compositions. The present work, A capriccio of an obelisk and a classical temple, can be compositionally compared to Jan van der Ulft’s oil on panel painting titled ‘Italian harbour view’, held in the Rijksmuseum collection since 1809, no. SK-A-419 (https://id.rijksmuseum.nl/20026434). (1)

References

1. Kabinet van Hereton, 1809. Rijksmuseum, Amsterdam; cat. 1934, nr 2334 https://rkd.nl/imageslite/201329

English School (18th century)

St. Bernard of Clairvaux’s “De Diligendo Deo” (On Loving God) inscribed: ‘Vultis ergo a me audire, quare et quomodo diligendus sit Deus? Et ego: Causa diligendi Deum, Deus est; modus, sine modo diligere.’

Paths of Love

“Do you wish, then, for me to tell you why and how God should be loved? And I: The cause of loving God is God; the manner is to love [Him] without measure.”

watercolour, pen and black ink on vellum

Unframed: 11 x 8 cm. (4 1/4 x 3 1/4 in.)

£250 - 350

This is a famous passage in which Bernard argues that God should be loved without limits (sine modo) because of who He is, not for the rewards He gives.

British School (late 18th-early 19th century)

Manner of Marcus Gheeraerts the Younger (1561/62-1635) and After Hans Holbein the Younger (1497-1543), Portraits of Elizabeth I and Henry VIII each oil on copper (oval)

Each unframed: 11.5 x 8 cm. (4 1/2 x 3 1/8 in.) Each framed: 23 x 25.5 cm. (9 x 10 in.) (2, a pair)

£300 - 500

German School (17th century)

Portrait of a gentleman, quarter-length, wearing a gold embroidered sash bears inscription and date ‘Hieronymus/Equ. De Warberg /1592’ (upper right) oil on canvas

Unframed: 53 x 33 cm. (21 x 13 in.) Framed: 57 x 47 cm. (22 1/2 x 18 1/2 in.)

£300 - 500

Follower of David Teniers III (Flemish, 1638-1685)

Peasants in a tavern oil on panel

Unframed: 27 x 34 cm. (10 1/2 x 13 1/2 in.) Framed: 36 x 43 cm. (14 x 17 in.)

£300 - 500

Provenance

Private collection, UK

Flemish School (18th-19th century)

Discussion in a tavern oil on panel

Unframed: 46 x 36 cm. (18 1/4 x 14 1/4 in.) Framed: 54 x 43 cm. (31 1/2 x 17 in.)

£200 - 300

Circle of David Teniers the Younger (Flemish, 17th century)

Merrymakers by the tavern bears initials ‘DT’ (on the barrel) oil on panel

Unframed: 24.5 x 30 cm. (9 3/4 x 12 in.) Framed: 41 x 46.7 cm. (16 1/8 x 18 3/8 in.)

£1,000 - 2,000

Follower of Rembrandt van Rijn (Dutch, 1606-1669)

A Hermit reading by candlelight oil on canvas

Unframed: 40.7 x 32.5 cm. (16 x 12 3/4 in.)

£500 - 700

Provenance

Private collection, UK

Lambert Hopfer (German, c.1510-c.1550)

The Lamentation; (The Descent from the Cross) after Dürer, c.1530 (Meder 14) etching c.1530, 1st State (clear and dark image without the Funck number)

Hopfer’s monogram (within the plate)

Sheet 11 from the series of fifteen etchings after Dürer’s ‘Small Passion’

Unframed: 14 x 9 cm. (5 1/2 x 3 1/2 in.) Framed: 17.5 x 22 cm. (6 6/8 x 8 5/8 in.)

£300 - 500

From the series of fifteen plates, “Passion of Christ”, after Albrecht Dürer’s engraving, executed in 1507.

Urs Graf (Swiss, 1485-1529)

Peasants dancing monogrammed within the plate ‘V G’ and a dagger, and with date ‘1525’ (lower centre), further inscribed ‘J.C.R’ (lower right)

engraving

Unframed: 21 x 15 cm. (8 1/4 x 6 in.) Framed: 28 x 22 cm. (11 x 8 3/4 in.)

£300 - 500

Provenance

Private collection, UK

Urs Graf was an artist, goldsmith, printmaker, and soldier of fortune during the Renaissance. The artist was known for his dynamic and energetic woodcuts and engravings, such as the present example.

57 Jacques Callott (French, 1592-1635)

Les Danseurs Au Luth (The Dancers with a Lute), from ‘Les Caprices’ etching

Unframed: 5.8 x 8.5 cm. (2 1/4 x 3 3/8 in.) Framed: 23 x 17.5 cm. (9 1/8 x 6 7/8 in.)

£100 - 200

Claude Lorrain (French, 1604/05-1682)

La Danse sous les arbres (c.1637) (small plate) (state iii/vii)

etching on laid paper

Sheet: 13.5 x 19.5 cm. (5 1/4 x 7 3/4 in.) Framed: 33.5 x 49.8 cm. (13 1/4 x 19 1/2 in.)

£2,000 - 3,000

Provenance

Private Collection, UK

Literature

Mannocci, L., ‘The Etchings of Claude Lorrain’, catalogue raisonné, 1988, no. 19, State iii/vii

One of Claude Lorrain’s most celebrated innovations were his harbour scenes, however, his landscapes profoundly influenced later artists, particularly in Britain. Painters such as J. M. W. Turner admired his handling of light and atmosphere. In 1635, Lorrain began compiling the ‘Liber Veritatis’ (Book of Truth), it contained drawings recording many of his completed paintings created to protect his reputation against copies and forgeries. The book documented patrons and commissions. It is considered a major artistic achievement in its own right and an invaluable record of his oeuvre.

59

After François Boucher (French, 1703-1770)

Vénus et l’Amour brushpoint with ink and grey wash

Unframed: 26.3 x 34.6 cm. (10 3/8 x 13 5/8 in.)

£300 - 500

Provenance

M. Knoedler & Co. Inc, 14 East 57th Street, New York, no. F.84492

Neuville & Vivien, 90 Faubourg Saint-Honoré, Paris

This is an exceptionally free and skilfully rendered interpretation, executed entirely in brushpoint, of a composition by François Boucher that captured the imagination of 18th-century French draughtsmen.

The earliest known drawing after Boucher’s composition, preserved in the Louvre (no. 34952), has been variously attributed to Nicholas Vleughels (1668-1737) and Jacques Dumont (1701-1781), the latter on the basis of his far looser rendering of the subject (Stockholm, National Museum, NMH 67/1934). Further versions showing both Venus and Cupid have been given, among others, to Jacques Charlier (1720-1790) and Jean-Baptiste Huet (17451811). This captivating image even found its way onto enamelled snuffboxes (Louvre, no. OA 6812).

All the drawings are of similar dimensions, and the prime source for this particular drawing would have been the slightly larger engraving in the crayon manner (19.1 x 23 cm) by Gilles Demarteau (1722-1776), an example of which is preserved in the British Museum (no. 1890,0415.277)

60

Jacques Firmin Beauvarlet (French, 1731-1797), After Jean Raoux (French, 1677-1734)

Telemachus in the Island of Calypso engraving

Unframed: 38.5 x 55 cm. (15 1/8 x 21 5/8 in.) Framed: 50 x 66.5 cm. (19 3/4 x 26 1/8 in.)

Together with two further engravings by Jacques Firmin Beauvarlet (French, 1731-1797), after Jean-François de Troy (French, 1679-1752), entitled ‘Mordecai refuses to bow the knee to Haman’ and ‘The Banquet given by Esther for Ahasuerus’

Each unframed: 43 x 60 cm. (16 7/8 x 23 5/8 in.) Each framed: 59 x 71 cm. (23 1/4 x 28 in.) (3)

£500 - 700

Swiss School (18th century)

View of the Chateau Angenstein inscribed ‘Angenstein Chateau a la Birs / Contre Basle’ (upper right)

pen, brown ink and grey wash

Unframed: 15.5 x 21 cm. (6 1/8 x 8 1/4 in.) Framed: 33 x 38 cm. (13 x 15 in.)

£600 - 800

Provenance

Sale; Sotheby’s, London, 22 November 1974, lot 129

Private collection, UK

Victor-Jean Nicolle (French, 1754-1826)

View of an Italian hill town pen and brown ink and wash

Unframed: 8.7 x 17 cm. (3 3/8 x 6 5/8 in.) Framed: 22.5 x 30.4 cm. (8 7/8 x 12 in.)

£300 - 500

Provenance

With Thomas Agnews & Sons, London, No. 38399

Private collection, UK

After Philippe-Jacques de Loutherbourg (French, 1740-1812)

The Flood later inscription (upper stretcher bar, verso) oil on canvas

Unframed: 29.5 x 26.5 cm. (11 5/8 x 10 3/8 in.) Framed: 37.5 x 34.5 cm. (14 3/4 x 13 1/2 in.)

£300 - 500

Provenance

Private collection, UK

The original work (ca.1770-1780) by De Loutherbourg is on display at the V&A, South Kensington, accession number: 221-1871.

After Jean-Baptiste van Loo (French, 1684-1745)

Portrait of young King Louis XV oil on copper

Unframed: 15 x 12 cm. (5 7/8 x 4 3/4 in.) Framed: 31 x 28 cm. (12 1/4 x 11 in.) (oval)

£300 - 500

After the original which was sold with Subastas Segre, Madrid, 17 December 2001, Subasta de Diciekmbre: Pintura, lot 102

After Johann Baptist Von Lampi (Italian, 1751-1830)

Stanisław August Poniatowski (1732-1798), King of Poland and Grand Duke of Lithuania oil on canvas

Unframed: 70 x 58 cm. (27 1/2 x 22 3/4 in.)

£300 - 500

Stanisław II August, known also by his regnal Latin name Stanislaus II Augustus, and as Stanisław August Poniatowski, was King of Poland and Grand Duke of Lithuania from 1764 to 1795, and the last monarch of the Polish–Lithuanian Commonwealth.

Circle of Antonio David (Italian, 1698-c.1750)

Portrait of a young nobleman in uniform, with significant decoration, possibly wearing the star of Malta oil on canvas

Unframed: 75 x 59.3 cm. (29 1/2 x 13 3/8 in.) Framed: 94 x 73.3 cm. (37 x 27 7/8 in.)

£400 - 600

Provenance

Property of Sir Edward Gardner MP (1912-2001)

Private collection, UK

French School, (mid-19th century)

Portrait of a lady, bust length, with flower trimmed hair and corsage, within a feigned oval oil on canvas

Unframed: 70 x 54 cm. (27 9/16 x 21 1/4 in.)

£300 - 500

Provenance

Sale; Bonham’s, London, 6 October 2010, lot 44

Private collection, UK

French School (mid-18th century)

Portrait of an artist at his easel gouache on card

Unframed: 37.9 x 27.5 cm. (14 7/8 x 10 7/8 in.) Framed: 44 x 34 cm. (17 3/8 x 13 3/8 in.)

£400 - 600

Jean Baptiste Isabey (French, 1767-1855)

A pair of head studies in profile of a lady and a gentleman in uniform pencil

Each unframed: 12 x 8.3 cm. (4 3/4 x 3 1/4 in.) Each framed: 24.3 x 21.3 cm. (9 1/2 x 8 3/8 in.) (2, a pair)

£500 - 700

Provenance

Private collection, UK

Each inscribed extensively on the backboard.

Théodore-Pierre-Nicolas Maillot (French, 1826-1888)

A gentleman at his wigmaker’s signed and dated ‘TMAILLOT 1861.’ (lower right)

oil on panel

Unframed: 51.5 x 64 cm. (20 1/4 x 25 1/4 in.) Framed: 65.5 x 77.3 cm. (25 3/4 x 3 3/8 in.)

£4,000 - 6,000

Provenance

Anonymous sale; Sotheby’s, New York, 13 November 1972, lot 46

Anonymous sale; Christie’s, London, 4 May 1973, lot 7

H.R. Cresner, London

His sale; Sotheby’s, London, 19 April 1978, lot 151 (sold for 900 gns.)

Anonymous sale; Sotheby’s, Paris, 25 June 2008, lot 41 (sold for €18,750)

Private collection, France

Ferdinand Victor Roybet (French, 1840-1920)

The cavalier signed ‘F. Roybet’ (lower left) oil on panel

Unframed: 59.5 x 43.5 cm. (23 3/8 x 17 1/8 in.) Framed: 78 x 62 cm. (30 3/4 x 24 3/8 in.)

£2,000 - 3,000

Provenance

With MacConnal-Mason Gallery, London Private collection, UK

After Jean-Baptiste Greuze (French, 1725-1805)

A boy with lesson-book oil on canvas

Unframed: 60 x 47 cm. (23 1/2 x 18 1/2 in.) Framed: 73 x 60 cm. (28 3/4 x 23 3/4 in.)

£300 - 500

After the original painting from 1755-57, now in the National Galleries of Scotland, NG 436.

Luis Jiménez Y Aranda (Spanish, 1845-1928)

The little tambourine girl signed ‘L Jiménez Y Aranda’ (lower left) oil on canvas

Unframed: 61 x 47 cm. (24 x 18 1/2 in.) Framed: 83 x 68 cm. (32 3/4 x 26 3/4 in.)

£300 - 500

Provenance

Private collection, UK

Circle of Antoni Brodowski (Polish, 1784-1832)

Portrait of Tadeusz Kościuszko (1746 -1817) head and shoulders, wearing his decorations and a red cap oil on canvas

Unframed: 25 x 20 cm. (9 3/4 x 8 in.) Framed: 39 x 33 cm. (15 1/4 x 13 in.)

£400 - 600

Provenance

Private collection, UK

Tadeusz Kościuszko was a Polish-Lithuanian military leader, engineer, and statesman who became a national hero in both Poland and the United States.

Tadeusz fought in the American Revolutionary War as a colonel in the Continental Army on the side of George Washington. He helped to build walls for defence during the Battle of Saratoga, and he helped build a military fort at West Point, New York. Without Kosciuszko’s help, the army’s defences would have been much weaker.

Because of his service, Tadeusz was promoted to the rank of Brigadier General in 1783. He became a citizen of the United States that same year.

Circle of Antoni Brodowski (Polish, 1784-1832)

Portrait of an officer in uniform, traditionally thought to be Kazimierz Pulaski (1745-1779) oil on canvas

Unframed: 25 x 20 cm. (9 3/4 x 8 in.) Framed: 39 x 33 cm. (15 1/4 x 13 in.)

£400 - 600

Kazimierz Pulaski (1745-1779), was a Polish nobleman, soldier, and military commander who became one of the most important foreign supporters of the American cause during the American Revolutionary War.

European School (late 19th century)

Study of an officer of the Hussar on horseback oil on canvas

Unframed: 33 x 25 cm. (13 x 9 3/4 in.)

£200 - 300

French School (early 19th century)

Study for door at Sorbonne Paris and Palais de Versailles marble design inscribed ‘Sorbonne a Paris’ (upper centre) and ‘Laleon cour de marbre, Louis XIV, Palais de Versailles’ (lower left) ink on paper

Unframed: 23.5 x 20.5 cm. (9 1/4 x 8 in.) Framed: 45 x 37.5 cm. (17 3/4 x 14 3/4 in.)

£300 - 500

Provenance

Private collection, UK

Attributed to Paul Flindt (German, 1567-1631)

Design for an ornamental chalice c.1594 unidentified shield watermark later inscribed Nuremburg/1594 (on the reverse)

stipple engraving (punched)

Unframed: 28 x 12 cm. (11 x 4 3/4 in.) (shaped, sheet)

£300 - 500

Paul Flindt (1567–c.1631) was a Renaissance goldsmith, engraver, medallist, and printmaker from Nuremberg. He is best known for his highly decorative ornamental engraving that served as design models for goldsmiths and metalworkers.

Antony Serres (French, 1828-1898)

The lute player signed ‘Antony Serres’ (lower left) oil on panel

Unframed: 41 x 32 cm. (16 x 12 1/2 in.) Framed: 51 x 43 cm. (20 x 17 in.)

£200 - 300

Provenance

Private collection, UK

Unframed: 36 x 46 cm. (14 x 18 in.)

£300 - 500

Attributed to Johann Heinrich Tischbein (German, 1722-1789)

Abraham kneeling before the Three Angels oil on canvas

Unframed: 53.3 x 41.9 cm. (21 x 16 1/2 in.) Framed: 79 x 69 cm. (31 1/8 x 27 1/8 in.)

£6,000 - 8,000

Provenance

Sale; Christie’s, London, 29 October 1997, lot 71 (as Circle of Januaris Zick)

The style and treatment of the painting point to its likely execution during and after the 1740s. The work can be compared on stylistic grounds to treatments after his studies in Paris C174348 and most notably with the studio of Carl van Loo, the present panel is characterised by meticulous detail, refined technique, comparable treatment of light and a similar characterisation of the figures.

Tischbein received his early training in Germany, from among others his elder brother, Johann Valentin Tischbein. Paris exerted huge influence on the visual arts at the courts of Germany; and it was therefore perfectly natural for an aspirant painter to further his studies in Paris. Tischbein went there in 1743 and had the prescience to attach himself to the establishment of Carl van Loo. Now somewhat overlooked, van Loo was a sensible choice as a mentor, Tischbein had much to learn, and spent five years in Paris. In 1748, however, he set out for Italy. He spent eight months in Venice and then moved by way of Bologna and Florence to Rome.

82 Jakob Felsing (German, 1802-1883), After Christian Köhler (German, 1809-1861)

Iulia engraving

Unframed (plate): 51 x 40 cm. (20 1/8 x 15 3/4 in.) Framed: 78.5 x 65.5 cm. (15 3/4 x 25 3/4 in.)

£300 - 500

Max von Chézy (German, 1808-1846)

Portrait of a young lady signed and dated ‘Chézy 1833’ (lower right) pencil

Unframed: 25.2 x 20.8 cm. (9 7/8 x 8 1/8 in.) Framed: 33 x 28 cm. (13 x 11 in.)

£200 - 300

François Antoine De Bruycker (Belgian, 1816-1882)

Still life with apples, grapes, nectarines, plums, walnuts, roses, carnations, peonies, morning glories, petunias, and fuchsia, with a monkey signed ‘f DeBruycker’ (lower right) oil on panel

Unframed: 109 x 82 cm. (42 7/8 x 32 1/4 in.) Framed: 131 x 104 cm. (51 1/2 x 40 7/8 in.)

£8,000 - 12,000

Provenance

Sale; Rowley’s Fine Art Auctioneers, Northampton, 29 April 2006, lot 299, sold for £17,500

François Antoine de Bruycker was born in Ghent on 16 November 1816. He was a pupil of Ferdinand de Braekeleer in Antwerp where he moved in 1837 (1). De Bruycker mostly painted genre scenes and still life compositions of flowers. One of his works, “The Suspicions” which was bought by the King of Wurtemberg in 1842 and another “The Old Gardener” was acquired by a Great Duchess from Russia in 1857. Today, his work can be found in The Royal Museum of Fine Arts Antwerp (inventory no. 1035) and in the Musée des Beaux-Arts de Leipzig collection.

We are grateful to Dr Fred Meijer for his assistance confirming the attribution of this work.

References

1.”François Antoine De Bruycker”, Allgemeines Lexikon der bildenden Kunstler von der Antike bis zur Gegenwart, vol. 5, 1907, pp. 152-153

André Fernand Thesmar (French, 1843-1912)

A spray of roses signed and dated ‘F. Thesmar / 1875’ (upper left) oil on canvas

Unframed: 61 x 46.5 cm. (21 x 18 1/4 in.) Framed: 78.5 x 63.5 cm. (30 7/8 x 25 in.)

£600 - 800

Thesmar was primarily known for his cloisonné enamel work, however before this, he painted oils and watercolours of flowers like the present work, which rarely appear on the market. Thesmar studied under Ulrich Tournier and Emmanuel Genty and made his debut at the Paris Salon in 1875, the same year the present work was painted.

Philippe Rousseau (French, 1816-1887)

Still life of hanging game, eggs and onions oil on canvas

Unframed: 64 x 48 cm. (25 1/4 x 18 7/8 in.) Framed: 92 x 76 cm. (36 1/4 x 29 7/8 in.)

£2,500 - 3,500

Provenance

The collection of Bernard Kelly (1930-2022) Thence by descent

Rousseau exhibited at the Paris Salon from 1834, and his success at the Salon of 1845 “signified his breakthrough as a painter of still life and animals” (p. 10). From 1843 onwards, “Philippe Rousseau never stopped painting still life” (p. 34). His work “drew inspiration from seventeenthcentury Netherlandish art, or from eighteenth-century French antecedents” (p. 34), particularly the paintings of Jean-Baptiste Oudry and Jean-Siméon Chardin.

During his career, Rousseau received medals at the Salon in 1845, 1848, and 1855, and was appointed a Knight of the Legion of Honour in 1852, becoming an Officer in 1870.

References

1. Leeuw, Ronald de, Philippe Rousseau 1816 1887, 19th Century Masters 1, Van Gogh Museum Amsterdam, 1993.

Eugène Verboeckhoven (Belgian, 1798/99-1881)

Sheep resting in a barn signed and dated ‘Eugène Verboeckhoven, 1866’ (lower right) oil on panel

Unframed: 21 x 30 cm. (8 1/4 x 11 3/4 in.) Framed: 38 x 47.5 cm. (15 x 18 3/4 in.)

£1,000 - 2,000

Provenance

Private collection, UK

Paul Jean Clays (Belgian, 1819-1900)

Shipping on tranquil seas signed and dated ‘P.J.Clays. 76’ (lower right) oil on panel

Unframed: 53.5 x 40 cm. (21 x 15 3/4 in.) Framed: 60 x 48 cm. (23 5/8 x 18 7/8 in.)

£400 - 600

Provenance

With Julius Oehme (1833-1923), New York, according to the label on the reverse

Attributed to Maria Verelst (Dutch/British, 1680-1744)

Portrait of a seated lady in a silk dress, holding flowers oil on canvas

Unframed: 125 x 101.5 cm. (49 1/4 x 40 in.) Framed: 143.5 x 118 cm. (56 1/2 x 46 1/2 in.)

£2,000 - 3,000

Provenance

With James Wigginton, Shipston on Stour

Where acquired by the present owner

Exhibited

City of Bradford Art Gallery, Bradford, no. 850

Attributed to Jeremiah Davison (British, c.1695 - c.1750)

Portrait of a gentleman, three-quarter length, reading a book oil on canvas

Unframed: 125.5 x 102 cm. (49 1/2 x 40 1/4 in.) Framed: 146 x 122.5 cm. (57 1/2 x 48 1/4 in.)

£2,000 - 3,000

Provenance

With Roger Widdas Gallery, Moreton in Marsh

Where acquired by the present owner.

We are grateful to Dr Brian Allen for suggesting an attribution to Jeremiah Davison on the basis of digital images.

Attributed to Jeremiah Davison (British, c.1695 - c.1750)

Portrait of a lady, three-quarter-length, dressed in a blue robe with red shawl oil on canvas

Unframed: 125.5 x 102 cm. (49 1/2 x 40 1/4 in.) Framed: 146 x 122.5 cm (57 1/2 x 48 1/4 in.)

£2,000 - 3,000

Provenance

With Roger Widdas Gallery, in Moreton in Marsh

Where acquired by the present owner.

We are grateful to Dr Brian Allen for suggesting an attribution to Jeremiah Davison on the basis of digital images.

George Vertue, F.S.A (British, 1684-1756)

Portrait of Matthew Prior, after Jonathan Richardson’s 1718 portrait signed ‘GV f’ (lower left), inscribed ‘Matt Priot Esq. / 1719 / Vertue fec.’ (verso) watercolour and bodycolour on card

Unframed: 9 x 6.5 cm. (3 1/2 x 2 1/2 in.) Framed: 15 x 12 cm. (5 7/8 x 4 3/4 in.)

£600 - 800

Provenance

Probably the Artist’s studio sale, Ford’s, London, 17 May 1757, lot 45 (as ‘Two ditto [heads], of Mr Pope and Mr Prior, by Ditto [Mr Vertue]’), sold for £1.10

Probably Robert Langford

His sale, Christie’s, London, 15 October 1785, lot 64 (Two ditto [miniatures], Prior and Pope), sold for £1.5 to ‘Brown’

Sale; Christie’s, South Kensington, 10 December 1985, lot 55

British School (late 18th century)

Portrait of a young lady, half-length, wearing a white silk and lace dress, lace bonnet and collar oil on canvas

Unframed: 77 x 64 cm. (30 1/4 x 25 1/4 in.) Framed: 100 x 87 cm. (39 1/2 x 34 1/4in.)

£500 - 700

Provenance

Private collection, UK

After Joshua Reynolds (British, 1723-1792)

Portrait of Susannah Dingley (1743-1795), later wife of Richard Hoare oil on canvas

Unframed: 28.3 x 23.3 cm. (11 1/8 x 9 1/8 in.) Framed: 33 x 28 cm. (13 x 11 in.)

£300 - 500

Provenance

Private collection, UK

Thomas Rowlandson (British, 1756-1827)

The Malignant Ever Ready to Head a Licentious Mob inscribed ‘The Malignant / ever ready to head a licentious mob’ (lower centre) pen and black ink

Unframed: 20 x 15 cm. (8 x 6 in.) Framed: 36 x 30 cm. (14 x 12 in.)

£200 - 300

Provenance

With Alice Dodge, London and New York

Private collection, UK

Exhibited

Rental Gallery, Baltimore Museum of Art, no. 6.50 (lent by Alice Dodge)

“The Malignant” is a classic character sketch by the ancient Greek philosopher Theophrastus (c.371-287 BC). In his work Characters, Theophrastus defines malice as the pursuit of evil for its own sake. He famously describes such a person as ‘the true demagogue, ever ready to head a licentious mob’.

Attributed to Thomas Rowlandson (British, 1756-1827)

Caricatures of eight heads

pen and black ink

Unframed: 13 x 15 cm. (5 x 6 in.) Framed: 22 x 17 cm. (8 3/4 x 6 3/4 in.)

£100 - 200

Attributed to James Gillray (British, 1756-1815)

Portrait of Carl Mann titled and signed ‘Carl Man, J.G’ (lower right) pencil

Unframed: 16.5 x 11 cm. (6 1/2 x 4 1/4 in.) Mounted: 31 x 26 cm. (12 1/4 x 10 1/4 in.)

£200 - 300

Circle of George Morland (early 19th century)

Group studies of mothers and children pen and brown ink (recto/verso)

Unframed: 15.5 x 19 cm. (6 1/4 x 7 1/2in.) Mounted: 32.5 x 35 cm. (12 1/2 x 14 in.)

£100 - 200

Samuel Woodforder, R.A (British, 1763-1817)

A pair of male anatomical studies & a classical female figure study each signed and dated ‘S Woodforde 1790’ (verso) pen and ink on laid paper, one partially watermarked with a Pro Patria & Britannia mark

First unframed: 18 x 12.5 cm. (7 1/8 x 4 7/8 in.) Framed: 37 x 32 cm. (14 1/2 x 12 5/8 in.)

Second unframed: 18 x 14.5 cm. (7 21/8 x 5 3/4 in.) Framed: 38 x 34 cm. (15 x 13 3/8 in.) (2)

£300 - 500

100

Follower of John Raphael Smith (19th century)

Portrait of a Gentleman, head and shoulders, wearing a dark coat and blue waistcoat watercolour

Unframed: 58 x 46 cm. (22 3/4 x 18 in.) Framed: 77 x 64 cm. (30 1/4 x 25 1/4 in.)

£400 - 600

Circle of Robert Smirke R.A. (British, 1752-1845)

A tea-time tantrum, within a feigned oval oil on canvas

Unframed: 47.5 x 41 cm. (18 3/4 x 16 1/8 in.) Framed: 58 x 51.5 cm. (22 7/8 x 20 1/4 in.)

£500 - 800

Provenance

Private collection, UK

Circle of William Charles Ross (British, 1794-1860)

Portrait of a lady in a black dress seated holding a parasol, landscape beyond, c.1830s oil on tin

Unframed: 28.3 x 23.3 cm. (11 1/8 x 9 1/8 in.)

£300 - 500

Provenance

Private collection, UK

Sir Thomas Lawrence (British, 1769-1830)

Portrait of Abel Rous Dottin ESQ., M.P

pencil

Unframed: 21.5 x 16 cm. (8 1/2 x 6 1/4 in.)

Framed: 47 x 39 cm. (18 1/2 x 15 3/8 in.)

£1,200 - 1,800

Provenance

Private Collection, London

Lawrence died very suddenly in January 1830 and left a great many paintings unfinished. Some of them were completed by other hands including a group portrait of Dottin with his wife, Dorothy, and his sister. The portrait is now at Shuttleworth Park in Bedfordshire and it is listed in Kenneth Garlick’s Sir Thomas Lawrence: a complete catalogue of his paintings, Oxford 1989, p. 180, no. 250 repr. Garlick cites the stipple engraving by H. B. Hall of 1838. Although there can be no doubt that the sitter is the same in the painting, engraving and drawing, the drawing is undoubtedly from a different sitting. Lawrence’s drawings are often created as stand-alone works of art, which is the case with the present work.

Stylistically, the present work can be compared with the portrait of Lt Hutchinson in the British Museum (museum number: 1847,1211.2). (2)

We are grateful to Hugh Belsey for his assistance in cataloguing this work and confirming the attribution based on images.

References

1. Garlick, K., Sir Thomas Lawrence: a complete catalogue of his paintings, Oxford 1989, p. 180, no. 250

2. Binyon 1898-1907 / Catalogue of drawings by British artists, and artists of foreign origin working in Great Britain

Sir Thomas Lawrence (British, 1769-1830)

Portrait of Countess Gower, afterwards Duchess of Sutherland signed ‘T Lawrence’ and indistinctly dated ‘18..’ (lower right) pencil

Unframed: 24 x 17.5 cm. (9 1/2 x 6 7/8 in.) Framed: 47 x 39 cm. (18 1/2 x 15 3/8 in.)

£1,200 - 1,800

Provenance

Private collection, UK

A full length painted portrait of the sitter with her daughter Elizabeth (later Duchess of Argyll) is still at Dunrobin Castle owned by the Earl of Sutherland and dates from 1828 and is listed in Garlick’s catalogue, p. 197, cat. no. 343. (1) Despite omitting the daughter, in the present drawing Lady Gower has adopted the same pose in the painting. (2) The portrait can be compared with the earlier likeness of the Duchess of Devonshire (3); for example the focus on the head, the darkest part of the portraits, the faint rendering of the body, and the brilliant handling of light on the ringlets is incredibly similar.

We are grateful to Hugh Belsey for his assistance in cataloguing this work based on images.

References

1. Garlick, K. (1964) A catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence. Glasgow: University Press; Printed for the Walpole Society by R. Maclehose. p. 197, cat. no. 343

2. Gower, R.S. and Graves, A. (1900) Sir Thomas Lawrence, with a catalogue of the artist’s exhibited and engraved works,. London: Goupil, J. Boussod, Manzi, Joyant, successors. Page 58-59

3. Lord Ronald Sutherland Gower, Sir Thomas Lawrence, London 1900, p. 123.

105

British School (early 19th century)

Mother and child, seated in a landscape, lake beyond indistinctly signed and dated ‘182*’ (lower left)

black and coloured crayons

Unframed: 37 x 30 cm. (14 1/2 x 12 in.)

£200 - 300

Provenance

Private collection, UK

Framed: 53 x 47 cm. (20 7/8 x 18 1/2 in.)

British School (18th century)

Study of Tulips watercolour on vellum

Unframed: 32 x 25.5 cm. (12 1/2 x 10 in.)

£200 - 300

Tulips are famous for Tulip Mania, often considered one of the first recorded speculative market bubbles. During the 1630s in the Netherlands, prices for rare tulip bulbs rose dramatically before collapsing in 1637. During this period artists such as Jacob Marrel (Dutch, 1614-1681) specialised in depicting the many rare varieties.

107

British School (c.1804)

Botanical study of a greenish-yellow turkscap flower with orange anthers, (Lilium Pyrenaicum)

initialed and dated ‘S.M, 1804’ (lower right)

watercolour

Unframed: 18 x 14 cm. (7 x 5 1/2 in.) Framed: 31 x 26 cm. (12 1/4 x 10 1/4 in.)

£150 - 250

Provenance

Private collection, UK

After Rev. William Gilpin (British, 1724-1804)

Representing the effect of noon watercolour in monochrome

Unframed: 18.5 x 26 cm. (7 1/4 x 10 1/4 in.) Mounted: 37 x 43 cm. (15 x 17 in.)

£200 - 300

Provenance

Private collection, UK

The present work is after a known print (plate 15, ‘Noon’), from ‘The Last Work Published of the Rev. William Gilpin, M.A., Prebendary of Salisbury, and Vicar of Boldre, near Lymington: Representing the Effect of a Morning, a Noon Tide, and an Evening Sun, in Thirty Designs from Nature’, published in London in June 1810, by Edward Orme after designs by William Gilpin.

109

John Varley (British, 1778-1842)

View of Snowdon watercolour

Unframed: 16 x 25 cm. (6 1/4 x 10 in.) Framed: 37 x 44 cm. (14 1.2 x 17 1/4 in.)

£200 - 300

Provenance

Caroline Stroude, London

Private collection, London

110

Attributed to John Glover (British, 1767-1849)

Titterstone Clee, Shropshire, from Corvedale indistinctly inscribed (verso) watercolour

Unframed: 29 x 40 cm. (11 1/2 x 16 in.)

£300 - 500

Provenance

With Alice Dodge, London Private collection, UK

Framed: 51 x 61 cm. (20 x 24 in.)

William Turner of Oxford (British, 1789-1862)

Study of sheep watercolour in monochrome

Unframed: 15.2 x 14 cm. (6 x 5 1/2 in.) Framed: 36.5 x 31.5 cm. (14 3/8 x 12 3/8 in.)

£200 - 300

Provenance

With Simon Spencer Pictures, London

Private collection, UK

John ‘Warwick’ Smith (British, 1749-1831)

Morning in L’Ariccia, Rome signed, located, and inscribed ‘Lerici morn/Rome/J. Smith’ (on the reverse) watercolour over traces of pencil

Unframed: 27.4 x 40.4cm. (10 3/4 x 15 3/4 in.) Framed: 56 x 68 cm. (22 x 26 3/4 in.)

£200 - 300

Provenance

Brian Pilkington, London

Carlo Labruzzi (Italian, 1748-1817)

View of Lake Nemi looking towards Rome pencil and watercolour with wash paper watermarked ‘[JHONIG/ &/] ZOONEN’ (Heawood 3345)

Unframed: 36.5 x 52.5 cm. (14 3/8 x 20 5/8 in.) Framed: 51 x 65.2 cm. (20 x 25 5/8 in.)

£300 - 400

Provenance

With Simon C. Dickinson Ltd., London

Private collection

Sale; Christie’s, London, 5 July 2022, lot 31

Exhibited

London, Simon C. Dickinson Ltd., ‘Carlo Labruzzi: The Grand Tour’, 12 June-13 July 2012

Italian School (act.1884)

Figures on the beach at dawn, shipping beyond indistinctly signed and dated ‘1884’ (lower right)

watercolour and body colour

Unframed: 11 x 18 cm. (4 1/4 x 7 in.) Mounted: 28 x 36.5 cm. (11 x 14 1/4 in.)

£300 - 500

Anne Gibson Nasmyth (British, 1798-1874)

Goat herding in an Italianate landscape oil on canvas

Unframed: 51.3 x 61.3 cm. (20 1/4 x 24 1/8 in.) Framed: 69 x 79 cm. (27 1/8 x 31 1/8 in.)

£1,500 - 2,500

Provenance

Gifted by A. Beattie to Mr Marsh, 25 March 1854, according to the inscription on the reverse With Ealing Gallery, London Private Collection, UK

Anne was one of seven daughters born to artist Alexander Naysmyth (1758-1840) in Scotland. She first began learning to paint with some of her siblings at the art school established by her father. Indeed, she has been regarded as “best painter in this talented family”. (1) As her career developed, she went on to exhibit at the Royal Academy, London, the Royal Hibernian Academy, Dublin, and the Royal Scottish Academy, Edinburgh.

References

1. Germaine Greer (1979). The Obstacle Race: The Fortunes of Women Painters and Their Work Tauris Parke Paperbacks. p. 20.

British School (early-mid 19th century)

An Italianate river scene with a fortress and buildings beyond oil on board

Unframed: 21 x 33 cm. (8 1/4 x 13 in.) Framed: 29 x 39 cm. (11 1/2 x 15 1/4 in.)

£200 - 300

Provenance

Private collection, UK

Joseph Farington (British, 1747-1820)

Le Chateau de Guillaume later inscribed (on the reverse) pen and brown ink

Unframed: 43 x 33 cm. (17 x 13 in.) Mounted: 63 x 43 cm. (25 x 17 in.)

£150 - 250

Provenance

Private collection, UK

118

Edward Lear (British, 1812-1888)

The village of Simplon, Switzerland inscribed ‘...mplon/ Sept. 1837’ and inscribed ‘H’ (lower right) pencil, heightened white on grey paper

£800 - 1,200

Provenance

With Guy Peppiatt Fine Art Ltd, Duke Street, London. Private collection, London

Circle of Edward Charles Williams (British, 1807-1881)

The approaching storm oil on canvas

Unframed: 68.6 x 96.5 cm. (27 x 38 in.) Framed: 123 x 94 cm. (48 3/8 x 37 in.)

£700 - 1,000

Provenance

Sale; Christie’s, London, 9 November 2005, lot 103

120

William Vivian Tippett (British, 1833-1910)

The young herder signed and dated ‘W.V.Tippet/1858’ (lower left) oil on canvas

Unframed: 25.5 x 35 cm. (10 x 13 3/4 in.) Framed: 29.5 x 39 cm. (11 5/8 x 15 3/8 in.)

£120 - 180

Provenance

Private collection, UK

121

George Cole (British, 1810-1883)

Fishing by a canal lock in the English countryside signed and dated ‘Geo. Cole 1878’ (lower left) oil on canvas

Unframed: 34 x 52 cm. (13 3/8 x 20 1/2 in.) Framed: 46 x 63 cm. (18 1/8 x 24 3/4 in.)

£400 - 600

Provenance

Private collection, UK

Dean II Wolstenholme (British, 1798-1882)

Horse drawn Royal mailcoach in a village signed ‘D.Wolstenholme’ (lower right) oil on canvas

Unframed: 41 x 61 cm. (16 1/8 x 24 in.) Framed: 49.5 x 69.5 cm. (19 1/2 x 27 3/8 in.)

£500 - 700

Provenance

Private Collection, UK

British School (early 19th century)

View of the Crown, Marlow watercolour and bodycolour

Unframed: 27 x 37 cm. (10 1/2 x 15 in.) Mounted: 47 x 56 cm. (18 1/2 x 23 in.)

£300 - 500

William Leighton Leitch (British, 1804-1883)

An Italian fishing boat inscribed ‘Presented to W J Callcott by W L Leitch. 1875...’ (lower left)

watercolour over traces of pencil

Unframed: 16.5 x 21 cm. (6 1/2 x 8 1/4 in.) Mounted: 23 x 27.5 cm. (9 x 11 in.)

£200 - 300

Provenance

Private collection, UK

125

William John Leathem (British, 1815-1857)

Britain’s Queen, an East Indiaman, in choppy waters oil on canvas

Unframed: 66 x 89 cm. (26 x 35 in.) Framed: 75 x 97 cm. (29 1/2 x 38 1/8 in.)

£600 - 800

Provenance

Private Collection, UK

126

William Henry Pyne (British, 1769-1843)

Sorting the catch pencil and watercolour

Unframed: 9.5 x 13.7 cm. (3 3/4 x 5 3/8 in.) Framed: 35 x 38 cm. (13 3/4 x 15 in.)

£200 - 300

Provenance

With Michael Bryan Fine English Watercolours, London

Private collection, UK

Attributed to Edward William Cooke RA (British, 1811-1880)

Study of a beached fishing boat pencil and black crayon heightened with white, on blue/grey paper

Unframed: 15 x 21 cm. (6 x 8 1/4 in.) Mounted: 29 x 34 cm. (11 1/2 x 13 1/2 in.)

£150 - 250

Provenance

Private collection, UK

William Bell Scott (Scottish, 1811-1890)

A scene from Tam O’Shanter signed ‘WBScott’ (lower right, to the mount) and annotated by the artist (lower left, to the mount) watercolour

Unframed: 12.5 x 17.5 cm. (4 7/8 x 6 7/8 in.) Framed: 33.5 x 41 cm. (12 x 16 1/8 in.)

£500 - 700

Provenance

Private collection, UK

Written by renowned Scottish poet, Robert Burns (1759–1796), in 1790, ‘Tam o’ Shanter’ describes the tales of a drunken farmer called Tam on his way home during a stormy night. The scene in this watercolour shows the moment when Tam, riding his grey mare Meg, discovers ‘an unco sight’, (1) in the ruins of Alloway-Kirk, a church in South Ayrshire, Scotland. Tam can be seen to the left; and to the right, the Devil is seen in the form of a beast piping a song, while a young witch called Nannie is dancing in the centre, surrounded by ‘warlocks and witches in a dance’ and open coffins:

‘There sat auld Nick, in shape o’ beast; A towzie tyke, black, grim, and large, To gie them music was his charge: He screw’d the pipes and gart them skirl, Till roof and rafters a’ did dirl. -

Coffins stood round, like open presses, That shaw’d the Dead in their last dresses; And (by some devilish cantraip sleight) Each in its cauld hand held a light.’ (2)

References

1. W. Wallace (ed.), The Life and Works of Robert Burns, vol. III, Edinburgh and London 1896, p. 216.

2. Wallace 1896, p. 217.

129

British School (c.1842)

A royal procession initialled and dated ‘G B 1842’ (lower left)

watercolour

Unframed: 22 x 32 cm. (8 5/8 x 12 5/8 in.) Framed: 34 x 44 cm. (13 3/8 x 17 1/4 in.)

£200 - 300

Attributed to Henry Murray (British, act.1835-1860)

Study of a stag and hound inscribed ‘Henry Murray [...], 15 Jan 1835’ (lower right) brown ink

Unframed: 11 x 17.5 cm. (4 1/4 x 6 7/8 in.) Framed: 28 x 34.5 cm. (11 x 13 1/2 in.)

£200 - 300

Provenance

Private Collection, UK

131

William Makepeace Thackeray (British, 1811-1863)

Pony and trap pen and black ink

Unframed: 12 x 17 cm. (4 3/4 x 6 3/4 in.) Framed: 31 x 36 cm. (12 x 14 in.)

£180 - 220

Provenance

With Manning Gallery, London Private collection, UK

British School (early 20th century)

A bay horse in a landscape oil on canvas

Unframed: 20.5 x 25.5 cm. (8 x 10 in.) Framed: 42.5 x 48 cm. (16 3/4 x 18 7/8 in.)

£200 - 300

133

British School (late 19th century)

View near Namur, Belgium inscribed ‘Near Namur - Belgium -’ (lower centre, underneath the mount); bears inscription to the label on the reverse watercolour

Unframed: 14 x 22.5 cm. (5 1/2 x 8 7/8 in.) Framed: 25 x 34 cm. (9 7/8 x 13 3/8 in.)

£200 - 300

Provenance

Private collection, UK

Friedrich Zimmermann (Swiss, 1823-1884)

The Matterhorn and the Weisshorn, seen from Bettmeralp signed and dated ‘Frdr. Zimmerman / gemälde 1880’ (lower left) oil on canvas

Unframed: 72.5 x 59 cm. (28 1/2 x 23 1/4 in.)

£300 - 500

Provenance

Acquired by the father of the present owner. Private collection, London.

Willem Hendrik Adriaan Wesselink (Dutch, 1808-1866)

Rio de Janeiro, 1864; View of the old harbour, in Guanabara Bay and Morro do Castello signed and titled ‘W.H.A Wesselink, Rio de Janerio’ (lower right)

Unframed: 21 x 42 cm. (8 1/4 x 16 1/2 in.) Framed: 46 x 67 cm. (18 1/8 x 26 3/8 in.)

£200 - 300

Provenance

Private collection, UK

The buildings on the hill to the left (Castello Morro) are the Convent (the larger building) and the old cathedral.

Wesselink was captain-lieutenant of the stream screw ship Amelia (known officially as the Princes Amelia) which underwent repairs in Rio de Janeiro between April and July 1864.

Maurice Tranchant de Lunel (French, 1869-1944)

Phylee les bains, Egypt dedicated ‘Pour Jack, souvenoi de Phylee les bains, 1 Janvier. 98, Maurice’ (lower right) watercolour

Unframed: 37 x 54.5 cm. (14 1/2 x 21 1/2 in.)

£150 - 250

Provenance

Private Collection, UK

Maurice Tranchant de Lunel was the designer of the Grand Mosque of Paris (1). In 1912, he was appointed by Lyautey as director of the Department of Antiquities, Fine Arts, and Historic Monuments of the French Protectorate in Morocco. His task was to safeguard Moroccan monuments and create an official classification system for the country’s historic sites. Between 1920 and 1923, he served as Inspector of Fine Arts, Antiquities, and Monuments, as well as Architect for the Protectorate of Morocco.

References

1. Théliol Mylène, Le Service des beaux-arts, antiquités et monuments historiques, clef de voûte de la politique patrimoniale française au Maroc sous la résidence de Lyautey (1912–1925), Outre-mers, tome 98, n°370-371, 1er semestre 2011. Le contact colonial dans l’empire français : XIXe–XXe siècles, sous la direction de Maria Romo-Navarrete et Sarah Mohamed-Gaillard, pp. 185-193

H Ryan (British, late 19th century)

Portrait of a Colonel, standing full length in uniform, Arab horsemen and bivouac beyond signed ‘H Ryan’ (lower left) oil on canvas

Unframed: 41 x 33 cm. (16 x 13 in.) Framed: 53 x 44 cm. (21 x 17 1/4 in.)

£200 - 300

Provenance

Private collection, UK

Fabio Fabbi (Italian, 1861-1945)

Odalisque inscribed, signed and dated ‘All’amico G. Magherini / F. Fabbi 1896’ (lower left) oil on canvas

Unframed: 44 x 34 cm. (17 3/8 x 13 3/8 in.) Framed: 59.5 x 49.5 cm. (23 3/8 x 19 1/2 in.)

£4,000 - 6,000

Fabbi was an Italian Orientalist painter and illustrator, born in Bologna. He studied at the Academy of Fine Arts in Florence where he eventually became Professor in 1893. In 1892, he was named a Knight of the Order of the Crown of Italy.

References

1.Thieme, Ulrich, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. Unter Mitwirkung von etwa 400 Fachgelehrten, Leipzig, Seemann, page 146

William Gale (British, 1823-1909)

A little Eastern signed with monogram (lower left); further inscribed and signed (verso) oil on panel

Unframed: 12 x 9 cm. (4 3/4 x 3 1/2 in.) Framed: 25.7 x 22.5 cm. (10 1/8 x 8 3/4 in.)

£1,000 - 2,000

Provenance

Sale; Christie’s, London, 14 November 2013, lot 102

Private collection, UK

Gale was born in London in 1823. He exhibited annually between 1844-1893 at the Royal Academy and also at the British Institution and the Royal Society of British Artists.

Théodore Jacques Ralli (Greek, 1852-1909)

Young Bedouin Girl c.1890 oil and graphite on canvas board

Unframed: 29 x 24 cm. (11 3/8 x 9 1/2 in.)

Framed: 55 x 50 cm. (21 5/8 x 19 5/8 in.)

£8,000 - 12,000

Provenance

Sale; Sotheby’s, London, 9 November 2009, lot 104 Private collection, UK

Ralli was a Greek painter best known for his orientalist compositions, spending much of his working life in Paris and Egypt. From the mid-1880s to 1904, it is recorded that Ralli spent every winter working out of his Cairo studio. (1) Although he resided in France and eventually became a French citizen, he travelled widely across Greece and the Middle East. His signature academic realism was shaped directly by the prominent French Orientalist painter Jean-Léon Gérôme, under whose tutelage Ralli studied until 1880.

The artist’s debut exhibition took place at the Paris Salon in 1875. From 1879, he became a frequent exhibitor at London’s Royal Academy. As a member of the Société des Artistes Français, his talent was recognized with an honourable mention in 1885 and a silver medal in 1889. Ralli showcased his art extensively throughout his career, with notable appearances at the Athens Olympic Games in 1896 and multiple editions of the Salon de Rouen between 1897 and 1909.

References

1. Palioura, Maria-Mirka. “Theodore Ralli’s Diary on His Travel to Athos (1885).” Knowledge Is Light: Travellers in the Near East, edited by Katherine Salahi, Oxbow Books, 2011, pp. 78–87.

Maguelonne Lefebvre-Glaize (French, 1839-1919)

Portrait of a lady, full-length, in traditional costume signed and dated ‘Maguelonne Lefebvre-Glaize./Mars 1896.’ (lower right) oil on canvas

Unframed: 194 x 114 cm. (79 3/8 x 44 7/8 in.) Framed: 213 x 132 cm. (83 7/8 x 52 in.)

£2,000 - 3,000

Provenance

Private collection, UK

142

Richard Caton Woodville Jr (British, 1856-1927)

Portrait of a woman in profile signed ‘R. Caron Woodwille’ (lower right)

watercolour

Unframed: 19 x 24.5 cm. (7 1/2 x 9 5/8 in.) Framed: 51 x 44 cm. (20 7/8 x 17 1/4 in.)

£300 - 500

Provenance

Private Collection, UK

143

Helen Thornycroft (British, 1848-1937)

Portrait of a man in armour signed ‘Helen Thornycroft’ (lower left) watercolour

Unframed: 41 x 31 cm. (16 1/8 x 12 1/4 in.) Framed: 67 x 55 cm. (26 3/8 x 21 5/8 in.)

£400 - 600

144

Gerard Leigh Hunt (British, 1858 - after 1928)

Portrait of a young woman signed and indistinctly dated ‘G Leigh Hunt’ (lower left), later inscribed ‘Mrs Leigh Hunt, New York’ (stretcher bar, verso) oil on canvas

Unframed: 38.5 x 36 cm. (15 1/8 x 14 1/8 in.) Framed: 58 x 55 cm. (22 7/8 x 21 5/8 in.)

£300 - 500

Provenance

Private Collection, UK

John William Godward R.B.A. (British, 1861-1922)

Portrait of Mary Perkinton Godward, the artist’s grandmother (d. 1866)

watercolour/gouache on paper

Unframed: 11 x 8.5 cm. (4 1/4 x 3 3/8 in.) Framed: 29.3 x 26 cm. (11 5/8 x 10 1/4 in.)

£500 - 800

Provenance

Sale; Christie’s, London, 18 November 2009, lot 90, where purchased by the present owner

Private collection, London

Literature

Vern G. Swanson, John William Godward : The Eclipse of Classicism, Woodbridge, Suffolk, 1997. p.22

John William Godward belonged to the second generation of Victorian Aestheticist painters who followed in the footsteps of Lord Frederic Leighton and Sir Lawrence Alma-Tadema.

146

Thomas Faed, RA HRSA (British, 1826-1900)

A young lady signed ‘Faed’ and indestictly dated ‘18**’ (lower right) oil on canvas

Unframed: 42.5 x 33 cm. (16 3/4 x 13 in.) Framed: 53 x 43 cm. (21 x 17 in.)

£800 - 1,200

Provenance

Sale; Sotheby’s, London, 29 July 1980, lot 153

Where acquired by the present owner

147

George Augustus Holmes (British, 1822-1911)

Welcome home signed ‘G A Holmes’ (lower left) oil on canvas

Unframed: 66 x 51 cm. (26 x 20 1/8 in.) Framed: 90.5 x 75.5 cm. (35 5/8 x 29 3/4 in.)

£1,000 - 1,500

Provenance

Private collection, UK

A letter attached to the stretcher verso is signed and inscribed “62 Cheyne Walk, Chelsea, Sept. 24 - 03. Dear Sir, I have written these remarks upon the picture and will hope that you will like what has been done. Yours very truly, Geo. A. Holmes.”

148

John Watkins Chapman (British, 1853-1903)

Wide awake signed and dated ‘ J W Chapman, 1891’ (to the crib) oil on canvas

Unframed: 46 x 36 cm. (18 1/7 x 14 1/8 in.) Framed: 67 x 56.5 cm. (26 3/8 x 22 1/4 in.)

£300 - 500

Provenance

Private collection, UK

149

Charles Martin Hardie (British, 1858-1916)

The Church Service signed and dated ‘C.M.Hardie/84’ (lower left) oil on canvas

Unframed: 85 x 66 cm. (33 1/2 x 26 in.) Framed: 92 x 74 cm. (36 1/4 x 29 in.)

£300 - 500

Provenance

Private collection, Scotland

Thence by decent to the present owner

Charles Martin Hardie was born in East Linton, East Lothian. He initially joined the family business and worked as a carpenter, but a family connection with the artist John Pettie inspired him to pursue art instead. Hardie went on to study at the Trustees’ Academy in Edinburgh. He became known for his depictions of Scottish life, often featuring strong narrative elements such as the present example. Another example of a narrative composition by Hardie, titled Curling at Carsebreck 1899 is held by the National Galleries Scotland (1). Throughout his career he produced portraits, landscapes, and genre scenes, as well as historical paintings, working in both oil and watercolour.

References

1. Charles Martin Hardie | National Galleries of Scotland, (ID: 500002710)

150 George Sheridan Knowles (British, 1863-1931)

End of the journey signed ‘G Sheridan K [.....]’ (lower left) oil on canvas

Unframed: 47 x 34 cm. (18 1/2 x 13 3/8 in.) Framed: 69.5 x 57 cm. (27 3/8 x 22 3/8 in.)

£1,000 - 2,000

Provenance

Private collection, UK

Manner of Karel Breydel (Flemish, 1678-1733)

A cavalry skirmish oil on panel

Unframed: 14 x 20 cm. (5 1/2 x 8 in.) Framed: 27 x 32 cm. (10 5/8 x 12 5/8 in.)

£300 - 500

Edgar Bundy (British, 1862-1922)

Provocation signed ‘Edgar Bundy’ (lower right) oil on canvas

Unframed: 51 x 76 cm. (20 1/8 x 29 7/8 in.) Framed: 77 x 102 cm. (30 1/4 x 40 1/8 in.)

£800 - 1,200

Provenance

Private collection, UK

153

Robert Kemm (British, 1837-1895)

Taverna scene signed ‘R Kemm’ (lower left) oil on canvas

Unframed: 61 x 91 cm. (24 x 35 3/4 in.) Framed: 85 x 116 cm. (33 1/2 x 45 5/8 in.)

£800 - 1,200

Provenance

Private collection, UK

154

Joseph Walter West (British, 1860-1933)

Portrait of Harry Simpson

signed and dated ‘J Walter West 1888’ (lower right) oil on canvas

Unframed: 129 x 97 cm. (50 13/16 x 38 3/16 in.)

Framed: 156 x 130 cm. (61 1/2 x 51 in.)

£400 - 600

Provenance

Collection of the Hull and East Riding Hospital Trust

Their sale; Gilbert Baitson Auctioneers, Hull, 9 July 2025, lot 2.

Joseph Walter West was born into a Quaker family, the son of Alfred West, a seed crusher and corn dealer, and Sarah Ann West (née Petchell). He initially worked as a cashier for the engineering firm Priestman Brothers in Hull, during which time he began studying art at Bootham School, York. Having saved enough to pursue his ambitions, West moved to London in 1883 to undertake formal training at the St John’s Wood Art School and subsequently at the Royal Academy Schools. He later continued his studies in Paris at the Académie Julian, reflecting the broader trend among British artists of the period to seek continental instruction.

West’s talent was recognised early in his career; in 1887 he was awarded a silver medal by the Royal Academy for a drawing from life. His professional standing continued to rise, and in 1893 he was elected a Fellow of the Royal Society of British Artists. He was later elected to the Royal Watercolour Society in 1904, serving as Vice President between 1918 and 1920. In addition to his work as a painter and watercolourist, West contributed to the visual culture of early twentieth-century London through the design of seven posters for London Underground between 1916 and 1931. His works are often distinguished by a distinctive monogram incorporating a weathervane pointing west alongside the letters of his surname.

For a period, West lived in the North Craven area of North Yorkshire, particularly in the vicinity of Settle. During his time there, he painted a number of portraits depicting local families and figures, offering a valuable insight into the character and community of the region.

The present portrait, painted in 1888, depicts Harry Simpson, who served as Chairman of the Hull Royal Infirmary from 1881 to 1887. The composition presents the sitter in his official capacity, reflecting both his leadership within the institution and his standing within the civic life of Hull. The work was part of the collection of Hull Royal Infirmary, where it remained for many years, underscoring the importance of commemorative portraiture within the hospital’s institutional history. In this context, West’s portrait may be understood as part of a broader tradition of recording key figures associated with the governance and development of major provincial medical institutions in the late 19th century.

Joseph Walter West (British, 1860-1933)

Portrait of Harry Simpson signed and dated ‘J Walter West 1888’ (lower right) oil on canvas

Unframed: 129 x 97 cm. (50 13/16 x 38 3/16 in.)

Framed: 156 x 130 cm. (61 1/2 x 51 in.)

£400 - 600

Provenance

Collection of the Hull and East Riding Hospital Trust

Their sale; Gilbert Baitson Auctioneers, Hull, 9 July 2025, lot 2.

Joseph Walter West was born into a Quaker family, the son of Alfred West, a seed crusher and corn dealer, and Sarah Ann West (née Petchell). He initially worked as a cashier for the engineering firm Priestman Brothers in Hull, during which time he began studying art at Bootham School, York. Having saved enough to pursue his ambitions, West moved to London in 1883 to undertake formal training at the St John’s Wood Art School and subsequently at the Royal Academy Schools. He later continued his studies in Paris at the Académie Julian, reflecting the broader trend among British artists of the period to seek continental instruction.

West’s talent was recognised early in his career; in 1887 he was awarded a silver medal by the Royal Academy for a drawing from life. His professional standing continued to rise, and in 1893 he was elected a Fellow of the Royal Society of British Artists. He was later elected to the Royal Watercolour Society in 1904, serving as Vice President between 1918 and 1920. In addition to his work as a painter and watercolourist, West contributed to the visual culture of early twentieth-century London through the design of seven posters for London Underground between 1916 and 1931. His works are often distinguished by a distinctive monogram incorporating a weathervane pointing west alongside the letters of his surname.

For a period, West lived in the North Craven area of North Yorkshire, particularly in the vicinity of Settle. During his time there, he painted a number of portraits depicting local families and figures, offering a valuable insight into the character and community of the region.

The present portrait, painted in 1888, depicts Harry Simpson, who served as Chairman of the Hull Royal Infirmary from 1881 to 1887. The composition presents the sitter in his official capacity, reflecting both his leadership within the institution and his standing within the civic life of Hull. The work was part of the collection of Hull Royal Infirmary, where it remained for many years, underscoring the importance of commemorative portraiture within the hospital’s institutional history. In this context, West’s portrait may be understood as part of a broader tradition of recording key figures associated with the governance and development of major provincial medical institutions in the late 19th century.

Joseph Walter West (British, 1860-1933)

Portrait of David Haughton, J.P. signed with monogram and dated ‘1900’ (upper left) oil on canvas

Unframed: 127 x 101.5 cm. (50 x 39 in.) Framed: 156 x 130 cm. (61 1/2 x 51 in.)

£400 - 600

Provenance

Collection of the Hull and East Riding Hospital Trust

Their sale; Gilbert Baitson Auctioneers, Hull, 9 July 2025, lot 5

Joseph Walter West was born into a Quaker family, the son of Alfred West, a seed crusher and corn dealer, and Sarah Ann West (née Petchell). He initially worked as a cashier for the engineering firm Priestman Brothers in Hull, during which time he began studying art at Bootham School, York. Having saved enough to pursue his ambitions, West moved to London in 1883 to undertake formal training at the St John’s Wood Art School and subsequently at the Royal Academy Schools. He later continued his studies in Paris at the Académie Julian, reflecting the broader trend among British artists of the period to seek continental instruction.

West’s talent was recognised early in his career; in 1887 he was awarded a silver medal by the Royal Academy for a drawing from life. His professional standing continued to rise, and in 1893 he was elected a Fellow of the Royal Society of British Artists. He was later elected to the Royal Watercolour Society in 1904, serving as Vice President between 1918 and 1920. In addition to his work as a painter and watercolourist, West contributed to the visual culture of early twentieth-century London through the design of seven posters for London Underground between 1916 and 1931. His works are often distinguished by a distinctive monogram incorporating a weathervane pointing west alongside the letters of his surname.

For a period, West lived in the North Craven area of North Yorkshire, particularly in the vicinity of Settle. During his time there, he painted a number of portraits depicting local families and figures, offering a valuable insight into the character and community of the region.

The present work depicts David Haughton J.P., chairman of Hull Royal Infirmary in 1900.

Ernest Gustave Girardot (British, active 1860-1893)

Portrait of Henry Allisson signed, inscribed and dated ‘Posthumously by/E. Gustav Giradot 1891’ (lower left) oil on canvas

Unframed: 139 x 96.5 cm. (54 3/4 x 38 in.) Framed: 156 x 112 cm. (61 1/2 x 44 in.)

£400 - 600

Collection of the Hull and East Riding Hospital Trust Their sale; Gilbert Baitson Auctioneers, Hull, 9 July 2025, lot 3

Ernest Gustave Girardot was a portrait and genre painter, born into a prominent French artistic family. Active in Britain for much of his career, he established a reputation for sensitive and accomplished portraits, often depicting notable literary and social figures. Among his most celebrated works are portraits of Lord Tennyson and Lady Lytton, which exemplify his refined approach to characterisation and finish. Girardot exhibited widely between 1880 and 1904, including at the Royal Academy in London as well as at major provincial institutions, including the Glasgow Institute of the Fine Arts, the Royal Hibernian Academy, the Royal Scottish Academy, the Walker Art Gallery in Liverpool. His election to the Society of British Artists in 1874 further reflects his professional standing within the British art world.

This portrait depicts Henry Allison, founder of Park Street Sick Hospital for Children in Hull, a dedicated paediatric facility that operated from 1891 until 1967.

John Henry Frederick Bacon (British, 1868-1914)

Portrait of Sir Thomas Reckitt signed, inscribed and dated ‘John H Bacon/REP 07’ (lower right); inscribed with name and address (on artist’s label attached to the reserve) oil on canvas

Unframed: 143 x 113 cm. (56 5/16 x 44 1/2 in.)

Framed: 177 x 147 cm. (69 5/8 x 57 7/8 in.)

£400 - 600

Provenance

Collection of the Hull and East Riding Hospital Trust

Their sale; Gilbert Baitson Auctioneers, Hull, 9 July 2025, lot 4

The present portrait, painted in 1907, depicts Sir Thomas Reckitt, a member of the distinguished Reckitt family, whose name is closely associated with the industrial and philanthropic history of Hull and East Yorkshire. The work is recorded in the collection of the Hull and East Yorkshire Hospitals NHS Trust, forming part of its extensive institutional holdings.

Bacon was a versatile British painter and illustrator, recognised for his genre scenes, historical compositions and portraits. His association with Hull is further evidenced by other works, including portraits of Sir William Alfred Gelder and Lady Gelder, now held at the Hull Guildhall, suggesting an established regional patronage among prominent civic figures. The sitter belonged to the influential Reckitt family, whose legacy was shaped by the achievements of Sir James Reckitt (1833–1924), co-founder of Reckitt & Sons and a major benefactor to the city. His philanthropic initiatives included the creation of the model Garden Village, providing improved housing for workers, and the establishment of the James Reckitt Public Library, both reflecting a broader commitment to social welfare and urban development in Hull.

As a commissioned portrait of a leading local figure, the present work exemplifies Bacon’s role in documenting the civic identity of early 19th century Hull, while also representing one of the more significant works within his portrait oeuvre.

159

English School (19th century)

Portrait of a gentleman oil on canvas laid on board

Unframed: 78 x 64 cm. (30 11/16 x 25 3/16 in.) Framed: 100 x 90 cm. (39 1/2 x 35 1/2 in.)

£300 - 500

Provenance

Collection of the Hull and East Riding Hospital Trust

Their sale; Gilbert Baitson Auctioneers, Hull, 9 July 2025, lot 8.

Frank Thomas Copnall (British, 1870-1949)

Portrait of a gentleman, bust-length, wearing a cap and smoking a pipe signed ‘F.T Copnall’ (lower right) oil on canvas

Unframed: 51.5 x 61 cm. (20 1/8 x 24 in.) Framed: 87 x 68 cm. (34 1/4 x 26 3/4 in.)

£400 - 600

Provenance

Sale; Christie’s, London, 30 August 2001, lot 152, where purchased by the present owner

Samuel George Enderby (British, 1860–1921)

Portrait of a young woman, traditionally identified as Miss Gertrude Hunt signed ‘S G Enderby’ (lower left); inscribed ‘Miss Gertrude Hunt’ (to the label attached verso) oil on canvas

Unframed: 62 x 52 cm. (24 3/8 x 20 1/2 in.) Framed: 74 x 63 cm. (29 1/8 x 24 3/4 in.)

£400 - 600

Richard George Matthews (Canadian, 1870-1955)

Portrait of a lady signed with initials and dated ‘R. G. M / 1906’ (lower right) pastel

Unframed: 57.5 x 38.5 cm. (22 5/8 x 15 1/8 in.) Framed: 68.5 x 50.5 cm. (27 x 19 7/8 in.)

£200 - 300

Provenance

Private collection, UK

Imre Gergely (Hungarian, 1868-1914)

The Connoisseur (Illustration possibly intended for publication) signed ‘Gergely Imre’ (lower left) pen, black ink and watercolour

Unframed: 22 x 14 cm. (8 5/8 x 5 1/2 in.) Framed: 39 x 30 cm. (15 3/8 x 11 3/4 in.)

£120 - 180

Károly Hollós Holczer (Hungarian, b.1873)

Young woman holding a bouquet of chrysanthemums signed ‘Hollós K’ (lower right) oil on canvas

Unframed: 57 x 38 cm. (22 1/2 x 15 in.) Framed: 85 x 66 cm. (33 1/2 x 26 in.)

£300 - 500

British School (act.1899)

Portrait of the sculptor Edward Onslow Ford (1852-1901) inscribed ‘E Onslow Ford’ (lower right); indistinctly initialled, dated and inscribed ‘1899/ 62A Acaica Road, NW.’ (lower right)

coloured chalk on buff paper

Unframed: 40 x 30 cm. (15 3/4 x 11 3/4 in.) Framed: 54 x 45 cm. (21 1/2 x 17 3/4 in.)

£400 - 600

Edward Onslow Ford was a prominent British sculptor of the late Victorian era, known for his portrait busts, public monuments, and decorative sculpture. He is often regarded as one of the leading figures of British sculpture in the late 19th century.

One of his most admired works is the Shelley Memorial, featuring the poet’s idealised reclining figure, completed for University College, Oxford. In 1893 the Shelley Memorial was formally inaugurated to the University.

Jules-Alexandre Grün (French, 1868-1938)

Portrait of a young lady in a blue dress signed ‘Grün’ (lower right) oil on canvas

Unframed: 116.5 x 81 cm. (45 7/8 x 31 7/8 in.) Framed: 133 x 98.5 cm. (52 3/8 x 38 3/4 in.)

£1,000 - 1,500

Provenance

Private Collection, UK

167

William Trost Richards (American, 1833-1905)

A view of the Cornish coast signed and dated ‘W.m.T. Richards 91’ (lower right) oil on canvas

Unframed: 121 x 91.5 cm. (47 5/8 x 36 in.) Framed: 129.5 x 99 cm. (50 3/4 x 39 in.)

£6,000 - 8,000

Provenance

Private collection, UK

Richards was born in Philadelphia in 1833 and first exhibited his art at the Pennsylvania Academy in 1853. (1)

His remarkable accuracy was accomplished through intense outdoor study and painting en plein air. His son remarked that Richards “stood for hours [...] with folded arms, studying the motion of the sea, until people thought him insane. After days of gazing, he made pencil notes of the action of the water.” (2) Richards artistic style had roots within the Hudson River School, perhaps most notably in the manner of Jasper F. Cropsey, whom he admired and met during his early career in the year 1854. (3, p.15)

From 1857 onward, Richards focused his artistic attention on coastal topography, such as the present example. In a recorded letter, the artist vividly described observing the waves at Chesil Beach: “I watch and watch it, try to disentangle its push and leap and recoil, make myself ready to catch the tricks of the big breakers and am always startled out of my self-possession by the thunder and the rush”. (3, p. 33) True to his words, Richards masterfully captures the atmospheric severity and raw power of the rugged coastline in this piece.

It is recorded that Richards travelled to Europe in July of 1891, and visited Ireland, Scotland, England and Paris. It can be presumed that the present work was painted during his time in England, which lead to its position in a private UK collection. (3, p.102)

References

1. Morris, Harrison S. 1912. Masterpieces of the Sea : William T. Richards : A Brief Outline of His Life and Art. Philadelphia, [Pa.]: J.B. Lippincott Company.

2. B. Ferguson, William Trost Richards: “He Knew the Sea,” New Britain, Connecticut, 1973, p. 4

3. Ferber, Linda S., William Trost Richards, Brooklyn Museum, and Pennsylvania Academy of the Fine Arts. 1973. William Trost Richards : American Landscape & Marine Painter, 1833-1905. [Brooklyn, N.Y.]: Brooklyn Museum.

Hendrik Willem Mesdag (Dutch, 1831-1915)

Fishing boats in stormy weather signed ‘H.W Mesdag’ (lower right) oil on canvas

Unframed: 31.5 x 42.5 cm. (12 3/8 x 16 3/4 in.) Framed: 54 x 64 cm. (21 1/4 x 25 1/4 in.)

£4,000 - 6,000

Provenance

Gifted by the artist to Johanna Croiset van der Kop (1861-1943) and Max Behrend

Thence by descent

By whom sold, Vendu, Rotterdam, 10 November 2020, lot 196

Where acquired by the present owner

Private collection, London

Literature

Johan Poort, Hendrik Willem Mesdag, 1831-1915, Wassenaar, 1997, no. 30.41, reproduced.

Hendrik Willem Mesdag became one of the Netherland’s most significant maritime painters of the nineteenth century and major contributor to The Hague School. Initially employed as a banker, Mesdag made the transition to an artist at the age of 35 and turned to his second cousin Sir Lawrence Alma Tadema for guidance. Mesdag studied under Willem Roelofs in Brussels from 1866, his plein-air painting developed an atmospheric appreciation of light and tone that contrasted with the romanticized seascapes created by earlier Dutch painters. In May 1869, Mesdag moved to The Hague, making the beach at nearby Scheveningen his main subject. International success soon followed, as he received a gold medal at the Paris Salon of 1870 for Breakers in the North Sea (Van Gogh Museum, Amsterdam).

Mesdag’s work is defined by a disciplined realism; his paintings often depict the North Sea’s harsh, untamed character through dense, textured brushstrokes and dark pigments as seen in the present example. The artist would frequently work outside in difficult weather, giving his paintings a sense of immediacy that was uncommon among many of his contemporaries.

In the second half of the nineteenth century, he and his wife, Sientje Mesdag-van Houten (also a celebrated artist), amassed an impressive collection of paintings, drawings and applied arts that now exists as The Mesdag Collection Museum, The Hague. His legacy also lives on through his and his wife’s panorama project, completed in 1881. The work is 14 metres high and about 40 metres in diameter (120 metres in circumference), and is housed in a purpose-built museum in The Hague. The panorama is now the oldest surviving panorama in its original location. (1)

This painting was gifted by the artist to his close friend, Johanna Behrend-Croiset van der Kop. Johanna was an artist and befriended the Mesdags during her time at the local art academy in The Hague where she graduated in 1884. Sientje Mesdag guided Johanna through the early stages of her artistic career and would go on to buy many of her works. Her first studio was a room in Museum Mesdag. It was here that she not only drew with Sientje but also learned the art of etching from Barbara van Houten. Later, she had her own studio on the Bazarlaan in The Hague. Johanna also regularly travelled to Paris with the Mesdags, where art was purchased for the couple’s extensive collection. In 1897, Johanna married the German actor Max Behrend and subsequently moved to Germany.

References

1. McKernan, Luke (2024), Christie, Ian (ed.), “Panoramic Space and the Mesdag Show”, Spaces, Exploring Spatial Experiences of Representation and Reception in Screen Media, Amsterdam University Press, pp. 23–28

169

Matthijs Maris (Dutch, 1839-1917)

The Enchanted Castle, c.1886/88 etching

Unframed: 13 x 16 cm. (5 x 6 1/4 in.) Framed: 38 x 32 cm. (15 x 12 1/2 in.)

£200 - 300

Provenance

T. & R. Annan and Sons, Glasgow

Private collection, UK

Leslie Moffat Ward (British, 1888-1978)

The Newfoundland Warehouse, Poole; In a Poole Garden; The Two Bowsprits, Poole

Two etchings and a lithograph to include; The Newfoundland Warehouse, Poole monogrammed and dated ‘LMW/1911’ and titled within the plate (lower left/right) lithograph

Unframed: 31 x 22 cm. (12 1/4 x 8 3/4 in.) Framed: 48 x 38 cm. (19 x 15 in.) In a Poole Garden signed and titled (lower right/left) signed within the plate (lower right) etching

Unframed: 23.5 x 11 cm. (9 1/4 x 4 1/2 in.) Framed: 40 x 33 cm. (15 3/4 x 13in.)

The Two Bowsprits, Poole signed, titled and dated ‘1918’ (lower right/left), signed within the plate (lower left) etching

Unframed: 28.5 x 21 cm. (11 1/4 x 8 1/4 in.) Framed: 46 x 37 cm. (18 x 14 1/2 in.) (3)

£300 - 500

Willem Rathjens (British, 1842-1882)

Still life of flowers initialled ‘WR’ (lower right) oil on canvas

Unframed: 56 x 50 cm. (22 x 19 1/2 in.) Framed: 82 x 76 cm. (32 1/8 x 30 in.)

£700 - 1,000

Provenance

The collection of Bernard Kelly (1930-2022) Thence by descent

172

Russian School (early 20th century)

Mimosa flowers in an urn signed indistinctly (lower left) oil on canvas

Unframed: 56 x 47 cm. (22 x 18 1/2 in.) Framed: 73 x 63.4 cm. (28 3/4 x 25 in.)

£600 - 800

Gustave-Claude-Etienne Courtois (French, 1853-1923)

Diana and an attendant signed and dated ‘Gustave Courtois, 97’ (lower left) oil on canvas

Unframed: 59 x 39.5 cm. (23 1/4 x 15 1/2 in.) Framed: 70 x 47 cm. (27 1/2 x 18 1/2 in.)

£600 - 800

Provenance

Sale; Christie’s, London, 3 April 2012, Lot 735

Private collection, UK

174

British School (early 20th century)

Country cottage signed with initials and dated ‘T.P 1915’ (lower left) oil on board

£300 - 500

Provenance Private collection, UK

Henry Marko (Italian, 1855-1921)

By the lakeside

each signed ‘H. Marko’ (the first; lower right, the second; lower left) each oil on canvas

Each unframed: 46 x 27 cm. (18 1/8 x 10 5/8 in.) Each framed: 53 x 34 cm. (20 7/8 x 13 3/8 in.) (2, a pair)

£300 - 500

Provenance Private Collection, UK

176

Thomas Blinks (British, 1860-1912)

A study for Bread Winners signed ‘T Blinks’ (lower left), further inscribed and titled (label attached verso) oil on canvas

Unframed: 31 x 41 cm. (12 x 16 in.) Framed: 43 x 53 cm. (17 x 21 in.)

£300 - 500

Provenance

The present work is possibly a preparatory study for another painting by the artist; Bread Winners, oil on canvas (112 x 142 cm.), which was sold at Sotheby’s, Victorian Paintings & Sculpture, London, 17 Jun 1987, lot 96.

177

Edward Aistrop (British, act.1880-1920)

Portrait of a fox terrier signed ‘E Aistrop’ (lower left) oil on board

Unframed: 15 x 19 cm. (6 x 7 1/2 in.) Framed: 26 x 30 cm. (6 1/4 x 12 in.)

£400 - 600

178

Konrad Petrides (Austrian, 1864-1943)

Mountainous lake scene signed ‘K Petrides’ (lower right) oil on board

Unframed: 18 x 27 cm. (7 x 10 1/2 in.) Framed: 34 x 41 cm. (13 3/8 x 16 1/8 in.)

£200 - 300

Thomas Hazlehurst (British, c.1740-1821)

Portrait of a Gentleman, wearing a blue jacket and tied white stock signed ‘T.H’ (lower right) watercolour on ivory

Overall: 7 x 5.5 cm. (2 3/4 x 2 1/2 in.)

Icory declaration: MZ5QZJ7L

£300 - 500

Provenance

Private collection, UK

180

Thomas Hazlehurst (British, c.1740-1821)

Portrait of a gentleman wearing a blue jacket and tied white stock initialled ‘T.H’ (lower left) watercolour on ivory

Overall: 6.5 x 4.7 cm. (2 1/2 x 1 7/8 in.)

Ivory declaration: RCY7KTCN

£300 - 500

Provenance

Private Collection, UK

181

British School (18th century)

Portrait of a gentleman, wearing a brown jacket and white stock watercolour on ivory

Overall: 7.5 x 6.5 cm. (3 x 2 1/2 in.)

Ivory declaration: DXYAJ96V

£200 - 300

Provenance Private Collection, UK

182

Follower of Samuel Shelley (British, 1750/56-1808)

Portrait of a lady watercolour on ivory

Overall: 7 x 6 cm. (2 3/4 x 2 3/8 in.)

Ivory declaration: NM9DUEE4 together with; European School (late 18th century)

Portrait of a lady watercolour on ivory

Overall: 7.5 x 6 cm. (3 x 2 3/8 in.)

Ivory declaration: DNQ7NYNX (2)

£300 - 500

Provenance

Private Collection, UK

British School (c.1812)

Portrait of an army officer, wearing a red and blue jacket, with gold embellishments, and medal indistinctly initialled and dated ‘1812’ (lower left)

gum arabic on ivory

Unframed: 8 x 6.5 cm. (3 1/8 x 2 1/2 in.) Framed: 15 x 13.5 cm. (5 7/8 x 5 1/4 in.)

Ivory declaration: 1FVNVBXR

£300 - 500

Provenance

Private collection, UK

184

Frederick Buck (Irish, 1771-1839/40)

Portrait of an army officer

watercolour on ivory

5.3 x 4 cm. (2 1.8 x 1 5/8 in.)

Ivory declaration: BEBTA98T

£200 - 300

Provenance

Private collection, U.K.

French School (early 19th century)

Portrait of an officer, wearing a navy jacket with gold embellishments and epaulettes, and a red collar watercolour on ivory

Overall: 5 x 4 cm. (2 x 1 5/8 in.)

Ivory declaration: 3BPU7BKB

£200 - 300

Provenance

Private collection, UK

186

Alphonse De Labroue (French, 1792-1863)

Portrait of a gentleman, possibly wearing the military uniform of the First French Empire signed and dated ‘Labroue, 1826’ (lower right)

watercolour on ivory

Unframed: 8 x 6.5 cm. (3 1/8 x 2 1/2 in.)

Ivory declaration: JJ79GN8U

£120 - 180

Provenance

Private Collection, UK

187

Attributed to William Charles Ross (British, 1794-1860)

Portrait of a lady, traditionally identified as the Princess of Edenburg, 1842 watercolour on ivory

Unframed: 9 x 7 cm. (3 1/2 x 2 3/4 in.) Framed: 20.5 x 20 cm. (8 x 7 7/8 in.)

Ivory declaration: 4G1AEUPF

£300 - 500

Provenance

Private Collection, UK

188

British School (late 18th century)

Portrait of a gentleman, wearing a blue jacket and tied white stock watercolour on ivory

Overall: 6.3 x 7.5 cm. (2 1/2 x 3 in.)

Ivory declaration: 6ZJTRD1S

£200 - 300

Provenance

Private Collection, UK

189

British School (early 19th century)

Portrait of a sea captain wearing a navy jacket and tied white stock, frigate beyond watercolour on ivory

Overall: 5.5 x 7 cm. (2 1/8 x 2 3/4 in.)

Ivory declaration: ADU3Z5UH

200 - 300

Provenance

Private Collection, UK

190

British School (c.1839)

Portrait of a gentleman, wearing a blue jacket and tied white stock watercolour on ivory dated ‘1839’ (backboard, verso)

Unframed: 8 x 6 cm. (3 1/8 x 2 3/8 in.) Framed: 17 x 14.5 cm. (6 3/4 x 5 3/4 in.) Ivory declaration: Z4679ZAN

£200 - 300

Provenance

Private collection, UK

Head study of a gentleman watercolour and pencil on paper

Unframed: 5.3 x 5.3 cm. (2 x 2 in.) Framed: 12 x 10.5 cm. (4 3/4 x 4 1/8 in.)

£200 - 300

Provenance

Private Collection, UK

192

Attributed to George Chinnery (British, 1774-1852)

Portrait of a young lady in a white scarf watercolour on ivory

Unframed: 7 x 6 cm. (2 3/4 x 2 3/8 in.) Framed: 9 x 7.5 cm. (3 1/2 x 2 7/8 in.)

Ivory declaration: Q4QXZXCA

£300 - 500

Provenance

Private Collection, UK

British School (19th century)

Portrait of a lady wearing a white lace collar, white headdress and pearls indistinctly signed ‘H. Walkax’ (lower right)

watercolour on ivory

Unframed: 7.5 x 7.5 cm. (3 x 3 in.) Framed: 16 x 14 cm. (6 1/4 x 5 1/2 in.) (tondo) Ivory declaration: T1T31LTV

£300 - 500

Provenance Private Collection, UK

194

Circle of Nathaniel Plimer (British, 1757-1822)

Portrait of a lady, head and shoulders, wearing a white dress watercolour on ivory

Unframed: 8 x 8 cm. (3 1/8 x 3 1/8 in.) Framed: 19.5 x 19.5 cm. (7 5/8 x 7 5/8 in.) (tondo)

Ivory declaration: 4CC6K18S

£300 - 500

Provenance

Private Collection, UK

British School (early 19th century)

Portrait of a lady, head and shoulders, wearing a white dress watercolour on paper

Unframed: 8.5 x 7 cm. (3 3/8 x 2 3/4 in.) Framed: 23 x 20 cm. (9 x 7 7/8 in.) (oval)

£200 - 400

Provenance

Private collection, UK

French School, (19th century)

Portrait of a lady signed ‘Dupre’ (lower right) watercolour on ivory

Unframed: 8.5 x 6.5 cm. (3 1/4 x 21/2 in.) Framed: 14.5 x 13 cm. (5 3/4 x 5 1/8 in.) (oval)

Ivory declaration: CM6HWHPK

£120 - 180

Provenance

Private Collection, UK

A Greek Byzantine style icon (18th-19th century)

The Hodigitria, Mother of God oil on panel

Unframed: 19 x 18 1/2 cm. (7 1/2 x 7 1/4 in.)

£400 - 600

An English 18th century, carved and gilded pierced frame

with stiff leave sight edge, sanded course, scrolling foliage running to pierced foliate and sea shell corners

sight edge: 29 x 21 cm. (11 3/8 x 8 1/4 in.)

rebate: 30 x 22 cm. (12 x 8 3/4 in.)

section depth: 7 cm. (2 3/4 in.)

overall: 43 x 33 cm. (17 x 13 in.)

£80 - 120

A French Louis XVI style pierced composition frame

cavetto sight edge, stiff leaf course, pierced cartouche corners running to pierced cartouche centers, bead and bar outer edge sight edge: 65.5 x 54.5 cm. (25 3/4 x 21 1/2 in.)

rebate: 70 x 58 cm. (27 1/2 x 22 7/8 in.)

section depth: 12 cm. (4 3/4 in.)

overall: 90 x 77 cm. (35 1/2 x 30 1/4 in.)

£100 - 150

200

A Louis XV style carved, gessoed, pierced and swept frame

with leaf slip sight, leaf and flower scroll to the cushioned mid-section, scrolling leaf rail, rocaille cartouche corners joined by a scrolling leaf top rail, and ovolo back edge

sight edge: 80 x 60 cm. (31 1/2 x 23 5/8 in.)

rebate: 82 x 62 cm. (32 1/4 x 24 3/8 in.)

section depth: 12 cm. (4 3/4 in.)

overall: 105 x 83 cm. (41 3/8 x 32 3/4 in.)

£150 - 250

A Louis XV style carved, gessoed, pierced and swept frame

with leaf slip sight, leaf and flower scroll to the cushioned mid-section, scrolling leaf rail, rocaille cartouche corners joined by a scrolling leaf top rail, and ovolo back edge

sight edge: 67 x 50.5 cm. (26 3/8 x 19 7/8 in.)

rebate: 70 x 53 cm. (27 1/2 x 20 7/8 in.)

section depth: 6 cm. (2 3/8 in.)

overall: 79 x 62 cm. (31 1/8 x 24 3/8 in.)

£150 - 250

Three Florentine style, carved, pierced and gilded frames

A pair of oval Florentine style, carved, pierced and gilded frames

rebate: 8.5 x 6.5 cm. (3 1/4 x 2 1/2 in.)

sight edge: 7 x 6 cm. (2 3/4 x 2 1/2 in.)

overall: 22 x 16 cm. (8 3/4 x 6 1/4 in.) (each)

together with one further Florentine style, carved, pierced and gilded frame

rebate: 15 x 11.5 cm. (6 x 4 1/2 in.)

sight edge: 13.5 x 9.5 cm. (5 1/4 x 3 3/4 in.)

overall: 24 x 20 cm. (9 1/2 x 8 in.) (3)

£150 - 250

A Dutch 17th century style polished pearwood cabinet frame with carved and gilded sight

rebate: 62 x 44.5 cm. (24 3/8 x 17 1/2 in.)

sight edge: 60 x 42 cm. (23 5/8 x 16 1/2 in.)

section depth: 8 cm. (3 1/8 in.)

overall: 76 x 58 cm. (29 7/8 x 22 3/4 in.)

£200 - 300

A French 19th century empire style frame

with plain sight edge, pearl course, continous Greek key pattern, fluted hollow running to acanthus corners, imbricated husk course, lambs tongue outer

rebate: 62 x 50 cm. (24 3/8 x 19 5/8 in.)

sight edge: 64 x 51.5 cm. (25 1/4 x 20 1/4 x 20 1/4 in.)

section depth: 17 cm. (6 3/4 in.)

overall: 98 x 84 cm. (38 5/8 x 33 1/8 in.)

£200 - 300

A French empire style gilt and painted composition frame

with lambs tongue sight edge, plain stepped scotia, the hollow with applied anthemion running to acanthus corners, running pattern of stiff-leaf, plain top taenia

sight edge: 59 x 49 cm. (23 1/4 x 19 1/4 in.)

rebate: 61 x 51 cm. (24 x 20 in.)

section depth: 8 cm. (3 1/4 in.)

overall: 73 x 63 cm. (28 3/4 x 24 3/4 in.)

£200 - 300

An 18th century British palladian (‘Kent’) carved giltwood frame

with raking flute at the sight edge, architrave profile; outset corners; with egg-&-dart moulding beneath the top edge, astragal-&-triple bead, sanded frieze

sight edge: 80 x 66 cm. (31 1/2 x 26 in.)

rebate: 82 x 69 cm. (32 1/4 x 27 1/4 in.)

section depth: 9 cm. (3 3/4 in.)

overall: 103 x 90 cm. (40 1/2 x 35 3/8 in.)

£200 - 300

An English 19th century, pierced and swept gilded composition frame

with cavetto sight edge, scrolling foliage running to leaf cartouche centers and corners, C-scrolls on a cross hatched ground joined by a pierced scrolling top rail, and reverse stylised scotia back edge

sight edge: 39 x 49 cm. (15 3/8 x 19 1/4 in.)

rebate: 41 x 51 cm. (16 1/8 x 20 1/8 in.)

section depth: 13 cm. (5 1/8 in.)

overall: 66 x 76 cm. (26 x 29 7/8 in.)

£250 - 350

Provenance

Chapman Brothers, Frame Makers, King’s Road (‘opposite Carlyle Square’), Chelsea, (label attached verso)

208

Early 20th century Winsor & Newton, London

Large radial easel Beach wood

186 cm. unextended

272 cm. extended

£120 - 180

186 cm. unextended

272 cm. extended

£120 - 180

Term and Conditions for Buyers at Chiswick Auctions

1. BEFORE THE SALE

1.1 Agent for the seller

Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer.

1.2 Definitions

For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot.

The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply.

1.3 Catalogue descriptions

Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the catalogue descriptions does not imply that the good is exempt thereof.

Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representation of the said Lot.

The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good.

1.4 Inspection

Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them.

1.5 Condition report

CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report.

As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto.

1.6 Electricals

All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety. It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use.

1.7 Estimates

Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates.

1.8

Reserves

Many Lots are offered subject to a reserve, which is the confidential minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot

below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids.

1.9

Registration to the sale

New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale.

Registration thereafter shall be at the auctioneer’s entire discretion. International bidders may be required to register 48 hours before the sale and to submit bank details.

A deposit may be requested prior to each sale.

Failure to register shall result in the impossibility for the bidder to purchase a Lot.

1.10 Proof of identity

Bidders not previously known to CA Ltd will be required to provide:

• Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable.

• Proof of address of main residence. Only official documents showing name and address will be accepted.

• Both landline and mobile telephone numbers

• A bank reference for foreign bidders may be requested

• Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the above mentioned requirements for proof of identity.

Any Bidder that does not match the provided identity for registration may not purchase during the sale.

2. DURING THE SALE

2.1 Attendance at auction

Attending the auction in person is recommended.

CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises.

Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale.

2.2 Personal bidding

Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale.

2.3 Commission bids

CA Ltd will use reasonable efforts to carry out Commission bids received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it.

Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot.

In the event of multiple commission bids set at the same price, the first registered commission bid will take priority.

2.4 Telephone bids

If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone. CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder.

2.5 Internet bids

Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues affecting connection. In addition to having our own in-house online bidding platform, some sales are also offered with online live bidding by third party platforms, CA Ltd is not responsible for any issues that may arise during registration or untilising said platforms. CA ltd encourages prospective bidders to bid directly with Chiswick Live or via traditional direct in-house means wherever possible.

2.6 Bidding on behalf of someone

A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required.

2.7 Bidding on an item

Bid incrementation is at the auctioneer’s entire discretion.

2.8 Video transmission

For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome.

2.9 Online-only auctions

Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd.

2.10 Dispute resolution during the auction

Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’s entire discretion.

3. CONTRACT FORMATION AND EFFECTS

3.1 Contract of sale

The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd.

When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale.

3.2 Transfer of property

Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyer’s premium, relevant taxes, and costs in relation to shipping.

3.3 Transfer of risks

Purchased Lots shall be at the Buyer’s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise.

3.4 Cancellation of the sale

At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter.

Under no circumstances can the Buyer cancel the sale.

CA Ltd may at its entire discretion, during or after the auction, cancel the sale of the Lot or reoffer and resell the Lot if it becomes aware of any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

Grounds for cancellation under the present section shall include

but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc.

In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

4. AFTER THE SALE

4.1 Payment

All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express.

CA ltd adheres strictly to current anti-money laundering regulations and reserves the right to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance.

Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers.

Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional.

Payments made by someone other than the registered Buyer shall not be accepted.

Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer.

4.2 Buyer’s Premium

The Buyer will pay CA Ltd a premium of 26% on the hammer price plus VAT on that premium on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots.

The VAT payable varies by symbol as below:

No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis.

†: Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium.

*: These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice.

If you are re-exporting a * lot outside of the UK, you must use Chiswick Auctions Ltd TA Shipper.

4.3 Online Bidding Surcharges

Customers bidding through Chiswick Live are liable for a 1% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium.

Customers bidding through the third-party auction platform thesaleroom.com are liable for a 4.95% surcharge on the hammer price,plus VAT. This is in addition to the Buyer’s Premium. Customers bidding through the third-party auction platforms

Invaluable.com, Artsy.net or Liveauctioneers.com are liable for a 5% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium.

4.4 Taxes

VAT is payable on the buyer’s premium, and for some lots, VAT is payable on the hammer price. The successful bidder will be responsible to ascertain and pay any applicable taxes including VAT, sales tax or any equivalent tax arising on sale of a particular lot.

W.e.f. 1st January 2021 (Post Brexit), Private individual buyers based outside UK will now be charged VAT at the applicable rate and will not be able to claim a VAT refund.

Trade clients based outside UK and who arrange for their own shipping can get the VAT refunded if all the below conditions are met:

1. Have registered to bid with an address outside of the UK

2. Provide immediate proof of export out of the UK within 90 days from the date of the auction

Please note, we charge an administrative fee of £35 per invoice to check export documents and arranging VAT refunds. VAT refunds will be done to the original method of payment used by the buyer. No VAT will be refunded where the total VAT on an invoice is under £70.

Trade clients based outside UK and who arrange shipping with our recommended shipper JGM Shipping can get the VAT taken off the invoice prior to making payment. In order to do this, you must email katy.mcevoy@chiswickauctions.co.uk a confirmation of shipping with JGM Shipping. If you cancel or change the shipping with our recommended shipper, we will issue a revised invoice charging all applicable taxes.

4.5 Artist Resale Rights / Droit de Suite

Lots marked with ‘ARR’ may be subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500.

Royalties for Droit de Suite are as follows:

• From 0 to €50,000 4%

• From €50,000.01 to €200,000 3%

• From €200,000.01 to €350,000 1%

• From €350,000.01 to €500,000 0.5%

• Exceeding €500,000 0.25%

4.6 Remedies for non-payment

If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available:

• To cancel the sale

• To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale.

• To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer

• Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionary apply any sum paid by the Buyer for discharge of any owed sums.

• To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd.

• To exercise a lien over the Buyer’s property in the possession of

CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law.

• To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs.

• To take such other action as is permissible by Law and in the discretion of CA Ltd.

4.7 Collection

Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7).

4.8 Storage

CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/ larger items) per day and CA Ltd shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

4.9 Shipping

Any shipping costs that may arise subsequent to the sale shall be at the Buyer’s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union.

CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense.

CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.

4.10 Loss or Damage

CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care.

4.11 Cultural Goods import and export restrictions

Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade.

Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts.

The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible.

4.12 CITES

Import and export restrictions

Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to

issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’s duty to initiate the proceedings with the relevant authority.

The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter.

Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations.

4.13 Limitation of liability regarding CITES export licenses

Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them. CA Ltd cannot be held responsible if the Buyer’s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale.

4.14 Warranties

CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law.

4.15 Authenticity warranty

In the event of a Lot being sold as authentic under the catalogue description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not authentic, CA Ltd will refund the purchase price.

The Buyer shall give notice to CA Ltd within 28 days from knowledge or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall be defined as the state of a Lot that is genuine and not a forgery or a copy.

5. ANTIQUITIES AND TRIBAL ART

5.1 Import and export restrictions and regulations

Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value. It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest.

Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value.

Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

6. JEWELLERY

6.1 Gemstone treatment and estimates

Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to:

• Heat treatment to enhance sapphires and rubies’ clarity and colour

• Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone

• Staining

• Irradiation

• Coating

Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof.

A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone.

If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only.

6.2 Estimated weights

If a stone’s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy.

6.3 Signatures

‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker.

‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client.

‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic.

Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details.

7. CLOCKS AND WATCHES

All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and without defects, or has been subject to repair or restoration.

CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto.

The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof.

Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for import or export purposes in accordance with CITES regulations. CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps.

8.1 Upholstered furniture after 1950

According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale.

9. GLOSSARY OF PICTURE CATALOGUING TERMS

Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

1 JMW Turner: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

2 Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category.

3 Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction.

4 Circle of JMW Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil.

5 Style of; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil.

6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date.

7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist.

8 The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

9 The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/ or inscription have been added by another hand than that of the artist.

10 Pictures are framed unless otherwise stated.

10. ASIAN ARTS

10.1 Import and export restrictions

When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items.

10.2 Fine Chinese Paintings

Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, a ‘forgery’ is defined as a work created with the intent to deceive.

11. BOOKS AND MANUSCRIPTS

Books and manuscripts sold as incomplete are not subject to returns.

Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of ‘binding’ or ‘bindings’.

12. WINES AND SPIRITS

In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level.

For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit.

Lack of mention thereof in the description is not a representation of an ‘acceptable’ fill level from CA Ltd.

CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc.

13. COPYRIGHT

CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the above-mentioned materials without the prior written consent of CA Ltd.

Some Lots may be subject to copyright protection, CA Ltd does not guarantee said Lots are free thereof.

14. DATA PROTECTION

The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent.

CA Ltd never sell, lend or trade in personal data provided by any Bidder.

15. SEVERABILITY

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result.

16. AMENDMENTS

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale.

17. LAW AND JURISDICTION

The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales.

For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply.

All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.