Painting Catalogue

Fine Paintings & Frames Sale

Thursday 16th April 2026 at 11am

Fine Paintings & Frames Sale 14th May 2026

Consign to our sales: No commission or illustration charges

Just £15 (+VAT) per lot and 1.5% (+VAT) loss and damage waiver

Fine Paintings & Frames Sale

Thursday 16th April 2026

Paintings starting at 11am Frames starting at 2.30pm

VIEWING

Friday 10th April 10am to 4pm

Saturday 11th April 10am to 2pm

Sunday 12th April 10am to 2pm

Monday 13th April 10am to 4pm

Tuesday 14th April 10am to 4pm

Wednesday 15th April 10am to 4pm

Thursday 16th April from 9am

Telephone bids and absentee bids will be accepted until 9am on the day of the sale. 01252 20 30 20 | info@parkerfineartauctions.com

1. Early 19th Century English School “Intelligence on the Change of the Ministry”

Printed by Carington Bowles

Overall 14” x 10” (35.5 x 25.4cm)

Together with “The Barber Riding to Margate” (2)

£150‑£250

2. After Honore Daumier (1808 1879) French “Robert Macaire Escompteur” Hand coloured engraving

10.5” x 8.6” (26.7 x 22cm)

£100‑£200

4. Robert Seymour (1798 1836) British “Treasure Seekers” Hand coloured etching

12.5” x 8.75” (31.8 x 22.2cm)

£100‑£200

3. John Phillips ‘Sharpshooter’ (fl.1825 1831) British “Are You The Man Wot Drives The Sovereign?” Engraving

Published by S Gans 11.5” x 7.75” (29.2 x 19.7cm).

Provenance: Quay Gallery, Guernsey

£100‑£200

5. Robert Seymour (1798 1836) British “The Man Wot Will Steer His Own Vessel” Etching

Published by Thomas McLean 12.25” x 9.25” (31.1 x 23.5cm).

Provenance: Quay Gallery, Guernsey

£100‑£200

6. Robert Seymour (1798 1836) British “A Dream” Etching

Published by Thomas McLean

9.25” x 12.5” (23.5 x 31.8cm)

£100‑£200

7. Robert Seymour (1798 1836) British “The Bad Hat” Engraving

Published by Thomas McLean

11.5” x 8.75” (29.2 x 22.2cm)

£100‑£200

9. After James Gillray (1756 1815) British “The Kettle Hooting The Porridge-Pot” Etching

Published by J P Leatherhead

8.5” x 13” (21.6 x 33cm).

Provenance: Quay Gallery, Guernsey

£100‑£200

8. After James Gillray (1756 1815) British “A Squall” Etching

Published by Hannah Humphrey 8.5” x 12” (21.6 x 30.5cm) And another by the same hand “Two Pair of Portraits”, Etching, Published by John Wright 7.25” x 10.25” (18.3 x 26cm) (2) £150‑£200

10. Charles Williams (act.1796 1830) British “The Parson at His Studies, or, A Skittle Ground The Wrong Road to a Benifice” Etching

Published by Thomas Tegg

8.5” x 12.75” (21.6 x 32.4cm)

£100‑£200

12. William Heath (1794 1840) British “Where Are You Going My Pretty Maid” Etching

Published by Thomas McLean

8.5” x 13” (21.6 x 33cm)

£100‑£200

14. After Jean Baptiste Huet (1745 1811) French “L’Amour Corrige” Engraving

6.25” x 9.25”(15.8 x 23.5cm)

£100‑£200

11. After John Doyle ‘HB’ (1797 1868) British “John Gilpin!!!” Print

Published by Thomas McLean

10” x 15” (25.4 x 38.1cm) And another by the same hand “The Game Stall”, Print, Published by Thomas McLean

9” x 12.75” (22.8 x 32.3cm) (2)

£150‑£200

13. 18th Century English School

“The South West Prospect of Guildford in the County of Surry” (Surrey) Engraving

Overall 12.25” x 32” (31.1 x 81.2cm)

£100‑£150

15. After Edward Dayes (1763 1804) British “Queen Square” Aquatint by R Dodd Engraved by R Pollard

15.25” x 20.75” (38.8 x 52.7cm).

Provenance: The Parker Gallery, London

£100‑£150

16. After R Harrington (19th Century) British “A British Yeoman”

Engraved by Charles Hunt

11.5” x 15.75” (29.2 x 40cm)

And another engraving of “Sir Tatton Sykes” (2)

£100‑£200

17. After Peter Charles Henderson (fl. 1791 1829) British “Indian Reed”

Engraved by James Caldwall

18” x 13.5” (45.7 x 34.2cm)

And another by the same hand “The Dragon Arum” (2)

£100‑£200

18. James Forbes (1749 1819) British

“To Will Hornby Esq late Governor of Bombay and the Gentlemen of the Bombay Club”

Engraving

14” x 24.25” (35.5 x 61.6cm)

£200‑£300

19. Attributed to John Russell (1745 1806) British Portrait believed to be Sir Richard Glode Pastel

23.5” x 17.5” (59.7 x 44.4cm)

£400‑£600

20. Attributed to Francis Towne (1740 1816) British Landscape with Ruins Watercolour

Inscribed on a label verso 14.5” x 10.75” (36.8 x 27.3cm).

Provenance: Ward Lock Limited, London

Literature: Stanley W Fisher ‘English Watercolours’, 1970

£500‑£800

A Fine Collection of 168 Drawings and Watercolours contained in an album

Various sizes

£2500‑£3500

22. William Williams (1727 1791) British “Courtship”

Watercolour

Inscribed on the mount

14.25” x 12” (36.3 x 30.5cm)

And the companion piece, “Matrimony”, a pair (2)

£300‑£500

Chalk

Mounted, unframed 8.5” x 6.75” (21.6 x 17.2cm)

Together with a hand study (2)

£100‑£150

Watercolour and ink on Whatman paper

Signed and inscribed

11.4” x 10.85” (28.8 x 27.7cm)

£100‑£150

25. David Cox (1809 1885) British “Richmond Castle, Yorkshire”

Watercolour

Inscribed on the mount

12.5” x 18.5” (31.7 x 47cm)

£150‑£250

26. Early 19th Century English School

Boston from the River

Oil on paper

16.5” x 23” (41.9 x 58.4cm)

£400‑£600

27. After Quentin Matsys (1466 1530) Flemish “The Money Lender and His Wife” Tempera

Signed with initials ET and dated 1738

9.75” x 10” (24.7 x 25.4cm)

£400‑£600

28.

Figure Study

Oil on gold ground panel

3.25” x 2.75” (8.3 x 7cm)

£100‑£200

22” x 16.75” (55.8 x 44.4cm)

£300‑£500

Unframed 24.25” x 25” (61.6 x 63.5cm)

£200 £300

31. Follower of Annibale Carracci (1560 1609) Italian

‘The Adoration of the Shepherds’ Oil on canvas

26” x 23” (66 x 58.4cm)

£800‑£1200

32. After Giovanni Battista Pittoni (1687 1767) Italian

‘The Sacrifice of Polyxena’, Oil on canvas

29” x 20.75” (73.7 x 52.7cm)

£2000‑£3000

33. John Louis de Marne (1752 1829) Belgium Figures in a Market Square Oil on card (attached to glass) Signed, and inscribed on a label

2.3” x 3.7” (5.8 x 9.4cm)

£150‑£250

34. After William Redmore Bigg (1755 1828) British “Give to the Poor Blind” Oil on canvas

20.5” x 26” (52.1 x 66cm)

£200‑£300

35. Attributed to Jean Baptiste Bosschaert (1667 1746) Flemish Still Life of Flowers surrounding an urn with carved cherubs Oil on unstretched canvas

28.5” x 21.25” (72.4 x 54cm)

£500‑£800

36. 18th Century Dutch School Figures in a Frozen River Landscape Oil on panel

9.75” x 13.65” (24.8 x 34.8cm)

£800‑£1200

£3000‑£5000

38. After William Taylor (1800 1861) British “Defence of the Arrah House”

Print published by William Thacker & Co

Inscribed on a label verso

13.25” x 19.75” (33.6 x 50.2cm).

Provenance: The Parker Gallery, London

£200‑£300

40. After Charles

Lithograph by W L Walton

Unframed 19” x 31.75” (48.2 x 80.7cm)

£100‑£150

39. 19th Century English School “Valletta and its Environs”

Engraving

15” x 21.25” (38.1 x 54cm)

£150‑£250

41. Anthony Vandyke

(1787 1855) British “Landscape”

Watercolour

Signed and indistinctly dated, and inscribed on labels verso 7.25” x 10.25” (18.4 x 26cm).

Provenance: William Rodman & Co Limited, Belfast; Sir Charles H Brett Exhibited: Belfast Art Gallery and Museum

£100‑£200

42. Attributed to Edward Bird (1772 1819) British Standing Figure

Watercolour

Inscribed on the mount

Mounted, unframed 10.75” x 8” (27.3 x 20.3cm)

£200‑£300

44. George Sheridan Knowles (1863 1931) British “A Spring Idyll”

Watercolour

Signed, inscribed on the mount, and inscribed on a label verso 21” x 15” (53.3 x 38.1cm)

£120‑£180

43. Walter Satterlee (1844 1908) American Standing Figure

Watercolour

Signed 24.75” x 18” (62.8 x 45.7cm)

£200‑£300

45. Attributed to George Bernard O’Neill (1828 1917) British “Little Red Riding Hood”

Watercolour

Inscribed on labels verso 8.5” x 5.5” (21.6 x 14cm)

Notes: The little girl portrayed is Mirabelle Watkins as Little Red Riding Hood

£120‑£180

46. Queen Victoria (1819 1901) British and Prince Albert (1819 1861) German/British “Victoria” Etching

Inscribed on the mount

6.25” x 4.75” (15.9 x 12cm)

Together with another etching by the same hands “Prince Albert and Princess Victoria” And an engraving by Victoria “Princess Victoria and Nurse” (3).

Provenance: Believed originally to be in the collection of Georgiana, Duchess of Sutherland (1806-1868), Mistress of the Robes to Queen Victoria; Belgravia Gallery, London

£600‑£800

47. Her Royal Highness Princess Louise Duchess of Argyll (1848 1939) British View of a Cloister Watercolour

Inscribed on the mount

5.5” x 8.6” (14 x 24.5cm).

Provenance: Belgravia Gallery, London

£150‑£250

48. 19th Century Anglo Indian School Young Girl Holding a Flower Watercolour

Oval 10.75” x 8” (27.3 x 20.3cm)

£100‑£200

50. Guido Bach (1828 1905) German “Hylas and a Nymph” Watercolour

Signed, inscribed and dated 1866

22.5” x 16.5” (57.2 x 41.9cm)

£600‑£800

49. Charles Bentley (1806 1854) British Woman and Child by a Mountain Stream Watercolour

Signed, and inscribed on a label verso 16.5” x 12.5” (42 x 31.7cm)

£120‑£180

51. Lucien Davis (1860 1941) British Queen Victoria’s Diamond Jubilee in the Drawing Room at Buckingham Palace, May 11th 1897

Watercolour and gouache

Signed, and inscribed verso 16” x 22.75” (40.6 x 57.8cm)

£400‑£600

52. Noel Smith (1840 1900) British “Fordingbridge, Hants”

Watercolour

Signed, and inscribed on the mount 14.75” x 24.5” (37.5 x 62.2cm)

£120‑£180

53. Attributed to David Roberts (1796 1864) British Princes Street, Edinburgh

Watercolour

Signed

9.5” x 15.5” (24.2 x 39.3cm)

£300‑£500

54. David Roberts (1796 1864) British “Church of San Miguel, Xeres” Watercolour and ink

Unframed 15.25” x 10.75” (38.7 x 27.3cm)

Together with the hand coloured engraving of the same subject (possibly hand coloured by Roberts)

Notes: This watercolour is a preparatory sketch for the later engraving. It formed part of his series ‘Picturesque Sketches in Spain’ (1832-1833) first published by Thomas Higham, in 1836/7

£800‑£1200

55. Arthur Anderson Fraser (1861 1904) British

The Hedgerow

Watercolour

Signed with initials and dated 1890

9.75” x 14” (24.7 x 35.5cm)

£100‑£150

56. Late 19th Century English School

A Colonial House

Watercolour

Signed with initials EBC and dated 4.4.93

8.5” x 12.25” (21.6 x 31.1cm)

£100‑£150

57. Baroness Helga von Cramm (1840 1919) German/Swiss

“Philae”, Egypt

Watercolour

Signed and inscribed 10” x 16”

(25.4 x 40.6cm)

£100‑£200

58. After Edwin Henry Landseer (1802 1873) British “A Jack in Office”

Watercolour

13.5” x 18.5” (34.2 x 47cm)

£100‑£150

59. John Falconer Poole (1807 1879) British

A Deathbed Scene

Watercolour

Inscribed on a label verso 4.5” x 6” (11.4 x 15.2cm)

And another by the same hand of a sleeping mother and child

6.5” x 7.75” (16.5 x 19.7cm) framed as one

£80‑£120

60. James W Garrett Smith (act.1877 1887) British “The Jungfrau at The Little Schaideck over Grindelwald”

Watercolour

Inscribed on a label verso

8.75” x 14.5” (22.2 x 36.8cm)

£200‑£400

61. John Edmund Buckley (1824 1876) British

The Wedding Party

Watercolour

Signed and dated 1872

16” x 24” (40.6 x 61cm)

£120‑£180

62. Samuel Rayner (1806 1879) British “The White Horse Inn, Edinburgh”

Watercolour

17.75” x 23.5” (45.1 x 59.7cm)

£120‑£180

63. Thomas Matthew Rooke (1842 1942) British “St. Martin’s, Savoie” Watercolour and pencil Signed, inscribed and dated 1887, and inscribed on a label verso

14.5” x 6.15” (36.8 x 15.5cm) And another by the same hand “The Grove, Highgate”.

Provenance: Abbott & Holder (2)

£100‑£150

19th Century English School Young Children in a Landscape with a Cat Watercolour

13.5” x 11.5” (34.3 x 29.2cm)

£100‑£150

64. Carlton Alfred Smith (1853 1946) British Young Girl with Basket Watercolour Signed, with a sketch verso

5.5” x 4” (14 x 10.2cm)

£100‑£200

66. Frederick Goodall (1822 1904) British Figures on Steps Watercolour Signed

9” x 6” (22.8 x 15.2cm)

£100‑£150

67. Kate Greenaway (1846 1901) British A Set of Six Studies of Children

Watercolour and ink

Some signed with initials

Of various sizes, framed as one

Overall 5.25” x 6.5” (13.3 x 14cm)

£100‑£200

68. William Stephen Coleman (1829 1904) British Shrimping

Watercolour and bodycolour

Signed

5.5” x 7.5” (14 x 19cm)

£300‑£400

69. Carl Haag (1820 1915) German/British

An Oasis Watercolour

Signed

4.6” x 13.6” (11.8 x 34.6cm)

£300‑£400

Signed, and inscribed on a plaque

22” x 15” (55.8 x 38.1cm)

£2000‑£3000

71.

Signed, and inscribed on a plaque

22” x 15” (55.8 x 38.1cm)

£3000‑£4000

Signed, inscribed and dated 1911

24” x 15” (61 x 38.1cm)

£3000‑£4000

A Sunlit Irish Marshland Watercolour

Signed and dated ‘99

Mounted, unframed 6.75” x 9.75” (17.2 x 24.8cm) £1800‑£2400

Signed, and inscribed on a label verso 16” x 22”

£200‑£300

Henry Andrews

Signed and dated 1856

Arched, 36” x 48.5” (91.5 x 123.2cm)

£1500‑£2000

76. John Gunson Atkinson (act.c.1849 c.1880) British “Gate-Crags Borrowdale, Cumberland” Oil on canvas

Signed, and inscribed verso

Unframed 16” x 26” (40.6 x 66.1cm)

£100‑£150

Signed

Unframed 15.75” x 19.75” (40 x 50cm)

£100‑£200

77. Oscar Ricciardi (1864 1935) Italian Figures along a Harbour Wall Oil on canvas

Signed, and inscribed on labels verso 12” x 23.75” (30.5 x 60.3cm).

Provenance: Feine Syd Gallery, Bombay

£100‑£200

27.5” x 36” (69.8 x 91.5cm)

£100‑£200

Inscribed verso

6” x 9” (15.2 x 22.8cm) And a companion piece, a pair (2)

£200‑£300

81.

Signed and dated 1885

20” x 30” (50.8 x 76.2cm)

£200‑£300

1915) British

82.

Signed and dated 1890

26” x 35.5” (66 x 90.2cm)

£250‑£350

1905) British

83.

Signed David B

1921) British

12” x 18” (30.5 x 45.7cm)

£250‑£350

84. A Hannam (19th Century) British Still Life of Flowers in a Vase Oil on panel

Indistinctly signed

14.75” x 12.25” (37.4 x 31.1cm)

£100‑£200

85. 19th Century English School A River Landscape with Ducks Oil on canvas

Indistinctly signed

30” x 25” (76.2 x 63.5cm)

£100‑£200

86. After David Roberts (1796 1864) British Cathedral Interior Oil on canvas Bears a signature and date 1860

19.75” x 16” (50.2 x 40.6cm)

£100‑£200

87. Henri Schafer (1833 1916) French “Antwerp, Belgium” Oil

Signed, insribed verso (traced from reline)

15.5” x 12” (39.4 x 30.5cm)

£300‑£500

14” x 12” (35.5 x 30.5cm)

£200‑£300

89. Lodewijk Johannes Kleijn (1817 1897) Dutch A Winter Scene Oil on panel

Signed

5.25” x 7.5” (13.3 x 19cm)

£300‑£500

90. Charles Jones (1836 1892) British Horses in a Field Oil on canvas

Signed with monogram

10.5” x 14” (26.7 x 35.5cm)

£200‑£400

91. Clarkson Stanfield (1793 1867) British “Windmill in Normandy” Oil on panel

Inscribed on a label verso 12” x 18” (30.5 x 45.7cm)

£300‑£500

A Spanish Figure Oil on canvas

Signed, insribed ‘Grenada’ and indistinctly dated unframed 15.25” x 11.5” (38.7 x 29.2cm) £2000‑£4000

93. Circle of Walter Williams (1834 1906) British

8” x 15.75” (20.3 x 40cm) (2)

£200‑£400

94. Constant Troyon (1810 1865) French Cattle in a Lane Oil on canvas

Signed 19” x 23.75” (48.2 x 60.3cm)

£300‑£500

95. Eugenio Amus (1834 1899) Italian Unloading the Catch Oil on canvas

Signed, and inscribed on a label verso 16” x 24” (40.6 x 61cm)

£400‑£600

Signed and dated 1887

35” x 24” (88.8 x 61cm)

£5000‑£7000

Giovanni ‘Nino’ Costa

Signed

23.5” x 27” (59.7 x 68.6cm)

£500‑£800

98. Alfred Parsons (1847 1920) British “On Mendip” Oil on canvas

Signed and dated 1888, and inscribed on a label verso 32” x 44” (81.3 x 111.8cm)

Exhibited: The New Gallery, Regent Street, London, ‘Summer Exhibition’, 1889 £3000‑£5000

Signed and dated 1856

18” x 24” (45.7 x 61cm)

£600‑£800

Signed and dated 1847

11”

£500‑£700

101. Attributed to James Webb (1825 1895) British Shipping in a Swell Watercolour

Bears a signature and date 1884 14.25” x 21” (36.2 x 53.3cm)

£200‑£300

102. John Fraser (1858 1927) British “Norwegian Lumber Ship” Watercolour

Signed, and inscribed on a label verso 14” x 21” (35.5 x 53.2cm) And another by the same hand “Seghorn” (2).

Provenance: Henry Meadows, London

£200‑£300

Watercolour

7.25” x 14.25” (18.4 x 36.2cm)

And a companion piece, a pair (2)

£100‑£150

104. Alfred Sanderson Edward (1852 1915) British “Scotch Coast Boats” Oil on canvas

Signed, and inscribed verso

7” x 9” (17.8 x 22.8cm)

£100‑£150

105. John Mundell (1818 1875) British Shipping in Choppy Waters Oil on panel

Signed

8” x 12” (20.3 x 30.5cm)

£100‑£200

106. After Edwin Ellis (1842 1895) British “The Harbour Bar” Oil on canvas

16.5” x 28.5” (41.9 x 72.4cm)

£200‑£300

107. Gustave de Breanski (1859 1899) British Shipping in the Evening Light Oil on canvas

Signed

16” x 24” (40.6 x 61cm)

£200‑£300

and

£300‑£400

and

£300‑£400

Signed

Unframed 24” x 37.5” (61 x 95.2cm)

£200‑£300

Signed

20” x 30” (76.2 x 50.8cm)

£150‑£250

Unframed 19” x 28” (48.2 x 71.1cm)

£200‑£300

113.

10” x 16” (25.4 x 40.6cm)

£300‑£500

114. Joseph T Banks (19th 20th Century) British “HMS Boadicea” of the White Fleet Line off Table Mountain Oil on canvas

Signed and dated 9.1922, and inscribed on a label verso

18” x 32” (45.7 x 81.2cm)

£250‑£350

115. Adolphus Knell (1849 c.1890) British “Off Margate” Oil on canvas

Signed and dated 1880

6.75” x 15” (17.2 x 38.1cm)

£400‑£600

116. William Calcott Knell (1830 1876) British “Fishing Boats off the Dutch Coast” Oil on canvas

Signed, and signed, inscribed and dated 1874 verso

30” x 50” (76.2 x 127cm)

£400‑£600

117. After William Drummond (19th Century) and Charles John Basebe (1818 1880) British “The Cricket Match”

Engraved by George Henry Phillips

19.5” x 35” (49.5 x 88.8cm)

Notes: Depicts a cricket match between Sussex and Kent at Brighton in 1849

£100‑£200

118. After Alfred de Dreux (1810 1860) French

With a guild stamp

18.5” x 23.25” (47 x 59cm)

£100‑£150

119. After

Engraved by William Woollett

15.5” x 20.75” (39.3 x 52.7cm)

And a companion piece “Shooting” (Plate II) (2)

£200‑£300

120. Mabel Gear (1900 1997) British “Irish Setters”

Pastel

Signed

15” x 12.5” (38.2 x 31.7cm)

Notes: Later published by Pritchard & Co, London

£200‑£300

121. Mabel Gear (1900 1997) British “Cocker Spaniels” Pastel

Signed

15” x 12.5” (38.2 x 31.7cm)

Notes: Later published by Pritchard & Co, London

£200‑£300

James Osborne

122. James Osborne (1940 1992) British “Alexander the Great’s War Horse Bucephalus”

Lost-wax bronze

Incised signature, dated ‘87 and numbered 142/2000

6.75” x 8.75” x 2.85” (17.2 x 22.2 x 7.3cm)

£100‑£150

123. James Osborne (1940 1992) British “Burmese”

Lost-wax bronze

Incised signature, dated ‘87 and numbered 319/5000

6.25” x 7.75” x 2.5” (15.8 x 19.7 x 6.4cm)

£100‑£150

124. James Osborne (1940 1992) British Arab Horse

Lost-wax bronze

Incised signature, dated ‘87 and numbered 77/750

7” x 8.5” x 2.5” (17.8 x 21.6 x 6.4cm)

£100‑£150

Signed and dated 1885

22.25” x 32” (56.5 x 81.3cm)

£400‑£600

Signed

6.75” x 10.25” (17.2 x 26cm)

£600‑£800

127. Thomas Blinks (1860 1912) British Roaring Lion Oil on paper

Signed with monogram

6” x 9” (15.2 x 22.8cm)

And another by the same hand of horses (2)

£200‑£300

128. Bessie Bamber (1870 1910) British “Mischievous Kittens” Oil on canvas

Signed with initials, inscribed on a plaque and inscribed verso 7” x 10” (17.8 x 25.4cm).

Provenance: Ashleigh House Fine Art

£500‑£800

129. G Williams (20th 21st Century) British Ducks and Ducklings by the Water’s Edge Oil on panel

Signed

29.75” x 16” (30.5 x 40.6cm)

£100‑£200

Signed and dated 1855

8” x 10” (20.3 x 25.4cm) And the companion piece, a pair (2) £800‑£1200

Paul Jones

131. James McNeill Whistler (1834 1903) American “Savoy Pigeons” Lithograph

Inscribed in pencil verso Mounted, unframed 9.25” x 6” (23.5 x 15.2cm)

£100‑£150

132. James McNeill Whistler (1834 1903) American “La Robe Rouge” Lithograph

Inscribed in pencil verso Mounted, unframed 10.5” x 6.25” (26.7 x 15.9cm)

£100‑£150

133. Ernest Stephen Lumsden (1883 1948) British “The Acolyte (1920)”

Etching with drypoint

Signed, inscribed and numbered 38/45 in pencil 13.85” x 9” (35.2 x 22.8cm)

Notes: The Acolyte shows the interior of a temple as recorded by Lumsden from life whilst in India

£300‑£400

a Downing Street label verso

Overall 13.75” x 15.5” (34.8 x 39.3cm)

£1000‑£1500

135. A J Bard (20th Century) British

A Set of Four Etchings of Winston Churchill, Franklin D Roosevelt, Joseph Stalin and Field Marshall Jan Smuts

Published by Imperial Fine Art Coporation

Each signed in pencil

8.5” x 5.5” (21.6 x 14cm)

Together with an etching of Queen Elizabeth (5)

£150‑£200

136. Edmund Blampied (1886 1966) British “Night Time in a Stable” Etching with drypoint

Signed and numbered 41/100 in pencil

10” x 12” (25.4 x 30.5cm)

£100‑£200

138. Francis Dod (1874 1949) British “A L Smith, Master of Balliol” Etching

Signed in pencil, and inscribed on a label verso

9.5” x 7.15” (24.1 x 18cm)

Provenance: Abbott & Holder

£100‑£150

137. After Georges Seurat (1859 1891) French “Seurat” Print

Inscribed and numbered 1/3 verso Unframed 56.5” x 65.5” (143.4 x 166.3cm)

£100‑£200

139. Mokuchu Urushibara (1888 1953) Japanese “Anemones” Woodcut in colours

Signed and numbered No.41 in pencil, and inscribed on a label verso

11.8” x 7.85” (30 x 20cm)

£100‑£200

140. Aristide Maillol (1861 1944) French “Amandier Fleuri”

Woodblock

With studio stamp and numbered 95/100

6” x 5.75” (15.2 x 14.6cm)

And a companion piece, a pair (2)

£100‑£150

141. Christopher Penny (1945 2001) British “Late

Screenprint

Signed, inscribed with title and A/P

Overall 32” x 24.25” (81.2 x 61.6cm)

£100‑£150

143. Bill Reid (1920 1998) Canadian “Haida Dogfish Xaxada” Print

Signed, inscribed and dated ‘72 in pencil

25.5” x 19.5” (64.8 x 49.5cm)

£100‑£200

142. Abigail McLellan (1969 2009) British “Moth Orchid”

Silkscreen

Signed, inscribed and numbered 67/195 in pencil

17.5” x 15” (44.4 x 38.1cm)

£100‑£150

144. Takesada Matsutani (1937 ) Japanese “Kuken I”

Screenprint

Signed, inscribed, numbered 2/50 and dated ‘70 in pencil

Unframed 27.5” x 19.75” (69.8 x 50cm)

£200‑£300

146. Valerie Thornton (1931 1991) British “Bodiam Castle”

Etching

Signed, inscribed, numbered 94/250 and dated ‘77 in pencil

13.5” x 18.75” (34.2 x 47.7cm)

£100‑£150

148. Ronnie Wood (1947 ) British

“Jim Morrison”

Screenprint

Signed, inscribed and numbered 10/250 in pencil

19.75” x 17” (50.2 x 43.2cm)

£200‑£300

147. Edward Ardizzone (1900 1979) British “The Boat to Greenwich”

Etching

8” x 13” (20.3 x 33cm)

£100‑£150

Bruce Onobrakpeya

149. Bruce Onobrakpeya (1932 ) Nigerian

“Ekrirhe Krebe” (Blue Base) Etching

Signed, inscribed, dated July 1973 and numbered 5/20 in pencil

23.5” x 17.75” (59.8 x 45cm)

£300‑£500

150. Bruce Onobrakpeya (1932 ) Nigerian

“Encounter with Three Ghosts” Etching

Signed, inscribed, dated November 1970 and numbered 5/20 in pencil

23.5” x 17.75” (59.8 x 45cm)

£300‑£500

Peter Brookes

151. Peter Brookes (1943 ) British “This is the End of an Error”

Print

Signed in pencil

8.75” x 12.5” (22.2 x 31.7cm)

£200‑£300

152. Peter Brookes (1943 ) British “Care Home... Don’t Care Home”

Print

Signed in pencil

9.25” x 13” (23.5 x 33cm)

£200‑£300

153. Peter Brookes (1943 ) British “PM Tackles the ‘R’ Problem. Honest! You Can Trust Me To Keep the Reproduction Rate Down!”

Print

Signed in pencil

9” x 12.5” (22.8 x 31.7cm)

£200‑£300

154. Alfred Wilde Parsons (1854 1931) British “Fire on the Thames, Lower Oliver Wharf, 1920”

Watercolour

Signed, and inscribed verso

9.5” x 15.75” (24.2 x 40cm)

£150‑£250

155. Arthur Szyk (1894 1951) Polish Figure Studies

Watercolour

Signed and dated 36

Shaped (overall) 1.75” x 5.25” (4.4 x 13.3cm)

£600‑£800

156. William Lee Hankey (1869 1952) British Continental River Scene

Watercolour

Inscribed on a label verso

17.75” x 19.75” (45.1 x 50.2cm)

£300‑£500

157. Raphael Kirchner (1875 1917) Austrian Bathing

Watercolour and pencil

16.5” x 11” (41.9 x 27.9cm)

£200‑£300

158. Raphael Kirchner (1875 1917) Austrian Getting Dressed Watercolour and pencil

Oval 14.75” x 9.75” (37.4 x 24.7cm)

£200‑£300

159. Raphael Kirchner (1875 1917) Austrian In Bed

Watercolour and pencil

Circular 10.5” x 10.5” (26.7 x 26.7cm)

£200‑£300

160. Alistair Kenneth MacDonald (1898 1947) British “Pretty Ladies” Watercolour and ink

Signed, and inscribed on a label verso 7.5” x 6” (19 x 15.2cm).

Provenance: Arthur Greatoreex Ltd, London

£200‑£300

162. Frank Dobson (1888 1963) British “Standing Nude, 1935” Chalk and gouache

Signed and dated ‘35, and inscribed on labels verso 20” x 13.75” (50.8 x 35cm).

Provenance: Anthony d’Offay, London, 1983; Sandra Lummis Fine Art, London

£2000‑£3000

161. Alex R M Thompson (20th Century) British Standing Semi Nude Pastel

Signed with initials 22” x 15” (55.8 x 43.2cm)

£200‑£300

12” x 9.25” (30.5 x 23.5cm)

£100‑£200

165. Arnold Auerbach (1898 1978) British “Life Study”

Inscribed on a label verso 20.25” x 12” (51.4 x 30.5cm).

Provenance: Peacock Fine Art, London

£100‑£200

21” x 17.25” (53.3 x 43.7cm)

£100‑£150

166. Stanley Anderson (1884 1966) British “Sheep

Signed in pencil

Mounted, unframed 7.25” x 6” (18.3 x 15.2cm)

£100‑£200

167. Jacob Kramer (1892 1962) Russian Portrait of a Man

Pastel

Signed and dated 1933 in pencil

20.5” x 16.5” (52.2 x 41.8cm)

£200‑£300

169. Kathleen Streatfield (1877 1960) British “Fire! Fire! Fire!”

Watercolour and ink

Signed with initials in pencil and inscribed, and inscribed verso 7.75” x 6.25” (19.7 x 15.8cm).

Provenance: Stephen Somerville Ltd, London

Notes: Cartoon of Ida Nettleship, an artist and the first wife of Augustus John

£200‑£300

168. Gaston Bouy (1866 1943) French An Elegant Beauty

Pastel

Signed 18.5” x 7.5” (47 x 19cm)

£400‑£600

A collection of Indian Paintings from the late Mr Chandra Bhal

170.

Bose (1882 1966) Indian A Devi Figure Ink

Signed and signed with motif

Unframed 12” x 5.5” (30.5 x 14cm)

Provenance: The late Mr Chandra Bhal; thence by family descent

Notes: Figure study based on ‘Devi Figures’ in Ajanta and Ellora Caves £600‑£800

1966)

A Collection of Four Watercolours, Four Drawings and a Frontispiece in a sketchbook Ink

All signed

Unframed 8” x 6.5” (20.3 x 16.5cm) (8+1)

Provenance: The late Mr Chandra Bhal; thence by family descent. £6000‑£8000

172. Somnath Hore (1921 2006) Indian Group Study

Watercolour

Signed and dated ‘61

Unframed 10” x 14” (25.4 x 35.5cm)

Sold with a certificate from Chandana Hore (daughter of the artist).

Provenance: The late Mr Chandra Bhal; thence by family descent

£1000‑£1500

Inscribed on a label verso

Unframed 14.5” x 10.85” (36.8 x 27.5cm)

Provenance: Dhoomimal Dharamdas, New Delhi 1950’s; The late Mr Chandra Bhal; thence by family descent. £2000‑£3000

Unframed 14.5” x 11” (36.8 x 27.9cm)

Provenance: The late Mr Chandra Bhal; thence by family descent.

£2000‑£3000

175.

Roy (1887 1972) Indian “Baul”

Gouache

Signed

Unframed (overall) 10.85” x 8.85” (27.5 x 22.5cm)

Provenance: The late Mr Chandra Bhal; thence by family descent

Note: Baul is a wandering singer playing an ektara

£6000‑£8000

176.

Gouache

Signed

Roy (1887 1972) Indian

Unframed (overall) 10.85” x 8.85” (27.5 x 22.5cm)

Provenance: The late Mr Chandra Bhal; thence by family descent

Notes: This is based on the Santhal tribe based near Jharkhand area, Bihar and Bengal

£6000‑£8000

Erich Wolfsfeld

177. Erich Wolfsfeld (1884 1956) German Portrait of Professor Bose Etching

Signed in pencil and inscribed by Professor Bose to his pupil Eugen Hersch, and inscribed on a label verso 13” x 10.75” (33 x 27.3cm)

£200‑£300

179. Erich Wolfsfeld (1884 1956) German Nude Study Etching

19” x 17” (48.2 x 43.2cm)

£500‑£700

178. Erich Wolfsfeld (1884 1956) German “Gypsy Mother and Child” Etching

Signed in pencil, and inscribed on a label verso 13.75” x 11.5” (34.9 x 29.2cm).

Provenance: Belgrave Gallery, London, March 1995

£200‑£300

180. Erich Wolfsfeld (1884 1956) German “Head of a Man” Brown wash

Signed in pencil

Mounted, unframed 12.5” x 9.4” (31.7 x 24cm)

Provenance: The artist’s family

£600‑£800

181. Erich Wolfsfeld (1884 1956) German Head of a Lady Watercolour

Signed with initials

Mounted, unframed 14.75” x 12.25” (37.4 x 31.1cm)

£300‑£400

183. Erich Wolfsfeld (1884 1956) German Weeping Chalk

11.5” x 12.5” (29.2 x 31.8cm)

£400‑£600

182. Erich Wolfsfeld (1884 1956) German Head Study

Brown wash

13” x 9.5” (33 x 24.2cm)

£800‑£1200

184. Erich Wolfsfeld (1884 1956) German Seated Man

Chalk

Signed

21.5” x 14.5” (54.6 x 36.8cm)

£400‑£600

185. Erich Wolfsfeld (1884 1956) German

The Family Etching

Signed in pencil

Mounted, unframed 12” x 13.75” (30.5 x 34.9cm)

£300‑£400

186. Erich Wolfsfeld (1884 1956) German Head Study Brown wash

Signed in pencil, with a sketch verso

Mounted, unframed 10” x 13.5” (25.4 x 34.3cm)

£300‑£400

187. Erich Wolfsfeld (1884 1956) German Mother and Baby Chalk

14.25” x 22” (36.2 x 55.9cm)

£400‑£600

17” x 11.75” (43.2 x 29.9cm)

£500‑£700

20.75”

£300‑£400

21” x 15.25” (53.3 x 38.7cm)

£600‑£800

191. Erich Wolfsfeld (1884 1956) German Head Studies

Chalk

Signed and inscribed

23” x 16” (58.4 x 40.6cm)

£400‑£600

192. Erich Wolfsfeld (1884 1956) German Workmen

Chalk and charcoal

18.75” x 24.25” (47.6 x 61.6cm)

£500‑£700

193. Erich Wolfsfeld (1884 1956) German “Mont St Michel”

Watercolour, gouache and chalk

Signed and inscribed

18.5” x 25.75” (47 x 65.4cm)

£800‑£1200

194. Erich Wolfsfeld (1884 1956) German Head of a Lady Watercolour

18.5” x 15” (47 x 38.1cm)

£500‑£700

196. Erich Wolfsfeld (1884 1956) German Portrait of Dr Kurt Jacobi Oil on panel

Signed, inscribed ‘London’ and dated Nov 11.39 17” x 12” (43.2 x 30.5cm)

£400‑£600

195. Erich Wolfsfeld (1884 1956) German Standing Figure Oil on paper Signed Unframed 22.5” x 15.25” (57.1 x 38.8cm)

£300‑£400

197. Charles Gustav Louis Phillips (1863 1944) British “Near Kirkmichael, Perthshire”

Watercolour

Signed, inscribed and dated ‘19

14” x 21.75” (30.5 x 55.3cm)

£100‑£150

198. William Bernard Reid (1879 1961) British St Mark’s Square, Venice

Watercolour

Signed 10.5” x 13.75” (26.7 x 34.8cm)

£100‑£150

199. Julia Emily Clutterbuck (Alsop) (1871 1932) British “St Cecilia” (1916)

Watercolour

Signed and dated 1916, and inscribed verso 16” x 22” (40.6 x 55.8cm)

£100‑£200

200. Arthur Magyar Hind (1880 1957) British “On Wimbledon Common”

Watercolour

Signed and dated 1943 in pencil, and inscribed on a label verso 7.25” x 10.25” (18.4 x 26cm).

Provenance: Thos Agnew & Sons Ltd, London

£100‑£150

202.

Watercolour

Indistinctly signed

21” x 28.5” (53.3 x 72.3cm)

£100‑£150

204. Ronald T Horley

Watercolour

Signed, inscribed and dated 1961

Unframed 15.25” x 22.5” (38.7 x 57.2cm)

And another by the same hand “Laiguelia” (Laigueglia) (2)

£100‑£200

205.

Mixed media

Signed, inscribed and dated 47, and inscribed on labels verso 11” x 15” (27.9 x 38.1cm).

Provenance: The Torrance Gallery, Edinburgh, 1983; Flying Colours Gallery, London

£100‑£200

Watercolour

Signed

6” x 8” (15.2 x 20.3cm)

£100‑£150

Watercolour

Signed and inscribed

5.5” x 12” (14 x 30.5cm)

£100‑£150

207. John Piper

1992) British Standing Nude Ink and wash With a studio stamp

18.75” x 12.5” (47.7 x 31.7cm).

Provenance: Panter & Hall, London

£500‑£700

21” x 15” (53.3 x 38.1cm)

£500‑£700

Mixed media

Signed and dated 1991

19.25” x 15” (48.8 x 38.1cm)

£100‑£200

211.

Ink and crayon

Signed and inscribed

In a French painted carved wood frame

21.5” x 18” (54.6 x 45.7cm)

£100‑£200

210. Joan Steel (20th 21st Century) British “Afternoon Tea”

Watercolour and collage

Signed, inscribed and dated 1999 in pencil, and inscribed on a label verso

15.75” x 11.6” (40 x 29.5cm)

£100‑£200

212. Dennis Flanders (1915 1994) British “Skipton, Town Hall”

Watercolour and pencil

Signed and inscribed, and inscribed on a label verso

15.5” x 12” (39.4 x 30.5cm).

Provenance: The Catto Gallery, London

£100‑£150

213. Elisabeth Frink (1930 1993) British Sheep and Oyster Catcher Watercolour and pencil

Signed and dated ‘74

11.5” x 16” (29.2 x 40.6cm)

£2000‑£3000

214. Bernard Rooke (1938 ) British

Abstract Music Sheets

Mixed media

Signed in pencil

29” x 21” (73.7 x 53.3cm)

£150‑£200

215. Ronald Searle (1920 2011) British Ironing in a Modernist Interior

Watercolour and ink

Signed

14.75” x 9.75” (37.5 x 24.7cm)

£300‑£400

216. Rupert Shephard (1909 1992) British Riding in the Park Watercolour and ink

Signed and dated 1975

10.5” x 16.25” (26.7 x 21.2cm)

£100‑£150

217. Edmond Xavier Kapp (1890 1978) British “Ma blond (1952)” Watercolour

Signed, and inscribed on labels verso

8.5” x 13.5” (21.6 x 34.2cm).

Provenance: Ernest Brown & Phillips Ltd, The Leicester Galleries, London, April 1953; E Booth Esq

£150‑£200

Trevor Chamberlain

218. Trevor Chamberlain (1933 ) British Beached Boat Watercolour

Signed

8.75” x 12.75” (22.2 x 32.3cm)

£150‑£250

219. Trevor Chamberlain (1933 ) British Boats on the Thames Watercolour

Signed

7” x 10” (17.7 x 25.4cm)

£150‑£250

220. Trevor Chamberlain (1933 ) British Boats on the Thames Watercolour

7.25” x 10.75” (18.4 x 27.2cm)

£150‑£250

221. Trevor Chamberlain (1933 ) British “Deserted Street in Wapping”

Oil on artist’s board

Signed and dated ‘81, and inscribed verso and on a label verso

10” x 14” (25.4 x 35.5cm)

£250‑£350

Signed and dated April ‘71

£300‑£500

223. Edward Roworth (1880 1964) South African “Storm Above The Valley, Helderberg, Somerset West” Oil

Signed and dated 1952, and inscribed on a plaque

34” x 60” (86.4 x 152.4cm)

£500‑£1000

224. Joseph Morris Henderson (1863 1936) British

Signed

16” x 20” (40.6 x 50.8cm)

£300‑£500

225. Circle of

(1888 1964) French

13.75” x 18.75” (34.8 x 47.6cm)

£300‑£400

22”

£100‑£200

Signed, and inscribed on a label verso In a French painted carved wood frame

26.5” x 21.5” (67.3 x 54.6cm)

£100‑£200

£150‑£250

Signed 15.5” x 11.75” (39.4 x 29.8cm)

£500‑£700

Signed with initials and dated 1936, and inscribed verso Unframed 22” x 15” (55.8 x 38.1cm)

£300‑£500

Signed and dated 1902

51.25” x 38.25” (130.2 x 97.2cm)

Exhibited: Sale de L’Union de Femmes Peintres et Sculpteurs

£500‑£800

233. 20th Century English School Life

8.5” x 5.5” (21.6 x 14cm)

£200‑£300

234. M P E (20th Century) British Garden Scene Oil on canvas

Signed with monogram and dated 53

16” x 20” (40.6 x 50.8cm)

£300‑£400

235. William Rothenstein (1872 1945) British “A Farm Homestead” Oil on canvas

Inscribed on a plaque verso, and on a label verso 22” x 40” (55.8 x 101.7cm).

Provenance: Mr Smith

£400‑£600

236. Rowland Hill (1919 1979) Irish “Lough Anure The Rosses, Co. Donegal” Oil on canvas

Signed, and inscribed verso

14” x 20” (35.5 x 50.8cm)

£200‑£300

and

Provenance: Messum’s London £3000‑£4000

Signed and dated

15” x 18” (38.1 x 45.7cm)

£100‑£150

Signed 15” x 18” (38.1 x 45.7cm)

£100‑£200

240. A Duigou (20th Century) French Fantasy Fish Oil on panel

Signed, and signed, inscribed and dated Mai 1935 on a photograph label verso 11” x 14” (27.9 x 35.5cm)

£150‑£250

241. R Leblanc (20th Century) French Still Life of Vegetables and a Pot Oil on canvas

Signed and dated 1934

13” x 16” (33 x 40.6cm)

£150‑£200

Signed

19.5” x 15.75” (50.2 x 40cm)

£200‑£300

Signed and dated 49

28.5” x 21” (72.4 x 53.3cm)

£200‑£400

Inscribed on labels verso 13.75” x 9.75” (35 x 24.7cm)

£200‑£400

24” x 19.75” (61 x 50cm)

£200‑£300

246. Michael Upton (1938 2002) British “Summer, Portobello Road” Gouache

Inscribed and dated 1994 in pencil verso 11.75” x 8.5” (29.8 x 21.6cm)

Exhibited: David Hibberd Gallery, 1994

£200‑£300

247. Michael Upton (1938 2002) British “The Street II” Oil on board

Inscribed on a label verso

7.25” x 14.75” (18.4 x 37.5cm)

£300‑£400

248. William Edward Narraway (1915 1979) British “Reading” Oil on canvas

Signed, and inscribed and dated 1958 verso Unframed 30” x 25” (76.2 x 63.5cm)

Provenance: The artist’s family

Notes: This work depicts the artist’s wife, Olive, with Stephen and Nicholas their sons

£400‑£600

250. William Edward Narraway (1915 1979) British “Jenni” Oil on canvas

Signed and inscribed verso Unframed 36” x 28” (91.5 x 71.1cm)

Provenance: The artist’s family Exhibited: Royal Academy; Paris Salon (Gold Medal); Contemporary Portrait Painters

£500‑£700

249. William Edward Narraway (1915 1979) British “Stephen”, the artist’s son Oil on canvas

Signed and dated ‘58, and inscribed verso 30” x 25” (76.2 x 63.5cm)

Provenance: The artist’s family

£400‑£600

John Miller

251. John Miller (1931 2002) British “Paraportiani” Gouache

Signed with studio stamp on mount, and inscribed verso and inscribed on a label verso 13.75” x 14.25” (35 x 36.2cm).

Provenance: New Craftsman Gallery, Cornwall £200‑£300

252. John Miller (1931 2002) British “Autumn Carn” Oil on canvas

Inscribed verso and inscribed on a label verso 27” x 20” (68.6 x 50.8cm).

Provenance: New Craftsman Gallery, Cornwall £500‑£800

253. David Parfitt (1943 ) British “Pine, Piers, Laburnum and Incoming Tide” Oil on board

Inscribed on labels verso 6.7” x 8” (17 x 20.3cm)

Provenance: Messum’s London

£200‑£300

255. David Parfitt (1943 ) British “Palms and Pub Goers” Oil on board

Inscribed on labels verso 12” x 12” (30.5 x 30.5cm)

Provenance: Messum’s London £300‑£400

254. David Parfitt (1943 ) British “Drinking at the Pub, Sundown” Oil on board

Inscribed on labels verso 6.7” x 8” (17 x 20.3cm)

Provenance: Messum’s London £200‑£300

256. Francis Wynne Thomas (1907 1989) British “Venice, Festa del Redentore” Oil on canvas

Signed, inscribed on the stretcher with artist’s name, and inscribed with title on canvas verso

16” x 24” (40.6 x 61cm)

£200‑£300

257. Helen Lempriere (1907 1991) Australian “Gathering Palm-Shoots” Oil on board

Signed, and inscribed on labels verso 17.25” x 24” (43.8 x 61cm).

Provenance: The Leicester Galleries, April, 1965, No.18 £200‑£400

258. Robert Buhler (1916 1989) Swiss/British “Bobbolds Farm” Oil on artist’s board

Signed, and inscribed in pencil verso 14” x 17.75” (35.5 x 45.1cm)

£200‑£400

Signed and dated ‘53

16” x 20” (40.6 x 50.8cm)

£1200‑£1800

Signed

14” x 20” (30.5 x 50.8cm)

£1000‑£2000

Unframed 32” x 30.5” (81.3 x 77.4cm)

£100‑£150

Signed in pencil, and inscribed and dated 1974 verso 14” x 10” (35.5 x 25.4cm)

Provenance: The estate of Mary Millar Watt.

Notes: Portrait of the artist’s father, John Millar Watt (1895-1975)

£100‑£200

Signed

18” x 12” (45.7 x 30.5cm)

£100‑£150

Indistinctly signed

36” x 24” (91.5 x 61cm)

£100‑£200

(1974 ) Russian

Signed in Cyrillic, and signed and inscribed in Cyrillic verso 13” x 16.25” (33 x 41.3cm)

£2000‑£3000

) Russian

Signed in Cyrillic, and signed and inscribed in Cyrillic verso 16” x 10.5” (40.6 x 26.7cm)

£1200‑£1800

267. Viktor Fedorovich Vassin (1910 1997) Russian “Holiday by the Sea” Oil on canvas

Signed in Cyrillic and dated ‘63, and signed and inscribed in Cyrillic verso

23.5” x 29.25” (59.7 x 74.3cm)

£400‑£600

268. Viktor Fedorovich Vassin (1910 1997) Russian “Country House” Oil on canvas

Signed in Cyrillic and dated ‘63, and signed and inscribed in Cyrillic verso

26.5” x 30.5” (67.3 x 77.4cm)

£300‑£400

269. Viktor Fedorovich Vassin (1910 1997) Russian “Old Tree” Oil on canvas

Signed in Cyrillic and dated ‘73, and signed and inscribed in Cyrillic verso

30.5” x 30.5” (77.4 x 77.4cm)

£350‑£450

270. Viktor Fedorovich Vassin (1910 1997) Russian “By the Sea” Oil on canvas

Signed in Cyrillic and dated ‘61, and signed and inscribed in Cyrillic verso

26.75” x 31” (67.9 x 78.8cm)

£350‑£450

Signed in Cyrillic and dated 62, and signed and inscribed in Cyrillic verso

31” x 39.5” (78.8 x 100.3cm)

£400‑£600

Indistinctly inscribed in pencil verso

Unframed 25.5” x 21.25” (64.7 x 54cm)

£150‑£200

Signed, and inscribed on a label verso 28.5” x 21” (72.3 x 53.3cm)

£200‑£300

Signed, inscribed on a plaque and inscribed on a label verso 18.25” x 17.5” (46.4 x 44.4cm).

Provenance: Crane Kalman Gallery, London; D F Moore Esq, 25th September 1975

£100‑£200

Signed in Cyrillic and dated ‘65, and signed and inscribed in Cyrillic verso 31.5” x 26.5” (80 x 67.3cm)

£300‑£400

276. Konstantin Razumov (1974 ) Russian

Signed in Cyrillic, and signed and inscribed in Cyrillic verso 13.75” x 9.5” (34.8 x 24.1cm) £1200‑£1800

277. Konstantin Razumov (1974 ) Russian “Oriental

Signed in Cyrillic, and signed and inscribed in Cyrillic verso 18” x 15” (45.7 x 38.1cm)

£2000‑£3000

Hubert Arthur Finney

278. Hubert Arthur Finney (1905 1991) British “Misty Early Morning, Wokingham Church” Oil on canvas

Signed, and inscribed verso

16” x 20” (40.6 x 50.8cm)

Provenance: The artist’s family

£100‑£200

279. Hubert Arthur Finney (1905 1991) British Portrait of Christopher Rouse Oil on canvas

Signed, and inscribed verso

20” x 16” (50.8 x 40.6cm)

Provenance: The artist’s family

£100‑£200

280. Hubert Arthur Finney (1905 1991) British Untitled Oil on board

20” x 30” (50.8 x 76.2cm).

Provenance: The artist’s family

£200‑£300

281. Hubert Arthur Finney (1905 1991) British “The Harbour at Brindisi, Italy” Oil on board

Inscribed verso

20” x 30” (50.8 x 76.2cm)

Provenance: The artist’s family

£200‑£300

Signed,

Provenance: The New Art Centre, London

£300‑£500

Unframed 15.75” x 20” (40 x 50.8cm)

£300‑£400

Signed,

£300‑£500

285. Margaret Green (1925 2003) British Garden at Dusk Oil on canvas

Unframed 30” x 25” (76.2 x 63.5cm)

£300‑£500

286. Margaret Green (1925 2003) British “Down Town” Pencil

Signed with initials, and inscribed on labels verso 12.25” x 7” (31.1 x 17.8cm)

Provenance: Messum’s, London

£200‑£300

287. Margaret Green (1925 2003) British The Riverside Oil on canvas laid down Signed

Unframed 20” x 24” (50.8 x 61cm)

£200‑£400

288. Margaret Green (1925 2003) British Garden in Winter Oil on canvas laid down

Unframed 20” x 24” (50.8 x 61cm)

£200‑£300

Inscribed on a label verso 19.25”

Provenance: Messum’s London

£2000‑£3000

290. Mervyn Goode (1948 ) British “A Blanket of Snow, Late Afternoon” Oil on canvas

Signed, and inscribed verso

12” x 16” (30.5 x 40.6cm)

£200‑£300

291. David Woodford (1938 ) British “Snowdonia from the South East” Oil on board

Signed, and signed and inscribed in pencil verso

5” x 11.75” (12.7 x 29.8cm)

£100‑£200

292. J Billand (20th Century) French Still Life of Fruit Oil on canvas

Signed

21.5” x 25.5” (54.6 x 64.8cm)

£100‑£200

John Yardley

Provenance: Alexander Gallery, Bristol £1500‑£2000

294. Manner of Norman Cornish (1919 2014) British “Pit Gantry Steps” Oil on canvas

Inscribed verso 19.5” x 15.5” (49.5 x 39.4cm)

£300‑£500

295. Jake Attree (1950 ) British “The Corn Harvest (after Brueghel)” Oil pastel

Inscribed on a label verso 23.5” x 23.25” (59.7 x 59cm).

Provenance: Messum’s, London

£600‑£800

James MacDonald

Signed with initials

43” x 31” (109.2 x 79.3cm)

£1000‑£2000

Pamela June Crook

297. Pamela June Crook (1945 ) British “Famille dans la Boite Encore”

Acrylic on board and frame

Signed on outer frame, and signed, inscribed and dated 1994 verso, and inscribed on a label verso

Overall 5.25” x 6.25” (13.3 x 15.8cm)

Exhibited: Royal Academy Summer Exhibition, 1994

£200‑£300

298. Pamela June Crook (1945 ) British “Tea Time”

Acrylic on board and frame

Signed, and signed, inscribed and dated 1994 verso, and inscribed on a label verso

Overall 8.5” x 11” (21.6 x 27.9cm).

Provenance: Montpelier Studio, London; Mr and Mrs Nelson

£300‑£400

299. Pamela June Crook (1945 ) British “Street Scene”

Acrylic on board and frame

Signed, and inscribed on a label verso

Circular overall 11.4” x 11.4” (28.9 x 28.9cm).

Provenance: Montpelier Sandelson, London; Mrs and Mrs Nelson

£300‑£400

300. Pamela June Crook (1945 ) British

Acrylic on canvas laid down on a rippled panel Signed, and signed, inscribed and dated 1995 verso, and inscribed on a label verso 9.15” x 21.5” (23.2 x 54.6cm).

Provenance: Portal Gallery, London £600‑£800

301. 20th Century English School

A Painted Composition Frame, rebate 56” x 46” (142.2 x 116.8cm)

£80‑£120

302. Early 20th Century English School

A Gilt Composition Carlo Style Frame, rebate 50” x 30” (127 x 76.2cm)

£100‑£200

303. 19th Century English School

A Gilt and Painted Composition Frame, with swept corners, rebate 43” x 35” (109.2 x 88.9cm)

£40‑£60

305. 19th Century English School

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 38.5” x 30.5” (97.8 x 77.5cm)

£50‑£80

307. 20th Century English School

A Painted Composition Frame, with swept centres and corners and a fabric slip, rebate 37.25” x 33” (94.6 x 83.8cm)

£50‑£80

304. 19th Century English School

A Gilt Composition Frame, rebate 42.25” x 28” (107.3 x 71.1cm)

£30‑£50

306. 19th Century English School

A Painted Composition Frame, rebate 38” x 22” (96.6 x 81.3cm)

£40‑£60

308. 19th Century English School

A Painted Composition Frame, with swept corners, rebate 37” x 26.5” (94 x 67.3cm)

£30‑£50

A Gilt Composition Frame, with swept centres and corners, and an arched slip (horizontal), rebate 36” x 20.75” (91.5 x 52.7cm)

£150‑£250

A Gilt Composition

A Gilt Composition Frame, rebate 33.25” x 28” (84.4 x 71.1cm)

312. Early 19th Century French School

A Louis Style Painted Carved Wood Frame, with swept centres and corners, rebate 32.25” x 23.25” (81.9 x 59cm), without slip rebate 35” x 26” (88.9 x 66cm)

£200‑£300

313. Early 19th Century English School

A Carved Giltwood Frame, with Lely panels, rebate 32.25” x 21.25” (81.9 x 54cm)

£100‑£200

A Watts Gilt Composition Frame, rebate 30” x 22” (76.2 x 55.8cm)

£150‑£250

£100‑£200

£30‑£40

324. 20th Century English School

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 30” x 20” (76.2 x 50.8cm)

£40-£60

326. 19th Century English School

A Carved Giltwood Frame, with Lely panels, rebate 29.5” x 24” (75 x 61cm)

£100‑£200

325. A Gilt Composition Frame, rebate 30” x 16” (76.2 x 40.6cm)

£50‑£80

£40‑£60

336. 19th Century English School

A Gilt Composition Frame, with inset print, rebate 26.5” x 21” (67.3 x 53.3cm)

£30‑£50

338. 20th Century English School

A Gilt Composition Frame, rebate 26.25” x 19.5” (66.7 x 49.5cm) and two others similar, rebate 26.5” x 16.75” (67.3 x 42.5cm) and rebate 23.5” x 18” (59.7 x 45.7cm) (3)

£80‑£120

340. 19th Century English School

A Painted Composition Frame, rebate 26” x 21.5” (66.1 x 54.6cm)

£40‑£60

337.

A Gilt Composition Frame, rebate 26.25” x 21.5” (66.7 x 54.6cm)

£40‑£60

A Black Painted Frame, with a gilt slip, rebate 26” x 22.25” (66.1 x 56.5cm)

£40‑£60

341. 20th

A Painted Composition Frame, rebate 25.75” x 19.75” (65.4 x 50.2cm)

£60‑£80

A Black Composite Frame, with a gilt slip and inset print and glass, rebate 25.5” x 22” (64.8 x 55.8cm)

£40‑£60

345. 20th Century European School

A Gilt and Painted Composition Frame, with a fabric slipper, rebate 25.5” x 19.5” (64.8 x 49.5cm)

£50‑£80

347. 20th Century European School

A Gilt and Painted Frame, rebate 25” x 20” (63.5 x 50.8cm)

£100‑£200

346. 19th Century English School

A Maple Frame, with a gilt slip and inset print and glass, rebate 25” x 20.75” (63.5 x 52.7cm)

£50‑£80

A Painted Composition Frame, rebate 25” x 18” (63.5 x 45.7cm)

£30‑£40

A Gilt Composition Frame, with inset slip and mirror glass, rebate 24.75” x 17.75” (62.8 x 45.1cm)

£30‑£40

A Near Pair of Gilt Composition Frames, with central motif and inset print and glass, rebate 24.5” x 19.75” (62.2 x 50.2cm) and 23.75” x 19.5”

(60.3 x 49.5cm) (2)

£30‑£40

A Gilt Composition Frame, rebate 24.25” x 18.5” (61.6 x 47cm)

£30‑£50

A Darkwood Frame, with a gilt composition slip, rebate 24” x 20” (61 x 50.8cm) and another similar, rebate 22.5” x 17.5” (57.2 x 44.4cm)

355.

A Black Painted Frame, with a fabric slip and inset glass, rebate 23.5” x 17.5” (59.7 x 44.4cm) and five other frames (various sizes) (6)

£30‑£40

357. 19th Century English School

A Gilt Composition Frame, with swept corners and inset print and glass, rebate 23” x 19” (58.4 x 48.2cm) together with three other similar watercolour frames (various sizes) (4)

£30‑£40

359. 20th

English School

A Stripped Wooden Frame, rebate 22” x 18.5” (55.8 x 47cm)

£30‑£40

A Black Painted Frame, with a gold painted slip, rebate 23.25” x 18.5” (59.1 x 47cm) without slip, rebate 25” x 20.25” (63.5 x 51.4cm)

£40‑£60

358. 19th Century English School

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 22.5” x 15.5” (57.2 x 39.3cm)

£60‑£80

360. 20th

English School

A Painted Wooden Frame, rebate 22” x 18.25” (55.8 x 46.3cm)

£50‑£80

A Gilt and Painted Composition Frame, rebate 22” x 15” (55.9 x 38.1cm)

£50‑£80

A Painted Carved Wood Frame, rebate 21.75” x 18.25” (55.3 x 46.3cm)

£200‑£300

A Painted Carved Wood Frame, rebate 21.75” x 18.25” (55.3 x 46.3cm)

£60‑£80

A Painted Composition Frame, rebate 21.5” x 17.25” (54.6 x 43.8cm) and two other frames, rebate 26.75” x 20” (67.9 x 50.8cm) and 30.5” x 16” (77.5 x 40.6cm) (3)

£30‑£40

367. 20th Century English School

A Gilt and Black Painted Composition Frame, rebate 20.25” x 20.25” (51.4 x 51.4cm)

£50‑£80

369. 20th Century English School

A Gilt Composition Frame, with a white slip and inset glass, rebate 20.25” x 16” (51.4 x 40.6cm)

£30‑£40

371. Early 20th Century European School

A Gilt Composition Frame, rebate 20.25” x 14.5” (51.4 x 36.8cm)

£50‑£80

A Gilt Composition Frame, rebate 20.25” x 16.25” (51.4 x 41.3cm)

£30‑£40

19th Century English School

A Gilt Composition Frame, rebate 20.25” x 14.5” (51.4 x 36.8cm)

A Painted Composition Frame, rebate 20.25” x 13” (51.4 x 33cm)

£100‑£200

A Painted Wooden Frame, rebate 19.25” x 16.25” (48.9 x 41.3cm)

£40‑£60

A Wooden Frame, with a gilt inner edge and white slip with inset glass, rebate 19” x 18.5” (48.2 x 47cm)

£40‑£60

A Darkwood Frame, with a carved wood slip, rebate 18.25” x 13” (46.4 x 33cm)

£50‑£80

A

£50‑£80

A Gilt

£40‑£60

A Painted Carved Wood Frame, with a fabric slip, rebate 18.25” x 13” (46.3 x 33cm) without slip, rebate 20” x 14.75” (50.8 x 37.4cm)

£50‑£80

388. 20th Century French School

A Painted Wooden Frame, rebate 18” x 13” (45.7 x 33cm)

£40‑£60

390. 19th Century English School

A Darkwood Frame, with inset mirror glass, rebate 17.5” x 13.5” (44.4 x 34.3cm)

£30‑£40

392. 19th

English School

A Maple Frame with a coronet, with a gilt slip and inset print and glass, rebate 17” x 13” (43.2 x 33cm)

£30‑£40

389. 20th Century English School

A Silver and Black Painted Frame, rebate 17.75” x 13.75” (45.1 x 34.9cm)

£50‑£80

391. 19th Century English School

A Painted Frame, with a gilt slip, and inset tapestry and glass, rebate 17.5” x 12.75” (44.4 x 32.4cm)

£40‑£60

393. 19th Century English School

A Gilt Composition Frame, rebate 16.5” x 13” (41.9 x 33cm)

£50‑£80

A Gilt Composition Frame, with swept and pierced centres and corners and inset

400. 20th Century English School

A Gilt Composition Frame, rebate 16” x 14” (40.6 x 35.5cm)

£30‑£40

402. 20th Century European School

An Inlaid Wooden Frame, rebate 15.5” x 10.5” (39.4 x 26.7cm)

£30‑£50

A Darkwood Frame, rebate 14.5” x 10.5” (36.8 x 26.7cm)

£40‑£60

401. 20th Century French School

A Painted Composition Frame, rebate 15.75” x 11.75” (40 x 29.8cm)

£50‑£80

403. 19th Century English School

A Pair of Maple Frames, with gilt slips, rebate 14.5” x 11.5” (36.8 x 29.2cm) and another similar, rebate 15.25” x 12.75” (38.7 x 32.3cm) (3)

£80‑£120

405.

A Gilt Composition Frame, with inset print and eglomise glass, rebate 14” x 12” (35.5 x 30.5cm)

£30‑£40

406.

A Painted Composition Frame, rebate 13.75” x 9.5” (34.9 x 24.2cm) and another similar, rebate 13.75” x 10.75” (34.9 x 27.3cm) (2)

£80‑£120

409. 20th Century French School

A Painted Composition Frame, rebate 13” x 8.75” (33 x 22.2cm)

£50‑£80

411. 19th Century English School

A Gilt Composition Frame, rebate 12.25” x 10.25” (31.1 x 26cm)

£30‑£40

413. 20th Century French School

A Painted Wooden Frame, rebate 11.75” x 9.5” (29.8 x 24.2cm)

£30‑£40

410. Early 19th Century English School

A Gilt Composition Frame, with a circular slip and inset print and glass, rebate 12.25” x 12.25” (31.1 x 31.1cm)

£30‑£40

412. 19th Century English School

A Darkwood Frame, with a gilt slip, rebate 12” x 9.5” (30.5 x 24.2cm) and two other frames, rebate 12.75” x 9.75” (32.4 x 24.7cm) and 9” x 6.75” (22.8 x 17.2cm) (3)

£50‑£80

414. 20th Century French School

A Painted Carved Wood Frame, rebate 11.75” x 9.5” (29.8 x 24.2cm), and another similar, rebate 9.5” x 7” (24.2 x 17.7cm) (2)

£50‑£80

A Circular Gilt Composition Frame, with inset print and glass, rebate 8.25” x 8.25” (20.9 x 20.9cm)

418. Early 19th Century Dutch School

A Black Rippled Frame, rebate 8.25” x 5.5” (20.9 x 14cm) £100‑£200

419. 20th Century English School

A Gilt Composition Frame, rebate 7” x 6.5”

(17.8 x 16.5cm) and two other similar frames and another frame (various sizes) (4)

£80‑£120

(13.3

£40‑£60

A Gilt Composition Frame, with swept corners, rebate 5.75” x 5” (14.6 x 12.7cm)

£40‑£60

A

14th May 2026

Consign to our sales: No commission or illustration charges Just £15 (+VAT) per lot and 1.5% (+VAT) loss and damage waiver

Explanation of Catalogue Terms

The forename(s) (or asterisks where not known) and surname of the artist indicates, in our opinion, an original work by the artist named. The initials of the forename(s) and the surname of the artist indicates in our opinion a work of the period of the artist which may be wholly or in part his/her work.

‘Attributed to…’

‘Studio of … ’

‘Circle of … ’

‘Style of ’

‘Follower of … ’

‘Manner of … ’

‘After ’

‘Signed, Dated & Inscribed’

‘Highlighted Signature’

‘Bears a Signature’

‘Oil Painting’

‘Mixed Media’

In our opinion probably a work by the artist, but with less certain ty as to authorship in whole or part

In our opinion a work by an unknown artist in the studio of the artist, possibly under the artist’s direction.

In our opinion a work of the period, by an unknown artist with the artist’s influence

In our opinion a work at a later date, by an unknown artist following the artist’s style

In our opinion a work at a much later date, by an unknown artist following the artist’s style.

In our opinion a work at an unknown date, by an unknown artist following the artist’s style.

In our opinion a work at a later date, by an unknown artist copying a work of the artist

In our opinion the signature, date and inscription are from the hand of the artist.

In our opinion the signature is/are from the hand of the artist, in whole or part, that may have been restored.

In our opinion the signature is not by the artist and has been added by another hand/hands at a later date.

In our opinion is painted in oils or acrylic

In our opinion a mixture or combination of part, some or all of the following - Oil, Watercolour, Gouache, Pencil, Ink or Print.

BUYER’S FEES - All purchases are subject to a buyer’s premium, which is charged per lot at 25% of the hammer price plus VAT at the current rate of 20% will be added to the buyer’s premium of all lots.

CONDITION REPORTS - Condition repor ts can be requested by contacting us at info@parkerfineartauctions.com or calling us on 01252 20 30 20. Bidders must satisfy themselves as to the condition of each lot. A Condition Report is an honest expression of our opinion and not a statement of fact and is provided as a service to the Seller Requests for condition reports must be submitted 24 hours before the start of the sale. The absence of a condition report in this catalogue does not imply there are no imperfections in the works.

REQUEST FOR IMAGES - More images can be found in the online catalogue. Requests for additional images of items in the sale can be made up to 24 hours before the start of the sale.

Please note the colours portrayed in the catalogue, and in additional images, are the best attempt at a likeness but cannot be confirmed as identical to the true colours.

Please note that, owning to the recent introduction of money laundering regulations clients wishing to bid in this auction will be asked to provide two forms of identification. This applies to new and existing clients.

ATTENDING THE AUCTION - If intending to buy you are required to register your name and details at our reception desk on the day of the auction. You will then be allocated a bidding number, which you use when bidding for an item.

ABSENTEE BIDS - You can place an absentee bid, and the auctioneer will bid on your behalf to obtain the lot as cheaply as possible as allowed by other bids and reserves. To make an absentee bid you can complete a bidding form at reception, telephone us, or send us your bid by email. You should give us the maximum hammer price you are prepared to pay, remembering to take into account the buyer’s premium and any taxes and charges payable on top of the hammer price.

Absentee bids must be submitted by close of business on the day before the sale If identical bids are submitted, the person who bid first will take precedence.

TELEPHONE BIDDING - You can take part in the sale by bidding over the telephone. Telephone lines must be booked by close of business on the day before the sale and are allocated on a first-come-first-ser ved basis.

ONLINE BIDDING - Bidding can be done through Easylive Auctions or the-saleroom.com. Bidding on these sites is directly through the relevant platforms and will incur extra commission charges. Please refer to the individual bidding websites for their individual terms and conditions.

PAYMENT - Payment will be accepted, if you are a successful bidder, by bank transfer direct into our bank account, by debit card issued in the name of the Buyer by a UK bank and registered to a UK billing address, by all major UK issued credit cards issued in the name of the Buyer and registered to a UK billing address (up to £1000), or in cash up to £8,000 (subject to relevant money laundering regulations). The name of the bank account holder should match the name of the buyer. Payment may also be made by sterling personal cheques drawn on a UK bank account and made payable to ‘Parker Fine Art Auctions Ltd’, however Lots paid for by this method cannot be collected until your cheque has cleared. Payment can be made and purchases collected during the auction. All accounts must be settled within 14 days of the sale. Accounts not paid within 14 days will automatically be subject to an interest charge (not exceeding 1.5% per month on the total amount due). Monies from wire transfers and cheques must be cleared into our account for 24 hours before items may be collected

If the buyer has failed to collect within a period of two months (from sale date), Parker Fine Art Auctions reser ve the right to re-enter the uncollected items through auction, to recover the cost of storage and associated costs. At this time the buyer relinquishes all claims to ownership and any right to financial compensation

CO L LECTIO N - Be fo re b ei n g a b l e t o col l ec t yo ur pu rc has es yo u a re required to pay the hammer price, plus the applicable charges, and obtain a receipt acknowledging payment.

Once payment for lots has been received collection or transpor tation of purchased lots must be made within 14 days of the sale to avoid storage charges

We are open for collections Monday – Friday between 9am and 5pm, or by arrangement

STORAGE - Storage charges will be levied on all lots not collected within 14 days of the sale of £5 plus VAT per lot per day.

DELIVERY - If you are arranging your own professional collection and deliver y, please ensure the lot has been paid for and the transport company h as f u l l d e tai l s o f the item s

authorisation note

In some circumstances some ver y small items may be posted for a fee, but this will be at the Auctioneer’s discretion and will be subject to your own Insurance and Liability Please contact us if you would like details of local shipping companies.

For Full terms and conditions please go to our website www.parker finear tauctions.com

IMPORTANT NOTICES FOR JEWELLERY BUYERS

DAMAGE, RESTORATION, ALTERATION

Although every effort is made to note any damage, restoration or alterations, the absence of any such information in catalogue descriptions does not imply the lot is in perfect condition and free for any such defects. Potential Bidders should satisfy themselves as to the condition of any lot prior to bidding.

ENHANCEMENT

Potential bidders should be aware that many coloured gems have been historically treated by a variety of methods to improve their appearance, both in terms of colour and transparency. Rubies and sapphires are routinely heat treated, emeralds are enhanced through the use of coloured and transparent oils and resins, and jadeite is routinely stained. These treatments, and others including irradiation and coating, are generally accepted by the jewellery trade as standard practice. Although most treatments are considered to be permanent, those gemstones which have been oiled may need to be re-treated to maintain their appearance. Any such treatments affect the market value of coloured gemstones, and Parker Fine Art Auctions pre-sale estimates published in the catalogue assume that all gemstones, unless otherwise stated in the catalogue, may have been enhanced. Parker Fine Art Auctions may obtain Gemmological Reports from a recognised laboratory where appropriate detailing any enhancements, or lack of, for certain gemstones, and such reports may be obtained for Potential Bidders prior to the sale, provided such requests are made at least three weeks before the sale, and that the requesting party has prepaid for such a report. However it is not possible for Parker Fine Art Auctions to obtain reports for every stone offered in the sale.

In the absence of a gemmological laboratory report, it is not possible for Parker Fine Art Auctions to make any comment on the possibility that any gemstone in any lot may have been subject to enhancement.

WEIGHTS

All gram weights have been obtained using an electronic balance, but weights stated in the catalogue are approximate and for guidance only, and potential bidders should satisfy themselves as to their accuracy.

‘…approximately 1.20 carats total,…’ all such stone weights are estimated using standard equipment and formulae, and are subject to the limitations imposed by the mount.

‘…weighing 1.20 carats,…’ where the description reads as such, the stones in question have been removed from the mount and weighted using an electronic balance.

IMPORTANT NOTICES FOR WATCH BUYERS

All Lots are sold as seen, and the absence of any reference to the condition of a watch does not imply the lot is in good condition and without defects, repairs or restorations. Most watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. We do not undertake any inspection of any watches prior to any Sale. We make no representation or warranty that any watch is in working order. As watches often contain fine and complex mechanisms, Potential Bidders should be aware that a general service, change of battery or further repair work, for which they are solely responsible, may be necessary.

DAMAGE, RESTORATION, ALTERATION

Although every effort is made to note any damage, restoration or alterations, the absence of any such information in catalogue descriptions does not imply the lot is in perfect condition and free from any such defects. Potential Bidders should satisfy themselves as to the condition of any lot prior to bidding. All watches are serviced from time to time, and Parker Fine Art Auctions are unable to guarantee that the working parts of any watch movement, glass or crystal, winding crowns, watch bracelet, strap or buckle are the manufacturers’ original parts, unless otherwise stated in the catalogue description. We are unable to make any representation in our catalogue descriptions or condition reports as to the authenticity of such parts. Parker Fine Art Auctions are unable to make any representation, nor make any comment on, the authenticity of diamonds, or other gemstones, set into watch dials, bezels, cases and bracelets.

AUTHENTICATION

All watch movements have been inspected by Parker Fine Art Auctions’ specialists, and we have verified all inventory and movement numbers. For the information of Potential Bidders, all inventory and movement numbers are listed in the catalogue description for the relevant lot.

IMPORT/EXPORT RESTRICTIONS

There may be Import Restrictions into some territories outside the United Kingdom placed on certain watch brands, or on the importation of watches with straps composed of animal skins which may fall under CITES Regulations. It is the sole responsibility of the buyer to comply with all Export/Import regulations and potential bidders are strongly recommended to check with their shipping agent as to any such regulations that may apply to any lot. Parker Fine Art Auctions are not shippers and are unable to offer any advice regarding such regulations.

CONDITION REPORTS

Parker Fine Art Auctions condition reports will identify whether a watch functions at the time of cataloguing, and suggest possible, but not comprehensive, restoration work that may need to be carried out for the watch to function properly. Parker Fine Art Auctions are unable to test watches for accuracy or running to time, and we cannot guarantee that any watch will function when purchased from us.

As we have examined all watch movements by removing the case backs, we cannot guarantee that water resistant watches will remain water resistant following purchase from us. Parker Fine Art Auctions recommend that any watch purchased from us is subsequently overhauled by a competent watchmaker to ensure proper functioning.

Conditions of Sale for Public Auctions

`Parker Fine Art Auctions Ltd carries out business with Bidders, Buyers and Sellers on the following conditions and on such terms, conditions and notices as may be referred to herein. All Bidders, Buyers and others participating in a public auction accept that these terms apply to the exclusion of any terms and conditions contained in any of those person ’ s own documents even if the same purport to provide that they or some other terms prevail. Any particular public auction and/or any particular lot in an auction may be subject to different or additional terms which will be published in our auction catalogue online

The Buyer’s attention is particularly drawn to clause 24 (consumers) and clause 23 (non-consumers), which set out the extent of the Auctioneer’s and the Seller’s liability to the Buyer

Please read these Conditions together with our “Information for Buyers” document, which provides additional information and terms applicable to our auctions.

DEFINITIONS 1

In these Conditions:

“Auction Terms and Conditions” means these Conditions, the Terms (a) of Consignment and any other terms applicable to auctions conducted by the Auctioneer and notified to Buyers, Bidders and/or Sellers (as applicable);

“Auctioneer”, “ we”, “ us ” or “ our ” etc means the firm of Parker Fine (b) Art Auctions Ltd or its authorised auctioneer, as appropriate;

“Conditions” means these Conditions of Sale for Public Auctions (which (c) include the terms set out in “Information for Buyers”);

“deliberate forger y ” means an imitation made with the intention of (d) deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;

“hammer price” means the level of bidding reached (at or above any (e) reserve) when the auctioneer brings down the hammer;

“Information for Buyers” means the document named Information for (f) Buyers at Public Auction containing additional terms and information for Buyers available on our website at www parkerfineartauctions.com;

“Lots” any items or group of items offered for sale by us as agents for (g) the Seller;

“Seller” means any person that appoints us as their agent to sell Lots on (h) their behalf;

“Terms of Consignment” means the stipulated terms and rates of (i) commission on which we accept instructions from Sellers or their agents including those terms set out in the document named “ Terms of Consignment for Public Auctions” which can be found on our website or are available upon request;

“Total Amount Due” means the hammer price in respect of the Lot sold (j) together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

“Sale Proceeds” means the net amount due to the Seller, being the (k) hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; “ you”, “ your”, etc. refer to the buyer as identified in Clause 3.4; The singular includes the plural and vice versa as appropriate; and (l) A person includes a natural person, corporate or unincorporated body (m) (whether or not having separate legal personality)

2. FORMATION OF CONTRACT

A contract for the sale and purchase of a Lot shall come into existence between the Seller and the Buyer on these Conditions upon acceptance by the Auctioneer of a bid by the Buyer

3. BIDDING PROCEDURES AND THE BUYER

3 1 Bidders are required to register their particulars before bidding by completing a sale registration form and to satisfy any security arrangements before entering the auction room to view or bid

3.2 Under the money laundering regulations in force we are required to verify the identity of all customers we transact with as well as any beneficiaries on behalf of whom they may transact Customers who are unable to or refuse to supply required identification documents and proof of address may not be able to bid at our auctions. Copies of

3.3

customer due diligence checks will be stored for as long as it is necessary to satisfy legal requirements in an appropriate storage facility which for the avoidance of doubt may include storage solely in electronic form

The maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the Auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise The auctioneer shall act reasonably in exercising this discretion. The Auctioneer shall rule the bidding and no bid may be retracted

3.4

3 5

3 6

The Buyer is the person who is successful in purchasing a Lot or Lots in accordance with these Conditions. Purchases made on behalf of a third party are the responsibility of the Buyer in the room. The Auctioneer reser ves the right to bid on behalf of the Seller for any Lot and to withdraw, consolidate or divide any Lot or Lots

Bidders shall be deemed to act as principals (i.e not on behalf of or as the agent of any other person).

Our right to bid on behalf of the Seller is expressly reserved up to the amount of any reserve below the bottom estimate and the right to refuse any bid is also reserved 4. INCREMENTS

5

6

Bidding increments shall be at the Auctioneer’s sole discretion

THE PURCHASE PRICE

The purchase price payable for a Lot is the hammer price plus a buyer’s premium thereon of 25% plus VAT on the premium at the rate imposed by law and is payable in accordance with clause 7.

VALUE ADDED TAX.

Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger or double dagger symbol. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots (Please refer to “Information for Buyers” for a brief explanation of the VAT position) 7

PAYMENT

7 1 Immediately a Lot is sold you will:

(a) give to us, if requested, proof of identity, and (b) pay to us the total amount due in pounds sterling

7 2 Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether expressed or implied.

7 3 In order to comply with money laundering regulations we reserve the right to require proof of source of funds and/or confirmation of the nature and source of wealth for all receipts of monies from clients directly or from third parties for payments on behalf of clients. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either us or the Seller

8

TITLE AND COLLECTION OF PURCHASES

8.1 The ownership of any Lots purchased shall not pass to you until you have made payment in full in cleared funds to us of the total amount due.

8 2 You shall at your own risk and expense take away any lots that you have purchased and paid for no later than 14 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges.

8 3 No purchase can be claimed or removed until it has been paid for

9

REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

9.1 If any Lot is not paid for in full and taken away in accordance with these Conditions, or if there is any other breach of these Conditions, we, as agent for the Seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: to proceed against you for damages for breach of contract; (a) to rescind the sale of that Lot and/or any other Lots sold by us to you; (b) to resell the Lot (by auction or private treaty) in which case you shall be (c) responsible for any resulting deficiency in the total amount due (after

crediting any part payment and adding any resale costs) Any surplus so arising shall belong to the Seller;

to remove, store and insure the Lot at your expense and, in the case of (d) storage, either at our premises or elsewhere;

to charge interest at a rate not exceeding 1.5% per month on the total (e) amount due to the extent it remains unpaid for more than fourteen working days after the sale;

to retain that or any other Lot sold to you until you pay the total amount (f) due;

to reject or ignore bids from you or your agent at future auctions or to (g) impose conditions before any such bids shall be accepted; or

to apply any proceeds of sale of other Lots due or in future becoming (h) due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of ) over any of your property in our possession for any purpose until the debt due is satisfied.

9.2 We shall, as agent for the Seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these Conditions

10. THIRD PARTY LIABILITY

10.1 All bidders, buyers and other members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury or for the safety of the property of persons visiting prior to or at a sale (except in each case as may be required by law by reason of our negligence)

11 COMMISSION BIDS

11.1 Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition and authenticity, we will if so instructed clearly and in writing execute bids on their behalf Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so

11 2 Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made

12 WARRANTY OF TITLE AND AVAILABILITY

12 1 The Seller warrants to the auctioneer and you that the Seller is the true owner of the property consigned or is properly authorised by the true owner to consign for sale and is able to transfer good and marketable title to the property free from any third party claims.

12.2 We are acting as the agent of the Seller only and give no warranty as to the Seller’s title to the Lot.

12.3 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statute, common law or otherwise are excluded to the fullest extent permitted by law

13. TERMS OF SALE

The Seller and the Buyer acknowledge that Lots are sold subject to the stipulations of these Conditions (including the Information For Buyers) in their entirety and on the Terms of Consignment as notified to the Seller at the time of the entry of the Lot

14. DESCRIPTIONS AND CONDITION

14 1 Whilst we seek to describe Lots accurately, it may be impractical for us to carr y out exhaustive due diligence on each Lot. Bidders are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf ) must satisfy themselves as to the accuracy of any description applied to a Lot Bidders also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently.

14.2 Subject to the foregoing neither we the auctioneer nor our employees or agents nor the Seller accept liability for the correctness of such opinions and all conditions, attributions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded

14.3

14 4

14 5

We are not liable for damage to gilded picture frames, plaster picture frames or picture frame glass. If the Lot is, or becomes dangerous, we may dispose of it without notice to you in advance in any manner we see fit and will be under no liability for doing so We shall not be liable for any damage to any Lot arising during the viewing, during the sale, or after the sale

We act as agents only Each Prospective Buyer by making a bid for a Lot acknowledges that they have satisfied themselves fully as to the attribution and condition of the Lot Pictures have not been removed from their frames unless specifically mentioned in the Condition Report (as in the event the item is unsold it must be returned to the Seller in the condition it was received by us). This Condition is subject to deliberate forgeries (clause 17).

Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation

15. TRANSFER OF RISK.

15 1 The risk in the Lot shall pass to the Buyer upon completion of the Sale by the Auctioneer

15.2

We are not responsible for the correct description, genuineness or authenticity of any Lot as per these Conditions. The Buyer is deemed to have inspected each Lot and satisfied himself/herself to the condition.

16. OWNERSHIP OF THE LOT

Title to the Lot purchased will not pass to the Buyer until the Buyer has paid us in full and cleared funds the total amount due pursuant to these Conditions and we have applied such payment to the Lot

17 FORGERIES

17 1 Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium unless:

(a) the catalogue description reflected the accepted view of scholars and experts as at the date of sale; or

(b) you personally are not able to transfer a good and marketable title to us,

and in the event of clause 17.1 (a) or 17.1 (b) applying you shall have no rights under this condition.

17 2 The right of return provided by this clause 17 is additional to any right or remedy provided by law or by these Conditions

18. PRIVACY NOTICE.

We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our website parkerfineartauctions.com

19. GENERAL

19.1 We shall have the right, at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

19 2 Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the Seller and/or the Auctioneer as appropriate.

19 3

19 4

Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the Seller and/or the auctioneer who may themselves enforce them

Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

20. NOTICES

Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email in which case it shall be deemed to have been received by the addressee 48 hours after posting or in the event of email upon actual receipt of such email

21 NO WAIVER

Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect

22 LIABILITY

Nothing in these Conditions shall limit any liability which cannot legally be limited, including liability for:

(a) death or personal injury caused by negligence;

(b) fraud or fraudulent misrepresentation;

(c) breach of the terms implied by section 12 of the Supply of Goods Act 1979 (title and quiet possession) however attention is drawn to clause 12.2

23 LIMITATION OF LIABILITY TO NON-CONSUMERS

(This clause 23 applies only to non-Consumers)

23 1 Subject to clause 22, and unless you are an individual purchasing or selling the Lot for purposes which are wholly or mainly outside your trade, business, craft or profession (Consumer), our total liability to either the Buyer of the Seller (as appropriate) shall not exceed the value of the Lot sold by the Seller to the Buyer The following types of loss are wholly excluded by us:

(a) loss of profits;

(b) loss of sales or business;

(c) loss of agreements or contracts;

(d) loss of anticipated savings;

(e) loss of or damage to goodwill, and

(f ) indirect or consequential loss

23 2 Subject to clause 22, all conditions, warranties and other terms which might otherwise be implied by statute, common law or the law of equity, including without limitation the terms implied by sections 13 to 15 of the Sale of Goods Act 1979, are, to the fullest extent permitted by law, expressly excluded

24.1 LIMITATION OF LIABILITY TO CONSUMERS

(This clause 24 applies only to Consumers)

24 1 Consumers are reminded that we act only as an agent of the Seller and are not the supplier of the Lots

24 2 If the Auctioneer or the Seller fails to comply with these Conditions, it or they shall be responsible for loss or damage you suffer that is a foreseeable result of its or their breach of these Conditions or its or their negligence, but neither the Auctioneer nor the Seller shall be responsible for any loss or damage that is not foreseeable. Loss or damage is foreseeable if they were an obvious consequence of the breach or if they were contemplated by the Agent and/or the Seller and the Buyer at the time this contract was entered into.

25. RIGHT TO CANCEL

25 1 If you purchase a Lot at a virtual auction (an auction which is held online only so that there is no possibility for you to attend the auction in person) and you are contracting as a Consumer and the Seller of a Lot is a trader, you will have a statutory right to cancel your purchase of that Lot if you change your mind for any reason The provisions below set out your legal right to cancel in those circumstances

25 2 You may cancel your purchase at any time from the date of our order confirmation up to the end of the fourteenth day after the day of collection of the lot by you or the person specified by you for collection

25.3 To cancel your purchase, you must inform us of your intention to cancel it. You can do this by completing the model cancellation form which can be found on our website. If you use this method we will email you to confirm that we have received your cancellation. Alternatively, you send us your cancellation notice by any other method and then your cancellation is effective from the date you send us the email or post the letter to us.

25.4 If you exercise your right to cancel your purchase, you will receive a refund of the total amount due paid for the Lot in accordance with clause 7. When exercising the cancellation right, you must return the lots to us immediately at your own cost (as set out below)

25 5 You are entitled to a reasonable opportunity to inspect the Lots (which will include removing them from their packaging and inspecting them). At all times, you must take reasonable care of the Lots and must not let them out of your possession. They must remain in original, untouched condition. If you are in breach of your obligations to take reasonable care of the Lots in this clause 25 4, we will have a claim against you and may deduct from the refund costs incurred by us as a result of the breach.

25 6

25 7

26

This provision does not affect your statutory rights

The cancellation right described in this clause 25 is in addition to any other right that you might have to reject a Lot, for instance because it is a deliberate forgery as set out in clause 17 above

EXERCISING THE RIGHT TO CANCEL

26 1 Where you have validly returned a Lot to us under your right of cancellation described in clause 25, we will refund the full amount paid by you for the Lot

26.2

26 3

26 4

Please note that we are permitted by law to reduce your refund to reflect any reduction in the value of the Lot, if this has been caused by your handling of the Lot in a way contrary to the conditions specified in these terms or which would not be permitted during a pre-sale exhibition held prior to an auction. If we refund you the price paid before we are able to inspect the Lot and later discover you have handled the Lot in an unacceptable way, you must pay us an appropriate amount

You will be responsible for returning the Lot to us at your own cost

We will process any refund due to you within the deadlines below:

(a) if you have collected the Lot but have not returned it to us: fourteen days after the day on which we receive the Lot back from you or, if earlier, the day on which you provide us with evidence that you have sent the Lot back to us; or

(a) if you have not collected the Lot or you have already returned the Lot to us: 14 days after you inform us of your decision to cancel your contract

26 5 We will refund you using the same means of payment that you used for the transaction.

26 6

Legal ownership of a Lot will immediately revert to the Seller if we refund any such payment to you

27.1 DISPUTES

Any dispute not herein provided for shall be settled at the sole discretion of the Auctioneer 28

FORCE MAJEURE

We shall not be in breach of these Conditions nor liable for the delay in performing, or failure to perform, our obligations under these Conditions (or otherwise) if such a delay or failure results from events, circumstances or causes beyond our reasonable control. 29

ENTIRE AGREEMENT

These Conditions constitute the entire agreement between the parties and supersede and extinguish all previous agreements, promises, assurances warranties representations and understandings between them, whether written or oral, relating to its subject matter. Except as set out in these Conditions, no variation of these Conditions shall be effective unless it is in writing and signed by the parties (or their authorised representative)

30 IMAGES

Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Parker Fine Art Auctions Ltd relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Parker Fine Art Auctions Ltd, subject to the provisions of the Copyright, Design and Patents Act 1988 Parker Fine Art Auctions Ltd and the seller make no representations or warranties that the buyer of a lot will acquire any copyright to other reproduction rights to it.

31. GOVERNING LAW AND JURSIDICTION

These Conditions shall be governed by and construed in accordance with English law and the parties irrevocably submit to the exclusive jurisdiction of the English courts