Parker Fine Auctions Painting and Frames Sale

Fine Paintings & Frames Sale

Thursday 5th March 2026 at 11am

Forthcoming Fine Paintings & Frames Sale

16th April 2026

Consign to our sales: No commission or illustration charges

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

Thursday 5th March 2026

Paintings starting at 11am

Frames starting at 2.30pm

Friday 27th February 10am to 4pm

Saturday 28th February 10am to 2pm

Sunday 1st March 10am to 2pm

Monday 2nd March 10am to 4pm

Tuesday 3rd March 10am to 4pm

Wednesday 4th March 10am to 4pm

Thursday 5th March 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

Old Master and European Paintings pre 1850

1. James Gillray (1756-1815) British “The Valley of the Shadow of Death” Etching

Published by Hannah Humphrey

9.75” x 15” (24.7 x 38.1cm)

£300-£500

2. After Jan Griffier Snr (1645/52-1718) Dutch Wild Birds

Engraved by Francis Barlow

8.25” x 11.75” (21 x 29.8cm)

£100-£200

3. After Francois Valentyn (1666-1727) Dutch “De Eliphants - Jagt gedaan in’t Jaar 1717 inde Alutcoer Corle” (Ceylon)

Engraved by J C Philips

Unframed 10.75” x 14.5” (27.3 x 36.8cm)

Together with seven other engravings by various hands (8)

£100-£200

4. After George Morland (1763-1804) British “The Cottagers”

Engraved by William Ward

In a gilt frame with eglomise glass

18” x 22.5” (45.7 x 57.1cm)

£100-£200

5. After William Redmore Bigg (1755-1825) British “Saturday Morning, Going to Market”

Engraved by Thomas Burke

In a gilt frame with eglomise glass

18.5” x 23” (47 x 58.3cm)

£100-£200

6. After William Redmore Bigg (1755-1825) British A Pair of Engravings; “The Romps” and “The Truants”

Engraved by William Ward

In gilt frames with eglomise glass

17.75” x 23.25” (45.1 x 59.1cm) (2)

£150-£200

8. After William Simpson (1823-1899) British “Hospital and Cemetery at Scutari” Lithograph after J Needham

12.25” x 18.25” (31.1 x 46.2cm)

Provenance: The Parker Gallery, London £100-£150

7. After George Maile (1800-1842) British “Napoleon Bonaparte” Print

14.5” x 17.75” (36.8 x 45cm)

Together with another print of Napoleon by C E Wagstaff (2) £100-£150

9. After Jean-Baptiste Le Prince (1734-1781) French “The Russian Dance” Print

11.5” x 9.25” (29.2 x 23.4cm) £100-£150

10. After Robert Smirke (1753-1845) British

“The Body of a Young Man” Engraved by Robert Pollard Unframed, overall 19” x 23.5” (48.2 x 59.7cm)

And the companion piece, “The Young Man Restored to Life”, a pair (2) £100-£200

11. After Henry Raeburn (1756-1823) British Portrait of Sir Walter Scott (Novelist and Poet 1771-1832)

Pencil and chalk heightened with white with gridlines

21” x 14.25” (53.3 x 36.3cm)

£200-£300

12. William Derby (1786-1847) British Portrait of Jeremiah Dyson (1757-1835)

Watercolour

Inscribed on labels verso 7.5” x 5.5” (19 x 14cm)

Provenance; Bourne Gallery Ltd, Reigate

Notes: A Preparatory sketch for this work is held in the National Portrait Gallery, London. Dyson was a clerk to The House of Commons, circa 1830

£300-£500

13. Early 19th Century English School

A Set of Four River Landscapes including Oxfordshire and Berkshire

Watercolour

Inscribed on the mounts

Each 4.25” x 6.5” (10.7 x 16.5cm) (mounted as one)

£100-£200

14. Circle

A Pair of Mountainous River Landscapes

Watercolour

5.5” x 8” (14 x 20.3cm) (2)

£100-£200

15. Manner of John Russell (1745-1806) British

26.75” x 22.75” (68 x 57.8cm) £100-£150

16. Late 18th Century

a period frame

13.5” x 10” (34.3 x 25.4cm) And the companion piece, a pair (2) £100-£200

17. C Stapleton (18th-19th Century) British “A Hilly Landscape”

Watercolour

Signed and dated 1790, and inscribed on a plaque

18.5” x 25” (47 x 63.5cm)

£100-£200

18. Circle of Henry Joseph Van Blarenberghe (1750-1826) French Hunters and Figures in a Landscape

Gouache

6.75” x 8.75” (17.2 x 22.3cm)

£100-£150

19. 18th Century Italian School

Figure Studies

Gouache

Fan shaped

6” x 19” (15.2 x 48.2cm)

£100-£200

A

19” x 23.5” (48.2 x 59.7cm)

£300-£400

14.5” x 21” (36.8 x 53.3cm)

Provenance: The Parker Gallery, London

£400-£600

22. After Andrea Del Sarto (1486-1530) Italian “Madonna of the Harpies” Oil on canvas

8.5” x 7” (21.6 x 17.8cm) Together with the “Madonna del Granduca” after Raphael (2) £200-£300

23. Manner of Gaspard Dughet (1615-1675) Italian Figure in a Classical Landscape Oil on panel

9.25” x 11.5” (23.6 x 29.2cm)

£150-£200

24. Circle of John Constable (1776-1837) British Figure Fishing by a River Oil on card laid down Unframed 7.5” x 5.75” (19 x 14.6cm) £100-£150

A Capriccio River Landscape with figures in the foreground Oil on canvas

In a fine carved giltwood frame

28” x 37.5” (71.1 x 95.2cm)

£2000-£4000

26. After Joshua Reynolds (1723-1792) British “Robinetta” Oil on canvas

24” x 20” (61 x 50.8cm)

£300-£400

27. Circle of Godfrey Kneller (1646-1723) German/British Portrait of Miss Harvey Oil on canvas

Inscribed on labels verso

30” x 25.5” (76.2 x 64.8cm)

Notes: Daughter of Colonel Harvey (inscribed on label verso)

£500-£800

28. H Testobrund (19th Century) European “A Polish Nobleman” after Rembrandt van Rijn Oil on canvas laid down

Signed

28” x 24” (71.1 x 61cm)

£150-£200

In a fine carved

7.25”

£3000-£5000

30. After Lawrence Alma-Tadema (1836-1912) Dutch/British “Eloquent Silence”

Engraved by PJ Arendsen

Signed by both artists in pencil

In a fine wooden frame

Overall 20” x 16.25” (50.8 x 41.3cm)

£100-£150

31. After Gustave Dore (1832-1883) French “Milton’s Paradise Lost”

Illustrated book Published by Cassell Publishing, 1905

£100-£150

32. Christian Vilhelm Nielsen (1833-1910) Danish “Rosenborg Castle, Copenhagen” Watercolour

Signed with initials 12” x 8.4” (30.5 x 21.4cm) And another by the same hand (2) £100-£200

33. 19th Century American School

A Father and Son, with the allegory of the bird cage

Watercolour

13.5” x 19” (34.2 x 48.2cm)

£400-£600

34. Michael Angelo Hayes (1820-1877) Irish

“The Scots Greys, The Second Dragoons, outside an inn on the eve of Waterloo”

Watercolour

Signed with initials, and inscribed on a label verso

9.5” x 15.75” (24.1 x 40cm)

£600-£800

35. 19th Century English School Still Life of Flowers in a Vase Watercolour

Inscribed on a label verso 10” x 7.5” (25.4 x 19cm)

Provenance: Sabin Galleries Limited, London £100-£150

36. Charles Edward Wilson (1854-1941) British The Young Shepherdess Watercolour

Signed and dated 1901

20.5” x 13.75” (52.1 x 34.8cm)

£350-£450

37. Gianni (19th-20th Century) Italian “An Old Salt” Watercolour

Signed, inscribed on the mount Mounted unframed 17” x 12” (43.2 x 30.5cm)

And the companion piece “A Neapolitan Fisherman” (2) £100-£150

38. Herbert William Piper (1846-1921) British “Bosham”

Watercolour

Signed and inscribed

13.5” x 23” (34.2 x 58.3cm)

£100-£150

39. Wilfred Williams Ball (1853-1917) British “Red House Farm, Surrey”

Watercolour

Signed and inscribed, and inscribed on a label verso 7” x 10.5” (17.8 x 26.7cm)

£100-£200

40. Wilfred Williams Ball (1853-1917) British “Cottages Near Winchester, Hants”

Watercolour

Signed, and inscribed verso 7.25” x 11.25” (18.4 x 28.5cm)

And two others by the same hand both titled “A Surrey Highway” (3)

£150-£250

Signed and dated 1884, and inscribed verso

6” x 9.5” (15.3 x 24.2cm)

And three others by the same hand (4)

£250-£350

Signed and dated 1902

5.5” x 7.5” (14 x 19.1cm)

£100-£200

Signed and dated 1895

12.75” x 18.75” (32.4 x 47.6cm)

£100-£200

44. William Purser (c.1790-c.1852) British Camel Train by Pyramids

Signed with initials

7.25” x 9” (18.3 x 22.8cm)

£100-£200

46. 19th-20th Century European School

7.75” x 9.75” (19.7 x 24.8cm)

£100-£200

Signed, and signed and inscribed verso 20” x 30” (50.8 x 76.2cm)

£100-£200

45. P J Stevenson (19th Century) British ‘Ear Studies’ Pencil

Signed and dated Nov 19 ‘67

7.25” x 9.25” (18.4 x 23.5cm)

£100-£150

47. After

9” x 11” (22.8 x 27.9cm)

£100-£200

49. Arthur Knowles (c.1875-c.1950) British “Crook o’ Lune, Lancaster” Oil on canvas

Signed, and inscribed in pencil verso 20” x 30” (50.8 x 76.2cm)

£100-£200

50.

“The Castle Rock, Lynton”

Signed, and inscribed on the slip

7” x 10” (17.8 x 25.4cm)

£100-£200

13” x 24” (33 x 61cm)

£150-£200

A

Signed

12” x 20” (30.5 x 50.8cm) (2)

£300-£400

51.

Signed

20” x 29.75” (50.8 x 75.5cm)

£200-£300

53.

Inscribed on a label verso

8” x 11.5” (20.3 x 29.2cm)

£200-£300

55. Attributed to Christoph Christian Ruben (1805-1875) German “Ave Maria, The Night Crossing” Oil on copper

Unframed 14.5” x 18.25” (36.8 x 46.2cm)

£250-£350

56. Edward Charles Williams (1807-1881) British ‘A Wooded River Landscape with Figures on a Bridge’ Oil on panel

Inscribed on a label verso 18” x 24” (45.7 x 61cm)

Provenance: Christies, London, Important Victorian Paintings, 19th May 1978, Lot 39

£300-£500

57. After Walter Hunt (1861-1941) British “The Dog in the Manger” Oil on canvas

18” x 26” (45.7 x 66cm)

£200-£300

58. Richard Hilder (1813-1852) British ‘A Wooded Landscape with Drover, Cattle and Sheep’ Oil on panel

Inscribed on a label verso 14” x 18” (35.5 x 45.7cm)

Provenance: Christies, London, Important Victorian Paintings, 19th May 1978, Lot 154

£400-£600

59. William Henry Mander (1850-1922) British A Mountainous River Landscape with Figures Fishing Oil on canvas

Signed and dated ‘07

Unframed 20” x 30” (50.8 x 76.2cm)

Provenance: Dowmunt Galleries, Surrey

£250-£350

60. Samuel John Egbert Jones (1797-1861) British An Encampment with a mill house in the distance Oil on canvas

Signed

28” x 36” (71.1 x 91.5cm)

£400-£600

61. Attributed to William Shayer Snr (1787-1879) British Unloading The Catch Oil on canvas

Unframed 30” x 40” (76.2 x 101.6cm)

£600-£800

62. William Edward Norton (1843-1916) American ‘The Seaweed Gatherers’ Oil on canvas

Signed and dated ‘77

34” x 60” (86.3 x 152.4cm)

Provenance: Frost & Adams, Boston

£2000-£3000

24” x 20” (61 x 50.8cm)

£100-£200

65.

40” x 19.75” (101.7 x 50.1cm)

£100-£200

for Birds Oil on paper laid down

Inscribed on a label verso

13” x 10.75” (33 x 27.3cm)

£100-£150

66.

Signed and dated 1896

Unframed 26” x 20” (66 x 50.8cm)

£100-£150

Signed and dated 1893

12” x 20” (30.5 x 50.8cm)

£2000-£3000

68.

Signed and dated ‘88

12.25” x 9.25” (31.1 x 23.5cm)

£150-£250

Signed

8” x 6” (20.3 x 15.2cm)

£300-£500

Signed and dated 1798

In a maple frame

30” x 25” (76.2 x 63.5cm)

£200-£300

74. William Malbon (1805-1877) British Feeding the Rabbits Oil on panel

Signed

16” x 20” (40.6 x 50.8cm)

£400-£600

75. Alice Boyd (1825-1897) British “A Resting Place, Warwickshire” Oil on canvas

Signed with monogram and dated 1881, and signed and inscribed on a label verso

16” x 20” (40.6 x 50.8cm)

Provenance: Christie’s, Penkill Castle, Girvan, Ayrshire, 1992

£200-£300

76. 19th Century English School A Lane in Highgate Oil on canvas

Inscribed verso Unframed 10” x 12” (25.4 x 30.5cm)

£150-£200

Signed and dated 1865, and inscribed verso 7” x 12” (17.8 x 30.5cm)

£400-£600

78. After Henry Strafford (1830-1873) British A Set of Four Prize Bulls Prints

Overall 9” x 11” (22.8 x 27.9cm) (4)

£100-£200

79. Early 19th Century English School

A Pair of “Small & Large Breeds” (Pigs) Prints published by Thomas Kelly

7.75” x 10” (19.7 x 25.4cm) Together with two other prints of cows and dogs (4) £100-£200

80. Thomas Blinks (1860-1912) British Pack of Bloodhounds

Watercolour

Signed with monogram

Mounted unframed 7.5” x 11.25” (19 x 28.6cm)

£100-£150

81. Fred Hall (1860-1948) British At The Gallops

Pencil

Inscribed on a label verso 7.5” x 11” (19 x 27.8cm) And another by the same hand of a lady on horseback, pencil, 5.5” x 8.25” (14 x 20.9cm) (2)

£100-£200

Signed

Unframed 10” x 14” (25.4 x 35.5cm)

£100-£200

Signed

36” x 28” (91.5 x 73.7cm)

£400-£600

84. Dwight Case Sturges (1874-1940) American “Sisters” (1915) Etching

Signed in pencil

8” x 6.4” (20.3 x 16.2cm)

Notes: Sisters by Dwight Sturges was awarded the Lamont Prize for figure work by the Chicago Society of Etchers in 1915

£100-£150

85. Salvador Dali (1904-1989) Spanish “Women in the Waves” Drypoint

Signed and numbered 45/145 in pencil 15.5” x 12.25” (39.4 x 31.1cm)

£100-£200

87. Edgar M. Wilson (1861-1918) British “Greenwich Hospital”, (1916) Etching

Signed and inscribed “Greenwich Hospital 2.4” in pencil by the artist and numbered ‘37’ and inscribed in the plate “Greenwich 1916 To R. Leicester Harmsworth Esq. M.P.” Mounted, unframed 6” x 9” (15.03 x 22.8cm)

Notes: A rare etched view of Royal Naval College at Greenwich. No published editions of this etching are recorded.

£350-£450

86. Harry Becker (1865-1928) British “Dutch Cattle in Stall” Lithograph Inscribed on a label verso 14.25” x 21.75” (36.2 x 55.3cm)

Provenance: The Simon Carter Gallery Exhibited: Ipswich Borough Council Museums and Galleries, 1993 (sold with exhibition catalogue)

£150-£250

Jiri Tranka

88. Jiri Tranka (1912-1969) Czechoslovakian A Set of Five “Midsommarnattsdrom”

Lithographs

Signed and dated ‘61 in pencil

Unframed in an album (each) 18” x 12”

(45.7 x 30.5cm) (5)

£500-£800

“Balzacs

A set of eight lithographs

Seven numbered in pencil

Together with a frontispiece signed by Picasso, Numbered ‘5’

Author Michel Leiris, Edition by Louise Leiris, 1957

Enclosed in a folder

Each 8.8” x 6.5” (22.5 x 16.5cm)

£800-£1200

90. Mary Potter (1900-1981) and William Plomer (1903-1973) British “A Note from a Cello” (The Maltings Restored)

Screenprint

Signed by both artists and numbered 25/75

Unframed 18.5” x 27.75” (47 x 70.5cm)

£100-£200

92. Fabien Perez (1967-) Argentinian “For a Better Life”

Print

Signed in pencil

8” x 10.25” (20.3 x 26cm)

£100-£200

94. John Knapp Fisher (1931-2015) British “Lone Cyclist”

Limited edition print

Signed and numbered 485/750 in pencil

6” x 13.75” (15.2 x 34.8cm)

£100-£150

91. Michael Blaker (1928-2018) British “Punch & Judy at Broadstairs”

Etching, aquatint and wash

Signed, inscribed and numbered 1/300 in pencil, and inscribed on labels verso

13.25” x 17” (33.6 x 43.2cm)

Provenance: Bankside Gallery, London; Winsor Birch, Marlborough

£100-£150

93. Itzchak Tarkay (1935-2012) Israeli “Grace II”

Serigraph

Signed, inscribed and numbered 106/350 in pencil

15.25” x 19.25” (38.7 x 48.8cm)

£100-£150

95. Robert Heindel (1938-2005) American The Dancers

Print

Signed and numbered 147/185 in pencil

24.25” x 40” (61.6 x 101.6cm)

£100-£200

96. Peter Blake (1932-) British “Designers Saturday”

Screenprint

Signed, inscribed, numbered 114/350 and dated 1984 in pencil

Unframed (overall) 10.25” x 10” (26 x 25.4cm)

£100-£200

98. Allen Jones (1937-) British “Designers Saturday” Screenprint

Signed, inscribed, numbered 420/650 and dated October ‘85

Unframed (overall) 10.25” x 10” (26 x 25.4cm)

£100-£200

97. Patrick Hughes (1939-) British “Designers Saturday”

Screenprint

Signed, numbered 121/300 and dated ‘83 in pencil

Unframed (overall) 10.25” x 10” (26 x 25.4cm)

£100-£200

99. Norman Ackroyd (1938-2024) British “A Scottish Daybreak”

Etching

Signed, inscribed with titled and ‘artist’s proof’ and dated 1974 in pencil

14.5” x 13.5” (36.8 x 34.2cm)

Provenance: Larkhall Fine Art Ltd, Bath, 2003

£300-£400

101. Norman Ackroyd (1938-2024) British “Rackwick Valley Morning”

Etching

Signed, inscribed, numbered 21/75 and dated 1974 in pencil

19.5” x 19” (49.5 x 48.2cm)

100. Norman Ackroyd (1938-2024) British “Spilling Cloud”

Etching

Signed, inscribed, numbered 47/90 and dated 1979 in pencil 13.5” x 21.25” (34.2 x 54cm)

Provenance: Larkhall Fine Art Ltd, Bath, 2003

£200-£400

And the companion piece “Rackwick Valley Night”, Signed, inscribed and numbered 17/40 and dated 1974 in pencil, a pair (2)

Provenance: Larkhall Fine Art Ltd, Bath, 2003

£400-£600

102. Terry Frost (1915-2003) British “Newlyn Rhythm” Etching

Signed, inscribed numbered P/P and dated 95 in pencil, and inscribed on a label verso 21.5” x 13.75” (54.6 x 34.8cm)

Provenance: Goldmark Art, Rutland, 2003

£600-£800

103. Graham Sutherland (1903-1980) British “Inferno” Lithograph

Signed and numbered 42/75, and inscribed on a label verso 18.75” x 24.75” (47.7 x 62.9cm)

Provenance: Goldmark Art, Rutland, 2003

£600-£800

104. Power (20th-21st Century) British “Setting Out” Screenprint

Signed, inscribed and numbered 3/10 in pencil

22” x 15” (55.8 x 38.1cm)

£100-£150

106. Tully Crook (1938-) British ‘Floating’ Lithograph in Colours

Signed, inscribed, dated ‘79 and numbered 139/200 in pencil

105. Gillian Whaite (1934-2012) British “Grasses and Butterflies” Etching and watercolour

Signed and inscribed

23.5” x 17.5” (59.7 x 44.4cm)

And another by the same hand “Flowers in March” (2)

£100-£150

11.5” x 11.5” (29.2cm x 29.2cm) and another by the same hand, ‘Nice’

Lithograph in colours, Signed, inscribed, dated ‘80 and numbered 84/200 in pencil

17” x 17” (43.1 x 43.1cm) (2)

£100-£150

107. Rupert Shephard (1909-1992) British

A Set of Five Linocuts from ‘London, The Passing Scene’

Including “The Bus”, “The Royal Exchange”, “Putney Reach”, “Hyde Park” and “The District Line”

All signed, inscribed and numbered 59/60 in pencil

Together with the numbered frontispiece

Each sheet overall unframed 22” x 18” (55.8 x 45.7cm) (5)

£400-£600

108. Beryl Cook (1926-2008) British “The Garden Centre” Lithograph

Signed and numbered 467/850 in pencil

20” x 15” (50.8 x 38.1cm)

£150-£200

110. Robert Heindel (1938-2005) American

“I travel the wide road in my youthful fashion”

Print with printer’s guild stamp

Signed and numbered 148/250 in pencil

34.5” x 30.5” (87.7 x 77.5cm)

£100-£200

109. Julian Trevelyan (1910-1988) British “Camel Corps” Etching

Signed, inscribed and numbered 139/250 in pencil

13.6” x 18.75” (34.7 x 47.6cm)

£200-£300

British

31.5” x 30.75”

£100-£200

112. Simon Allen (1967-) British “Sunspot”

23.25 carat gold leaf on carved wood

Signed, inscribed and dated 2007 verso

38.6” x 38.6” (98 x 98cm)

Together with the original catalogue

Exhibited: Goldfish Gallery, ‘Crossings’, 2007

£1000-£2000

113. Grace Pailthorpe (1883-1971) British “November 6 1945”

Watercolour

Inscribed on a label verso

9.5” x 13” (24.2 x 33cm)

Exhibited: Oliver Bradbury and James Birch Fine Art, London, ‘Grace Pailthorpe Exhibition’ 13th April to 12th May, 1984, No.8 (sold with catalogue) £100-£200

115. Tom Waghorn (1900-1959) British “Arundel”

Watercolour and ink

Signed with monogram, and inscribed on a label verso 10.25” x 14.75” (26 x 37.4cm) £100-£150

117. George Clausen (1852-1944) British “Sunrise in September” Pencil (a preparatory sketch)

Signed and annotated and dated September 6th 1923, and inscribed on a label verso 8.75” x 11.25” (22.2 x 28.6cm)

Provenance: Dedicated by the artist to RGO Alexander Notes: The finished work is in the Ferens Art Gallery, Hull £100-£200

114. Amy Watt (1900-1956) British ‘Cattle, Dedham Vale’

Watercolour

Inscribed verso

8.5” x 13” (21.6 x 33cm)

Provenance: The Estate of Mary Miller Watt £100-£150

116. Rodney Joseph Burn (1899-1984) British “The Rehearsal” Watercolour, pencil and wash

Signed, and inscribed on a label verso 14.75” x 16.25” (37.4 x 41.2cm)

Provenance: AA Haley; The Fine Art Society, London, 6th January 1981 Notes: Awarded Slade School Prize c.1922 £100-£200

118. Charles Mahoney (1903-1968) British “The Deluge” Pencil study Inscribed on a label verso 10” x 12” (25.4 x 30.5cm)

Provenance: Dorothy Mahoney (nee Bishop) the artist’s widow; The Fine Art Society, London, 2000

Exhibited: Preston, Harris Museum and Art Gallery; Canterbury, Royal Museum and Art Gallery, London

Provenance: The artist’s widow; The Fine Art Society ‘Charles Mahoney, 1999-2000’ £100-£200

119. Arthur Henry Knighton Hammond (1875-1970) British “Polperro” Watercolour

Signed and inscribed in pencil

19.5” x 24.5” (49.5 x 62.2cm)

£150-£250

120. Hugh Browning (1899-1956) British “The Park, Cheltenham” Pastel

9” x 11.5” (22.8 x 29.2cm)

Provenance: From the artist’s studio; thence by family descent

£200-£300

121. Attributed to Josef Herman (1911-2000) Polish/British A Man Outside a Cottage Watercolour and ink

9” x 11.5” (22.8 x 29.3cm)

£200-£400

122. Early 20th Century European School Head Study of an Indian Gentlemen

10” x 6.75” (25.4 x 17.1cm)

£100-£200

124. Doris Clare Zinkeisen (1897-1991) British A Young Boy in Costume Watercolour and pencil

Signed Unframed 22” x 15.5” (55.8 x 39.3cm)

And three other costume designs by the same hand (4)

£100-£200

123. 20th Century English School Still Life of Flowers in a Vase Watercolour

12.25” x 9.5” (31.2 x 24.2cm)

£100-£150

125. Norman Blamey (1914-2000) British “Ordination” Pencil and watercolour (a preparatory sketch)

Signed with initials, and inscribed on a label verso 14” x 10” (35.5 x 25.4cm)

Provenance: Abbott & Holder, London

Notes: The finished work is in Tate, London

£100-£200

126. Hedley B Marshall (20th Century) British “Serenissima” Oil on board

Signed and inscribed on a label verso

27” x 20” (68.7 x 50.8cm)

Exhibited: Nottingham Museum and Art Gallery

£100-£200

128. Alfred Rawlings (1855-1939) British Henley Regatta Watercolour

Signed

13.25” x 9.75” (33.6 x 24.8cm)

£100-£150

127. Arthur Ambrose McEvoy (1878-1927) British “The Duke of Portland” Watercolour, pencil and black chalk

Signed, and inscribed on a label verso 14” x 10.5” (35.5 x 26.7cm)

Provenance: The Duchess of Portland; Spink, London

Exhibited: National Portrait Society, 4th Annual Exhibition, 1915, No.22 Literature: C. Johnson ‘The Works of Ambrose McEvoy from 1900-1919’, Vol II, p.11

£400-£600

129. Clifford Hall (1904-1973) British “St Mark’s, Venice” Watercolour and ink

Signed and dated 1949, and inscribed on labels verso 10.25” x 13” (26 x 33cm)

£400-£600

130. Malcolm Arbuthnot (1874-1967) British ‘La Corbiere Lighthouse’ Watercolour

Signed and dated 1948 in pencil

14” x 18” (35.5 x 45.7cm)

£100-£200

131. Malcolm Arbuthnot (1874-1967) British Coastal Scene

Watercolour

Signed in pencil

10.25” x 14” (26 x 35.5cm)

£200-£300

132. David Bomberg (1890-1957) British “St Paul’s Cathedral, London” Charcoal

Signed and dated 44 scratched in charcoal 17.75” x 23.25” (45.1 x 59.1cm)

Provenance: Barbara Pulman; Whitechapel Art Gallery, London, ‘David Bomberg The Later Years’ 1979, No.45; private London collection; thence by descent £5000-£7000

133. Alexander Inglis (1911-1992) British “Judith’s House, Watendlath”

Watercolour

Signed, and inscribed on a label verso 15” x 19.25” (38.1 x 48.8cm)

£100-£200

135. Edward Bawden (1903-1989) British “The Lord is My Shepherd”

Ink

Signed and inscribed in pencil

2” x 5” (5.1 x 12.7cm)

£100-£150

137. Charles Harold Bartlett (1921-2014) British “Farm Pond”

Watercolour

Signed, and inscribed on labels verso 13” x 17.25” (33 x 43.7cm)

Provenance: Winsor Birch, Marlborough

£100-£150

134. Ray Robinson (1931-2022) British “Marlow Church”

Gouache

Signed, and inscribed on a label verso 13.25” x 18.5” (33.6 x 47cm)

£100-£150

136. Martin Searby (20th-21st Century) British ‘Coastal View’

Watercolour

9.5” x 12.5” (24.2 x 31.8cm)

Sold with an exhibition catalogue

£100-£150

138. Adelene Fletcher (20th-21st Century) British “Pantry Shelf”

Watercolour

Signed, and inscribed on labels verso 8” x 10” (20.3 x 25.4cm)

Exhibited: Bankside Gallery, London

Provenance: Winsor Birch

£100-£150

139. Harold Riley (1934-2023) British A Farmstead in Evening Light

Watercolour and pastel

Signed and dated ‘76

6” x 6.5” (15.2 x 16.5cm)

Provenance: Donated by the artist to the British Airways auction for The Adventure Farm Trust

£300-£400

140. Harold Riley (1934-2023) British Beach Scene at Sunset

Watercolour

Signed and dated ‘74

6” x 6.5” (15.2 x 16.5cm)

Provenance: Donated by the artist to the British Airways auction for The Adventure Farm Trust

£300-£400

141. Olwen Jones (1945-) British “The Group”

Watercolour

Signed in pencil, and inscribed on labels verso 17” x 15.5” (43.2 x 39.3cm)

Provenance: Winsor Birch, Marlborough

£100-£150

143. Mary Miller Watt (1924-2023) British “Cornish Boy”

Pastel and pencil

Signed and inscribed, and inscribed verso 11.5” x 10” (29.2 x 25.4cm)

Together with a pencil hand study, and an ink of an historical costume study (3)

Provenance: The Estate of Mary Miller Watt £100-£200

142. Patrick Procktor (1936-2003) British Ballet Dancers

Watercolour

Signed and dated ‘68

Mounted unframed 11.75” x 11.5” (29.8 x 29.2cm)

£100-£200

144. Rod Pearce (1942-) British A Ballooning Scene

Watercolour

Signed 10.75” x 14.25” (27.3 x 36.2cm)

Together with a watercolour by Dick Hale of Bentley Museum (2) £100-£200

John A Blakey

145. John A Blakey (1952-) Irish

“Kit Ward”

Watercolour

Signed and dated ‘93, and inscribed on a label verso 15” x 12.25” (38.1 x 31.1cm)

Exhibited: Royal Society of Portrait Painters at The Mall Galleries, 1993

£200-£300

147. John A Blakey

The Cockerel

Watercolour

Signed

22.5” x 16.5” (57.2 x 41.8cm)

£100-£200

146.

Watercolour

A

Signed and dated ‘91

Circular 13.5” x 13.5” (34.2 x 34.2cm)

£150-£200

148. John Collier (1850-1934) British Beach Scene Oil on panel

Signed, and inscribed verso

Unframed 7.75” x 11.5” (19.7 x 29.2cm)

Provenance: Dulcie Lavid-Clowes, 1919; Joyce Greener, 1934

£100-£200

150. George Smith (1870-1934) British ‘Sheep at the Farm’ Oil on artist’s board

Inscribed verso

12” x 15.5” (30.5 x 39.3cm)

Provenance: Thomson Roddick Callan, July 2024

£100-£200

152. Early 20th Century English School

13” x 19.5” (33 x 49.5cm)

£100-£200

149. Suzanne Dinkes (1895-1984) French ‘Venetian Canal’ Oil on board

Inscribed on a label verso 20” x 24” (50.8 x 61cm)

£100-£200

151. Circle of Daniel Vazquez Diaz (1882-1969) Spanish Venetian Gondolas Oil on board

Bears a signature

15.75” x 19.75” (40 x 50cm)

£100-£200

153. William Watt Milne (1865-1949) British

Signed

12” x 16” (30.5 x 40.6cm)

£200-£300

Signed

6.75” x 11.5” (17.2 x 29.2cm) £3000-£5000

155. Circle of Fred Hall (1860-1948) British Farm Scene with a horse in the foreground Oil on canvas laid down

Unframed 15” x 22” (38.1 x 55.8cm)

£200-£300

156. 20th Century English School Children by a Pond Oil on board

11” x 14.5” (27.9 x 36.8cm)

£150-£200

157. Bernard Dunstan (1920-2017) British Reclining Nude Oil wash

Signed with initials, and inscribed verso 14.75” x 19.5” (37.5 x 49.5cm)

£200-£300

158. Stanley Grimm (1891-1966) British “Fishermans Hut, Walberswick” Oil on board

Signed, and inscribed on a label verso 12” x 16” (30.5 x 40.6cm)

Exhibited: The Royal Institute of Oil Painters

£300-£400

159. Tom Trythall Rowe (1856-1940) British “St Peter’s Street, Marlow” Oil on board

Signed

12.5” x 15.75” (31.8 x 40cm)

£300-£400

160. Circle of Victor Pasmore (1908-1998) British Park Bench Oil on board

Indistinctly inscribed

17.25” x 23.75” (43.8 x 60.3cm)

£200-£300

161. Early 20th Century English School

Bust Portrait of a Lady Oil on canvas laid down

Oval 23.5” x 19.5” (59.7 x 49.5cm)

£150-£200

162. Farley (20th Century) British Portrait of Kitty Godley Oil on canvas

Signed, and indistinctly inscribed on a label verso 30” x 20” (76.2 x 50.8cm)

Notes: Kathleen Godley (nee Garman) was the daughter of Jacob Epstein and his lover Kathleen Garman (they later married).

She sat for her father and her first husband

Lucian Freud and was an artist herself, holding a show at The New Art Gallery Walsall. She later married the musician and economist Wynne Godley.

£200-£400

163. Francis Wilson (1876-1957) British Self-Portrait Oil on canvas

Signed, and inscribed verso

19.5” x 16” (49.5 x 40.6cm)

£100-£200

Provenance: By descent from the artist’s family

£2000-£3000

165. Samuel Ernest Wharton (20th Century) British “Inner Harbour, Brixham, Devon” Watercolour

Signed and dated 1943, and inscribed on a label verso

30.5” x 22” (77.5 x 55.8cm)

£150-£200

166. Samuel Ernest Wharton (20th Century) British “Marketing Produce, Zagreb, Yugoslavia” Oil on canvas

Signed and dated ‘71, and inscribed on a label verso 26.25” x 22.25” (66.7 x 56.5cm)

Exhibited: Paris Salon, 1972

£150-£200

167. Samuel Ernest Wharton (20th Century) British “Colombus Column & Caravel, Barcelona Waterfront” Oil on canvas

Signed and dated ‘71, and inscribed on a label verso 22” x 30” (55.8 x 76.2cm)

Exhibited: Coventry & Warwickshire Society of Artists

£150-£200

Vincenzo Migliaro

Signed with initials, and signed verso 6” x 9.7” (15.2 x 24.5cm)

Provenance: The Redfern Gallery Ltd, London; C B Cowper Coles £5000-£8000

Unframed 35” x 26.75” (88.8 x 68cm)

£200-£300

171.

Signed and dated ‘34

20” x 16” (50.8 x 40.6cm)

£100-£200

10.25” x 8” (26 x 20.3cm)

£400-£600

172. 20th Century English School A Female Barrister Oil on panel

15.75” x 11.5” (40 x 29.2cm)

£150-£200

Signed

24.75” x 19.5” (62.9 x 49.5cm)

£800-£1200

174. Edmond Charles Rene His (1877-1960) French Woodland Stream Oil on board

Signed 17” x 26” (43.2 x 66cm)

£300-£500

175. Jacob Zucker (1900-1981) Polish “Notre Dame on the Seine” Oil on canvas

Signed, and inscribed on a label verso 23.5” x 29” (59.7 x 73.7cm)

Provenance: The Bruton St Gallery, London

£400-£600

Inscribed and dated ‘52 verso, and inscribed on a label verso

36.5” x 28.75” (92.6 x 73cm)

Exhibited: Salon de L’Education National £300-£400

Signed and dated ‘52, and inscribed verso

25.5” x 21.25” (64.8 x 54cm)

£200-£300

Signed and dated ‘47/48

38” x 29.75” (96.5 x 75.6cm)

£300-£400

179. Keith Henderson (1883-1982) British Portrait of a Lady Oil on board

Signed, and inscribed verso

24” x 35” (61 x 88.9cm)

£100-£200

181. Andre Demonchy (1914-2003) French “L’Abbaye des Hommes a Caen” Ol on canvas

Signed, and inscribed verso Unframed 19.5” x 24” (49.5 x 61cm)

£100-£200

183. Dexter Brown (1942-) British “Run Rabbit Run”

Acrylic on board

Signed, and inscribed verso 4.75” x 7.5” (12.1 x 19cm)

£100-£200

180. Alison Rylands (20th-21st Century) British “The Assumption of the Virgin, Lemonitissa, Symi” Oil on canvas

Signed, and inscribed and inscribed on a label verso 10” x 12” (25.4 x 30.5cm)

Provenance: Winsor Birch, Marlborough

£100-£150

182. Andre Demonchy (1914-2003) French “Une Rue du Vieux, St. Leu, Amiens” Oil on canvas

Signed, and inscribed verso Unframed 19.5” x 24” (49.5 x 61cm)

£100-£200

184. Rod Pearce (1942-) British “Snow, Bembridge High, Street”, Isle of Wight Oil on board

Signed, and inscribed on a label verso 8” x 10” (20.3 x 25.4cm)

Provenance: Island Fine Arts Ltd, 2003

£100-£150

Signed and dated ‘90

30” x 20” (76.2 x 50.8cm)

£400-£600

Signed and dated ‘92

30” x 20” (76.2 x 50.8cm)

£400-£600

Signed and dated ‘91

30” x 20” (76.2 x 50.8cm)

£400-£600

188. Mikhail Gavrilovitch Belsky (1922-1944) Russian “Holidays on the Black Sea Coast” Oil on board

Signed in Cyrillic, and signed and inscribed in Cyrillic and dated 1962 verso

25.25” x 19.25” (64.2 x 48.8cm)

£150-£200

190. Filipp Yakovlevich Goloubkov (1914-2007) Russian “Before Graduation at School”

Signed in Cyrillic and dated 55, and signed and inscribed in Cyrillic and dated 1955 verso

22” x 18.25” (55.8 x 46.3cm)

£150-£200

Signed with initials and dated 66, and signed, inscribed in Cyrillic and dated 1966 verso

18.25” x 15” (46.3 x 38.1cm)

£150-£200

191. Filipp Yakovlevich Goloubkov (1914-2007) Russian “Little Girl Reading a Book, Oksana”

Signed in Cyrillic and dated 1955, and signed and inscribed in Cyrillic and dated 1955 verso

27.5” x 18.75” (69.8 x 47.6cm)

£150-£200

192. Konstantin Razumov (1974-) Russian “In the Café”

Signed in Cyrillic, and signed and inscribed in Cyrillic verso

13.85” x 10.75” (35.3 x 27.4cm)

£1500-£2000

193. Konstantin Razumov (1974-) Russian “Cabaret Dancer”

Signed in Cyrillic, and signed and inscribed in Cyrillic verso 13” x 8.5” (33 x 21.6cm)

£800-£1200

194. Anthony Curtis (1928-2018) British “Red Fruit with Sinister Depressive” Oil on board

Signed and dated ‘52, and inscribed verso Unframed 17.75” x 24” (45 x 61cm)

£200-£300

195. 20th Century European School Winter River Scene Oil on board

Indistinctly signed

19.5” x 24” (49.5 x 61cm)

£150-£200

196. J Pone-Delliou (20th Century) European “Thoniers au Port” Oil on canvas

Signed, and inscribed on a label verso

19.75” x 25.5” (50.1 x 64.8cm)

£150-£250

Alfred W Jones

Signed, and signed and inscribed verso

20” x 30” (50.8 x 76.2cm)

£300-£500

Signed

31” x 45.5” (78.7 x 115.6cm)

£400-£600

199. Sandy Mallet (1961-) British Untitled Oil on canvas

Signed and dated ‘04 verso

Unframed 30” x 30” (76.2 x 76.2cm)

£100-£200

202. Janet Golphin (1950-) British “Golden Pot” Mixed media and metal leaf

Signed and dated ‘00, and inscribed on labels verso 14” x 14” (35.5 x 35.5cm)

Provenance: Winsor Birch, Marlborough

£100-£200

200. Pauline Plummer (1933-2023) British Geese in a Pen Oil on board

24.5” x 18.25” (62.2 x 46.4cm)

£100-£200

201. Attributed to Peter Greenham (1909-1992) British Standing Girl Oil on canvas

With a still life verso

Inscribed on the stretcher Unframed 20” x 15” (50.8 x 38.1cm)

£100-£200

203. Richard Sorrell (1948-) British “Barmaid” Oil on board

Signed, and inscribed on a label verso

17.5” x 11.75” (44.4 x 29.8cm) And another by the same hand “Voyage” (2) £100-£150

204. Clifford Hall (1904-1973) British Rose in a Glass Vase Oil on board

Signed 13.5” x 10.5” (34.2 x 26.7cm)

£100-£200

Signed, and inscribed on a label verso 11.75” x 8” (29.8 x 20.3cm)

Provenance: Panter & Hall, London

£150-£250

Signed and dated 1976 32” x 28” (81.3 x 71.1cm)

£300-£400

Inscribed and dated 1986 verso 22” x 15.25” (55.9 x 38.7cm)

£100-£200

Signed Unframed 33” x 23.5” (83.8 x 59.6cm)

£300-£400

209. Oleg Leonidovich Lomakin (1924-2010) Russian “Lady in Red” Oil on canvas

Signed in Cyrillic, and signed and inscribed in Cyrillic verso 20” x 24” (50.8 x 61cm)

£250-£350

210. 20th Century French School

Abstract Oil on panel

28.25” x 37” (71.8 x 94.7cm)

£200-£300

211. Virginia Bounds (1965-) Australian/British “Puddled Shore” Oil on canvas

Signed with initials and dated ‘02 and signed, inscribed and dated 2002 verso

Unframed 42” x 49” (106.7 x 124.5cm)

£300-£500

Inscribed verso

Unframed 24.25” x 30” (61.6 x 76.2cm)

Note: George Charlton and the artist Daphne were married in 1929 when George was thirty and Daphne only nineteen. Daphne openly discussed her affair with her husband’s friend, Stanley Spencer. £2000-£3000

Inscribed verso and on a label verso

Overall with extended paint on frame

37.25” x 25.25” (94.6 x 64.2cm) And a companion piece, a pair (2) £150-£250

Signed and dated 2000, and inscribed in Cyrillic verso 20” x 18”

£100-£150

Signed in Cyrillic, and inscribed in Cyrillic verso 14” x 9.5” (35.5 x 24.1cm)

£100-£150

216. Gleb Aleksandrovich Savinov (1915-2000) Russian “Park of Culture” Oil on canvas

Signed in Cyrillic, and signed and inscribed in Cyrillic verso 23.5” x 21.75” (59.7 x 55.3cm)

£500-£700

217. Gleb Aleksandrovich Savinov (1915-2000) Russian “Natacha” Oil on canvas

Signed in Cyrillic and dated ‘70, and signed and inscribed in Cyrillic and dated 1970 verso 33” x 27.5” (83.8 x 69.8cm)

£300-£400

218. Boris Mikhailovich Lavrenko (1920-2001) Russian “Expectations” Oil on canvas

Signed in Cyrillic, and signed and inscribed in Cyrillic verso

21.25” x 25.75” (54 x 65.4cm)

£250-£350

219. Boris Mikhailovich Lavrenko (1920-2001) Russian “Model” Oil on canvas

Signed in Cyrillic, and signed and inscribed in Cyrillic verso

28” x 28” (71.1 x 71.1cm)

£300-£400

220. Arkadi Yakovievich Krimskii (1920-2004) Russian “In the Hammock” Oil on canvas

Signed in Cyrillic and dated ‘65, and signed and inscribed in Cyrillic verso

25.5” x 31” (64.8 x 78.8cm)

£400-£600

221. Konstantin Razumov (1974-) Russian “Sunday in the Tuileries Garden” Oil on canvas

Signed in Cyrillic, and signed and inscribed in Cyrillic verso 13” x 16” (33 x 40.6cm)

£2000-£3000

222. Konstantin Razumov (1974-) Russian “Holidays at the Sea” Oil on canvas

Signed in Cyrillic, and signed and inscribed in Cyrillic verso 15” x 24” (38.1 x 61cm)

£2000-£3000

223. 20th Century English School

“Newhaven” Oil on board

Inscribed on a label verso

10.25” x 14” (26 x 35.5cm)

£100-£150

224. Louie Rose (20th Century) British “A Hole in the Road” Oil on board

Signed, and inscribed on a label verso

10.25” x 14” (26 x 35.5cm)

£100-£150

225. Eve (20th Century) British “Cutmill Pond, Peper Harow” Oil on board

Signed and dated 1980

28” x 34” (71.1 x 86.3cm)

£100-£200

226.

Signed

18.5” x 19.5” (47 x 49.5cm)

£100-£150

British

Collection of the late Mr David M Rogers

Having attended Lancing College, David Rogers gained an RAF scholarship to Christ Church College Oxford where he studied law (1955-1958). He served as a Lieutenant in the 13th /19th Royal Hussars and saw active service in Malaya and South Arabia. Having moved to America to study at Columbia University at the School of Business in 1972, he was contacted by Egon Zehender International to train in Copenhagen before locating to Australia to work in both their Melbourne and Sydney offices (1977-1985).

He continued his love of sports, particularly cricket and golf, around the world as a lifetime member of the MCC, and member of the Royal Sydney Gold Club, Rye Golf Club and the Hurlingham Club.

His collection of paintings was clearly inspired by his lifetime of interests of sport, travel and military service.

228. John Nixon (1755-1818) British “Miss Mouser’s Cat”

Watercolour and ink

Signed with initials, and extensively inscribed and dated 1796

8.25” x 8” (20.9 x 20.3cm)

Provenance: Collection of the late

David M Rogers

£100-£200

230. Ernest Howard Shepard (1879-1976) British

“An Offer of a Pekingese made by a One-Eyed Malay” Ink

Signed and inscribed 9” x 6.25” (22.8 x 15.8cm)

Provenance: Collection of the late David M Rogers

£100-£200

229. Isaac Cruikshank (1764-1811) British “Battle”

Watercolour and pencil

Inscribed and inscribed verso 5.5” x 4.25” (14 x 10.8cm)

Provenance: Collection of the late David M Rogers

£80-£120

231. Kenneth Cyril Bird ‘Fougasse’ (1887-1965) British “Another Changing Face”, ‘Nature’s revolt against the drabness of existence’, 1939-1941

Watercolour and ink

Signed and inscribed, and inscribed on a label verso

Overall 13.75” x 9.75” (34.9 x 24.8cm)

Provenance: Chris Beetles Limited, London

‘The Illustrators’, 1989, No.146; collection of the late David M Rogers

Illustrated: Punch, The Almanack Issue, 1942

£300-£400

232. Kenneth Cyril Bird ‘Fougasse’ (1887-1965) British “....But of Course It Musn’t Go Any Further!”, from ‘Careless Talk Costs Lives’ Print

12.25” x 7.75” (31.1 x 19.7cm)

And another print “....A Super Follow Through” 5.75” x 3.5” (14.6 x 8.8cm) (2)

Provenance: Collection of the late David M Rogers

£30-£40

Graham Laidler ‘Pont’

233. Graham Laidler ‘Pont’ (1908-1940) British

“Four reasons why I think it is unlikely that I shall ever be asked to stay at Fiddlemore Place again” Watercolour

Signed, inscribed on the mount

6.25” x 10.5” (15.8 x 26.7cm)

Provenance: Mark Birley Esq, London; Sotheby’s ‘Mark Birley: The Privately Collection, March 2013; collection of the late David M Rogers

£300-£400

234. Graham Laidler ‘Pont’ (1908-1940) British

“The British Character: The Importance of News” Ink

Signed, Inscribed on the mount, and inscribed on a label verso 7.75” x 10.75” (19.7 x 27.2cm)

Provenance: The Victoria Wood Collection; Chris Beetles Limited, London; Collection of the late David M Rogers

Illustrated: Punch, February 16 1938; ‘The British at Home’, by Pont of Punch, London, Collins 1939, p.105

£400-£600

235. Graham Laidler ‘Pont’ (1908-1940) British

“The British Character: Tendency to be Embarrassed by Foreign Currencies” Ink

Signed, Inscribed on the mount, and inscribed on labels verso 8” x 10” (20.3 x 25.4cm)

Provenance: Miss K M Laidler, the artist’s sister; the estate of Ronald Searle; Chris Beetles Limited, London; collection of the late David M Rogers

Illustrated: Punch, February 14 1937, p.399

£400-£600

236. Graham Laidler ‘Pont’ (1908-1940) British “The British Character: Importance of Not Being Intellectual” Ink

Signed, Inscribed on the mount, and inscribed on a label verso 8.5” x 10.75” (21.6 x 27.3cm)

Provenance: Chris Beetles Limited, London; collection of the late David M Rogers

Illustrated: Punch, January 6 1937, p.4; Pont, ‘The British Character Studied and Revealed’, London, Collins, 1938

£400-£600

237. Graham Laidler ‘Pont’ (1908-1940) British “The British Character: Love of Digging Things Up” Ink

Signed, Inscribed on the mount, and inscribed on a label verso 7” x 10” (17.8 x 25.4cm)

Provenance: Chris Beetles Limited, London; collection of the late David M Roger

Illustrated: Punch, February 21 July 1937, p.79

£300-£500

238. Graham Laidler ‘Pont’ (1908-1940) British

“The British Character: Importance of the Twelfth of August” Ink

Signed, Inscribed on the mount, and inscribed on a label verso 7.75” x 10.25” (19.7 x 26cm)

Provenance: The Astor Collection from Tillypronie, Aberdeenshire; Chris Beetles Limited, London ‘The Illustrators. The British Art of Illustration 1900-2018, November 2018-January 2019, No.118; collection of the late David M Rogers

Illustrated: Pont, ‘Most of us are Absurd’, London, Collins, 1946, p.81.

£500-£800

239. Graham Laidler ‘Pont’ (1908-1940) British “The British Character: A Tendency to Think Things Not As Good As They Used To Be”

Ink

Inscribed on the mount, and inscribed on a label verso 7.5” x 9.75” (19 x 24.8cm)

Provenance: Chris Beetles Limited, London, ‘The Illustrators, The British Art of Illustration 1900-2018’, November 2018-January 2019, No.119; collection of the late David M Rogers

Illustrated: Punch, 6 October 1937, p.373; Pont, ‘The British Character Studied and Revealed’, London, Collins, 1938, p.26

£300-£500

240. Graham Laidler ‘Pont’ (1908-1940) British “The British Character: Importance of the Morning Bath” Ink

Signed, Inscribed on the mount, and inscribed on a label verso 8” x 11.5” (20.3 x 29.2cm)

Provenance: Chris Beetles Limited, London, ‘The Illustrators, The British Art of Illustration 1865-2019’, November 2019-January 2020, No.87; collection of the late David M Rogers. Illustrated: Pont, ‘Most of us Are Absurd’, London, Collins, 1946, p.80

£300-£500

241. Graham Laidler ‘Pont’ (1908-1940) British “What sort of restaurant is this that hasn’t Jellied Pampas Berries on the menu?”

Ink

Signed, Inscribed on the mount, and inscribed on a label verso 8.25” x 10.75” (20.9 x 27.2cm)

Provenance: Chris Beetles Limited, London ‘The Illustrators, November-December 1990, No.268; collection of the late David M Rogers

Illustrated: Punch, 11th April 1934

£400-£600

242. Graham Laidler ‘Pont’ (1908-1940) British “Popular Misconceptions, Life in the B.E.F” Ink

Signed, Inscribed on the mount, and inscribed on a label verso 8” x 10.5” (20.3 x 26.7cm)

Provenance: Abbott & Holder, London; collection of the late David M Rogers

Illustrated: Punch, 13th December 1939, ‘The British Carry On, a Collection of War Time Drawings’, 1940, p.36

£400-£600

243. Graham Laidler ‘Pont’ (1908-1940) British “The British Character: Attitude towards Insomnia” Ink

Signed and inscribed on the mount 8” x 10.25” (20.3 x 26cm)

Provenance: Collection of the late David M Rogers £300-£400

244. Graham Laidler ‘Pont’ (1908-1940) British “At Home, The Neurotic” Ink

Signed, and inscribed on the mount 8.25” x 10.5” (20.9 x 26.6cm)

Provenance: Collection of the late David M Rogers

£300-£400

245. 20th Century English School

“And another thing, Ursula in this regiment we do not refer to the Quartermaster Sergeant as ‘The little woman round the corner’!”

Crayon and ink

Inscribed on the mount

6” x 4.5” (15.2 x 11.4cm)

Provenance: Collection of the late David M Rogers

£40-£60

247. Matt Pritchett (1964-) British

“Good. I’m sure no one recognized me... Now, about that job...”

Ink

Inscribed

Unframed (overall) 11.75” x 15” (29.8 x 38.1cm)

Together with a cartoon by Michael Heath and a print by Lorenz (3)

Provenance: Collection of the late David M Rogers

£50-£80

246. Lewis Baumer (1870-1963) British

A Set of Four Drawings ‘People and Places for Christmas’ Ink

Inscribed on the mount

Framed as one, Each 5.5” x 4.25” (14 x 10.8cm)

Provenance: Collection of the late David M Rogers

£100-£200

248. Bill Tidy (1933-2023) British “Gentleman...Isolated units of the enemy have broken through!”

Watercolour and ink

Signed, inscribed and dated November ‘98

10.75” x 14” (27.3 x 35.5cm)

Provenance: Collection of the late David M Rogers

£40-£60

249. Terence Parkes ‘Larry’ (1927-2003) British “MCC Painting Collection, Rodin, thinking about field placings”

Watercolour and ink

Signed and inscribed, and inscribed on a label verso 5.5” x 6.75” (14 x 17.2cm)

Provenance: Chris Beetles Limited, London, ‘Wit and Wisden, A Celebration of Cricket’, June 2011; collection of the late David M Rogers

£100-£200

250. Peter Brookes (1943- ) British “Chocks Away!”

Watercolour and ink

Signed, inscribed and dated 11.VII. 15”, and inscribed on a label verso 8” x 11.25” (20.3 x 28.6cm)

Provenance: Chris Beetles Limited, ‘Testing Times’, London, September 2015; collection of the late David M Rogers Illustrated: The Times, 11th July 2015

Notes: Possibly showing Boris Johnson opposing the Airports Commission’s recommendation to expand Heathrow Airport

£400-£600

Roy Lowry

251. Ray Lowry (1944-2008) British

“There’s been a premature outbreak of hostilities, he flew into a rage and kicked Mr Chamberlain on the ankle”

Ink

Signed and inscribed 7” x 9.75” (17.8 x 24.7cm)

Provenance: Collection of the late David M Rogers

£80-£120

252. Ray Lowry (1944-2008) British

“You have checked recently, haven’t you Colonel? Our men are still out there somewhere, aren’t they?”

Ink

Signed and inscribed 9” x 12.25” (22.8 x 31.1cm)

Provenance: Collection of the late David M Rogers

£80-£120

253. Ray Lowry (1944-2008) British

“I was just about to say that it reminds me of one of those halcyon days from that glorious summer just before the second world war, when I suddenly realized that it is a halcyon day in the glorious summer before the second world war”

Ink

Signed and inscribed 9.5” x 13.25” (24.1 x 33.6cm)

Provenance: Collection of the late David M Rogers

£80-£120

254. Mike Williams (1940-) British “Oho, It’s Started”

Watercolour and ink

Signed and inscribed, and inscribed on a label verso 10” x 14” (25.4 x 35.5cm)

Provenance: Chris Beetles Limited, London, ‘The Illustrators, The British Art of Illustrations 1837-2015’, November 2015January 2016, No.521; collection of the late David M Rogers

£80-£120

255. Mike Williams (1940-) British “Oh, No! Not the ‘23!!”

Watercolour and ink

Signed and inscribed, and inscribed on a label verso 10.75” x 14” (27.3 x 35.5cm)

Provenance: Chris Beetles Limited, London, ‘The Illustrators, The British Art of Illustrations 1870-2021’, November 2021January 2022, No.274; collection of the late David M Rogers £80-£120

256. Mike Williams (1940-) British “They Never Forget”

Watercolour and ink

Signed and inscribed, and inscribed on a label verso 11.25” x 14.5” (28.5 x 36.7cm)

Provenance: Chris Beetles Limited, London, ‘The Illustrators, The British Art of Illustrations 1865-2019’, November 2019January 2020, No.252; collection of the late David M Rogers £80-£120

257. Thomas Barker of Bath (1769-1847) British Drover and Cattle by a River Watercolour, 7.5” x 9” (19 x 22.8cm)

Provenance: Collection of the late David M Rogers

£40-£60

258. 20th Century English School Rye Golf Course

Oil on artist’s board, 15” x 22” (38.1 x 55.8cm)

Provenance: Collection of the late David M Rogers

£100-£150

259. Nadia Cockayne (1933-2018) British “Cherries in a Chinese Bowl” Oil on board

Signed with an initial, and inscribed on a label verso 4.75” x 6.25” (12 x 15.8cm)

Provenance: Collection of the late David M Rogers

£150-£250

260. Circle of James Abbott McNeill Whistler (1834-1903) American

An Estuary Scene, with a town beyond Oil on canvas

Bears signature and motif verso 8” x 24” (20.3 x 61cm)

Provenance: Collection of the late David M Rogers

£500-£700

261. Thomas John Coates (1941-2023) British

“England Batting at Cape Town Test”

Watercolour

Signed with monogram, and inscribed on a label verso

7” x 10” (17.8 x 25.4cm)

Provenance: Collection of the late David M Rogers

£200-£300

Thomas John Coates

262. Thomas John Coates (1941-2023) British

“Second Day, Very Hot, Cape Town Heat” Oil on canvas

Signed with monogram, and inscribed on a label verso

16” x 20” (40.6 x 50.8cm)

Provenance: Collection of the late David M Rogers

£500-£800

Lesley

263. Lesley Fotherby (1946- ) British “Two Sketches of a Black Cat” Chalk

Signed with initials, and inscribed on labels verso 11.25” x 9” (28.6 x 22.8cm)

Provenance: Chris Beetles Limited, London, 1994 Illustrated: Michael O’Mara Books Ltd, ‘L Fotherby, Cats, Drawings and a Paintings in Watercolour’, London 1993, p.14. Together with two others by the same hand “Black Cat Lying Down” and “Black Cat Stretching” (3)

Provenance: Collection of the late David M Rogers £100-£200

264.

“The

Watercolour and bodycolour Signed, and inscribed on a label verso 20” x 15” (50.8 x 38.1cm)

Provenance: Chris Beetles Limited, London, 1988; collection of the late David M Rogers £200-£300

Harry Bush

Signed, 24” x 20” (61 x 50.8cm), And a companion piece, a pair (2)

Provenance: Richard and Pamela Nadin, Wiltshire, 1993; collection of the late David M Rogers

£600-£800

Will Ashton

266. Will Ashton (1881-1963) British The Harbour at Capri Oil on artist’s board

Signed, inscribed ‘Capri’ and dated ‘26 14.5” x 18” (36.8 x 45.7cm)

Provenance: Collection of the late David M Rogers £4000-£6000

267. Nicholas Pocock (1740-1821) British “Dutch Man Of War”

Watercolour, Inscribed on labels verso

13” x 19.25” (33 x 48.8cm)

Provenance: Sir Bruce Ingram; Bruce Wightman, London; collection of the late David M Rogers

£150-£250

268. Hercules Brabazon Brabazon (1821-1906) British Shipping in a Squall Pastel

Signed with initials

5” x 8” (12.7 x 20.3cm)

Provenance: Collection of the late David M Rogers

£100-£150

269. 19th Century English School

A Merchant Ship under Fire Watercolour

Indistinctly inscribed

4.6” x 8” (11.5 x 20.3cm)

Together with an ink drawing of a ship in heavy waters

4.5” x 3” (11.4 x 7.6cm) (2)

Provenance: Collection of the late David M Rogers

£100-£200

Signed, Numbered 1450 and dated 1886

10” x 14” (25.4 x 35.5cm)

And a companion piece A Royal Naval Iron Clad Turret Vessel, numbered 1455, a pair (2)

Provenance: Collection of the late David M Rogers

£300-£400

20” x 24” (50.8 x 61cm)

Provenance: Collection of the late David M Rogers

£500-£800

Norman Wilkinson

272. Norman Wilkinson (1878-1971) British “Sarnia at Suvla Bay” Oil on canvas

Signed, inscribed and dated 1915 14” x 20” (35.5 x 50.8cm)

Provenance: Collection of the late David M Rogers

Notes: The Suvla Bay landings took place on 6th August 1915 as part of an ‘August Offensive’ against Turkish and German Forces to break the deadlock on the Gallipoli Peninsula. Despite the successful landings, the delay in the advance of the British forces allowed the Turkish soldiers to take the high ground and the Allies lost the advantage. Norman Wilkinson served with the Royal Naval Volunteer Reserve and later published a book documenting his time there; ‘The Dardanelles, colour sketches from Gallipoli’. Wilkinson observed the events from the Admiral’s temporary flagship HMS Chatham. £2500-£3500

273. Mary, Lady D’Oyly (1794-1886) British

“Near Barrackpore, Government House & Cantonment”, India

Watercolour

Inscribed on a label verso

7.5” x 11.5” (19 x 29.2cm)

Provenance: Eyre & Hobhouse Ltd, London, 1980; collection of the late David M Rogers

£150-£200

274. 19th Century English School

Sailing off the Caribbean Island of Nevis

Watercolour

Indistinctly inscribed

6.25” x 9.25” (15.8 x 23.5cm)

Provenance: Collection of the late David M Rogers

£100-£200

275. Adam Gordon Bt., 11th Viscount Kenmore, Lord of Lochinvar (1792-1847) British

“The Imperial Cutter of War Wurzburgh off Trieste Adriatic”

Watercolour

Signed, inscribed and dated 1838 under mount

5.5” x 9” (14 x 22.8cm)

Provenance: Collection of the late David M Rogers

£100-£200

Captain John Leslie McIndoe

276. Captain John Leslie McIndoe (1898-1995) New Zealander “Morning Appel, Oflag VI B” Watercolour

Signed, inscribed and dated 14.3.42, and inscribed on labels verso 9.75” x 13.75” (24.7 x 34.8cm),

Sold with a letter from the artist’s son and an exhibition catalogue Provenance: Collection of the late David M Rogers Exhibited: Royal Institute of Painters in Watercolours

Notes: McIndoe was captured by the Germans in Crete in May 1941. He remained a prisoner of war for four years in which time his work depicting life in a prison camp became a historic social record. In 1945 an exhibition of his sketches, paintings and portraits, whilst in captivity, was hung at Simpson’s in London.

£150-£250

277. Henry Francis Bartlett (1916-2014) British “Military Vehicles, Southern England (1943)”

Watercolour and gouache

Signed, and inscribed on labels verso

8.5” x 15.75” (21.6 x 40cm)

Provenance: Philip Bacon Galleries, New South Wales, Australia, February 2015, No,2; collection of the late David M Rogers

Notes: Barlett was a diplomat (serving at the British Deputy High Commissioner in Brisbane in 1967) and philanthropist. He was a trustee of the Queensland Art Gallery

£200-£300

278. 19th Century European School

A Hilltop Fortification

Watercolour

10.5” x 17” (26.7 x 43.2cm)

Provenance: Collection of the late David M Rogers

£100-£200

279. 19th Century European School

Shepherds by a Lake, possibly Lake Titicaca in Bolivia

Watercolour

Inscribed and dated 1835 on a label verso

12.5” x 18” (31.8 x 45.7cm)

Provenance: Collection of the late David M Rogers

£100-£200

Edward Brian Seago

280. Edward Brian Seago (1910-1974) British “Burnt Out German Transport near Savignano” Oil on board

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

Provenance: The Hon. Michael Astor; collection of the late David M Rogers Notes: Seago served in the Royal Engineers. In 1944 he was posted to Italy to record the Italian Campaign. In September that year the area around Savignano became a battlefield as Allied forces pushed against the German line. £3000-£4000

281. 19th Century English School “Endeavour River, Queensland”

Oil on board

Inscribed verso 5” x 6.5” (12.7 x 16.5cm)

And the companion piece “Mount Lindesay, 5000 ft (inaccessible), Queensland”, a pair (2)

Provenance: Collection of the late David M Rogers

£600-£800

282. Edward Cairns Officer (1871-1921) Australian Bank of a River

Oil on panel with a sketch verso

Signed with initials

Unframed 6.25” x 9.5” (15.9 x 24.1cm)

Provenance: Collection of the late David M Rogers

£100-£200

283. Early 19th Century Chinese School “Bocca Tigris”, Dutch East Indiaman off the Bocca Tigris circa 1810 Oil on canvas

Inscribed on labels verso

23.25” x 32.5” (59.1 x 82.5cm)

Provenance: Christie’s “Travel, Science and Natural History”, 24th April 2013; collection of the late David M Rogers Exhibited: Martin Gregory, London ‘The China Trade’, 1996, cat no.69, no.100

Notes: Bocca Tigris (‘the Tiger’s Mouth’ and also known as ‘the Bogue’), narrows on the Pearl River 30 miles south of Whampoa, was a fortified Customs point through which all Western shipping had to pass. Here a Danish East Indiaman is shown passing between Wantong and Anunghoy Forts, with two Customs vessels in the foreground.

£2000-£3000

284. Early 19th Century Chinese School

A Pair of River Scenes

Watercolour on rice paper

Inscribed on a label verso

6” x 9” (15.2 x 22.8cm) (2)

Provenance: Colin Denny Ltd, London, 1981; collection of the late David M Rogers

£200-£300

285. Early 19th Century English School

“View of the Jetty and Fort Cornwallis with one of the Honourable Company’s East Indiamen, at Anchor in the Harbour of Prince Wales’s Island (Penang)”

Watercolour

Inscribed with title and dated August 1829, and inscribed on a label verso

8” x 13.5” (20.3 x 34.3cm)

Provenance: Martyn Gregory “Canton and the China Trade”, Summer 1986, Cat.43, No.91; collection of the late David M Rogers

£300-£400

The Waterfront at Canton with the Danish, Spanish, American, Swedish, British and Dutch factories Oil on canvas

Inscribed ‘East India Company’s Factory Canton’ on the stretcher 7.5” x 10.65” (19.1 x 27cm)

Provenance: Property of a Lady; Christie’s, 14th December, 2017, Lot 144; collection of the late David M Rogers £5000-£6000

287. Early 19th Century Chinese School

“A View of The Cape of Good Hope”, with Table Mountain in the distance, after William Marshall Craig Oil on metal

Inscribed on labels verso

In a fine carved giltwood frame

4.4” x 6” (11.2 x 15.2cm)

Provenance: Atwood (Cape); Christie’s, 29th October, 2019, Lot 66; Collection of the late David M Rogers

Exhibited: Maryn Gregory, London, ‘In the Western Manner’ 1989, Cat.53, No.94b.

£600-£800

288. Early 19th Century Chinese School Hong Kong Oil on metal

6.5” x 8.5” (16.5 x 21.6cm)

And the companion piece, a pair (2)

Provenance: Collection of the late David M Rogers

£1000-£1500

Inscribed verso 4.5” x 6” (11.4 x 15.2cm) And the companion piece “Whampoa”, a pair (2)

Provenance: Collection of the late David M Rogers

£1000-£1500

290. 19th Century Tasmanian School

All England XI v XXII of Tasmania, Hobart, February 1862

Oil on canvas

14.25” x 23.25” (36.2 x 59.1cm)

Provenance: Estate of the late F. C.Mitchell; Sotheby’s Australia, 25th August 2003, lot 183; collection of the late David M Rogers

The touring team of England’s 1st XI v Hobart’s XXII began on 21st February 1862 and was played on the Lower Domain Ground in a hollow that was known as the Government Paddock (later TCA ground) with Mount Wellington seen in the distance. The match, part of the first English cricket tour of Australia, was a selection of eleven players from both Hobart and Launceston making up the team of 22 amateurs (under the leadership of William Holden Walker) taking on the touring English professional players. England in all white, the Tasmanian players in white flannel trousers with the Launceston contingent dressed in white shirts and the eleven from South of the colony in crimson (seen batting). The Umpire was Charles Lawrence (seen in the black coat and hat) for the ‘All England Eleven’ (Mr T Hewitt was the umpire for the Tasmanians).

Descriptions of the day in local papers described the opposing teams’ tents on either side of the grandstand on the Western Hillside. Flags represented being; the White Ensign, the St George’s Cross, the French Tricolour (possibly representing Hobart’s strong maritime connections with Europe) as well as decorative standards showing the civic importance of the event.

Despite the rapturous reception received by the visiting team as they arrived in Hobart and a public holiday from 12 noon on each day being granted by the Government, it was suggested in the Mercury publication on 22nd February that the crowds were slightly smaller watching the first day due to the impending departure of the mail steamer to England. However large crowds supported from outside on the hillside and it was noted that many ‘leading citizens’ were present and ‘several ladies also graced the scene with their presence’. By the final day the crowds had exceeded over 2500 attendees.

The match was played over three days (Sunday 23rd being the Sabbath was a rest day). The visitors reduced Tasmania XXII to 17 for 97 by lunch on first day and all out for 107 (sometimes reported as 109) shortly after. The English batters were 2 for 81 at stumps. On the second day they established a lead of 69 (having been bowled out for 176) and claimed 12 more Tasmanian wickets for 111 by stumps. The third day began with smoke from nearby bushfires enveloping the field but quickly cleared and England finished the play, winning by 4 wickets.

At lunch on the second day (Saturday, 22nd February), Hobart Town’s Lord Mayor, Alfred Kennerley, made a speech “cricket is a game in which all can unite; the nobleman and the peasant, the officer of the highest rank in the service, and the private soldier, all join together in the game of cricket. It is a noble game; it encourages brotherly feelings; it induces patriotism, and as such is a benefit to society at large” to which there was a resounding cheer. The English captain HH Stephenson replied: “Cricket brings all classes on a level; it induces a social feeling and is productive of great benefit to society”.

HH Stephenson with his 1st XI cricket team left for Australia on the SS Great Britain on Saturday 19 October 1861 from Liverpool docks. The crossing took 65 days. The tour was sponsored by Spiers and Pond, a Melbourne catering firm although the English team were to come at their own expense but take the entrance fees and sales of souvenirs for the Hobart match. The first ball on this ground breaking tour was bowled (underarm as was the case in this era of cricket) on New Year’s day 1862 against 18 of Victoria in Melbourne with the following matches in New South Wales on The Sydney Domain and final ‘test’ in Hobart. Six matches were won outright by the English, one drawn and two lost on the tour. Despite the tour being historically significant in the start of the Anglo-Australian sporting rivalry, it wasn’t for another 15 years they met for the first Test match in Melbourne and 18 years until the first Test match on English soil.

Our thanks to Mr David Frith, author of ‘The Trailblazers’, ‘The First English Cricket Tour of Australia: 1861-1862’

£20000-£30000

A Pair of Gilt Composition Frames, rebate 71.25” x 27.25”

(181 x 69.2cm) (2)

£50-£80

A

A Gilt Composition

£50-£80

A Gilt Composition Frame, rebate 50” x 40” (127 x 101.6cm)

£80-£120

A Gilt Composition Frame, with a fabric slip, rebate 50” x 30” (127 x 76.2cm) without slip, rebate 50.75” x 30.75” (129.8 x 78.1cm)

£40-£60

A Painted Composition Frame, rebate 50” x 30” (127 x 76.2cm)

£40-£60

A Gilt Composition Frame, with swept centres and corners, rebate 50” x 25” (127 x 63.5cm)

£30-£40

A Gilt Composition Frame, rebate 44” x 30.25” (111.8 x 76.8cm)

£50-£80

A Gilt Composition Frame, with piercing, rebate 43” x 30.5” (109.2 x 77.4cm)

£30-£40

A Gilt Composition Frame, with a fabric slip, rebate 42.5” x 28.5” (108 x 72.4cm) without slip, rebate 43.75” x 29.75” (111.2 x 75.5cm)

£40-£60

A Gilt Composition Frame, with swept centres and corners, rebate 42” x 29” (106.7 x 73.7cm)

£50-£80

313. 20th Century English School

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 42” x 28” (106.7 x 71.1cm)

£40-£60

315. 20th Century English School

A Wooden Frame, with inset Perspex, rebate 41” x 27” (104.2 x 68.6cm)

£30-£40

317. 20th Century European School

A Wooden and Painted Hollow Frame, rebate 40” x 30” (101.6 x 76.2cm)

£40-£60

314. 20th Century English School

A Gilt Composition Frame, rebate 42” x 25” (106.7 x 63.5cm)

£40-£60

316. 20th Century European School

A Black Painted Frame, with inset slip and glass, rebate 40.25” x 23.25” (102.2 x 59cm)

£30-£40

318. 20th Century English School

A Gilt Composition Frame, with a white slip, rebate 40” x 30” (101.6 x 76.2cm)

£50-£80

319. 20th Century English School

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 40” x 24” (101.6 x 61cm)

£40-£60

321. 20th Century English School

A Gilt Composition Frame, rebate 39.5” x 28.5” (100.3 x 72.4cm)

£40-£60

323. 20th Century English School

A Gilt Composition Frame, with swept and pierced centres and corners and inset backing board, rebate 36.75” x 25” (93.3 x 63.5cm)

£40-£60

320. 19th Century English School

A Painted Composition Frame, with swept centres and corners, rebate 40” x 24” (101.6 x 61cm)

£30-£40

322. 20th Century European School

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 39.5” x 23.25” (100.3 x 59cm)

£30-£40

324. 20th-21st Century European School

A Gilt Composition Frame, with a white slip, rebate 36.75” x 18.75” (93.3 x 47.6cm)

£30-£40

A Painted Composition Frame, with swept and pierced centres and corners, rebate 36” x 24” (91.5 x 61cm)

£30-£40

A Gilt Composition Frame, with a fabric slip, rebate 36”

without slip, rebate 37.25” x 25.25” (94.6 x

£40-£60

A Gilt Composition

£50-£80

£60-£80

A

A

£80-£120

£80-£120

A

32.5”

£50-£80

£40-£60

A

33.5” x 17.75” (85.2 x 45.1cm)

£40-£60

A Gilt Composition Frame, with swept and pierced centres and corners and a fabric slip, rebate 32” x 23.25” (81.2 x 59cm) without slip, rebate 34” x 25” (86.4 x 63.5cm)

£50-£80

A Temple Frame, rebate 31” x 26” (78.8 x 66.1cm)

£40-£60

A Wooden Frame, with a gilt slip, rebate 31.5” x 24.5” (80 x 62.2cm)

£40-£60

A Gilt and Painted Composition Frame, with swept centres and corners, rebate 31” x 23.5” (78.8 x 59.7cm)

£30-£40

340. 20th Century European School

A Black Painted Frame, rebate 30.5” x 25” (77.5 x 63.5cm)

£50-£80

341. 20th Century English School

A Painted Composition Frame, with swept centres and corners, rebate 30.25” x 20.25” (76.8 x 51.4cm)

£30-£40

342. 19th Century English School

A Painted Composition Frame with swept centres and corners, rebate 30” x 25” (76.2 x 63.5cm)

£50-£80

343. 20th Century European School

A Gilt and Painted Composition Frame, rebate 30” x 24.75” (76.2 x 62.8cm)

£40-£60

347. 20th Century European School

A Black Painted Frame, with gilt edging, rebate 30” x 20” (76.2 x 50.8cm)

£30-£40

348. Early 20th Century English School

A Watts Style Gilt Composition Frame with inset glass, rebate 30” x 18” (76.2 x 45.7cm)

£50-£80

349. 20th Century American School

A Gilt and Painted Composition Frame, rebate 29.75” x 18” (75.5 x 45.7cm)

£30-£40

350. 20th Century English School

A Painted Composition Frame, with swept and pierced centres and corners, rebate 29.5” x 20.5” (74.9 x 52.1cm)

£40-£60

A Gilt Composition Frame, with swept centres and corners and a fabric slip, rebate 28” x 27” (71.1 x 68.6cm) without slip, rebate 29.25” x 28” (74.3 x 71.1cm)

£40-£60

A Wooden and Painted Composition Frame with a gilt slip, rebate 27.75” x 19.75” (70.5 x 50.2cm)

£50-£80

356.

A Gilt Composition Frame, rebate 27.5” x 17” (69.9 x 43.2cm)

£40-£60

A Carved Giltwood Frame, with a fabric and gilt slip, rebate 26.5” x 14.5” (67.3 x 36.8cm) without slip, rebate 28.25” x 16.25” (71.8 x 41.3cm)

£50-£80

£50-£80

£60-£80

361. 20th Century European School

A Gilt and Painted Composition Frame, rebate 26” x 20.5” (66 x 52.1cm)

£30-£40

362. 20th Century European School

A Gilt and Painted Frame, rebate 25.5” x 21.5” (64.7 x 54.6cm)

£80-£120

363. 20th Century English School

A Painted Composition Frame, with swept corners, rebate 25” x 19”

(63.5 x 48.2cm)

£30-£40

364. 20th Century Dutch School

A Black Painted Frame, with a gilt inner edge, rebate 25” x 18.75”

(63.5 x 47.6cm)

£70-£100

366. 20th-21st Century English School

A Gilt Composition Frame, rebate 25” x 15.25” (63.5 x 38.7cm)

£80-£120

367. 20th Century European School

A Gilt Composition Frame, rebate 24.5” x 20.5” (62.2 x 52.1cm)

£50-£80

368. 19th Century English School

A Gilt Composition Frame, rebate 24.25” x 20.25” (61.6 x 51.4cm)

£30-£40

369. 20th Century English School

A Painted Frame, rebate 24.25” x 20.25” (61.6 x 51.4cm) and another painted frame, with a fabric slip, rebate 30” x 20” (76.2 x 50.8cm) (2)

£30-£40

370. 20th-21st Century English School

A Black Rippled Frame, rebate 24.25” x 17.25” (61.6 x 43.8cm)

£200-£300

371. 20th-21st Century English School

A Black Painted Frame, with a silver inner edge, rebate 24” x 20” (61 x 50.8cm)

£200-£300

372. 20th-21st Century English School

A Black Painted Frame, with gilt inner edge, rebate 24” x 20” (61 x 50.8cm)

£200-£300

373. 19th Century English School

A Black Rippled Frame, rebate 24” x 20” (61 x 50.8cm)

£300-£400

374. 20th Century English School

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 24” x 19.75” (61 x 50.2cm)

£60-£80

375. 20th Century English School

A Wooden and White Painted Frame, rebate 24” x 19.75” (61 x 50.1cm)

£40-£60

376. 19th Century English School

A Pair of Maples Frames, with gilt slips and inset print and glass, rebate 24” x 19” (61 x 48.2cm) (2)

£40-£60

377. 20th Century English School

A Wooden Frame, with gilt edging, rebate 24” x 18” (61 x 45.7cm) and three other frames of various sizes (4)

£30-£40

379. 20th-21st Century English School

A Silver Composition Frame, rebate 24” x 17.25” (61 x 43.8cm)

£100-£200

380. 20th Century European School

A Gilt Composition Frame, with a fabric slip, rebate 24” x 16” (61 x 40.6cm) and another similar, rebate 27.5” x 17.75” (69.8 x 45.1cm) (2)

£30-£40

378. 20th Century European School

A Gilt Composition Frame, with swept and pierced centres and corners, and a painted slip, rebate 24” x 18” (61 x 45.7cm)

£40-£60

381. 20th Century European School

A Wooden Frame, with a gilt inner edge, rebate 23.75” x 18”

(60.3 x 45.7cm)

£30-£40

382. 20th Century European School

A Gilt and Painted Composition Frame, rebate 23.5” x 21.5” (59.7 x 54.6cm)

£50-£80

383. 20th-21st Century English School

A Black Painted Frame, with gilt inner and outer edges, rebate 23.25” x 19.5”

(59.1 x 49.5cm)

£200-£300

384. 20th Century European School

A Black Painted Frame, rebate 23” x 20” (58.4 x 50.8cm)

£30-£40

386. 20th Century English School

A Gilt Composition Frame, with swept centres and corners, rebate 22.5” x 16.5” (57.1 x 41.9cm)

£50-£80

388. 20th Century European School

An Inlaid Wooden Frame, rebate 22” x 18.5” (55.9 x 47cm)

£40-£60

385. 20th Century English School

A Black Painted Frame, with a gilt inner edge, rebate 22.75” x 22.75” (57.8 x 57.8cm)

£50-£80

387. 20th Century French School

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 22.5” x 10.5” (57.2 x 26.7cm)

£30-£40

389. 20th Century French School

A Painted Carved Wood Frame, rebate 22” x 18.25” (55.9 x 46.3cm)

£60-£80

390. 20th-21st Century English School

A Black Painted Frame, with gilt inner and outer edges, rebate 22” x 18” (55.8 x 45.7cm)

£150-£250

391. 19th Century English School

A Painted Composition Frame, rebate 22” x 15” (55.8 x 38.1cm)

£40-£60

392. 20th Century European School

A Painted Composition Frame, with swept centres and corners, rebate 21.5” x 18” (54.6 x 45.7cm)

£30-£40

A Painted Frame, with green inner and outer edges, rebate 21.5” x 18” (54.6 x 45.7cm) and another similar rebate 23.25” x 14.25” (59.1 x 36.2cm) (2)

397. 19th Century French School

A Gilt Composition Empire Frame, with inset mirror glass, rebate 21.25” x 15” (54 x 38.1cm)

£80-£120

399. 20th-21st Century English School

A Black Painted Frame, with silver inner and outer edges, rebate 21” x 17”

(53.3 x 43.2cm)

£150-£250

398. 20th Century European School

A Gilt and Painted Composition Frame, rebate 21.25” x 14.75” (54 x 37.4cm)

£60-£80

400. 20th Century French School

A Painted Composition Frame with fabric slips, rebate 20.25” x 16.25” (51.4 x 41.3cm) without slips 22.25” x 18.25” (56.5 x 46.3cm)

£60-£80

401. 20th Century English School

A Black Painted Frame, with a gilt slip, rebate 20” x 16.5” (50.8 x 41.9cm) and another similar, rebate 18” x 13.5” (45.7 x 34.3cm) (2)

£100-£200

402. 20th Century European School

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 20” x 16” (50.8 x 40.6cm) and another composition frame, rebate 18” x 12” (45.7 x 30.5cm) (2)

£30-£40

403. 20th Century English School

A Gilt Composition Frame, rebate 19.75” x 15.5” (50.1 x 39.4cm) and another similar frame, rebate 17” x 13” (43.2 x 33cm) (2)

£30-£40

404. 19th Century European School

A Biedermeier Frame, rebate 19” x 15.25” (48.2 x 38.8cm) and another similar, rebate 14.5” x 11” (36.8 x 27.9cm) (2)

£200-£300

405. 20th Century American School

A Gilt Composition Frame, rebate 18.75” x 13.75” (47.6 x 34.9cm)

£50-£80

406. 20th Century French School

A Painted Carved Wood Frame, rebate 18.5” x 15” (47 x 38.1cm)

£50-£80

407. 19th Century French School

A Gilt Composition Barbizon Frame, rebate 18.5” x 14” (47 x 35.5cm)

£100-£200

408.

A Near Set of Four Gilt Composition Frames, rebate 18.25” x 15”

(46.3 x 38.1cm) (4)

£50-£80

410. 20th Century English School

A Pair of Gilt Composition Frames, with swept and pierced centres and corners, rebate 18.25” x 11” (46.3 x 27.9cm) (2)

£50-£80

412.

A Painted Composition Frame, with a fabric slip, rebate 18” x 13”

(45.7 x 33cm) together with a painted composition frame, rebate 17.25” x 17.25” (43.8 x 43.8cm) (2)

£40-£60

409.

A Gilt Composition Frame, rebate 18.25” x 15” (46.3 x 38.1cm)

£40-£60

411.

A Black Painted Frame, with a gilt inner edge, rebate 18” x 14.5”

(45.7 x 36.8cm)

£80-£120

A Gilt Composition Frame, with swept centres and corners, rebate 18” x 13” (45.7 x 33cm)

£30-£40

414. 19th Century European School

A Painted Composition Frame, with swept centres and corners, rebate 18” x 13” (45.7 x 33cm)

£30-£40

415. 20th Century European School

A Painted Composition Frame, with swept centres and corners, rebate 18” x 13” (45.7 x 33cm)

£30-£40

416. 20th Century English School

A Painted Composition Frame, with swept centres and corners, rebate 18” x 12.75” (45.7 x 32.3cm)

£30-£40

417. 20th Century European School

A Gilt Composition Frame, rebate 18” x 9” (45.7 x 22.8cm)

£30-£40

421.

A Black Painted Frame, rebate 16.25” x 12.25” (41.3 x 31.1cm) and another similar, rebate 16” x 12” (40.6 x 30.5cm) (2)

£30-£40

423. 20th Century European School

A Gilt and Painted Composition Frame, with a fabric slip, rebate 16” x 13” (40.6 x 33cm)

£30-£40

425. 19th

A Painted Composition Frame, rebate 16” x 12” (40.6 x 30.5cm)

£30-£40

422.

A Painted Composition Frame with a green slip, rebate 16” x 14” (40.6 x 35.5cm)

£40-£60

424. 20th Century European School

A Gilt Composition Frame, with a fabric slip, rebate 16” x 13” (40.6 x 33cm) without slip, rebate 19” x 16” (48.2 x 40.6cm)

£30-£40

426. 20th

A Wooden Frame, with a gilt outer edge, rebate 15” x 12.75” ( 38.1 x 32.4cm)

£30-£40

427. 20th Century English School

A Pair of Gilt Composition Frames, with swept and pierced centres and corners and fabric slips, rebate 15” x 12 (38.1 x 30.5cm) (2)

£50-£80

428. 20th Century American School

A Gilt Composition Frame, with a painted slip, rebate 14.75” x 13.5” (37.4 x 34.2cm)

£40-£60

429. Late 18th Century English School

A Darkwood Frame, rebate 14.5” x 10.5” (36.8 x 26.7cm) and two others similar, rebate 14.5” x 10.5” (36.8 x 26.7cm) and 14” x 9.5” (35.5 x 24.2cm) (3)

£100-£200

430. 18th Century English School

A Set of Four Darkwood Frames, with a gilt inner and outer edges, rebate 14.5” x 10.5” (36.8 x 26.7cm) (4)

£100-£200

431. 18th Century English School

A Pair of Darkwood Frames, rebate 14.5” x 10.5” (36.8 x 26.7cm) (2)

£80-£120

432. 19th Century English School

A Gilt Composition Frame, rebate 14.25” x 12.25” (36.2 x 31.1cm)

£100-£200

433. 19th Century French School

A Gilt Composition Frame, with swept corners, rebate 14” x 12.75” (35.5 x 31.1cm)

£40-£60

434. 19th Century English School

A Gilt Composition Frame, rebate 14” x 12” (35.5 x 30.5cm)

£40-£60

A Black and Wooden Frame, rebate 14” x 11.25” (35.5 x 28.6cm)

£30-£50

436.

A Pair of Lacquered Frames, with gilt strips, rebate 14” x 10”

(35.5 x 25.4cm) (2)

£80-£120

437.

A

(34.9 x 22.2cm)

£30-£40

438.

A Painted Composition Frame, rebate 13” x 11” (33 x 27.9cm)

£30-£40

440. 20th Century American School

A Gilt Composition Frame, with a painted slip, rebate 12.75” x 9.5” (32.4 x 24.1cm)

£40-£60

442. 19th

English School

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

£30-£40

439.

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 12.75” x 9.5” (32.4 x 24.2cm)

£30-£40

441. 20th

A Silver and Wooden Frame, rebate 12.25” x 10.5” (31.1 x 26.7cm)

£40-£60

443. 20th

European School

A Painted Composition Frame, rebate 12” x 9” (30.5 x 22.8cm)

£30-£40

447. 19th Century English School

A Gilt Composition Frame, rebate 11.5” x 8” (29.2 x 20.3cm)

£30-£50

448. 18th Century English School

A Darkwood Frame, with a gilt slip, rebate 11.5” x 7.5” (29.2 x 19cm)

£40-£60

449. 19th Century European School

A Painted Composition Frame, with swept and pierced corners, rebate, 10.75” x 8.75” (27.3 x 22.2cm)

£30-£40

450. 20th-21st Century English School

A Silver Composition Frame, rebate 10.5” x 7.5” (26.7 x 19cm)

£100-£200

451. 20th Century European School

A Gilt and Painted Composition Frame, rebate 10.25” x 7” (26 x 17.8cm)

£40-£60

452. 20th Century European School

A Pair of Black Composite Frames, rebate 10” x 7” (25.4 x 17.8cm) (2)

£40-£60

453. 19th Century European School

A Pair of Gilt Composition Frames, rebate 10” x 6” (25.4 x 15.2cm) (2)

£100-£200

454. 19th Century European School

A Gilt Composition Frame, rebate 9.5” x 7.5” (24.2 x 19.1cm)

£80-£120

455. 20th Century European School

A Gilt Composition Frame, rebate 9.25” x 6.25” (23.5 x 15.8cm)

£30-£40

456. 20th Century English School

A Gilt Composition Frame, with swept corners, rebate 9.25” x 6.25” (23.5 x 15.8cm)

£40-£60

457. 20th Century English School

A Painted Composition Frame, with a gilt slip, rebate 9.25” x 6”

(23.5 x 15.2cm)

£30-£40

458. 20th-21st Century English School

A Black Painted Frame, with a gilt inner edge, rebate 9.25” x 6” (23.5 x 15.2cm)

£30-£40

A Simulated

£200-£300

A Gilt Composition Frame, rebate 9” x 6” (22.9 x 15.2cm)

£30-£40

462.

A Gilt Composition Frame, rebate 7.25” x 5.5” (18.4 x 14cm) and another similar, rebate 7” x 5.25” (17.7 x 13.3cm) (2)

£30-£40

A Gilt Composition Frame, with swept and pierced centres and corners, rebate 9” x 6” (22.9 x 15.2cm) and two others similar of various sizes (3)

£40-£60

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