Old Masters, British & European Paintings

TUESDAY 3RD MARCH 2026

AUCTION CALENDAR

MARCH

3rd Old Masters, British & European Paintings

10th­11th Paul Fitzsimmons: A Life in Oak

24th­26th Classics Week (Fine Furniture, Interiors, Arts of Africa, Oceania & The Americas)

26th The Gordon Reece Collection

APRIL

15th & 16th Design

22nd Fine Jewellery

28th & 29th Fine Silver & Objects of Vertu

MAY

19th Fine Asian Art

20th Asian Art II & Japanese Works of Art 21st Interiors

JUNE

2nd Modern British & 20th Century Art

3rd British Art Pottery

10th Medals & Coins, Arms & Armour

30th Classics Week (Fine Furniture, Interiors, British & Continental Ceramics & Glass)

Dates may be subject to change

+44 (0) 1722 424500 info@woolleys.live

51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk Lot 237

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS

TUESDAY 3RD MARCH 2026

10.00AM LOTS 1-277

AT OUR CITY CENTRE SALEROOMS, SP1 3SU

Victor Fauvelle +44 (0)1722 446961 vf@woolleys.live

VIEWING IN LONDON (HIGHLIGHTS)

Second Floor, 17 Clifford Street, London W1S 3RQ

Tuesday 24th February 10.00am – 4.00pm

Wednesday 25th February 10.00am – 4.00pm

VIEWING AT OUR OLD SARUM GALLERIES (FULL SALE)

Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX

Friday 27th February 10.00am – 4.00pm

Saturday 28th February 10.00am – 1.00pm

Monday 2nd March 10.00am – 4.00pm

Tuesday 3rd March By appointment

Ed Beer +44 (0)1722 446962 eb@woolleys.live

Richard Kay +44 (0)1722 446964 rk@woolleys.live

BUYER’S PREMIUM

Each lot is subject to a Buyer’s Premium of 27% (+VAT) on the first £20,000 of the hammer price. reducing to 26% (+VAT) up to £500,000, and 20% (+VAT) thereafter.

TELEPHONE BIDDING

Requests for telephone bidding cannot be accepted after 5pm on Monday 2nd March.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Φ This symbol indicates that an additional levy may be applied for this lot –please see our Terms & Conditions on our website

COLLECTION OF LOTS BY APPOINTMENT

Collections will be from Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please call 01722 424500 to make an appointment. Please instruct carriers accordingly.

Collection of sold and unsold lots must be within 21 days of the sale –failure to collect within this time may result in storage fees.

Heidi Easton +44 (0)1722 446970 he@woolleys.live

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ILLUSTRATIONS

Front cover: Lot 250

Back cover: Lot 115

Catalogue £12.00 (£15.00 by post)

1 λ

ATTRIBUTED TO HORACE HONE, ARA Irish 1754­1825

Portrait miniature of a lady wearing a white dress

Oval, in a gold frame with blue glass border, the glazed reverse revealing gilt metal initials over a silk back

58 x 47mm

Provenance:

The Michael Baggott Collection

£200­300

CIRCLE OF HENRY PIERCE BONE

1779­1855

Portrait miniature of Prince Edward, Duke of Kent and Strathearn (1767­1820)

Enamel on copper, oval, in a rectangular wooden frame

61 x 51mm

After the original by Sir William Beechey in the National Portrait Gallery (NPG 647).

£200­300

PORTRAIT MINIATURES

2 λ

RICHARD COSWAY, RA 1742­1821

Portrait miniature of a lady wearing a white dress, a landscape beyond Oval, in a rectangular ebonised wooden frame

99 x 75mm

Provenance:

The Collection of Dr S. Leonard Simpson; And by descent

£400­600

5 λ

RAJA JIVAN RAM

Indian act.1820­1860

Portrait miniature of Lieutenant Henry Reid (1825­1843) of the East India Company, in uniform

Rectangular, in a gilt­painted wooden frame

85 x 70mm

For an oil painting by Jivan Ram see lot 138.

£400­600

3 λ

ATTRIBUTED TO THOMAS RICHMOND 1771­1837

Portrait Miniature of a Lady, wearing a white dress with red trim and buttons, a red ribbon in her powdered hair

Oval, in a gold brooch frame, the glazes reverse revealing a plaited hair back

54 x 46mm

Provenance:

Chiswick Auctions, London, British & European Fine Art, 19 June 2019, lot 29

Thomas Richmond was the cousin of George Engleheart, to whom he was apprenticed in the early 1790s.

£150­250

6 λ

RAJA JIVAN RAM

Indian act.1820­1860

Portrait miniature of an officer, traditionally identified as Field Marshall John Byng, 1st Earl of Strafford (1772­1860), in uniform

Rectangular, in an ebonised wooden frame

102 x 83mm

£300­500

7 λ ENGLISH SCHOOL

Early 19th Century

Portrait Miniature of a Young Girl

Wearing a White Dress with Blue Sash

Oval, in a rectangular gilt metal frame

70 x 54mm

£150­250

10 λ

ENGLISH SCHOOL

c.1810

8 λ SIR WILLIAM CHARLES ROSS, RA 1794­1860

Portrait miniature of Anna Maria Boyd (née Coles), wearing a pink dress, standing in an interior holding a portrait miniature

Inscribed and dated miniature Painter to/The Queen/1849 (to backing paper)

Rectangular, in gilt metal frame within a fitted leather case 161 x 123mm

Provenance: By family descent from the sitter to the present owner

£300­500

Portrait miniature of a lady, wearing a white dress

Inscribed To be sent to/Mrs Williams/To be sent to/Mrs Preston/Sydney Place/Bath/Or to Miss Dean/Whitehaven (to backing paper)

Oval, in a rectangular ebonised wood and gold­plated frame

64 x 50mm

The inscription on the backing paper suggests that the miniature was to be sent to one of the daughters of Charles Deane, commander of the East Indiaman ‘The Earl of Sandwich’. Miss Martha Dean marred Major Charles Williams in 1807. After Major Williams’ death in 1819 Martha married Mr Robert Preston in 1826, who became Sir Robert Preston 8th Baronet of Lutton in 1846.

£150­250

9 λ CIRCLE OF REGINALD EASTON 1807­1893

Portrait Miniature of a Young Girl Seated in a Landscape Wearing a White Dress and Holding Flowers

Rectangular, in a gilt metal and ebonised wooden frame 108 x 81cm

£150­250

11 λ

JACQUES-ANTOINEMARIE LEMOINE

French 1751­1824

Portrait miniature of a woman and a child seated in an interior

Roundel, in a square wooden frame 70mm diameter

Provenance: The Collection of Dr S. Leonard Simpson; And by descent

£300­500

12 λ FRENCH SCHOOL

Late 18th Century

Portrait miniature of a lady wearing a blue dress, seated at a spinet

Oval, in a rectangular tooled leather case 51 x 68mm

Provenance: The Michael Baggott Collection

£150­250

PRINTS

comprising Sir Geoffrey Keynes, The Complete Portraiture of William and Catherine Blake (Trianon Press, 1977, slipcased); William Blake, There Is No Natural Religion (Trianon Press, 1971, 2 vols, slipcased); William Blake, The Marriage of Heaven and Hell (Trianon Press, 1975, slipcased), three copies; Graham Reynolds, Constable With His Friends In 1806 (Trianon Press & Genesis Publications, 5 vols, slipcased) (6 items)

£200­300

14

WILLIAM SIMPSON 1823­1899

The Seat of War in The East (Abbey Travel 237)

The volume of 80 tinted lithographs, some finished by hand, tissue guards (some with printed keys), and lithographed title page, published by Paul and Dominic Colnaghi 18551856, printed by Day and Son, contemporary half morocco, gilt edges, folio

Images 27.5 x 42cm, 10¾ x 16½in

£200­300

15

AFTER GEORGE ROBERTSON

1747­1788

A View in the Island of Jamaica

The set of six engravings, by Thomas Vivares and Daniel Lerpiniere, with (later?) hand colouring, published by John Boydell c.1778

Each 35.5 x 52.5cm; 14 x 20¾in (6)

These engravings, showing the sugar plantations of the slaver William Beckford of Somerly (17441799), are amongst the earliest large topographical prints of the Caribbean. Working under Beckford’s direction, Robertson’s subjects show the verdant splendour of the plantations but omit any indication of the tough lives of the slave workers.

£600­800

16

AFTER THOMAS WALMSLEY 1763­1805

O Sulivans Waterfall [sic], Lake of Killarney, Ireland; Castle of Arday on the River Kenmare, Ireland

Two, both aquatints with hand colouring by F. Jukes and by F. Jukes with F. J. Sarjent, published by T. Walmsley and F. Jukes and by F. J. Sarjent, 1809, backed onto cotton and on stretchers

31.5 x 42.5cm; 12¼ x 16¾in and slightly smaller (2)

£200­300

17

AFTER T. BLAKE act. 1811­1831

The Interior of the Fives Court (with Randall and Turner sparring)

Aquatint with hand colouring, by C. Turner, published by W. Sims, 1825, a restrike 39 x 45.5cm; 15¼ x 18in (image)

£200­300

18

AFTER GEORGE MORLAND 1763­1804

St James’s Park; A Tea Garden

A pair, both stipple engraving printed in colour, possibly by T. Gaugain, published 1790 or later, mounted to the image, verre eglomise mounts

Each 32 x 41cm; 12½ x 16in (2)

£200­400

20

WILLIAM LIONEL WYLLIE, RA 1851­1931

St Paul’s from Bankside

Signed W L Wyllie (in pencil to margin)

Etching

34.7 x 24.7cm; 13¾ x 9¾in

£150­250

19

AFTER GEORGE MORLAND 1763­1804

A Visit to the Child at Nurse; A Visit to the Boarding School

A pair, both mezzotints with hand colouring, by W. Ward, published by J. R. Smith, 1788­9, verre eglomise mounts

Each 42 x 54.5cm; 16½ x 21½in (2)

£200­400

21

WILLIAM LIONEL WYLLIE, RA 1851­1931

The Thames at Low Tide, Looking towards St Paul’s

Signed W L Wyllie (in pencil to margin)

Etching

22 x 34.7cm; 8¾x 13¾in

£150­250

22

JAMES ALPHEGE BREWER 1881­1946

Westminster (Boats Moving Off); St Paul’s Cathedral (The Incoming Tide)

A pair, both signed J Alphege Brewer (in pencil to margin) Both etching

Each 42.7 x 60.6cm; 16¾ x 23¾ (plate) (2)

£150­250

21 22

DRAWINGS AND WATERCOLOURS

23

CIRCLE OF JACOPO DA EMPOLI

Italian 1551­1640

Study of a Praying Saint Bears inscription Jacopo da Empoli (lower left)

Black chalk, a red chalk study verso

38.2 x 23.8cm; 15¼ x 9¼in

Provenance:

Sir Thomas Lawrence, PRA (1769­1830), his collector’s stamp lower left (Lugt 2445);

Sotheby’s London, 28 January 1965, lot 315

£200­400

24

FRENCH SCHOOL

18th Century

The Four Seasons

Red chalk

15.7 x 19.3cm; 6¼ x 7½in

£200­300

25

FOLLOWER OF ADRIAEN VEN DER VELDE 1636­1672

Pastoral: Peasant tending Cattle and Sheep

Red chalk with charcoal

31.5 x 23.5cm; 12½ x 9¼in

£100­200

FOLLOWER OF MICHIEL VAN MUSSCHER

1645­1705

An Artist’s Studio, with two Collectors

Signed with initials SM delt in ink (lower right)

Grey wash

24.7 x 28.2cm; 9¾ x 11in

Unframed

£200­300

AFTER GIOVANNI ANTONIO CANAL, CALLED CANALETTO 1697­1768

The Giovedi Grasso Festival in the Piazzetta before the Ducal Palace in Venice

Pen and ink with graphite

34.5 x 50.5cm; 13½ x 20in

After the 1765 composition (but with omissions) in the National Gallery of Art, Washington

£400­600

28 FRENCH SCHOOL c.1770

Christ with the Woman of Samaria

Watercolour heightened with white, on silk laid on paper and board

16.5 x 26cm; 6½ x 10¼in

Provenance: Annabel Popovic, London, where purchased by the owner, c.1989

£200­300

29

HUGH DOUGLAS HAMILTON c.1739­1808

Portrait of a Gentleman Wearing a Brown Coat and Powdered Wig; Portrait of a Lady, wearing a black dress and lace bonnet

Two, each pastels and graphite, mounted oval 21.5 x 16.5cm; 8½ x 6½in; 23.5 x 18.5cm; 9¼ x 7¼in (2)

Provenance:

The Lady, possible Doneraile Court; James Adam, Dublin, 29 October 2004, lot 20; Adam's, Dublin, 28 March 2012, lot 41; Adam's, Dublin, 15 October 2019, lot 207

Literature: Neil Jeffares, "Hugh Douglas Hamilton", Dictionary of pastellists before 1800, online edition, nos. J.375.2097 & J.375.2188

£2,000­3,000

SIR THOMAS LAWRENCE PRA, FRS 1769­1830

Portrait of Mrs Molyner, half­length, wearing a blue dress

Signed, inscribed and dated Be pleasd to keep this/from the Damp & from the sun/TLawrence/1783/Mrs Molyner (to backing paper)

Pastel, oval

29.2 x 23.8cm; 11½ x 9¼in

Provenance:

Gorringes, Lewes, 23­24 March 2011, lot 1326 (as attributed to Lawrence);

Property of an English Private Collector

Literature:

Neil Jeffares, “Sir Thomas Lawrence”, Dictionary of pastellists before 1800, online edition, nos. J.466.297 (as Lawrence)

£1,000­2,000

30 30

31

GEORGE RICHMOND, RA 1809­1896

Portrait Study of Henry and Philip Fletcher

Charcoal, heightened with touches of watercolour and Chinese White, on paper laid on canvas, mounted circular 56.5cm; 22¼in diameter

Literature:

Raymond Lister, George Richmond (London, 1981), p.158, no.46

In the artist’s stockbook, this is dated to February 1840 (£31.10). Richmond drew various members of the Fletcher family 1831­1850.

£1,000­1,500

ELIZABETH EMMA SOYER (NEE JONES) 1813­1842

Portrait of a Young Gentleman, Seated half­length, wearing a coat and waistcoat

Signed Emma Jones/ fecit 1829 (lower right) Charcoal

21 x 16.5cm; 8¼ x 6½in

£500­800

32

OZIAS HUMPHRY, RA 1742­1810

Portrait of a Girl wearing a White Dress; Portrait of a Girl wearing a White Dress and Bonnet

A near pair, the former signed and inscribed in ink Oz[...] Humphry 1790. Londini (lower edge)

Both graphite and red chalk

13.5 x 11cm; 5¼ x 4¼in and slightly smaller (2)

£150­250

34 J** HARDY Fl.c.1850

Young Midshipman on a Shore

Signed and dated J. Hardy/ Bath 1850 (lower right)

Watercolour and bodycolour

49 x 37.5cm; 19¼ x 14¼in

£100­150

35

DAVID COX SEN., RWS 1783­1859

Kenilworth Castle

Signed David Cox (lower left)

Pencil and watercolour heightened with bodycolour

20.2 x 27.4cm; 8 x 10¾in

Provenance:

S. E. Taylor, by 1890; W. Oliffes Sale, Oxford, 28 January 1963

Exhibited:

Birmingham, Birmingham Museum and Art Gallery, David Cox

Exhibition, 1890

£300­500

36

JOHN GLOVER 1767­1849

Bridge on the Conwy River near Bettws­y­Coed

Brown and grey washes

12 x 19.5cm; 4¾ x 7¾in

£200­300

37

PETER DE WINT 1784­1849

Pillaton Old Hall, Penkridge, Staffordshire

Watercolour

26.5 x 42cm; 10½ x 16½in

Provenance: The Wren Gallery Ltd, London (label on backboard)

£300­500

38

38

JOHN PRESTON NEALE 1780­1847

Silwood Park, Sunninghill, near Ascot, Berkshire; Sunning­hill Park, Berkshire

Two, sepia wash and pencil, heightened with white Each 8 x 12cm; 3¼ x 4¾in (2)

Engraved:

By W. Taylor for Neale’s Views of the Seats of Noblemen and Gentlemen in England, Wales, Scotland and Ireland, 1824­1831

£100­200

39

ROBERT RICHARD SCANLAN

Irish 1801­1876

A Steeplechase

Signed and dated R.R.Scanlan 1845. (lower right)

Watercolour and pencil heightened with white

20.5 x 43.5cm; 8 x 17in

£200­300

40

GEORGE BARRET SENIOR, RA c.1730­1784

Landscape with Lake and Hills, Figures in the Foreground

Gouache

39.5 x 54.5cm; 15½ x 21½in

£400­600

41

SAMUEL JACKSON 1794­1869

Caernarvon Castle

Watercolour

20 x 29cm; 8 x 11½in

£300­500

42

THOMAS JAMES LLOYD 1849­1910

Middleton Moor, Yorkshire

Signed and dated Tom Lloyd 1910 (lower right), and inscribed Middleton Moor Yorkshire/ Tom Lloyd/ Lambolle Lodge/ Littlehampton (to label)

Watercolour

46.5 x 90cm; 18¼ x 35½in

£300­500

43

TOM ROWDEN 1842­1926

Cattle on Dartmoor

Signed Tom Rowden (lower left)

Watercolour

20 x 36cm; 8 x 14¼in

Provenance: Alresford, Laurence Oxley Ltd (label on backboard)

£100­150

44

RICHARD HENRY NIBBS

1816­1893

Shoreham

Signed RH Nibbs (lower left)

Watercolour

66 x 98cm; 26 x 28½in

Provenance:

Bonhams, London, Marine Paintings & Works of Art, 12 August 1993, lot 452; Bonhams, London, Home & Interiors, 5 August 2020, lot 4; Bellmans, Billingshurst, Interiors, 24 November 2020, lot 1039

£300­500

45

WILLIAM JAMES MULLER 1812­1845

Rocks near to Dendera

Signed with initials, inscribed and dated WM/38/Egypt (at right), bears inscription verso This shows the formation of the/ rocks - (near to Dendora -) which I/ take to be chalk/ the most curious/ appearance is a sort of/ cone like form - which much resembles/ Arab Villages - Egypt 1838 WM

Watercolour and pencil

13.5 x 34.5cm; 5¼ x 13½in

£250­350

46

EDWARD DUNCAN, RWS 1803­1882

Evening Flight

Signed and dated E Duncan 1868 (lower left)

Watercolour heightened with white 38 x 72.8cm; 15 x 28¾in

Provenance:

Brian Sinfield, Gloucestershire; Private Collection, Gloucestershire

£500­700

47

EDWARD DUNCAN, RWS 1803­1882

Bangor, North Wales

Signed E. Duncan in pencil (lower right), inscribed Bangor in pencil (lower left)

Watercolour and pencil heightened with white 13 x 29.5cm; 5 x 11½in

Provenance:

Christie’s London, Old Master, 19th Century & British Drawings & Watercolours, 9 December 2010, lot 1236; Private Collection

£120­180

48

EMILE PIERRE METZMACHER

French 1842­1916

Stolen Tryst; Tapestry of Romance

A near pair, the former signed E. Metzmacher (lower right), the latter signed E. METZMACHER (lower right)

Both watercolour

32.5 x 24.5cm; 12¾ x 9¾in or slightly smaller (2)

£300­500

49

DANIEL MACLISE, RA

Irish 1806­1870

Study of a Young Lady, Seated Pen and black ink

17.5 x 12.5cm; 6¾ x 5in

Together with a brown wash and pencil sketch of Killiney Bay by another hand, inscribed and dated Killiney Bay/25.Sep.1819 (lower left), 15 x 31.5cm (2)

£100­200

50

FREDERIC, LORD LEIGHTON, PRA 1830­1896

A Byzantine Well­Head

Signed with monogram and dated 18FL52 (on left), inscribed VENEZIA (on right)

Pencil

39 x 27cm; 15¼ x 10½in

Exhibited:

London, Royal Academy, Frederic Leighton, February­April 1996, no.2 (illustrated in the exhibition catalogue)

This early drawing by Leighton shows an exceptional interest in careful observation and meticulous draughtsmanship. It acknowledges the Nazarene influence of his master, Edward von Steinle, and also the teaching of John Ruskin who advocated `rejecting nothing, selecting nothing and scorning nothing` (Modern Painters, 1843, vol.1, part 2, section 6, ch.3).

£200­300

51

JOHANN RUDOLF FEYERABEND, CALLED LELONG

Swiss/French 1749­1814

Still Life with Musical Instruments; Still Life with Kitchen Utensils

A pair, both gouache

Each 14 x 19.5cm; 5½ x 7¾in (2)

£800­1,200

52

GEORGE CATTERMOLE

1800­1868

The Scholar’s Study

Signed G. Cattermole (lower left)

Watercolour and pencil heightened with white

26 x 36.5cm; 10½ x 14¼in

£150­250

53

E** HULL

Fl.c.1837

7th Light Dragoons

Signed and dated E Hull/ April 1837 (lower centre)

Watercolour and pencil

28.5 x 39cm; 11¼ x 15¼in

£100­150

MYLES BIRKET FOSTER, RWS

1825­1899

Three Children in a Farmyard

Signed with monogram (lower right)

Watercolour and pencil, heightened with white 17 x 24.5cm; 6¾ x 9¾in

£300­500 55

MYLES BIRKET FOSTER, RWS

1825­1899

Near Bonchurch, Isle of Wight

Signed with monogram (lower right)

Watercolour and pencil heightened with white 11.2 x 19cm; 4½ x 7½in

Provenance: Collection of F. W. Smith; Frost & Reed Ltd, London

Exhibited:

London, Society of Painters in Water Colour, Winter Exhibition, 1892/3

£400­600

56

THOMAS MATTHEWS ROOKE

1842­1942

Semur­en­Auxois

Signed and inscribed T M Rooke/Semur/1905 (lower left)

Watercolour

47.5 x 60cm; 19¾ x 23¾in

Semur­en­Auxois is a commune in the Cote d’Or region of Eastern France.

£200­300

57

FRANZ KEISERMANN

Swiss 1765­1833

La Porte aupres du Petit Pont devant Loberge du Temple de la Sibylle a Tivoly; Vue des Reste du Temple d’Hercule a Tivoly

A near pair, each inscribed with title and also signed and Keisermann a Rome 1806 (each upon a label verso)

Both watercolour and pencil

Each 39 x 47.5cm; 15¼ x 18¾in approx (2)

£300­500

HELEN ALLINGHAM, RWS

1848­1926

A Surrey Cottage

Signed H. Allingham (lower right), and inscribed A Surrey Cottage (to label)

Watercolour and bodycolour

26.5 x 18cm; 10½ x 7in

Provenance: Walter Langley, 1950; Leger Galleries, London, December 1975

We are grateful to Annabel Watts for her assistance cataloguing the present work.

£2,000­3,000

58A

HELEN ALLINGHAM, RWS

1848­1926

A Village Street, Kent

Signed H. Allingham (lower right), also signed and inscribed 2/ A Village Steet, Kent/ by/ Mrs Allingham/ Eldon House/ Lyndhurst Road/ Hampstead/ London (on a label on the backboard)

Watercolour heightened with touches of bodycolour

35.5 x 54cm; 14 x 21¼in

Exhibited:

Brussels, International Exhibition, British Fine Art Section, 1887, no.259 (label on backboard)

London, Franco-British Exhibition, British Fine Art Section, 1908 (label on backboard)

Rome, Royal Commission, International Fine-Arts Exhibition, 1911 (lent by C. P. Johnson Esq) (labels on backboard)

Provenance:

M. Newman Ltd, London Sir Owen Aisher (1900­1993) By descent to The Muro Collection

The present work depicts Bearsted in Kent, which Allingham visited in the early 1890s. The nearest building was later partially destroyed by fire, but was repaired and became the village bakery, which still stands today

This watercolour has passed by descent from the personal collection of Sir Owen Aisher (1900­1993), one of the most distinguished collectors of Allingham's work. Sir Owen was the chairman of Marley Ltd., a building materials company with a particular specialism in roofing tiles. On behalf of the company, Sir Owen purchased a group of Allingham works which faithfully reproduced the materials of the buildings depicted. These became known as The Marley Collection and were sold at Christie’s in 1991. This lot formed part of Sir Owen’s personal collection and hung at his home in Surrey (other examples from Sir Owen's collection were sold here in August 2021).

We are grateful to Annabel Watts for her assistance cataloguing the present work.

£3,000­5,000

62

CHARLES VACHER

1818­1883

The Campagna, Rome

Bears inscription The Campagna = Rome/Charles Vacher.R.I. (on label on backpaper)

Watercolour and pencil heightened with white 25 x 54cm; 9¾ x 21¼in

£200­300

59

WILLIAM CALLOW, RWS 1812­1908

Perugia

Signed W. Callow (lower left)

Watercolour and pencil

24.5 x 17.5cm; 9½ x 6¾in

The artist noted on his first visit to Italy in 1841, `After Florence stopped the first night at Arezzo .. Arrived at Perugia on the third day and visited the Cathedral..`

£600­800

60

ARTHUR TUCKER, RBA 1864­1924

Views at Staithes

Three, each signed A. Tucker (lower left)

Watercolour

19.5 x 29.5cm; 7¾ x 11½in; 29.5 x 19.5cm; 11½ x 7¾in (3)

£150­200

61

JOHANN LUDWIG (LOUIS) BLEULER 1794­1850

Vue de la Ville et du Lac de Bienne

Inscribed in pencil with the title and Par Louis Bleuler au chateau de Laufen pres Schaffhouse [sic]

Watercolour and gouache

32.2 x 47.7cm; 12¾ x 18¾in to inner border

£200­300

63

AUGUSTUS OSBORNE LAMPLOUGH 1877­1930

In the Nubian Desert

Signed A. Lamplough (lower left), titled In the Nubian Desert (lower right)

Watercolour

22.5 x 59cm; 8¾ x 23¼in

£400­600

64

THOMAS CHARLES LEESON ROWBOTHAM 1823­1875

At Pallanza, Lago Maggiore, North Italy, Hazy Morning

Signed and dated T L Rowbotham 1857 No.111 (lower left), and inscribed No. 1./ At Pallanza. Lago Maggiore/ North Italy. Hazy Morning./ T L Rowbotham (to label)

Watercolour and pencil heightened with white 89.5 x 127cm; 35¼ x 50in

Provenance:

Bonhams, London, 19th Century Paintings, Drawings and Watercolours, 22 April 2010, lot 153

£300­500 65

CHARLES EDMUND ROWBOTHAM 1856­1921

Sorrento with Vesuvius in background

Signed and dated Chas Rowbotham 1905 (lower right)

Watercolour and bodycolour

33cm x 58cm; 13 x 22¾in

Provenance: The Wren Gallery Ltd, London (label on backboard)

£100­200

66

CHARLES EDMUND ROWBOTHAM 1856­1921

Views in the Bay of Naples

A pair, each signed Chas Rowbotham (lower left or lower right), one also dated 1897 (lower right)

Watercolour and bodycolour

Each 20 x 40cm; 8 x 15¾in (2)

£150­250

67

LEESON ROWBOTHAM b.1899

Whitecliff Bay, Isle of Wight 1932

Signed, inscribed and dated Whitecliff Bay I of Wight/ Leeson Rowbotham 1932 (lower left)

Watercolour heightened with white

25.5 x 36.5cm; 10 x 14½in

£100­150

CHARLES EDWARD DIXON 1872­1934

On the Tagus, looking out

Signed, inscribed and dated on the Tagus . looking out/ Charles Dixon/ . 09 . (lower left)

Watercolour with pen and ink

17.5 x 52.5cm; 6¾ x 20¾in

£400­600

J** F** CREW 19th Century

Departure of Baltic Fleet under Sir Charles Napier, 1854

Signed J F Crew (below image on support sheet)

Pastels

25.5 x 36.5cm; 10 x 14¼in

£150­250

G** D’ESPOSITO

Fl.c.1890­1920

HMS Caesar off Malta

Signed and dated G. D’Esposito 1903 (lower left)

Gouache

28 x 43cm; 11 x 17in

£120­180

71

ALBERT GOODWIN, RWS 1845­1932

Taormina, April

Signed Albert Goodwin (lower right edge), inscribed Taormina April and dated indistinctly (lower left)

Watercolour and bodycolour, heightened with touches of pen and ink

25 x 35cm; 9¾ x 13¾in

£1,200­1,800

72

ALBERT GOODWIN, RWS 1845­1932

Whitby

Signed Albert Goodwin (lower right), inscribed Whitby (lower left)

Watercolour with pen and ink and pencil, on grey paper

23 x 29.5cm; 9 x 11½in

£600­800

73

CONSTANCE, LADY WENLOCK 1852­1932

A View of Florence at Sunset

Signed and dated C Wenlock/ 1927—1928 (lower right)

Watercolour and pencil with gum arabic

49.5 x 65.5cm; 19½ x 25¾in

Together with a copy of Lady of The Souls: Landscape Paintings by Constance Lady Wenlock (1852-1932) by Jane Sellars (Harewood House Trust, 2001) (2)

£600­800

£1,500­2,500

75

CAPTAIN R* MECHAM

Fl.c.1850s

Government House, Barrackpoor; Kotagherry in the Neilgherry [Nilgiri] Hills, Residence of the Marquess of Dalhousie & Lady Susan Ramsay in 1855

A pair, both signed Mecham or R. Mecham (lower left), each bears title and signed by Susan G. Brown Bourke/ Coalstown/ 1865 on paper on backboard

Watercolour and pencil

Each 22 x 29.5cm; 8½ x 11½in (2)

Provenance:

Sotheby’s, London, Of Royal and Noble Descent, 19 January 2017, lot 102

£150­250

76

CIRCLE OF GEORGE CHINNERY 1784­1852

Partial Sketchbook, c.1840­41

Comprising 10 leaves with sketches/studies recto and/or verso, some spanning both leaves, also 4 blank leaves, including Macao/Fort St Francis. June 16th 41 -/ low water, Lord John Churchill’s Monument in the Burial/Ground at Macao./ 1840, Tomb of Sir John Churchill at Macao and Attack of the Heights above Canton 25 May 1841; and also figure sketches of Chinese and other subjects etc, ink, watercolour and pencil, some inscribed as title but none signed 14 x 19cm; 5½ x 11½in

£600­800

78

COLONIAL SCHOOL

19th Century

Coffea Arabica

Inscribed twice with title in ink and in pencil Coffea Arabica (lower right)

Watercolour heightened with gum Arabic

37 x 49.5cm; 14½ x 19½in

£300­500

77

HENRY WARREN 1794­1879

Indian Fruit Seller

Signed and dated Henry Warren/1868 (lower right)

Watercolour and bodycolour over pencil

48 x 61cm; 19 x 24in

£300­500

79

79

MOGHUL SCHOOL

Early 17th Century

A Farrier Shoeing a Horse Ink heightened with wash and gilt paint

12.4 x 14.6cm; 5 x 5¾in

Provenance:

Bought 26 November 1919 (£5) from Harper by A.P Oppe; By descent to the present owner

Exhibited:

London, Burlington Fine Arts Club, Catalogue of Exhibition of Art of India, 1931, no.21; London, Royal Academy of Arts, Exhibition of Art Chiefly from the Dominions and Pakistan, 1947­48, no.853;

London, Royal Academy Diploma Galleries, Paul Oppe Collection, 1958, no 249

A variation of this work, drawn in reverse, is in the British Museum (no.1942.0124.0.1).

£2,000­3,000

80

MOGHUL SCHOOL

c.1770

Portrait of Nur Gahan, wife of the Emperor Jahangir Watercolour, gouache and gilt paint, with foliate decorated borders and margins

29.7 x 20.4cm; 11¾ x 8in (painting)

53.1 x 32.8cm; 21 x 13in (folio)

Provenance: A.P Oppe; By descent to the present owner

Exhibited:

London, Royal Academy of Arts, Exhibition of Art Chiefly from the Dominions and Pakistan, 1947­48, no.1191;

£2,000­3,000

81 Φ

RICHARD BERTRAM OGLE

1889­1976

The Adventurer

Signed OGLE (lower right corner)

Watercolour and bodycolour with pen and black ink

52 x 35cm; 20½ x 13¾in

Provenance:

By descent in the family of the artist Bequeathed to the mother of the vendor in 1995

£200­400

82 Φ

RICHARD BERTRAM OGLE

1889­1976

Dance of the Moonmoth

Signed OGLE (near lower edge)

Watercolour and bodycolour

35 x 52cm; 13¾ x 20½in

Provenance:

By descent in the family of the artist Bequeathed to the mother of the vendor in 1995

£200­400

83 Φ

HARRY MILEHAM

1873­1957

A Folio of Five Watercolours/Drawings and an Oil

Comprising figure studies (seated monk, pensive man, Toilet of Venus, Classical maidens, Allegory of Motherhood), one signed Harry R. Mileham (lower right); and an oil study of a man, on panel, this signed and dated H R MILEHAM 1907 (lower right)

The largest 29 x 33cm; 11½ x 13in

Unframed (6)

Provenance:

By descent in the family of the artist

£200­300

84

HARRY MILEHAM

1873­1957

A Folio of Eleven Leaves

Comprising figure studies and anatomical drawings, five bear assessor’s notes from 1893, principally charcoal on buff or grey papers, but some with coloured chalks and/or crayon

The largest 62.5 x 48.5cm; 24½ x 19in

Unframed (11)

Provenance:

By descent in the family of the artist £200­300

85 Φ

HARRY MILEHAM

1873­1957

A Folio of Twenty Leaves

Comprising figure studies and anatomical drawings, principally red chalk but some with watercolour and/or pencil

The largest 58.5 x 46cm; 23 x 18in

Unframed (20)

Provenance:

By descent in the family of the artist £200­300

86 Φ

HARRY MILEHAM

1873­1957

A Folio of Eight Leaves

Comprising figure studies and anatomical drawings, six signed or monogrammed, principally red chalk

The largest image 36.5 x 29.5cm; 14¼ x 11½in

Unframed (8)

Provenance: By descent in the family of the artist £180­250

87

RYLAND 1856­1924

Bloom of Youth Signed H RYLAND (lower right)

Watercolour over traces of pencil

40 x 27cm; 15¾ x 10½in

£1,200­1,800

88 GREEK SCHOOL

17th Century

A Small Portable Altarpiece

OIL PAINTINGS

Comprising four hinged wings enclosing a central theme, the central panel with Virgin and Child (recto) and Crucifixion (verso); the wings with St John the Baptist, St Jerome, St Antony Abbot, The Mocking of Christ and The Resurrection Oil on panel

Each panel/wing 9.7 x 5.7cm; 3¾ x 2¼in approx; 11.5 x 7.2 x 3cm; 4½ x 2¾ x 1¼in approx, when closed

Provenance:

A.P Oppe; By descent to the present owner

£1,500­2,500

GREEK SCHOOL

Icon of The Mother of God Milk­giver

Oil on panel, traces of gold ground, with incised details, arched top

37 x 22.5cm; 14½ x 8¾in

£400­600

90 MANNER OF DUCCIO DI BUONINSEGNA

c.1255/60­c.1318/19

A Triptych: Virgin and Child with Attendant Saints

The pediment with inscription Ave Gratia Plena (Hail, full of Grace) Tempera (or oil) on gold ground, on panel Central panel 20 x 18.5cm, 8 x 7¼ in; each wing 22.5 x 10.5cm, 8¾ x 4in; 30 x 21cm, 12¾ x 8¼in when closed, overall

£400­600

MANNER OF LORENZO LOTTO

Italian 1480­1556

Virgin and Child with St Elizabeth and John the Baptist

Oil on panel

36.5 x 43cm; 14¼ x 17in

£600­900

92

CIRCLE OF GIOVANNI FRANCESCO BARBIERI, IL GUERCINO

Italian 1591­1666

Lucretia

Oil on canvas, laid on panel

30.5 x 33.5cm; 12 x 13¼in

£250­350

93

FOLLOWER OF SEBASTIANO CONCA

Italian 1680­1764

Virgin and Child with St John the Baptist

Oil on canvas laid on panel

39 x 29cm; 15¼ x 11¾in

Unframed

£150­200

94

FOLLOWER OF JUAN SIMON GUTIERREZ

Spanish 1634­1718

The Infant Christ: Ecce Agnus Dei

Oil on canvas

27 x 21cm; 10½ x 8¼in

£200­300

CUZCO SCHOOL

Madonna and Child

Surrounded by a Garland of Fruit and Flowers

Oil on canvas

56 x 45.5cm; 22 x 18in

Provenance:

Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 March 2020, lot 267, where purchased by the present private collector

£400­600

96

SPANISH COLONIAL SCHOOL 18th Century

Virgin Mary of Belen

Oil on copper, mounted oval 9 x 7cm; 3½ x 2¾in

Provenance: A.P Oppe; By descent to the present owner

£150­200

97

FOLLOWER OF FRANS FRANCKEN III

Flemish 1607­1667

Salvator Mundi

Oil on copper

14.5 x 10.5cm; 5¾ x 4¼in

£150­250

98

FOLLOWER OF GREGORIO LAZZARINI

Italian 1657­1730

Rebecca and Eliezer at the Well Oil on canvas

48 x 41.5cm; 18¾ x 16¼in

£400­600

FOLLOWER OF MICHELANGELO MERISI DA CARAVAGGIO

Italian 1571­1610

A Young Man wearing a Feathered Cap, seated playing a Lute, with a Tambourine and a Recorder by his feet Oil on canvas

123.3 x 88.3cm; 48½ x 34¾in

Provenance: Mrs Acton Pile, London

Christie’s London, 22 May 1953, lot 144 (as `Honthorst`, 9gns. to Osborne)

Christie’s London, 9 December 2016, lot 173

Caravaggio’s influence amongst artists in Rome during his stay in the city (c.1592­1606) was far reaching. This work shows the immediacy and realism that served to define the `Caravaggesque` style. There is a similarity to the work of Valentin de Boulogne who was in Rome in 1614 and the French­born artist drew upon Caravaggio’s use of dramatic light and strong compositions.

£2,000­3,000

100

100

STUDIO OF THEODOOR VAN LOON

Flemish 1581/1582­1649

The Annunciation Oil on canvas

123.7 x 170.7cm; 48¾ x 67¼in

Unframed

Provenance: Holy Trinity, Millbrook, Southampton; By whom sold Rushbrookes, Winchester, 21 June 2024, where purchased by the present owner

£3,000­5,000

101

ATTRIBUTED TO ESAIAS VAN DE VELDE

Dutch 1587­1630

Elegant Parties and Fishermen in a River Landscape

Oil on panel

32 x 73cm; 12½ x 28¾in

£2,000­3,000

FOLLOWER OF JACOB ISAACSZ. VAN RUISDAEL

Dutch 1628/9­1682

Farm Buildings and a Figure in a Rural Landscape Bears fragmented inscribed label verso S [erased]/2d./Old Brown/Ink Oil on panel

30.5 x 41cm; 12 x 16in

£800­1,200

CIRCLE OF MICHIEL CARREE

Dutch 1657­1727

Stormy Landscape Scene with Cattle, Sheep, Goats and a Laden Mule

Oil on canvas

59.5 x 50cm; 23½ x 19¾in

£600­800

AFTER PHILIPS WOUWERMAN

Dutch 1619­1668

Cavalry Skirmish on a River Bank

Oil on panel

34.5 x 43cm; 13½ x 17in

£200­300

105

AFTER NICHOLAS MAES

Dutch 1634­1693

The Idle Servant

Oil on canvas

73 x 52cm; 28¾ x 20½in

After the original of 1655 in the National Gallery, London (no NG207).

£400­600

106

CIRCLE OF GODFRIED SCHALCKEN

Netherlandish 1643­1706

Lady Sleeping by Candlelight

Oil on panel

22 x 17.5cm; 8½ x 6¾in

Unframed

£300­500

107

MANNER OF FRANZ DE PAULA FERG

Austrian 1689­1740

Figures in an Italianate Landscape Oil on canvas, a sopraporte

26 x 108cm; 10¼ x 42½in

£200­300

108

FOLLOWER OF MARCO RICCI

Italian 1676­1730

Capriccio with Figures by Classical Ruins at a Seaport Oil on canvas, laid on panel

10 x 14.5cm; 4 x 5¾in

£300­400

109

CIRCLE OF JACQUES D’ARTHOIS

French 1613­1686

Wooded Landscape with Drovers and Livestock on a Track Oil on canvas

56 x 67.8cm; 22 x 26¾in

Provenance: Christies, South Kensington, Old Master Pictures, 14 April 1999, lot 143

£500­800

110

FOLLOWER OF THOMAS HEEREMANS

Dutch 1641­1694

Countryfolk with Horses on a Frozen River by a Town Oil on panel

30.5 x 41.5cm; 12 x 16¼in

£300­400

111

CIRCLE OF ANGELO MARIA CRIVELLI

Italian 1660­1730

A Turkey and other Fowl

Oil on canvas

120.5 x 99cm; 47½ x 39in

Unframed

£1,000­1,500

112

CIRCLE OF FRANCIS BARLOW

c.1626­1704

Turkeys, Chickens and Guinea Pigs in a Park Landscape, an Obelisk beyond; Peacocks, Rabbits and Chickens in a Park Landscape

A pair, oil on canvas

Each 28 x 35cm; 11 x 13¾in (2)

£1,500­2,500

113

CIRCLE OF ELISABETTA MARCHIONI

Italian c.1630­1710

Still Life of Roses, Tulips and other Flowers in an Urn upon a Ledge

Oil on canvas

104 x 74cm; 41 x 29in

Provenance:

Long standing family collection, Dorset

£3,000­5,000

114

GIACINTO DIANO

Italian 1731­1803

The Deposition Oil on canvas

88.5 x 53cm; 34¾ x 21in

Provenance:

Edmund Pye, by whom purchased in Cadiz in 1832; and thence by descent to the late Brigadier Hugh Pye, OBE

The present work is Giacinto Diano’s bozzetto for his 1773 altarpiece in the sacristy of Sant’Agostino alla Zecca, Naples. We are grateful to Nicola Spinosa for confirming the attribution of the present work of the present work to Diano on the basis of photographs.

£3,000­5,000

115

GIACINTO DIANO

Italian 1731­1803

The Pool at Bethesda Oil on canvas

90 x 54cm; 35½ x 21¼in

Provenance:

Edmund Pye, by whom purchased in Cadiz in 1832; and thence by descent to the late Brigadier Hugh Pye, OBE

The present work is Giacinto Diano’s bozzetto for his 1778 altarpiece for The Church of Pietà dei Turchini, Naples. A second version is in the Santa Maria in Portico di Campitelli, and a larger bozzetto is in the Allen Memorial Art Museum, Ohio. We are grateful to Nicola Spinosa for confirming the attribution of the present work to Diano on the basis of photographs.

£3,000­5,000

SIR PETER LELY

Dutch 1618­1680

Portrait of a lady, possibly Elizabeth Claypole (1629­1658), half­length, wearing a blue dress and pearl necklace, her hair in ringlets Oil on canvas

68.5 x 60.5cm; 27 x 23¾in

Elizabeth Claypole was the second daughter of Oliver Cromwell. She was reputedly Cromwell’s favourite daughter, known by him as ‘Bettie’. There is no portrait which is universally accepted as depicting Elizabeth, although the most likely candidate is a portrait miniature by Samuel Cooper, dated 1653, in the collection of the Duke of Buccleuch. Another portrait, traditionally identified as depicting Elizabeth, which seems to derive from the present work, is in the Cromwell Museum, Huntingdon (no.HUTCM:B9).

£3,000­5,000

117

SIR PETER LELY AND STUDIO

Dutch 1618­1680

Portrait of a Lady, identified as Miss Ada Gossett, Quarter length, wearing a russet dress and pearl necklace, in a landscape

Oil on canvas, mounted oval

76.5 x 63cm; 30 x 24¾in

Provenance: Bukowski’s, Stockholm, Sjuberg Collection, 1927, lot 58

£5,000­7,000

118

STUDIO OF SIR PETER LELY

Dutch 1618­1680

Portrait of Anne Chester, Half­length, wearing a blue dress with white chemise, pearl necklace

Oil on canvas, within a painted cartouche

76.5 x 64cm; 30 x 25¼ in

Provenance: Chester Family Estate; Christie’s, New York, The House Sale, 1­2 February 2005, lot 96

The sitter was the daughter of Sir Edward Chester and of Anne, Lady Chester, of Royston. She married Robert Meade MD of Cambridge, then Henry Hoogan and lived in Lynn Regis, Norfolk, where she died in December 1678

£2,000­3,000

119

CIRCLE OF JOHN RILEY

1646–1691

Portrait of a Lady, Quarter­length, wearing an amber­grey gown adorned with jewels, pearl necklace, within a feigned oval Oil on canvas

75.5 x 63cm; 29¾ x 24¾in

Provenance:

Collection of The Rt. Hon. The Countess of Kimberley Christies, London, 28 February 1947, lot 1934

£2,000­3,000

120

CIRCLE OF THOMAS MURRAY

1663­1734

Portrait of a Gentleman, traditionally identified as Richard Peirse of Bedale, three­quarter length, wearing a brown coat and red cloak Oil on canvas

118 x 88.5cm; 46½ x 34¾in

Provenance:

By family descent from the sitter to the present owner

£1,500­2,500

120

121

STUDIO OF SIR GODFREY KNELLER BT. 1646­1723

Portrait of a lady, three­quarter length, wearing a brown dress, with her dog, a landscape beyond Oil on canvas

122.4 x 97.6cm; 48¼ x 38½in

The same composition was used by Kneller on other occasions, for example, Portrait of Dorothy Keyt, The Hon. Mrs Gilbert Coventry (Antony Cornwall), and Catherine Bower, Lady Ashe or Mrs Packer (Felbrigg Hall, Norfolk)

£2,500­4,000

122

ENGLISH SCHOOL

Portrait of King Charles II

Quarter length, wearing armour and a cravat Oil on canvas

62 x 51.5cm; 24½ x 20¼in

£200­300

123

FOLLOWER OF MARY BEALE

1633­1699

Portrait of a Child, Bust­Length, Wearing a Blue Chemise and Gold Chain with Locket Oil on canvas, cut down, mounted oval

33 x 27cm; 13 x 10½in

£400­600

124

FRENCH SCHOOL

18th Century

Venus and Cupid Oil on canvas

72.5 x 57cm; 28 x 22½in

£500­700

125

FOLLOWER OF HYACINTHE RIGAUD

French 1659­1743

Portrait of a Gentleman, Bust­length, wearing a dark red mantle and long wig

Oil on canvas

60.5 x 49.5cm; 23¾ x 19½in

£400­600

126

CIRCLE OF JEAN BAPTISTE SANTERRE

French 1651­1717

Portrait of a Lady, Half­length, en deshabille, Standing by a Green Curtain Oil on canvas

80.5 x 65cm; 31¾ x 25½in

£1,000­1,500

127

CIRCLE OF JEAN BAPTISTE SANTERRE

French 1651­1717

Portrait of a Lady, Three­quarter length, Wearing a Dark Green Dress, Plumed Hat and Holding a Mask

Oil on canvas, oval

81 x 64cm; 32 x 25¼in

Provenance:

Bonhams, London, Old Master Paintings, 28 October 2009, lot 156; Private Collection

£1,500­2,000

128

PIERRE ALEXANDRE WILLE

French 1748­1821

Father and Daughter: Threading the Needle

Bears possible traces of a signature (lower right)

Oil on canvas

49 x 57cm; 19¼ x 22½in

Provenance:

Woolley & Wallis, Salisbury, Old Master, British & European Paintings, 15 March 2017, lot 354

The symbolism of threading a needle traditionally connotes a journey of discovery and a quest for greater wisdom.

£1,000­1,500

129

FOLLOWER OF CHARLES PHILIPS

c.1703­1747

Portrait of an Artist at his Easel, his Family alongside

Oil on canvas

44 x 45.5cm; 17¼ x 18in

Unframed

Provenance:

A.P Oppe; By descent to the present owner

£200­300

130

FOLLOWER OF FRANCIS ALLEYNE

c.1750­c.1815

Portrait of a Lady, Seated half­length, Wearing a White Dress with Blue Waistband and Hat

Oil on canvas, oval 31 x 25cm; 12¼ x 9¾in

Provenance: A.P Oppe; By descent to the present owner

£150­200

131

FRENCH SCHOOL

Early 19th Century

Portrait of a Young Lady, Seated half­length, Wearing a White Dress and Pearl Jewellery

Oil on canvas

55 x 46.5cm; 21½ x 18¼in

£300­500

132

AFTER SIR JOSHUA REYNOLDS, PRA 1723­1792

Portrait of Lavinia (nee Bingham), Countess Spencer (1762­1831)

Oil on canvas

31 x 25.5cm; 12¼ x 10in

Provenance: By repute, acquired by an ancestress of the owner who was in service with the Spencer family, pre­1930s. After the original composition by Reynolds, c.1787 (Huntington Art Library & Museum, San Marino).

£300­500

133

AFTER SIR WILLIAM BEECHEY, RA 1753­1839

Portrait of King George IV

Bust length, wearing Naval uniform

Oil on panel

29.5 x 24cm; 11½ x 9½in

Provenance: Possibly Mrs Morrison, February 1799 (two labels verso)

£300­500

134

THOMAS BEACH

1738–1806

Portrait of George John Audley, Merchant of Liverpool, three­quarter length, standing in an interior, wearing a brown coat and yellow waistcoat and breeches

Signed and dated T Beach/1793 (lower right)

Oil on canvas

127.1 x 102.3cm; 50 x 40¼in

Provenance: John Audley (1806­1885), grandson of the sitter by 1843; By descent to George Audley (1864­1932); Sold by his executors

Christie’s, London, 12 May 1932, lot 12, where purchased by Fane (15 gns); Christie’s, London, 25 April 1958, lot 106, where purchased by Sherborn (24 gns);

Sotheby’s, London, 15 July 1959, lot 162, where purchased by Sawyer (£50); Walker Art Gallery, Liverpool, 1973 (on loan); Sotheby’s, London, 10 July 1991, lot 130;

Sotheby’s, London, 12 May 1993, lot 14

Literature:

Elsie S. Beach, Thomas Beach A Dorset Portrait Painter (1934), p.54, no.5 Mary Bennett, Merseyside Painters, People & Places, vol. 1 (Walker Art Gallery, 1978), p.33, L136

£1,000­1,500

135

135

CIRCLE OF GEORGE ROMNEY

1734­1802

Portrait of an Officer, identified as Robert Pickering (d.1820) of Lancashire Volunteers, half­length, in profile, wearing uniform

Oil on canvas

77 x 64cm; 30¼ x 25¼in

£600­800

136

ENGLISH SCHOOL

Early 19th Century

Portrait of an officer, in uniform, standing in a landscape

Oil on canvas laid on board

29.8 x 24.7cm; 11¾ x 9¾in

£150­250

GEORGE ROMNEY

1734­1802

Portrait of The Hon. Robert Banks

Jenkinson, later 2nd Earl of Liverpool (1770­1828), HalfLength, Wearing a Dark Coat and White Cravat Oil on canvas

77.5 x 65.5cm; 30½ x 25¾in

Provenance: Christies, London, Old Master and British Pictures, 31 October 2013, lot 90

Literature: A. Kidson, George Romney: A Complete Catalogue of his Paintings (New Haven and London, 2015), vol.II, no.718

The sitter was the elder son of Charles Jenkinson, 1st Baron Hawkesbury and of Amelia (nee Watts). After Charterhouse and Oxford, he served as MP for Rye for thirteen years and sat in the Lords before being ennobled as 2nd Earl of Liverpool. He served as Prime Minister from 1812­1827 and married Lady Louisa Hervey, daughter of the Earl of Bristol. The sitter sat to Romney on six occasions in 1793 but the artist apparently left the portrait unfinished. Lord Hawkesbury did not receive the completed work until 1803 and Kidson comments upon the possibility that the canvas had been completed by John Hoppner (Hoppner acting upon a commission to do so from John Romney)

£3,000­5,000

RAJA JIVAN RAM

Indian act.1820­1860

Portrait of Francis Spencer Hawkins, Her Majesty’s Bengal Indian Army, Seated, half­length, wearing a red military tunic and sash, holding a sword Oil on canvas

92 x 71cm; 36¼ x 28in

The sitter was born into an Anglo­Indian military family, the son of a Colonel whom he followed into the same regiment in 1815 at the age of 17. Rising quickly through the ranks on account of his evident abilities, he soon matched the rank of his father. He married twice: in 1823, to Maria Loveday, who bore him a daughter; and to Emily Kellet, with whom he had two children (one of whom, Francis Kellet, became a Major General in the Bengal Army). The Bengal Indian Army, founded in 1765, was initially under the auspices of the East India Company. In 1858, oversight of the army was transferred to the direct control of the Crown. For portrait miniatures by Jivan Ram see lots 5 and 6.

£6,000­8,000

139

FOLLOWER OF GEORGE CHINNERY 1774­1852

Figures bathing in a Ghat, a Temple beyond Oil on board

22 x 27cm; 8¾ x 10½in

Exhibited: London, Martyn Gregory, Images of the East, no.115

£200­300

140 No lot

141

CIRCLE OF JULIUS CAESAR IBBETSON 1759­1817

Landscape: Cattle and Ruins of Old Castle

Oil on canvas

38 x 51cm; 15 x 20in

£250­350

142

CIRCLE OF JOHN CONSTABLE, RA 1776­1837

A Derelict

Bears indistinct inscription in ink on old label verso: `This picture

A Derelict by John Constable RA was/ purchased by us from Mr Hugh Constable the g/son of the painter who inherited it from him. He verily assures that the picture is the work of John Constable RA/ 612

Cheapside EC signed Bn [unclear]’

Oil on panel

19 x 26cm; 7½ x 10¼in

£800­1,200

143

SAMUEL COLMAN

1780­1845

Abigail confronting the Army of David Oil on panel

33 x 48cm; 13 x 19in

Provenance:

Christie’s London, Victorian and British Impressionist Art, 12 December 2013, lot 77; Christie’s, London, Victorian, Pre-Raphaelite and British Impressionist Art, 19 June 2014, lot 96

Little is known about Colman’s life. From 1816­1838, he was a portrait painter and drawing master having worked under Edward Bird. He exhibited with artists of the Bristol School from 1824­1834 and his meticulous style has been confused with that of John Martin.

This subject appears to be a smaller variant of a much larger oil on panel (74 x 105.5cm) offered at Sotheby’s in London on March 2nd 1983 (lot 64). The theme is from 1 Samuel, Chapter 25: David sent 400 men to avenge a slur by Nabal. Nabal’s wife, Abigail, hurried to meet David and dissuaded him from seeking retribution. After Nabal’s subsequent death, Abigail became David’s wife.

£4,000­6,000

145

JAMES LODER OF BATH

1784­1860

A Saddled Grey with two Dogs in a Loose Box

Signed and inscribed J Loder. Pinxt/Bath 1838 (lower right)

Oil on canvas

58.5 x 76.5cm; 23 x 30in

£400­600

144

JAMES WHEELER OF BATH

1820­1885

A saddled grey and a black retriever in a stable

Signed and dated J Wheeler/ Bath/ 1865 (lower left)

Oil on canvas

71.5 x 92cm; 28 x 36¼in

£800­1,200

146

ATTRIBUTED TO JAMES LODER OF BATH

1784­1860

Bay Higham, with a grey Pony and a Spaniel

Inscribed Bay Higham (lower centre)

Oil on canvas

58 x 73.5cm; 22¾ x 29in

£300­500

147

THOMAS WOODWARD

1801­1852

Portrait of the Hon. Thomas Henry Coventry (1792­1869)

Seated upon a chestnut pony, a dog alongside Oil on canvas

50 x 60.5cm; 19¾ x 23¾in

Provenance: Commissioned from the artist by the sitter (15 gns); By descent to his nephew; And by descent until offered Sotheby’s London, 30 June 2005, lot 128 (unsold)

Literature:

Thomas Woodward, account book, December 10th 1829

C. W. Graham Stewart, Thomas Woodward, unpublished, 1989, p.100

The sitter was the third son of Henry William, 7th Earl of Coventry (1758­1831), of Croome Court, Worcestershire, by his second wife, Peggy (1760­1840), the daughter of Sir Abraham Pitches of Streatham, Surrey

£1,000­1,500

148 CLIFTON TOMSON 1775­1828

A Dappled Grey Horse in a Field

Signed and dated Clifton Tomson/Nottingham/1811 (lower centre) Oil on canvas

63.5 x 76.5cm; 25 x 30in

£600­800

149

FOLLOWER OF JOHN CHARLES MAGGS 1819­1896

A Coach and Four near Stonehenge Oil on canvas

33 x 71.5cm; 13 x 28in

£250­350

150

CIRCLE OF FRANCIS SWAINE c.1725­1782

A Frigate and other Sailing Vessels in Coastal Waters

Oil on canvas

24.5 x 34cm; 9¾ x 13¼in

£400­600

151

FOLLOWER OF DOMINIC SERRES 1722­1793

A Frigate and a Sloop with other Vessels

Oil on panel

25 x 42cm; 9¾ x 16½in

£200­300

152

JAMES MEADOWS SNR. 1798­1864

Off Hastings

Signed and dated J Meadow S/1862 (lower right)

Oil on canvas

43.2 x 74cm; 17 x 29in

£200­300

153

ATTRIBUTED TO JOHN SYER 1815­1885

A Wreck on Coastal Rocks

Oil on canvas

51.5 x 76.5cm; 20¼ x 30in

£200­300

154

ATTRIBUTED TO WILLIAM SHAYER 1787­1879

Fisherfolk on a Beach

Oil on board

46.5 x 61cm; 18¼ x 24in

£300­500

155

CLARKSON FREDERICK STANFIELD, RA, RBA 1793­1867

Warships in the Texel anchorage off Oudeschild

Signed and dated C. Stanfield RA 1859 (lower right) Oil on canvas

71.5 x 111.5cm; 28 x 44in

Provenance:

Christies, London, Important English Pictures, 15 July 1988, lot 61;

With Oscar and Peter Johnson, London; Christie’s, London, The Arthur Ackermann and Peter Johnson Collection: A Connoisseur’s Choice, 8 May 2008, lot 57

This picture is a variant on Stanfield’s RA­exhibited painting of 1844 (no. 523), Oude Scheld [sic]- Texel Island, looking towards Nieuwe Diep and the Zuider Zee, now in the Tate (N00404). It is one of several Dutch subjects he painted in the 1850s and early '60s, all based on his Dutch tour of 1843: another is the similar but darker Old Holland (exh. RA 1858, no. 18), now in the Guildhall Collection. He also showed an Oude Scheld, Texel Island at the Academy in 1863 (no. 177).

The boatmen in the foreground are carrying out a dan buoy towards an anchored frigate and three­decker. The buoy is unusually large since they were more typically lightweight markers for fishing nets and other temporary uses. It appears to be based on a 40­cm cork model of one that Stanfield had in his studio collection and which is now in the National Maritime Museum, Greenwich (ZBA4131).

We are grateful to Pieter van der Merwe for his assistance cataloguing the present work.

£6,000­8,000

156

ALFRED VICKERS SENIOR 1786­1868

The Avenue, Shanklin, Isle of Wight

Signed A Vickers (lower left), inscribed By Alfred Vickers 1854/ The Avenue Shanklin, Isle of Wight. on label on stretcher

Oil on canvas

28.5 x 41cm; 11¼ x 16¼in

£500­700

157

ALFRED VICKERS SENIOR 1786­1868

Lake Landscape Scene with a Cottage

Signed A. Vickers (lower left)

Oil on canvas

25.5 x 35.5cm; 10 x 14in

£150­200

158

ALFRED VICKERS SENIOR 1786­1868

The Old Mill

Oil on canvas

35.5 x 51.5cm; 14 x 20¼in

Provenance: E. Stacy Marks Ltd, Eastbourne, December 1967 and January 2003 (labels on stretcher); Arthur Ackermann and Peter Johnson Ltd, London (label on stretcher)

£400­600

159

HENRY CHARLES TRERY

Fl.c.1844­1854

Setting Off to Market

Signed and dated H. C. Tre../1844 (lower centre), bears later inscribed label on stretcher

Oil on canvas

60.5 x 74cm; 23½ x 29in

£300­500

160

FOLLOWER OF WILLIAM HENRY CROME

1806­1873

Rural Scene with two Figures by a Country Road

Oil on canvas

42 x 50.5cm; 16½ x 20in

Provenance:

John Butterworth (d.1902), bequeathed to him by his father who had purportedly received it as a wedding present from Thomas Gainsborough.

£400­600

161

PATRICK NASMYTH 1787­1831

Figures in a Wooded Landscape

Signed and dated Patk. Nasmyth 1831 (lower right)

Oil on panel

35 x 45.5cm; 13¾ x 18in

£1,000­1,500

162

CIRCLE OF THOMAS BARKER OF BATH 1769­1847

Horse and rider before a lakeside town

Oil on canvas

47.5cm x 65.5in; 18¾ x 25¾in

£300­500

163

CIRCLE OF WILLIAM SADLER THE YOUNGER Irish 1782­1839

Rural Scene with Croft by a Pool, Mountains beyond

Oil on panel

13 x 18cm; 5 x 7in

£100­200

164

HENRY BRIGHT 1810­1873

Cow by a Tumbledown Barn, Dusk

Oil on canvas

29 x 47cm; 11½ x 18½in

Provenance:

Oscar and Peter Johnson Limited, London

£400­600

165

HENRY BRIGHT 1810­1873

Windmill by a Country Pool

Oil on canvas

30.5 x 49cm; 12 x 19¼in

Provenance:

Oscar and Peter Johnson Limited, London

£500­700

166

THOMAS FAED, RA, HRSA

1826­1900

From Hand to Mouth

Signed and dated Thomas Faed 1876 (lower left)

Oil and pencil on canvas, a study

46 x 59cm; 18 x 23¼in

£1,000­1,500

168

G** APPERT

1850­c.1934

A Steady Hand; A Strong Hand

A pair, both signed G. Appert (lower right)

Both oil on canvas

Each 54 x 45cm; 21¾ x 17¾in (2)

£150­200

167

CIRCLE OF WILLIAM JAMES MULLER

1812­1845

In the Harem Oil on canvas, unstretched 28.5 x 34cm; 11¼ x 13¼in

£200­300

169

HARRY PAYNE

1858­1927

Soldier of Kent Yeomanry on Horseback

Signed with initials H. P. (lower right)

Oil on canvas

36 x 25.5cm; 14¼ x 10in

£200­300

172

170

LAURENT DE BEUL

Belgian 1821­1872

The End of the Day

Signed and dated Laurent. De Beul/1862 (lower right)

Oil on panel

50 x 69.5cm; 19¾ x 27½in

Provenance:

Woolley & Wallis, Salisbury, Old Masters, British & European Paintings, 11 September 2018, lot 376

£1,000­1,500

173

DUTCH SCHOOL

19th Century

Rural Scenes with Figures and Horses

A near pair, oil on canvas

Each 37 x 46cm; 14½ x 18in or slightly smaller (2)

£200­300

171

JAN VAN COUVER (HERMANUS KOEKKOEK JUNIOR)

Dutch 1836­1909

On the Waal, Holland

Signed J VAN COUVER (lower right), inscribed and initialled “On The Waal/ -Holland”/JVC verso Oil on canvas

51 x 76.5cm; 20 x 30in

£400­600

172

JAN VAN COUVER (HERMANUS KOEKKOEK JUNIOR)

Dutch 1836­1909

A Bit of Old Dort, Holland; Muiden, Holland

A pair, both signed J VAN COUVER (lower right) and further signed with initials and titled (to verso) Oil on canvas

Each 46 x 61cm; 18 x 24in (2)

£700­900

174

CHARLES LEICKERT

Dutch 1816­1907

Winter in Holland

Signed Ch Leickert. ft (lower right)

Oil on canvas

81.5 x 117cm; 32 x 46in

Provenance:

Rayner MacConnal, London (label verso)

£10,000­15,000

175

WILLIAM POWELL FRITH, RA

1819­1909

Coming of Age in the Olden Time

Signed and dated W P Frith 1849 (lower right) Oil on canvas

127.8 x 200.3cm; 50¼ x 78¾in

Provenance:

Commissioned by James Eden, Bolton; The commission taken over by Messrs Lloyd, London; From whom purchased by Mr Grundy, London (£650); Thos Agnew & Sons, Manchester; Edward Chapman, Hill End, Mottram, by 1887; By descent to George J. Chapman, Hill End Mottram; Edward Chapman, Hill End, Mottram; Christie’s, London, 21 November 1924, lot 138, where purchased by Sampson (1,050 gns); Private Collection, New York; Parke­Bernet Galleries, New York, 9 December 1949, lot 278; Parke­Bernet Galleries, New York, 3 June 1971, lot 96; Private Collection, New York; Christie’s, New York, 30 October 1985, lot 302; Owen Edgar Gallery, London, 1987; Private Collection;

Sotheby’s, London, Victorian Pictures, 2 November 1994, lot 115; Private Collection, Gloucestershire

Exhibited:

London, Royal Academy, 1849, no.349; Manchester, Royal Jubilee Exhibition, 1887, no.353; Manchester, City Art Gallery (as part of a display of paintings from the collection of the Chapman family, Hill End, Mottram), 1908; Rome, The International Fine Arts Exhibition, 1911, British Section, no.25

Literature:

Art Journal, 1849, p.172; William Powell Frith, My Autobiography and Reminiscences (Richard Bentley & Son, London), vol.I, pp.185­187, 192, 194; A. G. Temple, The Art of Painting in the Queen’s Reign, (Chapman and Hall, London, 1897), p.148 Aubrey Noakes, William Frith: Extraordinary Victorian Painter (Jupiter, London, 1978), pp.46 (illustrated), 49; Roy Strong, And when did you last see your father? The Victorian Painter and British History (Thames & Hudson, London, 1978), pp.43, 90­93; Christopher Wood, William Powell Frith: A Painter and his World (Sutton Publishing, 2006), pp.25­26, 94, 107; David Trotter, William Powell Frith: Painting the Victorian Age (Yale University Press, 2006), pp.ix, 8­9, pl.13

Engraved:

Francis Holl, published by the Art Union of Glasgow, 1854

Coming of Age in the Olden Time was exhibited at the Royal Academy in 1849 and was the outstanding painting of William Powell Frith’s career to date. It represents the culmination of the first phase of Frith’s career and, in the words of The Art Journal was ‘superior to everything that has preceded it from the same hand’. Frith has set the work in the courtyard of a mansion during the Elizabethan period. The young lord stands on the steps to the right, listening to an address of congratulations by the old man below. The heir is accompanied by his mother and father, and his grandmother is seated nearby. Below him a group of villagers have thronged, some bearing gifts, such as the plumed helmet, falcon and two hounds. Beyond the celebratory feast is in full swing, with wine and ale flowing, and an ox roasting.

Frith began the present work in September 1848, after his summer holiday in Scarborough. He did not finish the work until April the following year, when he immediately dispatched it to the Royal Academy where it was one of the highlights of the Summer Exhibition. Frith stated that he based the background on Heslington Hall near York, and Hever Castle in Kent, although Roy Strong has noted that features also seem to derive from Joseph Nash’s The Mansions of England in the Olden Times. Similarly details of the dress were incorporated from engravings in F. W. Fairholt’s Costume in England. Frith also went to see an ox being roasted at a cattle market in Islington, later saying that ‘neither sight nor smell were altogether pleasant, and the company was doubtful’.

Frith’s early works were mostly based on literary subjects, from the novels of Charles Dickens, Walter Scott and Oliver Goldsmith. In the late 1840s he started to depart from these literary subjects, and started to explore the costumes and festivities of the past. Coming of Age in the Olden Time marks both the zenith and conclusion of Frith’s early career. Thereafter, he focused on subjects of modern life, which he called ‘hat and trouser pictures’. However, both Frith’s historical and contemporary paintings feature the same themes and elements that make his work so compelling. His interest in incidental detail; the individualisation of each figure and their relationship to each other; and a remarkable ability to depict a panoramic representation of various elements of society, made him one of the most popular and successful artists of the Victorian era.

Testament to the popularity of Coming of Age in the Olden Time is the fact that Frith was asked to paint two further smaller versions. The first was also executed in 1849, and was commissioned by the noted collector Thomas Miller. It was also planned that Miller’s version would be used as the basis for an engraving. However, James Eden, who had originally commissioned our prime version, objected to the idea of a copy. The situation was resolved when the dealer Lloyd took over the commission of our version from Eden. A final, much smaller version was painted in 1907.

£30,000­50,000

176

CIRCLE OF THOMAS BROOKS

1818­1892

Forget Me Not Oil on canvas

61 x 50.5cm; 24 x 20in, framed as an oval

Provenance:

Colnaghi, London, where purchased by the present private collector; Private Collection, Gloucestershire

£250­350

177

FOLLOWER OF MARGARET SARAH CARPENTER 1793­1872

Portrait of a Boy with a Terrier Oil on canvas

61.5 x 51cm; 24¼ x 20in

£300­500

178

FOLLOWER OF MARGARET SARAH CARPENTER

1793­1872

Portrait of a Boy Head and shoulders, wearing a dark top and white bib Oil on canvas

30.5 x 25.5cm; 12 x 10in

£300­500

179

179

THOMAS COUTURE

French 1815­1879

La Rêverie

Signed and dated Th Couture1848 (lower centre)

Oil on canvas

65.6 x 54.8cm; 25¾ x 21½in, framed as an oval

Provenance:

Purchased by H.C.Newton c.1856, as the sitter had a likeness to his daughter Ellen Carter West (according to label)

We are grateful to Thierry Cazaux for confirming the attribution of the present work

£4,000­6,000

180

CHARLES LESLIE

1835­1890

Cumberland

Signed and dated Chas Leslie 1881 (lower left)

Oil on canvas

46 x 81.5cm; 18 x 32in

£200­300

181

GEORGINA LARA Fl.1862­1871

Villagers outside a cottage with horses watering; Villagers and animals by a barn

A pair, both oil on canvas

Each 22.5 x 35.5cm; 8¾ x 14in (2)

£300­500 182

19th Century

Chatsworth House and the Bridge over the River Derwent

Signed DWolam (lower right)

Oil on canvas

55 x 68.5cm; 21½ x 27in

Unframed

£200­300

183

HENRY JOHN YEEND KING

1855­1924

Country Cottages by a Bridge

Signed YEEND KING (lower right)

Oil on board

36.5 x 53cm; 14¼ x 21in

£400­600

184

184

JOSEPH FARQUHARSON, RA

1846­1935

Returning at Twilight

Signed J Farquharson (lower right) Oil on canvas

30.5 x 46cm; 12 x 18in

£3,000­5,000

185

BENJAMIN WILLIAMS LEADER, RA

1831­1923

Moel Siabod from the Moor above Betws­y­Coed

Signed and dated B.W LEADER.1892 (lower left) and further signed and inscribed moel siabod from the moor above Bettus [sic] Coed/B.W.Leader (to reverse) Oil on board

35.7 x 45.5cm; 14 x 18in

Provenance: Christie’s, London, British and Victorian Pictures, 10 June 1999, lot 239

£700­1,000

186

ARTHUR GILBERT

1819­1895

Shadows in the Highlands

Signed A Gilbert (lower right)

Oil on canvas

20.5 x 30.5cm; 8 x 12in

£300­500

187

JAMES STARK 1794­1859

A Riverscape with Trout Fishers

Oil on panel

26.5 x 42.5cm; 10½ x 16¾in

Provenance:

Collection of Sir William Cummings, The Gables, Thetford, 1889 (no date), lot 531 (label verso); Markswood Gallery, Great Bardfield (label verso)

£400­600

188

WALTER WILLIAMS 1834–1906

On the Beach at Birchington, Kent

Signed and inscribed On the beach at Birchington, Kent/Walter Williams (to label)

Oil on canvas

15.4 x 20.5cm; 6 x 8in

£150­250

189

WALTER WILLIAMS 1834–1906

Mountainous landscape with a shepherd and his flock with a cottage beyond

Signed Walter Williams (lower right)

Oil on canvas

50.8 x 76.5cm; 20 x 30in

£200­300

190

WALTER WILLIAMS 1834–1906

Cwm Llan, Beddgelert; At Beddgelert, North Wales

A pair, the former signed and inscribed Cwm Llan Beddgelert North Wales/Walter Williams (to label), the latter signed and inscribed At Beddgelert, North Wales (to label)

Both oil on canvas

Each 23.4 x 18cm; 9¼ x 7in, framed as ovals (2)

£200­300

191

THOMAS BAKER OF LEAMINGTON

1809­1869

A Lock on the River Avon near Stratford

Signed and dated T. BAKER/1863 (lower right) and also signed T BAKER./1863. (to verso)

Oil on panel

30.5 x 40.5cm; 12 x 16in

Provenance:

Collection of Mrs G. H. Goodman (?) (bears old inscribed label on backpaper)

£400­600

192

RICHARD HILDER

1813­1852

A Wooded Rural Scene with Figures and Cattle

Oil on canvas

31 x 40.5cm; 12¼ x 16in

£400­600

192

193

GEORGE HILDITCH

1803­1857

A Rural Scene in Lincolnshire

Inscribed and dated Lincs 1828 (lower right)

Oil on canvas

32.5 x 43.5cm; 12¾ x 17in

Provenance:

Arthur Ackermann and Peter Johnson Ltd, London (label on stretcher)

£300­400

194

FOLLOWER OF JOHN HENRY CAMPBELL

Irish 1757­1828

Wooded Ravine Scenes, one with Figures by a River

A near pair, one oil on canvas laid on board, the other oil on canvas

31 x 27cm; 12¼ x 10½in; 31 x 26.5cm; 12¼ x 10¼in (2)

£300­400

195

ALEXANDRE-MARIE GUILLEMIN

French 1817­1880

Flowers for Grandma

Signed A Guillemin (lower left)

Oil on panel

67 x 81cm; 26¼ x 31¾in

Provenance: William Rodman & Co, Belfast, (label verso); John Magee Ltd, Belfast, (label verso)

£1,000­2,000

196

JOHAN MONGELS CULVERHOUSE

Dutch c.1820­1895

The Night Market

Signed J. Culverhouse (lower right)

Oil on panel

29.5 x 40cm; 11½ x 15¾in

£200­300

197

JACOBUS FREDERIK STERRE DE JONG

Dutch 1866­1920

Lady Sewing

Signed Jac. F. Sterre de Jong (lower left), bears label on stretcher and indistinct pencil inscription also on stretcher

Oil on canvas

45.5 x 36cm; 18 x 14¼in

£150­250

198

AFTER JEAN ALPHONSE ROEHN

French 1799­1864

Teasing the farmhand; Soaking the farmhand

A pair, both signed indistinctly E Gunner or E Gruner (lower right and lower left respectively)

Oil on white metal

Each 24.5 x 21.5cm; 9½ x 8½in (2)

£150­200

199 199 FRANÇOIS BRUNERY

Italian 1849­1926

Dilettantisme

Signed F Brunery (lower right)

Oil on panel

70.5 x 91.6cm; 27¾ x 36in

Provenance:

Christie’s, London, 28 February 1964, lot 71; MacConnal­Mason & Son, London; Sotheby’s, London, 19th Century European Paintings, Drawings and Watercolours, 2 April 1998, lot 75; Eaton Gallery Fine Paintings, London, where purchased by the present private collector;

Exhibited:

Paris, Salon des Artistes Français, 1899, no.309

£5,000­7,000

200

WILLIAM LIONEL WYLLIE, RA

1851­1931

An Estuary at Low Tide

Signed (and indistinctly dated?) W. L. Wyllie (lower right)

Oil on board

18 x 28cm; 7 x 11in

Provenance:

Unicorn Gallery Ltd, Wilmslow (label verso)

£400­600

201

GUSTAVE DE BREANSKI c.1856­1918

Morning on the Devon Coast

Signed Gustave de Breanski (lower right), also inscribed with title on artist’s label on stretcher

Oil on canvas

60.5 x 91.5cm; 23¾ x 36in

£500­700

202

THOMAS HALE-SANDERS

Late 19th/Early 20th Century

The Old St Vincent Leaving Portsmouth on its Last Voyage

Signed and dated T.Hale-Sanders/1913 (lower left)

Oil on canvas

56.4 x 100cm; 22¼ x 39¼in

£150­250

203

ANGLO-CHINESE SCHOOL

19/20th Century

HMS Diadem

Oil on fine cotton canvas

44.5 x 60cm; 17½ x 23½in

£150­250

204

CIRCLE OF GIOACCHINO LA PIRA

Italian 1839­1870

Shipping in the Bay of Naples

Oil on canvas

49.8 x 76.3cm; 19½ x 30in

£400­600

205

JOHN MOORE OF IPSWICH

1821–1902

Coming to the rescue

Signed and dated J Moore 1886 (lower left)

Oil on canvas

61.2 x 91.7cm; 24 x 36in

£800­1,200

206

206

ARTHUR JOSEPH MEADOWS

1843­1907

Persano, at Dusk

Signed Arthur J. Meadows (lower left)

Oil on canvas

30.5 x 51cm; 12 x 20in

Provenance:

Christies, London, The Arthur Ackermann and Peter Johnson Collection -

A Connoisseur’s Choice, 8 May 2008, lot 13 (£2700)

£500­700

207

ARTHUR JOSEPH MEADOWS

1843­1907

Scene at Calais (Les Baraques)

Signed and dated Arthur J Meadows/1887 (lower left) Oil on canvas

51 x 76.5cm; 20 x 30½in

£400­600

208

WILFRED JENKINS

1857­1936

Westminster; The Thames A pair, both signed Wilfred Jenkins lower left or lower right, each signed and inscribed with title verso

Oil on board

Each 16 x 34cm; 6¼ x 13¼in (2)

£600­800

209

ATTRIBUTED TO HENRIK THEODOR LUNDH

Swedish 1812­1896

A Brace of Partridge hanging from a Nail

Inscribed and dated Mr. AFR 1834 on a painted tag Oil on canvas

56 x 46.5cm; 22 x 18¼in

£800­1,200

210A

HEYWOOD HARDY

1842­1933

Lion and Lioness

Signed and dated Heywood Hardy/1877 (lower left) Oil on canvas

36 x 56.5cm; 14¼ x 22¼in

£700­1,000

212

J** LANGLOIS

Fl.19th Century

The Captor; The Guard

A pair, both signed J. Langlois (lower right) Oil on canvas

Each 36 x 46.5cm; 14¼ x 18¼in (2)

£100­200

210

ARTHUR BATT

1846­1911

Old Friends: Three Donkeys feeding on a Gorse Bush

Signed and dated Arthur Batt.94 (lower right)

Oil on canvas

71.5 x 91.5cm; 28 x 36in

£600­800

211

ATTRIBUTED TO JOHN MEARNS

Fl.c.1860­1880

Three Hunting Dogs

Oil on canvas

25 x 30cm; 9¾ x 11¾in

£250­350

213

CIRCLE OF HENRY RANKIN POORE

American 1859­1940

A Pekingese on a Chair

Bears initials HRP (lower left)

Oil on canvas

35.5 x 41cm; 14 x 16¼in

£300­500

214

FOLLOWER OF JOHN EMMS

1843­1912

Study of Turk, a Terrier

Bears inscription `Turk` (lower left)

Oil on board

26 x 21.5cm; 10¼ x 8½in

£120­180

215

FREDERICK CHARLES UNDERHILL

1833­1896

The Hunter’s Lad

Signed and dated F. Underhill/1869 (lower left)

Oil on canvas

86 x 68cm; 33¾ x 26¾in

£300­500

216

CHARLES EDWARD LOVELL

Fl.1890­c.1893

Best Friends

Signed and dated CE Lovell/ 1893 (lower right)

Oil on canvas

56 x 41cm; 22 x 16in

£600­800

217

ARTHUR MERCHANT

Fl. c.1900

A Gentleman’s Treasures

Signed ARTHUR MERCHANT (lower left)

Oil on canvas

61 x 50.5cm; 24 x 19¾in

£200­300

ALBERT DURER LUCAS (1828­1919)

Albert Durer Lucas was the son of engraver and sculptor Richard Cockle Lucas (who was involved with devising a notorious bust of `Flora`, acquired by Berlin Museum as a work by Leonardo da Vinci). However, unlike his father, Albert became synonymous with detailed and finely coloured compositions of wild flowers with insects. Drawing upon subjects found within a few miles of his of his home in Padwell Road in Southampton, Lucas refined his technique with meticulous execution and rich but natural colour to create closely focused compositions of the natural world. Working with the eye of both a botanist and an entomologist, his small but beautifully balanced studies of the teeming splendour of nature were an abiding fascination and dominated his oeuvre to the exclusion of almost any other theme. He is buried in Southampton Old Cemetery.

Examples of his work are in the Southampton City Art Gallery, Russell­Cotes Art Gallery & Museum in Bournemouth, the Shipley Art Gallery, and elsewhere. This group is from a private collection, assembled by the owner’s late father. Further examples from the same collection will be included in future sales.

218

ALBERT DURER LUCAS

1828­1918

A Spring Bank with a Bird’s Nest near Twyford Church

Bears signature A. D. Lucas./ 1882 (lower left)

Oil on canvas

41 x 30.5cm; 16 x 12in

£500­700

219

ALBERT DURER LUCAS

1828­1918

A Butterfly and Bird’s Nest by a Bank of Heather

Signed and dated A. D. Lucas 1876 (lower right)

Oil on canvas

40.5 x 30cm; 16 x 11¾in

£400­600 220

222 220

ALBERT DURER LUCAS

1828­1918

Spring Flowers and a Bird’s Nest

Signed and dated A D Lucas/1875 (lower right), with artist’s inscriptions on the stretcher

Oil on canvas

25.5 x 20cm; 10 x 8in

£400­600

221

ALBERT DURER LUCAS

1828­1918

Butterflies and Heather

Signed and dated A D Lucas/ 1878 (lower right)

Oil on canvas

26 x 20.5cm; 10¼ x 8in

£400­600

222

ALBERT DURER LUCAS

1828­1918

Heath & Heather, Blue Butterfly

Signed and dated AD. Lucas/ .1889. (lower left), signed Albert Durer Lucas and inscribed Heath & Heather/ Blue butterfly on stretcher

Oil on canvas

20.5 x 15.5cm; 8 x 6in

£300­500

223

ALBERT DURER LUCAS

1828­1918

A Country Maiden’s NosegayMary of Brockenhurst

Signed A. D. LUCAS. 1898. (within border lower right) and A Country Maiden’s Nosegay Mary of Brockenhurst (within border lower left), with extensive artist’s inscriptions in pencil on the stretcher

Oil on canvas

51 x 36cm; 20 x 14¼in

£500­800

224

ALBERT DURER LUCAS

1828­1918

Vase with Heath Bluebell &c

Signed A D Lucas (on front of ledge lower left) and dated 1872 (on front of ledge lower right), inscribed Matrimony practical on a trompe l’oeil card (lower left), inscribed Vase with heath bluebell &c/ A D Lucas [surname illegible] and Chilworth/ Romsey/Hants/ 1872 (on stretcher)

Oil on canvas

39.5 x 28.5cm; 15½ x 11¼in

£400­600

225

ALBERT DURER LUCAS

1828­1918

A Dish of Raspberries, with a Wasp

Signed and dated A. D. Lucas 1897 (lower right), also signed and dated AD Lucas/ 1897 (verso)

Oil on panel

15.5 x 20.5cm; 6 x 8in

£400­600

226

ALBERT DURER LUCAS

1828­1918

A Dish of Strawberries with White Currants, a Cake and a Glass of Wine

Signed and dated A D Lucas 1870 [or 1871] (lower right)

Oil on canvas

25.5 x 20.5cm; 10 x 8in

£400­600

227

JOHN HENRY BOEL

act.1875­1922

Fishermen on a Bridge in a Mountainous Lake Landscape

Signed JH Boel 1891 (lower left) and further

signed J. H. BOEL (to verso)

Oil on canvas

46 x 81.5cm; 18 x 32in

£100­200

229

COLIN JOHN MACKINTOSH

1866­1910

A Grey Spring Day

228

JAMES EDWARD GRACE 1851­1908

The Harvest Team

Signed with initials JEG (lower right)

Oil on canvas

35.5 x 53cm; 14 x 21in

£300­500

Signed ... Mackintosh, also inscribed with title and monogrammed and dated A grey Spring Day/[monogram]/18968 [sic] (verso)

Oil on canvas

38 x 28cm; 15 x 11in

£200­300

230

FRANK HOEPFNER

1840­1893

Countryfolk in a River Landscape

Signed and dated Fraz Hoepfner 1870 (lower right)

Oil on canvas

61 x 91.5cm; 24 x 36in

£200­300

231

EDWARD HARGITT

1835­1895

Landscape with Figures

Signed E Hargitt (lower left)

Oil on board

28.5 x 39.5cm; 11¼ x 15½in

£150­250

232

FRANK TURNER

act.1863­1875

Waggoners Wells

Inscribed on a label on frame Waggoners Wells/ Painted by F Turner (deaf and dumb)/ This picture was exhibited in/ Royal Academy/ Presented to James Summers/ by Miss Turner after the d.[eath.]/ of the artist Oil on canvas

62.5 x 88cm; 24½ x 34½in

£300­500

235

JOHN WAITE

Fl.c.1893

Figures on a Path by a Duckpond near a Village

Signed and dated Jno Waite./1893, (lower right)

Oil on canvas

25.5 x 35.7cm; 10 x 14in

£100­200

233

HAROLD WAITE

1870­1939

Sheep in Riverside Pasture

Signed HAROLD WAITE (lower right) Oil on canvas

40.5 x 56cm; 16 x 22in

£200­300

236

WILSON HEPPLE

1854­1937

Milking Time

Signed and dated WILSON HEPPLE/1894 (lower left) Oil on canvas

30.5 x 35.5cm; 12 x 14in

Provenance: Unicorn Gallery Ltd, Wilmslow

£120­180

234

SIR HERBERT EDWIN PELHAM HUGHES-STANTON, RA, RWS

1870­1937

Path near Cagnes

Signed Hughes-Stanton (lower left), bears inscribed fragmented label on stretcher Oil on canvas

35 x 44.5cm; 13¾ x 17½in

£150­200

237

GEORGE HENRY HALL

American 1825­1913

A Bunch of Grapes

Signed and inscribed Geo Henry Hall/Cortina 1883 (lower right)

Oil on canvas, laid on panel

45.5 x 34cm; 18 x 13½in

£1,500­2,000

238

HENRY GEORGE TODD

1847­1898

Still Life with Fruit on the Forest Floor

Signed and dated HG Todd/1898 (lower right)

Oil on canvas

30.8 x 23cm; 12¼ x 9in

£200­300

239

FOLLOWER OF GIOVANNI

BATTISTA RUOPPOLO

Italian 1629­1693

Still Life of Summer Fruits

Oil on canvas

38 x 46cm; 15 x 18in

£300­500

240

HENRY CHARLES BRYANT

1835­1915

Still Life of Fruits and Flowers with a Wine Ewer and a Chinese Bowl

Signed H. C. Bryant (lower left)

Oil on board

61.5 x 74.5cm; 24¼ x 29¼in

£250­350

241

CARL HAMPEL

Australian 1887­1942 Zinnias

Signed Hampel (on curtain at right)

Oil on canvas

63 x 77cm; 24¾ x 30¼in

Provenance: The Fine Art Society Ltd, London, May 1943 (label verso)

£500­700

242

ELOISE HARRIET STANNARD

1829­1915

Norwich Corporation Silver Tankard, Pineapple, Grapes, Peaches and Figs

Signed E H Stannard (at left edge)

Oil on canvas

38 x 46cm; 15 x 18in

Provenance:

Sotheby’s, Belgravia, 20 October 1981

Oscar and Peter Johnson Limited, London

£2,000­3,000

243

ELOISE HARRIET STANNARD

1829­1915

Still Life with Robin and Holly

Signed and dated E H Stannard 1865 (lower left)

Oil on canvas, within a painted oval

29 x 37cm; 11½ x 14½in

£300­400

244 CIRCLE OF ELOISE HARRIET STANNARD

1829­1915

Still Life of Apples, Blackcurrants and Redcurrants

Bears another illegible signature (lower left)

Oil on canvas

54.5 x 75cm; 21½ x 29½in

£300­500

245

BLAISE ALEXANDRE DESGOFFE

French 1830­1901

Still Life with Crystal Wine Ewer and other items upon a Draped Table

Signed Blaise Desgoffe (lower right)

Oil on canvas

46.5 x 35.5cm; 18¼ x 14in

£300­500

246

SCOTTISH SCHOOL

Circa 1900

A Bowl of Roses

Oil on panel

24 x 16cm; 9½ x 6¼in

£200­300

ARTHUR JOSEPH MEADOWS

1843­1907

Venice: The Palace Rezzonico; Venice from The Academy Bridge

A pair, both signed and dated Arthur Meadows/1907 (lower left), each signed and inscribed verso The Palace Rezzonico G. Canal/ “Venice” 1907 Arthur Meadows and “Venicefrom the Academy/ Bridge 1907 Arthur Meadows Oil on canvas

Each 46 x 30.5cm; 18 x 12in (2)

£4,000­5,000

248

GEORGE HYDE POWNALL 1866­1939

Moonlight on the Thames; Sunset on the Thames

A pair, each signed Geo Hyde.P (lower left) Oil on board

Each 30.5 x 20.5cm; 12 x 8in (2)

£5,000­7,000

249

EDWIN HAYES 1819­1904

Sunset View on the River Liffey, Dublin

Signed and dated Hayes ARHA/1854 (on spar, lower right), bears indistinct inscription on fragmented label on the stretcher Oil on canvas

66 x 92cm; 26 x 36¼in

Provenance:

Lawrences Fine Art Auctioneers Ltd, Crewkerne, Winter Fine Art, 17 January 2024, lot 367

£3,000­4,000

250

ERNEST BOARD

1877­1934

The Ladybird

Signed and dated ERNEST/BOARD 1903 (lower left), bears inscription ERNEST BOARD/Studio 6 POMONA HOUSE

NEW KINGS RD FULHAM (to stretcher)

Oil on canvas

71.5 x 45.5cm; 28¼ x 18in

Exhibited:

London, Royal Academy, 1903, no.59

£800­1,200

251

JOHN SCOTT

1850­1918/19

The Audience

Signed and dated JScott/1884 (lower right)

Oil on canvas

32 x 53cm; 12½ x 20¾in

£500­800

252

THOMAS BENJAMIN KENNINGTON

1856­1916

Portrait of Mrs Selina Fleming, three­quarter length, wearing a white dress and maroon sash, holding a posy of flowers, and seated in a landscape

Signed and dated T B Kennington ‘97 (lower left)

Oil on canvas

127.7 x 102cm; 50¼ x 40¼in

Provenance:

Commissioned from the artist as a birthday gift for the sitter; And by family descent

£3,000­5,000

SIR OSWALD HORNBY JOSEPH BIRLEY, MC, RA, ROI

1880­1952

Portrait of Francis Alexander Johnston (1864­1958), President of Globe Telegraph and Trust Co Ltd (Court of the Atlas Assurance Company)

Seated, three quarter length, wearing a brown suit, holding a hat, cane and gloves

Signed and dated Oswald Birley 1930 (lower right)

Oil on canvas

128 x 101.5cm; 50½ x 40in

with a few leaves of correspondence, including an ALS from the artist to the sitter’s wife (commenting upon the critic Francis Howard’s admiration of the picture), November 1930; and another concerning the loan of the portrait to Electra House, London, a photocopy, June 1958 (a lot)

Provenance:

By family descent from the sitter

£2,000­3,000

PHILIP ALEXIUS DE LASZLO

Hungarian 1869­1937

Portrait of Field Marshal

Frederick Sleigh Roberts, 1st Earl Roberts of Kandahar, VC, KG, KP, GCB, OM, GCSI, GCIE, PC, DCL, LLD (1832­1914)

Signed and dated P. A. Laszlo/ 1911. VI. (upper left)

Oil on canvas

114.5 x 83cm; 45 x 32¾in

Provenance:

By descent in the family of the sitter to Freddy Lewin, the sitter’s grandson;

Michael Borthwick, to whom bequeathed by Lewin and then by descent;

Lyon & Turnbull, Edinburgh, Blair, Ayrshire, 14 March 2012, lot 86

Exhibited:

London, Agnew’s, Exhibition of Portraits by Philip de Laszlo, MVO, May­June 1911

Literature:

Sitters’ Book 1, f.86, Roberts

February 8th 1911; Illustrated London News, June 24th 1911, illustrated; Illustrated London News (New York Edition), July 8th 1911, p.59, illustrated; Lucy de Laszlo, diary, 1911, private collection; Owen Rutter, Portrait of a Painter, London, 1939, pp.271­2, 273, 296 & 367; Duff Hart­Davis, with Caroline Corbeau­Parsons, De Laszlo: His Life and Art, Yale University Press, 2010, pp.164, 174

This imposing image reflects a substantial commission for the artist as he painted a full­length portrait of the sitter in service dress (Eton College collection) with a small oil study (private collection); and a half length depiction too, wearing blue dress uniform (Viscount Devonport collection).

The sitter was a career soldier, born in India in 1832, the son of a General. He was of slight stature (just 5`4”, 162.5cm) and blind in one eye after a childhood illness. After schooling at Eton, he forsook a career in the Church and joined the Bengal Artillery in 1851.

He married Nora Henrietta Bews (1838­1920) and their happy marriage was blighted by the early deaths of three of their six children. Lady Ada Edwina, their second daughter, succeeded to the title after her elder sibling’s death in 1944 and became Countess Roberts.

Roberts was awarded the VC for his role during the Indian Mutiny in 1857 but his brilliant and humane leadership of his men at the Battle of Kandahar in 1880 ensured his legacy. In his eighties at the start of the Great War, he visited Indian soldiers stationed in France but died very soon after contracting pneumonia whilst at Kemmel Hill. It was thought fitting that he had passed away within the sound of gunfire and surrounded by soldiers. Roberts was the subject of no fewer than three poems by Kipling and, in the 20th Century, only Roberts and Churchill were accorded the honour of lying in state at St Paul’s Cathedral.

£3,000­5,000

255

ALBERT STARLING 1858­1947

Portrait of a Gentleman, traditionally identified as William Morris (1834­1896) Bust length, wearing a dark coat and with full grey beard

Signed ALBERT STARLING (lower right), bears name WILLIAM MORRIS upon the lining Oil on canvas

51 x 40.7cm; 20 x 16in

£600­800

256

SIR JOHN WATSON GORDON, PRSA, RA 1788­1864

Portrait of Sir William Gibson Craig, Bt. (1797­1868), Lord Clerk Register for Scotland

Oil on board

20.5 x 13cm; 8 x 5in

A study for the c.1852 oil, 238 x 148cm (National Galleries of Scotland)

£200­300

19th Century

Portrait of John North Wyke, three­quarter length, wearing a black coat and seated at a table; Portrait of a lady, three­quarter length, wearing a brown dress and seated holding a book

A pair, both oil on canvas

91.5 x 71.4cm; 36 x 28in; 92 x 71cm; 36¼ x 28in (2)

£100­200

258

GEORGE GASCOYNE

1862­1933

Hilda, Daughter of His Excellency Col. Sir Charles B. Evan­Smith, KCB, CSI, on her pony

`Piano`, Tangier, 1892

Signed and dated G. Gascoyne. 1892 (lower right), also signed and inscribed verso HE/ Col Sir Chas. B. Evan-Smith KCB./ CSI/ on her pony “Piano”/ Tangier./ April 1892/ G. Gascoyne/ 8 Gloucester Mansion/ Harrington Gardens/ London SW Oil on canvas

64 x 57cm; 25¼ x 22½in

£700­1,000

259 PERCY WILLIAM GIBBS

1873­1955

Portrait of a Gentleman Bust length, wearing a dark suit and tie, gold­rimmed pince nez

Signed and dated P.W.Gibbs./ 1903 (upper left)

Oil on canvas

61 x 51cm; 24 x 20in

£200­300

260

ENGLISH SCHOOL

19th Century

Portrait of Ebenezer Reed McGaa (1805­1841), half­length, seated at a table holding a quill

Oil on canvas

91.9 x 74cm; 36¼ x 29¼in

£150­250

261

GERARDUS HENDRIK. C. OVERMAN

Dutch 1855­1906

In Father’s Chair

Signed G. H. C. Overman (lower right) Oil on canvas

67 x 45cm; 26¼ x 17¾in

£300­500

262

PIERRE EMMANUEL DAMOYE

French 1847­1916

La Ferme dans la Clairiere

Signed E. DAMOYE (lower left)

Oil on canvas

46 x 73.5cm; 18 x 29in

£800­1,200

264

CIRCLE OF WILLIAM LOGSDAIL

1859­1944

263

FRENCH SCHOOL

Circa 1900­20

Man with a Dog, Dusk

Oil on panel

33 x 45.5cm; 13 x 18in

£250­400

Study of Italian Buildings and a Church, with a Pine Tree Oil on Winsor & Newton Prepared Panel

22.5 x 15cm; 8¾ x 6in

Provenance: Collection of P. Rateo (?), label verso

£300­400

265

EASTERN EUROPEAN SCHOOL

19/20th Century

Coastal Scene at Twilight with Sailing Boat

Signed indistinctly F. Sip... (lower right)

Oil on panel

15.7 x 22.5cm; 6¼ x 8¾in

£100­200

266

CIRCLE OF JACQUES GAY

French 1851­1925

A Game of Quilles de Neuf

Oil on canvas

33.5 x 44.5cm; 13¼ x 17½in

Unframed

£150­200

HENRI BIDAULD

French 1839­1898

The Shepherdess

Signed H. Bidauld (lower right)

Oil on canvas

65 x 43cm; 25½ x 17in

£800­1,200

268

JESSIE M. MCGEEHAN

Scottish 1872­1950

Market day

Signed J.M.McGeehan (lower right)

Oil on canvas

61.2 x 50.6cm; 24 x 20in

Provenance:

Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 11 May 2021, lot 203

£400­600

269

HEINRICH HERMANNS

German 1862­1942

The Koepelkerk, Amsterdam

Signed HEINRICH HERMANN (lower left)

Oil on canvas

61 x 85cm; 24 x 33½in

£800­1,200

270

FOLLOWER OF PIERRE JUSTIN OUVRIE

French 1806­1879

Figures by Riverside

Buildings in a Town

Oil on panel

45.7 x 34cm; 18 x 13½in

£100­200

271

ROBERT GEMMELL HUTCHISON, RSA, RSW 1855­1936

Cockenzie; Port Seton

A near pair, both signed R G Hutchison (lower right, one surname almost illegible), each bears inscription R G Hutchison ARSA and Cockenzie or Port Seton on a label on the frame

Oil on panel

Each 30.5 x 21cm; 12 x 8¼in approx (2)

£600­900

272

JAMES AUMONIER, NEAC 1832­1911

Sunny Hours

Signed J. Aumonier. (lower right)

Oil on canvas laid on panel

24.5 x 48cm; 9¾ x 19in

£600­800

273

WILLIAM HENRY GORE 1857­1942

Milkmaid at Sunset

Signed W HENRY GORE (lower left)

Oil on board

13 x 17cm; 5 x 6¾in

£250­400

274

REX VICAT COLE

1870­1940

Moored for Repairs

Signed REX VICAT COLE (lower right)

Oil on canvas

76.2 x 106.6cm; 30 x 41¾in

Provenance:

Phillips, London, Modern British and Irish Paintings, Drawings and Sculpture, 5 October 1993, lot 61

Exhibited:

London, Royal Academy, 1924, no.202

£1,000­1,500

275

ERNEST FLEXEN

Fl.c.1920­1930

Washing Day

Signed and dated ERNEST/FLEXEN/1918 (lower right), also signed and inscribed WASHING DAY/ERNEST/FLEXEN (on overlap)

Oil on canvas

25.5 x 45.5cm; 10 x 18in

£200­300

276

EDWARD MATTHEW HALE

1852­1924

A Dip in the Ocean

Signed and dated E MATTHEW HALE/ 1913 (lower right)

Oil on panel

21.5 x 17cm; 8¼ x 6¾in

£250­450

277

EDWARD MATTHEW HALE

1852­1924

In the Shallows

Signed with initials E.M H. (lower right)

Oil on canvas board

20.5 x 16cm; 8 x 6¼in

£250­450

END OF SALE

AUCTION INFORMATION

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Monday to Friday 9am – 5pm

Old Sarum Galleries

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VIEWING

All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

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COMMISSION BIDDING

If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

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The Buyer shall pay the hammer price together with a Buyer's Premium thereon of 27% plus VAT at 20% (totalling 32.4% inclusive) on the first £20,000 of the hammer price and 26% plus VAT at 20% (31.2% inclusive) up to £500,000, and 20% plus VAT at 20% (24% inclusive) thereafter.

CONDITION REPORTS

The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS

These will be posted on our website shortly after the sale.

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Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

EXPORTING YOUR PROPERTY FROM THE UK

If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand­carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

PAYMENT AND CLEARANCE

Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. Please note that payment will only be accepted from the registered bidder.

The following methods of payment may be made:

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Account no. 00957707

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Where practical, payment can be made and purchases collected during the auction.

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LOT SYMBOLS

VAT

Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS

Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvlaen/imports­exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Lots marked with a Φ symbol are potentially subject to a levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below £1,000 and the maximum royalty payable on any single lot is £12,500.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Royalties for Droit de Suite are as follows:

4% Up to £50,000

3% £50,000.01 ­ 200,000

1% £200,000.01 ­ 350,000

0.5% £350,000.01 ­ 500,000

0.25% In excess of £500,000

Up to a maximum levy of £12,500

FIREARMS

Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but will not be allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

VALUATIONS

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS

Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

Woolley & Wallis valuations are accepted by all leading insurance companies.

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We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Jeremy Lamond +44 (0)1722 424502 | valuations@woolleys.live

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Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleys.live or call +44 (0)1722 424500

SPECIALIST DEPARTMENTS

Please dial +44 (0)1722 followed by the number listed below

PAINTINGS

Victor Fauvelle 446961

Ed Beer 446962

Richard Kay 446964

Heidi Easton 446970

20TH CENTURY DESIGN

Max Fisher 424505

Zoe Smith 446955

AFRICAN & OCEANIC ART ANTIQUITIES

Will Hobbs 339752

ASIAN ART

John Axford MRICS 424506

Alexandra Aguilar 424583

Freya Yuan­Richards 424589

Jeremy Morgan +44 (0)7812 601098

Olivia Jones 424591

BRITISH AND CONTINENTAL CERAMICS & GLASS

John Axford MRICS 424506

Neil Grenyer MRICS 446974

CHINESE PAINTINGS & CALLIGRAPHY

Freya Yuan­Richards 424589

FURNITURE, WORKS OF ART & CLOCKS

Mark Yuan­Richards 411854

Neil Grenyer MRICS 446974

Jim Gale 339161

Sarah Stone 339161

Suilven Hunter 339161

INTERIORS

Will Hobbs 339752

JAPANESE ART

Alexandra Aguilar 424583

Olivia Jones 424591

JEWELLERY

Marielle Whiting FGA 424595

Jonathan Edwards FGAA (Consultant) 424504

Jacob Carpenter 424586

Freya Miller 424586

Beth Reardon 424586

MEDALS & COINS, ARMS & ARMOUR

Ned Cowell 341469

SILVER

Rupert Slingsby 446956

Archie Swann 446959

Becky Tilly­Trickett 446957

VALUATIONS

Jeremy Lamond MRICS FRSA 424502

Frances Woodhams

CLIENT SERVICES

Ruth Pike (Client Services Manager) 424500

Julie Langstaff

Gemma Pointer

Riin Rohtla­Szeverenyi

Demi Jueno­Chapman

PHOTOGRAPHY

Fahmeeda Yasmin

Oscar Eccleston

Annabelle Hunt

BOARD OF DIRECTORS

John Axford MRICS Chairman

Natalie Milsted FCCA Managing Director

Alexandra Aguilar Director

Ed Beer Director

ASSOCIATE DIRECTORS

Ned Cowell

Victor Fauvelle

Will Hobbs

Jeremy Lamond MRICS FRSA

Rupert Slingsby

Marielle Whiting FGA

Freya Yuan­Richards

Mark Yuan­Richards