Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

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WOOLLEY & W ALLIS SALISBURY SALEROOMS Fine Old Masters & 19th Century Paintings Wednesday 9th & Thursday 10th December 2015 Including works on paper from the Collection of Henry Rogers Broughton, 2nd Baron Fairhaven (1900-1973)

description

As the leading regional auctioneer in the U.K. Woolley and Wallis, who were founded in 1884, hold around thirty specialist sales a year spread between nine departments headed up by leading experts in their field. The saleroom prides itself on combining a high level of expertise and professionalism, with the friendly attitude and personal service that clients have come to expect from this long-standing firm.

Transcript of Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

Page 1: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

WOOLLEY & WALLISSALISBURY SALEROOMS

Fine Old Masters & 19th Century Paintings

Wednesday 9th & Thursday 10th December 2015

Including works on paper from the Collection of Henry Rogers Broughton, 2nd Baron Fairhaven (1900-1973)

Fine O

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Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SUTel: 01722 424500 • Fax: 01722 424508 • www.woolleyandwallis.co.uk

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

AsiAn Art

John Axford MRICS ASFAV 424506Sophie Lister 424591 Alex Aguilar Doméracki 424583 Freya Yuan 424589

English & EuropEAn CErAmiCs & glAss

Clare Durham 424507

FurniturE, Works oF Art & CloCks

Mark Richards 411854Jim Gale 339161Anna Brown 411854

JEWEllEry

Jonathan Edwards FGAA 424504Marielle Whiting FGA 424595

pAintings Victor Fauvelle 424503Jo Butler 424592

silvEr

Rupert Slingsby 424501Lucy Chalmers 424594

20th CEntury DEsign

Michael Jeffery 424505

tribAl Art & AntiquitiEs Arms & Armour

Will Hobbs 339752Ellie Osmond 339752

vAluAtions For insurAnCE & probAtE

Paul Viney ASFAV 424509 Clive Stewart-Lockhart FRICS FRSA 424598

mArkEting

Tamzin Corbett 424590

ACCounts

Janice Clift (Office Manager) 424500

gEnErAl oFFiCE

Pauline West 424500 Sharon Ringwood Nicola Young Amanda Lawrence

sAlEroom mAnAgEr

David Jordan 424500

boArD oF DirECtors

Paul Viney ASFAV Chairman

John Axford MRICS ASFAV Deputy Chairman

Clive Stewart-Lockhart FRICS FRSA Managing Director

CompAny sECrEtAry Jim Macarthur CA 424599

AssoCiAtE DirECtors Janice Clift Clare Durham Jonathan Edwards FGAA Will HobbsMichael JefferyMark Richards Rupert Slingsby

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Front cover: Lot 408Back cover: Lot 559This page: Lot 473

Fine Old Masters & 19th Century PaintingsWednesday 9th December 2015 at 11am

Works on Paper from the Collection of Henry Rogers Broughton, 2nd Baron Fairhaven (1900-1973)

Thursday 10th December 2015 at 11am

Victor Fauvelle Tel: 01722 424503 [email protected]

Jo Butler Tel: 01722 424592 [email protected]

EnquiriEs

Viewing TimesSaturday 5th December 10.00am – 1.00pmMonday 7th December 10.00am – 5.30pmTuesday 8th December 10.00am – 4.00pmWednesday 9th December 9.00am – 10.45am Wednesday 9th December 11.00am – 4.00pm (Fairhaven Collection) Thursday 10th December 9.00am – 10.45am (Fairhaven Collection)

COLLECTION OF LOTSOn Thursday 10th, Friday 11th and Saturday 12th December MUST BE by prior arrangement on 01722 424500 or pictures may be in transit and unavailable.

From 14th December collection will be from the Picture department at Carter House, 6-10 Salt Lane Salisbury SP1 1EE. Payment is still made at Castle Street.

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.

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Page 4: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

Please note there is a 3% plus VAT surcharge for using this service

Live Internet bidding via

Extra images, a catalogue word search facility and condition reports are available at

www.woolleyandwallis.co.uk

Catalogue: £12.00 (£15.00 by post)

inDEXMiniatures

Prints

Watercolours

Oil Paintings

Fairhaven collection

189-223

224-241

242-296

297-439

440-623

ARTIST’S RESALE RIGHT / DROIT DE SUITE‡ This symbol indicates that an additional levy may apply for this lot – please see our Terms & Conditions, Section 21, for details

CITES

λ This symbol indicates that Cites regulations may apply. Please see the auction information page

GLOSSARY OF TERMSPlease refer to our Terms & Conditions, Section 21, for a glossary of terms used in the cataloguing of paintings

Member of The Society of Fine Art Auctioneers

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189. λ George Engleheart (1752-1829) Portrait miniature of a lady wearing pearls in her hair Signed with a cursive initial E Oval in a silvered metal frame 73 x 61mm With a portrait of Captain Tod, Attributed to George Englehart, head and shoulders, wearing a naval jacket in a gilt metal and blue enamel frame and a later portrait of a baby with a seed pearl and hair back frame by a different hand, all framed together (3 in 1 frame) Captain Tod was the Great Grandfather of G. A. Ballard £1,500-2,500

MiniATurEs

190. λ English School c.1840 Portrait miniature of a lady, head and shoulders in a green dress Oval, in a recangular gilt frame 83 x 63mm With another of a lady in white, oval signed E.R. Helps (2) £200-300

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191. λ John Smart (1741-1811) Portrait miniature of James Whatman, head and shoulders, wearing a sky blue coat Signed with initials and dated 1777 Oval, in a converted bracelet frame 32 x 21mm James Whatman (1741-1798) was one of the foremost paper makers in Europe and was instrumental in the development of fine quality wove paper at Turkey Mill in Kent. Whatman was the son of James Whatman senior and Ann Harris, who between them turned Turkey Mill into the largest paper mill in the country. Whatman senior pioneered a method of producing fine quality wove paper on a mesh base which resulted in a much smoother paper, ideal for fine art and high quality printing. War in Europe between 1739 and 1748 cut off the supply of fine paper from the continent and so the English paper makers were able to regain the market and Turkey Mill became the largest paper mill paper in the country. James Whatman junior took over in 1762, the firm having been run by his mother Anne since James senior’s death in 1759. James Junior continued to innovate in paper making and introduced many new techniques including the use of blue smalts which enhanced the whiteness of paper. He was also well known for creating the largest sheets of paper ever made at 53 x 31 inches for the Society of Antiquaries. Thomas Gainsborough is well documented in the 1760s trying to obtain Whatman paper saying ‘There is so little impression of the wires, and those so very fine, that the surface is like vellum. It was used by many of the most famous painters of the late 18th and early 19th century including Turner, John Robert Cozens and William Blake for some of his illuminated books. James Whatman (1741-1798) married twice, his first wife dying in 1775. This miniature was painted just after his second marriage to Susannah Bosanquet in 1776. In Whatmam’s account book there are three entries concerning Smart: 1776, Oct 5, Smart the Miniature Painter on Acct £18.18.0; 1778 May, Smart the Miniature Painter in full £21.0.0; 1779, May, Mr Smart for a Miniature Picture and glass £13.2.6. £8,000-12,000

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Lots 191-198 The Property of a Gentleman, by family descent from James Whatman (1741-1811)

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192. λ John Smart (1741-1811) Portrait miniature of Edward Stanley, head and shoulders, wearing a blue coat Signed with initials and dated 1774 Oval, in a gold and metal frame inscribed verso Edwardus Stanley, Armiger, Etatis Suae 54, 38 x 33mm £6,000-8,000

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193. λ George Engleheart (1750-1829) Portrait miniature of a girl, half length, wearing a blue sash Oval, in a gilt metal frame with a hair back, in a red leather case 65 x 53mm £5,000-7,000

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194. Attributed to William Sherlock (c.1738-c.1806) Portrait miniature of a lady, head and shoulders, wearing a blue headband Oval, in a gilt metal frame with a rectangular ebonised border and a red leather case 70 x 54mm £1,000-1,500

195. λ Attributed to William Sherlock (c.1738-c.1806) Portrait miniature of a gentleman with curly hair, head and shoulders, wearing a black coat and white cravat Oval in a gilt metal frame with red leather case 82 x 63mm £600-800

196. λ Attributed to Richard Collins (1755-1831) Portrait miniature of a gentleman, thought to be James Whatman, son of James Whatman (1741-1798), half-length, wearing a blue coat and white cravat Oval, in a red leather case 67 x 55mm £800-1,200

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197. λ Richard Cosway R.A. (1742-1821) Portrait miniature of Miss Gunning, head and shoulders, wearing a turban and a blue sash Oval, in a gilt metal frame, rectangular ebonised border and red leather case 71 x 54mm £4,000-6,000

198. λ George Engleheart (1750-1829) Portrait miniature of Elizabeth Gaussen, née Bosanquet Oval, in a gilt metal frame within a dark red leather case 50 x 41mm Elizabeth Gaussen married James Whatman, son of James Whatman (1741-1798) and his second wife Susannah Bosanquet. The list of Engleheart’s sitters lists Mrs Gouson (sis) was painted in 1789 £4,000-6,000

199. λ George Engleheart (1752-1829) Portrait miniature of Lady Susan Westmorland, bust length in a white dress with a blue ribbon Oval, in a gilt metal frame with a hair back 53 x 43mm £4,000-6,000

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OTHEr PrOPErTiEs

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200. George Perfect Harding (1779-1843) Queen Mary I, three quarter length, standing Inscribed and possibly signed with a monogram, also inscribed verso In a ebonized frame 207 x 160mm £500-700

201. George Perfect Harding (1779-1843) Lady Jane Grey, three quarter length, standing Inscribed verso, in an ebonized frame 280 x 153mm £400-600

202. George Perfect Harding (1779-1843) Oliver Cromwell, head and shoulders Inscribed verso Oval, in an ebonized frame 90 x 70mm £400-600

203. George Perfect Harding (1779-1843) James Duke of Hamilton, head and shoulders Inscribed verso Oval in a wooden frame 87 x 70mm £300-500

204. George Perfect Harding (1779-1843) Mary Queen of Scots Inscribed, possibly with a monogram, also inscribed verso Oval, in an ebonized frame 90 x 70mm £400-600

205. George Perfect Harding (1779-1843) Lord Howard of Effingham, Lord High Admiral (1536-1624), head and shoulders Oval in a rectangular ebonized frame 90 x 72mm £300-500203202

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206. George Perfect Harding (1779-1843) Robert Earl of Lindsey, full length, standing in an interior Inscribed verso, in an ebonized frame 182 x 119mm £400-600

207. Attributed to George Perfect Harding (1779-1853) after Joos van Cleve Portrait of an unknown lady Rectangular in a wood frame 180 x 130mm A copy of the original in the Uffizi, Florence £200-300

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208. λ Charles Jagger (1770-1827) Lady Denys, wife of Sir George Denys 1st Bart. (1788-1857), three quarter length standing, wearing a red shawl 140 x 105mm Provenance: Sotheby’s, 12th July 71, Denys Trust sale, lot 45 £300-500

209. λ English School c.1830Matilda, Lady Slade, wife of Gen. Sir John Slade, three-quarter length, seated in a luxurious interior Rectangular in a gilt metal frame 215 x 157mm £200-300

210. λ Mary A. Millington Mannin (c.1800-1864) Sir Francis Charles Edward Denys-Burton as a young man, half length in a dark coat Rectangular in an enclosed giltwood frame 100 x 75mm Provenance: Sotheby’s, 12th July 71, Denys Trust sale, lot 42 £200-300

211. λ English School early 19th Century Lady Charlotte Denys, seated wearing a russet coat Rectangular in a giltwood frame 85 x 70mm Provenance: Sotheby’s, 12th July 71, Denys Trust sale, lot 43 £150-250

212. λ English School c.1825 Anna Maria Draycott Denys, half length in a cream dress and black shawl 90 x 70mm Provenance: Sotheby’s, 12th July 71, Denys Trust sale, lot 43 £150-250

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213. English School c.1800 Fanny, wife of Gibbs Crawford, head and shoulders wearing white Inscribed with sitters details verso Oval 65 x 54mm With a further miniature, possibly Princesse de Lamballa 1792 (2) £150-200

214. Attributed to Alexander H. Wardlow (19th/20th Century) A lady, in 18th century costume Oval, in a gilt frame 115 x 94mm £150-250

215. Attributed to Gervase Spencer An officer in red uniform with green lapels Oval, in a gilt frame 42 x 32mm £100-150

216. Valerie Serres (early 20th century) A lady, head and shoulders in white Signed Oval 68 x 51mm £100-150

217. Florence Hannam (19th/20th Century) A lady in a fur lined dress Signed Oval 70 x 54mm £120-180

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218. English School early 19th Century Eliza, wife of Thomas Baron le Despencer (d.1848), head and shoulders, wearing white with a coral necklace Oval, in a gilt metal frame with a crown surmount and red leather case 70 x 60mm £200-300

219. Ernest Rinzi (1836-1909) James Cooper, head and shoulders Oval in a gilt frame 47 x 39mm £100-150

220. Annie F. Shenton (19th/20th Century) Fozay, a pug Dated 28.9.1913 62 x 48mm £120-180

221. Follower of Augustine Amant Edouart Silhouette of two boys playing Watercolour 26 x 32cm; 10¼ x 12½in Provenance: The Late Peter J. Rankin £150-250

222. Jessie Edith Prior (1882-1971) Miss Edith Burrell, head and shoulders in blue Signed with monogram and dated 1933 Oval 75 x 60mm With 8 further miniatures, early 20th century by Gladys Denman, Miss Flora Tomkins, Pauline Netterville, Paul Henri Bourguignon and others (9) £250-350

223. Alexander H. Wardlow (19th/20th Century) King George V; A Scotts Officer Two, both signed 237 x 192mm and similar (2) £150-250

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224. Lucas van Leyden (Dutch 1494-1533) Venus la Tresbelle Deesse D’amours With initial L and date 1528 in the print and stamp lower left, also inscribed indistinctly by unknown hand Engraving 16 x 11.25cm; 6¼ x 4½in £300-500

225. Thomas Gainsborough (1727-1788) Wooded landscape with a country cart and figures Etching with aquatint c.1785, published J & J Boydell, 1797 28 x 34.5cm; 11 x 13½in (plate size) Provenance: Hamilton Collection U.S.A. William Weston, 2002 The Late Peter J. Rankin Exhibited: Fogg Art Museum, Ref. 15829.8 Literature: John Hayes, Gainsborough as Printmaker, No. 18, p.97 £800-1,200

226. Thomas Gainsborough (1727-1788) A wooded landscape with cows beside a pool Etching with aquatint, c.1775/78, published from small edition by Boydell 1807 25.5 x 32.25cm; 10 x 12¾in Provenance: William Weston Gallery, 1996, No. 8656/2 The Late Peter J. Rankin Literature: John Hayes, Gainsborough as Printmaker, No. 5, p.24-29, 50-51 £400-600

227. Thomas Gainsborough (1727-1788) A watering place - wooded landscape with cows and two figures Etching with aquatint, c.1776/77, published 1820 by Boydell 27.5 x 34.25cm; 10¾ x 13½in (plate size) Provenance: William Weston Gallery, 1984, No. 10065/1 The Late Peter J. Rankin Literature: John Hayes, Gainsborough as Printmaker, p.446, illustrated 117b £500-800

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PrinTs

228. Thomas Gainsborough (1727-1788) Wooded landscape with peasant reading a tombstone Etching, c.1780, published 1797 by Boydell 30 x 39.25cm; 11¾ x 15½in

Provenance: Elizabeth Harvey-Lee, 1995 The Late Peter J. Rankin Literature: John Hayes, Gainsborough as Printmaker, No. 10, p.66-71 £400-600

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229. David Lucas (1802-1881) After John Constable R.A. Hampstead Heath Mezzotint 14 x 18cm; 5½ x 7¼in Provenance: Elizabeth Harvey-Lee, 1996 The Late Peter J. Rankin £200-300

230. David Lucas (1802-1881) After John Constable R.A. The Glebe Farm Signed with initials in the plate Mezzotint, 1832, proof before letters 14.5 x 22.5cm; 5¾ x 8¾in (image size) Provenance: Elizabeth Harvey-Lee, 1996 The Late Peter J. Rankin £250-350

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231. Capt. William E. Baillie (Irish 1723-1810) After Rembrandt The Three Trees Etching 21 x 28cm; 8¼ x 11in Provenance: The Late Peter J. Rankin £150-250

232. George Stubbs A.R.A. (1724-1806) Two Hunters, belonging to Henry U. Reay of Burn Hall, County Durham Stipple engraving 40 x 50.5cm; 15¾ x 20in (plate size) Provenance: Caxton, Dublin, 1999 The Late Peter J. Rankin £300-500

233. James Malton (1761-1803) Marine School, Dublin, Looking up the Liffey Aquatint, published 1796 25.5 x 40cm; 10 x 15¾in With an aquatint of the Custom House from the Liffey by S. F. Brocas and one of Artillery Bridge, Killarney by T. Walmsley (3) Provenance: The Late Peter J. Rankin £150-250

234. After Alexander Carse (c.1770-1843) His Majesty George IV landing at Leith, 15 August 1822 Aquatint 56 x 81cm; 22 x 32in £120-180

235. Opium Wars - Henry A. Papprill (c.1816-1903) after Capt. R. B. Crawford R.N. This view of the capture of Amoy, on the coast of China, on 26th August, 1841 x 3; This view of the successful Attack of Her Majesty’s combined Forces upon the Heights of Chusan on 1st of October, 1841 All hand coloured aquatints, published by Ackermann & Co., 1844 Each 26.5 x 57cm; 10¼ x 22½in (4) £1,000-1,500

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236. Robert Havell (1793-1878) after Hubert Cornish Panoramic view of Sidmouth, Devon including the coast from Torbay to Bridport Set of three aquatints, engraved 1840, by J. & S. Harvey Each 38.5 x 95cm; 15¼ x 17½in (3) £300-500

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238. Samuel Palmer (1805-1881) Christmas, from Bampfylde’s Sonnet Etching, c.1850 proof for the 1882 first edition 10 x 8cm; 4 x 3in Provenance: Elizabeth Harvey-Lee, Olympia, 1993 The Late Peter J. Rankin Rankin £500-800

239. Samuel Palmer (1805-1881) The Herdsman’s Cottage - sunset Etching, published by Hamerton 1872/80; Ref. Lister 3 second state as completed 9.75 x 7.5cm; 3¾ x 3in Provenance: William Weston Gallery, London, 1996 The Late Peter J. Rankin £200-300

240. Samuel Palmer (1805-1881) The Lonely Tower Etching, 4th state, 1879 16.5 x 23cm; 6½ x 9in Provenance: Elizabeth Harvey-Lee, 1996 The Late Peter J. Rankin £600-800

241. After Henry Barraud Rotton Row, Hyde Park in 1864 Signed in pencil by Barraud Mixed method steel engraving by William Simmonds 59 x 120cm; 23¼ x 47¼in (to mount) Amongst the crowd the Princess of Wales is riding to left, followed by the Prince of Wales, Prince Alfred and the Duke of Cambridge. £500-800

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237. Samuel Palmer (1805-1881) The Bellman, 1879 Etching, from an impression of 75 made in 1926 before destruction of plate from collection of Henri Petiet Paris 16.5 x 23cm; 6½ x 9¼in

Provenance: Elizabeth Harvey-Lee The Late Peter J. Rankin £800-1,200

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242. Richard Cosway R.A. (1742-1821) The Duke of Devonshire and Georgiana, Duchess of Devonshire and Lady Elizabeth Foster Pencil and wash 20.5 x 26cm; 8 x 10¼in Provenance: The Late Peter J. Rankin £600-800

243. Lady Diana Beauclerk (1734-1808) Portrait of Georgiana, Duchess of Devonshire Signed with initials on backing paper Plumbago on vellum 15 x 16.5cm; 6 x 6½in Provenance: The Late Peter J. Rankin £300-500

244. Richard Cosway R.A. (1742-1821) Portrait of Margaret Long and her son Signed with a monogram and inscribed on a label verso Grisaille washes over pencil heightened with watercolour 24 x 18.5cm; 9½ x 7¼in Provenance: With F.B. Daniell and Son £1,600-2,000

245. Joseph Edward Southall (1861-1944) Beached Boats Watercolour Beached boats, bathers and dog, Southwold Watercolour Signed with a monogram and dated 2.VII.39 14 x 23cm, 5½ x 9in Provenance: The Fine Art Society, 22545: 03/05 Exhibited: The Fine Art Society, 2005, Sixty Works by Joseph Southall from the Fortunoff Collection £400-600

246. Thomas Daniell R.A. (1749-1840) An Indian river craft Pencil with grisaille wash 11.5 x 14cm; 4½ x 5½in Provenance: Sabin Galleries, London £200-300

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WATErCOLOurs

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247. Thomas Rowlandson (1756-1827) The wedding night Signed Pen, ink and watercolour 11.5 x 18cm; 4½ x 7in Provenance: Andrew Edmunds, Grosvenor House Fair The Late Peter J. Rankin £800-1,200

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248. Thomas Rowlandson (1756-1827) Cattle watering with a figure in a punt Sepia pen and ink with watercolour 22.5 x 32.5cm; 9 x 12 ¾in £600-800

249. Vincent Jans van der Vinne (Dutch 1736-1811) after Jan Both Italianate landscape with travellers Watercolour 32 x 45.5cm; 12½ x 18in Provenance: Christie’s, 15th Apr 2105, Lot 448 £1,000-2,000

250. David Cox (1783-1859) Figures on a Bridge, North Wales Inscribed verso: Mr Rainbow from David Cox 1835 Watercolour over pencil heightened with bodycolour and stopping out 15.5 x 23cm; 6¼ x 9in Provenance: Purchased from Michael Bryan, June 1998 Private Collection, UK £1,000-1,500

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251. Sir Thomas Lawrence P.R.A. (1769-1830) Portrait of the Calmady children of Langdon Court, Devon Signed T. Lawrence PRA Delit Pencil and coloured chalks, in a period giltwood frame 75 x 62cm; 29½ x 24½in Provenance: By descent in the sitters’ family until purchased by the present owner at Bearne’s 3-4th July 2001, lot 286 Literature: Sir Thomas Lawrence, A Complete Catalogue of the Paintings by Kenneth Garlick, mentioned in footnote to No. 152, p.161 The Life and Correspondence of Sir Thomas Lawrence by D. E. Williams (1831), p. 337 onwards. Extract online. A portrait of Emily and Laura Anne Calmady, the eldest daughters of Charles B. Calmady and his wife, Emily Greenwood. This drawing is inscribed on the backing panel and also on a letter by the mother, Emily. The drawing has been confirmed by Dr. Kenneth Garlick in 2002 as the original drawing to the painting in the Metropolitan Museum of Art, New York, which Lawrence himself favoured as one of the few by which he would wish to be known. The inscription on the backing panel reads: Emily & Laura Calmady. Born 1818 & 1820 drawn by Sir Thom. Lawrence, P.R.A. July 1823 & intended to be painted on but being much admired by their mother this drawing was presented to her & the present painting begun Exhibited in Soho Square in 1824 Engraved by F. C. Lewis 1825 Leant to the Directors of the British Institution, Pall Mall 1830 exhibited with other works after Sir Thos.’ death that year. Was returned by them in the Waggon instead of the Mail by which they received it & was wet through & spoiled. E.C. The letter reads similarly but also adds: Engraved by F. C. Lewis in 1825. 800 of the engravings were sold within a month after its publication. Signed Emily Calmady. 1844 £10,000-20,000

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252. Peter de Wint O.W.S. (1784-1849) Figure on a donkey by a cottage Watercolour 30.5 x 25.5cm; 12 x 10in Provenance: Sotheby’s 30th June 2005 Lot 262 £2,000-3,000

253. Henry Kirchoffer R.H.A. (1781-1860) Views of Killarney, Ireland A pair, both watercolour Each 18.5 x 26.5cm; 7¼ x 10½in (2) Provenance: The Late Peter J. Rankin £300-500

254. Dominic M. Serres (c.1778-c.1804) Views on the Tamar, near Plymouth A pair, one signed and dated 1796 Watercolour Each 37 x 53.5cm; 14½ x 21in (2) £600-800

255. Louis Burleigh-Bruhl (1861-1942) A mill in a hilly landscape, a castle beyond Signed Watercolour 58 x 42.5cm; 22¾ x 16½in £600-800

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256. John Varley O.W.S. (1850-1933) A street scene in Cairo, a fountain and school street near Bab el Metarwey Signed and dated 99 Watercolour 26 x 36cm; 10¼ x 14¼in Provenance: Hampshire Gallery, Bournemouth, 1998 £200-300

257. Jörg Lutz (German c.1490-1546) Christ before Caiaphas Signed Gouache on paper laid on board 12 x 18.75cm;4¾ x 7¼in Provenance: A private collection, Virginia, U.S.A. £400-600

258. Ernest Herbert Fitchew (1851-1934) View of Hebron; The Church of the Holy Sepulchre, Jerusalem A pair, one signed Both watercolour, mounted, unframed Each 26 x 18cm; 10¼ x 7in (2) £150-250

259. Samuel Owen (1768-1857) Boats in a harbour with a windmill; Figures on the shore A pair, one signed and dated 1823 Both watercolour Each 14.5 x 10.5cm; 5¾ x 4¼in (2) £300-500

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260. James Thomas Watts (1853-1930) Rocky woodland pool Signed Watercolour 29 x 44.5cm; 11½ x 18in Provenance: Christie’s, 18 Nov 2004, Lot 116 £1,500-2,500

261. James Thomas Watts (1853-1930) A quiet grey day Signed Watercolour 31 x 58cm; 12¼ x 22¾in Provenance: Dudley Gallery Art Society, Piccadilly Christie’s, 5 June 2003, lot 147 £800-1,200

262. Edwin Bale (1842-1923) Procession of the Corpus Christie, Lake Como Signed Watercolour 42 x 68cm; 16½ x 26¾in £300-400

263. William Payne (c.1760-c.1830) The old watermill Signed Watercolour with gum arabic 12.5 x 16.5cm; 5 x 6½in Provenance: The Late Peter J. Rankin Exhibited: Manchester, 1859 £200-300

264. Charles Sim Mottram (1852-1919) Fisherfolk on the shore Signed Watercolour 28 x 56cm; 11 x 22in £300-500

265. John Brett R.A. (1831-1902) Springtime near Morden Signed with initials and dated april 1861 Watercolour 17.75 x 34cm; 7 x 13½in Provenance: Sotheby’s, 10 March 2005, lot 212 £3,000-5,000

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266. Thomas Sidney Cooper R.A. (1803-1902) Sheep resting by a track Signed and dated 1879 Watercolour 20.5 x 31cm; 8 x 12¼in £800-1,200

267. Wilfred Williams Ball (1853-1917) A river view Signed Watercolour 18 x 29.5cm; 7 x 11¾in £100-200

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268

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266

265

268. Roberto Angelo Kittermaster Marshall (1849-1926) Distant downs, near Heathfield, Sussex Signed Watercolour 34 x 59cm; 13½ x 23in £300-500

269. Drulin (Continental 19th Century) Chateau des Comtes de Gruyeres, Fribourg Signed, also signed and titled verso Watercolour, unframed 19 x 29cm; 7½ x 11½in With a folio of prints and drawings including a print of Guys Hospital for Incurables after Thomas Bowles, some ornithological prints and a print of John Wilkes after Hogarth (c.25) £200-400

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270. Charles Jones R.C.A. (1836-1892) Sheep on a clifftop Signed with a monogram and dated 84 Watercolour 29 x 44cm; 11½ x 17¼ £600-800

271. John Brett R.A. (1831-1902) Eynesford Signed, titled and dated Aug. 22/51 Watercolour on grey paper 22.5 x 24.25cm; 5 x 9¾in Provenance: Sotheby’s 10th March 2005, Lot 214 £500-700

272. Myles Birket Foster R.W.S (1825-1899) Studies of country folk and carts Titled, inscribed Treves, France and dated May 10, 1866 Pencil with watercolour on blue paper 8 x 16cm; 3¼ x 6¼in £200-400

273. Charles Grant Davidson (1824-1902) A walk in the woods Signed on a label verso Watercolour 22 x 28cm; 8¾ x 11in £200-300

274. James Thomas Watts (1853-1930) Off to the village Signed Watercolour 21.5 x 30cm; 8½ x 11¾in £200-300

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275. John Henry Campbell (1757-1828) View on the Bray, Bray Hill, Co. Wicklow; Shankhill; View on the Barrow Five, most signed, 3 titled and one dated 1804 All watercolour 19 x 25.5cm; 7½ x 10in and smaller (6) With a further similar watercolour by Ceclia Campbell of Shankhill, 1807 Provenance: The Late Peter J. Rankin £200-300

276. ‡ Robert Murdoch Wright (act.1889-1962) Cairo A pair, both signed and titled Both watercolour Each 22.5 x 51.5cm (2) £200-300

277. John Massey Wright O.W.S. (1777-1866) All’s well that ends well Inscribed verso Pen, ink and watercolour 16.5 x 19.25cm; 6½ x 7½in Provenance: Chris Beetles, London Exhibited: The British art of Illustration 1780-1996 £200-300

278. William Joy (1803-1867) A Royal Naval 74-gun two decker under shortened sail Watercolour 21 x 27.5cm; 8¼ x 10¾in £250-350

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277

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279. Thomas Bush Hardy R.B.A. (1842-1897) Shipping off a harbour Signed and dated I889 Watercolour 28.5 x 58cm; 11¼ x 23in £800-1,200

280. Thomas Bush Hardy R.B.A. (1842-1897) Entrance to Portsmouth Harbour; Off the Dutch coast, at Anchor A pair, both signed, titled and dated 1893 Both watercolour Each 25 x 17.25cm; 10 x 7in (2) £700-1,000

281. Thomas Bush Hardy R.B.A. (1842-1897) Entering the harbour, Calais Signed, titled and dated 1890 Watercolour 49 x 64cm; 19¼ x 25in £400-600

282. Thomas Bush Hardy R.B.A. (1842-1897) Off Calais Signed and titled Watercolour 15 x 46.5cm; 6 x 18¼in £400-600

282

281

280

279

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283. Thomas Colman Dibdin (1810-1893) Market produce falling from a cart by a cathedral; Figures by a cathedral A pair, both signed and dated 1867 and 1868 Both pen, ink and watercolour 53 x 36cm; 21 x 14in (2) Provenance: The Late Peter J. Rankin £700-1,000

284. Thomas Colman Dibdin (1810-1893) Old street, Rouen, St. Avion beyond; Antwerp Cathedral A pair, both signed and dated 1884 and 1885 Both pen, ink and watercolour Each 55 x 37cm; 21½ x 13½in (2) £600-800

285. Harry Bright (1846-1895) Great white Heron; Song Thrush; Cormorant; Female Blackbird Set of four, all signed and dated 1884 All watercolour Each 28 x 22cm; 11 x 8¾in (4) £1,000-1,500

285

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286. Harry Bright (1846-1895) Wrens in winter; Bullfinches in spring A pair, both signed Both watercolour Each 27 x 19.5cm; 10½ x 7¾in (2) £900-1,100

287. Harry Bright (1846-1895) Soliciting alms Signed and dated 1881 Watercolour with bodycolour 43 x 30cm; 17 x 12in £500-700

288. Harry Bright (1846-1895) Winter time; Merry spring A pair, both watercolour, oval Each 28 x 23.5cm; 11 x 9¼in (2) £500-700

289. Harry Bright (1846-1895) Standing Heron Signed and dated 1876 Watercolour 42 x 29.5cm; 16½ x 11½in £300-500

290. Harry Bright (1846-1895) Bully’s breakfast Signed and dated 1886 Watercolour 21.5 x 25.5cm; 8 x 10in £250-350

291. Harry Bright (1846-1895) A labour of love Signed and dated 1883 Watercolour 28 x 41.5cm; 11 x 16¼in £300-500

286 287

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292. Harry Bright (1846-1895) Garden birds sheltering under a hat in the snow Signed and dated 1876 Watercolour 42 x 30cm; 16½ x 12in £300-500

293. Harry Bright (1846-1895) The herald of spring Signed and dated 1891, also inscribed on a label verso Watercolour 35 x 54cm; 13¾ x 21¼in Provenance: Alexander Gallery, Bristol £500-700

294. Johannes Gerardus Keulemans (Dutch 1842-1912) Serin, Starling, Corn Bunting, Finches Set of four, all signed with initials All watercolour 24.5 x 17.5cm; 9½ x 7in and similar (4) £1,000-1,500

294

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295. Archibald Thorburn (1860-1935) American yellow billed cuckoo Signed Watercolour 16.5 x 24.5cm; 6½ x 9¼in Provenance: Christie’s, 14 May 1996, Lot 50 £1,500-2,500

296. Archibald Thorburn (1860-1935) Hawk owl Signed Watercolour on grey paper 16.5 x 23cm; 6½ x 9in £1,500-2,500

296

295

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297. Follower of François Clouet Portrait of a gentleman, head and shoulders, wearing a gold coloured coat, in a wooded landscape Inscribed Bene qui latiut bene vixit, Oil on panel 47 x 38cm; 18½ x 15in The latin translates as One who lives well, lives unnoticed (Ovid) £1,000-1,500

298. Scottish School 17th Century Portrait of Jean Elphinstone née Bruce, only daughter of Col. Bruce of Airth, married to Richard Elphinstone of Calderhall Oil on panel, in a carved wood frame 72 x 56cm; 28¼ x 22in £1,500-2,000

299. Attributed to Werner van den Valckert (1585-1627) Portrait of a Matron, thought to be a Regentess of the Haarlem Leper Colony Traces of an inscription verso Oil on panel 65 x 47cm; 25½ x 18½in £1,500-2,000

299

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300. After Sir Anthony Van Dyck Portrait of Charles I Oil on panel, in a carved wood and gesso frame 31.5 x 26cm; 12 x 10¼in £800-1,200

301. Circle of Jan Anthonisz Ravesteyn Portrait of a gentleman with a lace collar Oil on canvas 58 x 44.5cm; 23 x 17½in £1,000-1,500

302. German School c.1660 Portrait of Miles Corbet (1595-1662), half length in a landscape Inscribed lower right LFDB and dated indistinctly Oil on canvas, oval 82 x 64cm; 32¼ x 25¼in Miles Corbett was a barrister and MP for Yarmouth from 1640-1653. He was the last signatory on the death warrant of Charles I. After the restoration he fled to Germany and was eventually tried and executed on April 22nd 1662 £1,500-2,500

302

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303. Willem Van de Velde (1633-1702) The Morning Gun Signed with initials and dated 1684 Oil on canvas 62.5 x 86cm; 24½ x 34in Provenance: Mr. William Tennant circa 1795, and by descent Mr. Hugh Buchanan, Pusey, Oxfordshire £10,000-15,000

304. Circle of Abraham Jansz Storck Warships off the Dutch coast Oil on canvas 66 x 84cm; 26 x 33in £3,000-5,000

304

303

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305. After Peter Paul Rubens Queen Tomyris and the head of Cyrus Oil on panel 52 x 71.56cm; 21½ x 28in After the original in the Museum of Fine Arts, Boston £2,000-3,000

306. After Albrecht Durer 17/18th Century The rejection of Joachim’s offering Oil on panel 111 x 74.5cm; 43¾ x 29¼in With a copy of the book Albrecht Dürer Holzschnitte including the engraving (2) £2,000-3,000

306

305

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307. David Teniers (Flemish 1610-1690) Interior scene with a peasant preparing vegetables Signed Oil on panel 36.5 x 58.5cm; 14¼ x 23in £10,000-15,000

308. Louis de Moni (Dutch 1698-1771) The fish vendor Signed Oil on canvas laid on panel 42 x 33.25cm; 16½ x 13¼in £3,000-5,000

308

307

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309. After Raphael Sanzio Madonna of the pinks Oil on canvas, in a gilt frame 30 x 24.5cm; 11¾ x 9½in £2,000-3,000

310. Italian School 18th Century The Assassination of St. Peter Martyr Oil on canvas 41 x 58cm; 16 x 23in £700-1,000

311. Manner of George Chinnery A junk in a harbour with a pagoda Oil on canvas laid on panel, unframed 40.5 x 33cm; 16 x 13in £300-500

312. Dutch School 18th Century Harvesters by a windmill; Tobias and the angel Two, one oil on metal, one on panel, framed as a pair 25 x 37cm; 10 x 14½in and similar (2) £1,000-1,500

311

310309

312

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313. John Paul (c.1830-1890) Northumberland House, Charing Cross Oil on canvas, in a carved wood frame 61 x 92cm; 24 x 36in After the original by Canaletto in the collection of the Duke of Northumberland Northumberland House was the London residence of the Dukes of Northumberland from 1605 till 1874, when it was demolished to make way for Northumberland Avenue. If still standing today it would look onto Trafalgar Square towards the National Gallery £3,000-4,000

314. Jacob Van Stry (Dutch 1715-1856) Travellers, herdsmen and cattle in an extensive river landscape with a castle and distant town Signed Oil on panel 58 x 84cm; 22¾ x 33in £6,000-8,000

314

313

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315. Attributed to Aert van der Neer (Dutch 1603-1677) Figures by a canal at dusk, a windmill beyond Stamped with a seal on stretcher verso Oil on canvas 48 x 64cm; 19 x 25in £1,500-2,500

316. Circle of Willem Hermansz. van Diest Shipping off the Dutch coast Oil on canvas 53 x 78.5cm; 21 x 31in £1,500-2,000

317. Attributed to Adriaen van der Cabel (c.1631-1705) Merchants in a busy Dutch port Oil on canvas 60 x 82cm; 23½ x 32¼in £1,500-2,500

318. Circle of Jan Peeters Shipping off a Continental town Oil on canvas 30.5 x 42cm; 12 x 16½in £800-1,200

319. After Giovanni Antonio Canal, called Canaletto The Riva delle Barche and the Antica Posta, Mestre, Italy Oil on canvas in a carved wood frame 60 x 102cm; 24 x 40in Provenance: Edward Stacy-Marks Ltd 22.3.1986 This is a copy of the original at Dorneywood House, Buckinghamshire £7,000-9,000

320. Follower of Giovanni Antonio Canal, called Canaletto Gondolas on the Grand Canal, Venice Oil on canvas 58.5 x 91.5cm; 23 x 36in £3,000-5,000

318

317

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321. Attributed to Gaspar Peeter Verbruggen the younger (1664-1730) Still life of flowers and fruit near a relief sculpture of classical figures surmounted by an urn Signed with initials VB Oil on canvas 85 x 66cm; 33½ x 26in Provenance: The Estate of the Staithes painter Mark Senior R.A. (1864-1927) and by descent to the present owner, the artist’s great grandson. It is thought that he brought the picture back from one of his frequant trips to Bruges in 1905-10. £5,000-8,000

322. Russian School early 19th Century Twelve Feasts with a central icon of Easter Oil on panel 53.5 x 44cm; 21 x 17½in Provenance: Christie’s, Rome, 5th December 2000, Lot 422 £2,000-3,000

323. Continental School early 19th Century Figures in an Italianate landscape Signed indistinctly and dated 1813 Gouache, circular 11.25cm; 4½in diameter Provenance: The Late Peter J. Rankin £200-300

324

322

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321

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324. Follower of Guiseppe Zais A castle on a bend in the river with a ferry boat Oil on canvas, unframed 59 x 171cm; 23 x 67¼in £500-800

325. Follower of Thomas Hudson Portrait of Lady Robinson Oil on canvas in a carved wood frame 127 x 101cm; 50 x 40in £4,000-6,000

326. English School early 18th Century Portrait of a girl wearing blue, holding a basket of flowers Oil on canvas 127 x 101cm; 50 x 40in Provenance: Rutland Gallery, London £400-600

327. English School 18th Century Portrait of an actress holding a mask Oil on canvas, oval unframed, unstretched 57 x 46cm; 22½ x 18in £200-300

328. English School c.1700 Portrait of Mary Marriott (d. 1703) Full length standing in an interior Oil on canvas 95 x 74cm; 37½ x 24in Provenance: The Manor House, Chipperfield £600-800

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329. James Northcote R.A. (1746-1831) Portrait of Mrs. Thomasine Yonge or Young Oil on canvas 76 x 63.5cm; 30 x 25in

332331

330329

Provenance: By descent to the sitter’s niece Mrs. Brater and gifted to Her son William Brater Frost & Reed Private Collection, U.S.A. Private English Collection

Literature: Memorials of an Eighteenth Century Painter - James Northcote by Stephen Gwynn (1898): List of Portraits painted at Plymouth 1776/7, No. 41, Mrs Yonge, Pg. 266 The present picture is an example of his early portraits, greatly influenced by Reynolds.Further details online £2,000-3,000

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330. English School 19th Century Portrait of a gentleman, possibly William Beckford Oil on canvas 76 x 63cm; 30 x 25in Provenance: Frost & Reed 16.9.76, No. S.1472 £800-1,200

331. Circle of Allan Ramsay Portrait of a Gentleman, possibly John Coutts (1699-1751), Lord Provost of Edinburgh Oil on canvas in a carved Carlo Maratta frame 82 x 66cm; 32¼ x 26in Provenance: Private New York collection Private English collection £1,500-2,500

332. After Sir Henry Raeburn Portrait of Walter Scott Oil on canvas 76 x 63.5cm; 30 x 25in £600-800

333. Jean Francisque Millet the Younger (French 1666-1723) Figures pausing for water in an Italianate landscape Signed Oil on canvas 82.5 x 67cm; 32½x 26½in £3,000-5,000

334. Attributed to Jan Siberechts (Flemish 1627-c.1703) View of a town, thought to be Cirencester c.1690 Oil on canvas 58.5 x 86cm; 23 x 34in £3,000-5,000

334

333

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335. Italian School 18th/19th Century Still life of flowers, a clock and fruit in an interior Oil on canvas, in a carved wood frame 56 x 74cm; 22 x 29in £2,000-3,000

336. Follower of George Morland The milkmaid Oil on canvas 51 x 61cm; 20 x 24in £300-400

337. Pieter Jansz van Asch (1603-1678) Wooded river landscape with figures in a rowing boat and distant steeple Oil on panel 27.5 x 35cm; 11 x 14in Provenance: Christie’s, Highly important paintings from the Cook Collection, 19 March 1965, Lot 55 £800-1,200

338. John Willis (fl. 1828-52) Portishead, looking across the Severn; Near Portishead A pair, both signed and dated 1855 and 1856, also signed titled and dated in pencil on stretcher Both oil on canvas Each 43 x 61cm; 17 x 24in (2) £800-1,200

339. James Ward R.A. (1769-1859) The reapers lunch Signed with monogram and dated 1837 Oil on panel 57 x 76cm; 22½ x 30in £6,000-8,000

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335

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340

339

340. David Roberts R.A. (1796-1864) Santi Giovanni e Paola, Venice Signed and dated 1860, previously thought to be inscribed verso Oil on canvas 53 x 75cm; 21 x 29½in

Provenance: Woolley & Wallis, Orchard Farm House sale, 17th April, 2007, Lot 12 £5,000-7,000

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341. After Elisabeth Louise Vigée Le Brun Self portrait Oil on canvas 50.5 x 40.5cm; 20 x 16in £500-700

342. Sir George Hayter (1792-1871) Self portrait Inscribed and dated verso Georgius Hayter, Se Ipsum pingebar, 1828 Oil on canvas, oval in a rectangular frame 31 x 26cm; 12½ x 10¼in £500-700

343. Russian School 19th Century A woman baking tarts with her children and Samoyed dog Signed indistinctly Oil on canvas, unframed 51 x 41.5cm; 20 x 16¼in £500-700

344. C. C. Coventry (fl. 1800-1819) Interior scene with girls washing clothes and a boy playing tricks Signed and dated 1800 on the table stretcher Oil on canvas, in a French Empire giltwood and gesso frame 92 x 72cm; 36 x 28½in £1,500-2,500

345. After Sir Thomas Lawrence P.R.A. Portrait of King George IV in garter robes, c.1810 Oil on canvas over a printed base 61 x 46cm; 24 x 18in £250-350

346. English School 19th Century Portrait of Ebenezer Reed (1805-1841) Oil on canvas 91.5 x 74cm; 36 x 29in £400-600

347. Girolamo Gianni (Italian 1837-1895) Castel St. Angelo, Rome Signed and dated 1878 Oil on canvas 24 x 48cm; 9½ x 19in £2,000-3,000

348. Attributed to Thomas Luny (1759-1837) Ships in a swell Signed and dated 182* Oil on panel 27 x 33cm; 10½ x 13in £800-1,200

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341

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349. Sebastian Pether (1790-1844) Fishermen on the Loch with Inveraray Castle beyond Oil on canvas 55 x 81cm; 21½ x 32in £400-600

350. English School 19th Century Buildwas Bridge, Much Wenlock Shropshire Oil on canvas 67 x 87cm; 26½ x 34½in Provenance: Rutland Gallery £400-600

351. Scottish School 19th Century A view of Market Street, Haddington, Lothian Oil on canvas 134 x 104cm; 41 x 53in Provenance: Rutland Gallery, London £400-600

347

348

350

349

351

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352. John Thomas Serres (1759-1825) Shipping at the entrance to San Sebastian Signed and dated 1814 Oil on canvas 61 x 91.5cm; 24 x 36in Provenance: One of four works by Serres owned by Major General Sir Alexander Dickson Literature: Alan Russett, John Thomas Serres, 2010, pg.129, plate s.14 £5,000-7,000

352

353 354

353. John Scott (1802-1885) The Brig Lumsdon Signed and dated 1875 Oil on canvas 53.5 x 76.5cm; 21 x 30in £1,500-2,500

354. George Chambers (1803-1840) The United of Sunderland running into Swansea Signed and dated 1834 Oil on canvas 59 x 92cm; 23¼ x 36¼in Literature: Alan Russett, George Chambers, his life and work, 1996, plate 45 for a similar composition £2,000-3,000

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355. James Vivien De Fleury (1847-1902) The Grand Canal Venice, looking towards Santa Maria della Salute, with the Doge’s Palace in the distance Oil on canvas 61 x 107cm; 24 x 42in Provenance: Edward Stacy-Marks Ltd. 22.3.86 Frost and Reed no 34173 £4,000-6,000

356. Alfred Pollentine (1836-1890) The Doge’s Palace and the Riva Degli Schiavone, Venice, seen from the Dogana Oil on canvas 59 x 102cm; 23 x 40in £4,000-6,000

356

355

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357. William Linnig (1819-1885) A tavern interior Signed and dated 55 (below frame) Oil on panel 46 x 61cm; 18 x 24in £500-800

358. After Evaristo Baschenis Still life of musical instruments and lutes with pink ribbon and score Oil on canvas laid on board 41 x 56cm; 16 x 22in A copy after the original in Academia Carrara, Bergamo £500-700

359. Thomas Fowke (1827-c.1887) Still life of pots and pans with sandals and a bust relief Signed and dated 1868 Oil on panel 35.5 x 29.75cm; 14 x 11¾in £700-1,000

360. Alfred J. Warne Browne (?-1903) A coastal scene, possibly Tregiffian, Cornwall Signed Oil on canvas 54.5 x 101cm; 21½ x 40in £600-800

361. Edward Aubrey Hunt R.B.A. (1855-1922) River landscape Signed Oil on board 29 x 48cm; 11½ x 19in £600-800

357 358

360

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361

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362. Continental School (19th Century) Reading the Will Bears signature Oil on canvas 55.5 x 68.5cm; 22 x 27in £400-600

363. Edmund Thornton Crawford R.S.A. (1806-1885) Edinburgh from Aberdour Oil on canvas 40.5 x 60.5cm; 16 X 24in Provenance: Aitken Dott & Son, Edinburgh £600-800

364. Charles Antoine Clevenbergh (Flemish 1791-1857) A hare and other dead game near a tree Signed and dated 1825 Oil on canvas 98 x 80cm; 38½ x 31½in £1,000-1,500

365. Charles Henry Poingdestre (1825-1905) Cattle, horses and sheep on the Roman Campagne A pair, both signed, dated 1869 and inscribed Roma Both oil on canvas Each 36 x 67cm; 14 x 26½in (2) £1,000-1,500

365

364

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366. Arthur Batt (1846-1911) Ready for the morning ride Signed and dated 1881 Oil on canvas 28 x 38cm; 11 x 15in £1,000-1,500

367. George Paice (1854-1925) A hunter in a stable Signed and dated 79 Oil on canvas 51 x 68.5cm; 20 x 27in £1,000-1,500

368. Arthur Batt (1846-1911) A girl with donkeys and a dog Signed and dated 81 Oil on canvas 30.5 x 38cm; 12 x 15in £400-600

369. John Alfred Wheeler (1821-1903) Huntsmen and hound Signed indistinctly Oil on canvas 35 x 51cm; 133/4 x 20in £250-350

370. Eugene Petit (French 1839-1886) Duck and pheasant shooting A pair, both signed Both oil on canvas Each 38 x 46cm; 15 x 18in £600-800

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371. John Christian Schetky (Scottish 1778-1874) Edinburgh from the Sea, 1822 Oil on canvas 68 x 102.5cm; 27 x 40¼in With a frame label inscribed Painted when accompanying His Majesty King George IV on his visit to Scotland on board the Royal George £10,000-15,000

372. Henry Valter (c.1854-1898) Broken Bridge at Avignon Signed and dated 73 Oil on canvas 53 x 89cm; 21 x 35in £2,000-3,000

373. John Berney Crome (1794-1842) Bishop’s Bridge over the Wensum at Norwich Oil on canvas 63.5 x 81cm; 25 x 32in £2,000-3,000

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374. Leopold Rivers (1852-1905) A woodsman seated in a landscape Signed and dated 1882 Oil on canvas 66 x 128cm; 26 x 50½in Provenance: Frost & Reed, 28-3-49, No. 9499 £2,000-3,000

375. Benjamin Williams Leader R.A. (1831-1923) A river in torrent near Henllan Signed and dated 1890 Oil on canvas 41 x 66cm; 16 x 26in £1,500-2,500

376. Nathaniel Hone (Irish 1718-1784) River landscape Signed with initials Oil on canvas laid down on board 25.75 x 37.5cm; 10¼ x 14¾in £700-1,000

377. John Bates Noel (fl. 1870-1927) A cottage in a river landscape Signed Oil on canvas 50.5 x 76cm £300-500

378. Charles Leslie (c.1835-1890) Milkmaids and shepherd in a landscape Signed and dated 1856 Oil on canvas 61 x 102cm; 24 x 40in £200-300

379. Follower of John Constable Wooded river landscape, a village beyond Oil on panel 17.5 x 24cm; 7 x 9½in £300-400

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380. James Hayllar (1892-1920) Going to the Palace Signed and dated 1863 Oil on canvas 63.5 x 76cm; 25 x 30in Provenance: Frederick William Cosens, FSA Frank Cosens Christopher Wood Gallery, London £5,000-7,000

381. ‡ Edith Hayllar (1860-1948) Making blackberry pie Signed and dated 1886 Oil on board 41.5 x 31.5cm; 16¼ x 12in £10,000-15,000

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382. Walter Williams (fl. 1841-1880) On the Lledr Signed and dated 1874 Oil on canvas 56 x 97cm; 22 x 38in £1,500-2,500

383. Claude François Auguste de Mesgrigny (French 1836-1884) Washerwomen on a river, possibly the Erdre Signed Oil on canvas 36.5 x 56.5cm; 14½ x 22¼in £1,000-1,500

384. Florence A. Saltmer (act.1882-1908) Figure watering his horses by a bridge Signed Oil on canvas 30.5 x 41cm; 12 x 16in £150-250

385. Joseph Thors (c.1843-1898) A girl in a farmyard Signed Oil on canvas 25.5 x 35.5cm; 10 x 14in £250-350

386. Edwin John Ellis (1841-1895) Taking home the day’s catch Signed Oil on canvas 30.5 x 51cm; 12 x 20in £250-350

387386

385384

382

383

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387. José Weiss (1852-1919) River landscape with cattle on the banks Signed Oil on canvas 61 x 102cm; 24 x 40in £300-500

388. John Emms (1843-1912) Waiting for master Signed Oil on canvas 61 x 92cm; 24 x 36in £6,000-8,000

389. John Emms (1843-1912) Portrait of George Wateridge, Master of the New Forest Buckhounds with a horse and hounds Signed Oil on canvas 51 x 40.5cm; 20 x 16in £3,000-5,000

389

388

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390. William Kay Blacklock (1872-1924) A lady reclining in a hammock by the river Signed Oil on board 30 x 36cm; 12 x 14in £2,000-3,000

391. George Knight (19th Century) Sailing ships and a paddle steamer off the coast in rough seas Signed Oil on canvas 76 x 127cm; 30 x 50in £1,200-1,800

392. Arthur George Bell (1849-1916) A wooded river landscape, a church beyond Signed and inscribed To my friend Mrs. Turton Oil on panel 24 x 33cm; 9½ x 13in Provenance: Richard Allan Gallery, London Exhibited: Royal Academy, 1945 Royal Institute of Oil Painters, ‘70 £250-350

393. Edwin John Ellis (1841-1895) A castle on the coast Signed Oil on canvas, unframed 45.5 x 84cm; 18 x 33in £200-300

394. Continental School 19th Century Still life of summer flowers Oil on canvas 57 x 82.5cm; 22½ x 32¼in £600-800

395. José Weiss (1852-1919) River landscape Signed Oil on canvas 41 x 61cm; 16¼ x 24in £200-300

391390

395394

392 393

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396. William Frank Calderon (1865-1943) The cattle fair Signed and dated 1894 Oil on canvas 51 x 102cm; 20 x 40in £6,000-8,000

397. Arthur Batt (1846-1911) Donkeys in the New Forest Signed and dated 1884 Oil on canvas 64 x 110cm; 25 x 43¼in Provenance: Bonhams, Oxford, 3rd June 2003, lot 62 £3,000-5,000

397

396

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398. *Eyre Crowe A.R.A. (1824-1910) Doctor Johnson receiving Boswell in the library Signed and dated 1899 Oil on canvas 86 x 112cm; 34 x 44in £2,000-3,000

401400399

399. Albert Dürer Lucas (1828-1918) Red Admiral, heather and harebell Signed and dated 1889, also signed, titled and dated on the stretcher verso Oil on canvas 20 x 15cm; 8 x 6in £500-700

400. Alphonse Legros (French 1837-1911) Head study of a man Signed with initials Oil on canvas laid on panel 35.5 x 28.5cm; 14 x 11¼in £600-800

401. Eugène Petit (French 1839-1886) Still life of spring flowers in an urn Signed Oil on panel 50.5 x 31cm; 20 x 12in £600-800

398

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402. Richard Karlovich Zommer (Russian 1866-1939) At Prayer Signed Oil on canvas 82 x 143cm Provenance: Captain Henry Herbert Douglas-Withers, purchased from artist in Tblisi in 1915/16 By family descent to the present owner Captain Douglas-Withers fought in the Gallipoli Campaign in 1915/16 with the Prince of Wales Volunteers (South Lancashire Regiment) and was awarded the Military Cross for exemplary gallantry. After the campaign he was part of a small British force that was sent stabilise Tblisi, as many White Russians were there, fleeing the Red Army. Richard Zommer was teaching in Tblisi and sold his paintings locally. Captain Douglas-Withers purchased a number of his pictures including At Prayer and stored them in Army Map containers for transport home. £20,000-30,000

403. Vlaho Bukovac (Russian 1855-1922) Reclining nude Signed, also inscribed Zagreb Oil on canvas 64 x 38cm; 25 x 15in Provenance: Sotheby’s, London, 15th June 2004, lot 54, private collection £10,000-15,000

403

402

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404. Louis Bosworth Hurt (1856-1929) Sligachan, Skye Signed and dated 1898 Oil on canvas 152 x 91cm; 60 x 36in £10,000-15,000

405. John Mulcaster Carrick (1833-1896) Near Nice Signed and dated 1872, also signed, titled and dated verso Oil on canvas 24.5 x 36cm; 9½ x 14in £2,000-3,000

406. James Henry Crossland (1852-1904) Autumn Hills Signed Oil on canvas 51 x 76cm; 20 x 30in Thought to be a view of Helvellyn, Cumberland Provenance: Bourne Gallery, Reigate £700-900

407. François Auguste Biard (French 1798-1882) The Entomologist, Count Rosander instructed by his aunt Sybil Marian, admires the Diamond Beetle Signed Oil on canvas 74 x 92cm; 29 x 36in Provenance: Christie’s 29 November 1912, lot 127 £15,000-20,000

408. Andreas Schelfhout (Dutch 1787-1870) Winter landscape with skaters near a windmill Signed Oil on panel 36 x 47cm; 14¼ x 18½in £6,000-8,000

404

406405

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408

407

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409. Arthur Hughes (1832-1915) A spring afternoon Signed Oil on canvasboard 29 x 44cm; 11½ x 17¼in £1,500-2,500

410. Harry Pennell (1879-1934) Loading the haycart Signed Oil on canvas 61 x 101.5cm; 24 x 40in £800-1,200

411. E. Onken (German 19/20th Century) Rustics in a pastoral landscape Signed Oil on canvas 50 x 82cm; 19¾ x 32¼in £300-500

412. John Syer (1846-1913) Fishermen on a harbour Signed and dated 77 Oil on canvas 31 x 46cm; 12 x 18in £300-500

413. ‡ David Murray Smith (1865-1952) Birch trees by a pool Signed Oil on panel 25.5 x 36cm £200-300

414. Klisser (19th Century) A visitor at dinner time Signed and dated 1848 verso Oil on canvas 33 x 46cm; 13 x 18in £100-150

409

410

414413

411 412

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415. Cipriano Cei (Italian 1864-1922) Alla Piu Buona; L’Asino A pair, both signed Both oil on canvas Each 97 x 55cm; 38 x 21½in (2) £4,000-6,000

416. Cornielle Petit (Belgian 19th Century) Gathering hay Signed and inscribed Ternath Oil on canvas 56 x 46cm; 22 x 18in Provenance: Downes Fine Art Christie’s, 22nd November 1996, lot 124 £1,000-1,500

416

415

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417. Henri Adolphe Laissement (French 1854-1921) Interior of the Vatican, the arrival of the dessert Signed Oil on panel 66 x 53.5cm; 26 x 21in £4,000-6,000

418. Austrian School 19th Century Shepherd playing the bagpipes in a Continental landscape Oil on canvas 48.5 x 58.5cm; 19 x 23in £400-600

419. Walter Stuart Lloyd (1845-1959) A river scene at dusk Signed Oil on canvas 51 x 76cm; 20 x 30in £400-600

417

420

419418

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420. Edward Charles Williams (1807-1881) A river landscape Oil on panel 13 x 41cm; 5¼ x 16in £200-300

421. Théodore Gérard (Belgian 1829-1895) Calling for lunch Signed and dated 1864 Oil on panel 75 x 61cm; 29½ x 24in Provenance: Mr. Head gifted to vendor’s grandfather in Trefnant near Denbigh, N. Wales early 1900s Thence by descent This painting is one of at least three by this artist set in the same doorway £5,000-7,000

422. Ramsay Richard Reinagle R.A. (1775-1862) View of Borrowdale at Castle Crag, slate quarry Signed and dated, also signed and inscribed verso Oil on canvas laid on board 48.5 x 75cm Painted in 1814 and inscribed 1855 £600-800

424

423422

421

423. Attributed to Thomas Baker of Leamington (1809-1869) Cattle grazing, a church beyond Oil on canvas 41 x 55cm; 16 x 21¾in £400-600

424. Follower of George Morland Figures resting in a wooded glade Oil on canvas 63.5 x 76cm; 25 x 30in £500-800

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425. Pieter Christian Dommersen (fl. 1865-1913) Carantan, Normandy, France Signed Oil on panel 19.5 x 16.5cm; 7½ x 6½in £600-800

426. W. J. Bowden (19th Century) Family portrait with children in panniers in a coastal landscape Signed and dated 1853 Oil on canvas 76 x 63.5cm; 30 x 25in £800-1,200

427. Neapolitan School late 19th Century Portrait of a young lady, bust length, wearing a cap Oil on canvas 43.5 x 37cm; 17 x 14½in £400-600

428. Circle of Eduard Von Grutzner Monks dining; Monks imbibing A pair, both oil on panel (2) 19 x 25.5cm; 7½ x 10in £500-700

429. Follower of James Jacques Joseph Tissot Portrait of a lady in profile, seated, wearing white Oil on canvas 46 x 36cm; 18 x 14in £400-600

425 426

428 429427

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430. Joseph Victor Ranvier (French 1832-1896) Blowing bubbles Signed Oil on canvas 80 x 58.5cm, 311/2 x 23in £1,000-1,500

431. Alexis Vollon (French 1865-1945) The cheerful maid Signed Oil on canvas 60.5 x 42cm; 24 x 16½in Provenance: Downes Fine Art Christie’s, 22nd November 1996, lot 133 £800-1,200

432. Bernard H. Cobbe (act.1868-1883) The Pastor’s visit Signed Oil on canvas 48 x 44cm; 19 x 17½in £300-400

433. E. M. (Louis) Famin after Tito Conti Girl with a red feather in her hat Signed Oil on canvas 59 x 52cm;23¼ x 20½in £200-300

434. Andrew Black R.S.W. (Scottish 1850-1916) A French Street, possibly in Paris Signed and dated 1882 Oil on canvas 46 x 31cm; 18 x 12¼in £200-300

431430

432 434433

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435. Hague School 19th Century Boats on a choppy sea Signed indistinctly Oil on canvas, unframed 81 x 101cm; 32 x 39½in £2,000-4,000

436. James Aumonier (1832-1922) Rural England Signed, titled on an old label verso Oil on canvas 71 x 107cm; 28 x 42in £1,500-2,500

437. Frederick Golden Short (1863-1936) Christchurch Priory Signed and dated 90 Oil on canvas 14 x 38.5cm; 5½ x 15in £500-700

438. Edythe B. Batt (early 20th Century) New Forest view Signed Oil on board 23 x 30.5cm; 9 x 12in £200-300

439. Frederick Golden Short (1863-1936) Woodland pond New Forest Signed and dated 1918 Oil on board 28 x 38cm; 11 x 15in £300-500

436

435

437

438

439

Page 73: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

Henry Rogers Broughton,

2nd Baron Fairhaven (1900-1973)

Henry Rogers Broughton succeeded his older brother, Urban

Huttleston Broughton, as 2nd Lord Fairhaven in 1966. Born in

America, Henry was educated at St Paul’s School, USA and

Harrow before Commissioning from the Royal Military Academy

Sandhurst into the Royal Horse Guards in 1920. Five years

later he and his brother bought the Barton Stud near Bury

St Edmunds and the following year they acquired Anglesey

Abbey. Here, and at his subsequent houses, Bakeham House

and later at South Walsham Hall, he formed a remarkable

collection of oil paintings, watercolours, gouaches, miniatures

and sketches. Lord Fairhaven bequeathed a comprehensive

collection of 120 flower paintings to the Fitzwilliam Museum

in Cambridge (the Broughton Bequest), including 12 Months

of Flowers by van Huysum, over nine hundred individually

mounted watercolours and gouaches and forty-four volumes

of drawings by Ehret, Redouté and many others. The works in

this sale represent the variety and quality of what was one of the

largest such collections amassed in the 20th century.

Works on PaPer from the ColleCtion of

henry rogers Broughton, 2nd Baron

fairhaven (1900-1973)

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440. Johannes Bronkhorst (Dutch 1648-c.1726) Ducks and geese by the water; Study of a crow The second inscribed: Bouts Kraij (?) Two, the first watercolour with bodycolour, the second bodycolour, unframed 16.5 x 21.5cm and 15 x 19cm (2) £500-700

441. Augusta Innes Withers (1793-1870) Chickens and chicks with a dove Signed and inscribed 26 Grove Place Watercolour with bodycolour, unframed 11.75 x 23.75cm With another, signed, of a cockerel and hens by Samuel Howitt 13 x 18.25cm (2) £200-300

442. English School c.1830 Decorative studies of birds Two, both watercolour with bodycolour, unframed Each 15.5 x 13.25cm (2) £200-300

443. William Lewin (1747-1795) A Finch Signed with initials and dated indistinctly Watercolour with bodycolour, heightened with white, unframed 20.5 x 16cm £200-300

440

441

442 443

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444. Friedrich Specht (German 1839-1909) Cats, kittens and dogs Three, all signed All bodycolour with pencil, unframed 13.25 x 20.75cm (3) £1,500-2,000

445. Johannes Bronkhorst (Dutch 1648-c.1726) A study of a Blackcock Signed with initials Bodycolour and watercolour, unframed 15.7 x 20cm £600-800

445

444

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446. Louis Alexander Fagan (1845-1903) Coastal views in decorative borders Eight, three signed with initials L.F. All bodycolour, unframed Each 14.75 x 10.24cm (8) £1,800-2,200

446

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447. Saviero Xavier Della Gatta (Italian act.1777-1829) Neapolitan scenes from peasant life Five, some signed and dated 1800 All bodycolour, unframed Each 20 x 14.75cm and similar With six further similar Neapolitan School scenes c.1820 and c.1830 (11) £3,000-4,000

447

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448. Johann Christoph Dietzsch (German 1710-1769) Figures by a lake, a Schloss beyond; A gypsy encampment Two, both bodycolour, unframed 11.75 x 16.5cm and 11 x 15cm (2) £400-600

449. Franz de Paula Ferg (Austrian 1689-1740) Figures at a well Bodycolour, unframed 16.5 x 20.5cm With another Italian school c.1740 of a Musical Instrument Workshop (2) £400-600

450. Johann Christoph Dietzsch (German 1710-1769) Summer landscape Bodycolour, unframed 17.4 x 22.4cm With another similar Austrian School c.1760, of a winter landscape (2) £400-600

450

448

449

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451. Johann Christoph Dietzsch (German 1710-1769) Figures in an Italianate landscape; A Gypsy encampment; Travellers by a river Three, all bodycolour, unframed 12.5 x 17.5cm and 14 x 19cm and 11 x 15.2cm (3) £1,000-1,500

453452

451

452. Henri Désiré van Blarenberghe (French 1734-1812) Military encampment; Military provisioning Two, both bodycolour, unframed 15.25 x 20.75cm (2) £1,000-1,500

453. Jean Duplessis-Bertaux (French 1747-1819) Soldiers defending a stockade Pen, ink and grisaille wash, unframed 13 x 23.5cm £400-600

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454. Portuguese School late 18th Century Customs of Brasil, a Sedan chair Bodycolour, unframed 15.5 x 23.25cm £1,500-2,000

454

455

456

455. Johann Conrad Kleemann (German 1741-1788) A harbour scene Signed Bodycolour, unframed 12.75 x 16.25cm £1,200-1,800

456. Spanish Colonial School c.1800 Washerwomen; Figures with goats Two, both bodycolour, unframed Each 11.25 x 18.5cm (2) £700-900

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457. Portuguese School late 18th Century Views of Rio de Janeiro Five, all bodycolour, unframed Each 11.25 x 18.25cm and similar (5) £1,500-2,000

457

458

458. German School c.1790 Ships in a sea port Bodycolour, unframed 16.75 x 22.5cm £400-600

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460. François Ludwig, Comte de Kasselstatt (German 1753-1841) Figures in a town and in landscapes Three, all inscribed and dated 1811, 1807 and 1820, All bodycolour, unframed 13.25 x 18.25cm and smaller (3) £400-600

459. Jacob Burgi (Swiss 1745-c.1795) Figures in river landscape Bodycolour, unframed 16 x 20.75cm with two further river landscapes signed with initials FF, bodycolour, each 13.75 x 19.5cm (3) £1,500-2,000

459

460

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461. Johann Conrad Kleemann (German 1741-1788) Harbour scenes with ships at anchor A pair, one signed and dated 1762 Bodycolour, unframed 9.5 x 15.25cm (2) £2,000-3,000

462. Austrian School c.1790 Travellers on a track; A village fire at night Two, both bodycolour, unframed 10.75 x 15cm and similar (2) £300-400

463. Follower of Abraham Jansz Begeyn (Dutch 1637-1697) Sheep and goats by an urn in a landscape Watercolour, unframed 15.5 x 12.5cm With another Dutch School landscape c.1770 in bodycolour (2) £200-300

463

462

461

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464. Jan Dircksz Both (1618-1652) Figures in Italianate landscapes Four, one signed All bodycolour on vellum, with gum arabic, unframed 16.5 x 14.2cm and similar (4) £400-600

465. German School c.1790 Figures on a track by a pond, a cottage beyond Bodycolour, unframed 16 x 23.25cm £400-600

466. Follower of William Daniell R.A. Figures on a track by a lake Bodycolour, unframed 21.25 x 30cm £400-600

464

466465

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467. Abraham Rademaker (Dutch 1675-1835) Figures in a wooded landscape; Fishermen on an estuary Two both signed Both bodycolour, unframed 12.3 x 18.75cm and 10.75 x 16cm (2) £1,200-1,800

468. Jean Baptiste Francois Genillion (French 1750-1829) Basilica of Constantine, Rome; Tempio della Fosse Two both signed, later titled verso Both pencil and watercolour, unframed Each 17 x 24.5cm (2) £1,000-1,500

469. Aignan Thomas Desfriches (French 1715-1800) Figures by a gateway Signed Pen, ink and grisaille wash, unframed 11.2 x 17.2cm £500-700

469

468

467

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470. John Laporte (1761-1839) Whalebone Farm Bodycolour, unframed 19.25 x 25.25cm £500-700

471. Thomas Walmsley (Irish 1763-1806) View of Tintern Abbey, Monmouthshire Bodycolour, unframed 27.5 x 40cm £500-700

472. Thomas Walmsley (Irish 1763-1806) Melincourt Mill, South Wales Titled verso Bodycolour, unframed 23.75 x 32cm £300-500

473. Thomas Walmsley (Irish 1763-1806) Part of the Great Lake of Killarney, Ireland Signed and titled verso Bodycolour, unframed 18 x 25.5cm £200-300

474. Thomas Walmsley (Irish 1763-1806) Figures by a lake in Cumberland Bodycolour, unframed 28.5 x 39.25cm £300-400

471470

473472

474

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475. Thomas Walmsley (Irish 1763-1806) Tintern Abbey; A farmer by a mill Two, the first signed and titled verso Both bodycolour, unframed 22.75 x 36cm and 26 x 34.5cm (2) £300-400

476. John Laporte (1761-1839) Horses by a wood in the moonlight Bodycolour, unframed 24 x 31cm £400-600

477. James Webb (1825-1895) Chepstow Castle, Monmouthshire Signed with initials and titled verso Bodycolour, unframed 27.5 x 40.5cm £300-400

478. James Webb (1825-1895) View near Hampstead Inscribed Stowers, also titled verso Bodycolour, oval, unframed 23 x 29.75cm £500-700

475

477476

478

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479. John Claude Nattes (1765-1822) Hotwells, Bristol; A Palladian temple in a river landscape A pair, both bodycolour, unframed Each 17.5 x 26.5cm (2) £600-800

480. Thomas Walmsley (Irish 1763-1806) Herdsmen by a wood; Herdsmen, cattle and sheep by a lake, a Castle beyond Two, one signed indistinctly Both bodycolour, unframed Each 27.75 x 35cm (2) £600-800

481. English School early 19th Century Hailes Abbey, Gloucester Bodycolour, unframed 27 x 27.25cm £400-600

482. John Laporte (1761-1839) View over an extensive river landscape Bodycolour, unframed 16.75 x 22.25cm £300-400

481

480

479

482

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483. John Laporte (1761-1839) Welsh lakeland landscapes Two, one signed indistinctly Both bodycolour, unframed 22.25 x 33.25cm (2) £600-800

484. John Laporte (1761-1839) An estuary with a waterfall; Peasants on a track Two, both bodycolour, unframed 31 x 44.75 and similar (2) £500-600

485. Follower of Philip James de Loutherbourg R.A. Cattle and a donkey in a river landscape Watercolour with bodycolour, unframed 29.75 x 40.75cm £200-300

486. Thomas Walmsley (Irish 1763-1806) Stoke Gabriel, River Dart, Devon Signed, titled and inscribed For Mrs Hopkinson verso Bodycolour, unframed 27.75 x 40.5cm £200-300

486485

484

483

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487. German School 18th Century A river landscape in the rain Bodycolour, unframed 22.25 x 28cm £200-300

488. Follower of William Daniell R.A. Deer in a wooded lake landscape Bodycolour, unframed 20.75 x 29.6cm £200-300

489. A. C. Krygeer (Continental 18th Century) Peasants on a country track, a windmill beyond Signed verso Watercolour, unframed 25.5 x 32.5cm £100-200

490. German School c.1770 A traveller passing a chalet in a winter landscape Bodycolour, unframed 19 x 28cm £400-600

491. Christoph Ludwig Agricola (1667-1719) View over a town at sunset Bodycolour, unframed 17.5 x 22.25cm £700-900

487

489

491

488

490

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492. Georg Christoph Gottleib von Bemmel (German 1765-1811) River landscape in Nuremburg with a mill Signed Bodycolour, unframed 19 x 28.25cm £200-300

493. Georg Christoph Gottleib von Bemmel (German 1765-1811) A ruined gateway to town Stamped CR lower left Bodycolour, unframed 17.5 x 22.75cm Provenance: The Charles Rogers Collection £500-700

494. Attributed to John Inigo Richards (1731-1810) Goats and cattle in a river landscape with a castle beyond; Herdsman and cattle on a bridge Two, both bodycolour, unframed 18.5 x 25.25cm and similar (2) £250-350

495. Jan Anthonie Langendyk (Dutch 1780-1818) A coach party crossing a stream Signed and dated 1805 Watercolour, unframed 22 x 32.5cm £600-700

494

493492

495

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496. Aert Schouman (Dutch 1710-1792) Traders in a port scene Signed verso with initals, inscribed and dated Na Weenix 1749 Bodycolour, unframed 24 x 30.5cm £3,000-4,000

497. J. C. Wissing (18/19th Century) Figures by a farmstead; Cattle watering, a castle beyond Two, both bodycolour, unframed 16.5 x 24.75 and similar (2) £300-400

498. Attributed to Johann Gottlieb Hackert (1744-1773) Herdsman and livestock in a river landscape Bodycolour, unframed 17.25 x 22.25cm £300-500

499. Austrian School c.1760 Figures in a winter landscape Bodycolour, unframed 17 x 21.25cm £300-400

496

497

499498

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500. Christoph Ludwig Agricola (1667-1719) Figures in river landscapes Four, all bodycolour, unframed 16.25 x 21.75cm and similar (4) £1,500-2,000

501. Juriaan Andriessen (Dutch 1742-1819) Figures in a boat on the river Watercolour, unframed 25 x 18cm £150-200

502. John Laporte (1761-1839) Figures in an autumn landscape Bodycolour, unframed 33.2 x 27.2cm £300-500 502501

500

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503. Attributed to Johann Gottleib Hackert (German 1744-1773) Figures and cattle in a river landscape Bodycolour, unframed 17.25 x 22.5cm £200-300

504. Henri Désiré van Blarenberghe (French 1734-1812) Cavalry on the move Bodycolour, unframed 16.5 x 21.75cm £400-600

505. Abraham Rademaker (Dutch 1675-1735) An extensive river landscape with a natural arch Signed and stamped WE Watercolour, unframed 20.25 x 31.75cm Inscribed W. Esdaile 1805 verso £200-300

506. German School c.1820 A house in Heiligenstadt Bodycolour, unframed 17.5 x 27.5cm £300-400

507. Louis Chalon (Dutch 1687-1741) View over a valley with peasants in the foreground Bodycolour, unframed 17.25 x 22.75cm £300-400

507

506505

504503

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93

508. Dutch School c.1630 Travellers at an Inn Bodycolour, unframed 26.75 x 32cm £300-400

509. Wybrand Hendriks (Dutch 1744-1831) after Jan Wynants Peasants on a road overlooking a valley Signed and inscribed verso Watercolour, unframed 23 x 27.25cm £250-350

510. Flemish School 18th Century Figures by a ferry on a river in an Italianate landscape Bodycolour, unframed 23.75 x 30.5cm £300-400

511. G. Gill early 19th Century Figure on a track in a wood Bodycolour, unframed 19 x 25cm £300-400

512. Jacob Burgi (Swiss 1745-c.1795) Figures with a wagon in a river landscape Bodycolour, unframed 18.75 x 26.5cm £600-800

511510

509508

512

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513. Peter Tillemans (1684-1734) Officers watching a battle A pair, one signed Both watercolour heightened with bodycolour, unframed 29 x 44.25 and similar (2) £800-1,200

514. German School c.1790 A ship by a sea port Bodycolour, unframed 17.25 x 22.5cm £200-300

515. Johann Christoph Dietzsch (German 1710-1769) Figures and livestock in barn interiors A pair, both bodycolour and gum arabic, unframed Each 17.2 x 22.4cm (2) £500-700

513

514

515

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516. Johann Christoph Dietzsch (German 1710-1769) A Naval engagement on the coast Bodycolour and gum arabic, unframed 20.75 x 28cm £500-700

517. Johann Martin Daubler (German 1756-1800) A village fire at dusk Bodycolour, unframed 17.75 x 22.25cm With another similar by a different hand c.1750 (2) £350-450

518. Jacob Burgi (Swiss 1745-c.1795) Figures fishing by a natural arch Bodycolour, unframed 16.5 x 23.75cm £300-500

519. Attributed to Christian Wilhelm Ernst Dietrich (German 1712-1774) A chalet by a river in a mountainous landscape Bodycolour, unframed 19.75 x 26.75cm £150-200

516

517

518 519

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520. Jacob Cats (Dutch 1741-1799) A Herdsman and lady fording a river Signed and dated 1790 verso Watercolour, unframed 18.5 x 24.75cm £500-700

521. Johann Martin Daubler (German 1756-1800) Travellers by a river, a town beyond Bodycolour, unframed 17.5 x 22.75cm £250-350

522. Eustache François Duval (French act.1784-1836) and L. Braundet A town gateway in a landscape Inscribed on a label verso Bodycolour, unframed 20.5 x 28.5cm £250-350

523. Georg Christoph Gottleib von Bemmel (German 1765-1811) Skaters in a winter landscape Bodycolour, unframed 17.25 x 23cm £400-600

524. Nuremburg School c.1750 Figures heading home in a storm Bodycolour and gum arabic, unframed 17 x 22.25cm £300-400

520

522521

524523

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525. Philip James de Loutherbourg (French 1740-1812) Figures by a mill in a rocky landscape Bodycolour, unframed 36.3 x 28.3cm £600-800

526. Baron Louis Albert Guillain Bacler D’Albe (French 1761-1848) River landscapes with figures by a cottage and figures by a tower A pair, both bodycolour, unframed Each 18.25 x 24.75cm (2) £300-400

527. J. C. Wissing (18/19th Century) Travellers by a river, a town beyond Bodycolour, unframed 16.5 x 25.5cm £300-400

528. Ambrosius Gabler (German 1762-1834) River landscape with figures by a watermill Bodycolour, unframed 22.25 x 30.25cm £300-400

526

528527

525

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529. Thomas Denny (early 19th Century) Studies of exotic birds in a landscape Both numbered, one signed and dated 1820, the other inscribed indistinctly Both watercolour with bodycolour, unframed Each 40 x 32.25cm (2) £600-800

530. English School 18/19th Century The Long-tailed green humming bird from Jamaica Watercolour with bodycolour, unframed 30.5 x 22.5cm £300-400

531530

529

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99

531. Attributed to Christoph Ludwig Agricola (1667-1719) A bird on a thistle Bodycolour, unframed 26.5 x 17.75cm £200-300

532. Aert Schouman (Dutch 1710-1792) Exotic heron Signed with initials and inscribed verso Watercolour, unframed 36.75 x 25.5cm £2,500-3,000

533. English School 18/19th Century Ducks among the waterlilies Watercolour with bodycolour, unframed 29 x 36.75cm £300-500

534. Jan Gerritsz van Bronkhorst (Dutch 1603-1662) Duck and fowl by a stump Signed with initials Watercolour with bodycolour, unframed 19.25 x 25cm £400-600

532

534533

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535. Chinese School 19th Century Two birds on a branch Bodycolour, unframed 26 x 39.5cm £300-500

536. English School 19th Century Nest on an oak branch; Blackcurrant Two, one signed with initials H.E.B. Both bodycolour, unframed Each 35 x 50cm (2) £300-500

537. Chinese School 18/19th Century A pair of Australasian swamphens Bodycolour, unframed 11.75 x 19.7cm £200-300

538. Chinese School early 19th Century An Oriental bird Inscribed Chawhaw Watercolour with bodycolour, unframed 26.5 x 40.75cm £300-500

539. Attributed to Johann Christoph Gottlieb Reiler (18th Century) Chinese pheasants on a tree Inscribed verso Watercolour with bodycolour, unframed 36 x 24.25cm £4,000-5,000

537

535

536

538

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539

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540. Jean-Baptiste Le Prince (French 1734-1781) Study of a peasant child Pencil and chalk, unframed 23 x 16.3cm £500-700

541. Alessandro D’Anna (Italian 1746-1810) Figures in Neapolitan costumes Two, both signed, dated 1793/4 and inscribed Napoli, one inscribed Donna delle colline di Posillipo Both bodycolour, unframed Each 24 x 18cm (2) £300-400

542. Victor Jean Nicolle (French 1754-1826) Ladies by a town gate; Lady at a grotto Two, the first signed Both watercolour with bodycolour, unframed 18.3 x 12.5cm £500-700

540 541

542

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103

543. Johann Jacob Hoch (German 1750-1839) Courtesans at their windows A pair, one signed and dated 1798 Bodycolour, unframed Each 24 x 20cm (2) £800-1,000

544. French School c.1690 A lady seated by a fire in a painted border Bodycolour, unframed 18 x 12.7cm £700-900

545. German School c.1790 A lady playing the Clavichord Bodycolour, unframed 28 x 22cm £400-600

545544

543

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104

546. Follower of Isaac de Moucheron (Dutch 1667-1744) Figures in a classical garden Bodycolour, unframed 18 x 23.75cm £300-400

547. Daniel Dupré (Dutch 1752-1817) An angler in a river landscape Signed and dated 1794 Bodycolour, unframed 19.75 x 27cm £150-200

548. English School c.1840 A church by a lake Signed with initials E.C or E.G. Watercolour with bodycolour, unframed 22.5 x 33cm £150-200

549. Attributed to Joseph Augustus Knip (Dutch 1777-1847) A windy day Bodycolour, unframed 24 x 36.5cm £200-300

550. Jean Augustin Renard (French 1744-1807) Figures by a ruined aquaduct Signed Bodycolour, unframed 22.75 x 30.25cm £250-350

548 549

550

547546

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551. Attributed to Pierre Antoine Patel (French 1648-1707) Women at a well in a classical landscape Bodycolour, unframed 16.5 x 23.25cm £1,000-1,500

552. Attributed to Marco Ricci (Italian 1676-1729) Figures on a road in an open landscape Bodycolour, unframed 24.25 x 27.75cm £500-700

553. French School c.1760 An Italianate landscape with figures by ruins Bodycolour, unframed 16.75 x 24in £250-350

554. Italian School c.1800 Figures in a the ruins of an amphitheatre Bodycolour, unframed 26.5 x 40.75cm £300-400

551

552

553 554

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106

555. Flemish School 18/19th Century An Italianate landscape with figures and livestock Bodycolour, unframed 24.5 x 30.25cm £200-300

556. Johannes Adriaansz. Bemme (Dutch 1775-1841) Peasants on a riverside track by a bridge and farmstead Signed, dated 1880 and extensively inscribed verso Watercolour, unframed 35 x 47.5cm £400-600

557. Pierre-Joseph Wallaert (French 1753-c.1812) Anglers by a rustic bridge over a river Signed and inscribed Watercolour, unframed 31.75 x 41cm £400-600

558. Louis Bélanger (French 1736-1815) A family with livestock by a lake Pen, ink and bodycolour, unframed 34.25 x 48.25cm £500-600

559. Joseph Augustus Knip (Dutch 1777-1847) A woman on a donkey by a waterfall with a peasant and livestock Bodycolour, unframed 47.75 x 36.75cm £1,200-1,800

555 556

559

558557

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107

560. Di Angelis (Early 19th Century) The crater of Mount Vesuvius at sunset Signed, titled and dated Aug. 7th 1832 verso Bodycolour, unframed 26.2 x 40.75cm £600-800

561. Francesco Zerrilli (Italian 1793-1837) View of Sicily Inscribed Veduta di Bala verso Bodycolour, unframed 27.25 x 40.75cm £300-400

562. Carlo Bossoli (Swiss 1815-1884) Travellers in a landscape in Spain, a city beyond Signed Bodycolour, unframed 25.5 x 41.75cm £400-600

563. Thomas Walmsley (Irish 1763-1806) Light House, Mumbles near Swansea, South Wales Signed, titled and dated 1804 verso Bodycolour, unframed 31 x 47.5cm £400-600

563562

560

561

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564. German School 18th Century Travellers by a bridge and Italianate buildings in a landscape Bodycolour, unframed 11 x 16.5cm £300-500

565. Dutch School 18th Century Travellers by a river in a landscape Bodycolour, unframed 10.5 x 15cm £300-500

566. Thomas Walmsley (Irish 1763-1806) A ruined Castle entrance and bridge Signed and titled indistinctly verso Bodycolour, unframed 34.5 x 47cm £500-700

567. John Laporte (1761-1839 Boats on a river on a calm evening Bodycolour, unframed 29.25 x 46cm £800-1,200

567

566

565564

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568. John Laporte (1761-1839) Travellers on a track, a river beyond Bodycolour, unframed 28.2 x 39.2cm £800-1,200

569. John Laporte (1761-1839) A beacon on the coast Bodycolour, unframed 29.3 x 44.3cm £800-1,200

570. J. West (18/19th Century) A house on a lake at dusk; Peasants by a river at dusk Two, one signed Watercolour with bodycolour, unframed 29.5 x 41.5cm and similar (2) £800-1,200

570

569

568

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110

571. Hendrik van de Sande Bakhuysen (Dutch 1795-1860) Fishermen on the shore Signed verso Bodycolour, unframed 30 x 25.75cm £500-700

572. Attributed to Joseph Augustus Knip (Dutch 1777-1847) Travellers in a mountainous landscape Bodycolour, unframed 33.25 x 31.5cm £200-300

573. German School c.1760 Bathers by a bridge Bodycolour, unframed 10 x 16.5cm £150-200

574. Pierre Antoine Patel (1648-1707) Figures at dusk in an Italianate landscape Signed and dated 1685 Bodycolour with gum arabic, possibly on vellum, unframed 10.2 x 12.5cm £300-500

575. Tethart Philip Christian Haag (German 1737-1812) after Philips Wouwerman Figures resting in a landscape Signed, dated 1787 and inscribed verso Watercolour, unframed 33 x 38.75cm £200-300

573

572571

575574

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111

576. Attributed to Marco Ricci (Italian 1676-1729) Figures by a bridge over a river, a cappriccio of Rome beyond Bodycolour, unframed 28.75 x 44.75cm £1,500-2,000

577. Francesco Zerilli (Italian 1793-1837) Messina, Sicily Inscribed verso Bodycolour, unframed 24.75 x 40.25cm £800-1,200

578. Francesco Zerilli (Italian 1793-1837) An Italian Palace, possibly Palazzo Portici, Naples Bodycolour, unframed 27.25 x 40.75cm £800-1,200

579. School of Marco Ricci (Italian 1676-1729) Travellers on a road by a country villa Bodycolour, unframed 38.25 x 58.5cm £2,000-2,500

579

578577

576

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112

580. Roman School c.1780 View of the river Aniene at Tivoli; The Pantheon; The Colosseum Three, all bodycolour, unframed Each 9 x 14.5cm and similar (3) £1,500-2,000

581. Attributed to Gerrit Rademaker (1672-1711) Figures before ruins A pair, both signed with initials Both watercolour, unframed Each 12 x 20.75cm (2) £500-700

580

581

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582. Roman School c.1780 Views of Italian buildings and ruins Some inscribed verso Nine, all bodycolour, unframed Each 9 x 14cm and similar (9) £1,000-1,500

582

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583. Willem van Leen (Dutch 1753-1825) Parrots on a branch Signed, inscribed and dated 1789 verso Watercolour, unframed 35.8 x 22.1cm £1,200-1,800

584. Karel Borchaert Voet (Dutch 1670-1743) A bird on a fallen branch Signed Watercolour, unframed 26 x 18.5cm £500-700

585. Aert Schouman (Dutch 1710-1792) Bird of Paradise; Exotic bird in a landscape Two, both signed, one with initials and inscribed, one dated 1781 on the backing paper Both watercolour with bodycolour, unframed Each 36.5 x 26cm (2) £6,000-8,000

585

584583

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586. William Hayes (1729-1799) A bird of prey with a snake and a tortoise; A duck and a fish by a stream A pair, both signed and dated 4th and 9th July 1760 Bodycolour on embossed paper, unframed Each 42 x 32.75cm (2) £800-1,200

587. Isaac Spackman (c.1700-1771) Studies of sparrows Signed and dated 1765, also inscribed in detail verso Watercolour with bodycolour on vellum, unframed 22.75 x 32.25cm £1,500-2,000

587

586

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116

588. Aert Schouman (Dutch 1710-1792) Antelope; Deer Two, one signed and dated 1779, both inscribed verso Both watercolour, unframed 16 x 19.5cm and 13 x 21cm (2) £700-900

589. C. Holstein (18/19th Century) Domestic fowl among ruins; Swans and birds by a lake Two, both bodycolour, unframed Each 27 x 37cm (2) £300-400

590. H. Locnen (18/19th Century) Domestic fowl by ponds Two, one signed Both bodycolour on vellum, unframed Each 29 x 43cm (2) £300-400

590

589

588

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117

591. After Jan Van Kessel (c.1626-1679) The Mockery of the Owl Watercolour with bodycolour, unframed 37 x 54.75cm This is a loose copy of the original in the Royal Museum of Fine Arts, Antwerp. This copy is missing the owl. £2,500-3,500

592

591

592. Dutch School c.1760 Exotic and domestic fowl Watercolour, unframed 27 x 43cm £200-300

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593. Johann Christoph Dietzsch (German 1710-1769) A squirrel eating a pine cone Bodycolour and gum arabic, unframed 29 x 21.5cm £300-500

594. S. Bright (Late 19th Century) Birds on a blossom Signed indistinctly Watercolour with bodycolour, unframed 20.25 x 22.75cm £400-600

595. Dutch School c.1750 Peasants by a tomb in a landscape Bodycolour, unframed 16.5 x 13cm £300-500

596. Giuseppe Florenzo Vanni (Italian 18th Century) An exotic bird of the Aracari family Watercolour, unframed 36.5 x 26.75cm £800-1,200

596595

594593

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119

597. Johannes Jansen (18th Century) Farmers and livestock in river landscapes Two, both signed Both watercolour, unframed 19.75 x 15.25cm (2) £800-1,200

598. Pauline de Knip (French 1781-1851) An exotic bird on a branch Watercolour with bodycolour, unframed 43.75 x 30.5cm £100-150

599. Sydenham Teast Edwards (1768-1819) An exotic brown bird Signed with initials, unframed 50.5 x 37.75cm £1,200-1,800

599

597

598

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120

600. Jan van der Straet (Stradanus) (Flemish 1523-1605) A stag hunt Signed Bodycolour, unframed 16 x 23cm £500-700

601. Italian School 18th Century Amateur astronomers among the ruins Bodycolour, unframed 32.25 x 48.25cm £400-600

604603

602601

600

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121

602. Abraham Rademaker (Dutch 1675-1735) Soldiers by a town gate Signed Pen, ink and grisaille wash, unframed 14.5 x 23.5cm £400-600

603. Louis Gabriel Moreau L’Ainé (1740-1806) Angler by a cottage Bodycolour, unframed 14.5 x 22.5cm £300-500

604. Dutch School c.1780 A pastoral landscape Bodycolour, unframed 10.7 x 15.2cm £400-600

605. Jacob Burgi (Swiss 1745-c.1795) Travellers in a wooded river landscape Bodycolour, unframed 15.25 x 20.5cm With another of a chapel on a river (2) £800-1,200

606. Jacob Burgi (Swiss 1745-c.1795) Figures in river landscapes Both bodycolour, unframed 17 x 22.5cm and 15.7 x 22.7cm (2) £1,000-1,500

606

605

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122

607. Jacob Burgi (Swiss 1745-c.1795) Figures by a water trough in a landscape Bodycolour, unframed 21.75 x 27cm £500-700

608. Johann Christoph Dietzsch (German 1710-1769) A family and a traveller at sunset Bodycolour, unframed 11 x 15.2cm £400-600

609. Jacques Willem van Blarenberghe (Dutch 1679-1742) Figures in a wooded river landscape Bodycolour, unframed 14 x 19cm £300-500

610. J. West (18/19th Century) A mill in a mountainous landscape Bodycolour, unframed 28.5 x 37.5cm £150-200

610

608

609

607

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123

611. Jacques Willem van Blarenberghe (Dutch 1679-1742) A village scuffle; Figures by a waterfall Two, both bodycolour, unframed 15.3 x 21.2cm and 17 x 22.5cm (2) £800-1,200

612. Claude Louis Châtelet (French 1753-1794) Ships on the coast at Stromboli Signed and inscribed verso Grisaille watercolour, unframed 15.5 x 26cm £700-900

613. Jacob Cats (Dutch 1741-1799) Figures and livestock by an Inn Inscribed and dated May 1789 verso Grisaille watercolour, unframed 24.75 x 36cm £600-800

613

612

611

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124

614. Johann Christoph Dietzsch (German 1710-1769) Lightning strikes in stormy scenes Bodycolour, unframed 11 x 17cm and 11.5 x 15.5cm (2) £1,000-1,500

615. Attributed to Johann Christoph Dietzsch (German 1710-1769) A lightning strike Bodycolour, unframed 14.2 x 21cm £500-700

614

615

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125

616. Henri Désiré van Blarenberghe (French 1734-1812) A battle aftermath; Military encampment Two, both bodycolour, unframed 15 x 20.75cm and similar (2) £800-1,200

617. German School 18th Century Italianate landscapes Three, all bodycolour, unframed 10.7 x 14.3 and 10.7 x 16.7cm (3) £800-1,200

617

616

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126

618. Agostino Aglio (1777-1857) View over Mount Etna Signed and dated 1803 Bodycolour, unframed 40.5 x 55cm £2,500-3,500

618

619

619. Joseph Augustus Knip (Dutch 1777-1847) Fisherman in a boat on a millpond Signed Bodycolour, unframed 27.5 x 42cm £800-1,200

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620. John Claude Nattes (c.1765-1822) View over the Thames with St. Paul’s beyond, 1807 Bodycolour, unframed 37.5 x 53cm £2,000-2,500

620

621

621. John Claude Nattes (c.1765-1822) View over the Thames looking West towards Somerset House with Westminster Abbey beyond Bodycolour, unframed 37 x 52.5cm £1,000-1,500

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128

622. Italian School c.1790 Travellers in a wooded river landscape, a town beyond Bodycolour, unframed 41.75 x 51.25cm £2,500-3,500

623. Pieter Pietersz. Barbiers (1749-1842) Figures by a farmstead, a church beyond Signed and dated 1807 Watercolour, unframed 41 x 53cm £1,000-1,500

622

623

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INDEX OF ARTISTSAAsch, Pieter Jansz van 337Aumonier, James 436Austrian School 418

BBaillie, Capt Wm. E 231Baker, Attrib to Thomas 423Bale, Edwin 262Ball, Wilfred Williams 267Barraud, After Henry 241Baschenis, After Evaristo 358Batt, Arthur 366, 368, 397Batt, Edythe B 438Beauclerk, Lady Diana 243Bell, Arthur George 392Biard, Francois Auguste 407Black, Andrew 434Blacklock, William Kay 390Bowden, W J 426Brett, John 265, 271Breughel, Foll of Jan 312Bright, Harry 285, 286, 287, 288, 289, 290, 291, 292,

293Browne, Alfred J W 360Bukovac, Vlaho 403Burleigh-Bruhl, Louis 255

CCalderon, William Frank 396Campbell, John Henry 275Canal, After Giovanni A 319Canaletto, Foll of A 320Carrick, John Mulcaster 405Carse, After Alexander 234Cei, Cipriano 415Chambers, George 354Chinnery, Manner of G 311Clevenbergh, Charles Antoine 364Clouet, Foll of Francois 297Cobbe, Bernard H 432Collins, Attrib to Richard 196Continental School 323, 394Cooper, Thomas Sidney 266Cosway, Richard 197, 242, 244Cosway, Richard ????????? 194Coventry, C C 344Cox, David 250Crawford, Edmund T 363Crome, John Berney 373Crossland, James Henry 406Crowe, Eyre 398

D Daniell, Thomas 246Davidson, Charles Grant 273Dibdin, Thomas colman 283, 284Diest, Circle of Willem H 316Dommersen, Pieter 425Drulin 269Durer, After Albrecht 306Dyck, After Sir Anthony van 300

EEdouart, Foll. Of A A 221Ellis, Edwin John 386, 393Emms, John 388, 389Engleheart, George 189, 193, 198, 199, English School 190, 209, 211, 212, 213, 218, 326,

327, 328, 330, 346, 350

FFamin, E M 433Fitchew, Ernest H 258Fleury, James Vivien de 355Foster, Myles Birket 272Fowke, Thomas 359

GGainsborough, Thomas 225, 226, 227, 228Gerard, Theodore 421German School 302Gianni, Girolamo 347Grutzner, Circle of Ed von 428

HHague School 435Hannam, Florence 217Harding, Attrib to George P 207Harding, George Perfect 200, 201, 202, 203, 204,

205, 206Hardy, Thomas Bush 279, 280, 281, 282, Havell, Robert 236Hayllar, Edith 381Hayllar, James 380Hayter, Sir George 342Hone, Nathanial 376Hudson, Foll of Thomas 325Hughes, Arthur 409Hunt, Edward Aubrey 361Hurt, Louis Bosworth 404

IItalian School 310, 335

JJagger, Charles 208Jones, Charles 270Joy, William 278

KKeulemans, Johannes G 294Kirchoffer, Henry 253Klisser 414Knight, George 391

LLaissement, Henri A 417Lawrence, Sir Thomas 251Lawrence, Studio of Sir T 345Le Brun, After E L Vigee 341Leader, Benjamin William 375Legros, Alphonse 400Leslie, Charles 378Leyden, Lucas van 224Linnig, William 357Lloyd, Walter Stuart 419Lucas, Albert Durer 399Lucas, David 229, 230Luny, Attrib to Thomas 348Lutz, Jorg 257

MMalton, James 233Marshall, Roberto Angelo 268Mee, Circle of Anne 195Mesgrigny, Claude F A de 383Millet, Jean F 333Millington Mannin, Mary A 210Moni, Louis de 308Morland, Foll of George 336, 424Mottram, Charles Sim 263

NNeapolitan School 427Neer, Attrib to Aert van der 315Noel, John Bates 377Northcote, James 329

OOnken, E 411Owen, Samuel 259

PPaice, George 367Palmer, Samuel 237, 238, 239, 240Papprill, Henry A 235Paul, John 313Peeters, Circle of Jan 318Pennell, Harry 410

Persogli, M 362Pether, Sebastian 349Petit, Cornielle 416Petit, Eugene 370, 401Poingdestre, Charles Henry 365Pollentine, Alfred 356Prior, Jessie Edith 222

RRaeburn, After Sir H 332Ramsay, Circle of Allan 331Ranvier, Joseph Victor 430Ravesteyn, Circle of Jan A 301Reinagle, Ramsay Richard 422Rinzi, Ernest 219Rivers, Leopold 374Roberts, David 340Rowlandson, Thomas 247, 248Rubens, After Peter Paul 305Russian School 322, 343

SSaltmer, Florence A 384Sanzio, After Raphael 309Schelfhout, Andreas 408Schetky, John Christian 371Scott, John 353Scottish School 298, 351Senton, Annie F 220Serres, Dominic M 254Serres, John Thomas 352Serres, Valerie 216Short, Frederick Golden 437, 439Siberechts, Attrib to J 334Smart, John 191, 192Smith, David Murray 413Southall, Joseph E 245Spencer, Attrib to Gervase 215Storck, Circle of Abraham J 304, 317Stry, Jacob van 314Stubbs, George 232Syer, John 412

TTeniers, David 307Thorburn, Archibald 295, 296Thors, Joseph 385Tissot, Foll of James J J 429

VValckert, Attrib to W van den 299Valter, Henry 372Varley, John 256Velde, Willem van de 303Verbruggen, Attrib to P 321Vinne, Vincent J van der 249Vollon, Alexis 431

WWard, James 339Wardlow, Alexander H 223Wardlow, Attrib to Alex H 214Watts, James Thomas 260, 261, 274Weiss, Jose 387, 395Wheeler, John Alfred 369Williams, Edward C 420Williams, Walter 382Willis, John 338Wint, Peter de 252Wright, John Massey 277Wright, Robert Murdoch 276

ZZais, Foll of Guiseppe 324Zommer, Richard K 401

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130

AAglio, Agostino 618Agricola, Attrib to Christoph L 531Agricola, Christoph Ludwig 491, 500Andriessen, Juriaan 501Angelis, Di 560Austrian School 462, 499

BBakhuysen, Hendrik van de S 571Barbiers, Pieter Pietersz 623Begeyn, Foll Of Abraham J 463Belanger, Louis 558Bemme, Johannes Adriaansz 556Bemmel, Georg Christoph G 492, 493, 523Blarenberghe, Henri Desire van 452, 504, 616Blarenberghe, Jacques W van 609, 611Bossoli, Carlo 562Both, Jan Dircksz 464Bright, S 594Bronkhorst, Johannes 440, 445Bronkhorst, Jan Gerritsz van 534Burgi, Jacob 459, 518Burgi, Jacob 512, 605, 606, 607

CCats, Jacob 520, 613Chalon, Louis 507Chatelet, Claude Louis 612Chinese School 535, 537, 538

DD’Albe, Baron Louis A G B 526Daniell, Foll of William 466, 488D’Anna, Alessandro 541Daubler, Johann Martin 517, 521Denny, Thomas 529Desfriches, Aignan Thomas 469Dietrich, Attrib to Christian W E 519Dietzsch, Attrib to Johann C 615Dietzsch, Johann Christoph 448, 450, 451, 515,

516, 593, 608, 614Duplessis-Bertaux 453Dupre, Daniel 547Dutch School 508, 592, 595, 604Duval, Eustache Francois 522

EEdwards, Sydenham Teast 599English School 442, 481, 530, 533, 536548

FFagan, Louis Alexander 446Ferg, Franz de Paula 449Flemish School 510, 555French School 544, 553

GGabler, Ambrosius 528Gatta, Saviero Xavier della 447Genillion, Jean Baptiste F 468German School 458, 465, 487, 490, 506, 514,

545, 573, 617Gill, G 511

HHaag, Tethart Philip C 575Hackert, Attrib to Johann G 498, 503Hayes, William 586Hendriks, Wybrand 509Hoch, Johann Jacob 543Holstein, C 589

IItalian School 554, 601, 622

JJansen, Johannes 597

KKessel, After Jan van 591Kleemann, Johann Conrad 455, 461Knip, Attrib to Joseph A 549, 572Knip, Joseph Augustus 559, 619Knip, Pauline de 598Krygeer, A C 489

LL’Aine, Louis Gabriel M 603Langendyk, Jan Anthonie 495Laporte, John 470, 476, 482, 483,

484, 502, 567, 568, 569Leen, Willem van 583Lewin, William 443Locnen, H 590Loutherbourg, Foll of Philip J de 485Loutherbourg, Philip J de 525Ludwig, Francois 460

MMoucheron, Foll of Isaac de 546

NNattes, John Claude 479, 620, 621Nicolle, Victor Jean 542Nuremburg School 524

PPatel, Attrib to Pierre Antoine 551Patel, Pierre Antoine 574Portuguese School 454, 457Prince, Jean-Baptiste Le 540

RRademaker, Abraham 467, 505, 602Rademaker, Attrib to G 581Reiler, Attrib to Johann C G 539Renard, Jean Augustin 550Ricci, Attrib to Marco 552, 576Ricci, School of Marco 579Richards, Attrib to John I 494Roman School 580, 582

SSchouman, Aert 496, 532, 585, 588Spackman, Isaac 587Spanish Colonial School 456Specht, Friedrich 444Straet, Jan van der 600

TTillemans, Peter 513

VVanni, Giuseppe Florenzo 596Voet, Karel Borchaert 584

WWallaert, Pierre-Joseph 557Walmsley, Thomas 471, 472, 473,

474, 475, 480, 486, 566Webb, James 477, 478West, J 570, 610Wissing, J C 497, 527Withers, Augusta Innes 441

ZZerrilli, Francesco 561, 577, 578

WORKS ON PAPER - PRIVATE COLLECTION

Page 133: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

A Collection of Bronzes, 17th – 19th century.

The property of a deceased estate.

EnquiriEs Mark Richards +44 (0)1722 411854

[email protected]

Furniture, Works of Art & ClocksThursday 7th January 2016

Page 134: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

SilverTuesday 19th & Wednesday 20th January 2016

A pair of George III silver candlesticks, by John Green, Roberts, Mosley and Co., Sheffield 1800. Estimate: £1,000 - £1,500

EnquiriEs Rupert Slingsby +44 (0)1722 424501

[email protected]

Lucy Chalmers +44 (0)1722 424594 [email protected]

Page 135: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

John Nost Sartorius (1759-c.1830) Hunting Scenes A set of four All signed and dated 1804 All oil on canvas Each 37 x 47cm; 14½ x 18½in

Estimate: £5,000-7,000

EnquiriEs Victor Fauvelle +44 (0)1722 424503

[email protected]

Oil Paintings, Watercolours, Miniatures and PrintsWednesday 16th March 2016

Page 136: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

Auction Information

OPEninG HOurs Monday to Friday 9am to 5.30pm and 10am to 1pm on saturdays.

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

BiddinG in tHE rOOM to bid at auction you will need a paddle number. this can be obtained from the office either during the view or on the day of the sale. we now provide permanent paddle numbers which can be used for any future sale, once registered.

rEGistErinG witH us All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

to register, you will need to provide two forms of identification: 1. a passport or photographic driving licence

2. a utility bill or document showing your name and address

You can register in person or by contacting the office on 01722 424500 or emailing [email protected]. You will be asked to show your documents, or fax or email copies.

PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us.

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.

tElEPHOnE BiddinG it is usually possible to bid on the telephone by prior arrangement with the office.

liVE OnlinE BiddinG live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. to bid online you need to register at www.the-saleroom.com, subject to approval. There is a 3% plus VAt charge for this service.

In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you:

1. authorise woolley and wallis salisbury salerooms ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com, and

2. confirm that you are authorised to provide these credit card details to woolley and wallis salisbury Salerooms Ltd through www.the-saleroom.com and agree that woolley and wallis salisbury salerooms ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale.

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.

BuYEr’s PrEMiuM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.

Page 137: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

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.

The following methods of payment may be made: bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €15,000. we are no longer able to accept card payments of over £1,000 where the card-holder is not present.

Wire transfers should be sent to: lloyds Bank plc, 38 Blue Boar row, salisbury sP1 1dB. Account no. 00957707 Sort code 30-97-41 iBAn no. GB20lOYd30974100957707 BiC code lOYdGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAt Debit cards: delta, switch, Connect

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

Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office.

storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. this will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

VAt lots marked with an asterisk (*) 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.ukcites.gov.uk

Artist’s rEsAlE riGHt / drOit dE suitE ‡ 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 the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €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.

Please enquire for the accepted exchange rate on the day of the sale.

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

PACkinG And sHiPPinG woolley & wallis do not offer a packing and despatch service but the following are carriers in our area.

Alban shipping 01582 493 099 [email protected] www.albanshipping.co.uk

APs 0800 118 5868 [email protected]

07736 544 362 www.apservices.info

Mailboxes 01264 360 333 [email protected] www.mbe.co.uk/andover

Pack & send 0845 465 0564 [email protected] www.packsend.co.uk

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

Page 138: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

ValuationsValuations are a core part of our business and are usually carried out by a senior specialist or director. 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 and wallis valuations are accepted by all leading insurance companies.

PrOBAtE VAluAtiOns 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 Christine Johnson 01722 424509

FrEE AuCtiOn VAluAtiOns Free verbal valuations of items for sale are available at our Castle street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

SALISBURY

MILL ROAD

NEW STREET

FISHERTON ST

WYNDHAM ROAD

SCOTS LN BEDWIN ST

WINCHESTER ST

CHIPPER LN SALT LN

ASHLEY ROAD

ST ANN ST

SOUTH WEST RD

HULSE RD C

AS

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NEW CANAL

CATHEDRAL

A360 DEVISES RD A36(T) CHURCHIL

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A36 CHURCHILL WAY NORTH

CA

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A36(T) CHURCHILL W

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A36

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HU

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A36(T) SOUTHAMPTON ROAD

HARNHAM ROAD A3094 NEW HARNHAM

DOWNTON ROAD A338

WILTON RD A36CENTRALCAR PARK

AMESBURY &MARLBOROUGH

LONDON, ANDOVER& WINCHESTER

WILTON &WARMINSTER

A338 BOURNMOUTH& RINGWOODA354 DORCHESTER

WEYMOUTH & BLANDFORD

SOUTHAMPTON

WOOLLEY & WALLIS

SALEROOMS

woolley & wallis salisbury salerooms ltd.51-61 Castle Street, Salisbury,wiltshire sP1 3su

registered in England no.2998482 VAT No: 631 9832 29

Furniture, works of Art, Clocks & tribal Art.2 danebury Court, Old sarum Park, salisbury, wilts sP4 6EB

The Portway

dirECtiOns tO Old sAruM

TESCO

CASTLE STREET

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ENDLESS STREET

ROLLESTONE STREET

PAY AND

DISPLAY

CAR PARK

PEDESTRIAN ROUTE

DRIVING ROUTE TO SALT LANE

Woolley & WallisSalisbury Salerooms51 – 61 Castle StreetSP1 3SU

Woolley & Wallis Carter House6 – 10 Salt LaneSP1 1EE

Qudos

DRIVING ROUTE TO CASTLE ST.

WOOLLEY & WALLIS Salt Lane

WOOLLEY & WALLIS Salisbury Salerooms

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO SALT LANE

Due to the one-way system of Salisbury please follow the red route when driving from Salt Lane to Castle Street.

dirECtiOns FrOM wOOllEY & wAllis CAstlE strEEt tO sAlt lAnE

Due to the one-way system of Salisbury, please follow the red route when driving from salt lane to Castle street

design & Production by

Woolley & WallisSalerooms

Woolley & Wallis2 Danebury Court

Woolley & WallisSalisbury Salerooms

Woolley & WallisSalt Lane

Page 139: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

Woolley & WallisAbsentee Bid FormFine Old Masters & 19th Century Paintings

Wednesday 9th December 2015 & Thursday 10th December 2015

PW091215Please bid, on my behalf, for the undermentioned Lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in this Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SUTel: 01722 424500 Fax: 01722 424508

PLEASE PRINT CLEARLY IN BLOCK LETTERS

lot number in numerical

orderBrief description

Price excluding buyer’s premium

& VAt

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there is no surcharge for debit card payments, but for credit cards there will be a 2% + VAt surcharge. id is required for all first time bidders.

Page 140: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

INFORMATION FOR BUYERS

1. Introduction. the following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. the lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAt (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. they are in no sense definitive.

4. The purchase price. the Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAt at the appropriate rate.

5. VAT. (*) indicates that VAt at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. this imposition of VAt is likely to be because the seller is registered for VAt within the European union and is not operating the dealers Margin scheme or because VAt is due at 20% on importation into the uk. the double symbol (**) indicates that the lot has been imported from outside the European union and the present position is that these lots are liable to a reduced rate of VAt (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). lots which appear without either of the above symbols indicate that no VAt is payable on the hammer price. this is because such lots are sold using the Auctioneers’ Margin scheme and it should be noted that the VAt included within the Premium is not recoverable as input tax.

6. we are, primarily, agents for the seller. we are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of sale. neither the seller nor we, as the auctioneers, accept any responsibility for their condition. in particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. there is a 3 week time limit. (the expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. these are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. the denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. they will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. if two buyers submit identical commission bids the auctioneers may prefer the first bid

received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

12. Collection and storage. Please note what the Conditions of sale state about collection and storage. it is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS

1. Interpretation. in these terms the words ‘you’, ‘yours’, etc. refer to the seller and if the consignment of goods to us is made by an agent we assume that the seller has authorised the consignment and that the consignor has the seller’s authority to contract. similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.

3. Removal costs. items for sale must be consigned to the sale room by any stated deadline and at your expense. we may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

4. Loss and damage waiver. we are not regulated by the FsA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAt or, if unsold, our mid estimate of the hammer price. if the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.

5. Illustrations. the cost of any illustrations is borne by you. if we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. we may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve.

Reserves.

(a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these terms of Consignment).

(b) A reserve once set cannot be changed except with our consent. (c) where a reserve has been placed only we may bid on your behalf and

only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical items. These are subject to detailed statutory safety controls. where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. they must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft furnishings. the sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. we reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of the torts (interference with Goods) Act 1977, schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. there is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. we will assume that you have approved the catalogue description of your lots unless informed to the contrary.

sOCiEtY OF FinE Art AuCtiOnEErs And VAluErs and the rOYAl institutiOn OF CHArtErEd surVEYOrs

CONDITIONS OF BUSINESS

Page 141: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. the liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Unsold and withdrawn items. if an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. we reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. these are liable to incur a charge of up to 10% plus VAt of the reserve or low estimate on being bought in or withdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditions of sale. in particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest.

(a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of sale and any interest earned on the sale proceeds until the date of settlement.

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. we disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Subject to our normal trading conditions, payment will be made by BACs or cheque four weeks after the sale unless the buyer has not paid for the goods. in this case no settlement will then be made but we will take your instructions in the light of our Conditions of sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE

woolley & wallis salisbury salerooms ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS

In these Conditions: (a) ‘auctioneer’ means woolley & wallis salisbury salerooms ltd or its

authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of

deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;

(c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;

(d) ‘terms of consignment’ means the stipulated terms and rates of commission on which woolley & wallis salisbury salerooms ltd accepts instructions from sellers or their agents;

(e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

(f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising.

(g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) the singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid;

(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the lot during the course of the auction or otherwise. the auctioneer shall act reasonably in exercising this discretion.

(c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the

amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS

Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE

the Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate.

5. VALUE ADDED TAX

Value Added tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘information for Buyers’ for a brief explanation of the VAt position).

6. PAYMENT

(a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling(b) Any payments by you to us may be applied by us towards any sums

owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7. TITLE AND COLLECTION OF PURCHASES

(a) the ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(b) You shall at your own risk and expense COllECt any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (iF lAtEr) after which you shall be responsible for any COllECtiOn, storage and insurance charges.

(c) no purchase MAY be COllECtEd And wE sHAll nOt rElEAsE AnY lOt tO YOu Or YOur AGEnt until it has been paid for.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

(a) if any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be

responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;

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

(v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

(vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to

impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other lots due or in future becoming

due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied.

(b) we shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions

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9. THIRD PARTY LIABILITY

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

10. COMMISSION BIDS

whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY

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

12. AGENCY

the auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE

The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION

(a) whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. we undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

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

15. FORGERIES

notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. the right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of sale.

GENERAL

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

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(b) such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

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

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

21. English law applies to the interpretation of these Conditions.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

in accordance with long standing practice in Fine Art sale rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

Glossary

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

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

(b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category.

(c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction.

(d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil.

(e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.

(f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date.

(g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) the term signed and/or dated and/or inscribed means that in our opinion

the signature and/or date and/or inscription are from the hand of the artist. (i) the term bears a signature and/or date and/or inscription means that in our

opinion the signature and/or date and/or inscription have been added by another hand.

(j) dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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 the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €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 by the auctioneer.

Please enquire for the accepted exchange rate on the day of the sale.

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

Page 143: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

Auction CalendarAsiAn Art

18th & 19th May 2016John Axford +44 (0) 1722 424506 • [email protected] Lister +44 (0) 1722 424591 • [email protected]

pAintings

16th March 2016 – Oils, Watercolours, Prints & Miniatures Victor Fauvelle +44 (0) 1722 424503 • [email protected] Butler +44 (0) 1722 424592 • [email protected]

20th CEntury DEsign

20th April 2016 – Clarice Cliff, Art Deco & 20th Century DesignMichael Jeffery +44 (0) 1722 424505 • [email protected]

FurniturE & Works oF Art 7th January 2016 – Furniture, Works of Art & ClocksMark Richards +44 (0) 1722 411854 • [email protected]

silvEr

19th & 20th January 2016 – Silver, Vertu, Coins & MedalsRupert Slingsby +44 (0) 1722 424501 • [email protected] Chalmers +44 (0) 1722 424594 • [email protected]

JEWEllEry

21st January 2016Jonathan Edwards +44 (0) 1722 424504 • [email protected] Whiting +44 (0) 1722 424595 • [email protected]

tribAl Art & AntiquitiEs

9th February 2016Will Hobbs +44 (0) 1722 339752 • [email protected]

Arms & Armour

6th April 2016Will Hobbs +44 (0) 1722 339752 • [email protected]

English & EuropEAn CErAmiCs & glAss

23rd February 2016 – Fine Porcelain & PotteryClare Durham +44 (0) 1722 424507 • [email protected]

• Entries can usually be accepted up to eight weeks prior to the auction• Illustrated catalogues are available about ten days before the sale• Viewing is normally two days prior to the auction and on Saturday mornings• Catalogue subscriptions are available for all sales• Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk

Page 144: Woolley & Wallis Fine Old Masters & 19th Century Paintings 9th & 10th December

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