British & Continental Pictures & Prints Sale
on Wednesday 28th March 2018

Lots subject to normal VAT rules are marked in the text-only catalogue with a single asterisk character (*) or a single dagger symbol (†) to indicate a VAT added rate of 20%.
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Lots marked in the text-only catalogue with a bullet character (•) are subject to the Artist's Resale Right Scheme.
Lots marked in the text-only catalogue with a small tilde character (˜) are subject to the CITES Agreement.

1.      MANNER OF NICOLAS LANCRET (1690-1743)
SCENE GALANTE
oil on canvas
52 x 43cm
framed
£400-600
2.      FOLLOWER OF FRANCESCO SOLIMENA (1657-1747)
TWO PUTTI
oil on canvas
23 x 21cm
framed
£800-1200
3.      JACOB IGNAZ DE ROORE (1686-1747)
THE CALLING OF ST PETER
signed l.c.: Roore F.
oil on copper
35.9 x 29cm
unframed

Born the son of a paintings and antiques dealer, and the grandson of a painter, de Roore began his apprenticeship with Jan Sebastiaen Loybos in 1699. After a brief interlude he studied under Lodewijk van Schoor until the tapestry designer died, and from then on he worked without a direct master until becoming a free master himself, in the Antwerp Guild of St Luke. He worked throughout the Dutch Republic, at times working as an art dealer and expanding other painters' works and at other times working on commissions.

£1200-1800
4.      VENETIAN SCHOOL (18th CENTURY)
STILL LIFE OF FRUIT, MUSICAL INSTRUMENTS AND THEATRICAL PROPS WITH A DRAWING OF A DOG IN THE BACKGROUND
oil on canvas
62 x 79cm
£1000-1500
5.      ROMAN SCHOOL (18th CENTURY)
LATONA AND THE LYCINA FISHERMEN
oil on canvas
57.5 x 73cm

The story of Latona and the Frogs is one of the lesser known vignettes from Ovid's Metamorphoses. In Book VI, Latona (mother of Apollo and Diana, and mistress to Jupiter) was forced to flee Mount Olympus because of her rival Juno. While wandering Anatolia, she arrived at a clear pool in a marsh and stooped down to drink. Local peasants prevented her from doing so by trampling around in the pool to stir up mud. Latona, her wrath thus incurred, cursed the peasants forever to live in the slime of the pool in the form of frogs.

There is a fountain in the gardens of Versailles which depicts the scene.
£2000-3000
6.      FOLLOWER OF JOHAN GEORGE PLATZER (1704-1761)
ELEGANT COMPANY PLAYING BACKGAMMON
oil on board
31 x 23.5cm
unframed

£600-800
7.      MANNER OF SIR ANTHONY VAN DYCK (1599-1641)
THE HOLY FAMILY
oil on canvas
61 x 47.7cm
£300-500
8.      FLEMISH SCHOOL (17th CENTURY)
THE CRUCIFIXION
oil on copper
42.7 x 22.6cm
£600-800
9.      NORTHERN EUROPEAN SCHOOL (18th CENTURY)
ST GEORGE AND THE DRAGON
oil on canvas
105 x 82cm

£1000-1200
10.     CIRCLE OF NICCOLO CODAZZI (1642-1693)
A PAIR OF ARCHITECTURAL CAPRICCI
oil on canvas
60.8 x 73.2cm

Provenance:
Collection Pérez de Vargas, Counts de la Quintería, from the 19th century;
Ilustrísima. Sra. Doña María Carmen del Valle, 1960s;
The Property of a Spanish Noble Family.

(2)



£3000-5000
11.     SIENNESE SCHOOL (LATE 19th CENTURY)
MADONNA AND CHILD WITH ANGELS
oil and tempera on panel
47 x 29cm

(1) £1000-1500
12.     NICOLAS SPHEYMAN (DIED BEFORE 1751)
A ROUGH-LEGGED BUZZARD
signed and dated l.r.: Spayemant 1734
inscribed l.l.: BUEZ DE LAPONIE 1735
oil on canvas
72.5 x 59cm


Nicolas Spheyman is best known for his landscape paintings and his depictions of birds. Several of these works are recorded as hanging in the apartments of the Dauphine, Duchess of Burgundy, in the Palace of Versailles.

Provenance:
Private Collection, France
£7000-10000
13.     NICHOLAS SPHEYMAN (died before 1751)
A GOSHAWK DEVOURING ITS PREY
oil on canvas
59.5 x 71cm

£5000-7000
14.     DUTCH SCHOOL (17th CENTURY)
A GOSHAWK PERCHED ON A FACLONER'S HAND
oil on canvas
75.5 x 63cm
£6000-8000
15.     FRENCH SCHOOL (18th CENTURY)
PORTRAIT OF A GENTLEMAN SHIP-CAPTAIN
oil on canvas
77 x 92cm
£2000-3000
16.     MANNER OF MEINDERT HOBBEMA (19th CENTURY)
TRAVELLERS ON A ROAD IN AN EXTENSIVE LANDSCAPE
oil on canvas
104 cm x 146cm
£1000-1500
17.     CIRCLE OF FRANCIS SWAINE (1725-1782)
THE BURNING OF THE PRINCE GEORGE, BAY OF BISCAY, 1758
oil on canvas
53.5 x 66.5cm

Provenance:
Christie's, Pictures by Old Masters sale, 31.01.1975, Lot 134

Possibly one of the only extant depictions of this scene, the painting depicts HMS Prince George, then seventy six years old having been rebuilt twice, burning in the Bay of Biscay. The ship accidentally caught fire under the command of Rear Admiral Thomas Broderick, Admiral of the White, and of a crew of 745 men, only 260 survived. The late E.H.H. Archibald, Keeper of Paintings, National Maritime Museum, Greenwich, confirmed the subject of the painting in 1975, and a note is attached from him to the frame.

There is a record of Francis Holman painting the scene and exhibiting it at the Free Society of Artists in 1767.
£1000-1500
18.     MANNER OF THOMAS WHITCOMBE A SHIPPING SCENE, POSSIBLY OFF THE COAST OF WEST AFRICA
oil on canvas
60 x 91cm
£400-600
19.     JOHN MOORE OF IPSWICH (1820-1902)
A SEASCAPE WITH A DISTANT COASTLINE
signed l.l.: J. MOORE
oil on canvas
28 x 46cm


£800-1200
20.     JOHN MOORE OF IPSWICH (1820-1902)
A SEASCAPE WITH A PIER
signed l.l.: J MOORE
oil on canvas
36 x 46cm
£800-1200
21.     LOUIS LEOPOLD ROBERT (1881-1935)
A BRIGAND
oil on board
40 x 34cm

Robert painted a number of studies of Italian life, following a loan from his patron which allowed him to travel to Rome. In Italy, Robert conceived a plan to paint a series of works depicting the four seasons, and within these four of the peoples of Italy. Charles X of France bought the work depicting Spring and Summer Reapers arriving in the Pontine Marshes is now in the Louvre. Unfortunately, Robert found himself unable to complete his painting of Florence in the Autumn owing to his unrequited love for Princess Charlotte Napoleon and so travelled to Venice. Robert is mentioned in Dumas' Count of Monte Cristo as the artist of a fictional portrait of a character.

Provenance:
Christie's, 19th Century European Art Including Orientalist Art, London, 27.4.2012, Lot 121
£700-1000
22.     STANISLAS LEPINE (1835-1892)
A VIEW OF A FRENCH VILLAGE
signed l.l.: S. Lepine
oil on panel
33 x 41cm

Lepine began his artistic career as a nautical panter, and his first painting to be exhibited at the Paris Salon was Port of Caen, Moonlight Effect in 1859. He moved to specialise in urban views, many of these featuring ther Seine and the old cobbled streets of Paris. In 1860 he began a formal apprenticeship under Corot. He exhibited at the first Impressionist exhibition at Nadar's in 1874, and although he never came to equal his contemporaries' popularity his works are regarded by critics of his age to be precursors of that movement. A number of his paintings are in significant collections worldwide, including the National Gallery of Art, Washington and the Musee d'Orsay in Paris.
£600-800
23.     FRENCH SCHOOL (19TH CENTURY)
A ROCKY RIVER LANDSCAPE
oil on board
47 x 58cm
£150-200
24.     NARCISSE-VIRGILIO DÍAZ DE LA PEÑA (1807-1876)
A WOODLAND SCENE
signed l.l.: n. diaz
oil on panel
29 x 23.5cm

Narcisse Diaz de la Peña began as a porcelain painter in Paris, however within a few years he left this area and taught himself to paint on canvas. He copied the great paintings of the Louvre, and also drew on Victor Hugo and Delacroix as his inspirations.
He was drawn eventually to landscape art and came to part of the group known as the Barbizon School. He encountered Theodore Rousseau in the forest at Fontainebleu and, holding the younger man in high esteem, admitted his respect for the artist and came to be taught by him. He exhibited many times at the Paris Salon, is exhibited today in many museums including the Louvre and the Wallace Collection, and was praised by Millet and Renoir. He was awarded the rank of Chevalier of the Legion d'honneur in 1851.

£400-600
25.     ATTRIBUTED TO CHARLES-FRANCOIS EUSTACHE (1820-1870)
A COASTAL LANDSCAPE
oil on canvas
39 x 46cm
£300-500
26.     ENGLISH SCHOOL (EARLY 19TH C.)
A LANDSCAPE WITH A HILL
oil on board
22 x 29cm
£100-150
27.     STANISLAS LEPINE (1835-1892)
A CONTINENTAL STREET SCENE
signed l.r.: S. Lepine
oil on panel
28 x 22cm
£800-1200
28.     EUGENE LOUIS GABRIEL ISABEY (1803-1886)
A SKETCH FOR 'CHRIST UPON THE SEA OF GALILEE'
Studio Stamp: Vente d'Isabey
oil on board
28 x 22.5cm

Provenance:
Artist's Studio Sale, Paris, Chevalier, 30-31st March 1887, Lot 110 ('Jesus marchant sur les flots').
Thence to Richard Bergh (1858-1919), Director of Swedish National Museum, Stockholm, Sweden.
From whose estate sold 7th February 1920.

Isabey was one of France's foremost marine painters and was prolific in his output. This particular sketch is of particular art historical significance: Isabey was a great friend of Eugene Delacroiz. Delacroix painted this particular subject several times and these paintings hang today in the Philadelphia Museum of Art and the Metropolitan Museum of Art among others. Isabey is known to have travelled with Delacroix often, and it is possible that this particular sketch was executed alongside Delacroix's own depictions of the subject while on their travels together.

The scene is taken from the Gospel accounts of Christ approaching a ship which the disciples were taking to Capernaum across the Sea of Galilee, after Christ had gone to pray alone in the wake of St John the Baptist's death. Peter tried to approach Christ, but fearing the storm he began to sink, whereupon Christ caught him and brought him back to the disciples' ship. Here we see Christ holding Peter, with the storm evoked very effectively by the palette and indistinct clouds and background.
£600-800
29.     WILLIAM WHITE WARREN (1832-1911)
A PAIR OF CONTINENTAL VIEWS
oil on board, laid to backboard
Largest: 12.5 x 21cm

(2) £250-350
30.     ATTRIBUTED TO FRANCOIS BONVIN (1817-1887)
STILL LIFE WITH FIGURES
Signed u.r.: F. Bonvin 1871
oil on canvas
25.5 x 33cm

Literature: Dr Gabriel Weisberg, Bonvin (Paris, 1979), Cat. no. 146

Provenance:
Collection of Sir Michael Sadler

We are grateful to Dr Gabriel Weisberg for his assistance in cataloguing this item.
£800-1200
32.     HAROLD SWANWICK, R.O.I. (1866-1929)
PLOUGHING ON THE SOUTH DOWNS NEAR LEWES
oil on canvas laid to board
20.5 x 32cm

Provenance:
Norman Heatley
£300-500
33.     ATTRIBUTED TO WILLIAM HAVELL O.W.S. (1782-1857)
CAPRICCIO WITH CATTLE ON THE THAMES
oil on canvas
27 x 37cm
£200-300
34.     JONNY AUDY (fl. 1850-1880)
GRAND PRIZ DE PARIS 1877
signed l.r.: J Audy
watercolour
72 x 111cm

Audy was a talented oil painter and watercolourist, who specialised in military and equine-related art and exhibited at the Paris Salon from 1872-1876.

£500-700
35.     WILLIAM HENRY MANDER (1850-1922)
A LANDSCAPE WITH CATTLE
signed, back of canvas: W. MANDER
oil on canvas
67.5 x 98cm
£500-700
36.     ITALIAN SCHOOL (18th CENTURY)
STUDY OF HANDS
pencil and chalk
26.5 x 20cm
£250-350
37.     ITALIAN SCHOOL, c.1840
STUDY OF THE HEAD OF A LADY
oil on board
12.9 x 12.9cm

£800-1200
38.     AFTER ELISABETH VIGÉE-LEBRUN (1755-1842)
A PORTRAIT OF MARIE ANTOINETTE
red chalk
30 x 25

This drawing appears to be after an engraving of a portrait of Marie Antoinette, itself a copy of Vigée-Lebrun's portrait of the Queen at Versailles. The painting from which this derives was purchased by the Detroit Institute of Arts but is no longer attributed to Vigée-Lebrun.
£250-350
39.     ROMAN SCHOOL, c.1720
AN ARCHITECTURAL DESIGN FOR AN ALTAR
black chalk, pen and brown ink, grey and ochre wash, on two joined sheets, with two added sections revising the outer edges of the altar
extensively inscribed with directions for the sculptors
80 x 56cm


Provenance:
Christie's, Old Master and Early British Drawings and Watercolours, 6.12.12, Lot 62

£800-1200
40.     ALBERT DE BELLEROCHE (1864-1944)
A FOLIO OF DRAWINGS AND LITHOGRAPHS: INCLUDING FIGURE STUDIES AND ARCHITECTURAL STUDIES
various media
various sizes
unframed

Albert de Belleroche was Welsh-born, though he spent most of his childhood in Paris and England. He studied at Carolus-Duran's school in Paris at the same time as John Singer Sargent, and the two made numerous sketches of each other. It has been suggested that the two shared an intimate relationship, although de Belleroche went on to marry the sculptor Jules Edouard Visseaux's daughter. de Belleroche, like Sargent was friends of Oscar Wilde, Emile Zola, Renoir and Henri Toulouse-Latrec; de Belleroche painted the latter's portrait.

(8) £250-350
41.     ALBERT DE BELLEROCHE (1864-1944)
A FOLIO OF LIFE DRAWINGS
various media
various sizes
unframed

(24) £250-350
42.     GERMAN SCHOOL (EARLY 19TH CENTURY)
MINIATURE OF GOTTLICH HEINRICH RIEGER
mixed media on paper
16.5 x 14 cm
£80-120
43.     ROBERT STOTHARD JR. (fl. 1821-1857)
MINIATURE OF A JESUIT
signed and inscribed on the original backboard: A JESUIT, PAINTED FROM LIFE BY ROBERT STOTHARD JR.
oil on paper
14.5 x 14.5cm

£80-120
44.     AFTER EDME BOUCHARDON (1698-1762)
A STUDY OF A MALE NUDE
signed: del Ed.Bouchardon
pencil on paper
33 x 22 cm

£100-150
45.     CIRCLE OF GEORG FRIEDRICH SCHMIDT (1712-1775)
A FEMALE NUDE
signed l.r.: Schmidt 1757
pencil on paper
69 x 48cm
£200-300
46.     ALEXIS GROGNARD (1752-1840)
A VIEW OF THE COLISEUM (1776)
pencil
29 x 38cm
£250-350
47.     AFTER AUBREY BEARDSLEY (1872-1898)
A GROUP OF FOUR REPRODUCTION PRINTS
prints
21 x 14cm
unframed, mounted on card

(4) £80-120
48.     HENRY EDRIDGE, A.R.A. (1768-1821)
A PORTRAIT OF A SEATED GENTLEMAN
pencil
22 x 17cm
inscribed and dated u.r.
£300-500
49.     SIR THOMAS LAWRENCE, P.R.A. (1769-1830)
A PORTRAIT OF A YOUNG OFFICER
signed, dated and inscribed on an old label verso: Be pleased to keep away / from the damp & from dust / T Lawrence AE 13. / 178.3.
pastel with touches of black chalk
28.5 x 23cm

Provenance:
W.E. SPOONER
Anonymous sale, Phillips, London, 17.4.2000, Lot 196, sold for £2,400
Private collection, Britain

The son of an innkeeper Thomas Lawrence was one of the great artistic child prodigies, at the age of six, he was already taking likenesses of the guests at the Bear Inn. After the failure of his father's business they settled in Bath in 1782 where the young Lawrence used to take the likenesses of the fashionable members of society at a guinea or a guinea and a half a head; it is from this period that the present pastel dates. Works from such an early period of Lawrence's creativity are rarely to be found but the present picture should be compared to a similar oval pastel "Portrait of Maria Linley (1763-84)" in the Dulwich Picture Gallery with a similar dating. The esteem with which the pastels of the young Lawrence was held can be seen by his winning the prize of a silver-gilt palette of the Society of Arts for a crayon drawing after Raphael's "Transfiguration", which was recently on the market in New York. £800-1200
50.     J.W. HAMILTON-MARR (19th CENTURY)
A GROUP OF WATERCOLOURS
Two signed: Hamilton-Marr ARCA
watercolour
Largest: 11 x 15cm

(3) £100-200
51.     HERCULES BRABAZON BRABAZON (1821-1906)
A PAIR OF NORTH AFRICAN SCENES
each signed with monogram: HBB
pencil and charcoal heightened with white
each approx. 11 cm by 16.5 cm
(2)
£100-150
52.     HERCULES BRABAZON BRABAZON (1821-1906)
POPLARS
sold together with a landscape study in orange chalk by the same hand
both signed with monogram l.r.: HBB
watercolour and chalk over pencil
the first 12.5 cm by 11 cm; 5
the second 9 cm by 14.5 cm;
to be sold together with Low Tide in An Estuary, in the manner of Brabazon
(3)
£150-200
53.     HERCULES BRABAZON BRABAZON (1821-1906)
THE ROAD BY THE SEA
pastel with pencil
9 cm by 13 cm; 3 1/2 in by 5 in
to be sold together with A Madeira Landscape and A Normandy River Scene, both in the manner of Brabazon

Provenance
The first acquired by the present owner from Chris Beetles July 1994
(3)
£100-150
54.     HERCULES BRABAZON BRABAZON (1821-1906)
MOUNTAIN SCENE - A SOUVENIR OF TURNER
signed with monogram l.r.: HBB
pencil and chalk
9.5 cm by 13 cm; 3 3/4 in by 5 in
to be sold together with Continental River Scene, Possibly Avignon, and An Arab Dhow, both in the manner of Brabazon
(3)
£100-150
55.     RICHARD DIGHTON (1795-1880)
A PAIR OF GENTLEMEN ON HORSEBACK
watercolour on paper
38.3 x 47cm

(2)
£400-600
56.     GEORGE BARRETT JR. (1767-1842)
HARVESTING AT SUNSET
watercolour with wash
26.5 x 37.5cm
£100-150
57.     SIR ALEXANDER ALLAN (c. 1764-1820)
TIGERS IN A CAVE
watercolour
25 x 34cm
£150-200
58.     THOMAS STOTHARD R.A. (1755-1834)
A COUNTRYSIDE MEETING
watercolour over pen and ink
10 x 12cm

Provenance:
Bill Thomson (Albany Gallery)

£200-300
59.     CONTINENTAL SCHOOL (19th CENTURY)
CLASSICAL RUINS WITH FIGURES
gouache on paper
22 x 11.4cm
£80-120
60.     AUBREY BEARDSLEY (1872-1898)
PORTAIT OF A YOUNG GIRL IN A HAT
signed: A. BEARDSLEY
pen & ink on paper
11 x 9cm
£600-800
61.     GEORGE CRUIKSHANK (1792-1878)
MILITARY KNIGHTS OF WINDSOR (1857)
signed l.r.: GCruikshank
ink on paper
53 x 43cm
£250-350
62.     AFTER WILLIAM HOGARTH (1697-1764)
FRANCE 1756 & DAVID GARRICK AND HIS WIFE
engraving
32 x 37cm

(2) £200-300
63.     DUBOIS (18th CENTURY) AFTER PIERRE COURVOISIER (1756-1804)
A VIEW OF CARLTON HOUSE AND PALL MALL
engraving
27.8 x 41cm

£60-80
64.     NICHOLAS JEAN BAPTISTE POILLY (1712-1780)
STILL LIFE WITH FLOWERS
print
39 x 48cm
£100-150
65.     THOMAS SUTHERLAND (b. 1785) AFTER JOHN GENDALL (1790-1865)
THE VIEW FROM EDINBURGH CASTLE
sold with two reproduction prints of views of Edinburgh
aquatint, partly printed in colours and hand-finished
34 x 55cm

(3)
£400-600
66.     LUCAS VOSTERMAN II (1624-1666/1676) AFTER ABRAHAM VAN DIEPENBEECK (c. 1596-1675)
MONSEIGNEUR LE MARQUIS A CHEVAL - BALOUADES A LE DROITE
etching with engraving
58 x 70cm
£200-300
67.     PETER CLOUWET (1629-1670) AFTER ABRAHAM VAN DIEPENBEECK (c.1596-1675)
MONSEIGNEUR LE MARQUIS A CHEVAL - CAPRIOLLES SUR LES VOLTES A MAIN GAUCHE
etching with engraving
58 x 70cm

£200-300
68.     GABRIEL HUQUIER (1695-1772) AFTER EDME BOUCHARDON (1698-1762)
TWO FIGURE STUDIES
inscribed: Paris chex Huquier Rue St Jacques au coin de la Rue des Mathurins avec priv. de Roi
etching
71 x 59cm

(2) £200-300
69.     EUROPEAN SCHOOL (19th-20th CENTURY)
ENGRAVING OF THE SPINARIO
engraving
70 x 58cm
£80-100
70.     NOEL-FRANCOIS BERTRAND (c.1785-1852) AFTER FRANCOIS-GEDEON REVERDIN (1772-1828)
ANATOMICAL STUDIES
stipple engraving
58 x 58cm


(4) £200-300
71.     CHARLES HUNT (1803-1877)
FOUR PLATES: THE MEET, BREAKING COVER, FULL CRY, THE DEATH
coloured aquatint
72 x 94cm

(4) £200-300
72.     GERARD VALCK (1652-1726) AFTER RAYMOND LAFAGE (1656-1684)
A MYTHICAL CELEBRATION
etching
31.5 x 47cm


£100-150
73.     CONTINENTAL SCHOOL (19th CENTURY)
PERSIAN OR AFGHAN FIGURE
signed and dated l.r.: 5/3/50
watercolour on paper
16.5 x 12.5cm

Provenance:
Property of a Private Collector

£80-120
74.     COMPANY SCHOOL (19th CENTURY)
DETAILS OF PIETRA DURA INLAY IN THE TAJ MAHAL
watercolour on paper
12.5 x 17.6cm

Provenance:
Collection of Sir Charles Barry
Property of a Private Collector

(5)
£400-600
75.     FRENCH SCHOOL (19th CENTURY)
A PERSIAN LADY
watercolour on paper
20.4 x 14.3cm

Provenance:
Property of a Private Collector
£100-150
76.     ATTRIBUTED TO WILLIAM JAMES MULLER (1812-1845)
AN OTTOMAN FIGURE WITH GUN
Bears signature: THO' LAWRENCE
oil on panel
25.6 x 17.7cm
unframed

Provenance:
Property of a Private Collector

£200-300
77.     LIEUTENANT GENERAL EZEKIEL BARTON (1781-1855)
AN INDIAN VIEW
pencil and watercolour
27.5 x 41.5cm

Barton served in Bengal, with the Honourable East India Company, leaving for two years due to medical issues. He also served on the general staff at the College of Fort William and became town and fort major there. During his time in India he produced a number of drawings and watercolours, and several examples are held in the British Museum.
£600-800
78.     WILLIAM CARPENTER (1818-1899)
DUNGAUM
watercolour and pencil
13 x 17cm
£250-350
79.     WILLIAM PURSER (1789-1852)
A GREEK LAKE
greywash and ink
12 x 17cm
£250-350
80.     ROBERT STOTHARD (fl.1821-1857)
A PORTRAIT OF WILLIAM BOLLAERT IN CHILEAN COSTUME
signed and dated l.r.: R.J. STOTHARD 1830
oil on paper
22.6 X 17.5cm

William Bollaert (1807-1876) was a chemist, ethnologist and geographer. He became an assistant at the Royal Insitution at a mere thirteen, and worked for a number of scientists including Michael Faraday. He was one of the first Englishmen to cross the Atacama desert, received the Portugese War Medal from Maria II of Portugal and was made a Knight of the Order of the Tower and Sword, and travelled extensively in the Americas.
£200-300
81.     ** LOT WITHDRAWN FROM SALE **

ENGLISH SCHOOL - EARLY 19th CENTURY
SHEEP GRAZING BY ETON COLLEGE
oil on panel
22.5 x 32cm
£100-150
82.     CIRCLE OF WILLIAM DANIELL (1769-1837)
ETON COLLEGE FROM THE EAST WITH FIGURES PUNTING
oil on canvas
28 x 38.5cm
£500-700
83.     ENGLISH SCHOOL (19th CENTURY)
FIGURES ON THAMES TOWPATH BY ETON COLLEGE
oil on canvas
21.5 x 29cm
£80-120
84.     JOSEPH CHARLES BARROW (fl. 1789-1804)
ETON COLLEGE FROM OLD WINDSOR
oil on canvas
28 x 39cm
£700-1000
85.     ENGLISH SCHOOL (EARLY - MID 19th CENTURY)
ROWING ON THE THAMES BY ETON
oil on panel
24.5 x 34.5cm
£80-120
86.     ENGLISH SCHOOL (EARLY 19th CENTURY)
TIMBER BARGE AND ROWING BOAT BY ETON COLLEGE
oil on canvas
18 x 23.5cm
£100-150
87.     J. MEADOWS (MID 19th CENTURY)
SOLDIERS ON THE TERRACE AT WINDSOR CASTLE WITH A DISTANT VIEW OF ETON COLLEGE
oil on panel
24 x 34cm
£400-600
88.     ENGLISH SCHOOL (MID 19th CENTURY)
WHITE HORSE ON THE THAMES BY ETON COLLEGE
oil on panel
21 x 26cm
£200-300
89.     REV. JAMES BOURNE (1773-1854)
ETON COLLEGE FROM THE EAST
grey wash over pencil
19.5 x 26.5cm
£150-200
90.     CIRCLE OF PAUL SANDBY, R.A. (1731-1809)
UNLOADING A TIMBER BARGE ON THE THAMES NEAR ETON COLLEGE
watercolour over pen, ink and pencil
17.5 x 24cm
£100-150
91.     FOLLOWER OF JOHN VARLEY (1778-1842)
BOATMEN ON THE THAMES NEAR ETON COLLEGE
watercolour with pencil
16 x 22cm
£80-120
92.     FERDINAND BECKER (fl. 1790-1810)
A PAIR OF VIEWS OF ETON COLLEGE
ink and pencil
19.5 x 29cm

(2) £300-500
93.     LLEWELYN FREDERICK MENZIES-JONES (1889-1971)
THREE VIEWS OF ETON COLLEGE
etching
24 x 27.5cm

(3) £100-150
94.     ** LOT WITHDRAWN FROM SALE **

EDWARD TUCKER (c.1825-1909)
ROWERS ON THE THAMES WITH A DISTANT VIEW OF ETON COLLEGE
watercolour
signed l.r.: E TUCKER
25 x 42cm
£300-500
95.     CIRCLE OF JOHN VARLEY (1778-1842)
RIVER FERRY ON THAMES NEAR ETON
watercolour
28.5 x 43.5cm
£200-300
96.     AMELIA LONG, LADY FARNBOROUGH (1772-1837)
ETON COLLEGE FROM WINDSOR
signed, titled & dated l.r.
pencil
20 x 37.5cm
£200-300
97.     SIR GEORGE BULTEEL FISHER (1764-1834)
VIEW OF ETON COLLEGE FROM THE EASTERN EDGE OF WINDSOR
grey wash, ink and pencil
37 x 49.5cm
£400-600
98.     CIRCLE OF WILLIAM EVANS OF ETON (1798-1877)
PAIR OF VIEWS OF ETON COLLEGE CHAPEL
ink, pencil and chalk
38.5 x 32.5cm

(2) £100-150
99.     AFTER DAVID LOGGAN (1634-1692)
COLLEGIUM REGALE DE ETON PROPE WINDSOR
engraving
42 x 54cm

(1) £60-80
100.    ** LOT WITHDRAWN FROM SALE **

CIRCLE OF PETER DE WINT (1784-1849)
DISTANT VIEW OF ETON
watercolour
23.5 x 33cm

Provenance:
William Evans of Eton Collection £250-350
101.    AFTER ALEXANDER COZENS (1717-1786)
VIEW OF ETON COLLEGE FROM THE EAST (INCLUDING AN ENGRAVING AFTER TURNER AND TWO FURTHER ENGRAVINGS)
engraving
28.5 x 36.5cm

(4) £100-150
102.    GEORGE BRYANT CAMPION (1795-1870)
ETON COLLEGE CHAPEL AT SUNRISE
watercolour with white bodycolour
29.5 x 47cm
£400-600
103.    FORTUNINO MATANIA (1881-1963)
A BATTERY SHELLED - STUDY FOR A WAR MEMORIAL
pencil
46 x 63cm

Provenance:
Christie's South Kensington, 17.12.1992, Lot 76

A lively drawing, representing a field gun and team which has been hit by a shell. The Driver is trying to control a rearing horse, while dead and wounded soldiers are tended by others. The design is squared up, suggesting it is intended to be transferred, perhaps to form a panel of a memorial. However, if this is the case, the precise memorial has yet to be identified.
Matania was an artist and illustrator of note, with a long career. Born in Naples, the son of an artist, he worked in Milan and came to London to work for The Graphic. He travelled widely before the war, drawing the Delhi Durbar for the press and the Russo-Japanese war. He produced a prolific number of Great War drawings and watercolours, often reconstructing events. He also designed posters, and his well known "Help the horse to save the Soldier" (showing a Tommy tending a dying horse) reveals a sympathy for animal depiction also evident in this drawing. Post war he continued to work widely, in advertising and the press as well as films (designing scenes for Cecil B de Mille's Ten Commandments in the 1950s). He also wrote children's books and illustrated historical works.

Literature:
J Darracott & B Loftus, First World War Posters, Imperial War Museum, London 1972 p42
Article by Geraldine Norman in The Times, 22.10.77.

£500-700
104.    CIRCLE OF CYRIL ARTHUR FAREY (1888-1954)
DESIGN FOR A MEMORIAL CLOISTER
watercolour over pencil on paper board
49.5 x 87cm


Provenance:
Bonhams 8.9.98. Lot 92

A design for a three sided cloister-columbarium, with a central chapel. The form derives from the columbarium at Père-Lachaise cemetery in Paris, which opened in 1889.
The style and execution of this large watercolour is similar to other designs by Farey. The style of dress of the figures suggests a date of c.1910. The location of the cloister, if it is more than just a design, has not been established.



£100-150
105.    JOHN HARDMAN (1811-1867) & COMPANY
DESIGN FOR A STAINED GLASS WINDOW IN WORCESTER CATHEDRAL
ink and watercolour on paper
89.5 x 34cm

Provenance:
Bonhams, 10.3.98, Lot 188

Design for the memorial window to Lieut Colonel Walter Unett, 3rd King's Own Light Dragoons (d.1860) and erected in the south aisle of the Lady Chapel.

Detailed watercolour depiction of the three light window, in medieval style, with a series of historiated scenes of the life of a figure dressed as a medieval knight - apparently Joshua (see below), set in quatrefoils and sexfoils, against a foliated background. Below the window the arcaded dado is depicted with a memorial brass cross and plaque, inscribed as follows:

Walter Unett Colonel,Late Lieutenant Colonel,3 King's Own Light Dragoons. This Window was the Gift of the Officers, NC Officers and men and several former comrades in the Regiment in which he had served upwards of 27 years, which he had quitted only 4 weeks before his death and with which he had fought and bled, in Afghanistan, Cahonl(?) and the Punjab at Kamringar Sedoolapore and Chillianwallah. Born 17th February 1815, Died 6th June 1860.
His remains were interred in the Parish Church Milverton

John Hardman (1811 - 67) was one of the pioneers of the stained glass revival of the nineteenth century and was responsible for most of the 19th century glass in Worcester. His Birmingham based operation started out as an ecclesiastical metal works but, at the suggestion of A.W.N. Pugin, the business expanded into glass manufacture in 1845. Pugin designed for the firm until his death in 1852 when this role passed onto his nephew John Hardman Powell.

Glennys Wild, Senior Curator in the Birmingham Museum Art Department, discovered that Surgeon Major MacKenzie (3rd Dragoons) ordered the window on 6th March 1861, with the subject of The Life of Joshua, intended to be the central window in the Lady Chapel. The Order Book is annotated 'MacKenzie has sketch'. Another entry on 4th May, 1863, states that he was sent framed and glazed drawings (sic) of the Unett memorial window and brass, as was George Unett of Broadwater Hall, Aston, Salop, in October, 1863. Reference to the Index to Memorial Brasses gives an entry for a cross, bust, arms and inset for Colonel Unett in 1862. The documentation was apparently sent to the International Exhibition of 1862 and exhibited there, possibly with the window. This would appear to be one of the framed and glazed drawings sent to MacKenzie or Unett in 1863.
£250-350
106.    LAURENCE PRESTON (1883-1960)
I GAVE / ICH GAB
signed l.r. L Preston
pen and black ink
47.5 x 28.5cm

Provenance:
Abbot and Holder 1995

Symbolic depiction of the equality of sacrifice and unity in death. Two souls of soldiers, one British one German, are seen ascending into heaven, against a stormy sky. Left behind on earth are four figures, two mourning women on the left, clasping laurel wreaths and with a grave cross each, one inscribed I Gave the other Ich Gab, and set with a Victoria and Iron Cross respectively. To the right are two kneeling figures, one female, gazing upwards, the other a male officer, eyes downcast. Behind him, with a hand on his shoulder, is Christ, pointing to the ascending souls.

Laurence Preston lived and taught in Brighton and exhibited landscapes at the Royal Academy between 1936-38. He died in 1960.


£250-350
107.    HECTOR MACDONALD SUTTON, A.R.C.A. F.R.S.A. (1903-1992)
THE RAZING OF THE OLD FIRE STATION, TOOTHILL LANE
pastel
50 x 50cm

Provenance:
Christie's South Kensington, 23.1.92., Lot 48

This at first appears to be largely abstract, but closer study reveals that it shows, in Cubist fashion, the artist on the left side, watching as the Fire Station goes up in flames. The title is inscribed at the bottom.

Sutton was Principal of Mansfield School of Art and President of the Mansfield Society of Artists. There was a former Fire Station in Toothill Lane, Mansfield, Nottinghamshire, and the Society had a studio above it. The Fire Station was destroyed in 1970 to make way for a car park. £200-300
108.    ROBERT POLACK (fl. 1920-1930)
JE LA TROUVAI A SON PIANO
watercolour
16 x 13cm

For La Confession d'un Enfant du Siecle by Alfred de Musset, published by Editions Nilsson, Parism c.1927

£100-150
109.    ENGLISH SCHOOL (EARLY 20th CENTURY)
PRIVATE IN THE EAST SURREY REGIMENT, 1917
pencil
Signed: indecipherable, possibly E... W...
23 x 17cm

Purchased Christie's South Kensington, 26.1.92, Lot 31
£100-150
110.    ENGLISH SCHOOL (19th CENTURY)
THE TOWER OF LONDON FROM THE POOL (c.1880)
aquatint
26 x 48cm

Provenance:
Henry Sotheran & Co. £40-60
111.    ARCHIBALD STANDISH HARTRICK, R.W.S (1864-1950)
THE ANGEL OF PEACE
watercolour on card
29 x 23.5cm

Born the son of an army officer, he was educated Fettes and Edinburgh University, and later studied art at the Slade under Alphonse Legros. During 1884-1885 he studied in Paris under Boulanger and from 1886-1887 under Cormon. He joined the staff of Daily Graphic in 1890. He was a member of NEAC from 1893, ARWS 1910 and RWS 1920, and was married to flower painter Lily Blatherwick.

£200-300
112.    CLAUDE ROWBERRY (1896-1962)
GÖTTERDÄMMERUNG, ALBERT, 20.IX.17
Signed: C.R.
watercolour on paper
28 x 19cm

Provenance:
Abbott and Holder, January, 2009

During World War I, the statue of Mary and the infant Jesus - designed by sculptor Albert Roze and dubbed the "Golden Virgin" - on top of the Basilica of Notre Dame de Brebieres was hit by a shell on January 15, 1915, putting it in a horizontal position and near falling. The Germans said that whoever made the statue fall would lose the war, and a number of legends surrounding the "Leaning Virgin" developed among German, French, and British soldiers. The Leaning Virgin became an especially familiar image to the thousands of British soldiers who fought at the Battle of the Somme (1916), many of whom passed through Albert, which was situated three miles from the front lines.
Albert was completely reconstructed after the war, and the Basilica was faithfully rebuilt according to its original design by Eduoard Duthoit, the son of the architect who had overseen its construction in 1885-95. The present statue is an exact replica of Roze's original design, and a war memorial designed by Roze and featuring an image of the "Leaning Virgin" can be seen in the "Abri" Museum, which houses souvenirs of the war.
Claude Rowberry was sergeant in the Tank Corps who had a sudden compulsion to paint. He came back to the UK on leave in 1917 and spent all his money on artists' materials; returning to the front he painted. He was awarded the Military medal in 1918. After the war he continued to paint, serving in the Second World War in England, North Africa and Italy. He was very secretive and showed his work to no one in his lifetime.

£300-500
113.    HERBERT HAMPTON (1862-1929)
DESIGNS FOR A MEMORIAL TO EARL HAIG
pencil
37 x 25.2cm

Provenance:
Abbott and Holder, 1997

These designs are for a monument to General Haig (who died in early 1928) in London. The eventual monument in Whitehall was by A F Hardiman and was not unveiled until 1937, after much controversy (c.f. A "matter for artists and not for soldiers"? The Cultural Politics of the Earl Haig National Memorial, 1928-37, by Stephen Heathorn, in Journal of British Studies, 44, July 2005).

Hampton was clearly intending a rather grand monument, with the equestrian figure in front of a substantial pillar surmounted by sculptures, or on a plinth. The drawings show the sculptor's initial ideas, although of course the monument was never carried out in this form.

Hampton was a sculptor and landscape painter, who had been trained at the Slade and in Paris. Noted for his portraits and for his public sculpture, his main public works include Queen Victoria for Ipswich, Lancaster, New Zealand, and India; King Edward VII and King George V for India and London; Lord Aberdare for Cardiff; The Hon. William Rolleston for New Zealand; The Marquess of Salisbury for the Foreign Office; The Duke of Devonshire for Whitehall; Lord Hardinge of Penshurst for Bombay & Bankispur; Lady Hardinge for Delhi. He also executed numerous portrait sculptures, many exhibited at Royal Academy exhibitions.

When Haig died, Hampton was one of several sculptors to put his name forward to do a memorial - including Wade, Adrian Jones, Jennings, Macdougal, Geraldine Blake Thomas, and the Frenchman Georges Malissard. When the competition, limited to 3 younger sculptors (Reid Dick, Ledward, and Jagger) was announced in January 1929, Hampton wrote in protest to the Times (published 5 February 1928). Sadly eight days later the same paper published his Obituary.
£600-800
114.    ARTHUR WRAGG (1903-1976)
SCARECROW FOR THE FIELD OF HONOUR
signed
pen and black ink
45 x 31cm


Provenance:
Abbott and Holder, October 2008


£200-300
115.    LIFFORD CLAYDON (fl. 1910-1934)
DESIGN FOR A FAMILY VAULT
Signed: Lifford Claydon, 1913
ink and watercolour
35 x 27cm

Provenance:
Abbott and Holder, January 2007

This is an extremely interesting design, as it incorporates all the elements that were to form part of the memorial vocabulary for war memorials after 1918. The style is reminiscent of Blomfield or Lutyens. Lifford Claydon was an architectural watercolourist who was active 1910-1925; he exhibited at the RA in 1924.
£100-150
116.    MARJORIE COX (1915-2003)
ETTY
pastel
53 x 53cm
£200-300
117.    GERALD FENWICKE METCALFE (1871-1953)
DESIGN FOR THE FIRST WORLD WAR MEMORIAL IN ALBURY CHURCH
signed l.l.: GERALD METCALFE
watercolour on board
38 x 25cm



The artist lived at Westside, Albury Heath. His death is recorded in the Albury parish register. He was born in India and studied at the South Kensington, St John's Wood and R.A. Schools. He was a portrait painter, miniaturist, mural painter and modeler, and exhibited widely.

Metcalfe was local to Albury and the model for the relief figure was a local postman. The arch and decoration reflect the Romanesque character of the Church exterior.
£700-1000
118.    FRANCIS DERWENT WOOD (1871-1926)
DESIGN FOR A WAR MEMORIAL FOR A CAVALRY REGIMENT
ink on paper with a grey wash
20 x 13.5cm
framed


Derwent Wood studied in Switzerland, Karlsruhe, the Royal College of Art, and as assistant to Legros at the Slade. He worked in Paris and Glasgow; served in RAMC during war and was involved with plastic surgery at Wandsworth Hospital. Subsequently he became Professor of Sculpture at the Royal College of Art. His most famous memorial is that to The Machine Gun Corps at Hyde Park Corner, from 1925.

(1) £200-300
119.    WILLIAM MONK (1863-1937)
VIEW OF THE TEMPORARY CENOTAPH IN WHITEHALL (1920)
etching

framed

Taken from Monk's Calendar for 1920, The Cenotaph, Whitehall. London. Published by W. Monk. Drawn, Etched and Printed by W. Monk at 118, New Bond Street, W.1.
The Calendar was published annually, with a distinctive London view. This representation of the Cenotaph shows the temporary wood and plaster monument that was erected for the Peace Celebrations on 19 July, 1919 and taken down in January 1920. The permanent stone cenotaph was unveiled on 11 November, 1920.

Around 100 copies of each calendar were produced, making the prints rare.

(1) £80-120
120.    ARTHUR WRAGG (1903-1976)
IS THE KINGDOM (1946)
pen and black ink
21 x 20cm
framed

Provenance: Abbott and Holder, 1992

The backdrop consists of a silhouette of the head of Christ, crowned with thorns, while in the foreground there are ruins, amongst which is the damaged Winged Victory. This is the drawing for Is the Kingdom from The Lord's Prayer in Black and White, published by Jonathan Cape in 1946 and republished in facsimile in 1989. It is not, therefore, a war memorial design, but may be seen as a response to the memorial issue at the end of the Second World War.

Arthur Wragg was born near Manchester on 3 January, 1903, and studied at Sheffield School of Art in 1916, moving to London in 1923. He was a prolific book illustrator, known especially for his black and white images. He was also deeply religious and was tortured by the inequalities of life and the brutality of war.

(1)
£150-200
121.    JOHN FLAXMAN, R.A. (1755-1826)
DESIGN FOR A MEMORIAL TO SOLDIERS KILLED AT TALAVERA (1809)
pencil
22 x 15.5cm
framed

Provenance:
Abbott and Holder, August, 2000.

Exhibited:
Walker Galleries

This is a drawing for the memorial to Captain Samuel Walker of the 3rd Regiment of Guards and Captain Richard Beckett of the Coldstream Regiment of Guards, both of whom fell at the Battle of Talavera in 1809. The extant monument, which cost £700, was erected by public subscription and is in the Parish Church of St Peter, Leeds.
The memorial dates from 1811 and a model of it was exhibited at the Royal Academy in that year (No.925) and two models survive in University College, London collection. One of these is on long loan to the Victoria & Albert Museum. It is very similar to the drawing, but includes the word Talavera on one of the flags.
The Battle of Talavera took place on 27-28 July, 1809. It was extremely bloody and fought at close quarters. The French lost 7,300 and Wellington lost 5,400 (more than a quarter of his entire force) in securing a narrow victory.

Literature:
W.G. Constable, John Flaxman 1755-1826, London 1927, pp.59, 91
J. Sprittles, Leeds Parish Church: History and Guide, 1967, 3rd edition
M. Whinney & R Gunnis, The Collection of Models by John Flaxman RA at University College London, 1967, Nos. 13 & 114
John Hall, The Biographical Dictionary of British Officers Killed and Wounded 1808-1814 (1998, published as Vol VIII of Oman's History of the Peninsular War)

(1)
£300-500
122.    CLARA KLINGHOFFER (1900-1970)
MOTHER AND BABY
pencil
45 x 31cm
framed

(1)
£60-80
123.    WILLIAM SHACKLETON N.E.A.C. (1872-1933)
CARVING THE WAR MEMORIAL: THE STONEYARD AT PUTNEY BRIDGE
Signed and dated 1923
oil and gouache on board
25.5 x 22cm

Provenance:
Abbot and Holder, List No 358, March 2004, no 181

Shackleton was born in Bradford, Yorkshire, and studied at Bradford Technical College before gaining a scholarship to the Royal College of Art in 1893. In 1896 he won a British Institute Scholarship which allowed him to study in Paris, at the Academy Julian, and in Italy where he was inspired by Renaissance art. On his return he settled in London but also painted in Sussex with his friend Edward Stott. A self-confessed symbolist, outside the mainstream of twentieth century British art, he exhibited at the Royal Academy from 1895-1919 and with the New English Art Club from 1899. £300-500
124.    FRANK JOSEPH ARCHER (1912-1995)
A PAIR OF WAR SKETCHES
pen and ink
Largest: 9.5 x 16.5cm
Inscribed on one: Ennui. Kings Cliffe after a wet day on the working party.
framed

(2) £80-120
125.    ENGLISH SCHOOL (c.1900)
MARKET CROSS, WYMONDHAM (c.1900)
watercolour
12 x 17cm
£40-60
126.    JOHN CALLOW (1822-1878)
A WINDMILL AND THAMES BARGE
watercolour
10 x 16cm

£100-150
127.    EDMUND PINK (1795-1847)
A DESIGN FOR A LIGHTHOUSE
ink and wash
14 x 29cm
£80-120
128.    CYRIL ARTHUR FAREY (1888-1954)
A DESIGN FOR THE MEMORIAL CRICKET PAVILION, CITY OF LONDON SCHOOL (1923)
watercolour and bodycolour over pencil
41 x 59cm

Provenance: Abbott and Holder, 1995

Literature:
C Kernot, British Public School War Memorials, London, 1927, pp213-6

A highly finished and detailed representation of the cricket pavilion designed by Knott (the architect of County Hall) and Stone Collins which was subsequently built at Grove Park, where it may still be seen. It is a two story building, with an upper portico approached by a double flight of steps. There several figures, to give scale, and the pediment shows the inscription which it carries:

MCMXIV LIBERTATIS VINDICIBUS VITAM PRO PATRIA LARGITIS CONDISCIPULI MCMXVIII

The architects were old boys of the school (but not Farey, who went to Tonbridge). The memorial consisted of the playing fields themselves, which were acquired, together with the pavilion. The tea room is decorated with war pictures symbolising self-sacrifice, painted by Steven Spurrier, another old boy.The foundation stone was laid on the 3rd November 1924 and opened by the Lord Mayor, Sir Alfred Bower, on 10th July, 1925.
£500-700
129.    JOHN PIPER, C.H. (1903-1992)
WESTMINSTER (1961)
Signed and numbered 41/100
lithograph
57.7 x 80.6cm

Provenance:
Abbott and Holder, June 2003

Literature:
Orde Levinson, John Piper: the Complete Graphic Works; A Catalogue raisoné 1923-83, London 1987, No 11 £500-700
130.    H.W. SIMISTER (fl. 1904-1940)
DESIGNS FOR THE WAR MEMORIAL, COVENTRY
charcoal, watercolour and gouache
96 x 53cm

Provenance:
Abbott & Holder, May, 2008

There are the following inscriptions in red crayon, faded:

CORPORATION OF THE CITY OF COVENTRY/ PROPOSED WAR MEMORIAL, STYVECHALE PARK
CROWNING FIGURE OF ST GEORGE / trampling on the dragon and carrying a child TYPIFIYING THE NEW WORLD/ The Mothers of England/ SUGGESTED INSCRIPTION/TO THE MOTHERS OF ENGLAND/ WHO SUFFERED IN SILENCE / AND WATERED THE FLOWER/ OF FREEDOM WITH THEIR TEARS/ ARMS OF UNITED KINGDON & ALLIES IN SUITABLE POSITION ON THIS STAGE
The Saints of PEACE
ST FRANCIS/ST PATRICK/ST LOUIS/ST ANDREW/ST DAVID/ST NICHOLAS/ST JOAN/ST MARY
FIGURE OF PEACE WITH CHILDREN

A competition was set up to design the War Memorial. This was won by architect Thomas Tickner and the Memorial was built in 1927; it is a modernist tower around 90 feet high. This is Simister's entry for that competition. He was an architect based in Birmingham, who also worked in Coventry. His best-known building, with Edward Garret, is the Coventry Council Hall.

(2) £400-600
131.    HECTOR MACDONALD SUTTON (1903-1992)
A PORTRAIT OF A CADET (1943)
red chalk
53 x 36.5cm

Provenance:
Bonham's 18.2.98., Lot 186
£200-300
132.    MARJORIE COX (1915-2003)
TESS AND BELLA
pastel
59 x 65cm
£300-500
133.    EDMUND PINK (1795-1847)
A DESIGN FOR A CENOTAPH
watercolour over pen and ink on paper
37 x 51cm

Provenance: Abbott and Holder, December 1999.

Design for a Cenotaph, with a lateral depiction of the structure and in the upper right hand corner, the ground plan. The latter shows a square central building, circular on the interior, with each side of the square preceded by a double colonnade, producing a cruciform plan. The whole is raised on a plinth, approached by steps on each side. The building is therefore related to the numerous mausolea designed in the early years of the 19th century along classical lines. The lateral view shows that each colonnade was to be preceded by pairs of mourning figures. The colonnade is ionic, with an arcaded superstructure bearing wreaths and pilasters, surmounted by funerary urns, aligned with the columns beneath. The central space emerges as a drum for a dome, crowned by a broken column which emerges from what seem to be the sterns of ships - suggesting that the design was intended for a naval monument.
The words - DESIGN - FOR - A - CENOTAPH - inscribed in ink at the bottom.

Edmund Pink was an architectural draughtsman and trader with the firm of Standfast & Co. In 1820 he traveled to The Cape, going on to Rio de Janeiro in 1821. On both legs of the journey he kept a journal and made numerous topographical illustrations. Christies sold these in 1994 and 1997. The albums exceeded their estimates, with the Brazilian collection selling for £41,000 and the South African material for £22,000. Abbott and Holder acquired a collection of his architectural drawings in 1999. These do not seem to belong to the foreign journeys and some are dated to the mid 1820s. The quality of his architectural drawing, reminiscent of Soane, suggests he was professionally trained, but no buildings by him have yet been traced.

£500-700
134.    JOHN PIPER, C.H. (1903-1992)
WYMONDHAM ABBEY
Signed, A.P. Final Edition of 70
screenprint
55.7 x 76.6cm

Provenance:
Purchased from Melanie de Blank, 2004

Piper used to stay with the de Blanks when they were running a hotel in Norfolk and he was working in the area. He often paid his bill 'in kind' and gave them a picture, usually an artist's proof.
£500-700
135.    DAVID HOCKNEY (b. 1937)
A POSTER FOR THE RAKE'S PROGRESS
94.5 x 76

For 'An Exhibition of Costume Drawings and Set Designs, Ashmolean Museum, May 18th - June 30th 1981'
£250-350
136.    TOM PHILLIPS (b. 1937)
FLYING MAN (1983)
Inscribed final proof and signed
screen print
84 x 63cm


From the series of Nine Screen Prints on Dante's Inferno shown at Waddington Graphics in 1983. This print is number 8 in the series.

Phillips attended St Catherine's College, Oxford, reading English while also studying drawing at the Ruskin School. He went to Camberwell School of Art in 1961, and later went on to teach at the Bath Academy of Art, Ipswich and Wolverhampton Art College. He has been chairman of the Royal Academy's Exhibitions Committee since 1995. He is a member of the Royal Society of Painter Etchers and Engravers, an Honorary Member of the Royal Society of Portrait Painters and an Honorary Fellow of St Catherine's, Oxford. He is also a trustee of the National Portrait Gallery and of the British Museum.

The Bodleian Library acquired his version of Dante Alighieri's Inferno in 2007 for £18,000, which included a number of proofs, trial sheets and other archive materials. The then-Keeper of Western Manuscripts and Special Collections described the acquisition as "one of the greatest Artists' Books of the 20th century".

£300-400
137.    A GROUP OF MEMORIAL RELATED OBJECTS
INCLUDING A CENOTAPH MONEY BOX, A RESIN MODEL OF THE CENOTAPH AND TWO CERAMIC MEMORIAL SCULPTURES
various sizes and media

(4) £40-60
138.    A GROUP OF FIRST WORLD WAR RELATED OBJECTS
INCLUDING A TRENCH ART CRUCIFIXION, SOME ITEMS OF MEMORABILIA AND TWO BRONZE MEMORIAL PLAQUES
various sizes and media

(5) £40-60
139.    A GROUP OF PRINTS RELATING TO VAUXHALL GARDENS
INCLUDING BALLOON ASCENT, THE ITALIAN WALK, VIEWS IN VAUXHALL GARDENS AND PERSPECTIVE OF THE GRAND WALK
prints
Largest: 17.5 x 26cm

Literature:
David Coke & Dr Alan Borg - Vauxhall Gardens: A History, Yale University Press (2nd ed. 2011)

(4)

£40-60
140.    A GROUP OF PRINTS RELATING TO LONDON
INCLUDING ST JOHN'S GATE CLERKENWELL, ST JAMES' PALACE, SOUTHWARK FROM CHATHAM PLACE, THE OBELISK IN ST GEORGE'S SQUARE, HOSPITALLERS' HOUSE, THE CIRCUS AND OBELISK IN ST GEORGE'S FIELD & CLERKENWELL, ST JOHN'S GATE
prints
Largest: 27 x 43cm

(7)
£40-60
141.    A GROUP OF PRINTS RELATING TO THE FOUNDLING HOSPITAL AND BETHLEHEM HOSPITAL
INCLUDING NEW BETHLEHEM HOSPITAL ST GEORGE'S FIELDS, THE BETHLEHEM HOSPITAL, FRONT VIEW OF BETHLEHEM HOSPITAL, NEW BETHLEHEM HOSPITAL, THE FOUNDLING HOSPITAL CHAPEL, THE FOUNDLING HOSPITAL AND A VIEW OF THE FOUNDLING HOSPITAL
Largest: 21 x 33.5cm

(7) £40-60
142.    JOSEPH JOHN SKELTON (1783-1871)
THE FRONT OF BRASENOSE COLLEGE, OXFORD (& A 17th CENTURY VIEW OF BRASENOSE COLLEGE, & THE RADCLIFFEE LIBRARY)
engravings
Largest: 20 x 26.5cm

(3) £80-120
143.    ROBERT WILKINSON (1768-1825)
THE FOUNDLING HOSPITAL (1750)
hand coloured engraving
48 x 61cm

£80-120
144.    JACQUES RIGAUD (c.1681-1754) AFTER PAUL ANGIERT (ACTIVE c.1749)
A VIEW OF THE HOTEL DE VILLE, PARIS
Published by Robert Sayer, 1749
hand-coloured engraving
22.5 x 36.7cm
£80-120
145.    AFTER JOHN DONOWELL (fl.1753-1786)
THE IRONMONGERS' HALL, FENCHURCH STREET
Published by Robert Sayer & Sons, 1750
hand-coloured engraving
Largest: 22.5 x 36.5cm
£80-120
146.    A COLLECTION OF PRINTS RELATING TO THE TOWER OF LONDON
INCLUDING THE HORSE ARMOURY, VARIOUS VIEWS OF THE TOWER, THE GREAT HORSE ARMOURY, CROWN JEWEL ROOM & A MAP OF THE TOWER
prints
Largest: 21.8 x 15.5cm

(6) £80-120
147.    TWO PRINTS OF WESTMINSTER COLLEGE
INCLUDING ONE BY DANIEL KING (17th CENTURY) & A VIEW FROM LITTLE DEAN'S YARD
engravings
Largest: 31.5 x 17.6cm

(2) £40-60
148.    A SELECTION OF PRINTS RELATING TO VAUXHALL GARDENS
INCLUDING MADAME SAQUI, ADVICE TO SYLVIA, GEORGE FRIEDRICH HANDEL AND THE STATUE OF G.F. HANDEL
Largest: 32 x 22cm

Literature:
David Coke & Dr Alan Borg - Vauxhall Gardens: A History, Yale University Press (2nd ed. 2011)

(4) £40-60
149.    WENCESLAUS HOLLAR (1607-1677) AFTER HANS HOLBEIN (1497-1543)
THE RAPIER OF PRINCE EDWARD, SON OF HENRY VIII
(including a print of Arms and Armour of the Tower of London)
Hollar: 19.3 x 13.4 cms

Depicts the hilt and associated mounts of an elaborately chiselled rapier in renaissance style, designed by Hans Holbein the Younger for Edward, son of King Henry VIII. The lower left of the plate bears the following inscription:
Holbein delinevit olim pro Edwardo Principe Filio Henrici Octavi Regis Anglia, et nunc Wenceslaus Hollar Bohe, aqua forti aeri insculpsit, secundum originale quod habet Comes Arundalae, Ao 1642

(Holbein once drew this for Prince Edward, son of Henry VIII King of England, and now Wenceslaus Hollar Bohe etches this, after the original which the Town of Arundel possesses)

Combining as it does the work of Holbein and Hollar, this is a rare piece. It is one of four etchings of weapons in the Arundel collection after drawings by Holbein (the other three are daggers) but the original drawings do not survive.

Literature:
Richard Pennington, A Descriptive Catalogue of the Etched Work of Wenceslaus Hollar 1607-1677, Cambridge University Press, 1982, Cat. no. 2
J.F. Hayward, Virtuoso Goldsmiths 154-1620, Sotheby Parke Bernet Publications, 1976, p.358:"The ornament of the hilt introduces numerous infant boys, some armed in combat, others more peacefully engaged. The design of the belt hook terminates above in a putto climbing up a helmet crest. This must have been one of Holbein's last drawings for the English court, executed shortly before his death in 1543". £350-450
150.    GROUP OF MISCELLANEOUS PRINTS
INCLUDING A SCENE IN DOWNING STREET, THE ART OF LIMNING, A PORTRAIT OF A LADY, ABBOTSFORD & THE REV. J. WILLIAMS
prints
Largest: 14.5 x 21.3cm

(5) £40-60
151.    A GROUP OF MISCELLANEOUS PRINTS
INCLUDING A PORTRAIT OF T. MORRELL, A CONSULTATION PREVIOUS TO A RECORD BREAKING AIRBORNE EXPEDITION, WYMONDHAM ABBEY, A PORTRAIT OF RICHARD SUTTON, AN EXHIBITION AT THE NORWICH POLYTECHNIC INSTITUTION, A PRIVATE OF THE GREYS & FRANCE 1914-1917 CARTOON
prints
Largest: 27.5 x 22

(7) £40-60
152.    KENNETH ROWELL (1922-1999)
STUDY: OIL AND COLLAGE
oil and collage
26 x 34.5cm
£250-350
153.    ENGLISH SCHOOL (20TH C.)
TWO GIRLS
oil on canvas
53 x 38cm
£100-150
154.    CLAUDE BOUSSIN (EARLY 20TH C.)
INTERIOR OF AN ARTIST'S STUDIO
oil on board
32 x 39cm

£300-500
155.    HELEN STUART WEIR (1915-1969)
A KENSINGTON INTERIOR
signed l.l.: H. Stuart Weir
oil on board
40 cm by 50 cm

Exhibited
Atkinson Art Gallery, Southport, mid 20th Century. £300-500
156.    THOMAS BONAR LYON (1873-1955)
CARTING HAY - AUCHENCRIVE
signed l.l.: T BONAR LYON
oil on canvas
28 x 36cm

Bonar-Lyon began his studies at the Glasgow School of Art, before going on to the Royal College of Art and spending time in France and Belgium. He was closely affiliated with the Royal Scottish Academy, the Royal Glasgow Institute of Fine Arts, the Glasgow Arts Club and the Irvine Royal Academy, where he was the art master.

Bonar-Lyon was influenced by his time in France and showed an affinity for the French Impressionists. £500-700
157.    KIT GUNTON (1900-1980)
A PROVENCAL VILLAGE VIEW
Signed l.l.: Kit Gunton
oil on board
20 x 29cm


£100-150
158.    JAMES PROUDFOOT R.A. N.E.A.C. (1908-1971)
THE BLACK HAT
Signed l.r.: J. Proudfoot '40
oil on canvas
46 x 38cm

James Proudfoot was born in Perth where he was educated at Perth Academy before going on to St Andrews University. After a short time working in his father's carpet business he moved to London to study at Heatherley's and Goldsmith's College. A dashing figure and married to the actress Ellen Pollock be became a well know painter of landscape and portraits of well known actors of stage and screen. He received a honourable mention for his portrait of Peter Ustinov in the 1956 Paris Salon. He exhibited at the Royal Academy, New English Art Club and Royal Scottish Academy.
£400-600
159.    FRANCES WATT (1923-2014)
MOVEMENT - ICE SKATERS
sold with Figure of a Skater
Signed l.r.: Frances Watt - 1984
oil on board
22 x 32.5cm

Provenance: The artist's estate

Edith Frances Watt was born in Falkirk in 1923. In 1926 the family moved to Switzerland when her father, the Rev Thomas Meikle Watt, was appointed permanent chaplain to the Church of Scotland in Geneva. Her father died in 1938 and the family returned to Scotland where Frances continued her schooling at Aberdeen High School for Girls. Her mother moved the family to London in about 1940 and they settled in Southwood Lawn Road, Highgate. Frances attended the Hornsey School of Art were she gained a National Diploma in Design before going on to study at the Byam Shaw School in London, where she later taught. In Highgate she was a member of the Highgate Artists Group, which included Sir Kyffin Williams among its exhibiting members, and she was also an active member of the Highgate Choral Society, designing many programmes and posters for its productions in the 1950s.

(2) £120-180
160.    FRANK LEWIS EMANUEL (1865-1948)
PONT SANT MICHEL, PARIS
Signed l.r.: 1922 Frank L Emanuel
oil on panel
24.5 x 34.5cm

Emanuel was born and lived in London where studied at the Slade under Alphonse Legros before further studies at the Academie Julian, Paris. From the late 1880s he began to show at the Royal Academy and Paris Salon, also exhibiting at the New English Art Club and elsewhere. He travelled widely in Europe, Africa and Ceylon. He became chief examiner for the Royal Drawing Society and published a number of books on etching and general art criticism. He is represented in the collection of the Tate Gallery, London.
£400-600
161.    ENGLISH SCHOOL (20TH C.)
ORANGE HONEYSUCKLE VINE
oil on canvas
65 x 30cm

£80-120
162.    JAMES DICKSON INNES (1887-1914)
OPEN LANDSCAPE WITH ROCKS
oil on panel
32.5 x 40.5cm

Provenance:
Euphemia Lamb; thence by descent

Innes was only twenty seven years old when he succumbed to tuberculosis in August 1914. In his short life he had nevertheless already gained a reputation as one of the most important and original British landscape painters of the pre-war years, in a style that strongly responded to the work of the Post Impressionists. The best of these works include a series of visionary landscapes of the Arenig valley in North Wales many painted with ?Augustus John in 1911 and 1912. The present work has also been identified as a Welsh subject and probably dates from the same period. A recent retrospective of Innes's work was held at the National Museum of Wales in 2014.

£3000-5000
163.    REGINALD MILLS (FL.1921-1938)
A CONTINENTAL COURTYARD SCENE
oil on canvas
49.4x39.4cm
£200-300
164.    NINA HILL (1877-1970)
STILL LIFE WITH ORIENTAL FIGURES
Signed: Nina Hill
oil on canvas
95 x 82cm
£500-700
165.    RONALD OSSORY DUNLOP (1894-1973)
A PORTRAIT OF A MAN
Signed lr.: Dunlop
oil on canvas
68 x 58cm

£200-300
166.    EDWARD BOUVERIE HOYTON (1900-1988)
A MALTESE HARBOUR
Signed l.l: E Bouverie Hoyton
oil on canvas
62.4 x 72cm
£300-500
167.    MARY MCEVOY (1870-1941)
A PORTRAIT OF A GIRL
oil on canvas
64 x 54 cm
£300-500
168.    TERRICK WILLIAMS, R.A. (1860-1936)
A WEST COUNTRY HARBOUR TOWN
signed and dated l.r.: Terrick Williams R.A. 1903
oil on canvas
65 x 44.5 cm
£1500-2000
169.    EMILY COURT (1880-1957)
A LANDSCAPE
signed l.l: E Court
oil on canvas
84 x 98cm
£500-700
170.    H. HARDY SIMPSON (BRITISH 19th-20th CENTURY)
BIRDS FLOCKING TO AN INLET
signed and dated l.l.: H. HARDY SIMPSON, 1906
oil on canvas
79 x 58cm


£600-800
171.    ALFRED ROBERT HAYWARD (1875-1971)
SUNRISE OVER LAKE
signed indistinctly l.l.
oil on canvas
50.5 x 67
£500-700
172.    BEATRICE CROSBY (SOUTH AFRICAN 20th CENTURY)
SOUTH AFRICAN PLAINS
oil on canvas
34 x 50.5cm
£100-150
173.    HILARY LEIGHTON (contemporary)
FOUR ABSTRACT CANVASES
acrylic and oil on canvas
30 x 30cm

(4) £40-60
174.    GRAHAM REDGRAVE RUST (B.1942)
A PAIR OF ROMAN VIEWS
pen and red ink
Largest: 37 x 44cm

(2) £80-120
175.    JOHN SERGEANT (1937-2010)
A BOX OF SUGARED ALMONDS
charcoal on paper
38 x 46cm


Sergeant was a technically gifted draughtsman who worked in black and white. He taught at Canterbury College of Art, and at the Dover and Folkestone Art Schools. His work is characterised by attention paid to the details of mundane minutiae, imbuing everyday ephemera with a greater sense of importance.

£300-500
176.    JOHN STANTON WARD R.A. CBE (1917-2007)
THE PIAZZA NAVONA
watercolour
48 x 53cm
£250-350
177.    ANTHONY JOHN WALTON (B.1934)
THREE COSTUME DESIGNS FOR VALMOUTH
(1) oil with collage & gold leaf (2) watercolour over pen & ink (3) gouache, pen & ink
Largest 83 x 64cm

Anthony Walton is an Oscar-winning costume designer and artist. He was the costume designer and visual consultant for May Poppins (1964), All That Jazz (1980) and was the stage set designer for Diana Ross' For One and For All concert which had an audience of 1,200,000 in Central Park.

(3) £400-600
178.    ANTHONY JOHN WALTON (B. 1934)
A SET DESIGN FOR VALMOUTH
watercolour and pen over ink
54 x 83cm
£300-500
179.    MIDDLE-EUROPEAN SCHOOL (20th CENTURY)
A SEATED WOMAN AND DOG
watercolour over pencil on japan paper
34.5 x 24.5cm
unframed

£200-300
180.    WILLIAM GEAR R.A. (1915-1997)
UNTITLED - BLUE AND BLACK
ink and watercolour
38 x 28cm

As curator of the Towner Gallery in Eastbourne, Gear challenged public tastes with his acquisition programme which included a number of contemporary artists, including Alan Davie, Peter Lanyon and Edward Wadsworth. However his actions laid the foundation for a collection now recognised for its calibre.

His own artwork was purchased by the Tate and the National Gallery of Scotland. Following the War he joined the group known as the 'Monuments Men'. He moved to Paris after this and became an influential member of the 'CoBrA' art movement. He continued to paint throughout his life, and these works were commissioned from the artist by the present owner.
£600-800
181.    WILLIAM GEAR R.A. (1915-1997)
UNTITLED - RED, BLUE AND BLACK
ink and watercolour
39 x 29cm
£600-800
182.    WILLIAM GEAR R.A. (1915-1997)
A FOLIO OF WATERCOLOURS
watercolour
Largest: 49.5 x 35cm
unframed

(3) £800-1200
183.    HARRY BLOOMFIELD (1883-1940)
MOULIN ROUGE DANCER
watercolour, ink and pencil on paper
23.5 X 14.5cm
£250-350
184.    NICO JUNGMANN (1872-1935)
BRITTANY
signed with the artist's monogram l.r. and inscribed with title u.l.
gouache, watercolour, and ink
9 cm by 7.5 cm

Born in Holland and apprenticed to a church painter, Jungmann studied at the Rijksacademie before coming to London on a scholarship and settling as a British subject. His figurative work is highly decorative, frequently Art Nouveau in character and often executed on trips back to the continent to Holland (where he painted regularly in Volendam), and to Brittany and Normandy. He illustrated some highly acclaimed topographical works from these travels including Holland (1904), Norway (1905), and Normandy (1905). His wife Beatrix Mackay also wrote the text for the book on Norway. £600-800
185.    ADRIAN HILL (1895-1977)
A SELECTION OF WATERCOLOURS
Signed variously l.r. & l.l. Adrian Hill
watercolour, pencil, pen and ink collage
Largest: 42 x 29cm
unframed

Adrian Keith Graham Hill was born in Charlton, London and educated at Dulwich College. He studied art at the St John's Wood School of Art and at the Royal College of Art. During World War I he joined the Scouting and Sniping Section of the Honourable Artillery Company but by 1917 he was appointed an official war artist and many of his paintings and sketches of the Western Front are now in the collection of the Imperial War Museum. After the war he took up painting professionally and also taught at Hornsey School of Art and Westminster School of Art. His work combined elements of impressionism and surrealism as well as more conventional representations. He exhibited at the Royal Academy, New English Art Club, Royal Society of British Artists, Paris Salon and elsewhere.

In 1938, while convalescing from tuberculosis at the King Edward VII sanatorium in Midhurst, he passed his time by drawing nearby objects from his hospital bed, and found the process helpful in aiding his own recovery. In the following year occupational therapy was introduced into the sanatorium and he was invited back to teach drawing and painting to the other patients, many being the first injured soldiers returning from the war. Hill found that the practice of art not only helped take the patient's mind off their illness or injuries but also helped to release their mental distress by expressing their anxieties and the scenes they had witnessed during the war. In 1942 Hill first used the term Art Therapy and in 1945 published his ideas in the book Art Versus Illness. He later became president of the British Association of Art Therapists.

(7)
£200-300
186.    THEYRE LEE-ELLIOT (1903-1988)
COMPOSITION OF THREE DANCERS
Signed l.r.: Lee Elliot '40
gouache
32.5 x 23cm

Lee-Elliott was born as David Lee Theyre Elliott in Lewes, Sussex. After Winchester he read Theology at Magdalene College, Cambridge, where he was high-jump champion, played lawn tennis for the University and table tennis for England. After Cambridge he moved to London and attended the Central School of Arts and Crafts (1925-27) before going on to the Slade School of Art.

He was a noted graphic designer, particularly of posters for such companies as Imperial Airways, Southern Railways and the General Post Office. For Imperial Airways he designed the Speedbird logo in 1932 and they continued to use the emblem, throughout it's reforming as BOAC and eventually as British Airways, until 1985. For the General Post Office he famously designed the Airmail Wings.

Before the war he became involved painting the scenery and backdrops at Sadler's Wells, painting the dancers in his spare time and in 1937 held his first exhibition at Sadlers Wells Theatre in aid of the Ballet Benevolent Fund. It was followed by similar exhibitions in San Francisco and Hollywood. In 1947 he published Paintings of the Ballet. He had several one-man exhibitions both abroad and in London at the Redfern Gallery and Thackery Gallery. After a serious illness in the mid fifties he painted a series of powerfully Expressionist religious pictures and in 1965 he was chosen to contribute three works to the British section at Musee de'Art Modern, Paris, International Exhibition of Religious Art. In later life he became a recluse, living his last years in Sloane Avenue, Chelsea. After his death a retrospective exhibition was held at the Chelsea Arts Club.

£150-200
187.    REGINALD BRILL (1902-1974)
IRELAND
Signed l.r.: Reginald Brill
watercolour
25.5 x 40cm

Provenance: The artist's studio

Brill was born in London. From the age of 13 he was taking night classes at St Martin's School of Art and in 1921 he won a scholarship to The Slade where he studied under Tonks, 1921-24. In 1927 he won the Prix de Rome for Decorative Painting and was at the British School in Rome 1927-9. He taught at Blackheath School of Art before spending 3 months painting in Egypt in 1930. In 1934 he took up an appointment at The School of Art, Kingston upon Thames. His energy and enthusiasm revolutionized the department and within 5 years a purpose built School of Art was opened. He became principal of the school at the age of only 30 and had transformed it into one of the most respected art schools in England. Brill published two books; Modern Painting in 1946 and Art as a Career in 1962. He valued drawing as the solid base for his work and his narrative and social realist paintings reflect his interest in people and every day events. He exhibited at the Royal Academy, Leicester Galleries and in East Anglia, where he lived, at Lavenham.

This work was executed in 1933. In her biography of Brill, Judith Bumpus commented on the artist's painting trip to Ireland: "In 1933 he visited Donegal, where the lochs and mountains, particularly in the area around Muckish, inspired some of Brill's most spontaneous and purely painterly watercolours. Nowhere else did he take such obvious pleasure in capturing the richness of the landscape: the vivid, moist colours, the patterns made by the vegetation and cloudy skies, and the swiftly changing light so characteristic of this area." (Bumpus, Reginald Brill, 1999, p.18).
£120-180
188.    REGINALD BRILL (1902-1974)
IRISH LANDSCAPE
watercolour
29.5 x 46.5cm

Provenance: The artist's estate
£120-180
189.    ROLAND VIVIAN PITCHFORTH R.A. (1895-1982)
ZULU SHOPPERS AT A MARKET STALL, SOUTH AFRICA
Signed l.r.: Pitchforth '46
coloured chalks
43 x 35.5cm

Provenance:
Gerald Pitchforth, the artist's brother
Bonhams, Vivian Pitchforth Studio Sale 15.3.1990, lot 58
Private Collection

Exhibited: Wakefield Art Gallery & Museum, Pitchforth Exhibition

Pitchforth was born in Wakefield, North Yorkshire. He studied at Wakefield School of Art 1912-14, Leeds School of Art 1914-15 and 1919-20 (served in the Wakefield Battery, Royal Garrison Artillery 1915-19), and the Royal College of Art 1920-5, also visiting Paris. He was a member of the London Artists' Association 1928-32 and the London Group from 1929. His first one-man exhibition at the London Artists' Association was held in 1928 and thereafter he held further shows at the Lefevre, Redfern, Collings and Leicester galleries. He exhibited regularly at the Royal Academy from 1941, becoming a full member in 1953. A retrospective exhibition was held at Wakefield Art Gallery in 1943. At the war's end, Pitchforth acquired a lung infection and spent 1945-46 convalescing in South Africa before returning to London in 1948. From this period he took to working exclusively in watercolours. Visited Ceylon and Burma 1945 and worked in South Africa 1945-8, exhibiting at Cape Town, Durban and Johannesburg. An influential teacher, he taught at Camberwell from 1926, St Martin's School of Art from 1930 and the Chelsea Polytechnic from 1948; also teaching for a time at Clapham 1926-39 and the Royal College of Art 1937-9. Works by him are in many public collections both in this country and abroad.
£400-600
190.    HAROLD HOPE READ (1881-1959)
THE LOVERS
pen and ink
32 x 28cm
£200-300
191.    OLIVER MESSEL (1904-1978)
A PAIR OF COSTUME DESIGNS FOR CLEOPATRA
watercolour
67 x 54cm

(2) £800-1200
192.    OLIVER MESSEL (1904-1978)
A PAIR OF COSTUME DESIGNS FOR CLEOPATRA
watercolour
67 x 54cm

(2) £800-1200
193.    EDWARD WEBB (1805-1854)
A MOUNTAIN LANDSCAPE WITH A LAKE AND A FIGURE
watercolour
14 x 20.5cm

Provenance:
The Manning Gallery
£80-120
194.    WILLIAM WYLD (1806-1889)
A LANDSCAPE IN NORTHERN FRANCE
watercolour
8.5 x 23.5cm

Provenance:
Anthony Reed

£200-300
195.    ARTHUR REGINALD SMITH (1873-1935)
WINTER IN THE YORKSHIRE DALES
signed l.l.: A.R. Smith
watercolour
18.5 x 37cm

Provenance:
Anthony Reed
£200-300
196.    GEORGE BUTLER, R.W.S. (1904-1999)
A LINCOLNSHIRE LANDSCAPE (sold together with a pencil portrait of a woman leaning on a chair by the same hand, signed and dated 1964)
watercolour over pen and ink
23.5 x 34cm

Provenance:
The artist's niece

(2)
£150-200
197.    ALAN DAVIE R.A. (1920-2014)
DANTES
signed and dated l.r.: Alan Davie 70 and inscribed with title u.r.
with dedication on reverse of frame
watercolour with brush and ink
25.5 cm by 17.5 cm; 10 in by 7 in
framed

(1) £700-1000
198.    ALFRED KINGSLEY LAWRENCE R.A. (1893-1975)
LARGE FOLIO OF PORTRAIT DRAWINGS
various media
various sizes
unframed

Kingsley Lawrence studied at the King Edward VII School of Art in Newcastle upon Tyne under Richard Hatton, and then at the Royal College of Art under Sir William Rothenstein. The Nationl Portrait Gallery purchased his portrait of Rothenstein for its collection. He won the Prix de Rome and worked in Italy in 1923. He was elected Royal Academician in 1938 and was a member of the Royal Society of Portrait Painters. His murals are in the Palace of Westminster, the Bank of England and the Laing Art Gallery and Museum in Newcastle.

(18) £250-350
199.    SIR THOMAS MONNINGTON P.R.A. (1902-1976)
STUDIES FOR THE BRISTOL CITY COUNCIL MURALS
various media, incl. pencil on tracing paper
various sizes

Monnington studied at the Slade, and won a three year scholarship to the British School in Rome. Upon return to England Monnington taught at the Royal College of Art and the Royal Academy Schools. He worked alongside Sir William Rothenstein and Sir George Clausen. Monnington became President of the Royal Academy in 1966 and was knighted a year later.

(4) £100-150
200.    A FOLIO OF DRAWINGS
Including a pencil drawing of a house by Clare Leighton, a pair of life drawings by William S. Taylor, head of a boy by Alfred Kingsley Lawrence and other drawings
Mostly pencil, one lithograph with hand colouring
various sizes
unframed

(9) £100-150
201.    HARRY EPWORTH ALLEN (1894-1958)
A FOLIO OF DRAWINGS
various media
various sizes
unframed / loose

Allen was a member of several artistic societies including the Pastel Society, Sheffield Society of Artists and the Heeley Art Club. The British Museum, The Hepworth Wakefield and the Derby Art Gallery are among the institutions which hold his works. £80-120
202.    CHARLES ERNEST CUNDALL, R.A. R.W.S (1890-1971)
PAIR OF VIEWS OF WINDSOR
watercolour on paper
mounted as one
unframed

Cundall was a member of the New English Art Club, the Royal Watercolour Society, the Royal Society of Portrait Painters and regularly exhibited at the Royal Academy, being elected an Academician in 1944. His works are held in various collections including the Tate and the Imperial War Museum.

£80-120
203.    ALAN SORRELL (1904-1974)
A FOLIO OF DRAWINGS:
various media
various sizes
unframed / loose

Sorrell was a Senior Assistant Instructor of Drawing at the Royal College of Art and in 1937 was elected a member of the Royal Watercolour Society. In 1928 he nwon the Prix de Rome in mural painting and spent three years at the British School in Rome. Today he is best remembered for his archaeological illustrations, sketches of which are included in this folio.

(8) £80-120
204.    VICTOR HUME MOODY R.B.S.A (1896-1990)
PAIR OF DRAWINGS OF FOXGLOVES
unframed

Moody studied under Sir William Rothenstein at the Royal College of Art and later became Headmaster of Malvern School of Art. He exhibited at the Royal Academy, the Royal Society of Portrait Painters and the Royal Society of British Artists.

(2) £60-80
205.    JOHN CHARLES MOODY (1884-1962)
FOLIO & SKETCH BOOK: various subjects including studies of horses, architectural studies and figure studies
various sizes
watercolour and pencil

Moody was at one point President of the Society of Graphic Art. He produced posters for several travel companies.

(26) £80-120
206.    ALFRED KINGSLEY LAWRENCE R.A. (1893-1975)
LARGE FOLIO OF PORTRAIT DRAWINGS
various media
various sizes
unframed

(17) £250-350
207.    AMERICAN SCHOOL (EARLY 20th CENTURY)
A SHIPPING SCENE WITH DISTANT VIEW OF MILWAUKEE CITY HALL
signed indistinctly l.l.
watercolour
50.5 x 67.5cm
unframed, mounted
£300-500
208.    TALITA M. FONTANA (1904-1985)
A PASTORAL SCENE
signed with monogram and dated l.r.: 1929
watercolour
30.5 x 21.7cm
£80-120
209.    ANTHONY BAYNES (1921-2003)
A GROUP OF OIL PAINTINGS
including 'The Grecian Mask', a landscape on the Greek coast, English landscape, a view from the artist's studio and still life with white flowers
including several oil on paper, two oil on canvas (unstretched) and an oil on canvas

Provenance:
Neil Campbell Wilson

(7) £100-150
210.    S. COALBANK (19th-20th CENTURY)
DIAMOND HEAD, HAWAII
inscribed l.m.: S. COALBANK
watercolour on paper
29 x 22.3cm
unframed, mounted
£100-150
211.    PHILLIP WILSON STEER, O.M. (1860-1942)
ROSYTH 1917
watercolour
20.5 x 33 cm

Provenance:
Acquired by the current owner from Spink and Son, October 1974

£100-150
212.    BERNARD MENINSKY (1891-1950)
A STANDING FEMALE NUDE
signed l.r.: Meninsky
coloured chalks
58.5 x 20.5cm

Provenance:
Wyndham T Vint
Bill Thomson (Albany Gallery)

Exhibited:
The Arts Council of Great Britain, Wyndham Vint Collection, no. 13

£400-600
213.    CECIL ARTHUR HUNT (1873-1965)
LOCH MAREE
signed l.r.: C.A. Hunt
watercolour over pencil
22.5 x 35.5cm
£200-300
214.    RICHARD BARRETT TALBOT KELLY (1896-1971)
STILT, SPAIN
watercolour
22 x 22cm

Provenance:
The Fine Art Society, New Bond Street
Bill Thomson (Albany Gallery)

£300-400
215.    LESLIE MOFFAT WARD (1888-1978)
OFF THE RATION: OLD HASTINGS
signed l.r.: LESLIE WARD
watercolour
28 x 21.5cm


Provenance:
Bill Thomson (Albany Gallery)
£300-500
216.    DERWENT LEES (1885-1931)
CUMBERLAND HILLS
watercolour
25.5 x 35.5cm

Provenance:
Wyndham T. Vint Collection
Bill Thomson (Albany Gallery)
£800-1200
217.    VINCENT LINES, R.W.S. (1909-1968)
A WINTER LANDSCAPE
sold together with another work by the same hand
signed and dated l.r.: Vincent Lines / 1942
watercolour
28 x 36.5cm

(2) £250-350
218.    FRANK ARCHER, R.W.S. (1912-1995)
A SCENE IN WEST SUSSEX
watercolour and gouache
33 x 37cm
£300-500
219.    WILLIAM WALCOT, R.B.A. (1874-1943)
CAPRI
signed and inscribed l.r.: W. Walcot / Capri
watercolour
31.5 x 47.5cm

Provenance:
Fine Art Society, New Bond Street (October 1974) £800-1200
220.    GILBERT AND GEORGE (B.1942 & 1943)
DIRTY WORDS PICTURES POSTER
signed lr & l.l
screenprint
99 x 68cm

A promotional poster for the exhibition of the same name.
£200-300
221.    GILBERT AND GEORGE (B.1942 & 1943)
DIRTY WORDS PICTURES POSTER - ARE YOU ANGRY OR ARE YOU BORING
signed lr & l.l
screenprint
99 x 68cm

A promotional poster for the exhibition of the same name.
£200-300
222.    SIR PETER BLAKE, R.A. (B. 1932)
Q IS FOR QUARTERS (1991)
signed l.l. in pencil
screenprint
Edition of 95
80 x 60cm

£300-500
223.    ROBERT TAVENER (1920-2004)
CANTERBURY CATHEDRAL
lithograph
Edition of 75
50 x 70cm
£100-150
224.    ROBERT TAVENER (1920-2004)
HORSEGUARDS 2
lithograph
Edition of 25
60 x 70cm

£200-300
225.    CIRCLE OF JOHN ARMSTRONG (1893-1973)
ABSTRACT INTERIOR
gouache on paper
18 x 24cm
£100-150
226.    CARL TOMS (1927-1999)
THE ROYAL OPERA HOUSE
lithograph
64 x 43cm

Carl Toms studied under the great Oliver Messel as an apprentice. Following this he went on to design sets for a number of prominent theatrical companies and groups. He designed the world premiere of Britten's Midsummer Night's Dream in 1960 at the Aldeburgh Festival. He won a CBE for his work as consultant for the Investiture of H.R.H. The Prince of Wales. He also worked in American theatres, and worked on, among other films, One Million Years B.C., designing Raquel Welch's iconic costume.
£300-500
227.    ROLAND BATCHELOR R.W.S. (1889-1990)
THE GOURMET IN SEARCH OF FRESH DELIGHTS
signed l.l.: Roland Batchelor
watercolour over pencil heightened with white
16 x 22cm
£400-600
228.    LUKE PIPER (B. 1966)
THE THAMES BARRIER
signed l.r.: Luke Piper
watercolour
58 cm by 78 cm £200-300
229.    LUKE PIPER (B. 1966)
BRIGHTON SEA FRONT
signed l.l.: Luke Piper
watercolour
37 cm by 55 cm
£200-300
230.    BRITISH SCHOOL (20th CENTURY)
A STANDING NUDE (INCLUDING ANOTHER STANDING NUDE AND A STUDY OF BALLERINAS)
various media, including pastel and chalk
all signed by the same hand (indecipherable)
76 x 24.2cm
framed

(3)
£100-150
231.    DAVID HOCKNEY (B.1937)
HE ENQUIRED AFTER THE QUALITY (1966) - FROM 'FOURTEEN POEMS FROM C.P. CAVAFY'
etching
numbered 63/75, signed l.r.: david hockney '66
69 x 51.6cm


£700-1000
232.    TOBIAS R. PHILBIN III (CONTEMPORARY)
FIRST SCOUTING GROUP, IMPERIAL GERMAN NAVY 1917 (including EVIL AT REST, SCHARNHORST 1943)
oil on canvas
Largest: 121 x 90cm

Exhibited at the Mall Galleries, RSMA Exhibition 2006

(2) £200-300
233.    TOBIAS R. PHILBIN III (CONTEMPORARY)
HMS CENTURION CHASING A GALLEON
oil on canvas
90 x 120cm

Exhibited at the Mall Galleries, RSMA Exhibition 2006
£200-300
234.    TOBIAS R. PHILBIN III (CONTEMPORARY)
HMS ROYAL GEORGE
oil on canvas
90 x 122cm

Exhibited at the Mall Galleries, RSMA Exhibition 2006


£200-300
235.    SARAH TOMBS (b. 1961)
BIRD MAN
Mild Steel
81cm x 87cm

Provenance:
Originally sold through Christopher Hull Gallery.

Sarah Tombs' sculpture work is held in a number of collections and sites, including Hammersmith Hospital, the National Botanic Garden of Wales and the Government Art Collection.

(1) £400-600
236.    JUAN LAURENT (1816-1886)
A COLLECTION OF PHOTOGRAPHS
photograph
31 x 17cm
mounted and framed

(incl. no. 972, 268, 2310, 424, 307, 96, 100, 40, 242)

Juan Laurent is now one of the best-known and highest regarded figures in the history of photography in Spain. He emmigrated from France to Madrid in his late twenties and remained there for the rest of his life. He began his career as a luxury paper manufacturer and won plaudits for his work. In 1856 he opened a portrait photography studio, quickly becoming 'Fotografo de Su Majestad la Reina' until her deposition 1868.

Laurent was given a number of lengthy commissions, including photographing the construction of the railway line from Madrid to Alicante and numerous Spanish public works. He embarked, at his own personal expense, on a project to complete a survey of Spanish and Portugese architecture, taking more than 6,000 negatives of the two countries' buildings.

His firm was commissioned to photograph the Prado museum collection of art, the Royal Armoury's collection and the Academy of San Fernando.

A major exhibition of his work was held at the National Gallery of Art, Washington, in late 2011, which helped to bring his name to a wider public. His works are held in collections including the Victoria and Albert Museum, the Metropolitan Museum of Art, New York and the Prado Museum, Madrid.

(9) £800-1200
237.    DIANE ARBUS (1923-1971)
MAN AND A BOY ON A BENCH IN CENTRAL PARK, 1962
gelatin silver print, printed later by Neil Selkirk
stamped 'A Diane Arbus photograph', signed, titled and dated by Doon Arbus, Executor, in ink, reproduction limitation stamp on verso
39.5 x 37cm
mounted and framed

Provenance:
Christie's, London, Photographs Sale 31.5.2007, Lot 14

Literature:
Diane Arbus, Revelations, Random House, 2003, p.76.

Diane Arbus is one of the best-known photographers of the 20th century. She is best remembered for her photography of people on the fringes of society.

Arbus was born into a wealthy Jewish family who owned Russek's, a famous Fifth Avenue department store. Her brother, Howard Nemerov, would go on to become United States Poet Laureate (and father of the Art Historian Alexander Nemerov). Arbus attended an elite prep school in New York and became a photographer almost immediately upon leaving. She married the actor and photographer Allan Franklin Arbus, and together they started a commercial advertising business whose work appeared in Vogue, Harpers Bazaar and other titles.

Arbus tired of the commercial photography world and took to wandering New York to find subjects to photograph. She enrolled at The New School and studied under Lisette Model, who was a great influence on her work.

Her first major exhibition came in 1967 at the Museum of Modern Art, New York, where her photographs of those ostracized from mainstream society won her both praise and criticism. She continued to photograph similar subjects in her documentary work right up until her death.

£3000-5000
238.    Brassaï (1899-1984)
PICASSO'S HAND (c.1940)
gelatin silver print, 'rue de Faubourg St Jacques' credit stamp on verso

Provenance:
Christie's South Kensington, 19th & 20th Century Photography, 16.11.2004, Lot 226

Brassaï and Picasso were close friends, and their relationship resulted in the former's book Conversations with Picasso. In the preface to the work, Henry Miller said of the photographer's account, "Brassaï has not only given us Picasso in all his varying moods, he has given us a picture of the world he inhabited".

Picasso preferred Brassaï to all other photographers of his work. The two developed new techniques together, borrowing each from the other's medium. One such example came after their first meeting: Brassaï left behind a blank glass photographic plate; Picasso gouged out emulsion on one side and coloured the reverse, creating a striking silhouette that foreshadowed Woman in Front of a Mirror (MOMA, New York).

These photographs are among the most intimate of those taken: Picasso lighting a cigarette after a long lunch, evoking the amiability of the pair's relationship, the close-up of the artist's hand, and the ephemera around the studio all indicate the trust between the two masters.


£1000-2000
239.    JULIA MARGARET CAMERON (1815-1879)
CONVERSATION PIECE (MARY RYAN AND YOUNG MAN AT FENCE, c.1870)
albumen print
34.5 x28.4cm
framed and mounted

Provenance:
Christie's South Kensington, Cameras, Photographs and Optical Toys, 22.11.2006, Lot 28


£700-1000
240.    CHARLES MARVILLE (1813-1879)
FONTAINEBLEAU, 1852
salt print from a wax paper negative
19 x 25.5cm
framed and mounted


Marville was one of the most talented photographers of the nineteenth century, as his position as Official Photographer for the City of Paris reflected. His photographs of Paris are a memorial to the old city, lost to modernity.

He produced several photographs of the forests at Fontainebleu, and this depicts the interior of the Chateau de Fontainebleau, specifically the Ballroom completed by King Henry II. The frescoes depicted were designed by Primaticcio, carried out by Nicollo dell'Abbate and date from the 1550's.

£1000-1200
241.    CANDIDA HÖFER (b. 1944)

Fundación Marcelino Botin Santander V, 200chromogenic print
29.6 x 22.1cm
signed in pencil, titled, dated and numbered 76/100 on printed label verso

Provenance:
Christie's South Kensington, Photographs Sale, 31.10.2012, Lot 121

Candida Höfer's best known photographs are large colour images of abandoned or empty interior spaces. She focuses primarily on cultural or institutional buildings and spaces. The absence of human habitation or presence lends her works an uncanny and otherworldly dimension.
£800-1200
242.    WEEGEE (1899-1968)
BOBBY SOXERS, 1950'S
vintage silver print
32 x 26.6cm
Stamped with "Please Credit Weegee from Photo Representatives" verso, negative number 3745 inscribed in pencil verso, probably by Wilma Wilcox (Weegee's companion and archivist)

Weegee was prolific in his work as, in today's terms, an 'ambulance chaser'. He worked as a press photographer in New York in the 1930's and 1940's, documenting the widespread war between rival Cosa Nostra families during that period. Using a specially tuned radio, he was able to follow the city's emergency service first responders and police and took graphic photographs of crime scenes. The name Weegee, coined as a phonetic rendering of Ouija, was given to him because of the eerily swift arrival at crime scenes following their reports.

He also collaborated with directors such as Jack Donohue and Stanley Kubrick, working with the latter as the still photographer for Dr Strangelove.
£800-1200
243.    WOLFGANG SUSCHITZKY (1912-2016)
FOYLES, CHARING CROSS ROAD, LONDON 1937 & CHARING CROSS ROAD, 1936
silver gelatin print
30.5 X 40.6
framed and mounted

Provenance:
The Photographers' Gallery

(2)
£400-600
244.    Brassaï (1899-1984)
L'ATELIER DE M. PICASSO
gelatin silver print
titled in ink on verso, 'rue de Fauborg St Jacques' credit stamp on verso, 'Haut-Comissariat a la Propagande' and date stamp (22 Juil. 1940) on verso

Provenance:
Christie's South Kensington, 19th & 20th Century Photography, 16.11.2004, Lot 226
£1000-2000
245.    Brassaï (1899-1984)
PICASSO LIGHTING A PIPE (c.1940)
gelatin silver print
'rue de Fauborg St Jacques' credit stamp on verso,

Provenance:
Christie's South Kensington, 19th & 20th Century Photography, 16.11.2004, Lot 226
£1500-2500
246.    Brassaï (1899-1984)
PICASSO'S STUDIO - NEWSPAPERS AND PAINTING
gelatin silver print
'rue de Fauborg St Jacques' credit stamp on verso,

Provenance:
Christie's South Kensington, 19th & 20th Century Photography, 16.11.2004, Lot 226 £1000-2000
247.    Brassaï (1899-1984)
ATELIER DE M. PICASSO
gelatin silver print
titled in ink on verso, 'rue de Fauborg St Jacques' credit stamp on verso, 'Haut-Comissariat a la Propagande' and date stamp (22 Juil. 1940) on verso

Provenance:
Christie's South Kensington, 19th & 20th Century Photography, 16.11.2004, Lot 226 £1000-2000
248.    YAYOI KUSAMA (B. 1929)
PUMPKIN 2000 - RED

Signed and titled in pencil l.r., numbered 67/100
screenprint in colours, on Colorplan paper with full margins; no tape or hinges on the reverse
framed

Edition of 100, published by the Serpentine Gallery



£6000-8000
249.    YAYOI KUSAMA (B. 1929)
PUMPKIN 2000 - GREEN
signed and titled in pencil, numbered 40/100
screenprint in colours, on Colorplan paper, with full margins; no tape or hinges on the reverse
framed

Edition of 100, published by the Serpentine Gallery

£6000-8000
250.    ANTONI TAPIES (1923-2012)
UNTITLED - OFF-WHITE & UMBER
signed l.r.
etching, printed with tone in colours
inscribed and numbered l.l: I.A.T. 44/80
24.6 X 17.4cm
framed

Provenance:
Purchased from the Artist's Daughter in Law
£300-400
251.    ANTONI TAPIES (1923-2012)
UNTITLED - BROWN AND BLACK
signed in pencil l.r.
numbered l.l.: 44/75
lithograph printed in black on sawdust ground
53.3 x 70cm

Provenance:
Purchased from the Artist's Daughter in Law

£500-700
252.    ANTONI TAPIES (1923-2012)
UNTITLED - BLACK AND WHITE (1989)
signed, dated and inscribed l.r.: I.A.T. 44/80
lithograph with embossing
27.4 x 76cm

Provenance:
Purchased from the Artist's Daughter in Law
£500-700
253.    ANTONI TAPIES (1923-2012)
UNTITLED - OLD GOLD, BLACK AND CREAM
signed l.r.
numbered l.l.: 69/75
lithograph in colours
65.1 x 56cm

Provenance:
Purchased from the Artist's Daughter in Law


£500-700