Dominic Winter

Antiques & Fine Art 

Photography 

15 OCTOBER 2015 

Dominic Winter 

SPECIALIST AUCTIONEERS & VALUERS

MILITARY & AVIATION HISTORY 

MEDALS, ARMS & MILITARIA 

TO INCLUDE A LARGE COLLECTION OF MEDALS 

TO THE GLOUCESTERSHIRE REGIMENT 

Friday 13 November 

A casualty group to Private M. Leonard, Gloucestershire Regiment. Estimate £200-300 

For further information please contact 

Henry Meadows henry@dominicwinter.co.uk 

Front Cover: Lot 463 • Back Cover: Lot 718


SPECIALIST AUCTIONEERS AND VALUERS 

All lots are offered subject to the 

Conditions of Sales and Business exhibited in the saleroom. 

A buyer’s premium of 19.5% of the hammer price is payable by the buyers 

of all lots, except those lots asterisked, in which case the buyer’s premium is 23.40% 

Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium 

ANTIQUE FURNITURE, CLOCKS, 

CERAMICS, SILVER & JEWELLERY 

ANTIQUITIES, TRIBAL ART & TEXTILES 

PAINTINGS, WATERCOLOURS & PRINTS 

PHOTOGRAPHY 

Thursday 15 October 2015 

Lots 1-747 commencing at 10am 

On view in Salerooms One & Two 

Viewing Tuesday 13 October, 9am-7pm, Wednesday 14 October, 9am-6pm 

and morning of sale from 9am 

Payment may be made while the sale is in progress: please see the cashier in the auction office. 

Customers are asked to pay cash or establish a credit reference with the Auctioneers prior to the sale. 

Please ensure that all commission bids reach us by 10am on the morning of sale. 

Telephone bids only accepted for lots with estimated value greater than £300 

and should reach us by 9am on morning of sale 

Results will be posted on our website immediately after the sale. 

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ 

Tel: 01285 860006 Fax: 01285 862461 

www.dominicwinter.co.uk info@dominicwinter.co.uk 

For directions on how to find us, please refer to map at rear of this catalogue

Edward Lear. Black-Tailed Gannet, 1835, hand-coloured lithograph, 33 x 52cm. 

One of 25 Edward Lear ornithological prints to be offered singly in our Natural History, Sporting & Wildlife sale on Wednesday 11 November. Various estimates 

FORTHCOMING SALES 

Thursday 14 October 

Printed Books, Maps & Documents 

Thursday 16 October The John Camfield Collection of British Etchings 1850-1980 

Wednesday 11 November 

Thursday 12 November 



Wednesday 16 December 

Thursday 17 December 

Natural History & Sporting Art 


History of Transport, Automobilia, Early Cycling 

Clocks & Scientific Instruments 

Military History, Medals, Arms & Militaria 

History of Aviation, Stamps & Coins 

Islamic, Indian & Oriental Arts 

Science, Medicine & Cookery 


Modern Literature, Children’s & Illustrated Books 

Modern Architecture: The Library of Robert Hornung 

For further information and consignment advice, 

please contact the main office or speak to one of our specialists. 

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ 

Tel: 01285 860006 Fax: 01285 862461 

www.dominicwinter.co.uk info@dominicwinter.co.uk

CONTENTS 

Commencing at 10am 

Ceramics & Glass 1-44 

Oriental Works of Art 45-70 

Tribal & Ethnographic Art 71-104 

Antiquities 105-135 

Textiles & Furnishings 136-149 

Collectables 150-198 

Jewellery & Watches 199-226 

Silver & Plate 227-279 

Clocks & Scientific Instruments 280-302 

Furniture 303-399 

Approximately 2pm or thereafter 

Watercolours 401-434 

Stained Glass 435-437 

Oil Paintings 438-465 

Portraits & Miniatures 466-481 

Prints & Drawings 482-499 

Sculpture 500-507 

Etchings 508-511 

Modern Prints 512-529 

Modern Watercolours 530-560 

Modern Paintings 561-583 

Approximately 4pm or thereafter 

Photography 601-727 

Marcus and Gilbert Adams 

Photography Archive 728-747

IMPORTANT NOTICES 

All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the 

back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. 

A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those 

lots not marked with an asterisk, in which case the buyer’s premium is 19.5%. 

Artist's Resale Right Law ("Droit de Suite") 

Lots marked with AR next to the lot number may be subject to Droit de Suite. 

Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 

70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to 

the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where 

the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. 

The amount is calculated as follows: 

Royalty For the Portion of the Hammer Price (in Euros) 

4.00% up to 50,000 

3.00% between 50,000.01 and 200,000 

1.00% between 200,000.01 and 350,000 

0.50% between 350,000.01 and 500,000 

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale 

royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference 

rate on the day of the sale. 

Please refer to the DACS website www.dacs.org.uk for further details. 

For enquiries concerning any lot in this sale, please contact a member of our specialist staff 

Furniture, Silver, Ceramics & Collectables 

Henry Meadows BA Hons, MRICS 

Matthew Farren BA Hons, FRAS 

Paul Rasti 

Paintings, Watercolours & Prints 

Nathan Winter MA (History of Art) 

Susanna Winters MA (History of Art) 

Colin Meays BA Hons (Conservation)

CERAMICS & GLASS 

To commence at 10am 

1* Art Deco. An early 20th-century satin 

glass circular bowl, inlaid with silver 

decoration, 18cm diameter, together with 

a clear glass bowl with applied silver 

decoration, 23cm diameter, plus a black 

glass bowl plus octagonal glass stand with 

applied foliate silver decoration, stamped 

‘silver’ by ‘Shreve Crump & Low Co.’ 

17.5cm wide 

(4) £100-150 

Lot 1 

5* Coalport. A modern Coalport two 

handled pedestal vase and cover, painted 

with fruit by Peter Gosling, on a navy blue 

ground, blue printed mark to base, 25cm 

high, together with an earlier similar vase, 

circa 1910, pedestal vase painted with fruit 

signed ‘F.H. Chivers’, green printed mark to 

base, 26cm high 

(2) £150-200 

3* Chestnut Basket. An early 19thcentury 

twin handle pottery blue and 

white chestnut basket, transfer-printed 

with Chinoiserie scene depicting buildings, 

fence and boats, within lattice pierced 

decoration (minor damage), 24cm long 

Provenance: The actor & historian Robert Hardy. 

(1) £50-80 

2* Art Glass. A Loetz style Papillion glass 

vase, with a swirl design in green lustre, 

ground pontil mark to base, 24cm high 

(1) £80-120 

4* Clyne Farquharson. An Art Deco clear 

glass bowl, of conical form with leaf 

pattern cut decoration, signed and dated 

‘36’ edition no. 9/250, 30.5cm diameter 

(1) £100-150 

6* Coalport. A modern Coalport two 

handled pedestal vase, painted with a view 

of Derwent Water by Peter Gosling, blue 

printed mark to base, 25.5cm high, together 

with another Coalport vase and cover 

painted with mountainous landscapes , 

33cm high (some damage) 

(2) £150-200 

5

Lot 7 

Lot 9 

7* Cream Ware. An 18th century twin 

handled chestnut basket, of tapered form 

with lattice work decoration, painted with 

black sprigs, 25cm long on a matching 

stand (minor damage) 

(1) £150-200 

8* Delft. An 18th century blue and white 

delft pottery charger, decorated with 

sprays of flowers within repeating borders, 

36cm diameter 

(1) £100-150 

9* Dolls House. A collection of Victorian 

blue and white transfer print miniature 

ceramics, including five graduated meat 

plates, decorated with figures walking in 

the grounds of a castle, largest 13.5cm 

long, together with nine dinner plates, 

8.5cm diameter and seven bowls, 6cm 

diameter plus three tureen and covers and 

other items (some damage) 

(a carton) £80-120 

10* English Ceramics. A collection of 

18th-century and later ceramics, including 

a Chamberlain Worcester fluted tea cup, 

circa 1805, painted with blue and gold 

flowers, 6cm high, a porcelain baluster jug 

painted with floral sprays on a ribbed 

ground with domed lid, 14.5cm high (some 

damage), a pair of Rockingham-style floralencrusted 

vases, 20cm high, four various 

tea bowls, three saucers plus an inkstand 

base (general damage throughout) 

(12) £80-120 

Lot 11 

6 

Lot 12 

11* Footbath. A Victorian blue and white 

twin handle pottery footbath, printed with 

landscapes, 21cm high x 49cm wide 

(some damage) 

(1) £80-120 

12* Jugenstil. A bronze and pottery 

centrepiece attributed to Fritz Christ, the 

substantial bronze base cast with a man 

wrestling a serpent on a naturalistic tree 

stump base, with pottery vase in the form 

of a pipe, finely hand painted with 

humorous figures, on a marble plinth, 

44.5cm high 

(1) £1000-1500

Lot 14 Lot 16 

16 Lalique (Rene, 1860-1945). 

‘Chataignier’ coupe, circa 1933, moulded 

opalescent clear glass, engraved mark ‘R. 

Lalique, France’ to base, diameter 35cm 

(13.75ins) 

(1) £400-600 

13* Keeler (Walter, 1942-). A bottle-form 

lidded jar, Whieldon type green glaze, lid 

with raised finial, the base with concentric 

circles mark, 16cm high 

(1) £100-150 

14* Keeler (Walter, 1942- ). A blue salt 

glaze teapot, with raised finial, large loop 

handle and spout, 27cm long 

(1) £300-500 

18* Martin Brothers. A pottery vase circa 

1885, the elongated neck with ovoid base, 

blue, green and brown decoration, the 

base incised ‘Martin & Bros London & 

Southall, 10 - 85’, approx. 20cm high 

(1) £300-500 

15* Keeler (Walter, 1942- ). A blue salt 

glaze lidded pot, with stepped finial, 

sloping base and concentric circles, 14cm 

high, together with a matching milk jug, 

10cm high 

(2) £100-150 

17* Martin Brothers. An early period 

pottery shoulder vase by R.W. Martin, 

with blue, green and brown incised 

decoration, the base incised ‘RW Martin 

Fulham M.2.’, 20cm high 

Robert Wallace Martin started making pottery at 

the Fulham workshop from 1873 and was joined 

by his brothers Charles, Walter and Edwin soon 

after. In 1877 they moved to Southall, Middlesex 

producing unusual art pottery until 1914. 

(1) £200-300 

7

19* Meissen. A late 19th-century Meissen 

porcelain sweetmeat dish, modelled as a 

maiden in 18th-century dress holding a 

flower, seated on two baskets painted with 

flowers on a rocaille base, underglaze blue 

crossed swords mark to base, incised 

‘3024’, 14cm long (some damage), 

together with a porcelain figure modelled 

as a lady after the original by Michael Victor 

Acier with feathered muff reading, on a 

rocaille base, spurious overglazed blue 

crossed swords mark, plus incised beehive 

mark and No. ‘844’, 21cm high, plus two 

other porcelain figures 

(4) £200-300 

21* Meissen. Two 19th-century porcelain 

figures, modelled as a gardener holding a 

bouquet of flowers, leaning against a 

watering can and spade, blue crossed swords 

mark to base, incised B69, 19.5cm high, with 

a female flower seller, standing holding a 

basket of flowers, blue crossed swords mark 

to base, incised C68, 19.5cm high 

(2) £200-300 

23* Meissen. A 19th-century porcelain 

figure modelled as a boy wearing a plumed 

hat standing by a classical ruin, blue 

crossed swords mark to base, incised E94, 

16.5cm high, together with a similar 

Continental figure, modelled as a man 

firing a crossbow standing before a 

Classical ruin, blue mark to base, 17cm 

high (some damage) 

(2) £150-200 

24* Meissen. An impressive porcelain 

figure group, modelled as a girl in the 

centre with a goat, surrounded by four 

children with sheep, one girl resting her 

head and with flowers, on a naturalistic 

base, blue crossed swords mark to base, 

incised G13, 19.5cm high (some damage) 

(1) £200-300 

20* Meissen. Two 19th-century porcelain 

figures, modelled as a young man 

standing by a tree stump collecting 

kindling in his hat, blue crossed swords 

mark to base incised F69, 18.5cm high, 

with a young girl and goat standing on a 

tree stump, blue crossed swords mark to 

base, incised F68, impressed 122, 18cm 


(2) £200-300 

22* Meissen. A 19th-century porcelain 

figure, modelled as a lady card player with 

suits of card in each hand standing before 

a pedestal card table, blue crossed swords 

mark to base incised F64, 17cm high 

(some damage and restoration) 

(1) £150-200 

8

Lot 25 Lot 26 

25* Meissen. A porcelain figure of Cupid, 

late 19th century, holding a small bouquet 

of flowers, with quiver of arrows across 

his back, standing before a tree stump on 

naturalistic foliate base, blue crossed 

swords mark to base, incised L120, (very 

slight wear to edges of bouquet), 19.5cm 

The figure was modelled by Heinrich Schwabe, 

circa 1878. The Meissen L-Series consists of 26 

Cupid figures. Provenance: The actor & historian 

Robert Hardy. 

(1) £300-500 

26* Military Figures. A collection of four 

porcelain figures by Michael Sutty, 

comprising British Officer, 4th Cavalry, 

circa 1900, 15/1000, 28.5cm high, 

Governor’s Bodyguard, Madras Model No. 

137, 29.5cm high, Skinner’s Horse No. 284, 

28.5cm high and 14th Bengal Lancers No. 

136, 25cm high, Grenadier, No. 8, 23cm 

high, Colonel Walter Fane 19th Bengal 

Lancers (Fane’s Horse), circa 1865, No. 

20/1000, 30cm high, (with certificate), 

Hodson’s Horse, 31/1000, 29.5cm high 

(with certificate),together with a Capo-di- 

Monte figure of Napoleon, limited edition 

38/250, with certificate signed in ink by the 

director, 22.5cm high, plus another Capodi-Monte 

figure of a Hussar and 

sweetheart, 28cm high 

(9) £300-500 

27* Mixed Ceramics. A late 19th century 

Chinese Famille Rose style bowl by 

Samson of Paris, decorated with floral 

swags and sprays of flowers within multibanded 

border, red mark to base, 25cm 

diameter, together with various decorative 

ceramics including an 18th century 

Worcester saucer decorated with a 

mother and child standing by large vases, 

blue crescent mark to base, 12cm 

diameter, plus four Royal Copenhagen 

dishes including two scallop shape dishes 

all painted with floral sprays and blue mark 

to base, 21cm wide 

(10) £70-100 

28* Monart. A glass vase with inverted 

rim multi coloured banding and aventurine 

decoration on a green ground, 17.5cm high 

(1) £80-120 

29* Orrefors. A Kraka glass vase 

designed by Sven Palmqvist, with net 

design on a yellow and blue ground, 

signed on base and Nr 322, 27cm high 

(1) £100-150 

9

32* Pot Lids. A good collection of 

Victorian pot lids, comprising twenty-eight 

different types and rarities, including 

Cherry Tooth Paste, Cold Cream, etc., 

mounted in a modern glazed frame, 72 x 

61cm, together with four stoneware 

bottles, including Harley & Bloore, 

Nottingham 

(5) £80-120 

35* Royal Doulton. A large pair of Royal 

Doulton Slater’s Patent vases, each with 

tubular lined floral decoration on a brown 

chiné ground, impressed mark to base, 

No. 1359, 39cm high, (drilled for electric 

and one with chipped rim) 

(2) £50-80 

30* Parian Ware. A collection of Victorian 

Parian busts, including a Classical maiden 

wearing a flower garland mounted on a 

circular column, 50cm high, a Copeland 

bust of a Classical maiden on socle, 29cm 

high, another similar, a bust of Charles 

Dickens, 27cm high, another of William 

Gladstone by Turner & Wood, Stoke, and 

other items 

(7) £200-300 

31* Porcelain Figures. A collection of 

porcelain figures including a 19th-century 

Meissen figural group, modelled as a 

skater and his maiden, blue crossed 

swords mark to blue incised No 36, 15cm 

high (damaged), another Meissen figure 

modelled as a young girl, 15cm high, a 

Meissen-style figural group modelled as a 

young gardener and his lover with lamb, 

blue crossed swords mark to base, incised 

A41 stamped ‘Foreign’, 20cm high, and 

other figures (some damage) 

(6) £100-150 

33* Puzzle Jug. A 19th century blue and 

white pottery jug, probably Welsh, of 

baluster form with pierced lattice work 

neck, decorated with floral sprays, 18cm 


(1) £100-150 

36* Salt-glaze. Three salt-glaze 

stoneware pieces, including a tobacco jar 

with moulded oak leaf decoration and 

pewter cover, 14cm, together with a 

Victorian salt-glaze jug with blue applied 

floral decoration, serpent handle and 

spout, blue cherub ‘5’ mark to base, 20cm 

high, plus a large saltglaze jug with relief 

moulded decoration depicting Victorian 

gentlemen drinking beer amongst grape 

and vine decoration, lacking cover, 26cm 

high and other items 

(a carton) £70-100 

Lot 32 

34* Royal Doulton. A pair of Royal 

Doulton figures, Pickwick H.N.2099 and 

Pecksniff H.N.2098, another Miss Demure 

H.N.1402, together with a collection of 

Royal Worcester, Royal Crown Derby and 

Coalport ceramics, including a Royal 

Worcester pedestal cup, painted with fruit 

by M. Price, purple puce mark to base c. 

1899, 8cm high, a Royal Crown Derby 

miniature tyg, 2451 c. 1910, and other 

items 

(11) £150-200 

37* Secessionist. An early 20th-century 

Continental glass vase probably Viennese, 

the frosted glass overlaid in copper foliate 

decoration, 18.5cm high together with an 

Art Nouveau pewter dish in the Orivit 

style, the base with number 129K cast in 

relief, 12.5cm wide 

(2) £100-150 

10

38* Sevres. A pair of Sevres-style ormolu 

mounted porcelain pedestal cups, late 

19th century, each painted on front and 

back with an oval scene of a putto, each 

holding a different accoutrement (bow, 

floral garland, bugle, and caduceus), within 

ornate gilt border, against a turquoise 

ground, one with small chip in rim, the 

other with interlaced ‘L’ mark to base with 

‘SV’ below, each on an ormolu mount in 

the form of a dragon, diameter 7.5cm 

(3ins), overall height 13.5cm (5.25ins) 

(2) £100-150 

Lot 43 

43* Table Glass. A collection of Georgian 

and later drinking glasses, including four 

mitre-cut rummers each with long tapered 

bowl, knopped stem and circular foot, 

16.5cm high, four slice-cut rummers, each 

with spherical knop on circular foot, 13cm 

high, a set of six Victorian ale glasses, each 

with wheel-cut grape and vine decoration, 

13.5cm high, and an assortment of other 

glasses including a Georgian square base 

rummer, 12.5cm high 

(30) £150-200 

39* Staffordshire. A pair of 19th-century 

pottery recumbent greyhounds, circa 

1840, one modelled scratching its ear with 

hind leg, each on a cobalt blue pillow with 

traces of gilt-painted decoration (general 

signs of wear commensurate with age), 

approx. 12cm long 

(2) £100-150 

41* Studio Pottery. A pair of 

Winchcombe pottery lidded jars by Ray 

Finch (1914-2012), each with domed lid, 

and two handles, impressed seal mark to 

base, 14cm high, together with a two 

bowls, two vases and a pair of small plant 

pots all in the Winchcombe style, plus an 

Ashby Guild pottery vase with a light 

brown glaze and streaks of darker brown, 

the base incised ‘Ashby’, 20cm high plus a 

twin division slipware dish with white 

scroll decoration on a brown ground 

(9) £150-200 

40* Studio Pottery A group of studio 

pottery wares, 20th century, including a 

stoneware vase by Duncan Woods, 

decorated with blue slip and bamboo 

design, 23cm (9ins), plus a stoneware 

lidded jar marked J. F. 

(3) £70-100 

42* Studio Pottery. A pottery jug by 

Ursula Mommens (1908-2010), of ovoid 

form with brown scrolls on a grey ground, 

seal mark to base, 22cm high 

Ursula Frances Elinor Mommens was an English 

potter who studied at the Royal College of Art 

under William Staite Murray and later worked 

with Michael Cardew at Winchcombe Pottery 

and Wenford Pottery. 

(1) £70-100 

44* Tile. A Medieval Dutch encaustic tile 

decorated with a lion rampant, 15th 

century, teracotta with yellow slip 

decoration, some minor wear to edges, 15 

x 15cm (6 x 6ins), together with another 

similar, probably later tile, cut down at top 

edge, probably at time of original 

installation 

(2) £150-200 

11

ORIENTAL WORKS OF ART 

48* Chinese Porcelain. A Chinese 

porcelain bowl decorated with three 

dragons, Kangxi mark, but later, pink 

ground with polychrome enamel 

decoration and lattice border, Kangxi mark 

to base in iron red, 34cm (13ins) diameter, 

together with four Chinese porcelain 

plates decorated in underglazed blue with 

mountain landscape 

(5) £150-200 


porcelain squat meiping vase, probably 

Wanli period, Ming dynasty, 16th century, 

decorated in underglazed blue with 

stylised flowers, unglazed rim and foot, 

20cm (8ins) high 

(1) £200-300 

45* Thai Bronze. A Thai bronze head of 

the Buddha embodying the guardian of the 

gates, Ayutthaya style but later, hollow 

cast patinated bronze, modern mount, 

41cm (16ins) high including mount 

(1) £150-200 

46* Card Case. A Chinese early 20thcentury 

ivory card case, circa 1920s, with 

panels carved with figures and buildings, 

10.5cm long (damaged) in original cloth box 

stamped Hoong Cheong, together with a 

Chinese boxwood carved box, carved with 

figures and buildings, 5.5cm square 

(1) £80-120 

47* Chinese Ceramics. A collection of 

18th-century and later ceramics, including 

a globular teapot painted with flowers, 

16cm high, a baluster famille-rose vase 

painted with floral sprays, 19cm high, eight 

various tea cups, and other items 

(19) £100-150 

49* Chinese Porcelain, A group of five 

Chinese porcelain bowls from the Tek Sing 

cargo, Dehua, Daoguang Period, circa 

1820, comprising a large shallow footed 

bowl with block printed decoration in blue 

and an all-over celadon glazed, unglazed 

base, 28cm (11ins) diameter, plus a small 

footed bowl with underglaze blue 

decoration showing a landscape, 15cm 

(6ins) diameter, and three small decorated 

dishes 8cm (3ins) diameter, all with Nagel 

Auctions labels to base 

The Tek Sing ‘True Star’ was bound for Batavia, 

laden with cargo when she sank on 6 February 

1822 in the Belvidere Shoals, South China Sea. 

All the pieces from the cargo show signs 

submersion. 

(5) £100-150 

50* Chinese Porcelain. A pair of Chinese 

porcelain ink pots, probably Qianlong 

period, 18th century, underglazed blue 

decoration, unglazed footrim, 5cm (2ins) 

high, together with another similar 

(3) £70-100 

12 

52* Chinese Porcelain. A pair of Chinese 

porcelain footed bowls, probably Yuan 

Dynasty, circa 14th century, all-over 

celadon crackle glaze, decorated with 

stylised flowers, unglazed base, 15cm 

(6ins) diameter and similar, together with 

another similar pair of Chinese porcelain 

footed bowls, possibly slightly later, 

decorated with underglazed blue 

(4) £100-150 


porcelain footed bowl with incised comb 

decoration, Song Dynasty, 12th century, 

all-over celadon glaze, incised combe 

decoration, unglazed base, 16cm (6.25ins) 

diameter, together with another Chinese 

porcelain bowl in an all-over pale orange 

glaze, decorated with stylised flowers, 

14cm (5.5ins) diameter 

(2) £70-100


porcelain footed bowl, possibly 

Jingdezhen, Late Yuan Dynasty, 14th 

century, decorated with underglazed blue 

and an all-over blue-grey glaze, unglazed 

base, 14cm (5.5ins) diameter 

(1) £70-100 

Lot 57 

55* Chinese Tile. A Chinese moulded 

teracotta tile, late Song Dynasty, 13th 

century, moulded decoration showing a 

crouching figure amongst stylised 

branches, 26 x 26cm (10 x 10ins) 

(1) £100-150 

Lot 58 

56* Chinese Vase. A Chinese porcelain 

ginger jar, late Qing dynasty, early 20th 

century, underglazed blue decoration 

showing birds and animals in a landscape, 

23cm (9ins) high, together with a Chinese 

brass vase emulating bronze, decorated with 

scholars in a garden, 30cm (12ins) height 

(2) £70-100 

57* Fan. A Chinese fan, circa 1900, with 

sixteen lacquered staves, hand-painted 

with figures and buildings, 51cm wide in a 

silk box 

(1) £200-300 

58* Fans. A 19th-century Chinese Export 

ivory fan, with twenty-one staves all 

intricately carved with buildings, figures 

and pine trees with monogram in 

cartouche, 34cm wide (minor damage), 

together with five other fans including a 

19th century bone fan decorated with 

flowers, 29.5cm wide 

(6) £200-300 

13

59* Imari. An early 20th-century 

Japanese imari porcelain double gourd 

vase, 25cm high, a brush pot (a/f), plus 

two lobed plates 

(4) £50-80 

Lot 61 

63* Okimono. A Japanese carved ivory 

okimono of two men and a monkey, Kyoto 

School, Meiji period, late 19th century, 

carved ivory, incised decoration, signed to 

base, 7cm (2.75in) high 

(1) £100-150 

60* Japanese Lamp. A Japanese bronze 

table lamp in the Meiji style, cast with 

panels of exotic birds, peacocks and pine 

trees, with pierced shade, decorated with 

dragons, 67cm high, together with a 

lacquered lamp stand, 79cm high 

(2) £300-500 

61* Korean Spoon. A Korean bronze 

spoon of swallow tail type, Koyro period, 

circa 12th century, bronze, incised 

decoration, 26cm (10ins) long 

Provenance: Bought in Seoul, June [19]13, then by 

family descent. The relatively high arch of the handle 

is typical of spoons from the later Koyro period. 

(1) £100-150 

62* Netsuke. A Japanese ivory netsuke 

in the form of a rat, early 20th century, 

carved ivory with red eyes, signed to base, 

approximately 3.5cm high, together with 

another ivory netsuke in the form of a 

seated immortal holding a ruyi, plus a stag 

antler netsuke in the form of a man and 

child, plus two Chinese soapstone 

carvings of Shi, or temple lions, and a 

Tibetan brass skull pot with inset turquoise 

eye and vajra finial 

(6) £100-150 

64* Oriental Items. A group of Oriental 

decorative items including a pair of 

watercolour caligraphy panels, 20th 

century, together with a group of four 

watercolours signed Nank, all framed and 

glazed 

(9) £100-150 

65* Oriental Items. A group of Chinese 

decorative items, including a carved 

wooden figure of a rickshaw, 20th century, 

together with carved wooden temple panels 

decorated in lacquer and gilt 

(a carton) £100-150 

Lot 63 

14

68* Chinese Sculpture. A Chinese carved gilt wood figure of a 

luohan, early Qing dynasty, late 17th century, carved and gilt wood, 

some wear with loss of gilt, hands lacking, 21cm (8ins) high 

(1) £200-300 

66* Root Carving. A Chinese carved figure of an immortal on a 

tree root base, late 19th century, carved wood painted black, lacking 

staff, 55cm high 

(1) £100-150 

69* Taj Mahal. A carved and pierced soapstone model of the Taj 

Mahal, 20th century, carved and pierced soapstone, incised 

decoration heightened in watercolour, gilt metal details, 

woodenbase and glass dome, 23cm (9ins) high 

(1) £80-120 

67* Screen Base. A 19th-century Chinese hardwood stand, probably 

for a table screen, finely carved in relief with scrolls and double 

gourds, 45cm high x 57.5cm wide x 28cm deep 

(1) £150-200 

70* Whist. A Japanese shibayama whist marker, Meiji period, 

rosewood with gold lacquer decoration, eight winged ivory markers 

decorated with insects and birds in mother of pearl, abalone and 

semi-precious stones, 9cm long, together with another similar 

(2) £80-120 

15

TRIBAL & ETHNOGRAPHIC ART 

Lot 72 Lot 73 

Lot 75 

71* Africa. An African hardwood Tutsi 

stool, the frame intricately carved with 

geometric decoration and hide cover, 

23cm high 

(1) £100-150 

72* Australia. An Aborigine hardwood 

boomerang, 64.5cm long, together with a 

Victorian pottery comport in The Australian 

Bush pattern by William Brownfield & Son, 

with transfer print design showing 

kangaroos, printed marks to base including 

registration mark, 24.5cm diameter (some 

damage), plus a carved polychrome 

painted mask, probably Burmese, 

mounted on a modern stand plus a papier 

mache and lacquer scroll box 

Provenance: Vivienne Rae Ellis (author). 

(4) £100-150 

73* Bhutan. A group of three 

Bhutanese wooden masks, including one 

with the features of a monkey, late 19th to 

early 20th century, carved wood, overall 

patina and surface wear, 18cm (7ins) high, 

and similar 

(3) £100-150 

74* Burkina Faso. A Lobi Janus tribe 

dance staff, carved with double headed 

tribesman on supporting shaft, 55cm high, 

presented on a modern stand, a good 

colour showing signs of age, 55cm high 

(1) £150-200 

75* Cameroon. A pair of early 20thcentury 

Bamun tribe cast bronze figures, 

modelled as a tribesman and woman, 

25cm high 

Provenance: Collected from North East Zululand, 

near Swazi. 

(2) £80-120 

76* Cameroon. A large 20th-century 

Benin tribe cast bronze figure modelled as a 

tribesman in traditional dress, 42.5cm high 

(1) £70-100 

16

79* India. A group of four Monpa carved 

wooden masks, various dates, late 19th to 

early 20th century, carved wood, some 

with traces of pigment or remains of applied 

hair, overall patina and some wear, 

19cm (7.5ins) and similar 

(4) £100-150 

77* Cameroon. A 20th-century terracotta 

mask, polychrome painted with red face and 

incised hair, mounted on a contemporary 

stand, 37cm high, together with a 20thcentury 

Bamum Society bone and terracotta 

pipe, modelled as a characterful elder with 

carved stem, mounted on a contemporary 

stem, 37cm long 

(2) £100-150 

80* Melanesia. A Sepik River wooden 

figure, carved with elongated face and 

scarification marks, 30cm high, together 

with two further figures from the same 

region, 32cm high the other 37cm high 


(3) £100-150 

81* Melanesia. A Sepik River wooden 

figure, carved as a fully standing man with 

a lizard running up his chest, 61cm high 

together with two further figures from the 

same region, 37.5cm high the other 25.5cm 

The Sepik River is the so-called “Nile of New 

Guinea” measuring 700 miles with many cultural 

groups. The river is essentially split into three 

regions, the Lower, Middle and Upper Sepik. 


(3) £150-200 

78* Ephiopia. A collection of four carved 

wood religious icons, including a handpainted 

late 20th-century triptych, with 

two doors heavily carved with knots, 

enclosing hand-painted iconography, 

45.5cm long 

(4) £100-150 

Lot 79 

82* Mixed Tribal. A collection of Zulu and 

Swazi items, including a ‘Multi’ double 

gourd container, 9cm high, a beaded gourd 

beaker, early to mid 1900s, 10cm high, an 

early 20th-century Swazi snuff pot, 

probably rosewood with detachable lid, 

8.5cm high, a Swazi ladies bone comb, 

18.5cm long, a rare carved wooden snuff 

bottle, with carved decoration, 10cm long, 

and other items 

(10) £70-100 

17

83* Mixed Tribal. A collection of Zulu and 

Swazi items, all early to mid 20th century, 

including a Swazi horn, pipe and stone 

bowl, traditionally carved 

(4) £70-100 

84 Native American. A Native American 

greenstone hand axe, Michigan, USA, Late 

Archaic Period, circa 1500 BC, cut and 

polished stone, 6.5cm (2.5ins) long, 

together with four Native American 

arrowheads, all mounted on modern 

perspex stands 

(5) £100-150 

Lot 85 

85* Nepal. A group of three Nepali 

wooden masks, including two large examples, 

various dates, late 18th to early 20th 

century, carved wood, one with traces of 

pigment, overall patina and some wear, 

35cm (14ins) and smaller 

(3) £100-150 

86* Nigeria. A pair of Yoruba tribe Ere Ibeji 

twins, well carved with carved raised 

headdresses and skirts, standing with 

arms by their side, with old collection 

number ‘B264’, 26.5cm high, a good 

colour and showing signs of age 

(2) £200-300 

87* Native American. A collection of 20th century Indian beadware, including moccasins, 

a beadwork bag worked with American flags, dated 1938 with beaded tassels and blue 

cloth lining, a white metal Navajo powder flask, of circular form with engraved decoration 

and stopper, 8.5cm high, plus stone head club and other items 

(a carton) £200-300 

18

88* Pipes. Two early Native American 

Indian stone effigy pipes, one carved as a 

human with manuscript label inscribed 

‘Human effigy pipe Wayne Co, Kentucky’, 

14cm long, the other carved as a parrot, 

detailed with feet beneath, 16cm long, 

together with two stone clubs 

(4) £150-200 

90* Pre-Columbian. A collection of Pre- 

Columbians terracotta masks and heads, 

various sites, mostly Mexico, various dates, 

4th to 8th century, including a teracotta 

head with black pigment from Veracruz, 

6cm (2.5ins) high, and others similar 

Provenance: Purchased by the current owner at 

a Nottingham auction in 2011, from the estate of 

a collector. 

(8) £80-120 

92* Swazi. Four African Swazi wooden 

food bowls, comprising an early 20thcentury 

circular bowl on four feet, 

approximately 32cm diameter plus three 

mid 20th-century bowls, all a similar size 

All collected from a genuine remote Swazi hut, 

1999. 

(4) £100-150 

93* Swazi. A Swazi hand-carved wooden 

double food platter, circa 1960/70s, with 

large carrying handles on eight feet, 66cm 

long, together with a smaller double 

platter, plus a Zulu carved wooden meat 

platter with ‘Amazumpa’ (wart) decorations 

to the underside (first half 20th century), 

65cm long 

First two were collected from a hut in remote 

Swaziland, Africa. 

(2) £70-100 

89* Pre-Columbian. An Aztec figure, 

probably an incensario, of a seated figure 

on a pedestal, Guatemala, Late Classical 

Period, circa 750, course orange clay, 

incised decoration, three pierced openings 

to pedestal, unworked to verso, mounted 

on later base, 18cm (7ins) high overall 

(1) £300-500 

91* Scollins (Richard, 1946-1992). Hlubi, 

Zulu and Pedi Warriors, circa 1989, 

watercolour on paper, signed, 33 x 23cm 

(13 x 9ins), framed and glazed 

Original illustration for Ian Knight’s Queen 

Victoria’s Enemies. 

(1) £100-150 

Lot 92 

94* Swazi. A Swazi carved wooden 

headrest, circa 1900s, plain with reeded 

supports, 42.5cm wide 

Provenance: Collected in southern Swaziland 

close to the Zulu border. 

(1) £70-100 

95* Swazi. A rare African Swazi drinking 

horn, circa 1900s, with an element of 

carving, 64cm long, together with three 

carved Swazi hand mirrors, circa 1950/70s, 

reverses each with carving, and with 

hinged handle, 20cm long 

Provenance: Horn collected from a remote 

homestead south east of Melmoth, 1999. 

(4) £100-150 

19

Lot 97 

96* Swazi. A Swazi warrior’s shield, early 20th century, of 

typical cowhide and feather construction with wooden staff, 

shield 70cm long, overall length 170cm, together with a Zulu 

cowhide shield with two sticks to the reverse, mid 20th century 

(2) £100-150 

97* Terracotta Head. A Fante-style terracotta head from the 

Ashanto Southern Akan peoples, Ghana, well modelled, 20cm 

high on a modern stand with collection number ‘C173’ to the rear 

The heads were used in funeral ceremonies of their chiefs and usually left on 

the graves as a marker. 

(1) £150-200 

98* Tribal Masks. Three carved wood tribal masks including 

Barpende Tribe, Zaire, Africa, carved with scarification marks 

and white pigment, 23cm long another from the Bachokwe 

Tribe, Zaire, Africa, with scarification marks, white pigment and 

detailed hair, 24.5cm long 


(3) £80-120 

99* Zulu. A large contemporary carved statue of a Zulu warrior, 

carved from Tamboti wood in traditional dress, signed J. Dava, 

90cm high 

Provenance: Acquired in Zululand (Kwazulunatal), South Africa, circa 15 

years ago, on a trip to Rorke’s Drift. 

(1) £100-150 

Lot 99 

20

100* Zulu. A Zulu carved ithunga (milk 

pail), circa 1900s, of bulbous form with 

carrying handles, 24cm high, together 

with a taller ithunga with geometric carved 

decoration, 39.5cm high, plus a Zulu handcarved 

spoon, mid 20th-century, with 

carved decoration, 42.5cm long, and 

another carved for Freedom Day 27 April 

1994 (First Democratic and Non Racial 

National Election in South Africa) 

First, collected in 2004 from a Zulu hut, 10km 

south west of Nongoma, Zululand. 

(4) £100-150 

101* Zulu. A collection of four Zulu 

ithunga’s (milk pails), including one circa 

1900s, with two knee lobes and sloping 

bands of stylised ‘Amazumpa’ (warts) 

decoration 

Various provenance: First, collected in 2001 

from a Zulu hut in the Ngwebeni Valley, east of 

Isandlwana. 

(4) £100-150 

102* Zulu. A Zulu carved wooden 

headrest, circa 1900s, of plain solid form, 

52cm long 

Provenance: Collected in 2003 from a 

homestead in the Hlomo-Hlomo Hills, West of 

Nongoma, in the former central district of 

Zululand, South Africa. 

(1) £70-100 

103* Zulu. A Zulu carved wooden 

headrest ‘Isiqiki’, circa 1900s, carved with 

geometric decoration, 41cm long 

Provenance: Collected in Central Zululand. 

(1) £70-100 

104* Zulu. A collection of Zulu beadwork 

and hat, including gauntlet-type arm 

bands ‘Ubusenga’, worn by young virgins, 

a snuff container ‘Ishungu’, made from a 

seedpod with beaded necklace, a 1950s 

traditional waistband ‘Umutsha’, in five 

cords of beadwork, worn by an unmarried 

girl on her wedding day, a married woman’s 

beaded apron ‘Itele’, and other items, all 

with various provenance attached 

(a carton) £100-150 

Lot 104 

21

ANTIQUITIES 

From a Private Collection, Nottinghamshire 

105* Anglo-Saxon. A group of Anglo- 

Saxon bronze aretefacts, various dates 7th 

to 9th century, including a pair of disk 

brooches with ring decoration, 4cm 

(1.5ins) diameter, all reportedly found in a 

Saxon grave in Norfolk in 1970s, mounted, 

framed and glazed 

(1) £70-100 

108* Bronze Age. A Bronze Age palstave 

axe head, Middle Bronze Age, circa 1000 

BC, cast bronze with overall patina, 

reportedly found in Derbyshire, 10cm 

(4ins) long, together with a Bronze Age 

socketed axe head, and a fine Bronze Age 

scyth with cast decoration, ritually broken 

into five pieces 

(7) £150-200 

111* Egyptian Bronze. An Egyptian 

bronze apothecary vessel, Roman Period, 

1st century, cast bronze in miniature 

amphora form, heavy green patina, some 

loss to rim, with later stand, 11cm 

(4.25ins) high 

Ex collection of Gaston Maspero; Biraben sale 

24 June 2007; Simon Shipp 2010. 

(1) £80-120 

106* Anglo-Saxon Beads. A group of 

Anglo-Saxon beads, various dates, 8th to 

10th century, including one in turned 

amber, drilled for suspension, reportedly 

found in Suffolk, plus other examples in 

ceramic and stone, loosely strung on 

modern wire 

(9) £70-100 

107* Arrowheads. A collection of 

arrowheads, various places, various dates, 

including some gilt bronze and iron types, 

11cm (4.25ins) and smaller 

(9) £70-100 

109* Canaanite Pottery. A Canaanite 

teracotta aryballos or flask, Bronze Age, 

circa 1700 BC, teracotta with traces of red 

decoration, twin pierced handles, rounded 

base, 7.5cm (3ins) high, together with a 

teracotta footed cup with line decoration 

and a teracotta figure of a man, probably 

Roman Mesopotamia 

(3) £150-200 

110* Celtic. A group of Celtic bronze 

horse wares, various dates, 1st century, 

including a chariot linch pin with traces of 

enamel, found in Yorkshire, 8cm (3ins) long 

(3) £150-200 

112* Egyptian Shabti. An Egyptian 

teracotta shabti, Third Intermediate Period, 

9th or 8th century BC, moulded teroacotta, 

incised detail, remains of inscription in black 

paint to front, small chip from foot, 7cm 

(2.75ins) high, together with another shabti 

in faience with later stand 

(2) £200-300 

22

113* Egyptian Cartonage. A fragment of 

Egyptian cartonage finely decorated with 

head of Ra and an outstreached wing, 

probably from a mummy wrapping, circa 

1st century BC, linen and plaster 

decorated with coloured pigment, 17cm 

(6.7ins) wide, together with another 

cartonage fragment decorated with four 

seated deities 

(2) £200-300 

Lot 113 

115* Greek Vase. A Greek Apulian 

decorated cup, Magna Graecia, 4th 

century BC, wheel-thrown teracotta 

decorated with black slip in line and dot 

decoration, collection number to base, 

5cm (2ins) high, together with a 4th 

century BC small jug or olpe in all over 

black slip, 7cm (3ins), plus a third century 

BC Daunia ware jug or olpe with brown 

slip, 9.5cm (3.75ins) high 

(3) £100-150 

117* Harappan Figure. A Harappan 

ceramic figure of a bull, Indus Valley, 2nd 

century BC, moulded teracotta, painted in 

brown, 8cm (3ins) high 

(1) £100-150 

114* Egyptian Faience. A collection of 

Egyptian faience jewellery, various dates, 

mostly 5th to 2nd century BC, inclyding a 

pale blue faience wedjat, single sided, 

drilled for suspension, 2cm (.75ins) wide, 

an amulet in the form of Ptaikos, four 

beads with incised decoration, a collection 

of blue beads strung as a necklace and a 

collection of beads of various colours 

strung as a bracelet with modern catch 

(8) £100-150 

116* Greek Vase. A Greek Apulian krater 

with black-figure decoration, 4th or 3rd 

century BC, teracotta footed krater with 

black slip decoration in the form of bands 

and leaves, two loop handles, decoration 

worn with loss, 17.5cm (7ins) high 

(1) £200-300 

118* Roman Amulet. A Roman bronze 

phallic amulet, 2nd or 3rd century, cast 

bronze with original suspension hoop, 4cm 

(1.5ins) long, together with another similar, 

probably Roman Spain, 1st or 2nd century, 

with yellow metal suspension hoop 

(2) £150-200 

23

122* Roman Brooch. A Roman bronze 

brooch with zoomoprhic arms, 2nd 

century, cast bronze with some traces of 

blue enamel to central lozenge, original 

bronze pin, 6cm (2.3ins) long, together 

with another similar 

(2) £100-150 

123* Roman Brooch. A Roman bronze 

brooch in the form of a trireme, 2nd 

century, cast bronze with original bronze 

pin, overall patina, 3.5cm (1.3ins) long 

(1) £70-100 

125* Roman Pottery. A Roman pottery 

vase of pelike form, Danube delta, circa 

3rd century, wheel-turned teracotta, 

traces of all over brown slip, twin handles, 

13cm (5ins) high, together with a Roman 

pottery squat footed jug, Danube, late 3rd 

or 4th century, 9.5cm (3.75ins) high 

(2) £100-150 

119* Roman Bronze. A Roman bronze 

hand mirror with cover, 2nd or 3rd century, 

cast bronze with overal patina, ring 

decoration, 12cm (5ins) diameter 

(1) £200-300 

120* Roman Bronze. A Roman Bronze 

statue of Hercules, 1st or 2nd century, 

cast bronze, overall brown patina, broken 

in antiquity hence lacking arms and feet, 

9cm (3.5ins) tall 

(1) £100-150 

121* Roman Brooch. A collection of 

Roman bronze bar brooches in the shape 

of animals, all 2nd or 3rd century, 

including one in the form of a salmon, 

another modelled as a doe and one as a 

boar, all with original pin, 6cm (2.3ins) wide 

and slightly smaller 

(3) £100-150 

124* Roman Pottery. A collection of four 

Roman teracotta lamps, various dates, 2nd 

to 4th century, moulded teracotta, some 

incised decoration, 10cm (4ins) long and 

slightly smaller, together with two 

teracotta pots with twin handles 

(6) £100-150 

126* Roman Pottery. A Roman buffware 

pottery jug, North Africa, circa 2nd century, 

wheel-thrown pottery with ribbed body, 

single handle, 16cm (6.25ins) high 

(1) £80-120 

127* Roman Ring. A Roman silver ring 

with portrait of Claudius, 1st century, 

broad shoulded ring with deep groove 

decoration, central profile portrait of 

Claudius, internal diameter 21mm 

(1) £150-200 

Lot 120 Lot 121 Lot 122 

24

128* Roman Coffin. A museum quality Roman lead tapering coffin lid, probably 

4th century, wet sand-cast lead with cast decoration comprising bead and reel 

borders dividing into three sections, central section with scroll pattern, end 

sections divided with saltire cross of bead and reel, three of the quadrants filled 

with scallop shell (pecten), the last with a circle, sometime broken into three 

sections, 119cm x 34cm (47ins x 13ins) 

Rare. Purchased by the present owner from metal detectorist Alan Pickering 

who discovered the piece together with another similar in Suffolk in the 1970s. 

In 1977 Toller recorded just 243 Roman lead coffins in Britain and only a handful 

more have been discovered since. 

(1) £7000-10000 

25

129* Roman Bronze. A collection of 

Roman bronze implements and pins, 

various dates, 2nd to 4th century, 

including a pin with baluster terminal, 

another simple pin with knob terminal, a 

ear spoon and a toiletry spoon, plus a 

bronze asklepion, and a gilt bronze 

fragment with lapis lazuli insert, 14cm 

(5.5ins) long and smaller 

(6) £100-150 

131* Stone Age. A group of three British 

Stone Age hand axes, circa 5000-2000 BC, 

shaped and polished stone, 10cm (4ins) 

long and slightly smaller 

(3) £200-300 

133* Viking Bracelet. A fine Viking 

bronze penannular bracelet with 

chequered pattern, Northern Europe, 9th 

or 10th century, bronze with some 

verdigree, broadening flat terminals with 

incised chequered pattern, internal 

diameter 66mm 

(1) £100-150 

130* Roman Bone. A group of nine 

Roman and Byzantine turned bone spindle 

whorls, various dates, 3rd to 6th century, 

turned bone, all but one with incised 

decoration, 2cm (.75ins) diameter and 

slightly smaller, mounted on modern stand 

(9) £70-100 

132* Syro-Hittite. A Syro-Hittie ceramic 

bird-faced figurine, Turkey, circa 1800 BC, 

moulded teracotta with incised decoration, 

broken at the neck and mid-way down 

body and repaired, 16cm (6.25ins) high 

(1) £150-200 

134* Viking Spearhead. A large Viking 

iron spearhead, late 9th century, iron with 

overall patina, socket for fixing to wooden 

pole, 27cm (10.5ins) long 

Found by a householder in Quatford, Shropshire. 

Presumed to date from the time of the viking 

camp at the crossing of the Severn near 

Quatford, established in 895. The mound of the 

camp can still be viewed. 

(1) £200-300 

26

TEXTILES & FURNISHINGS 

Lot 135 Lot 137 Lot 143 

135* Carpet. An Oriental silk carpet, with 

arabesque design on a blue and red ground, 

with multi-banded border, approximately 215 x 

130cm, together with two other wool carpets 


(3) £100-150 

136* Carpet. A large Oriental woollen 

carpet, with foliate geometric decoration 

on a red ground within multi-banded 

border, approximately 360 x 260cm 

(1) £200-300 

137* Christening Gowns. A collection of 

eight Victorian and Edwardian christening 

gowns, together eight white or ivory cotton 

gowns variously embellished with pintucks, 

lace, drawn threadwork, etc., some lightly 

marked and in need of repair, various sizes, 

together with a large early 20th century 

coverlet composed of cotton squares handembroidered 

with floral and tennis motifs, in 

shades of blue and cream, joined with lace 

inserts, some light staining and lace worn, 

backed with pink cotton, approximately 186 

x 214cm (73 x 84ins), plus a quantity of large 

and small fragments of old lace, some handmade, 

including collars, edgings, bonnets, 

cuffs, trains, mats, runners, etc. 

(2 cartons) £100-150 

138* Curtains. Two matching pairs of large 

heavy curtains, late 20th century, four lined 

and interlined curtains, thick printed cotton 

depicting sporting and musical trophy motif 

alternating with deer within a woodland 

motif between vertical floral stripes 

incorporating a hare, in terracotta and 

shades of green on a cream ground, lined 

with ivory cotton, width 390cm (153.5ins), 

drop 256cm (101ins), together with two 

matching padded pelmets with velcro 

fixing, and four tasselled gold tie-backs 

Provenance: The actor and historian Robert Hardy. 

(4) £100-150 

139* Curtains. A pair of large curtains, late 

20th century, two lined curtains, thick cotton 

printed with a pattern of classical pillars, 

flowers, and fruit, in shades of pink and 

green, lined with thick yellow hessian, width 

241cm (95ins), drop 252cm (99.25ins), 

together with matching padded and piped 

hold-backs, plusA pair of large heavy curtains, 

two lined and interlined curtains, thick cotton 

with an armorial print on a chequered ground, 

in shades of orange, yellow, and green, lined 

with glazed ivory cotton, width 264cm 

(104ins), drop 232 (91.5ins), together with 

matching padded and piped hold-backs, plus 

another pair of large curtains, lined and 

interlined thick cotton, with a blue, red, and 

beige stripe, ivory cotton lining, width 256cm 

(100.75ins), drop 257cm (101.25ins), together 

with matching hold-backs 

Provenance: The actor and historian Robert Hardy. 

(6) £100-200 

140* Embroidered Picture. A large 

embroidered picture of a young lady at a tomb 

in a landscape, circa 1820, worked in silk and 

chenille threads on cream silk, mainly in 

shades of green, yellow, and brown, with the 

tomb in beadwork in red and other colours, 

some tears in silk ground to edges of design, 

contemporary dealer’s engraved label on 

verso ‘P. Boscetti & Co., Amsterdam’, 63.5 x 

52cm (25 x 20.5ins), together with five other 

textile pictures, including an oval chenille 

embroidered and watercolour landscape with 

figures by a river and a fortification in the 

background, early 19th century, verre 

eglomise mount, framed, with contemporary 

framer’s engraved label on verso (Marnoch, 

Edinburgh), and an oval picture embroidered 

in silks and chenille, with a Biblical scene of 

three figures, early 19th century, framed, with 

contemporary engraved label on verso 

‘Kearney’s Looking-Glass Ware-House, No.49 

Henry Street, Dublin’ 

(6) £100-200 

27 

141* Embroidered Picture. Rustic figures 

by a cottage and stream, circa 1800, oval 

woolwork picture on silk, showing two 

young peasant women, and an older 

woman talking to a man with staff, beside 

a cottage, with a young goatherd carrying a 

bindle, worked in wool, in long and short 

stitch and stumpwork, in a variety of 

shades, with hand-painted faces, silk 

perishing to upper left, 33.5 x 42cm (13.25 

x 16.5ins), mounted, framed and glazed 

(1) £80-120 

142* Household Linen. A collection of 

table and bed linen, late 19th/early 20th 

century, including eight white or cream 

coverlets, mainly knitted or crocheted, one 

chenille, sixteen tablecloths, mostly lace, 

but some linen or embroidered, a bolt of 

napkin damask stamped ‘Richardson & 

Sons Belfast’, a crocheted skirt, a large 

embroidered linen purse, a 

monogrammed damask runner, etc., 

various sizes and condition 

(approx 30) £150-200 

143* Kimono. A hand embroidered silk 

kimono, early 20th century, pale green silk 

kimono, embroidered overall with roses 

and sprays of cherry blossom, in padded 

satin and stem stitch, lined, with matching 

tasselled sash, both with some minor 

wear and marks, length 140cm (55ins) 

A very pretty and beautifully worked kimono. 

(1) £70-100

144* Luggage. Two 1930s suitcases by 

Lincoln, De Lux, New York, belonging to 

the actress Gladys Cooper (1888-1971), 

each with brass catches and green trim, 

one inscribed ‘Hardy’, 82cm wide and 

smaller, together with a similar travelling 

vanity case by Airport, Registered 

Lightweight Luggage, plus a 1920s leather 

dome top travelling chest, 98cm wide 


Gladys Cooper’s second daughter Sally Pearson 

was Robert Hardy’s second wife. Her other 

daughter Joan married the actor Robert Morley. 

(4) £70-100 

145* Minton’s China Works. A pair of 

Elfins Series tiles, Staffordshire: Stoke-on- 

Trent, circa 1880, together two blockprinted 

blue and white tiles, one showing 

an elf riding a shrew, and the other showing 

an elf battling a lizard, some craquelure and 

edge-chipping, with Minton markings 

impressed on verso, each 153mm (6”) 

square, together with four other tiles, 

including a Puginesque encaustic tile, and a 

19th century Continental tile hand-painted 

in blue, green, and yellow, with an urn and 

flower design 

Provenance: From the collection of artist 

decorator Charles Eaton (1885-1963); thence by 

descent to the god-daughter and cousin of his 

daughter Lilian Eaton, the current vendor. 

(6) £70-100 

146* Morris (William). Five rolls of hand printed Golden Lily wallpaper, Sanderson, mid 

20th century, five complete rolls of hand printed wallpaper stamped ‘Morris & Co’, with 

Golden Lily design in shades of orange and brown, each roll ink stamped on verso with 

colour batch number ‘142002HT’, four rolls contained in the original cellophane wrapping, 

each roll 10 metres long and 55.5cm (21.75ins) wide, together with instruction leaf 

‘Directions for Hanging Sanderson Hand Printed Wallpaper’ 

When Morris & Co went out of business in 1940 its former competitor, Sanderson, bought the firm for 

just £400, including the showroom contents, printing blocks, fabrics and logbooks. Except for a brief 

period during the Second World War Sanderson continued offering Morris & Co. designs throughout the 

20th century, although for obvious reasons, complete and unused rolls rarely come onto the market. 

(5) £300-500 

147* Morris (William). A Tulip and Trellis 

pattern tile, circa 1870-1880, tin-glazed 

earthenware tile, hand-painted with blue 

flowers and green foliage, slightly chipped in 

places (mainly to edges), 153mm (6”) square 

Provenance: From the collection of artist 

decorator Charles Eaton (1885-1963); thence by 

descent to the god-daughter and cousin of his 

daughter Lilian Eaton, the current vendor. Scarce 

tile designed by William Morris; a pattern which 

was produced concurrently by both Morris & Co. 

and William de Morgan’s Chelsea Pottery. 

(1) £200-300 

Lot 147 

28

148* Oriental Carpet. A fine Persian Kashan-style silk hand 

knotted carpet, 20th century, hand knotted silk coloured with 

synthetic dyes, floral arabesque decoration over a blue-black 

ground, original retailer's label of 'Al Khaleej Carpets, Doha' to 

verso, 204 x 133cm 

(1) £500-800 

149* American Quilts. A crazy pattern patchwork quilt, circa 

1930s, handstitched quilt, in velvet and other fabrics, embellished 

with stitching in various coloured wool, including feather stitch, 

chain stitch, and herringbone stitch, 216 x 192cm (85 x 75.5ins), 

together with A large log cabin patchwork quilt, circa 1930s, handstitched 

barn raising pattern cotton patchwork quilt, in a variety of 

printed fabrics, predominantly shades of blue, brown, red, and 

green, backed in cream linen, and with printed fabric edging, some 

light staining, slightly frayed in one or two places, 212 x 212cm (84 

x 84ins), plus A cube pattern silk patchwork quilt, circa 1910, handstitched 

silk patchwork tied quilt, in black and various other shades, 

backed in silk printed with an art nouveau design of stylised lilies in 

pale pink and green, yellow cotton ties at intersections, some paint 

spots, fraying, and loss, 175 x 105cm (69 x 41.5ins), plus A crazy 

pattern silk patchwork quilt, circa 1930s, hand-stitched silk and 

velvet patchwork tied quilt, in a variety of plain and patterned 

fabrics, red cotton ties, backed with paisley-patterned fabric in pink 

and green, some fraying and minor loss, 200 x 148cm (79 x 58ins), 

plus five others, including an early 20th century American handstitched 

Yo Yo quilt (apparently unfinished), a Rose of Sharon 

appliqued quilt in pink, green, and yellow, on a white cotton ground, 

and a Dresden Plate appliqued quilt, in a variety of colours 

(9) £300-400 

29

150* Art Nouveau. A collection of pewter 

metalwares, comprising an Orivit 

chamber stick, well cast with organic 

whiplash decoration, base stamped ‘Orivit 

2142 Germany’, 14cm high, an Orivit 

hexagonal dish cast with a flower head 

design, with Orivit mark No. ‘3152’, 22cm 

wide, a similar dish plus a Tudric pewter 

‘Rocket’ vase, with a beaten finish, 

stamped ‘Tudric 0227’, 23.5cm high 

(4) £100-150 

COLLECTABLES 

152* Art Nouveau. An Orivit pewter 

platter, cast with organic whiplash 

decoration, stamped ‘Orivit 2166’, 60cm 

wide, together with a bowl similarly 

decorated, stamped ‘Orivit 2038’, 31.5cm 

wide 

(2) £70-100 

153* Art Nouveau. A fine bronze dish, 

circa 1900, modelled as a young girl 

kneeling, flaring her dress which forms the 

bowl, unsigned, 17cm 

(1) £100-150 

154* Artist’s Box. Wooden artist’s colour 

box by Newman’s, late 19th/early 20th 

century, mahogany box, containing a 

number of colour blocks in tray with 

printed labels, some unused, two small 

palettes, and nine small saucers (four 

broken), palette lacking from drawer, 

hinged lid, with key (lock not working), 7.5 

x 27 x 19cm (3 x 10.5 x 7.5ins), together 

with another mahogany artist’s colour box, 

by G. Rowney, late 19th century, 

containing ten unused colour blocks, 

several brushes, and a small saucer of 

decorative gold, lacking palette, hinged lid, 

with key and functioning lock, printed label 

with Suggestions and Rules mounted 

inside lid, 4.5 x 23.5 x 11cm (1.75 x 9.25 x 

4.5ins), plus a large Victorian wooden 

colour box, containing approximately thirty 

large and twenty smaller glass phials of 

powder paints mostly labelled Hancock & 

Son, Worcester, some held in 

compartmentalised tray, and fifteen glass 

bottles of powder paints, some with 

manuscript labels, drawer and hinged lid, 

box broken and paint-splattered, 13 x 35.5 

x 26.5cm (5 x 14 x 10.5ins), plus a small 

cardboard box with compartments 

containing eight small unused corked 

phials of paint, lid with printed label 

‘Goetheanum Farben Anthea, Anthea 

Institut fur Rudolf Steiner 

Pflanzenfarbenforschung Dornach 

Schweiz’ 

(3) £200-300 

151* Art Nouveau. A bronze of a nude 

child, circa 1900, her hands clenched 

together on her chest, on a square marble 

base, unsigned, 33cm high 

(1) £150-200 

Lot 154 

30

160* Compartment Box. A tooled 

leather compartment box, gilt tooled, 20th 

century, interior lined with marbled paper, 

raised on bun feet, 60cm wide x 

48cm deep 

(1) £100-150 

155* Box. An 18th-century French gilt 

metal box, the lid chased and decorated 

with knights in battle within rococo scroll 

border, the side panels with military 

trophies, the base with a shell and scroll 

design, 4cm high x 7cm wide x 5cm deep 

(1) £150-200 

157* Bronze. A Victorian bronze lamp 

base formed as two classical maidens 

holding a sconce, on a well-detailed 

circular base, 34cm high 

(1) £150-200 

158* Casket. A George III shagreen casket, 

with silver straps engraved with squirells, 

hinged catches, enclosing velvet lined 

interior and bullion braiding, 9.5cm high x 

19cm wide x 7cm deep (some damage) 

(1) £150-200 

161* Crucifixes. A collection of religious 

crucifixes, late 19th century onwards, 

including a silvered wooden example with 

Parian figure of Christ, 46cm high, another 

mounted on rosewood, 29cm high, and 

others 

(4) £70-100 

162* Electrolier. An Edwardian eight 

branch glass chandelier, with glass 

lustres, 37cm high x 52cm 82cm wide 

(1) £150-200 

156* Bronze. A small bronze figure of a 

cobbler boy, circa 1900, indistinctly signed 

on a black slate base, 14.5cm high 

(1) £70-100 

163* Electroplate. A Victorian coppered 

oak beer jug with electroplated mounts, 

the hinged cover with ivory finial, 24cm 

high, plus matching conical beaker, 14.5cm 

high, together with a Norwegian sailors 

knife, a glass dump paperweight, an 

Edwardian electroplated tea urn, with 

rams head handles, 52cm high (lacking 

cover), plus an Edwardian electroplated 

oval twin handle tray, with foliate engraved 

decoration, 73cm wide, and other items 

(a carton) £100-150 

159* Casket. An 18th-century Continental 

shaped enamel box, probably French, painted 

with a musician and maiden in a mountainous 

landscape, the side panels similarly decorated 

with brass banding and thumbpiece, various 

marks to base, 5cm high x 10.5cm wide x 

7cm deep (minor damage) 

(1) £150-200 

164* Fire Irons. A mixed collection of 

Georgian and later steel fire irons including 

pokers, together with two pierced steel 

fire guards 

(7) £100-150 

31

Lot 165 Lot 167 

165* Grand Tour. A boxed set of early 

20th century plaster plaques, comprising 

96 plaques in four tiers, each of various 

size and shape, all cast with a classical 

scene or profile, 13cm high x 27.5cm wide 

x 23cm deep 

(1) £200-300 

167* Iffland (Franz, 1862-1935). Bronze 

of a child with bat and ball, on a green 

veined marble base, signed, 38.5cm high 

(1) £200-300 

166* Hair Curlers. A set of metal hair 

curlers with stand, circa 1870s, steel 

curling tongs with decorative patinated 

brass handles, complete with the original 

ornate patinated brass stand incorporating 

spirit heater with hinged lid, overall length 

24cm (9.5ins) 

(1) £70-100 

168* Inkwell. A good Edwardian metal 

inkwell, formed as a foxes head with 

riding crops and stirrup on an oak-leaf 

base, with glass liner, 12cm wide 

(1) £100-150 

169* Jelly Mould. A Victorian pewter jelly 

mould, formed as three hinged sections 

with detachable cover cast with fruit, the 

base with registration mark, stamped ‘MO 

21, 1 1/2 Quart’, 17cm high x 15cm 

diameter, together with another one 

stamped ‘12 2 P’, 17cm high 

(2) £70-100 

32

Lot 174 Lot 175 

170* Keswick School of Industrial Art. A 

plated hammered finish circular bowl, 

with three stylised handles each with leaf 

design on three spade shape feet, 

stamped K.S.I.A. M , approx. 28cm 

diameter 

(1) £100-150 

172* Lapis Lazuli. A good coloured 

boulder with banding, 13.5cm high, 

presented on a wooden stand 

(1) £70-100 

175* Mixed Items. Various fountain pens 

including a cased Parker 61, cased 

spectacles including a yellow metal pair, 

Mauchlineware egg with printed design of 

St Paul’s Cathedral plus another small pot 

of Beddington Church, Surrey, a silver 

plate and enamel shipping stamp case for 

New Zealand Shipping Company, a Lund 

type corkscrew, Indian carved wood card 

case and other items 

(a carton) £70-100 

171* Lamp Bases. A pair of Victorian 

brass lamp bases, each in the Gothic 

style, with shaped base on square plinth, 

42cm high 

(2) £100-150 

173* Lead Mark. A Victorian lead 

insurance mark, cast with a winged angel, 

24 x 14cm 

(1) £70-100 

174* Marriage Domes. A late 19th 

century French “marriage dome”, with a 

display of wax flowers, mirrors, gilded 

leaves and decorations, housed under a 

glass dome with ebonised base, 53cm 

high, together with two others, 48cm and 

37cm high 

(3) £100-150 

176* Mother of Pearl. The Last Supper, 

after Leonardo da Vinci, 20th century, 

mosaic of mother of pearl and abalone 

with incised decoration, glazed and with 

mother of pearl easel frame, 22 x 20cm (9 

x 8ins) overall 

(1) £80-120 

33

177* Nailsea Court. A carved oak griffin 

reputedly from Nailsea Court, North 

Somerset, 22 x 21cm, together with a 

carved oak panel and cast brass key plate 

The last of three lots of carved oak panels sold 

in these rooms in 2015. 

(3) £70-100 

178* Razor Set. An Edwardian 7-day razor 

set by Kropp, Sheffield, presented in a red 

leather case with crimson silk lining 


(1) £50-70 

180* Scrimshaw. A mid-19th century 

whale’s tooth, engraved with a young lady 

holding a Union Jack flag, 16cm long 


(1) £150-200 

179 Reliquaries. A pair of French Catholic 

reliquaries, 19th century, each with oval 

lithograph showing scenes from the life of 

Christ, surronded by quilled decoration, gilt 

borders, and five mounted relics (of wood 

and plant material), each with caption, 

oval, 30 x 24cm (12 x 9.5ins), framed and 

glazed 

(2) £200-300 

181* Scrimshaw. A 19th-century whale’s 

tooth, engraved with a whaling scene and 

sailing ships, probably circa 1850s, 10cm 

long 

(1) £100-150 

182* Sewing Box. A Regency rosewood 

sewing box, of sarcophagus form, the 

hinged lid inset with mother pearl 

cartouche, enclosing lift-out tray with 

various divisions, bone and mother of pearl 

accessories, with loose ring turn handles 

on bun feet, 14cm high x 26cm wide x 

19cm deep 

(1) £100-150 

183* Statue. A ¾ lifesize 20th-century 

marble statue, carved as a young girl 

holding a long dress (some damage), 

160cm high 

(1) £500-800 

184* Stone Carvings. A modern 

hardstone carved elephant, 30cm long, 

together with an alabaster carved owl on 

naturalistic base 

(2) £70-100 

34

Lot 188 (detail) 

Lot 188 

185* Surveying Instruments. A Victorian 

rosewood box containing technical 

drawing instruments, 5.5cm high x 20cm 

wide x 13cm deep, together with another 

by Solomon’s Opticians containing brass 

and ivory accessories, and other items 

including a Victorian presentation shovel 

for the opening of the Lithographic and 

Photographic Department Building in 

Calcutta, 1888, in a fitted case, 

manufactured by J. Boseck, Calcutta 

(7) £70-100 

186* Swiss Carving. A well carved 

wooden model of a cow, finely detailed 

with bell attached to its neck on a 

naturalistic base, 42cm long (some 

damage) 

(1) £100-150 

187* Tea Caddy. A Victorian walnut dome 

top tea caddy, applied with shaped brass 

mounts, the hinged lid enclosing division 

for tea and glass mixing bowl, 16.5cm high 

x 24cm wide x 15cm together with a 

Victorian oak sewing box of rectangular 

form, the hinged lid enclosing lined 

interior, various accessories including bone 

pin cushion, on four squat bun feet, 14cm 

high x 30cm wide x 21cm deep 

(2) £70-100 

188* Toothpick Case. A George III ivory 

toothpick case, the lid inset with an 

enamel plaque inscribed ‘Pensez A Moi’ 

(Think of Me) within gold border, enclosing 

mirror, 8.5cm long, together with a George 

III circular ivory box, the cover engraved 

with repeating border and silver ring 

handle, 3.3cm high plus a Victorian 

tortoiseshell sewing case by Lund of 

Cornhill, London, with accessories but 

incomplete 

(3) £200-300 

189* Tray. A Victorian Pontypool toleware 

circular tray, painted with fruit and floral 

sprays within pierced border, 45.5cm 

diameter (general pitting) 

(1) £100-150 

190* Tudric. A pewter cake basket 

designed for Liberty, of oval form with 

stylised forget-me-nots and geometric 

design with carrying handle, stamped ‘2 

Rd440032 English Pewter 0357 Made in 

England’, 30.5cm long 

(1) £100-150 

35

191* Tudric. A pair of pewter “rocket” 

vases designed for Liberty, each with a 

hammered finish supported on three 

stylised feet, stamped 04578, 23cm high 

(2) £100-150 

194* Tudric. A collection of pewter items 

designed for Liberty, comprising a three 

piece condiment set, the pepperette, salt 

and mustard pot with blue glass liner, all 

with a hammered finish, stamped 01641, 

together with a circular pedestal bowl, 

number 01353, 17cm diameter, a circular 

bowl and cover, number 01481, a coffee 

pot, number 01455, a tankard lacking 

cover, with stylised design, number 0279, 

15cm high 

(7) £100-150 

196* Walter Anson (Minnie, 1875-1959). 

miniature watercolour on ivory of a mother 

and child, circa 1930s, signed lower right, 

10 x 7.5cm, framed and glazed (glass 

cracked), together with another miniature 

on ivory by L. Adams, circa 1910, portrait 

of a middle aged lady, signed on the left, 

approx. 12.5 x 8.5cm, in a gilt metal rococo 

framed, plus two miniatures of Arab’s (one 

on ivory), 8.5 x 6cm, plus a Victorian 

pinchbeck brooch with photographs of 

children, in a fitted leather case 

(5) £150-200 

192* Tudric. A pair of pewter dwarf 

candlesticks designed for Liberty, each 

with a hammered finish, stamped ‘Made 

in England Tudric Pewter 01543’, 7.5cm 

high 

(2) £80-120 

195* Typewriter. An early 20th-century 

typewriter by Lambert, with circular 

composite keyboard, metal base No. 8916, 

27cm wide 

(1) £150-200 

197* Woodworking Plane. A treen 

carpenter’s plane, the hardwood block 

carved with heart-shaped motif and 

naively engraved with initials and dated 

‘1766’, 12.5cm long 

(1) £80-120 

198* Yoke. An interesting Indian carved 

wood yoke, probably for a bullock, carved 

with confronting animals, fish and 

geometric decoration, 170cm long, 

together with a heavily carved Indian 

wooden panel carved with two peacocks 

and Ganesh, within geometric border, with 

iron nails to each side, 146cm long 

(2) £70-100 

193* Tudric. A pewter tea service 

designed for Liberty, comprising tea and 

coffee pot, milk jug, two sugar bowls on a 

circular tray, all with a hammered finish, all 

stamped Tudric but with differing pattern 

numbers, tray 37.5cm diameter 

(6) £150-200 

Lot 196 

36

JEWELLERY & WATCHES 

203* Aquamarine. A Victorian aquamarine 

pendant, set in a rocaille yellow metal 

mount with suspension loop, the facet cut 

stone measuring approx. 1.8 x 2.3cm, overall 

size 2.5 x 4.3cm including suspension 

(1) £400-600 

199* Amber. A cherry red string of 52 

amber beads, largest 3cm long, 38cm 

drop, approximately 95g 

(1) £100-150 

201* Amethyst. An Edwardian navette 

shaped pendant, the central facet cut 

stone surrounded by pearls set in yellow 

metal with three stone pearl suspension 

loop, 4cm long, on a yellow metal chain 

(1) £100-150 

204* Bracelet. A 15ct gold curb link 

bracelet, stamped 15ct on catch, 

approximately 25g with a yellow metal 

skiing medal dated 1971, 5g plus a similar 

silver medal 

(1) £250-350 

202* Amethyst. An Edwardian yellow 

metal bangle, set with a circular facet cut 

stone surrounded by pearls, with catch and 

safety chain, 6.5cm wide, in a fitted case 

(1) £100-150 

200* Amber. A butterscotch string of 47 

amber beads, largest 2.8cm long, 33.5cm 

drop, approximately 55g 

(1) £200-300 

205* Brooch. A Georgian oval brooch, 

painted on ivory depicting a family meal, 

mounted in a yellow metal, approx. 4cm x 

3.5cm (hairline) 

(1) £100-150 

Lot 203 

37

206* Brooch. A Victorian Scottish silver pebble brooch, in 

the form of a shield with heraldic lion and crown, 7cm high, 

together with a cameo brooch carved as mercury in a silver 

mount 4.5cm long 

(2) £70-100 

210* Mixed Jewellery. An Italian micro mosaic brooch, inset with a floral 

spray on black hardstone, a yellow metal pendant set with turquoise, 

inscribed and dated 1847, Victorian mourning brooch with black enamel 

frame inscribed ‘In Memory Of’, early 19th-century silver fob, engraved with 

an anchor and with the legend ‘Hop’e, yellow metal jewellery including a 

corn on the cob brooch, foliate enamel brooch and other items 

(17) £150-200 

207* Brooch. A late 19th-century tortoiseshell butterfly 

brooch, applied with yellow metal mounts and red stone 

and turquoise cabochons, some additional pieces missing 

including pin, 6cm wingspan 

(1) £200-300 

208* Costume Jewellery. A collection of brooches, 

beads and buttons, together with a tin of empty jewellery 

boxes, many Edwardian, plus two cased Gents Seiko 

wristwatches, vintage clutch bags, cigarette and postcards, 

ephemera etc. 

(a carton) £70-100 

209* Mixed Jewellery. An 18ct gold bar brooch set with 

three garnets, 4cm long, together with a Norwegian silver 

and enamel leaf brooch by David Anderson, an agate 

cabochon brooch with yellow metal mount, Victorian yellow 

metal locket and other items 

(7) £70-100 

Lot 212 

38

211* Mourning Jewellery. A Victorian 

yellow metal brooch, formed as a 

Ouroborus with pearls and glass 

compartment, approximately 2.5cm long, 

together with a Victorian yellow metal 

heart shape pendant with pearls and 

encasing hair, lacking rear pin, 

approximately 2cm high 

(2) £100-150 

212* Necklace. A fine Edwardian seed 

pearl necklace by Asprey & Company, 

beautifully entwined with drop, backed on 

mother of pearl, 21cm long, in a fitted 

presentation case with remains of trade 

label (some damage) 

(1) £200-300 

Lot 214 

214* Omega. A 1970s gents Omega 

Seamaster Electronic F300 H2 

chronometer, stainless steel bracelet and 

wristwatch, with screw back case, 

silvered dial, raised baton numerals, 

calendar aperture, plus a Pulsar wristwatch 

(2) £100-150 

215* Omega. A 1960s ladies 9ct gold 

wristwatch, the 18mm circular silvered 

dial with gold raised baton numerals, 

integral gold bracelet, stamped ‘375’ in its 

red leather case 

(1) £80-120 

216* Pendant. An Edwardian navette 

shaped yellow metal pendant, set with 

pearls arranged in a floral design on an open 

back mount, 5cm long, on a yellow metal 

chain in Goldsmiths & Silversmiths fitted 

case, together with an Edwardian bar 

brooch, with light blue sapphire set in a 

circular mount with petals set with 

diamond chippings in a yellow metal 

mount, 4cm long, in a fitted case, plus a 

Victorian yellow metal mourning brooch 

inset with a floral painted panel, 3.5cm long 

(3) £100-150 

217* Pocket Watch. An Edwardian 9ct gold 

half hunter pocket watch, with blue enamel 

roman numerals, white enamel dial, 

engraved with presentation inscription, 

stamped ‘375’, in a fitted leather case, 

together with a 9ct rose gold pocket watch 

chain with T-bar and 9ct gold octagonal 

locket, chain and locket approx. 34g 

(2) £400-600 

213* Necklace. An Edwardian row of 

graduated cultured pearls, with yellow 

metal navette clasp set with turquoise and 

pearls, approximately 52cm long 

(1) £80-120 

Lot 215 

Lot 216 Lot 217 

39

Lot 225 

218* Pocket Watches & Barometer. A 

Victorian gilt metal pocket barometer, the 

4.5cm circular silvered dial in original 

maroon morocco leather case together 

with two silver pocket watches including a 

half-hunter with two subsidiary dials plus 

an Edwardian silver cased travel clock, 

Birmingham 1903 

(5) £100-150 

221* Ring. An 18ct yellow gold ring set 

with three Victorian rough cut diamonds 

each approx. 6mm x 5mm, inner 

circumference 19mm 

(1) £600-800 

224* Ring. A yellow metal cluster ring, set 

with central sapphire and surmounted by 

pave set diamonds, inner circumference 

19mm 

(1) £100-200 

225* Rings. Five various rings, including a 

Continental yellow gold ring stamped 585 set 

with polished quartz, and a navette shaped 

pierced ring set with pearls and emeralds 

(5) £80-120 

219* Ring. A Georgian yellow metal and 

five stone diamond ring, the old cut stones 

aligned in lyre mount, inner circumference 

1.9mm, together with an 18ct gold ring set 

with sapphires and diamonds (one sapphire 

missing), inner circumference 19mm 

(2) £100-150 

222* Ring. A Victorian yellow metal 

cluster ring, set with seed pearls, ruby and 

emeralds, inner circumference 18mm 

(1) £80-120 

223* Ring. A Continental yellow metal 

ring, claw set with three cornelians, inner 

circumference 18mm 

(1) £80-120 

220* Ring. An 18ct yellow gold ring set 

with three pave set graduated diamonds, 

inner circumference 18mm 

(1) £300-500 

226* Watches. 18ct gold ladies fob 

watch, with white enamel dial blue Arabic 

numerals, the back of the case with 

applied monogram inset with diamonds 

and bow brooch inset with two small 

diamonds with safety chain, together with 

a silver half hunter fob watch, plus a 9ct 

gold Rotary ladies wristwatch 

(3) £150-200 

40

SILVER & PLATE 

Lot 227 Lot 228 

227* Art Nouveau. A silver-plated fivepiece 

tea set by Reed & Barton, 

comprising teapot, milk jug and sucriers, 

with stylised organic whiplash decoration, 

teapot 26cm high 

(5) £100-150 

228* Art Nouveau. A white metal milk 

jug, of baluster form embossed with 

organic decoration, various stamps to 

base, 11cm high 

(1) £80-120 

229* Art Nouveau. A fine German 

circular silver box, circa 1900, the hinged 

lid inset with an enamel panel of a girl with 

a headdress inset with ruby cabochons, 

artist monogram to the lower right, the 

silverwork with an acanthus design, 

stamped with a series of hallmarks 

including the crescent and crown 800 

standard marks, 7.5cm diameter 

(1) £300-500 

230* Arts & Crafts. A Victorian silver 

bowl, makers mark rubbed but probably 

Charles Harris Stuart, London 1897, 

embossed with stylised cabochons and 

beaded rim, the base with presentation 

inscription, 11cm diameter, 6oz 

(1) £80-120 Lot 229 

Lot 230 

231* Basket. A Victorian silver basket by 

Rowlands & Frazer, London 1889, 

embossed with ribbons and floral 

decoration, two handles formed as putto 

on four c-scroll feet, 23.5cm long, 13oz 

(1) £100-150 

41

232* Flagon. A George III silver jug probably converted from a tankard, London 1790, engraved with armorial and crest 

of Francis Noel Mundy of Markeaton Hall, Co. Derby (died 1903), later Victorian decoration and spout with characterful 

face, the domed lid with thumb-piece, scroll handle on flared foot, 26.5cm high, approx. 61.5oz 

Francis Noel Mundy married in 1864 Emily Maria Georgiana Cavendish, third daughter of Richard Cavendish (second son of the 2nd 

Baron Waterpark) of Thornton Hall and Crakemarsh Hall. 

(1) £700-1000 

42

236* Bottle Stand. A George III silver bottle stand, Rebecca Emes 

& Edward Barnard, London 1826, with acanthus carrying handle, 

apertures for eight bottles, on gadrooned base with knurled feet, 

24.5oz 

(1) £150-200 

233* Bon Bon Dish. A pierced silver bon bon dish, by Henry 

Matthews, Birmingham, date letter rubbed, with repeating border 

on pedestal foot, 12cm long, 2oz, together with a Georgian-style 

silver sugar bowl, of baluster form with two handles on pedestal 

foot, stamped ‘Georgian’, by Cooper Brothers & Son, Sheffield, 

9cm high, 7.5oz, total weight 9.5oz 

(2) £100-150 

234* Bottle Coasters. A pair of Elizabeth II silver coasters, by WI 

Broadway & Co, Birmingham 2001, with pierced gallery, turned 

mahogany base inset with silver plaque, 13cm diameter 

(2) £100-150 

237* Breakfast Set. A Victorian silver-gilt breakfast set by Hunt & 

Roskell, London 1869, comprising, circular bowl and cover, 12cm 

diameter, conforming circular dish, 16.5cm diameter, finely 

engraved with floral decoration and monogram, stamped ‘Hunt & 

Roskell Late Storr & Mortimer, 5155’ plus a similar fork and spoon 

by Edward Farrell, London 1851, total weight approx. 21.5oz 

(4) £300-500 

235* Bottle Labels. A collection of silver and porcelain bottle 

labels, comprising Gin, Whisky and Brandy by Alexander Clark & 

Co, Birmingham 1935, shaped, pierced and engraved, 6cm long, a 

modern pair for Port and Sherry, another for Whisky by Robert 

Pringle, Birmingham 1910, plus a porcelain pair by Royal Crown 

Staffordshire for Gin and Vermouth, all with chains 

(8) £70-100 

238* Candlesticks. A set of four Victorian silver Corinthian column 

candlesticks, by William Gibson & John Lawrence Langman, 

Sheffield 1893, with detachable sconce, 14cm high (one sconce 

missing), weighted 

(4) £150-200 

43

Lot 240 Lot 242 Lot 243 Lot 245 

239* Candlesticks. A pair of George III 

silver candlesticks, by S.C. Younge & Co, 

Sheffield 1818, each with detachable 

sconce and foliate embossed decoration, 

weighted with oak and drilled for 

electricity, 22.5cm high, worn 

(2) £100-150 

240* Chocolate Pot. A George V silver 

chocolate pot by Daniel & John Welby, 

London 1909, of plain tapered form with 

domed cover and urn finial, faceted spout 

and fruit wood handle, 24cm high, overall 

weight approx. 25oz 

(1) £300-500 

241* Cigarette Case. A heavy gauge 

George V silver cigarette case, London 

1948, with yellow metal border and 

monogram, 14cm long, approx. 6.5oz, 

together with another silver cigarette case 

plus a white metal cigarette case, 

weighable silver 12oz 

(3) £100-150 

242* Coffee Pot. A Victorian silver coffee 

pot, by William Hutton & Sons, of baluster 

form with half gadrooned and acanthus 

decoration on a pedestal foot, 21cm high, 

approximately 13oz 

(1) £100-150 

243* Coffee Pot. A George II silver coffee 

pot, by John Edwards II London 1736, of 

plain tapered form engraved ith crest, the 

cover with turned finial, faceted spout and 

ebonised scroll handle, overall weight 

approx. 25.5oz 

(1) £400-600 

244* Comport. An American glass 

comport finely engraved with floral baskets, 

with rose encrusted silver rim, stamped 

‘Wallace Sterling 4309-9’, 19.5cm diameter, 

together with 12 silver and glass coasters 

plus a larger similar dish, 14cm diameter 

(14) £100-150 

245* Cream Jug. A George III silver 

cream jug by Robert Hennell I & David 

Hennell II, London 1796, of slender form 

engraved with floral wreaths and borders, 

12cm high, 4.5oz 

(1) £80-120 

246* Cream Jug. A George III silver cream 

jug probably by Duncan Urquhart & Naphtal 

Hart, London 1809, of oblong form, finely 

engraved with acorns and oak leaves, on 

four ball feet, 13cm long, approx. 3.5oz 

(1) £100-150 

Lot 244 

44

247* Dressing Table Bottles. A collection 

of Art Deco silver top bottles and jars, 

belonging to the actress Gladys Copper 

(1888-1971), with her monogram 

engraved to each top, comprising three 

cologne bottles, 9cm high, two trinket 

boxes, 6cm diameter, and a hat pin jar, all 

with engine turned decoration and circular 

motif, with import marks, circa 1930s 

Provenance: From the private collection of actor 

and historian Robert Hardy. Gladys Cooper’s 

second daughter Sally Pearson was Robert 

Hardy’s second wife. Her other daughter Joan 

married the actor Robert Morley. 

(6) £80-120 

Lot 249 

248* Forks. A set of six George III silver 

fiddle pattern table forks, by James Barber, 

George Cattle II & William North, London 

1790, each engraved with family crest and 

initial B, 20cm long, total weight approx. 

15oz 

(6) £100-150 

249* Mixed Silver. A cased silver 

condiment set by Mappin & Webb, 

Birmingham 1934, comprising two 

pepperettes, two salts each with blue glass 

liner and two mustard pots, with liners and 

spoons, together with a cased set of twelve 

silver grip tea knives, plus six silver coffee 

spoons and two further silver spoons 

(5) £100-150 

250* Mixed Silver. A Victorian silver and 

glass toddy glass, by Hukin & Heath, 

Birmingham 1859, 11cm high, together 

with a silver heart shape ring box, by Boots 

Pure Drug Company, Chester 1913, 5.5cm 

long , plus a silver milk jug and three silver 

cigarette cases, weighable silver, approx. 

11oz 

(6) £100-150 

251* Mixed Silver. A collection of silver 

dressing table items, including two 

mirrors, five brushes, seven silver top jars 

and bottles, plus other items 

(a carton) £100-150 

252* Mixed Silver. A Victorian silver card 

case by Edward Smith, Birmingham 1855, 

engraved with monogram within shells 

and foliate scrolls, 10cm long (lacking pin 

to hinge), together with a Victorian novelty 

hair pin box, of reeded rectangular form by 

Birmingham 1891, the cover applied with a 

silver hair pin, 9cm long, plus a Victorian 

silver and glass double end scent bottle, 

cased sewing kit, mother of pearl fruit 

knife and other items 

(10) £100-150 

253* Mixed Silver. A Victorian silver 

sugar bowl by Daniel and Cheales Houle, 

London 1864, engraved with c-scrolls and 

floral sprays, on four cabriole supports 

with pad feet, 13cm diameter, 6.5oz, 

together with a Victorian heavy gauge milk 

jug by Goldsmiths and Silversmiths & Co, 

London 1892, of pedestal form, 9cm high, 

6oz plus five further silver bowls, various 

shapes, sizes and weights, total weight 


(7) £180-220 

45

Lot 254 Lot 258 

254* Mixed Silver. An Art Deco silver 

toast rack by Adie Brothers Ltd, 

Birmingham 1935, 11cm long, together 

with another by Elkington & Co, 

Birmingham 1935, approx. 7cm long, 

George V silver quaich by William Bruford & 

Sons Ltd, London 1935, 12cm wide, a 

cased pair of silver salts by Mappin & Webb 

Ltd, Birmingham 1935, each with blue 

glass liner and spoon, plus a set of four 

condiments by William Neale & Sons Ltd, 

Birmingham 1935, comprising a pair of 

lidded salts and pepperettes, each with an 

engine turned ground and a pepper grinder, 

weighable silver approximately 13oz 

(9) £150-200 


pedestal bowl, London 1889, embossed 

with scrolls and floral sprays, 9.5cm 

diameter, 3oz, together with a heavy gauge 

George V silver mug by Henry Wilkinson & 

Co Ltd, Birmingham 1918, plain, 9cm high, 

5oz, plus four napkin rings and a salt pot, 

total weight approximately 12oz 

(7) £100-150 


photograph frame by Henry Matthews, 

Birmingham, circa 1890, with lattice 

embossed frame, 17cm high, together 

with a pair of specimen vases, hallmarks 

worn, but circa 1900, 18.5cm high, 

weighted, a candlestick probably by 

Elkington & Co, Birmingham 1906, of plain 

form, 18cm high, and other items 

(6) £80-120 

257* Mixed Silver. A pair of Victorian 

silver sauce ladles, London 1897, each 

with rat tail bowl, 17.5cm long, approx. 

4.5oz, four pairs of George III and later 

sugar tongs, George III sugar scissors, 

various brite-cut teaspoons. George III 

snuff box, knife rests and other items, 

weighable silver approx. 22.5oz 

(a carton) £150-200 

258* Mixed Silver. A George III 

pepperette, of pedestal form with pierced 

roundels, hallmarks rubbed but probably 

Chester 1808, A George III drum shape 

mustard pot by Robert Hennell II, lacking 

liner, 8cm long, a drum shape salt, lacking 

liner, a pair of George III oval salts, by 

David Hennell I and Robert Hennell, 

London 1767, both with blue glass liner and 

one with broken leg, 8cm long and other 

items, weighable silver 11oz 

(7) £100-150 


silver salts, London 1863, embossed with 

a geometric decoration, 6.5cm diameter, 

Victorian silver spoon in the 17th century 

style, London 1901, various condiments 

including a pair of salts each with blue 

glass liner, silver and tortoiseshell ring box, 

silver and glass scent bottle, silver toddy 

glass, numerous teaspoons etc, 

weighable silver 21oz 

(35) £200-300 


glass beakers, each with a hobnail cut 

design, silver rim by Horace Woodward, 

London 1879, 15.5cm high, together with 

four silver top bottles, mostly Victorian, 

plus a silver and glass spill vase, 18cm high 

(7) £100-150 

46

263* Mug. An Elizabeth II silver mug by 

Walker & Hall, Sheffield 1958, of plain 

form on pedestal foot, 13.5cm high, 10 oz 

(1) £80-120 

264* Mug. A George VI silver mug by 

Hicklenton & Sydal, London 1935, of 

baluster form with scroll handle, 12cm 

high, 10oz 

(1) £80-120 

265* Mug. A George VI silver mug by 

Hicklenton & Sydal, London 1935, of 

tapered form with scroll handle, 11.5cm 

high, 12oz 

(1) £100-150 

261* Mug. A George III silver mug by 

John King, London 1777, of baluster form 

with scroll handle, later inscription on the 

base, 12cm high, 11oz 

(1) £150-200 

Lot 264 

266* Porringer. A George V silver twin 

handle porringer by Carrington & Co, 

London 1913 with Britannia Standard 

marks, chased and engraved acanthus 

decoration, presentation inscription and 

dolphin moulded handles, 15cm wide, 

approx. 7oz 

(1) £100-150 

267* Salver. A George III circular silver 

salver by Solomon Hougham, London 

1798, of plain circular form engraved with 

monogram, on three outsplayed feet, 

25.5cm diameter, 21oz 

(1) £200-300 

262* Mug. A George II silver mug by 

Thomas Whipham, London 1750, of 

baluster form, engraved with a crest, and 

initials to the scroll handle, 12.5cm high, 


(1) £300-500 

Lot 265 

Lot 263 

Lot 267 

47

Lot 268 Lot 273 

268* Sauce Boat. A George V silver 

sauce boat, by S. Blanckensee & Sons Ltd, 

Birmingham, 1935, with flying scroll 

handle on three cabriole supports each 

with shell decoration, 15cm long, 3oz, 

together with two further silver sauce 

boats, total weight 8.5oz 

(3) £70-100 

269* Sauce Boat. A George II silver 

sauce boat, makers mark rubbed probably 

by John Swift, London 1752, engraved 

with crest and shaped rim, flying scroll 

handle, on three cabriole supports, 15.5cm 

long, approx. 6oz 

(1) £100-150 

270* Silver Plate. A collection of plated 

items, including an Old Sheffield Plate 

biscuit box, of oval form with concave 

cover and gadrooned edges, 13cm long, a 

pair of Edwardian candlesticks, 25.5cm 

high, a small salver by Goldsmiths & 

Silversmiths Company, 19cm diameter, 

pair of white metal peacock menu holders, 

7cm high and other items 

(16) £80-120 

271* Spoon. A Victorian silver fiddle 

pattern basting spoon by William Eaton, 

London 1842, 32.5cm long, approx. 5oz 

(1) £50-80 

272* Spoons. A cased set of six Victorian 

silver teaspoons by Henry Wilkinson, 

Sheffield, 1894, each with shaped bowl 

and c scroll decoration, together with an 

associated pair of sugar tongs by Walker & 

Hall, 1898, total weight approximately 4oz 

(1) £50-70 

273* Spoons. Four Art Deco Danish silver 

gilt teaspoons, each with blue enamel 

stems, stamped ‘Ela Denmark Sterling 

925.5’, 13cm long, together with 6 

Norwegian silver gilt coffee spoons, with 

blue and green enamel decoration, 

stamped ‘Sterling, J. Tostrup, Norway’, 

10cm long, plus a Masonic glass ashtray 

with silver decoration, 15cm diameter, 

weighable silver approximately 4.5oz 

(11) £70-100 

274* Sugar Basket. A Victorian silver sugar 

basket by Walter & John Barnard, London 

1893, of faceted pedestal form, the interior 

with gilded bowl, 13cm long, 5.5oz, 

together with a Victorian silver octagonal 

sugar caster by makers mark rubbed but 

probably Henry Matthews, Birmingham 

1897, with pierced cover and faceted finial, 

16.5cm high, approx. 5.5oz, plus a Victorian 

silver porringer and a navette shaped bonbon 

dish, total weight approx. 15.5oz 

(4) £100-150 

Lot 275 

48

Lot 278 

275* Teapot. A George IV silver teapot by 

Joseph Angel I, London 1822, profusely 

decorated with c-scrolls and floral sprays, 

the cover with acorn finial, on a pedestal 

foot, 28cm long, approx. 24oz 

(1) £200-300 

276* Teapot. A George III silver teapot by 

Peter, Ann & William Bateman, London 

1803, of oblong form, the domed lid with 

treen pineapple finial, engraved with 

initials and leafy borders, fruitwood handle 

and curved spout, 26.5cm long, overall 

weight 14.5oz (creases and some dents) 

(1) £150-200 

277* Teapot. A Victorian silver bachelors 

teapot, probably by Edward Brown 

London, 1880, of drum form with ebony 

handle and finial, 19cm long, total weight 

approx. 10oz 

(1) £150-200 

278* Tray. A George V silver twin-handle 

tray, of rectangular form with acanthus 

and repeating border, hallmarks rubbed, 

68cm long, approx. 101oz 

(1) £800-1200 

279* Vanity Box. A Victorian coromandel wood travelling vanity box, by Asprey & 

Company, with brass inlaid name plate, Bramah lock and brass edging, enclosing seven 

silver top jars and bottles, with lift out tray and secret drawer beneath, 17cm high x 28cm 

wide x 20.5cm deep 

(1) £300-500 

49

CLOCKS & SCIENTIFIC INSTRUMENTS 

282* Barometer. A Regency mahogany 

mercury stick barometer, stamped ‘D.S.B.’ 

within sun crest, paper scales with 

remains of print, 83cm long, with 

manuscript label on reverse ‘This 

barometer was given by one of Nelson’s 

flag officers to the Rev. Jones Rector of 

West Peckham, Kent, who left it to his 

nephew after Larry Towse’(?) 

A Reverend Thomas Henry Jones is recorded as 

Royal Navy chaplain, 1839. 

(1) £200-300 

280* Altimeter. A rare late 19th-century 

moutaineering/ballooning altimeter by 

Hottinger & Cie, Zurich, with brass case 

and silvered drum, containing a curved 

tube thermometer signed and numbered 

‘1305’, the side with ivorine vernier 

secured in a black leather case, 6.5cm long 

(case tatty), together with a collection of 

Victorian and later microscope slides 

(1) £200-300 

283* Barometer. A Victorian mahogany 

wheel barometer, the circular silvered dial 

signed ‘D. Ortelli, Marlborough’, the case 

inlaid with circular foliate panels, 49cm 

(glass cracked) 

(1) £80-120 

284* Barometer. A Victorian aneroid 

wheel barometer, with white circular 

enamel dial and thermometer, 103cm high 

(1) £80-120 

Lot 282 

281* Art Nouveau. A Continental early 

20th-century wooden wall clock, carved 

with faces amongst gilt-painted trees, with 

arabic numerals and brass hands, with a 

simple brass movement and chains, 38cm 

high x 26cm wide, together with an Art 

Nouveau oak cased mantel clock with 

pressed copper circular dial, arabic 

numerals, the top with steel bell and brass 

carrying handle, with a simple movement, 

the inner door stamped ‘V.E. Merz’, 28cm 

high 

(2) £100-150 

Lot 287 

50

Lot 285 Lot 286 

285* Clock. An Victorian Boulle inlaid 

tortoiseshell mantel clock by Goldsmith 

Company, Regent Street London, the 

signed circular enamel dial with black 

roman numerals, balloon shaped case with 

gilt metal mounts and window to base to 

expose the pendulum, the rear door 

enclosing brass movement and pendulum, 

43cm high (some damage to the dial) 

(1) £400-600 

286* Clock. A late 19th-century French 

mantel clock, the brass skeleton 

movement stamped ‘Pert Bally, Brevette A 

Paris, No. 5048’ with white enamel dial, 

blue roman numerals, blued steel hands 

raised on an octagonal gilt metal pedestal 

finely engraved with floral scrolls leading 

to white marble base, 25cm high, under a 

glass dome with ebonised base, 36cm 

high overall 

(1) £400-600 

287* Clock. A late 19th-century mantel 

clock, with white circular enamel dial, 

black roman numerals signed ‘Della Salle, 

A Fellet’(?), with gilt metal figural 

decoration depicting a Catholic woman 

and child, mounted on a white marble 

base with gilt borders and feet, 33cm high 

(1) £100-150 

51

292* Compass. A Victorian brass 

surveying compass, the 4-inch engraved 

silvered dial signed Bradford, London, 

additional sighted arms, in pine box 

(1) £100-150 

288* Clock. A George III longcase clock, 

circa 1820, the white-painted dial with 

black roman numerals, indistinctly signed 

William Hallam Nottingham, fruit painted 

spandrels, in an oak and mahogany case 

with broken swan neck pediment, the door 

with patarae inlay, 208cm high, with 

pendulum and weight 

(1) £300-400 

289* Clock. An Edwardian inlaid 

mahogany mantel clock, with circular 

white enamel dial, black roman numerals, 

in a caddy top case inlaid with festoons, 

brass carrying handle, finials and feet, 

drum movement, 24cm high 

(1) £70-100 

290* Clocks. A Victorian mahogany drop 

dial wall clock, with white enamel dial, 

black roman numerals, in a mahogany case 

with ebonised mounts, 104.5cm high, 

together with a brass anniversary clock, 

with orange engine-turned dial, foul ball 

pendulum under a glass dome, 32cm high, 

plus a Huntley & Palmer’s biscuit tin 

(3) £70-100 

291* Clocks. A late 19th-century Belgium 

slate mantel clock, with circular white 

enamel dial, arabic numerals, in a 

substantial case with pressed metal 

hunting frieze, brass movement, with key 

and pendulum, 48cm high, together with a 

late 19th-century alabaster mantel clock, 

with circular white enamel dial, black 

roman numerals with gilt painted figural 

decoration of a young girl and boy, with 

key and pendulum, 30cm high 

(2) £80-120 

293* Gyroscope. A Victorian lacquered 

brass gyroscope by F.E. Becker & Co, 

25cm high, in a mahogany box with ivory 

manufacturer plate and various 

accessories including two pots each 

containing lead shot 

(1) £200-300 

52

294* Gyroscope. A modern all steel 

gyroscope on a substantial circular base, 

approximately 35cm high 

(1) £70-100 

295* Instruments. A collection of surveying 

instruments and timepieces, including a 

goliath pocket watch, the 65mm white enamel 

dial with black roman numerals, brass hands 

and subsidiary seconds dial, nickel plated case, 

and movement with perplex cover, a circular 

brass timepiece, the 85mm white enamel dial 

with black roman numerals, brass case and 

drum movement, a brass sextant by Stanley 

dated 1911 (reproduction) another sextant 

(reproductions), Singer’s Patent Night 

Compass, Fowler’s Universal Calculator in 

original leather case 

(a carton) £100-150 

296* Irish Clock. An early 20th century 

mantel clock by Chancellor of Dublin, circa 

1930s, the silvered dial signed with 

chapter ring engraved with black roman 

numerals, subsidiary dials for speed and 

chiming, 19 x 15.5cm, in mahogany case 

with four bevel edge panels, the rear door 

with cloth and brass grill, enclosing brass 

movement stamped ‘W&H.Sch’, 26cm 

high x 20.5cm wide x 18.5cm deep, with 

brass winding key 

(1) £150-200 

Lot 295 

297* Mantel Clock. A 19th century 

Belgian slate clock, of architectural form, 

the copper dial with black chapter ring and 

gilt engraved roman numerals, flanked by 

bronze classical figures within fluted 

columns, on block plinth with brass 

presentation plaque inscribed and dated 

1887 to the Reverend A.O. Hardy, M.A., 

32.5cm high x 42cm wide 


(1) £100-150 

Lot 296 

Lot 297 

53

298* Optician’s lenses. An impressive 

collection of late 19th-century optician’s 

lenses by Nachet & Fils, 17 Rue St, Paris, 

contained in a hard case with brass 

catches and lock engraved ‘Nachet a Paris’, 

with lenses titled Concaves, Convexes, 

Cylindriques, Prismatiques and Droptries 

Metrique, with supporting brass and steel 

spectacles, 6.5cm high x 48.5cm wide x 

29.5cm deep 

(1) £150-200 

Lot 298 

299* Protractor. A Victorian brass 360 

degree 12 inch protractor, signed Halden & 

Co, Manchester, together with a 6.25 inch 

protractor signed Cary, London, plus a pair 

of iron callipers, 30.5cm long 

(3) £100-150 

300* Spectacles. An extensive collection 

of George III and later spectacles, 

including three pairs of Georgian silver 

spectacles, each with turnpin sides, circa 

1807, Victorian steel and brass framed 

spectacles, vast array of 20th-century 

examples plus lorgenttes and cases 

together with a reference book by Peter 

Owen, Fashions in Eyeglasses, published 

1967 by R. & R. Clark Ltd., Edinburgh 

(a carton) £300-500 

Lot 300 

301* Theodolite. A Victorian brass 

theodolite, signed T.B. Winter, Grey St, 

Newcastle on Tyne, in fitted mahogany 

box with additional lens and original trade 

label, with tripod stand, plus an early 20th 

century brass surveying level by Cary of 

London, 31cm long, in mahogany case 

(1) £100-150 

302* Theodolite. A mid 20th-century 

brass theodolite by Stanley, in mahogany 

box with various accessories, on a 

mahogany and brass stand, 152cm high 

(some damage), together with a WWI 

brass clinometer Mark III by Taylor, Taylor & 

Hobson Ltd. dated 1915, 14cm high 

(2) £100-150 

Lot 302 

54

FURNITURE 

303* Altar Table. A Chinese hardwood altar table, 19th century, 

rectangular top with inset burr panel, on plain supports with scroll 

decorated pierced spandrels, joined by stretches on decorated 

feet, 85cm high x 102cm wide x 33cm deep 

(1) £700-1000 

307* Arts & Crafts. A set of early 20th century William Morris 

beech ‘Sussex’ chairs, comprising a pair of armchairs and four side 

chairs, each with rush seats (not original, probaby later), 86cm high 

This type of chair was named after a country chair found in Sussex, and 

inspired the original design by Morris. 

(6) £600-800 

304* Art Deco. A light rosewood standard lamp, on octagonal 

base with satinwood crossbanding with shade, 188cm high 

(1) £70-100 

305* Art Deco. A mahogany fluted standard lamp with aluminium 

mounts on a circular base with shade, 186cm high 

(1) £70-100 

308* Arts & Crafts. An oak four-fold screen with pokerwork floral 

decoration in red, orange and green, 173.5cm high, together with a 

similar three-fold screen, with a printed fox hunting panel, 173.5cm, 

with a recent Liberty & Co. receipt 

(2) £100-150 

306* Arts & Crafts. An oak cabinet, circa 1930s, the rectangular 

top with hinged section, slide-out panel, above two panelled doors, 

with single drawer beneath on turned baluster supports united by 

stretchers, 106.5cm high x 77.5cm wide x 42.5cm deep 

(1) £150-200 

55

309* Bedroom suite. A Victorian carved oak bedroom suite, 

comprising mirrored wardrobe, double bed frame, five drawer 

bedside chest and fall-front desk, all well carved with barley twist 

supports, wardrobe approximately 350cm high x 110cm wide x 

60cm deep 

(4) £300-500 

312* Bottle Stand. A good Victorian mahogany four bottle stand, 

the square base with long straight carrying handle and pineapple 

finial, 40cm high 

(1) £100-150 

313* Box. A 19th-century leather box, of octagonal form with 

tooled leather panels and brass nailed borders, brass key plate and 

handles, on six brass ball feet, 31cm high (locked and without key) 

(1) £200-300 

310* Bookcase. A George III mahogany breakfront bookcase, with 

three astragal glazed doors enclosing shelves, above five panel 

doors enclosing shelves, 237cm high x 290cm wide x 43cm deep 

(1) £1500-2000 

311 No Lot 

56

317* Bureau. A George III mahogany fall-front bureau, enclosing 

drawers above four drawers on ogee bracket supports, 101cm high 

x 91cm wide x 48cm deep, (with later additions) 

(1) £70-100 

314* Box. A George III-style satinwood box, the lid inlaid with a 

conch shell and walnut oval panels amongst leafy borders, 8.5cm 

high x 30.5cm wide x 26.5cm deep 

(1) £70-100 

315* Box. An oak bible box, probably 18th century, the double 

panel lid with initials S & D in brass nailed formation, with iron lock 

and hinges, 20cm high x 64.5cm wide x 38cm deep 

(1) £80-120 

318* Bureau. A George III mahogany fall-front bureau, the hinged 

fall enclosing drawers, above four drawers each with brass handle, 

on bracket supports, 107cm high x 106.5cm wide x 55cm deep 

(1) £300-500 

316* Bureau Bookcase. An 18th-century walnut bureau 

bookcase, the twin arched top with two mirrored doors, enclosing 

shelves, above two candle shelves, and fall-front enclosing 

drawers, above three long drawers each with brass handles and 

shaped backplates on bracket supports, 204cm high x 97cm wide 

x 55.5cm deep 

(1) £300-500 

319* Bureau. A George III walnut fall-front bureau, the hinged fall 

enclosing drawers and inlaid cupboards, above four drawers, each 

with brass handles and pierced backplates, on bracket supports, 

102cm high x 96.5cm wide x 57.5cm deep 

(1) £500-800 

57

320* Cabinet. A Victorian pine hanging corner cabinet, with dentil 

moulding, two glazed doors, enclosing shelves, 124cm high x 

98cm wide x 72cm deep 

(1) £150-200 

322* Carter (Ronald). A 1980s light oak “Whitney” dresser 

designed for David Miles Furniture Ltd, the shelved top above 

rectangular base with four cupboard doors enclosing cutlery 

drawer on four chamfered supports, 186cm high x 168.5cm wide, 

sold with accompanying paperwork 

Ronald Carter (1926-2013), studied Industrial and Interior Design at 

Birmingham Central College of Art winning a scholarship for Silversmithing, 

he then progressed to the Royal College of Art in London, where his 

professor was Dick Russell who was also chief designer for Gordon Russell 

Ltd. During the 1980s Carter established a company with David Miles in 

Wirksworth, Derbyshire, notable commissions include the chairs in the 

library at the British Museum and V&A, London. 

(1) £200-300 

321* Campaign Chest. A Victorian brass bound mahogany chest 

of drawers, the rectangular top above central door enclosing 

secretaire, flanked by two deep drawers, over three long drawers, 

each with brass recessed handles, brass lock stamped ‘J.T. Needs, 

100 New Bond St, Late J. Bramah 124 Piccadilly’ on ovoid feet, 

108cm high x 98.5cm wide x 47.5cm deep 

(1) £700-1000 

323* Cellerette. A George III mahogany cellerette, of octagonal 

form bound in brass with lion’s head ring turn handles, the hinged 

lid enclosing tin-lined interior, on four tapered supports with brass 

casters, 56cm high x 57cm wide x 43cm deep 

(1) £700-1000 

58

Lot 324 Lot 325 Lot 326 

324* Chair. A 1960s tubular steel armchair, with stuffed leather 

upholstery, 73cm high 

(1) £100-150 

325* Chair. AA George III mahogany hall chair, the shield back 

painted with crest, solid seat on tapered supports with spade feet, 

inscribed in pencil under the seat ‘Bishop of York’, 96cm high 

(damaged back) 

The Arms on this hall chair are most probably those of The Most Reverend 

The Hon. Edward Harcourt, PC. (1757-1847). 

(1) £150-200 

326* Chair. A William IV mahogany library/cock fighting chair, 

upholstered in leather with padded arms, reading stand and brass 

nailed beading, on turned tapered supports with splayed legs to the 

rear each with brass casters, 82cm high 

(1) £500-800 

327* Chairs. A pair of 19th-century Louis XV-style fauteuils, 

each painted white with gilt-painted carved top rails, red floral 

upholstery on cabriole supports, 104cm high 

(2) £100-150 

328* Chairs. Four chairs including a late 19th-century oak monks 

chair with studded leather seat, 72cm high, another oak and 

leather chair carved with lions, 95cm high, and two others 

(4) £70-100 

329* Chairs. A set of six oak ladderback chairs, circa 1900, 

comprising two armchairs and four side chairs, each with rush seat, 

109cm high 

(6) £100-150 

Lot 327 Lot 329 

59

330* Chairs. A fine pair of George I walnut chairs, circa 1720, each with carved scallop shell top rail, vase back splat, contemporary tapestry 

upholstered drop in seats, on cabriole supports with carved shell and claw and ball feet, 101.5cm high, (some later repairs) 

Provenance: By repute, from the estate of Dr Richard Bright (1789-1858), a Bristol physician. 

(2) £1500-2000 

60

331* Chest of Drawers. A Victorian mahogany bowfront chest of 

two short and three long drawers, each with oval handle and 

backplate, on splayed bracket supports, 104cm high x 107.5cm 


(1) £100-150 

332* Chest on Stand. An oak chest on stand, converted from a 

coffer, the rectangular top with two front panelled doors flaking 

central panel with iron lock, all elaborately carved with scrolls, 

mounted on a stand with bulbous uprights and undertier shelf, on 

bun feet, 115cm high x 122cm wide x 56cm deep 

(1) £150-200 

Lot 335 

333* Chest. A 19th-century carved oak chest, the rectangular top 

enclosing candle box, the front panel with three panels each with 

geometric decoration, amongst scrolls, two drawers beneath on 

bracket supports, 80cm high x 124.5cm wide x 57cm deep 

(1) £200-300 

334* Chest. A pine blanket box, of rectangular form, with iron 

carrying handles, 54cm high x 101cm wide x 50.5cm deep 


(1) £70-100 

335* Chest. A George III walnut chest on stand, the top with two 

short and three long drawers, the base with one deep drawer with 

inlay, with brass handles and backplates on shell carved cabriole 

supports, 163cm high x 106cm wide x 69cm deep 

(1) £300-500 

336* Chest. A George III oak chest on chest, the top inlaid with a 

barbers pole type frieze, three small drawers above three long 

drawers within reeded pilasters, above a brushing slide, three 

drawers on bracket supports, 186cm high x 115cm wide x 54cm deep 

(1) £500-800 

Lot 336 

61

337* Coffer. A 17th-century Welsh primitive oak coffer, with iron hinges and plate, the hinged lid carved with date 1616 

to left-hand corner, enclosing vacant interior on tapered supports, 73cm high x 110cm wide x 47cm deep 

(1) £1500-2000 

62

339* Court Cupboard. An antique oak court cupboard, with two 

panel doors above single door enclosing shelves, with iron hinges, 

handles and key plates, on reeded block supports, 145cm high x 

157cm wide x 68.5cm deep 

(1) £300-500 

338* Corner Cabinet. An early 19th-century mahogany cabinet on 

stand, with two arched panelled doors, enclosing shelves, brass 

key plates and hinges, on elaborate curved supports, 181cm high x 


(1) £150-200 

340* Court Cupboard. An antique oak court cupboard in the 17thcentury 

style, with rectangular top and single panel door beneath 

inlaid with flowers, canted sides and bulbous carved uprights, 

above two heavily carved doors enclosing shelves, on block 


(1) £300-500 

341* Crib. An early 19th-century Welsh oak crib, with raised 

canopy on curved rockers, 60cm high x 95cm long x 40cm wide 

(1) £200-300 

Lot 339 

63

Lot 345 

342* Desk. A Victorian mahogany kneehole desk, the rectangular 

top with inlaid corners, rosewood crossbanded border, above two 

frieze drawers and three drawer pedestals, each with brass handles 

on bracket supports, 73cm high x 91cm wide x 68cm deep 

(1) £200-300 

343* Desk. A late Victorian oak partners desk, the leather inset 

top above three frieze drawers and two pedestals each with three 

drawers and a cupboard to the rear, 77cm high x 188cm wide x 

133cm deep 

(1) £500-800 

346* Dresser Base. An 18th-century dresser base, with three 

drawers each with geometric carved fronts and brass drop handles 

on baluster supports united by stretchers, 79cm high x 187cm wide 

x 52cm deep 

(1) £500-800 

344* Dining Chairs. A set of four 19th-century button-upholstered 

mahogany dining chairs in the manner of A.W.N. Pugin, the 

chamfered swept x-frame sides decorated with roundels and floral 

rosettes, turned and graduated stretchers to front and rear, each 

foot with a recessed brass roller caster, each 84cm high 

(4) £500-800 

345* Dining Table. An Edwardian mahogany twin pillar dining 

table, in the Regency style, with d-ends, single leaf and turned 

pillar supports with reeded splayed legs and brass lion’s paw feet, 

204cm long x 73.5cm high x 107cm deep, with additional 

composite leaf for further extension 

(1) £200-300 

347* Dresser. A George III Welsh oak dresser, with solid three 

plate rack above a base with radial inlay and four drawers, three 

undertier drawers, turned uprights on bracket supports, 240cm 

high x 180cm wide x 42cm deep 

(1) £1500-2000 

64

348* Folk Art. A Victorian carved oak 

chair, carved with figures depicting 

William Shakespeare’s play ‘The Merry 

Wives of Windsor’, and so titled, the back 

with a man coming out of a basket held by 

standing figures, the arms similarly 

supported by figures, one carved ‘Made 

me drunk picked my pocket’, the other ‘Is 

Falstaff there’, 85cm high 

(1) £300-500 

349* Heals. A limed oak triple wardrobe, 

circa 1930s, of canted form with three 

doors enclosing shelves and hanging 

space on raised block base, 179.5cm high 

x 139cm wide x 52.5cm deep 

(1) £100-150 

351* Library Steps. A pair of modern 

light mahogany library steps, with three 

steps and carved decoration, 81cm high x 


(1) £100-150 

353* Linen Press. A 19th-century 

mahogany linen press, with twin panel 

doors enclosing hanging space and five 

drawers, each with brass handles, above 

two short and two drawers on bracket 

supports, 193cm high x 127cm wide x 

60cm deep 

(1) £200-300 

350* Jardinieres. A pair of Chinese 

hardwood jardinieres, early 20th century, 

carved and pierced supports with cross 

stretcher, inlaid decoration, inset marble 

panel to top, 93cm high 

(2) £600-800 

352* Linen Press. A George III mahogany 

linen press, with broken arch pediment, 

two panel doors enclosing five linen trays, 

above two short and two long drawers on 

turned supports, 215.5cm high x 113cm 


(1) £300-500 

354* Ludwig Mies Van Der Rohe (1886- 

1969). A Brno leather and chrome 

cantilever chair by Knoll International, 

upholstered in black with padded arms, 

the underside with label for ‘Knoll 

International, modello Depositanto Kiga 

S.p.A’, 76cm high x 58cm wide 

Provenance: Private collection, Italy. Designed 

by Mies Van Der Rohe, one of the most 

influential and iconic designers and director of 

the Bauhaus. The inspiration for this chair came 

from his lover and fellow designer Lilly Reich and 

crossed architecture with art. 

(1) £300-400 

65

355* Mirror. A Victorian mahogany dressing table mirror, the 

shield shape bevel-edge glass above serpentine base with single 

drawer and herringbone inlay, 65cm high 

(1) £70-100 

356* Mirror. A Regency style convex mirror, the gilt painted gesso 

frame with foliate pediment, and base, two branches, converted for 

electrical use, 101cm high x 85cm wide 

(1) £400-600 

358* Mirrors. A pair of oak Ecclesiastical mirrors in the Gothic 

style, heavily carved with later glass, 96.5cm high 

(2) £100-150 

359* Mouseman. A Robert “Mouseman” Thompson of Kilburn 

oak cabinet, the rectangular top with hinged fall above two deep 

drawers, with panelled side panel on carved supports, the front left 

with the symbolic mouse, 109cm high x 76cm wide x 38cm deep 

(1) £400-600 

357* Mirror. A good George III gilt wood wall mirror probably 

Victorian, carved with a pagoda, exotic birds and c-scrolls inset 

with bevel edge glass, 136cm high x 82cm wide 

(1) £1500-2000 

66

360* Night Table. A George III mahogany 

night table, with gallery top, twin 

cupboard doors, and single drawer 

beneath, on four block supports, 76.5cm 

high x 61cm wide x 46.5cm deep 

(1) £100-150 

Lot 362 

361* Church Panels. A fine pair of finely 

carved oak panels, probably late Medieval, 

with faint traces of original paint and gold 

leaf remaining, 224cm high 

Provenance: By repute, from a French church 

and acquired by the present owner as architectural 

features for his home. 

(2) £600-800 

362* Papier-mache Panels. Four large sections of a classical frieze from Lanrick Castle, 

circa 1790, together four papier-mache panels, each relief depicting a classical maiden 

picking grapes (two identical), some damage and loss, each 96.5 x 79.5cm (38 x 31.5ins) 

Provenance: Removed by the vendor from 

Lanrick Castle, near Doune in Stirling, in 1973, 

he having been informed that the castle was 

to be abandoned due to inheritance tax. The 

panels had been part of the decorative 

scheme in the entrance hall. Lanrick Castle 

was built around 1790, with Gothic additions 

made in 1815. In 1994 the castle was gutted 

by fire and lost its roof and in 2002 the 

remaining structure was demolished. The 

owner, Alistair Dickson, who inherited the 

building in 1984, was prosecuted for 

demolishing a listed structure without the 

necessary consent, and was fined £1,000. 

Grand-scale use of papier-mache mouldings 

were first used in Britain around 1740 as a 

substitute for plaster mouldings. Most extant 

examples are still in situ, and given their 

fragile nature, a survival such as these is 

remarkable. 

(4) £700-1000 

67

363* Pole Screen. A Victorian mahogany 

pole screen painted in the Adam style, 

with floral sprays and adjustable shield 

shape screen inset with silk panel finely 

worked with flowers, 166cm high 

(1) £100-150 

364* Polescreen. A Victorian rosewood 

polescreen, with tapestry panel depicting 

a squirrel perched on a branch in a foliate 

carved frame with ivory panel inscribed 

with initials and Rangoon 1856, supported 

on a gilt metal pole leading to spiral base 

with three cabriole supports, 164cm high 

(1) £100-150 

365* Pugin. A Victorian oak chair in the 

manner of A.W.N. Pugin, the curved top 

rail with circular ivorene plaque engraved 

‘8’, green leather upholstered seat on 

block supports, 89cm high 

Provenance: Believed to be from the House of 

Commons Committee Room. 

Bonhams, Knightsbridge, 24 July 2007. 

(1) £100-150 

366* Queen Victoria. A set of four 

Victorian hall chairs, each with tapered 

back, solid seat on hexagonal tapered 

supports, two stamped ‘VR 1845 OC’, 

85cm high 

Provenance: Believed to be from Osbourne 

Cottage, which was a property on the north-east 

edge of the Osbourne Estate, Isle of Wight. 

(4) £300-500 

367* Settle. An antique oak settle, 

probably early 19th century, of curved form 

with panel back, shepherd's crook arms, 

on block supports united by stretcher, 

approximately 135cm high x 181cm wide x 

73cm deep 

(1) £300-500 

Lot 366 Lot 367 

68

Lot 368 Lot 371 

368* Settle. An 18th-century style oak 

settle, the back carved with Latin motto 

and dated 1788, with hinged box seat, on 

block feet, 89cm high x 186cm wide x 

44cm deep 

(1) £200-300 

371* Sofa. A William IV chaise longue, 

painted in a grisaille effect with gold 

decoration on lion’s paw feet and brass 

casters, 73cm high x 176cm wide x 64cm 

deep 

(1) £200-300 

372* Sofa. A Victorian sofa, the curved 

upholstered back rail with gilt pine carved 

uprights, scroll arms, curved seat on scroll 

supports with brass casters, 73cm high x 


(1) £150-200 

370* Side Table. A 19th-century oak 

single drawer side table, in the 17thcentury 

style, the rectangular top above 

geometric panel drawer with two brass 

knobs on four uprights united by 

stretchers, 68cm high x 76cm wide x 

47.5cm deep 

(1) £70-100 

373* Sofa. A Regency mahogany framed 

sofa, with striped upholstery, reeded 

scroll arms on circular tapered supports 

with brass casters, 89cm high x 178cm 

wide x 82cm deep 

(1) £300-500 

369* Sewing Table. A Regency japanned 

sewing table, finely decorated in gold 

lacquer with Chinese figures, building and 

landscapes, the hinged lid enclosing 

divisional interior, lyre uprights leading to 

lions paw feet on brass casters, 72cm high 

x 65cm wide 45cm deep 

(1) £500-800 

Lot 373 

69

374* Stand. A Victorian ebonised 

jardiniere stand, with brass mounts, and 

undertier shelf on splayed supports, 

85.5cm high 

(1) £80-120 

Lot 375 

375* Stationery Box. A George III 

mahogany serpentine stationery box 

converted from a cutlery box, the sloping 

lid inlaid with patarae, barber’s pole 

stringing enclosing divisional interior, silver 

key plate and thumb ring, 39cm high 

(1) £200-300 

376* Stools. A pair of Antique joint oak 

stools, probably 18th century, each with 

rectangular top with clipped edges, on four 

carved supports each with carved 

stretches, 47cm high x 56cm wide x 

27.5cm deep 

(2) £200-300 

Lot 376 

377* Table. A George III mahogany drop 

flap table with gate leg action on pad feet, 

74cm high x 106cm wide 

(1) £150-200 

378* Kinsman (Rodney, born 1942). 

1960/70s dining table and six chairs for 

OMK Design Ltd, the table with two 

panel smokey quartz top, tubular steel 

frame, 71cm high x 160cm wide x 84cm 

deep, the chairs with black leatherette 

seats, 73.5cm high, together with a 

matching glass top coffee table, 31cm high 

x 84cm square 

OMK design was formed in 1966 by Rodney 

Kinsman, who began designing for Habitat. 

Kinsman was born in London and attended the 

Central London School of Art until 1965. 

(1) £200-300 

Lot 378 

70

379* Table. A George III mahogany tilt top 

table, the circular top above turned 

pedestal on three cabriole supports, 70cm 

high x 79cm diameter 

(1) £100-150 

380* Table. A Victorian silvered side table, 

the rectangular top profusely carved with 

scrolls inset with marble panel and 

gadrooned edge above barley twist 

supports united by scroll stretchers, on bun 

feet, 72cm high x 69cm wide x 61cm deep 

(1) £100-150 

Lot 379 Lot 380 

381* Table. A Charles I-period oak 

refectory table, the rectangular top above 

carved frieze on bulbous supports united 

by stretchers, 75cm high x 147cm wide x 

68cm deep (with later additions) 

(1) £1500-2000 

Lot 381 

71

Lot 382 

382* Table. A 1950/60s oak coffee table, the rectangular top inset 

with ceramic tile segments of all different shapes, colours and 

sizes, with brass presentation plaque inscribed ‘Presented to 

Robert Hardy from St. Dunstan’s Archery Club’, with a further 

plaque inscribed ‘Made by F. Galway, St. Dunstan’s’, 44.5cm high x 

62cm wide x 41cm 

The charity Blind Veterans UK, formerly St Dunstan’s, was originally founded 

in 1915 by Sir Arthur Pearson (1866-1921), who had himself lost his sight 

due to glaucoma. It provided support for British soldiers suffering from 

blindness on returning from the front lines during the First World War. The 

charity continues to provide support to vision-impaired ex-Service men and 

women. Sir Arthur Pearson’s son Neville Pearson married the actress Gladys 

Cooper in 1927, and became president of St. Dunstan’s in 1947. Their 

daughter Sally Pearson was Robert Hardy’s second wife. Provenance: The 

actor & historian Robert Hardy. 

(1) £70-100 

383* Table. A fine George III mahogany side table, the substantial 

rectangular mahogany top over blind fret work base on conforming 


(1) £1000-1500 

Lot 383 

72

Lot 385 

384* Table. A Victorian walnut octagonal 

occasional table, inset with a stained 

walnut panel and walnut and ebony border, 

on four fluted supports united by 

stretchers on ceramic casters, 63cm high 

x 52cm wide 

(1) £80-120 

385* Table. A William IV mahogany foldover 

card table, with rounded corners 

hinged to reveal green baize on turned 

tapered supports with brass casters, 

75cm high x 91.5cm wide x 45cm deep 

(1) £80-120 

386* Table. A George III mahogany tilt-top 

table, the circular top on baluster pedestal 

with three cabriole supports, 

approximately 73cm diameter x 71cm high 

(1) £80-120 

387* Table. A George III oak tilt-top table, 

the circular top on gun barrel pedestals, 

with three cabriole supports, 

approximately 47cm diameter x 70cm high 

(1) £80-120 

388* Table. A Regency mahogany tilt-top 

breakfast table, the rectangular top with 

rounded corners and rosewood 

crossbanding on square tapered pedestal 

on quatrefoil base with line inlay and four 

curved supports, 70cm high x 96cm deep 

(1) £200-300 

389* Table. A modern campaign chess 

table, with brass presentation plaque 

engraved ‘The Waterloo chess set, made 

to the order of Philip Jones Esq. No. 85, in 

an Edition of 250’, with brass carrying 

handles, recessed handles, 171cm high x 

59cm square, enclosing a fine array of 

military pieces 

(1) £300-500 

Lot 388 Lot 389 

73

391* Table. A 19th-century Continental rosewood side table, 

probably French, the rectangular glass top inset with a coloured 

print depicting a Tudor scene, brass border on four curver cabriole 


(1) £300-500 

390* Table. A Victorian walnut drum table, the circular top inset 

with Morrocan leatherette, four frieze drawers, on bulbous 

pedestal with three cabriole supports on brass casters, 75cm high 

x 113cm diameter 

(1) £200-300 

392* Table. An early 19th-century elm Cricket table, the circular 

top over three supports united by under-tier shelf, 64cm diameter x 

70cm high 

(1) £150-200 

Lot 391 

Lot 393 

74

393* Tallboy. A George III period oak tallboy, with two short and 

three long drawers, on a stand with three small drawers, each with 

brass handles and backplates, shaped apron on cabriole supports, 

158.5cm high x 93cm wide x 52.5cm deep 

(1) £300-500 

395* Tea Caddy. A Victorian mother of pearl and ivory tea caddy, 

the inverted breakfront caddy finely veneered in mother of pearl 

richly engraved with flowers and shaped cartouche, the hinged lid 

enclosing twin division with covers, 11.5cm high x 17.5cm wide x 

12cm deep 

(1) £200-300 

394* Tallboy. A George III mahogany tallboy, with three short and 

three long drawers each with brass handles and backplates, the 

lower section with brushing slide, secretaire drawer over two long 

drawers, on bracket supports, 194cm high x 109cm wide x 55.5cm 

deep 

(1) £200-300 

396* Tea Caddy. A George III satinwood tea caddy, of rectangular 

form, the lid and panel inlaid with a conch shell, within rosewood 

crossband border, lacking covers for twin division, 13cm high x 

21cm wide x 11cm deep, together with five further boxes including 

a George III square satinwood tea caddy, with turned brass handle, 

rosewood crossbanding enclosing felt lined interior, 12cm high x 

11.5cm square 

(6) £80-120 

75

397* Tea Caddy. A Victorian walnut and mahogany tea caddy, of 

concave form, the domed lid enclosing two lift-out canisters, cut 

glass mixing bowl, two brass ring handles to the side panels on 

four squat bun feet, 20cm high x 34cm wide x 19cm deep 

(1) £150-200 

398* Trunk. A Victorian pine trunk, the rectangular top enclosing trays, 

with rope carrying handles, 60cm high x 107cm wide x 57cm deep 

(1) £70-100 

399* Writing Desk. An Edwardian mahogany writing desk, the 

rectangular top with leather inset, above three drawers with brass 

handles on block supports, with moulded edges on brass casters, 

77cm high x 105cm widxe x 62cm deep 


(1) £70-100 

Lot 397 

76

OIL PAINTINGS & WATERCOLOURS 

Lot 581

WATERCOLOURS 

403 Ba Thet (U, 1903-1972). Harbour Scene, watercolour on paper, 

signed lower right, 24 x 29cm (9.5 x 11.5ins), framed and glazed 

(1) £200-300 

401 Album of watercolours. An interesting album of watercolour 

views, 1844/45, 118 watercolour views and three pencil drawings, 

all by the same competent hand, comprising views of country 

houses and churches, castles, landscapes, village and street scenes, 

and seascapes, mostly titled and dated, including scenes of 

Bradenham, High Wycombe, Bristol, Thornbury, Clifton, Reading, 

Leatherhead, Ilfracombe, Lynton, Snowdon, Llanberis, Conwy, 

Caernarfon, Dolgetty, Barmouth, Cork, 19 x 28cm (7.5 x 11ins) and 

smaller, mounted on album leaves, marbled endpapers, original 

black half morocco gilt, rubbed and soiled, large 4to 

(1) £300-500 

402* Aldridge (Frederick James, 1850-1933). Making for 

Shoreham, watercolour on wove paper, signed lower left, 33 x 50cm 

(13 x 19.75ins), framed and glazed, Gallery Thirty Three, Billingshurst 

label to verso 

(1) £100-150 

404* Blickling Hall. A pair of architectural drawings of Blickling Hall, 

early 20th century, two pencil drawings with watercolour wash, 

enlarged from ‘Details of Elizabethan Architecture’ by Henry Shaw, 

published by William Pickering, 1839, one showing the Elevation of 

half of South Front, and the other depicting the Entrance Gateway 

and the Chimney Piece in the Dining Room (latter a trifle edge-frayed 

and with pin-holes at corners), both a little dusty, each 38 x 55cm 

(15 x 21.5ins), former mounted framed and glazed 

(2) £100-150 

78

405 Bridell (Frederick Lee, 1831-1863). View of Portland and Sands Foot Castle, Dorset, 1856, signed and dated to lower edge, 17 x 27cm 

(7 x 10.5ins), framed and glazed, together with another watercolour of a farmyard scene by L. M. Watts 

(2) £150-200 

406* Burgess (John, 1814-1874). Snowdon from Llanberis Road, 

watercolour, showing a mounted figure and dog driving cattle along 

a track, against a mountainous backdrop, signed and titled ‘Llanberis’ 

lower right, 36.5 x 54.5cm (14.25 x 21.5ins), titled gilt mount, framed 

and glazed 

(1) £200-300 

407* Carter (Richard Harry, 1839-1911). Beachcombers on the 

Shore, watercolour, heightened with bodycolour, showing four 

figures on a beach, with a stormy sea crashing on rocks, signed 

lower left, 38 x 64.5cm (15 x 25.25ins), framed and glazed 

(1) £200-300 

408 Attributed to William Stephen Coleman (1829-1904). 

Farmer’s Daughter, watercolour, initialled lower left, 24 x 18.5cm 

(9.5 x 7.5ins) mount aperture, framed and glazed 

(1) £70-100 

79

Lot 411 

80

409 Continental School. Mountain lake landscape with figures 

around a campfire, possibly Scandinavia, mid 19th century, gouache 

and opaque watercolour on paper, 16 x 27cm (6.25 x 10.5ins) 

(1) £200-300 

410 Manner of Thomas Hartley Cromek (1809-1873). Continental 

Street Scenes, 19th century, three watercolours on paper, 25 x 

17.5cm (10 x 7ins) and slightly smaller, framed and glazed 

(3) £100-150 

411* Darvall (Henry, active 1848-1889). Exterior Stair in the Court 

of Palazzo Contarini Porta di Ferro, Venice, 1882, watercolour, 

showing a young lady wearing a green dress and black shawl, 

descending a short flight of stone steps with ornate balustrade, with 

a vista of a garden through a tracery doorway behind, signed and 

dated on lowest step, 69.5 x 39.5cm (27.25 x 15.5ins), gilt mount, 

framed and glazed, backboard with old framer’s label, and 

manuscript label in the artist’s hand, giving title, artist’s name, a price 

of 5, and his address ‘4138 Riva Schiavoni Venice - and care of Mr. 

Smithers, 95 Leadenhall St. London’ 

Provenance: From the collection of artist decorator Charles Eaton (1885- 

1963); thence by descent to the god-daughter and cousin of his daughter 

Lilian Eaton, the current vendor. Henry Darvall moved to Venice in 1875 and 

exhibited views of Venice at The Royal Academy for several years. 

(1) £1500-2000 

Lot 412 

412 English School. Cattle Watering, 19th century, sepia 

watercolour on wove paper, 23 x 30cm (9 x 12ins), together with six 

other English watercolours including Brading Church, Isle of Wight, 

Henley and a maritime scene attributed to J. W. Carmichael 

(7) £70-100 

413 English School. An architectural watercolour study of a 

Regency house, circa 1830s, watercolour on paper, 41 x 65cm (16 

x 25.5ins), framed and glazed 

(1) £200-300 

Lot 413 

414 Feldwicke (R. C., 19th century). Abundance, 1893, fine lunette watercolour heightened with bodycolour, probably a design for a 

sopraporte, signed and dated lower left, some overall toning with one or two minor marks, 34 x 74cm (13.5 x 29ins), framed 

(1) £300-500 

81

Lot 417 

Lot 418 

415* Frere (Pierre Edouard, 1819-1886). The Sisters, 1875, 

charcoal and watercolour, intimate portrait of a young girl and her 

older sister, seated facing each other in an attitude of prayer, signed 

and dated lower left, 36.5 x 29cm (14.5 x 11.5ins), mounted, framed 

and glazed 

(1) £200-300 

416 Hardy (Heywood, 1843-1933). Study of an African Elephant, 

colour pastel on paper, 34 x 40cm (13.5 x 15.75ins), framed and glazed 

Original labels pasted to verso. Exhibited Grosvenor Gallery, 1988. 

(1) £300-500 

Lot 419 

82

417* Lamb (John, late 19th century). Mountain landscape in 

South Africa, 1903, watercolour, heightened with body colour, 

signed and dated lower right, and titled indistinctly lower left 

(...mimosa bush in bloom), 30 x 44.5cm (11.75 x 17.5ins) mount 

aperture, framed and glazed 

(1) £150-200 

418* Markes (Albert Ernest, 1865-1901). Seascapes, two 

watercolours, one showing a sunrise over a partially submerged 

wreck on a beach, with rocks and headland, signed lower left, 14.5 

x 35cm (5.75 x 13.75ins), the other showing sailing boats and figures 

on a beach, signed lower left, faintly spotted, 14 x 22cm (5.5 x 

8.75ins), in matching mounts and glazed frames, each with old 

gallery label on backboard ‘Leggatt Brothers’ 

Albert Markes was a marine watercolourist who lived in Cornwall before 

coming to London. He painted scenes on the east coast of England, as well 

as working in Belgium and Holland. 

(2) £150-200 

419 Marks (Claude, active 1899-1915). Bluebell Woods, watercolour 

and pastel on paper, signed lower left, 42 x 30cm (16.5 x 12ins) 

mount aperture, framed and glazed 

(1) £200-300 

423 Richardson (Thomas Miles, 1813-1890). Harbour Scene, 

watercolour on paper, initialed lower left, 12 x 23cm (4.75 x 9ins) 

mount aperture, framed and glazed 

(1) £100-150 

420 Marks (Claude, active 1899-1915). Coastal Scene, watercolour 

and gouache on paper, signed lower right, 36 x 53cm (14 x 21ins), 


(1) £200-300 

424 Stannard (Ivy, 1881-1968). Flintwick Moor, watercolour, signed 

lower left, 17 x 24cm (6.75 x 9.5ins) mount aperture, framed and 

glazed, together with another Ivy Stannard watercolour of a 

moorland plus a coastal scene watercolour by J. H. Hartley 

(3) £100-150 

421 Montalba (Clara, 1842-1929). Monte Berico Vicenza, 

watercolour on paper, signed lower left, 26 x 18cm (10 x 7ins), 


(1) £100-150 

422* Potter (Charles, active 1867-1892). Classical ruins with 

figures on a path, Southern Italy, watercolour and gouache, signed, 

59 x 89.5cm (23.25 x 35.25ins), framed and glazed 

A large-scale panoramic landscape, probably showing monuments on the 

Appian Way, outside Rome, with the silhouette of St. Peter’s in the distance. 

Charles Potter was a member of the Royal Cambrian Academy, Manchester, 

who lived in Oldham and Tallybont, Conwy, and exhibited at the Royal 

Academy and elsewhere from 1867 to 1892. 

(1) £200-300 

425 Stark (James, 1794-1859). Landscape with house and lake, 

1851, watercolour on paper, signed and dated 1851 to lower edge, 

one or two minor marks, 46 x 74cm (18 x 29ins), framed and glazed 

(1) £300-500 

83

426* Stone (Sarah, circa 1760-1844). A rose-breasted grosbeak, 

1785, watercolour, showing a bird perching on a branch, signed 

and dated to lower margin, toned, 38 x 29cm (15 x 11.5ins), framed 

and glazed, with remains of old framer’s label on backboard from 

earlier frame 

Sarah Stone’s father was a fan painter, and it was from him that she learnt her 

technique. When she was about 17 she visited the Leverian Museum at 

Leicester House in London. This vast and important collection of natural objects, 

including live animals, consisted of around 27,000 items. Its owner, Sir Ashton 

Lever, commissioned Sarah Stone to paint many of the specimens housed in 

the vast sixteen room mansion. Her artwork is considered of great importance 

as a record of some of the species collected by explorers and housed in the 

long-since defunct museum, some of which are now extinct or have 

endangered populations. The museum was put up as a lottery prize in 1786, 

with tickets priced at one guinea. The collection was eventually dispersed in 

1806, selling at auctions over a period of sixty-five days. The library at the 

Natural History Museum has a large collection of Sarah Stone’s watercolours. 

(1) £700-1000 

Lot 427 

Lot 428 

427 Taylor (Andrew Thomas, 1850-1937). Interior of the Church 

of Santa Maria Novella, Florence, watercolour, initialled lower left, 

22 x 15.5cm (8.75 x 6ins) mount aperture, framed and glazed 

(1) £100-150 

428* Tucker (Edward, 1830-1909). Mountain landscape with cattle, 

watercolour on paper, 112 x 256mm (4.5 x 10ins), framed and glazed, 

with Michael Bryan, 20A Cheyney Walk, London label to verso 

(1) £150-200 

429* After Joseph Mallord William Turner (1775-1851). Combe 

Martin, Devonshire, circa 1860s, watercolour, showing boats, 

mules, and fisherfolk, 14 x 22.5cm (5.5 x 9ins), mounted, gilt 

moulded frame, glazed 

The original watercolour drawing by Turner is in the Ashmolean Museum, 

Oxford. It was reproduced as an engraving in Cooke’s ‘Picturesque Views on 

the Southern Coast of England’, published in 1825. 

(1) £200-300 

84 

Lot 430

430* Varley (Cornelius, 1781-1873). Study of a landscape with 

thatched farm building, pencil on pale blue paper, heightened with white 

chalk, 18 x 28cm (7 x 11ins) mount aperture, framed and glazed, with 

mid-20th century label of Bonfiglioli, Oxford, to verso, together with 

Attributed to William Alfred Delamotte (1775-1863), River landscape 

in Switzerland, with figures on a path, and castle on a promontory, pen, 

ink and watercolour, some surface marks and light discolouration, 16.5 

x 25cm (6.5 x 9.75ins) mount aperture, framed and glazed 

Provenance: Private Collection, Oxfordshire. 

(2) £150-200 

433* Wallpaper panel. A large papier peint landscape scene, for 

an overdoor, by Arthur et Robert of Paris, 1786 [but later], printed 

from woodblocks on paper, linen backed, showing a stylised 

landscape scene incorporating italianate and dutch architectural 

motifs and costume, image size 66 x 108cm (26 x 42.5ins), gilt 

frame, glazed, together with a watercolour design for a wallpaper 

on an oriental theme, early 19th c., elevation depicting a central door 

with curtain surround, against a wall with oriental design wallpaper, 

dado rail and panels below, unsigned, 19 x 20.7cm (7.5 x 8ins), 

framed and glazed, plus four others, including A Pair of Broad 

Bottoms [1810], hand-coloured etching by William Heath (1795- 

1840), creased where previously folded, approx. 32 x 23cm (12.5 x 

9ins), framed and glazed 

(6) £300-500 

431* Varley (John, 1778-1842). View of Conwy Castle, North 

Wales, with figures, fine watercolour on paper, 102 x 151mm (4 x 6ins), 

framed and glazed, with Colnaghi label to verso 

(1) £300-500 

432* Varley (John, 1778-1842). View of Berry Pomeroy Castle 

above the River Dart, Devon, fine watercolour on paper, 163 x 

210mm (6.5 x 8.25ins), framed and glazed 

(1) £300-400 

434* Weeks (Edwin John, 1849-1903). Street scene in Cairo with 

mosque, signed with initial lower right, 295 x 203mm (11.5 x 8ins), 


(1) £300-500 

85

STAINED GLASS 

435* Firkins (Ivy, late 19th/early 20th 

century). Jeanne d’Arc, pencil on thick 

paper, arched design for a stained glass 

window, showing Joan of Arc as a young girl 

standing with her hands clasped in prayer, 

with an angel behind presenting a sword, 

and sheep and a crook at their feet, with 

primroses, daffodils, and trees, some large 

pin holes to margins, and a closed tear in 

lower margin just encroaching on image, 

149 x 45cm (58.5 x 17.75ins), with old typed 

identification label to lower margin below 

image, framed and glazed 

(1) £200-300 

Lot 436 

436 Stained Glass. A pair of stained glass 

panels, circa 1900, clear glass panels 

depicting a bird in the branches of a tree and 

a dragonfly above a pond, enclosed within 

leaded coloured glass border (one or two 

cracks to coloured glass), 29 x 22cm (11.5 x 

8.5ins), together with a pair of leaded 

coloured glass panels 

(4) £200-300 

437* Stained Glass. A large stained-glass 

panel depicting Christ, late 20th century, 

coloured and hand-painted glass panel, 

showing Jesus the Good Shepherd, with 

lamb and crook, two vertical sections in light 

oak frame, overall size 200.5 x 64cm (79 x 

25.25ins) 

Provenance: Commissioned as an internal feature 

for a ‘designer’ house. 

(1) £200-400 

Lot 436 Lot 437 

86

OIL PAINTINGS 

Lot 438 

438* Ansdell (Richard, 1815-1885). Study of a 

Highland cow, gouache over pencil on paper, 

manuscript label pasted to verso, framer’s label 

of Gray & Sons, Carlisle, 21 x 30cm (8.25 x 12ins), 


The manuscript label states: 'By R Ansdell RA Bought at 

Christies by R Woodhouse, March 19th 1886'. Ansdell's 

studio contents were sold by Christies on this date. 

(1) £1000-1500 

439* Attributed to Robert Bateman (1842- 

1922). Landscape with rooks, oil on canvas, 

showing an overcast and blustery landscape with 

trees and three rooks, canvas verso ink stamped 

‘Geo. Rowney & Co. 52, Rathbone Place and 29, 

Oxford Street, W. London’, 21.5 x 35.5cm (8.5 x 

14ins), framed and glazed, with old framer’s 

labels on verso 

(1) £300-500 

Lot 439 

87

440 Bates (Frederick-Davenport, 1867-1930). The Shy Customer & Orientalist Bazaar, two oils on canvas, signed lower left and 

upper left respectively, the first with an early handwritten label attached to verso, 36 x 61cm (14.2 x 24ins), matching gilt frames 

(by Trumpington Gallery, Cambridge) 

(2) £1000-1500 

88

443 Continental School. Bishop flanked by two nuns in prayer, late 

18th century, oil on canvas, indistinctly signed ‘Leblanc, f[ecit]?’, 

relined and restored, 56 x 92cm (22 x 36ins), gilt frame 

(1) £300-400 

441* Clare (George, 1830-1900). A pair of still life paintings of fruit, 

oil on canvas, one showing plums, grapes, and raspberries, the other 

with plums, apples and raspberries, both beside a mossy bank, a 

few superficial marks, each signed lower right, each 15.5 x 23cm (6 

x 9ins), matching gilt frames 

The Clare family, consisting of George and his sons Oliver (1853-1927) and 

Vincent (1855-1930), are renowned for their precisely detailed fruit and flower 

paintings. George’s delicate stippling technique and choice of subject matter 

owes something to the work of William Hunt. 

(2) £150-250 

444 Continental School. Venician Waterway, 19th century, oil on 

board, indistinctly signed lower right, 20 x 34cm (8 x 13.5ins), framed 

(1) £150-200 

442 Continental School. Town & Country, 1880, oil on canvas, 

showing horse-drawn carriages leaving the town with country 

figures looking on, indistinctly signed Zaldperp? and dated 1880 

lower right, 37 x 69cm (14.5 x 27ins), framed 

(1) £200-300 

445* Continental School. Landscape with peasant figures and 

animals, late 18th century, oil on canvas, showing two drovers with 

cattle and sheep, and two women sitting under a tree, with a castle 

in the distance, some minor damage with old repair on verso, 58 x 

73cm (22.75 x 28.75ins), framed 

(1) £200-400 

Lot 443 

89

446 Dutch School. Still Life in a Landscape, 20th century, oil on 

board, showing three birds and fruits set in a woodland landscape, 

indistinctly signed lower right, 61 x 92cm (24 x 36ins), framed 

(1) £200-300 

449* English School. Seascape with rocks, mid-late 19th century, 

oil on wood panel, showing waves crashing onto rocks, with distant 

sailing boats on the horizon, 15 x 22cm (6 x 8.75ins), framed, with 

pencilled name on verso ‘A. Williams’ 

(1) £70-100 

450* English School. Landscape with a country seat, circa 1810, 

oil on canvas, showing a classical mansion with side elevations, 

walled garden, and bothy, nestling in parkland, amidst rolling hills 

and trees, re-lined, 34 x 61cm (13.25 x 24ins), framed 

(1) £200-300 

447* Dutch School. Seascape with Dutch settlers, early-mid 19th 

century, oil on canvas, with figures in boats coming ashore from a 

barque, with the Dutch flag flying on the wooden jetty, 22 x 29.5cm 

(8.75 x 11.5ins), gilt moulded frame, together with a mid-late 19th 

century oil on canvas depicting two sportsmen with a springer 

spaniel shooting ducks, re-lined, 19.5 x 24cm (7.75 x 9.5ins, framed 

(2) £200-300 

448 Dutch school. Interior scene with figures, mid 19th century, 

oil on canvas, showing a peasant woman holding up a coat, beside 

a man carrying a staff and wearing a hat, with several figures in the 

background, and a pile of objects in the foreground, including 

flagons, bellows, a bell, etc., re-lined and with some restoration, 41 

x 51cm (16 x 20ins) 

(1) £100-150 

451* English School. Lamlash, Isle of Arran, Scotland, circa 1830s, 

oil on board, showing a bay with boats and figures, faint craquelure, 

21 x 31cm (8.25 x 12ins), gilt moulded frame, with old manuscript 

label on verso ‘Sketch from Nature, Cottages Lamlash, Arran’ 

(1) £100-200 

90

452* Etty (William, 1787-1849). Female Study From the Life, oval oil on board, showing a fore-shortened female 

nude curled up with her arms behind her back, one or two superficial scratches, verso with manuscript label in 

the artist’s hand stating title and ‘Sty 62’, with later manuscript label below in a different hand ‘AB From HSDM 

April 30th 1886’, 38.5 x 32cm (15.25 x 12.5ins), framed 

(1) £700-1000 

91

Lot 454 

92

453* Manner of William Gale (1823-1909). The Holy Family, 

lunette-shaped oil on panel, depicting the Rest on the Flight into 

Egypt, with Mary, Joseph and the Christ Child seated by a tree in a 

sunset landscape, some craquelure, 22 x 34cm (8.75 x 13.5ins), gilt 

mount with title, gilt moulded frame 

(1) £200-300 

454 Herdman (Robert Inerarity, 1829-1888). Reverie, oil on canvas, 

artist’s monogram and indistinct date to lower right, 25 x 20cm (10 x 


(1) £1500-2000 

455* Italian School. The Flight into Egypt, late 17th or early 18th 

century, oil on canvas, showing Mary cradling the infant Jesus and 

seated on a donkey led by a young man, with Joseph carrying a staff 

beside, being directed by an angel, with classical stone monument 

in the background, 52.5 x 40.5cm (20.75 x 16ins), framed 

(1) £200-400 

Lot 453 

456 Attributed to John Leech (1817-1864). ‘Ciss’ out for a holiday, 

1856, oil on artist’s board, 31 x 24cm (12 x 8ins), framed, with 

original framer’s label for William Thomas to verso 

(1) £200-300 

Lot 455 

Lot 456 

93

Lot 458 

94

457 Newlyn School. Mill House, late 19th century, oil on canvas, 

20 x 25cm (8 x 10ins) 

(1) £200-300 

458* Raeburn (Sir Henry, 1756-1823). David Martin, Portrait 

Painter of Edinburgh, 1813, oil on canvas, head and shoulders 

portrait of a grey-haired gentleman wearing a dark green mantle 

and white shirt, signed in black lower right 'H. Raeburn 1813' (date 

partly indistinct), stretcher with incised inscription 'David Martin, 

Portrait Painter of Edinburgh, by H. Raeburn, 1813', and with early 

manuscript labels, one inscribed 'Man's Head, Sir H. Raeburn', 

61 x 50cm (24 x 19.75ins), gilt moulded frame 

Foremost Scottish portraitist David Martin (1737-1797) acted as mentor and 

instructor to Henry Raeburn when he was an inexperienced young artist. 

Martin is said to have given his protégé some of his own works to copy, 

only to be profoundly upset when Raeburn sold one of his copies as his own 

work. It is known that Raeburn was in the habit of painting portraits 

posthumously, and often repeatedly, no doubt in response partly to his 

impecunious state, after being declared bankrupt in 1808. 

(1) £2000-3000 

460 Attributed to George Adolphus Storey (1834-1919). The Waif, 

circa 1880’s, oil on canvas, indistinctly initialled to left, relined, 25 x 

20cm (10 x 8ins), framed and glazed, with early label of James 

Bourlet to verso 

(1) £300-500 

459 Stothard (Thomas, 1755-1834). Titania and Puck from A 

Midsummer Night’s Dream, oil on wood panel, later pencil 

inscription to verso, 26 x 43cm (10 x 17ins), framed 

(1) £300-400 

461 Tallerie (P., late 19th/early 20th century). Two Clerics, circa 

1900, oil on canvas, signed lower right, 51 x 36cm (20 x 14ins), framed 

(1) £100-150 

462 Thomasse (Adolphe, 1850-1930).Tiger at a zoo, oil on canvas, 

signed lower right, relined, 27.5 x 40.5cm (10.75 x 16ins), framed 

(1) £400-600 

Lot 460 

95

463* After Titian (Tiziano Vecellio, 1485/89-1576). Girl with a Basket of Fruits (Lavinia), late 18th/early 19th 

century, fine oil on canvas, showing a young girl standing in front of an open window with a vista of mountains, 

holding a dish of fruit and flowers aloft, and turning to face the viewer, re-lined and some restoration, frame aperture 

97 x 74cm (38 x 29ins), contemporary ornate gilt frame of moulded maple leaves and grapes (some repairs) 

After the oil painting by Titian of 1558, depicting his daughter Lavinia, now in the Staatliche Museen zu Berlin in Germany. 

(1) £1500-2000 

96

Lot 464 

464* Trier (Adeline, active 1879-1903). Poppies in a Vase, oil on canvas, showing a profusion of poppies in shades of red, 

pink, and white, interspersed with grasses, in a bulbous green ceramic vase, standing on a ledge, signed lower right, 

re-lined, gilt moulded frame 

(1) £1500-2000 

465 Manner of Richard Wilson (1714-1782). The Fishing Party, late 19th century, oil on oak panel, 24 x 31cm (9.5 x 12ins), 

framed 

(1) £100-150 

97

HISTORICAL PORTRAITS & MINIATURES 

470 English School. Boy in a blue coat with a lap dog, early 18th 

century, oil on canvas, half-length, showing a young boy in a 

turquoise blue velvet coat with silver filigree clasps, over a white 

chemise, and an amber taffeta sash, with a small brown and white 

dog, framed by a stone oval against a landscape vista, re-lined, 76 x 

63cm (30 x 24.75ins), framed 

(1) £700-1000 

466* Boys (E.J., late 19th/early 20th century). Portrait of a young 

lady, painted oval porcelain plaque, head and shoulders profile 

portrait, of a young lady wearing a turquoise gown, with a pale pink 

flower in her long fair hair, signed lower right, 30 x 23cm (12 x 9ins) 

(1) £80-120 

467* English School. Family group portrait, circa 1730s, oil on 

canvas, showing a gentleman and lady with their two young 

daughters and lapdog, with classical columns and drapery, and vista 

of a fountain and tall clipped hedges through a stone archway, re-lined 

and with some restoration, 73 x 58cm (28.75 x 22.75ins), framed 

(1) £700-1000 

468* English School. Portrait of a Boy, circa 1760s, oil on canvas, 

showing a curly-haired boy wearing a mustard tunic and red cloak, 

re-lined, 75.5 x 63.5cm (29.75 x 25ins), near contemporary gilt 

moulded frame 

(1) £300-500 

469 English School. Boy in a scarlet coat with a sighthound, early 

18th century, oil on canvas, half-length, showing a boy wearing a red 

velvet coat with gold filigree clasps, over a white chemise with 

embroidered and fringed neck-tie, and an olive green taffeta sash, 

with a grey and white dog at his side, framed by a stone oval against 

a landscape vista, re-lined, 76 x 63cm (30 x 24.75ins), framed 

(1) £700-1000 

471* English School. Portrait of a lady, 1920’s, pastel on board, 

head & shoulders portrait of an elegant lady wearing an evening 

gown with peacock decoration, a double string of pearls, a silk 

bandeau with gem embellishment, and drop earrings, 48 x 61cm 

(19 x 24ins) 

(1) £100-150 

98

Lot 467 Lot 468 

Lot 469 Lot 470 

99

473* After Alexis Grimou (1678-1733). Young Pilgrim Girl; Portrait 

of a Young Pilgrim; Portrait of a Gentleman, together three early 19th 

century oval oil paintings on board, the first a three-quarter length 

portrait of a young girl in a feathered hat and ruffled dress holding a 

scallop shell and a staff, the second a three-quarter length portrait 

of a young boy with frilled collar and cuffs holding a staff, and the 

third a head and shoulders portrait of a moustachioed young 

gentleman with a gold chain over his shoulder, each with overall 

craquelure, the first two with some minor surface abrasion, each 

21.5 x 17.5cm (8.5 x 7ins), matching gilt mounts 

(3) £200-300 

472 Manner of John Singer Sargent (1856-1925). Young woman 

in a taffeta and organza dress, oil on canvas, three-quarter length 

portrait, showing a lady in a cream dress with cinched waist and 

bustle, embellished with gold spangles, with a green curtain and 

pale pink peonies in the background, trimmed and re-mounted over 

smaller stretcher (with old framer’s label), 104 x 77cm (41 x 

30.25ins), period gilt frame 

(1) £300-500 

Lot 474 

Lot 473 

Lot 475 

100

474* McDonald (Madeline M., 1874-1942). 

Portrait of Anne Richardson Armstrong, 

1903, oil on canvas portrait of a lady seated 

against a curtain backdrop, wearing a black 

dress with white chiffon collar adorned 

with a posy of violets, signed and dated 

lower right, surface flecked with later white 

paint, 66 x 71cm (26 x 28ins), gilt moulded 

frame (damaged), with old typed label on 

verso ‘Anne Richardson Armstrong (“Aunt 

Lily”) daughter of Richard Armstrong Q.C., 

M.P. of Sligo; First Sergeant-at-Arms: B: 

1850, M: William T.S. Kevill-Davies Capt. in 

the 17th Lancers, D: 14th(?) February 1931’ 

(1) £200-300 

475 Orde (Cuthbert Julian, 1888-1968). 

Portrait of Philip Profumo in military 

uniform, 1945, charcoal and coloured chalk 

head and shoulders portrait, signed and 

dated lower left, inscribed in ink ‘To 

Baroness Profumo, Christmas, 1945’, 41 x 

35cm (16 x 14ins), framed 

(1) £150-200 

476* Silhouette. Portrait of a young 

woman, circa 1840, circular painted head 

and shoulders silhouette portrait, with neck 

frill and mob cap painted in white and pink, 

diameter 6cm (2.5ins), circular ebony frame 

(1) 

£70-100 

477 Smith (John Raphael, 1752-1812). 

Mary & Elizabeth, the Artist’s Daughters, 

pastel, near contemporary manuscript 

label pasted to verso, 26 x 21cm (10 x 

8.25ins), framed and glazed 

(1) 

£1000-1500 

478* Tassie (James, 1735-1799). Two 

portrait busts of Mrs. Anthony Stewart and 

William Murray, Earl of Mansfield, together 

two wax portraits, both profile facing right, 

impressed on the truncation respectively 

'Mrs. Anth. Stewart Edin. 1795, Tassie F.', 

and 'Uni Aequus Virtuti Edin. 1770', each 

mounted on red velvet, 12 x 9cm (4.75 x 

3.5ins), framed and glazed 

William Murray, 1st Earl of Mansfield (1705- 

1793), became Attorney General in 1754, and 

shortly afterwards, Lord Chief Justice. He is 

perhaps best known for his judgement in 

Somersett's Case (1772), where he held that 

slavery had no basis in common law. 

(2) £200-300 

Lot 477 

Lot 478 

101

480* Porcelain plaque. A young mother and her children in a 

landscape, mid 19th century, painted porcelain, showing a young 

peasant woman holding a baby aloft, and a small girl clutching her 

skirt, with trees and a cottage in the background, signed lower right 

and on label on verso ‘Muller Fraiden’, 17.5 x 12.5cm (7 x 5ins), with 

carved wooden rococo frame (broken with loss) 

(1) £300-500 

479* Continental School. A Catholic jewel, probably Portuguese, 

early to mid 17th century, two gouache miniature paintings 

highlighted in gold, one depicting the Virgin Mary and Christ Child, 

both attired in elaborate embroidered gowns, the Christ Child with 

neck ruff, the other depicting St. Anthony of Padua holding a white 

lily, with the Christ Child, each 47 x 41mm (1.75 x 1.5ins), contained 

back-to-back beneath bevelled rock crystal in a white metal 

hexagonal mount with pressed and twisted decoration and hanging 

loop, overall size 75 x 61mm (3 x 2.25ins) 

St. Anthony of Padua, also known as Anthony of Lisbon, was born in Lisbon 

and raised by a wealthy family there. He became a Catholic priest and friar of 

the Franciscan Order and died in Padua, Italy. 

(1) £400-600 

481* Turmeau (John, 1777-1846). Portrait of a lady, 1828, oval 

watercolour on ivory, head and shoulders portrait of a lady with dark 

curls, wearing a white turban and green dress, 7 x 5cm (2.75 x 2ins), 

mounted on card with old manuscript attribution and date on verso 

(1) £150-200 

102

OLD MASTER PRINTS & DRAWINGS 

482* Augsburg School. The Judgement of Solomon, after Rubens, 

by Johann Georg Kramoser, 1729, pen and coloured ink on vellum, 

signed and dated 1739 lower left, 170 x 247mm (6.7 x 9.7ins), period 

frame, glazed 

A version of Rubens’ Judgement of Solomon of circa 1617, now in the Statens 

Museum fur Kunst, Copenhagen. 

(1) £200-400 

483* Barker (Thomas, of Bath, 1769-1847). Hampton Birches, 

near Bath, circa 1814, pen and black ink on wove paper, signed with 

monogram lower left, image size 305 x 230mm (12 x 9ins), sheet 

size 309 x 234mm (12.2 x 9.2ins), with early inscription in ink to 

verso ‘Original Landscape, by the late Thomas Barker, painter of the 

‘Woodman’. Date 1814.’, and additionally inscribed in pencil in an old 

hand Hampton Birches nr Bath 

(1) £200-300 

Lot 483 

484* Barker (Thomas, of Bath, 1769-1847). Seven lithographs of 

landscapes with figures (from Pen Drawings of Landscape Scenery), 

1814, together 7 pen lithographs on paper, from the edition of only 

50 impressions ever printed, on original backing sheets, each 

inscribed in a contemporary hand, in ink with title and the artist’s 

name Thomas Barker Sen, 1814, image size 300 x 230mm (11.75 x 

9ins), backing sheet 368 x 290mm (14.5 x 11.4ins) 

The titles are: Waterfall above Consiton Lake, under Old Man’s Mountain, 

Cumberland, from a Study made on Lansdown, near Bath, a Study from 

Hampton-Cliffs, from the Walks at Piercefield, near Chepstow, Rhaiadr Cynant 

y Vuch upon the Etilia, near Festiniog, Merioneth, Dinas Emris, in the Vale of 

Nant Hwynant near Bedd Kelert, & a Scene near Nant y Bellon, Winstay, 

Denbighshire. 

(7) £200-300 

Lot 484 

103

485* Barker (Thomas, of Bath, 1769-1847). 16 lithographs of rustic 

figures (from Forty Lithographic Impressions from drawings by 

Thomas Barker selected from his studies of Rustic Figures after 

nature), 1813, 16 lithographs on wove paper, one with brown wash, 

all except 3 mounted on backing paper, some marks and occasional 

minor stains and soiling, 220 x 145mm (8.5 x 5.75ins), and similar 

(16) £150-250 

486* Beham (Hans Sebald, 1500-1550). Melencolia, 1539, copper 

engraving, trimmed to margins, sheet size 81 x 55mm (3.2 x 

2.15ins), framed and glazed, with late 19th/early 20th century label 

to verso of Jackson & Sons, Printsellers, 3 Slater Street, Bold Street, 

Liverpool, to verso 

Bartsch 144. Pauli-Hollstein IV, 145. 

(1) £200-300 

Lot 485 

487* Beham (Hans Sebald, 1500-1550). Allegory of Christianity, 

1548, etching on laid paper, trimmed to the plate mark, but retaining 

the black line border on all sides, 19th century purple collectors mark 

to verso, 75 x 47mm (2.95 x 2.85ins) 

Bartsch 128. Pauli/Hollstein 130. 

(1) £100-150 

Lot 486 

104

488* Bolswert (Schelte Adams, 1576-1659). Johannes Baptista 

Barbé, after Anthony Van Dyck, circa 1635-40, etching with 

engraving on laid paper with indistinct watermark, a good strong 

impression, with wide margins, plate size 245 x 160mm (9.6 x 

6.25ins), sheet size 355 x 229mm (14 x 9ins), together with 

Margareta Princeps Lotharingia Ducissa Serenissima Aurelianensis, 

after Anthony Van Dyck, circa 1640, etching with engraving on laid 

paper, with margins, plate size 245 x 180mm (9.6 x 7.1ins), sheet 

size 285 x 219mm (11.25 x 8.6ins), with collector’s stamp of Oswald 

Stein to verso, plus Turner (Edward, 19th century), Rural landscape 

with ruined archway and figures on a path, pen & brown ink on 

paper, laid down on backing paper with contemporary ink ruled and 

wash mount, initialled E.T. to wash border lower left, and inscribed 

to verso ‘May Forbes The gift of E. Turner March 31st and last day’, 

150 x 225mm (5.9 x 8.9ins), plus 14 other various pen & ink or pencil 

drawings, mostly 19th century, but including a few 18th century, 

including a pencil portrait on paper of the scriptural geologist 

Granville Penn (1761-1844), with monogram T.S. (autograph signature 

of the sitter attached to lower corner), a small pencil study of cherubs 

on laid paper, numbered in ink to top corner, 134, etc., various sizes 

Mauquoy-Hendrickx 20 for the first item, a portrait of the Flemish engraver 

Jean-Baptiste Barbé, published as part of Van Dyck’s Iconographie. 

(17) £400-500 

489* Bonington (Richard Parkes, 1802-1828). Eglise Saint 

Sauveur, Caen, 1824, lithograph on wove paper, image size 264 x 

199mm (10.5 x 7.9ins), sheet size 295 x 221mm (11.75 x 8.75ins), 

framed and glazed, with William Weston Gallery label to verso 

Curtis 7, i/ii. 

(1) £150-200 

105

106 

490* German School. The Judgement of Paris, 

17th century pen, ink and grey wash on laid paper, 

heightened with traces of orange/red chalk, with 

indistinct ink inscription in German to verso, dated 

1613, 167 x 125mm (6.6 x 4.9ins), together with 

Christ on the Cross, with St. John, the Virgin Mary, 

and the Magdalene mourning, early 18th century 

pen, brown ink and grey wash drawing on laid paper, 

119 x 105mm (4.7 x 4.15ins), plus the Raising of 

Lazarus, late 17th or early 18th century pen, brown 

ink and brown wash drawing on laid paper, 295 x 

233mm (11.6 x 9.15ins), and 7 other 17th & 18th 

century pen & wash drawings, including one of a 

soldier mocking Christ, dated 1640, and initialled 

H.R., a virgin and child, inscribed in ink to lower 

margin Hans van der Heyden F., two wash drawings 

of a foundry and a bakery, each heightened with 

white chalk, a pen & brown ink and wash Baptism, 

indistinctly signed and dated 1678, and two others 

(10) £700-1000

491 Attributed to William Samuel Howitt (1765-1822). Park 

Scenery, pen and black ink with wash on paper, tipped onto 

captioned mount, 10 x 16cm (4 x 6ins), together with two other 

similar drawings 

(1) £300-500 

Lot 493 

492 Italian School. Classical Farmyard Scene, early 19th century, 

brown ink over pencil on wove paper, slight toning and fraying to 

edges, 25 x 33cm (10 x 13ins) 

(1) £70-100 

493 Lami (Eugene, 1800-1890). Study of heavy horses, black and 

white chalk on buff paper, 11 x 13cm (4.25 x 5ins), framed and glazed 

(1) £150-200 

494 Poynter (Sir Edward James, 1836-1919). Study of Drapery, 

black crayon, highlighted with white crayon, on buff paper, study of 

the lower half of a kneeling figure wearing a long draped gown, with 

right foot visible, stamped monogram ‘EJP’ lower right, sheet size 

29.5 x 45.5cm (11.5 x 18ins), together with two other sketches by 

Poynter, comprising a sheet of pencil sketches and one pen & ink 

sketch for a large-scale work titled ‘More of More Hall and the 

Dragon of Wantley’ (1873), stamped monogram EJP lower right, one 

horizontal fold, sheet size 35 x 25cm (14 x 10ins), and a charcoal 

study of a windswept figure, also with monogram, sheet size 16.5 

x 11cm (6.5 x 4.5ins) 

(1) £400-600 

Lot 494 

107

Lot 495 

495* Pradier (James, or Jean-Jacques, 1790-1852). Reclining 

Bacchante, 1816, pencil on japan paper, signed and dated to centre 

of lower margin, sheet size 100 x 175mm (4 x 6.9ins), with additional 

artist’s signature in pencil mounted to backing paper, together with 

Sculptor and Winged Figure, 1818, pencil on wove paper, signed, 

dated Rome 1816, and inscribed ‘a son ami Roll’, sheet size 185 x 

147mm (7.25 x 5.75ins), plus Desboeufs (Antoine, 1793-1862), 4 

original pencil drawings of neo-classical figures, 1813-19, including 

Pan and Orpheus, (with pale brown wash), signed, dated Rome 

1813, and inscribed ‘a son ami Roll’, the others also signed and two 

dated 1819, sheet size 168 x 135mm (6.65 x 5.3ins), and similar, and 

6 other similar pencil drawings of neo-classical figures and subjects, 

including one by Etienne Jules Ramey (1796-1852), dated 1816, one 

by Louis Messidor Lebon Pettitot (1794-1862), dated Rome 1816, 

another signed Brun, dated 1819, the remainder unsigned, sheet 

size 162 x 185mm (6.3 x 7.25ins), and similar 

A collection of drawings and studies in the neo-classical manner by French 

sculptors and antique engravers, awarded the Prix de Rome (the scholarship 

which allowed young French artists to live and study at the Academie de 

France in Rome for between 3 and 5 years). The Swiss-French sculptor Pradier 

studied in Rome between 1814 and 1818, and under Ingres in Paris. He was 

also a friend of the romantic poets De Musset, Hugo, Gautier, and Flaubert. 

(12) £400-600 

108

496* Riviere (Briton, 1840-1920). The Pride, pastel on brown paper, initialled lower left, 38 x 71cm (15 x 28ins), framed and glazed 

(1) £700-1000 

497 Strutt (William, 1825-1915). Studies of a Lioness and Cubs, 

several studies on one sheet, pencil and yellow wash, 13 x 15cm 


(1) £200-300 

Lot 498 

498* Attributed to James Thornhill (1675-1734). The Triumph 

of Galatea, red chalk and grey wash on laid paper, showing 

Galatea seated on large shell drawn by two dolphins, 

accompanied by a cupid and two tritons, with another cupid 

holding up a swirling cloth, 175 x 240mm (6.9 x 9.5ins), period 

carved gilt frame, glazed 

(1) £200-400 

499 Leitch (William Leighton, 1804-1883). Castelamare, July 

2 1836, pencil and body colour on brown paper, artist’s monogram 

stamp, pencil title and date to lower right, 19 x 28cm (7.5 x 


(1) £100-150 

Lot 499 

109

SCULPTURE 

Lot 501 Lot 502 

Lot 503 

500 English School. Female nude doing a handstand, circa 1960s-70s, bronze sculpture with grey-green patina, 

unsigned, height 325mm (12.75ins), on wooden plinth (48mm) 

(1) £100-200 

501 Limousin (Jacques, late 19th-early 20th century). Leaping Panther, circa 1930s, art deco-style hollow bronze 

sculpture with red-brown patina, signed Limousin to marble base, height 220mm (8.75ins), on marble plinth (height 

30mm) 

(1) £200-300 

502 English School. A Setter retrieving wild fowl, early-mid 20th century, bronze sculpture with black patina, height 

440mm (17.25ins), on marble plinth (height 25mm) 

(1) £200-300 

Lot 500 

503 English School. Reclining Nude, mid 20th century, bronze sculpture with brown patina, height 305 mm (12ins), 

width 365mm (14.3ins), on wooden plinth (height 25mm) 

(1) £150-200 

504 Art Deco. Huntsman kneeling, early-mid 20th century, hollow bronze sculpture with dark brown-black patina, 

height 275mm (10.75ins), width 430mm (17ins), on black marble plinth (height 30mm) 

(1) £150-200 

505* Taulbut (John, M., 1934-). Leila, carved Cornish polyphant stone, original wooden base, artist’s impressed 

stamp to base, together with original receipt and autographed signed letter from the artist, both dated 14 June 1992, 

20cm (8ins) high 

Taulbut has exhibited at the Royal Academy Summer Exhibition and galleries across Wales and the South West. His ‘Madonna and 

Child’ is now held by Llansteffan Parish Church, Carmarthen. 

(1) £150-200 

506* Van Der Straeten (Georges, 1856-1928). Bronze bust of a lady, bronze bust of a lady wearing a bow round 

her neck and a mob cap, signed, marble plinth, overall height 18.5cm (7.25ins) 

(1) £100-150 

Lot 506 

507 Hornung (Greta, 20th century). Seated Figure, circa 1970s, bronze sculpture with brown patina on marble plinth 

in the manner of Ossip Zadkine, height 255mm (10ins), width 165mm (6.5ins), on black marble plinth (height 55mm) 

(1) £200-300 

Lot 504 Lot 505 Lot 507 

110

ETCHINGS 

509* Gross (Anthony, 1905-1984). Chasteaux Correze, copper 

etching on thick Arches wove paper, printed by the artist’s daughter, 

Mary West, at the artist’s studio, circa 1984, published by Merivale 

Editions, in an edition of 500, numbered in pencil 329/500, plate size 

152 x 228mm (6 x 9ins), sheet size 210 x 295mm (8.25 x 11.6ins), 

mounted 

(1) £100-150 

508* Cruikshank (George, 1792-1878). Thirteen etchings from The 

Life of Sir John Falstaff, [1857-58], 13 etchings on chine collé, from 

the series of 20 published by Longman, Brown, Green, Longmans, 

and Roberts, originally issued in 10 parts, with 2 plates to each part, 

all first proofs, and each additionally signed and inscribed in pencil 

to lower margin ‘first proof Geo Cruikshank’, several plates with 

waterstain to left hand portion, a few plates with some marginal 

dampstaining and defects (the plates generally intact), plate size 178 

x 252mm (7 x 9.9ins), sheet size 300 x 425mm (11.8 x 16.75ins), 

together with a group of 13 etchings after Rembrandt, studies and 

figures by John James Chalon (1778-1854), various sizes, all 

mounted on laid paper, sheet size 395 x 288mm (15.5 x 11.3ins) 

See Cohen 96. The Cruikshank plates are titled: ‘Jack Falstaff breaking 

Skogan’s head, Sir John Falstaff arrested at the suit of Mrs Quickly, Sir John 

Falstaff and the fairies, at Herne’s Oak, Sir John Falstaff disguised as Mother 

Prat, Sir John Falstaff’s grand manoeuvre at the Battle of Shrewsbury, Sir 

John Falstaff on a visit to his friend Page at Windsor, Falstaff enacting the 

part of the King, Sir John Falstaff receiving a most unexpected rebuke from 

King Henry the fifth, Sir John Falstaff in the buck-basket, Sir John Falstaff 

flown into the muddy ditch close by the Thames side, Falstaff’s Ragged 

Regiment, Sir John Falstaff driving Pistol from his presence & the last scene 

in the life of Sir John Falstaff. 

(13) £200-300 

510* Thorpe (Hall, 1874-1947). The Chinese Vase, colour 

woodblock print, showing anemones in a blue and white vase 

against a black ground, signed and titled in pencil to lower edge, 

sheet size 47.5 x 32.5cm (18.75 x 12.75ins), framed and glazed 

(1) £150-200 

Lot 509 

511 Watson (Charles John, 1846-1927). Venezia, 1900, etching on 

laid paper, additional signed in pencil to lower margin, plate size 17.5 

x 25cm (7 x 10ins), sheet size 24 x 33cm (9.5 x 13ins), together with 

Lancaster (Perry James, 20th century), The Archway, etching on 

lined paper, signed in pencil to lower margin, plate size 17 x 25cm 

(7 x 10ins), sheet size 23 x 31cm (8.5 x 12.25ins) 

(2) £100-150 

111

MODERN PRINTS 

Lot 512 

Lot 513 

512 Beer (Richard, 1928-). L’Escargot, colour etching, heightened 

with gold, signed and numbered 40/90 in pencil to lower margin, 

plate size 54 x 40cm (21 x 16ins), sheet size 78 x 59cm (30.5 x 

23ins), together with two other Richard Beer colour etchings, 

‘Venice Cafe’ and ‘Hotel de la Gare’ 

(3) £150-200 

513 AR Blake (Peter, 1932-). ‘For instance, now, there’s the King’s 

Messenger’ (from Illustrations to Through the Looking-Glass), 1970, 

colour screenprint, signed in pencil, numbered 75/100, image size 

241 x 178mm (9.5 x 7ins), with margins, framed and glazed 

(1) £300-500 

514 Brunsdon (John, 1933-2014). Mist Falling, colour aquatint, 

titled, signed and numbered 9/100 in pencil to lower margin, plate 

size 45 x 60cm (17.5 x 23.5ins), sheet size 57 x 79cm (22.5 x 31ins), 

together with another John Brunsdon aquatint ‘Evening’ 

(2) £100-150 

515 Brunsdon (John, 1933-2014). Solva, colour aquatint, titled, 

signed and numbered AP 8/8 in pencil to lower margin, plate size 

58 x 44cm (23 x 17.25ins), sheet size 79 x 57cm (31 x 22.5ins), 

together with another John Brunsdon aquatint ‘Welsh Estuary’ 

(2) £100-150 

Lot 514 

112

516 Brunsdon (John, 1933-2014). Moonshine, colour aquatint, 


size 30 x 22cm (12 x 8.75ins), sheet size 58 x 40cm (23 x 16ins), 

together with another Brunsdon aquatint ‘Pebble Beach’ 

(2) £80-120 

517 Brunskill (Ann). A Glimpse of Thomas Traherne, Worlds End 

Press, 1978, eight etchings and block-prints, original cloth-backed 

pictorial boards, housed in original cloth slipcase, folio 

Limited edition, 19/50 copies, with 5 Artist’s Proofs. 

(1) £100-200 

518 Clough (Prunella, 1919-1999). Carafe, [1950], colour 

lithograph, signed in pencil to lower margin, original Aitken Dott & 

Son label to verso, 22 x 17cm (8.75 x 6.75ins), framed and glazed 

(1) £200-400 

Lot 516 

519 Gear (William, 1915-1997 ). Harbour Scene, colour lithograph 

on paper, additionally signed and numbered 6/200 in pencil to lower 

margin, 29.5 x 44cm (11.5 x 17.3ins), framed and glazed 

(1) £150-200 

520 Gear (William, 1915-1997 ). Abstract, colour lithograph, signed 

and numbered 6/200 to lower margin, 30 x 50cm (12 x 19.5ins), 


(1) £150-200 

Lot 517 

113

521 Hearld (Mark, 1974-). Jay, 2009, colour lithograph, signed, 

dated and numbered 1/75 in pencil to lower margin, sheet size 36 x 

48.5cm (14 x 19ins), framed and glazed 

(1) £80-120 

523 Indiana (Robert, 1928-). The Santa Fe Opera Twentieth 

Season, 1976, colour screenprint, signed, dated ‘76 and numbered 

151/250, image size 788 x 558cm (31 x 22ins), with margins, framed 

and glazed 

(1) £400-600 

524 Martin (Frank, 1921-2005). Rue d’Alesia, colour woodcut, 


size 41 x 54cm (16 x 21ins), sheet size 59 x 71cm (23 x 28ins), 

together with another Frank Martin colour woodcut ‘Jan’, plus a 

colour etching ‘Nude Pattern’ and a black and white etching of the 

same 

(4) £150-200 

522*AR Hockney (David, 1937-). Catherina Dorothea Viehmann 

(from Illustrations for Six Fairy Tales from the Brothers Grimm), 1969, 

etching with aquatint on Hodgkinson handmade paper, printed by 

the Print Shop, Amsterdam, and published by Petersburg Press, 

London, 1970, signed and numbered in pencil 99/100, plate size 290 

x 235mm (11.4 x 9.1ins), sheet size 460 x 383mm (18.1 x 15.1ins) 

(1) £300-500 

Lot 525 

114

525 Anderle (Jiri, 1936-). Madame Henrietta as Flora, after Jean- 

Marc Nattier, 1985, colour etching on wove paper, signed and 

numbered 16/70 in pencil to lower margin, plate size 32.5 x 33cm 

(12.75 x 13ins) with margins, framed and glazed 

(1) £80-120 

526 AR Piper (John, 1903-1992). Gloriana Street Scene, 1953, 

colour lithograph on wove paper, unsigned, printed and published 

by the Royal College of Art, image size 155 x 215mm (6 x 8.5ins), 

framed and glazed (unexamined out of frame) 

Levinson 85A. 

(1) £300-500 

Lot 528 

527 Thornton (Valerie, 1931-1991). St. Davids, 1971, etching with 

aquatint, signed, titled and dated to lower margin in pencil, plate size 

40 x 53cm (16 x 21ins), sheet size 59 x 73cm (23 x 29ins) 

(1) £150-200 

528* Toulouse-Lautrec (Henri de, 1864-1901). Jane Avril, 1893, 

colour lithograph poster, margins trimmed, and corners rounded off, 

various creases and some discolouration, some fraying to margins 

with several short tears and a little loss, 790 x 580mm (31 x 

22.75ins) 

Sold with all faults, not subject to return. 

(1) £700-1000 

529 Vanghan (Keith, 1912-1977). Tree, 1949, colour lithograph, 

signed and dated in pencil, Abbott & Holder label to verso, 34 x 

55cm (13.5 x 21.5ins), framed and glazed 

(1) £400-600 

115

MODERN WATERCOLOURS & DRAWINGS 

530* Berlin (Sven, 1911-1999). Composition, 1945, pen and indian 

ink and watercolour on thick wove paper, signed and dated lower 

right, 251 x 299mm (9.85 x 11.75ins), with an additional drawing to 

verso in pencil and colour crayon, titled Arrangement of Forces, 

signed and dated 1941 

(1) £300-500 

531 AR Brangwyn (Frank, 1867-1956 ). Child’s Tomb, circa 1906, 

watercolour with pen and ink, heightened with body colour, 

captioned in pencil to lower margin ‘Mr. & Mrs B.E. Woodfold, 

Capel’, 34 x 25cm (13.25 x 10ins), framed and glazed 

(1) £70-100 

Lot 530 

532 Brangwyn (Frank, 1867-1956 ). Study of two seated Middle 

Eastern boys, red and white chalk on paper, squared up for 

transposing to larger scale, image size 480 x 450mm (19 x 17.75ins), 

sheet size 620 x 580mm (24.5 x 22.75ins) 

(1) £300-500 

Lot 531 

116

Lot 534 

533 Brangwyn (Frank, 1867-1956). Study for Refugees leaves 

Antwerp, circa 1915-16, black, brown and red chalk on paper, 

inscribed to lower margin ‘layout for poster’, some creases and one 

or two repaired tears, laid down on archival tissue, sheet size 542 x 

363mm (21.25 x 14.25ins) 

A preparatory study for the main figure group in Brangwyn’s first world war 

poster Refugees leave Antwerp, circa 1915-16. 

(1) £300-500 

534* Brangwyn (Frank, 1867-1956 ). Three sketches and studies 

of figures and decorative motifs, one in pencil on light brown paper, 

with handwritten annotations by the artist, another of decorative 

patterns in blue and black watercolour on paper, and one other a 

design for a metal bowl or salver, pencil and black ink on paper, 

signed in pencil lower right, 26 x 22cm (10.25 x 8.7ins), 23 x 41cm 

(9 x 16.2ins) and 50 x 76cm (19.75 x 30ins) respectively 

(3) £300-500 

535 Caprioglio (Nino, 1926-1993). A collection of fashion drawings, 

approximately fifty pen & ink or pencil drawings, some 

coloured in various media, some initialled or signed, 42 x 29.5cm 

(16.5 x 11.5ins) and smaller, together with a black and white 

photograph of the artist 

Nino Caprioglio was a prominent fashion designer and illustrator for over forty 

years. He did sketches for fabric houses and manufacturers throughout Europe, 

including Jaeger, Valentino and Versace, and his illustrations appeared 

in major publications even after photographs superseded original artwork (e.g. 

‘The Daily Telegraph’, ‘The Sunday Telegraph’, ‘Vogue’ and ‘Country Life’). 

(a folder) £300-500 

Lot 535 

117

536 AR Chandra (Avinash, 1931-1991). Abstract Trees, 1959, pen, 

ink and watercolour on paper, signed and dated lower right, 53 x 

62.5cm (21 x 24.5ins), framed and glazed 

(1) £400-600 

537* Dunlop (Ronald Ossory, 1894-1973 ). Female Nude, 

watercolour and black chalk on cream paper, signed lower right, 

sheet size 210 x 270mm (8.25 x 10.6ins), together with Portrait of a 

boy seated, watercolour and pencil on wove paper, with additional 

study of a girl to verso, signed lower right, and inscribed ‘Andrew’ 

lower left, sheet size 255 x 178mm (10 x 7ins), both window 

mounted 

(2) £150-200 

Lot 536 

Lot 537 

118

538 Eaton (Charles Henry, 1885-1963). An archive of studio 

materials, ephemera, and other belongings, including two medals 

issued to Charles Eaton by the Incorporated Institue of British 

Decorators and Interior Designers, one awarded in 1963 for 

‘meritorious service’ (the first time such a medal had been awarded 

for thirty years), and three enamel badges, a large wall-mounted 

mahogany glass cabinet containing approximately thirty mounted 

paint brushes of various shapes and sizes, 85.5 x 75cm (33.75 x 

29.5ins), a box of twenty-four large paint brushes, thirty-five small 

paint brushes, and a roller, a smaller box containing various artist’s 

tools, a quantity of lantern slides for teaching, a black wool suit with 

tailcoat and waistcoat, and additional pair of trousers, a pair of black 

leather gloves, a silver-cased watch with hallmarks for Birmingham 

1847, together with hallmarked silver watch chain with graduated 

links, and silver vesta case with hallmarks for Birmingham 1906, 

engraved with Eaton’s monogram, a cigarette case containing four 

cigarettes and cigarette pouch with roller, a plaster pipe holder in the 

shape of seven monks (one lacking), and a box of seals and wax, 

together with a quantity of ephemeral items, including Charles 

Eaton’s passport and will, photographs of him, his family, students, 

and studio, certificates, etc. 

Provenance: The vendor is the god-daughter and a cousin of Lilian Eaton, 

Charles Eaton’s daughter, who was a scientist. Charles Eaton was a decorative 

artist and lecturer, who taught at the Northern Polytechnic for thirty-one years. 

He was instrumental in raising the standard of learning there so that it became 

the first school whose course was recognised by the Institute of British 

Decorators & Interior Designers, of which Eaton was Director from 1954 to 

1955. He was also Chairman of the London & General District Incorporated 

Institute of British Decorators, President of the Association of Painting Craft 

Teachers in 1958, Fellow of the Institute of British Decorators & Interior 

Designers and Fellow of the Royal Society of Arts. Charles Eaton’s retirement 

from the Northern Polytechnic was marked by a dinner in 1950, and ‘The 

Journal of Decorative Art’ reported: “‘The Maestro’ had been asked to bring 

six friends of his own choosing, and so his daughter, Miss Lilian Eaton, who 

appeared to know the ‘old boys’ was there to witness the tributes paid to one 

of the most conscientous teachers who ever graced the profession.” 

(an archive) £300-500 

539 Edwardian Sketch Book. A sketch book of portraits, twentyseven 

leaves, most with a pencil portrait on recto, some leaves with 

more than one study, plus a few other sketches of interiors, a drawing 

of Tower Bridge, and one page of manuscript, sheet size 17.5 x 25cm 

(7 x 9.75ins), original cloth, slightly soiled and worn, oblong 8vo 

A sketch book of carefully detailed and accomplished portraits. 

(1) £150-200 

540*AR Evans (Merlyn Oliver, 1910-1973). Composition, 1934, 

watercolour and black ink on paper, signed and dated Nov 34 lower 

right, 74.8 x 55cm (29.5 x 21.75ins), framed and glazed 

(1) £400-600 

119

Lot 541 

Lot 543 

541 Fuller (Martin, 1943-).The Two-The Two / A Matter of Concern, 

1973 / 1975, two coloured pastels on paper, each signed, titled and 

dated, the first with some marks and one or two short closed tears, 

56 x 76 cm (22 x 30 ins), framed and glazed 

(2) £150-200 

542 Glasgow School. A sketchbook of portraits, 1918, approximately 

forty leaves, each with a pencil study or several studies, on one side 

of the leaf only, all portraits, many of children, some leaves detached 

(one or two edge-frayed), leaf size 24 x 16.5cm (9.5 x 6.5ins), 

inscribed in pencil front and rear ‘Started at Glasgow November 

23/1918, original cloth-backed boards, somewhat stained and worn, 

4to 

(1) £100-150 

Lot 542 

543* Attributed to Duncan Grant (1885-1978). Design for a 

Poster, circa 1960s/70s, coloured pastels and gouache on paper, 

with stencilled title in black ink ‘Modern British Art’, unsigned, a few 

minor marginal restorations, 75 x 49.5cm (29.5 x 19.5ins) mount 


Provenance: Formerly with Anthony D’Offay Gallery, London. 

(1) £300-500 

120

544* Greaves (Walter, 1846-1930). Band Stand, Cremorne Gardens, pen, ink, 

pencil and watercolour on paper, signed lower right, 273 x 212mm (10.75 x 

8.25ins) mount aperture, with original printed ticket for the Royal Cremorne 

Gardens, Season 1876 separately mounted below, old oak frame, glazed, with 

old handwritten title to upper margin of the mount, and old framer’s label of 

Chapman Bros., 241 King’s Road, Chelsea to verso 

(1) £700-1000 

121

545* Hayman (Patrick, 1915-88). Woman, pencil and biro on wove 

paper, signed upper right, 180 x 245mm (7 x 9.6ins) mount aperture, 


(1) £150-200 

547AR Hilton (Roger, 1911-1975). Concert Pianist, pen and black 

ink on verso of ‘The Corner House, Northwood’ headed paper, some 

scattered spotting, Dan Klein exhibition label to verso, 22.5 x 18cm 


(1) £200-300 

546 AR Hilton (Roger, 1911-1975). The Marching Band, pen and 

black ink on ‘The Corner House, Northwood’ headed paper, Dan 

Klein exhibition label to verso, 22.5 x 18cm (9 x 7ins), framed and 

glazed 

(1) £200-300 

548 AR Hilton (Roger, 1911-1975). Self Portrait, pencil on paper, 

two creases where previously folded, Dan Klein exhibition label to 

verso, 27 x 20cm (10.5 x 8ins), framed and glazed 

A similar Hilton self portrait is in the National Portrait Gallery. 

(1) £300-500 

122

549 Jones (David, 1895-1974). Study of a Garden, brown chalk on 

paper, signed in ink lower right, 40 x 30cm (15.75 x 12ins), framed 

and glazed 

(1) £700-1000 

550* Lloyd (Reginald J., 1926-). Standing stones and reclining 

figure, 1970, monotype on laid paper, signed and dated 1970 lower 

right, 305 x 445mm (12 x 17.5ins) mount aperture, framed and 

glazed, together with Seagull, 1993, watercolour on wove paper, 

signed and dated lower right, 40 x 25cm (15.75 x 9.75ins) mount 


(2) £100-150 

Lot 551 

551*AR Reginald James Lloyd (1926-) & Ted Hughes. Sea 

Monster, 1998, pen, brown ink and wash on handmade paper, 

signed and dated lower right, 130 x 100mm (5.1 x 4ins), together 

with the autograph manuscript poem Sea Monster by Ted Hughes, 

handwritten in ink on similar handmade paper, signed at foot, 230 x 

106mm (9 x 4.2ins), mounted together, framed and glazed 

The original preliminary drawing by Reg Lloyd together with the holograph 

poem by Ted Hughes for page 11 of The Mermaid’s Purse, published by the 

Sunstone Press in May 1993, in an edition of 100 copies. With printed label 

for the R. J. Lloyd and Ted Hughes exhibition at Shellhouse Gallery, Ledbury 

Poetry Festival, 1997 to verso. 

(1) £400-600 

552*AR Maddox (Conroy, 1912-2005). Metaphysical Landscape, 

gouache and black ink on card, signed lower right, 203 x 247mm 

(8 x 9.7ins) 

(1) £200-300 

Lot 552 

123

553 Pares (Bip, 1904-1977). Artist’s sketchbook, 1934, approximately 

fifty leaves each with pencil or pen & ink drawings on recto (and most 

with drawings on verso also), some with the addition of watercolour 

or pastels, mostly portraits and figure studies, including a selfportrait, 

but also book illustrations and dustjacket designs, some 

titled and dated 1934, first leaf near-detached, sheet size 25.5 x 

19cm (10 x 7.5ins), front pastedown with ownership name and 

address in pencil in the artist’s hand, dated 1934, original clothbacked 

boards, 4to 

Ethel Pares, known as ‘Bip’ from her infant attempts to pronounce the name 

of a family horse, was best-known for her dustjacket designs and book 

illustrations, although she also produced poster designs, including some 

examples for London Transport. She studied at the Slade in the early 1920s, 

and her best and most striking work was art deco in style, characterised by 

bold colours and designs. She is said to have designed some 600 dustjackets 

in all. There are several designs for dustjackets contained herein, including 

six leaves of preliminary sketches for her striking dustjacket design for Susan 

Ertz’s 1934 publication ‘Now We Set Out’. 

(1) £200-300 

554* Attributed to Vaughan Price (late 19th/early 20th). A 

collection of four female head and shoulder studies, charcoal on 

paper, with some pencil, comprising a portrait of a dark-haired lady 

in pensive mood, 44 x 31.5cm (17.25 x 12.5ins), a profile turned to 

the left of a young lady wearing a hat, 46 x 31cm (18.25 x 12.25ins), 

both mounted, framed and glazed, with attribution in ink on 

backboard, and an unframed sheet with portraits on recto and verso, 

one a profile turned to the left of a dark-haired lady, the other of a 

young girl in a mob cap, sheet size 49.5 x 35.5cm (19.5 x 14ins) 

According to the attribution Vaughan Price was a sister-in-law of Andrew 

Carnegie of New York. 

(3) £100-150 

Lot 554 

555* Robinson (Charles, 1870-1937). Young woman with basket 

and birds, watercolour heightened with body colour, on card 

mounted on artist’s board, signed lower left, 18 x 28cm (7 x 11ins), 

mounted 

(1) £300-500 

124

Lot 556 Lot 557 Lot 560 

556 Sands (Henry Southgate, 1900-1971). Daphne, 1934, pencil 

on paper showing a head and shoulders portrait of a young girl, 

titled, signed and dated Aug 22nd 1934 to lower margin, 38 x 27cm 

(15 x 10.5ins), framed and glazed 

(1) £100-150 

557 Spurrier (Steven, 1878-1961). Artist’s sketchbook, 1944, fortythree 

leaves, each with a pencil sketch or sketches on recto, some 

with crayon colour, including figure and animal studies, flower still 

lifes, and buildings, one dated 1944, one or two leaves detached, 

and an additional pen & ink sketch is loosely inserted, sktchbook 

sheet size 26 x 19.5cm (10.25 x 7.5ins), front pastedown with 

ownership name and address in the artist’s hand with pencilled note 

‘Apl to July 1944’, original cloth-backed boards, 4to 

British artist Steven Spurrier is best known as an illustrator of books, posters 

and periodicals. His work appeared in publications such as ‘Madame’, ‘Black 

and White’, ‘The Graphic’, ‘Illustrated London News’ and the ‘Radio Times’. 

He exhibited at the Royal Academy from 1913, was made an associate 

member in 1945 and became a full member of the Academy in 1952. 

(1) £100-150 

558 AR Vaux (Marc, 1932-). Untitled, 1987, coloured and lead 

pencil on Fabbriano paper, signed and dated lower left, sheet size 

290 x 350mm (11.4 x 13.75ins), framed and glazed 

(1) £200-300 

Lot 558 

559 AR Vaux (Marc, 1932-). Composition Study, 1964, pencil and 

colour pastel on paper, signed and dated ‘64 to lower margin, sheet 

size 380 x 558mm (15 x 22ins), framed and glazed 

(1) £300-400 

560 Woodhouse (William, 1857-1939). Studies of Lions, several 

studies on both sides of one sheet, pencil on paper, 23 x 17cm (9 x 

6.75ins) mount aperture, framed and double glazed 

(1) £150-200 

Lot 559 

125

MODERN PAINTINGS 

561 Aldunate (Carmen, 1940-). La Lujuria, ‘Lust’, 1963, oil on canvas, signed, titled and dated to verso, Chilean export stamp to verso, 

120 x 120cm (47x 47ins), framed 

Provenance: From a private collection. Purchased by the vendor in a Santiago Gallery in 1969 (export stamp to verso is dated 31 January 1970). Carmen Aldunate 

is a leading light in the Latin American Neo-Figurative movement, bringing a distinct feminist flavour clearly evident in the present work. Her work has been 

exhibited by galleries worldwide including Museum of Modern Art in 1977, The Minones Art Gallery, Essex and a travelling exhibition in 2004. 

(1) £5000-8000 

126

562* Armstrong (R.M., 20th century). Classical nudes in a 

landscape, 1935, oil on canvas, showing three female nudes, one 

with an exotic bird in her palm, and one male nude, sitting beside a 

tree, signed and dated lower left, some rubbing and marks, 44.5 x 

51cm (17.5 x 20ins), framed 

(1) £150-200 

564*AR Barrie (Mardi, 1931-2004). Moon Off Shore, oil on canvas, 

signed to lower edge, Royal Scottish Academy 1967 Exhibition 

labels to verso, 77 x 101cm (30 x 40ins), framed 

(1) £400-600 

565 Dishington (Simon, 20th century). Abstracted Forms, 1964, 

oil on board, signed and dated in pencil lower right, 60 x 89cm (24 

x 35ins), framed together with Abstract Landscape, 1961, oil on 

board, signed and dated lower right, 50 x 92cm (20 x 36ins), framed 

(2) £150-200 

563* Baillet (Ernest, 1853-1902). Autumn Landscape, oil on wood 

panel, signed lower right, with old stencil to verso S701, some 

surface marks and panel with horizontal split to lower half, 254 x 

325mm (10 x 12.75ins), period gilt frame 

(1) £200-300 

127

Lot 567 

128

567 AR Epstein (Sir Jacob, 1880-1959). Peonies and Roses, circa 

1936, watercolour and gouache on paper, signed ‘Epstein’ in black 

to lower left, 44 x 57cm (17.25 x 22.5ins), framed and glazed 

This flower painting is one of around three hundred painted by Epstein in later 

life. The artist was commissioned by the Dutch old master dealers Ascher & 

Velber in 1933 to produce a series of flower paintings of the present type. 

Painting flowers became an obssession with boxes of fresh flowers arriving 

weekly from Holland. The outbreak of the Second World War saw an end to 

the weekly air-freight deliveries and Epstein returned to his sculptural work. 

See David Messum, Epstein; The Flower Paintings, exhibition catalogue, 1992. 

Provenance: Private Collection, London. 

(1) £2000-3000 

566* Ege (Mogens, 1892-1946). Vesuvius and the Aqua Augusta, 

oil on canvas, showing a donkey and cart on a lane before the ruins 

of an aqueduct, with Vesuvius in the background, signed lower right, 

43.5 x 63.5cm (17 x 25ins), framed 

(1) £100-150 

568* Ertz (Edward Frederick, 1862-1954). Winter Landscape with 

woman feeding geese, Rambouillet, Poigny, oil on canvas (stamped 

Paul Foinet to reverse), signed lower right, 37 x 46cm (14.5 x 18ins), 

period moulded gilt frame, with handwritten note in ink by the artist 

describing the picture attached to the reverse of the canvas, and 

label for the 48th Exposition Versaillaise, 1901 to stretcher, with 

artist’s name and an address in Paris 

The artist’s manuscript note attached to this painting, provides information on the 

work, most likely to an early owner: ‘The little snow picture you have was painted 

at Poigny in the forest of Rambouillet. I painted several large ones there, which 

were exhibited at the Salon - R.A. and R.B.A. and sold. One was awarded a medal 

in France. All three were exhibited at my exhibition in Paris. I used to have a studio 

and cottage in the forest of Rambouillet: which is about an hour from Versailles’. 

(1) £400-600 

Lot 568 

129

Lot 569 

Lot 571 

569 Freedman (Barnett, 1901-1958). Young Woman Seated, oil on 

canvas of a full-length seated portrait of a young woman in a black 

skirt, laid on panel, 33 x 43cm (13 x 17ins) 

(1) £300-500 

570 Freedman (Barnett, 1901-1958). Female nude, standing, oil on 

canvas, 61.5 x 50cm (25 x 20ins) 

(1) £200-400 

571 Freedman (Barnett, 1901-1958). Man in trunks, oil on canvas, 

laid onto board, 36 x 29cm (14 x 11.5ins), together with Woman in 

black dress, oil on canvas laid into board, 50 x 24cm (20 x 9.5ins) 

(2) £200-400 

572 Freedman (Barnett, 1901-1958). House in landscape, possibly 

Kenwood, oil sketch on paper, laid on panel, 25 x 43cm (10 x 17ins), 

together with another similar view on canvas laid onto board 

(2) £300-500 

573 Freedman (Barnett, 1901-1958). Farmhouse, oil on canvas laid 

onto board, initialled lower right, 26 x 42cm (10 x 16.5ins) 

(1) £200-400 

574 Freedman (Barnett, 1901-1958). Still life of lemon and radishes, 

oil on canvas, 35.5 x 45.5cm (14 X 18ins) 

(1) £200-300 

Lot 570 

130

Lot 572 

Lot 573 

Lot 574 

131

Lot 575 

Lot 575 

575 Freedman (Barnett, 1901-1958). Landscape with stooks, oil 

on canvas showing a patchwork of fields lit by shafts of sunlight, laid 

on panel, initialled lower right 50 x 61cm (20 x 24ins) 

(1) £300-500 

Lot 576 

576 Freedman (Barnett, 1901-1958). Self-Portrait, oil on canvas 

showing a half-length portrait of the artist in a shirt and tie at his 

easel, laid onto board, 54 x 37cm (21 x 14.5ins) 

(1) £300-500 

577 No Lot 

132

578 Gissel (Petri, 1895-1975). Notre Dame, Paris, 1930, oil on 

artist’s board, initialed lower left, additional signed and dated to 

verso, brief biographical note in German pasted to verso, 38 x 46cm 

(15 x 18ins), framed 

(1) £100-150 

579 McNairn (John, 1910-2009). Landscape - Spring, oil on board, 

signed lower right, with handwritten label to verso giving the artist’s 

name and title, 65 x 107 cm (25.5 x 42 ins), gilt frame 

(1) £200-400 

580* Newberry (John, 1934-). ‘Four Horsemen’, 1967, oil on board, 

showing four cavorting horses, each with a naked rider, verso 

inscribed in the artist’s hand with his name, address, title, and date, 

35 x 40cm (14 x 15.75ins), framed 

John Newberry is a member of the Royal Watercolour Society and has 

exhibited widely, including at the Royal Academy. He taught at the Ruskin 

School of Drawing in Oxford from 1963 to 1989, and was acting head for the 

last two years. John Newberry paints on the spot, usually sitting on the 

ground, giving his works an unusual perspective. His work is highly regarded 

and included in many leading collections. 

(1) £200-300 

Lot 579 

133

581 AR Nicholson (Kate, 1929-). No Mosque without Water, 1971, 

oil over metallic paint on artist’s board, signed, dated and titled by 

the artist to verso, 79 x 49cm (31 x 19ins), framed and glazed 

(1) £300-500 

582 Wilens (Dorothy, 1902-1986). Kinsfolk, collage with acrylic on 

artists board, signed to lower right, artist’s label to verso additionally 

signed in ink, 41 x 51cm (16 x 20ins) 

Dorothy Wilens (1902-1986) was an American artist working in West Hartford. 

The present work was her entry for the Conneticut Artist’s Award and bears 

her identification label to the verso. 

(1) £150-200 

Lot 581 

583* Xam (1915-2001). Still life of fruit in a bowl, pitcher, glass and 

decanter on a table, 1952, oil on canvas, signed, additionally 

inscribed to verso “Agosto 1952”, approx. 725 x 490mm (28.5 x 

19.25ins), framed 

(1) £300-500 

Lot 582 

134

Lot 692 

PHOTOGRAPHY

PHOTOGRAPHY 

601* Afong (Lai, circa 1859-1941). Commercial Street, Canton, 

circa 1860s, albumen print, 28.5 x 21.5cm, contemporary mount, 

spotted 

(1) £200-300 

603 Allen (Albert Arthur, 1886-1962). The Model, Technical Edition, 

Series Number One, Allen Art Studios, Oakland, California, 1925, 11 

pp., original stapled printed wrappers, slightly creased and soiled, 

slim large 8vo, together with the original set of 15 vintage gelatin 

silver prints of the 7 nude female models described in the booklet, 

various group poses including chorus line and dance routine study 

plus archery, tug of war, etc., images 16 x 24cm, three with pencil 

identification codes to lower margin, one image with light short 

scratch to centre and crease to lower left corner, printed on card 

with plain backs 

A rare survival of a complete set with original booklet. 

(1) £400-600 

602 Allen (Albert Arthur, 1886-1962). The Female Figure, Series 

One. Technical Edition, Oakland, California, [1923], comprising a set 

of 10 vintage gelatin silver print photographs of female nude studies, 

each plate with two, three or four studies of the same nude and all 

with printed and dated wetstamp details to versos (some details 

indistinct), two photographs slightly creased, each approximately 16.5 

x 26.5cm, loosely contained with printed note and order form for 

Series Number Two (? but lacking other printed details of models) and 

contained in broken printed card portfolio with old sellotape repairs 

(1) £200-300 

Lot 604 

136

604* Alpine Photography. A collection of 35 large-format gelatin 

silver print photographs of the Alps and Alpine scenery by F.N. 

Ashcroft, 1930s, approximately 22 x 30cm or 16.5 x 21.5cm and 

similar sizes, printed on thick paper with wide margins or pasted on 

original mounts, the largest (36 x 27cm) with original exhibition 

backing board and label present, from an exhibition of Alpine 

photographs at the Alpine Club, identifying the photographer and 

date (July 1935) and title of print ‘The Gerstenhorner and the fall of 

the Rhone Glacier’ 

(35) £100-150 

605 Annan (Thomas). The Old Country Houses of the Old Glasgow 

Gentry, 2nd edition, Glasgow, 1878, 100 mounted carbon prints and 

3 plates, each 11.5 x 16cm, some spotting and marginal dust-soiling 

throughout, contents shaken with some leaves loose and inner 

hinges near-broken, original quarter morocco, rubbed and some 

wear, 4to 

One of 225 copies. The first edition as mentioned by Gernsheim was 

published with albumen prints. 

(1) £200-300 

607* Baldus (Edouard-Denis, 1813-1882). A group of 3 albumen 

print views of Paris, circa 1860, including Hotel de Ville, Pont Neuf 

and the Louvre (rue de Rivoli), each 28 x 21.5cm or the reverse, 

original mounts (some spotting) with Baldus name stamp beneath 

each image lower right 

(3) £100-150 

606* Australia & New Zealand. A group of 41 albumen print views 

of locations in Australia and New Zealand, circa 1880, the 14 

Australian prints of Sydney, Blue Mountains, etc. all with blindstamp 

of C. Bayliss, the remaining New Zealand views mostly captioned 

in the negative and some initialled F.A.C. [F rank Arnold Coxhead], 

most images approximately 14 x 19.5cm or slightly larger, pasted 

back to back on 10 contemporary album leaves 

(41) £100-150 

608* Barker (George, attrib.). Niagara Falls, circa 1870, mammoth 

albumen print view, some tonal variation at margins where 

previously mounted and chipping to extremities, 50 x 43.5cm, 

modern matted mount 

(1) £200-300 

137

Lot 609 

609 Barnard (Edward Emerson). A Photographic Atlas of Selected 

Regions of the Milky Way, edited by Edwin B. Frost and Mary R. 

Calvert, 2 volumes, 1st edition, Washington, D.C., 1927, volume 1 

with portrait frontispiece (offset to title and half-title verso), plate of 

the Bruce Telescope and 51 gelatin silver prints mounted on linen, 

each 23 x 23cm, volume 2 with 50 charts and accompanying tables, 

original cloth gilt, rubbed and slightly soiled, 4to 

The first significant photographic star atlas, issued in an edition of 700 copies 

and for which Barnard personally inspected all 35,700 photographs printed 

(see Preface). Barnard established photography as the main form of 

astronomical observation and also discovered a dark nebulae, this work 

including his ‘Catalogue of 349 Dark Objects in the Sky’, completed by his 

assistant, Mary Calvert, after his death in 1923. 

(2) £700-1000 

610* Beaton (Cecil, 1904-1980). Evelyn Waugh, [1955], gelatin 

silver print, later printing, full face and half-length, smoking a large 

cigar and leaning on a wooden fence with the sign ‘Entree Interdite 

aux Promeneurs’, silver print, faint crease to lower left corner, 

photographer’s stamp to verso, 190 x 190mm, together with a 

vintage print of the same image, slightly damaged at all four corners, 

200 x 192mm, plus a mounted and framed reproduction photograph 

of Mussolini 

(3) £100-150 

138

611* Bisson (Louis-Auguste & Auguste-Rosalie). Four mammoth 

albumen prints of Rome, circa 1865, all Italian views on original 

mounts with Bisson Freres red ink stamp, embossed stamp and 

French pencil caption to lower mounts, showing Arch of 

Constantine, St. Pierre and the Vatican, Temple of Esther and Greek 

columns, Venice, images 35 x 44cm, mounts spotted, dust-soiled 

and frayed with a little loss, together with a group of 5 large albumen 

prints of Italy, circa 1860s, including one of a frieze by Altobelli & 

Molins with stamp to lower mount, 27.5 x 35.5cm, another of a 

Roman fountain and temple with two small closed tears in image 

where lifting from mount, 27 x 38cm, plus 3 photographs of wall 

painting in the basilica of St. Clement, Rome, each 25 x 32cm or 

slightly smaller, original mounts with printed captions beneath, all 

mounts somewhat soiled and frayed at margins 

(9) £200-300 

612 Brazil - Football and Cricket. A personal photograph album 

mostly relating to Rio de Janeiro, circa 1924-28, containing 

approximately 170 mounted gelatin silver prints, the majority smallformat 

snapshots of postcard sizes and smaller, largely of British 

young men engaged in recreational activities, the compiler referenced 

as ‘Myself’, also including some sporting interest, including two 

hockey snapshots, a larger group portrait of a cricket group, Rio, 

September 1925, including Kirkby, Spankie, Rait, Hayes, ‘Myself’, 

Miller, 17 x 23cm, five postcard-size photographs of Inter-State cricket 

at Santos, July 1925, another posed cricket group of similar size and 

date, three similar size photographs of Rio Cricket Soccer XI versus 

SS Baronega, June 1927, six further cricket photos from August 1927 

(Rio won by innings and 59 runs), names cited include Brooking, 

Muriel, Cunningham, Tatam, and two taken at Belgrano cricket ground, 

two photos of the Hood and Repulse Cup, plus one further small 

snapshot of a posed football group, the Boyes Cup team, 1928, 

featuring Gould (Captain), Riddell, Goodrich, Dowle, ‘Self’, Campbell, 

Swiggs, and others, mounted as multiples and back to back on 15 

leaves, ink captions to mounts throughout, contemporary card 

wrappers with spine tie, soiled and worn, oblong folio 

The largest photograph in the album a posed cricket club group could be Sao 

Paulo Railway Company team. The Miller featured in the front is Miller, 

possibly Carlos Miller (born 1907) whose father was the Brazilian sportsman 

Charles William Miller (1874-1953) who was considered to be the father of 

football in Brazil. 

(1) £150-200 

613* Brittany. A group of 10 albumen prints of Brittany peasants, 

circa 1885, a few annotated in pencil to versos and two initialled 

A.C.H., each 16 x 10cm and similar, all unmounted 

(10) £100-150 

614 Campbell Family. A photograph album relating to the Campbell 

family in Italy, Scotland, England and India, 1898-1901, an 

assortment of neatly presented albumen and gelatin silver prints, 

collotypes, colour photos, etc., all corner mounted and back to back 

on 22 leaves with occasional captions, images 19 x 26cm and 

smaller, contemporary cloth with crude repair and new upper board, 

rubbed, oblong folio 

(1) £70-100 

139

615* Cameron (Julia Margaret, 1815-1879). Portrait of Alfred, Lord Tennyson (1809-1892), 1869, albumen print, head and 

shoulders, three-quarter profile, small closed marginal tear to upper right margin and small ding above Tennyson’s head 

upper right, image 29.9 x 24cm, recto mount inscribed in ink by JMC: ‘From Life. Registered Photograph Copyright. Julia 

Margaret Cameron. The last Photograph taken JM[C]’, mount now largely detached from thin card backing mount, verso 

browned and soiled 

Cox and Ford, Julia Margaret Cameron: The Complete Photographs, 810. 

(1) £1000-1500 

140

616* Mudd (James, 1821-1906). Portrait of Alfred, Lord Tennyson (1809-1892), 1861, albumen print, full length, seated 

in three-quarter profile with hat and open book held in left hand, 24 x 18.5cm, original card mount, some spotting and soiling, 

together with a second albumen print portrait of the same sitter, by Elliott & Fry, 1865, head and shoulders in profile facing 

left, oval format, 178 x 130mm, original mount with facsimile signature of Tennyson and printed studio details to lower mount, 

some spotting 

Malcolm Rogers: Camera Portraits (1989), p. 59. 

(2) £300-500 

141

617* Cartes de visite. A large quantity of cartes de visite and 

cabinet cards, both loose and in albums, together with a quantity of 

stereocards and cased images 

(a carton) £100-200 

618 Cartes de visite. A carte-de-visite album containing 191 windowmounted 

albumen print cartes de visite, circa 1870s, including 

approximately 150 topographical and ecclesiastical photographs from 

life, plus portraits and views including some front engravings and 

artworks, views and scenes include Derbyshire, Paris, Isle of Wight, 

Dartmouth, Great Malvern, Ross, Lynmouth, Liverpool, Jersey, 

Tunbridge Wells, Chester, Harrogate, Lyons, Geneva, the Alps, 

Interlaken, Lucerne, Cologne, Salisbury, Dorchester, Torquay, Cowes, 

Barmouth and Weymouth, some spotting to mounts, windowmounted 

four to a page, all edges gilt, contemporary embossed 

morocco with brass clasp, skilfully rebacked, a little rubbed, together 

with a late 19th-century British album with 49 mounted photographs 

(approximately 20 albumen prints, the remainder collotypes), including 

coastal views in England, mostly half plate and smaller sizes and 

mounted as multiples to 9 stiff card leaves (remainder blank), ink 

captions to mounts, contemporary cloth, rubbed and marked, 

morocco reback, oblong folio 

(2) £100-150 

620 Ceylon, Middle East, etc. A photograph album containing 8 

mounted albumen prints of Singalese interest, circa 1870s, including 

3 large views of a fishing boat at Colombo, Breakwater, (both by 

Scowen) and Galle Face, each 22 x 28cm, the remaining 6 

ethnographic interest including a head profile of a Singalese 

gentleman by Scowen, each approximately 14.5 x 9cm and similar, 

the album also containing 18 mounted albumen print views and 

ethnic studies of Middle East interest, various sizes, four views of 

Malta and Gibraltar, plus assorted British and European albumen print 

views, etc., mostly mounted as multiples and back to back on 24 stiff 

card leaves, occasional captions, contemporary half morocco, soiled 

and worn, covers detached and backstrip deficient, folio 

(1) £150-200 

621 Chapman (Harold). Paris - Les Halles, Codognan, 1985, twelve 

mounted gelatin silver prints (from photos taken in the 1960s), 

loosely contained, as issued, with preface and contents leaves in 

original black cloth solander box (marked), folio 

Signed limited edition, 15/16 copies. 

(1) £100-150 

619* Cased images. A group of 4 daguerreotypes, circa 1850s, 

including a quarter-plate oval daguerreotype of a seated woman, 

tinted highlights, two arched top sixth-plate daguerreotypes, one in 

good condition of a middle-aged man, the other of a couple, tinted, 

lid detached, the smallest of a young woman, lacking case, plus 

three ninth-plate ambrotypes, all lacking cases and one with half of 

backing glass deficient 

(7) £100-150 

622* China & Hong Kong. A group of 7 albumen print 

photographs, circa 1880, including view of Hong Kong harbour and 

hillside (both spotted), a Chinese execution site with western 

onlookers, two Chinese prisoners, a Chinese pagoda, plus two 

interior views of antiquities, each approximately 21 x 27cm, 

contemporary card or paper mounts 

(7) £300-400 

623* China. A group of 17 large albumen print views, circa 1870s, 

all rural scenes without figures showing rock hill and river valley 

formations, several featuring a house or other sign of dwelling, 

four numbered in the negative (11, 21, 22 and 24), each 23.5 x 

28.5cm, original card mounts, some soiling, one photograph and 

mount heavily soiled, loosely contained in original cloth portfolio, 

gilt-titled ‘China/1875/JMH/3’ to upper cover, some soiling and 

wear, oblong folio 

(1) £400-600 

Lot 620 

142

Lot 623 

143

624* Churchill (Winston Spencer, 1874-1965). Portrait of Winston 

Churchill at the Garter Ceremony at Windsor Castle, circa 1960, 

vintage gelatin silver print, possibly by Cecil Beaton’s Studio, the 

sitter seated, full-length in ceremonial robes, 19.5 x 13.5cm, matted 

mount 

(1) £100-150 

625* Clifford (Charles, 1819-1863). View from the bottom of the 

Cuesta del Chapiz of Arab mills and the Alhambra, 1862, albumen 

print, 414 x 306mm (16.25 x 12ins), original mount (a little spotted 

to extremities including upper blank area of image) with 

photographer’s blindstamp at foot, ‘C. Clifford / Photo of H.M.’ 

(1) £800-1200 

626* Coster (Howard, 1885-1959). Portraits of William Wymark 

Jacobs (1863-1943), Charles Langbridge Morgan (1894-1958), 

Edward Verrall Lucas (1868-1938) and Sir Alan Patrick Herbert (1890- 

1971), circa 1930s, 4 vintage gelatin silver prints, various poses, each 

signed ‘Harold Coster, London’ in white china ink to lower area of 

image, 26.5 x 21.5cm and similar sizes, photographer’s copyright 

stamp to versos, plus photographic portraits of W.H. Auden (by Mark 

Gerson), Seamus Heaney (by Lucinda Douglas-Menzies) and Robert 

Lowell (by Judith Aronson), each signed by photographer, all framed 

and glazed 

(7) £200-300 

Lot 624 

627* Darwin (Charles, 1809-1882). Portrait by Maull & Polyblank, 

circa 1855, mounted albumen print, three-quarter length and in threequarter 

profile, heavy spotting to left light blank area of image, 17 x 

14.5cm, framed and glazed, remains of studio label pasted to verso 

Notable as the first popular image of Darwin, but one which Darwin disliked 

intensely, noting once in an 1860 letter to Hooker that “it makes me look 

atrociously wicked”. 

(1) £200-300 

Lot 625 

144

628* Darwin (Charles, 1809-1882). Portrait by [Herbert Rose] 

Barraud (1845-1896), [1881], albumen print cabinet card photograph, 

half-length, in three-quarter profile facing right, 140 x 96mm (5.5 x 

3.75ins), printed signature of Charles Darwin and blind stamp of 

William Luks [1840-1911, photographic and fine art publisher and 

print dealer] to lower mount, Barraud’s printed name and address 

details to lower mount and verso 

This is one of five known poses by Barraud from 1881, believed to be the last 

(official) photographs taken of the great man before his death in 1882. 

Provenance for lot 627 and 628: Arthur George Davis (1892-1957), 

palaeontologist, naturalist, book collector, by descent through the family. 

(1) £300-500 

629* Delamotte (Philip Henry, 1821-1889, attrib.). Two albumen 

print views of Crystal Palace, Sydenham, circa 1860, the first 

showing an exterior view of the centre transept and north tower 

from South Wing, the second an interior view of the Nave from the 

south, 19.5 x 25cm and the reverse, contemporary card mounts 

(2) £200-300 

Lot 628 

630* Dorset. A group of 12 large-format albumen print views, circa 

1880s, all on original mounts, ink captions include Wilham’s Bridge, 

Christchurch, Wimborne Minster (two exterior view, one interior and 

one view of the Chained Library with duplicate (by Frances Frith)), 

the remaining seven of Priory Church, Christchurch, all 24.5 x 

29.5cm and similar, mounts a little soiled and chipped at extremities 

(12) £150-200 

631* Dutreux Family Photo Archive. A small archive of assorted 

family photographs and related, late 19th and early 20th century, 

mostly portraits and including Belloc Lowndes family, various formats 

and sizes, some framed and some contained in an ornate wooden 

box with family crest and monogram of Elisabeth Pescatore Dutreux 

(a carton) £100-200 

Lot 629 

632* Edis (Olive, 1876-1955). George Bernard Shaw, c. 1936, half 

length, seated at desk with face turned to camera and lit by natural 

window light, vintage platinum print, 35.5 x 28 cm, together with 

David Lloyd George (1863-1945, prime minister), c. 1910, head and 

shoulders portrait, vintage platinum print, 48 x 38cm, flush mounted 

on original board, both with photographer’s signature in pencil to 

mount lower right, framed and glazed 

(2) £200-300 

145

633* Egypt. A collection of approximately 30 albumen print views, 

late 19th century, including views of ruins at Karnak and Upper 

Egypt, a few identified A. Beato in the negative, the majority 20 x 

27.5cm and mounted singly and back to back on thick card leaves, 

plus six related album card leaves with collotype views of Madrid, 

etc., all with ink captions to mounts dated 1906 and 1907, contained 

in contemporary worn cloth portfolio 

(1) £100-150 

636 Essex Yeomanry - Robert Edwards. A group of three 

photograph and scrap albums relating to Robert Edwards and family, 

circa 1900-1920, one album containing mostly formal group portraits 

from schooling at Hazelwood through Wye Agricultural College 

sporting team and Essex Yeomanry, the second album a 

photographically illustrated scrap album containing cuttings, articles, 

letters, telegrams, etc., concerning World War I and Edwards’ 

involvement with the Essex Yeomanry, the third smaller album 

containing 40 window-mounted snapshots of family life and 

holidays, various bindings and sizes 

(3) £100-150 

634* Emerson (Peter Henry, 1856-1936). On the River Bure, [from 

Life and Landscape on the Norfolk Broads], 1886, platinum print, 

13.2 x 23.4cm, original mount, together with a group of 30 mostly 

late 19th and early 20th-century British pictorialist photos of rural 

scenes and similar, various processes and sizes, one exhibition print 

with photographer identified as Marigo Scaramanga 

(14) £200-300 

637* Exhibition Prints. An assorted collection of 20th-century 

photographs, including photographs by O. Wunderlich of views in 

Spain, Haunts of Shakespeare photogravures tipped in to original 

mounts with letterpress tissue guards, plus other miscellaneous 

amateur photographer portraits, views, tree and genre studies, etc., 

mostly medium and larger format, many signed and titled on mounts 

(approx. 120) £200-300 

635* English Architecture. A group of 8 albumen prints, circa 1860s, 

including Fountains Abbey, Ripon Cathedral, etc., images 25 x 19.5cm 

and similar, minor marginal fraying and one short closed tear 

(8) £150-200 

Lot 638 

146

638* Exhibition Prints. A group of 40 large exhibition-size gelatin 

silver prints by F.L. Kennett, circa 1960s, including still life studies of 

vegetables, Albert Bridge, London, tableware, engines, etc., 

numerous duplicates and multiples, one with Kennett’s name 

identifying the photographer, approximately 50 x 40cm and similar 

sizes, some on thick card mounts 

(40) £100-200 

639* Fiske (George, 1835-1918). A group of ten albumen print 

views of Yosemite and Yellowstone Park, circa 1880s, plus two 

albumen print views of San Francisco Bay and coast, some titled 

and identified in the negative, 18 x 10.7cm (and two 16.5 x 21cm), 

all laid on contemporary card or paper mounts 

(12) £300-400 

640* France. An albumen print view of a town in southern France 

viewed from a hillside, by Miguel Aleo, circa 1860, photographer’s 

signature in red lower right, 19.5 x 25 cm, framed and glazed 

Miguel Aleo, active 1860s, is best known for his views around Nice and in 

Corsica. 

(1) £100-150 

641 Frith (Francis). Cairo, Sinai, Jerusalem, and the Pyramids of 

Egypt: A Series of Sixty Photographic Views, with Descriptions by Mrs 

Poole and Reginald Stuart Poole, published James S. Virtue, [1860], 

25 mounted albumen print views only (of 60), each approximately 23 

x 16cm, all but three with accompanying letterpress, two mounts cut 

down (‘Sinaitic Inscriptions’), some spotting and scattered damp 

staining to mounts, a little marginal fraying and chipping, contents 

(including title-page) loosely contained in original quarter morocco over 

cloth boards, rubbed, soiled and frayed, folio 

Gernsheim, Incunabula, 129. This is volume 3 of Frith’s 1857 expedition. 

(1) £300-500 

147

643 Gibbons Family Archive. A group of 4 photograph albums 

relating to the Gibbons family of the Leasowes, Halesowen, West 

Midlands, circa 1860s-1890, including two albums containing 

approximately 280 albumen print carte-de-visite portraits including 

some royalty, military and ecclesiastical interest but largely family 

related, one album with portraits pasted in and some with cut 

signatures pasted in adjacent, the albums also containing over 100 

other albumen print views, including architecural interest, ink 

captions to mounts, some spotting and soiling, a few leaves 

detached, various contemporary bindings, mostly worn, oblong 

folio/4to 

(4) £200-300 

642 Georgia. An album containing 37 mounted gelatin silver print 

photographs of Kutaisi, Georgia, circa 1920s/1930s, including scenes 

of Rioni River through Kutaisi, White Bridge, Botanical Garden, 

Church of Annunciation, Kutaisi University, Bagrati Cathedral, street 

and market scenes, river scenes and railway scenes, Geguti Palace, 

beehives, Summer Dacha, etc., images 12 x 17cm, some matte and 

some glossy, some with thin border and some full bleed, possibly 

collected from different dates, mounted back to back and entirely 

uncaptioned on thick card leaves, contemporary ink inscription to 

front endpaper, inner hinges near broken, contemporary cloth, spine 

frayed and corners bumped, small oblong folio 

(1) £200-300 

644* Glamour Studio Portraits. A group of 10 studio portraits by 

Mayfair Photographers, 1930s, including a portrait of Gertrudge 

Lawrence by Paul Tanqueray, 29 x 24cm, signed clearly by the sitter 

and dated 1930 in the lower image, a similar portrait of Lettice by 

Hugh Cecil, signed and dated 1924 by the sitter to lower margin, 

further signed photograph including Joan Gardner by Tunbridge, 

Elspeth March by Denis De Marney, Angela by Walter Bird, a 

jumping dancer by Dorothy Wilding by unidentified signature, plus 

further glamour portrait studies by Baron of Rene Jainmare, Kazan 

Jian, Dorothy Wilding and a photograph of ice skater Sonja Henie 

with facsimile signature mostly on mounts, various sizes and all but 

one medium and larger format, plus 4 large hand-coloured glamour 

photographs by Studio Shergold with hand-colouring by Marjorie 

Morton, each 36 x 28cm 

(14) £100-150 

148

645* Greece, Turkey, Italy. A group of 20 albumen prints, circa 

1870-188, including buildings and views, three of Turkish merchants 

and traders, all medium and larger format, many on contemporary 

album leaves, others unmounted 

(20) £100-150 

646* Hepworth (Cecil, 1874-1953, British filmmaker). A group of 

55 black and white prints from photographs, 1960s(?), showing 

scenes and characters from Hepwood films, approximately 19 x 

29cm and similar, each mounted to backing board with ‘Hepworth 

L5160’ stamp and occasional annotations to mount verso, some 

with tracing paper tissue guard, seemingly made up for exhibition 

or promotional editing 

Hepworth was among the founders of the British film industry and continued 

making films into the 1920s at his Walton Studios. 

(55) £100-200 

Lot 644 

647* Hill (David Octavius & Adamson, Robert). Three 

photogravure prints by James Craig Annan, circa 1905, from the 

original calotype negatives, circa 1845, each image approximately 

20 x 16cm or the reverse, each titled in block capitals in pencil in 

lower margin (Miss McCandlish, The Birdcage, The Fish Quarter St 

Andrew’s - Newhaven Fish Wives), each tipped in to folded card at 

top corners 

(3) £150-250 

Lot 645 

149

Lot 648 

648* Hill (David Octavius & Adamson, Robert). A group of 4 

carbon prints, probably printed by Jesse Bertram from the original 

calotype negatives by Hill & Adamson, circa 1920, including portraits 

of Thomas Duncan, Albert Cay and Mrs Anna (Brownell Murphy) 

Jameson, plus Presbytery Group, Dunbarton, each approximately 

20 x 15.5cm and one the reverse, original mounts 

(4) £200-300 

649* Hong Kong. A group of 8 gelatin silver prints, 1905-06, 

including views of Glenealy Road, Botanical Gardens, Arthur 

Kennedy monument (Botanical Gardens), Chamber in the temple of 

the flowery pagoda, Canton, Chamber in medicine temple, Canton, 

European visitors at temple at Cheung Chau, Flower pagoda, 

Canton, and view of Macao, with the first Roman Catholic church, 

all 10.5 x 15cm, modern mat mounts 

(8) £100-150 

650 Hong Kong. An album containing 72 corner-mounted mostly 

early 20th-century colour postcard views of Hong Kong, presented 

in 4s and back to back on 9 hand-painted silk leaves over board with 

thread for corner mounting, hand-painted silk pastedowns, 

contemporary lacquered boards with large partly damaged onlay of 

an eagle on a branch with flowers, a little edge wear, backstrip 

deficient with remains of crude old tape repair, together with a late 

19th-century Japanese photograph album, 48 mounted hand-tinted 

albumen print views, including scenes in Nikko, Tokyo, Yokohama, 

Kyoto, Kobe, Nagasaki, etc., all with numbered printed caption in the 

negative, mounted back to back, each 21 x 26cm, contemporary 

linen-backed wrappers, some soiling and wear, both oblong folio 

(2) £200-300 

651* Hong Kong. A group of 33 diapositive lantern slides, circa 

1910, mostly views, one badly cracked, plus two China lantern 

slides, all with pencil numbers and brief captions, including Chinese 

graves, Hong Kong harbour (HMS Tamar), Praya, Green Island, water 

conduit through hill, Kennedy Road, Human traction, Tytam 

Reservoir, etc., all 8 x 8cm, contained in four contemporary slide 

boxes with lids 

(36) £150-200 

150

Lot 651 

653* India & Ceylon. A group of 33 albumen prints of India and 

Ceylon, circa 1870-1880, including views and scenes by Bourne, 

Craddock, Skeen and Apothecaries Company, approximately 21 x 

27cm and smaller, some on contemporary mounts and some 

unmounted 

(33) £100-150 

652* Hugo (Victor, 1802-1885). Signed portrait by Nadar, c. 1880, 

albumen print cabinet card, head and shoulders with near full face 

and arms folded, boldly signed at bottom border across 

photographer’s imprint details, photographer’s printed details to 

verso (soiled and marginal adhesion marks), photograph somewhat 

faded, small chip with loss to top right corner, short (2cm) vertical 

split at centre of lower border, paper surface loss affecting lower 

border and imprint details to right of ‘Victor Hugo’ autograph, 158 x 

105mm (6.25 x 4.125ins) 

(1) £200-300 

654 India, New Zealand, etc. A photograph album containing 

British and other views, circa 1870s, albumen prints, including 15 

views in India, 8 views in New Zealand, an oval view of Bahia, Brazil, 

20.5 x 25cm, the remainder mostly British views, various sizes, 

pasted to rectos of 60 album leaves (2 photos loose), some pen or 

pencil captions to mounts, disbound, folio 

(1) £100-150 

151

655* India - (George) Victor Pont (1846-1931). A collection of 

100 early and large platinotype views of India, mostly circa 1880s 

but some later, a total of 35 initialled V.P. and numbered in the 

negative, 65 not initialled or numbered but seemingly taken by 

Pont also, a total of approximately thirteen duplicates, plus 9 Victor 

Pont albumen print with initials and negative numbers, plus seven 

further albumen print views of India including one by E[rnest] Pont, 

one by Phillips and five blank (one identified W.H. Horton to verso), 

plus a photograph of Horton Stores, circa 1923, and two small 

studio portraits of Victor Pont’s son Leon (1883-1982), the majority 

of platinum prints and most albumen prints 24 x 29cm and similar 

sizes, a few much smaller, many with pencil identifications to 

verso, many platinum prints with some spotting or browning, the 

collection including approximately 13 duplicates 

A rare and interesting photographic archive of India with notable early 

use of the platinum process. Not too much detail is known about Victor 

Pont, who was a district engineer for the East Indian Railway, while his 

brother and fellow noted and prizewinning photographer Ernest (1850- 

1922) worked as an inspector for the same Railway. 

Photographs identified and dated from captions include: Kunaon: 

Bjhimthal Lake, about 1885, Annie Pont; A Road near Darjeeling; Primeval 

Forest near Kalingpong and Tibet Border; Teesta River between Darjeeling 

and Kalingpong; Benares. The Ghat where they burn the dead before 

committing ashes into the Ganges, about 1886; Beneares on the Banks 

of the Ganges; Hindoo Funeral - Cremation of a woman not he banks of 

the Ganges; New Bathing Ghat; Top of Bathing Ghat, Mirzapur; Bridge, 

Mirzapur; Grounds of Numair Museum; Ghat at Benares and showing 

various Temples; Tank at Numair Mausoleum; Gryuthee Bridge, 

26.6.1889; Near Mirzapur, about 1890. 

The bearded Victor is identifiable in two family group photographs in the 

collection. Provenance: The family of Victor Pont, by direct descent. 

(approx. 120) £3000-5000 

152

153

656* India. Manuscript diary of John Evelyn Gibbs (1879-1932) 

describing his extended visit to India, from 6 November 1907 to 1 

January 1909, printed page to view with entries written in neat pencil 

giving details of daily routines, visits to Delhi, Agra, etc., contemporary 

morocco with gilt monogram and remains of clasp, 4to, together with 

an accompanying album containing approximately 70 photographs of 

his life in India, including some of the Viceroy Lord Minto, plus other 

ephemera pasted in, some annotations, contemporary straight-grain 

red morocco with gilt monogram to upper cover, worn and backstrip 

deficient, oblong folio 

John Evelyn Gibbs was part of the dynasty of Antony Gibbs & Sons, a British 

trading company with initial interests in cloth, guano, wine and fruit. He was 

veteran of the Boer War and of WWI. In 1919 he married Lady Helena 

Cambridge. 

(2) £100-150 

657* India. A large group of approximately 100 photographs of 

India, circa 1900, all unmounted and included many photographs 

with printed captions and credit for Clifton & Co. in the negative 

(18.5 x 23.5cm), the remainder mostly 10.5 x 15.5cm, mostly 

annotated in pencil to versos in English, unmounted, together with 

original red morocco album in which the photos were originally 

loosely inserted, cracked on upper joint, folio 

(approx. 100) £100-150 

658 India. A group of 5 family photograph albums, circa 1910-30, 

containing hundreds of mounted snapshots and similar, many 

relating to military life in India and some First War World period spent 

in Kamloops, British Columbia, photographs of biplanes, Zeppelins, 

Quetta earthquake, etc., plus family and recreational activities, mostly 

in England or India, mostly small format and mounted or cornermounted 

as multiples in six albums, various bindings and sizes, plus 

two Lumiere autochromes of a garden with a young woman, each 

3.25 x 4.25ins, plus a small contemporary autograph album and 

notebook with military signatures, sketches, cigar labels, etc. 

(9) £150-200 

659* Italian Antiquities. A group of 32 albumen prints of Italian 

antiquities and related, circa 1870s, mostly sculptures in Florence 

and Rome, 19 x 25cm and similar, original individual mounts including 

14 with blindstamp of photographic studio (Reeve - 2 x Pompeii, Naya 

x 2, Brogi x 8, Cuccio and Breca), some mounts with contemporary 

ink captions and annotation, occasional spotting and soiling 

(32) £100-150 

660* Italy. The Forum, Rome, attributed to James Anderson (1813- 

1877), circa 1860, mammoth albumen print, laid on card, small chip 

to upper left corner, 41 x 55cm (16 x 21.75ins), together with a group 

of approximately 50 Italian albumen print views, artworks, etc., all 

unmounted, 20 x 26cm, plus 7 mounted similar and albumen prints 

of Italian artwork, mostly contained in a contemporary cloth album 

(approx. 50) £100-150 

154

662* Italy. An album containing approximately 70 albumen print 

views of Rome, etc., circa 1880s, including temples and ruins, a few 

street scenes, mostly Rome but also including Taormina, also 

including albumen prints of Roman antiquities, some with printed 

captions in the photograph margins, various sizes, some spotting, 

mounted mostly as ones or twos and back to back on stiff card 

leaves, together with two further albums containing approximately 

150 albumen prints of Roman antiquities and related, approximately 

20 x 27cm and smaller, mostly loosely interleaved with album 

leaves, all contemporary half morocco, some wear, folio, plus a 

second edition of Constantine Rhomaides, ‘Olympia. The Hermes 

of Praxiteles’, Athens, 1894, with seven large phototype plates of 

antiquities (three large related albumen prints loosely inserted), 

original linen-backed wrappers, rubbed and soiled, chipped at edges 

with loss and several old sellotape repairs, slim large folio 

(4) £150-200 

661* Italy. A group of 80 mounted medium and large-format 

albumen prints, circa 1870s, mostly views in Rome plus some 

sculptures, etc., photographer credits include Somer (3), Naya (19), 

Brogi (15) and approximately 20 attributed to James Anderson, many 

with indistinct blindstamp of Jos. Spithover to mounts, plus 

approximately 20 further mounted albumen prints, mostly artworks 

(including some by Naya) and 8 views in France including 2 by 

Baldus, image sizes mostly approximately 23.5 x 18cm and similar, 

prints generally somewhat faded and mounts somewhat spotted, 

dust-soiled and chipped 

(approx. 100) £200-300 

663* Japan. An album of hand-coloured albumen print views, circa 

1880, including scenes in Tokyo, Nikko, etc., some captioned in the 

negative, incomplete album with lower lacquered board present, 

together with four hand-coloured albumen prints of Japanese 

tradesmen and women, all photos approximately 20 x 26.5cm, plus 

one further uncoloured smaller albumen print of a Japanese 

basketmaker, 9 x 13cm 

(35) £100-150 

Lot 662 

155

Lot 664 

664 Japan. A group of 4 photograph albums compiled by H.A. Scott 

[Canadian trade commissioner], circa 1911-18, mostly relating to life 

in Yokohama including scenes of the typhoon damage from 1911, 

street scenes, processions, village life, masonic meetings, cricket 

and hockey, one album also including scenes in Europe at the end 

of the war with visits to war graves in northern France, etc., a total 

of over 800 black and white photographs, mostly postcard-size and 

smaller format snapshots but also including some posed group 

photographs by J. Fukazawa, some larger posed group portraits by 

J. Fukazawa, partly chronological but slightly erratic and sporadically 

captioned to mounts, contained in four uniform contemporary cloth 

albums, two spine ties broken and contents partly loose, some edge 

wear, oblong folio 

(4) £200-300 

665 Japan. An album containing 50 colour-tinted albumen prints, 

late 19th century, views and scenes, including Nikko, Hakone, Nara, 

Nagasaki and Kyoto, plus tea gathering and other agricultural 

activities, flowers, women and children, etc., some with English title 

captions and numbers in the negative, 21 x 25.5 cm, mounted back 

to back on 25 stiff card leaves, a little spotting, contemporary 

pictorial lacquered boards with inset relief design of birds and leaves 

using mother of pearl and bone to upper cover, a little loss, bumped 

at extremities, neatly rebacked, oblong folio 

(1) £250-350 

666* Java. A four-part panorama of a quarry in Java, circa 1900, 

linen-backed gelatin silver prints, 20 x 180cm 

(1) £100-150 

667 Lake District. An album containing 40 finely executed small 

watercolour drawings over photographs of English Lake District (and 

a few Scottish Lake) scenery, early 20th century, image size 

approximately 8 x 10.5cm, mounted on thick paper within grey wash 

single-rule border, unsigned, all captioned in pencil, original card 

wrappers with cord spine tie, wrappers frayed, 4to 

(1) £300-500 

Lot 666 

156

Lot 668 

668* Lockwood (Lee). Fidel Castro in Cuba, mid 1960s, 4 vintage 

U.S. fibre-based gelatin silver prints, three showing Castro with 

workers and one with stethoscope examining a woman, 30.5 x 

21.5cm or the reverse, wide margin, the last with small dye stain to 

lower left corner, Lee Lockwood New York wetstamps to versos 

Rare and fine examples on good paper. 

(4) £700-1000 

669* Macpherson (Robert, 1811-1872). Falls of Terni, Rome, circa 

1856, oval albumen print, 275 x 375mm, numbered 139 in pencil 

within embossed stamp on the original mount, a little soiled and 

frayed at extremities 

A superb condition print. 

(1) £700-1000 

Lot 669 

157

Lot 670 

Lot 671 

158

670* Macpherson (Robert, 1811-1872). The Coliseum on a smaller 

scale, with distant Latin and Alban mountains, and Church of St. 

John Lateran, circa 1856, oval albumen print, 220 x 385mm, 

numbered 32 in pencil within photographer’s embossed stamp to 

lower original mount 

(1) £500-800 

671* Macpherson (Robert, 1811-1872). View of the Valley and 

Town of Narni, circa 1856, oval albumen print, 245 x 325mm, 

together with Forum Romanum - General view from the Clivus 

Capitolinus, circa 1856, 300 x 400mm, plus The Castle and Bridge 

of St. Angelo, with the Vatican in the distance, circa 1856, 200 x 

383mm, all with pencil numbers (140, 16 and 34) within 

photographer’s embossed stamp to lower original mount, plus 4 

others by Macpherson from the same period, all on original mounts, 

numbers 33, 58, 101 and 123 (last two oval format), all with some 

degree of fading, some soiling and fraying to mounts not affecting 

images 

(7) £300-500 

673* Macpherson (Robert, circle of). Temple of the Sybille, Tivoli, 

circa 1857, albumen print, with hotel visible to the left and laundry 

hanging out to dry, 40 x 32cm, numbered 19 in negative, inscribed 

and captioned by James Spedding and dated 1857 to mount verso 

(1) £300-400 

672* Macpherson (Robert, 1811-1872). The Three Columns in the 

Forum, circa 1856, albumen print, 402 x 292mm, together with 

Fountain of the Piazza Barberini, taken in winter, 263 x 365mm, plus 

Temple styled ‘Della Tosse’, Tivoli, 310 x 405mm, all numbered in 

pencil (92, 40 and 120) within photographer’s embossed stamp to 

lower original mount, plus 7 further large albumen prints of Rome 

interest by Macpherson, all on original mounts with pencil numbers 

(58, 64, 66, 72, 85, 150 and 154) within photographer’s embossed 

stamp to lower original mount, all with some fading, some soiling 

and fraying to mounts not affecting images, plus four unmounted 

albumen print views of Venice (?all by Ponti) 

(14) £300-500 

674* Magic Lantern Slides. A collection of 1,300 assorted magic 

lantern slides collected by Reverend Francis Edward Powell of St 

James Church, Southam, Warwickshire, circa 1880-1920, including 

much biblical interest including prayers and biblical quotations, but 

also including photographic views in Jerusalem and the Holy Land, 

photographic scenes around Naples and Capri, Greece, Pompeii, 

British castles and cathedrals, genre studies by Powell and assorted 

views including North America, Pan-Anglican Campaign, Romeo and 

Juliet, Little Black Mimbo, etc., all contained in 25 numbered wooden 

slide boxes and with fully detailed modern catalogue in ring binder 

giving provenance and notes, together with Powell’s original magic 

lantern with modern modification and accessories, in working order 


675* Magic Lantern Slides. A large collection of mostly late 19thcentury 

magic lantern slides, including approximately 60 

hand-coloured magic lantern slides showing action in the Anglo- 

Egyptian War and its various battles, portraits of Generals, views of 

Egypt and the Nile, plus approximately 120 photographic slides of 

Asia and Far East including many hand-tinted, plus a small group of 

photographic slides relating to Osborn machinery and manufacture, 

plus a group of approximately 70 photographic lantern slides of 

France, mainly scenes in Brittany, plus a complete set of a handcoloured 

photographic story about temperance produced for the 

United Kingdom Band of Hope Union titled ‘Ruth Burnett’s Prize’, 

some seals worn, contained in 7 wooden or card lantern slide boxes 

(a carton) £150-200 

159

676* Magic Lantern Slides. An assorted group of photographic 

views and colour story slides, late 19th and early 20th century, some 

in boxes but largely loose, some seal wear, mostly 8 x 8cm but also 

including 8 x 11cm, etc. 

(a small wooden box) £70-100 

679* Mendelssohn (Hayman Selig, 1847-1908). Portrait of an 

unidentified young woman, circa 1900, hand-painted photograph, 

half-length in front of a heavy drape, signed ‘H.S. Mendelssohn’ 

lower left, 29 x 24cm, framed and glazed in a velvet-covered desk 

photo frame (marked ‘H.S. Mendelssohn, Pembridge Crescent, W.’), 

with two hinged covers and gilt clasp, velvet partly rubbed and wood 

showing through a few splits at front 

(1) £150-200 

677* Mance (Henry Christopher, 1840-1926). Portrait of the 

English electrical engineer Henry Mance sat at a small table with a 

prototype of his invention the heliograph, circa 1869, albumen print 

carte de visite, printed credit stamp of Sind, Kurrachee to verso and 

near-contemporary pencil note dating the photograph to November 

or December 1869, 9 x 6cm 

In the photograph the young and bearded Mance sits in his army uniform with 

his hand resting on a morse code key attached to a swivelling device on which 

is mounted a rectangular plate with a hole in its centre, the apparatus is 

mounted on a rotating stand. Apparently a prototype of the heliograph, Mance 

started working on his invention in 1869 while stationed in Karachi. Mance 

made a patent application at the US patent office in February 1876. Rare. 

(1) £100-150 

678* Maull & Polyblank. A group of 4 portraits, late 1850s, arched 

top albumen prints on original mounts within gilt borders with 

photographers’ imprint details at foot of each, subjects include 

Robert Stephenson (1803-1859), Thomas Graham (1805-1869) and 

Samuel Warren (1807-1877), images 19.5 x 14.5cm, plus a head-andshoulders 

portrait of Viscount Palmerston, photographed for Herbert 

Fry’s National Gallery of Photographic Portraits, late 1850s, oval 

albumen print, 20 x 16.5cm, original mount with imprint and 

facsimile autograph of the sitter to lower mount, all framed and 

glazed, plus other mostly French Woodburytype portraits, mostly 


(20) £100-150 

680* Middle East. A group of 9 albumen prints by Antonio Beato 

and Jean-Pascale Sebah, circa 1870, the two by Beato of temples 

at Karnak, both signed in the negative, 22 x 25cm and slightly 

smaller, card mounts, the others by Sebah mostly of ruins but 

including one view of Cairo, signed and mostly captioned in the 

negative, three loose, three on contemporary mounts and one on 

modern archival mount, 20.5 x 27cm and 2 larger, plus a large 

albumen print of a Middle Eastern mosque [by F. Meissner, 1860s], 

26.5 x 42.5cm, original mount, some marks to image and mount, 

plus other British and European albumen print photography interest 

including an album with 40 views 

(17) £200-300 

681* Miscellaneous photography, late 19th and early 20th 

century, a group of 10 albums containing mostly British and 

European views, family pictures, genre subjects, etc., various 

bindings and sizes 

(10) £100-200 

682* Miscellaneous photography, 19th & 20th century, including 

albums, loose prints and press photos, various subjects and sizes 

(2 cartons) £100-200 

683* Miscellaneous photography, late 19th and 20th century, an 

assorted collection of broken albums and loose and mounted 

photographs, including British and European views, Japan and India 

interest, plus erotica, etc. 

(a carton) £150-200 

160

684* Miscellaneous photography, mostly late 19th century, a 

group of 12 assorted photograph albums including views, 

snapshots, etc., mostly British and European interest, various 

bindings and sizes, mostly worn, together with a group of early 20thcentury 

glass plate negatives, mostly relating to a British family and 

mostly contained in 20 medium and small-format Ilford card boxes 

and two wooden slide boxes 

(2 cartons) £200-300 

685 Miscellaneous photography, late 19th and early 20th century, 

a group of 20 assorted albums containing views, snapshots, etc., 

mostly British and European interest, various bindings and sizes, 

mostly worn 

(20) £100-200 

686* Miscellaneous photography, 19th century, a large quantity 

of assorted albumen print views, etc., including Europe, Middle 

East, various sizes, a mixture of old album leaves and unmounted 

photos, plus a small group of 20th-century photographs 

(a large folder) £100-200 

688* Mountaineering. A group of 44 vintage photographs of 

Himalayan, Alpine views, etc., by Sir George Bishop, circa 1960s- 

1970s, including 26 colour photographs and 18 gelatin silver prints, 

mostly 30 x 38cm and similar, 12 on contemporary mounts and 23 

mounted, framed and glazed, together with 40 assorted smaller 

photographs by and relating to Bishop including some further 

mountaineering interest, plus a small case and bag containing 

Bishop’s maps, guides and trekking holiday correspondence 

Sir George Sidney Bishop (1913-1999), civil servant and businessman. An avid 

climber from the age of 8, he began climbing in the Alps with his wife Una in 

the 1960s. Moving further afield he went on eighteen Himalayan expeditions, 

mainly to Nepal. He became President of the Royal Geographical Society 

from 1983 to 1987. A good and keen photographer who took some 12,000 

photographs in the Himalayas, most of the larger photographs here being 

exhibition prints, a few with annotation to verso or mounts. 


687* Modern photography. A large archive of modern 

photography interest, mostly circa 1980s and later, including colour 

and black and white professional photographs, slides, contact 

sheets, negatives, advertising sheets, the majority of photographs 

by unidentified photographers, various sizes, some framed and 

glazed for exhibition display 

(10 cartons & framed items) £300-500 

689 Mountaineering. An album of photographs recording climbing 

expeditions in the Alps, 1922-26, seemingly compiled by J.C. and/or 

H.J. Gait, mostly mountain and valley views, occasionally with 

figures, a total of approximately 180 gelatin silver prints, all but 

approximately 20 mounted as multiples to album leaf rectos and 

versos, neat ink captions in English to mounts, the majority 8 x 10cm 

and four or five to a page, four loose leaves with brief summaries of 

earlier expeditions loosely inserted, contemporary boards with cloth 

spine tie, a little rubbed, oblong folio 

Other names identified in the notes include R.S. Morrish and Boardman. J.C. 

Gait is identified in the album once and otherwise by initials. 

(1) £150-200 

690* Mountbatten (Edwina, Lady). Full-length portrait by 

Kinsey(?), vintage gelatin silver print, signed by photographer in 

image lower right, 27.5 x 18.5cm, signed in the lower margin ‘With 

best wishes Edwina Mountbatten of Burma’, framed and glazed with 

provenance and cutting to the desk stand at rear, indicating that this 

was presented to Captain J. Telfer Dunbar from Lady Loms, 1947, 

and relates to the swearing in of Rear Admiral Lord Mountbatten of 

Burma as Governor General and Viceroy of India, together with a 

contemporary gelatin silver print of Rajah in his car outside the 

Grand Hotel, two Colombo street scenes by Scowen and three 

small panoramic photos 

(7) £100-150 

Lot 688 

161

Lot 691 

691* Muybridge (Eadweard, 1830-1904). Cap of Liberty, Valley 

of the Yosemite No. 31, 1872, mammoth-plate albumen print, 

1872, 423 x 535mm (16.75 x 21ins), contemporary card mount 

(1) £2000-3000 

162

692* NASA - Lunar Photographs. A group of 4 vintage 

chromogenic prints on fibre-based paper relating to Apollo 10, 

May 1969, including Apollo 10 viewed from over moon, view of 

moon and view of moon receding, all with Kodak Paper 

watermark on verso, three with printed red NASA numbers to 

upper margin, AS10-27-3873, AS10-27-3907, AS10-27-3956, the 

fourth with AS-10-34-5112 inscribed to verso, plus four vintage 

gelatin silver prints from the same Mission showing details of 

the moon, AS10-31-4537, AS10-31-4650, AS10-32-4819 and 

AS10-32-4845, mostly a little creased or bruised at corners, 20 x 

25cm including margins, photocopy press release to accompany 

all but one photograph (AS10-34-5112) 

(8) £300-500 

163

Lot 693 

164

693 New Zealand & Australia. An album of approximately 120 

mounted albumen print photographs, mostly circa 1870s, including 

two oval profiles of the last Tasmanian man and woman, each with 

embossed stamp of A. Winter, Hobart Town to blank area lower left, 

the remainder mostly views including Port Chalmers, Dunedin, 

Hawdon’s Station, Christchurch, Crossing the Bealey River, 

Headwaters of the Waimakariri River, Summit of Arthur’s Pass, 

Zigzag, Mount Cook, View in the Black Pine Forest, Cage for carrying 

passengers over the Teremakau River, Hot Spring, Rotomahana, 

Group in front of a house at Kansaiki, Wanganui, Milford Sound, 

Adelaide, Melbourne, Sydney, Blue Mountains, Murray River, etc., 

photographers identified include Mundy, H. King, Beattie, C. Bayliss, 

Burton and Sweet, approximately 28 x 21cm and smaller, mostly 

mounted between one and four to a page and back to back 

throughout, scattered ink captions to mounts, some spotting and 

soiling throughout, contents broken and loose in contemporary half 

morocco, covers detached and spine deficient, folio 

(1) £700-1000 

694* North England. A group of 34 gelatin silver prints of Whitby 

by R.A.R. Bennet, circa 1880s, mounted on 5 detached album 

pages, each approximately 11 x 15.5cm, together with 5 further 

album leaves containing 15 whole-plate photographs of Lake District 

by G.P. Abraham, circa 1920s, plus 19 loose whole plates by 

Abraham with blindstamp or credit stamp to verso, plus a 

photograph of Windermere Ferryboat by A. Pettitt and 6 half-plate 

photos of Barnard Castle by E. Yeomans 

(30) £100-150 

695 North Yorkshire - Guisborough Hall. Commemorative 

photograph album of Guisborough Hall, early 1900s, 24 carbon prints 

by Walton Adams, Reading, many with studio blindstamp to lower 

corner, showing exterior and interior views of the Hall, 22 x 27.5cm 

and similar sizes, mounted singly and without captions to album leaf 

rectos with linen backing to each, blanks at rear, original oak carved 

album with decorative motif and lettering to upper cover, cloth base, 

slightly rubbed and soiled, heavy oblong folio, 31 x 43cm 

Gisborough Hall is a nineteenth-century mansion house, now a hotel, built in 

Jacobean style. The house at this time would have belonged to Richard 

Godolphin Walmesley Long, created Baron Gisborough in 1917. Walton Adams 

(father of Marcus Adams) had a studio in Reading from 1886 until 1922. 

Provenance: The Adams family by direct descent. 

(1) £200-300 

696* Nudes. A group of 20 vintage gelatin silver prints by Stephen 

Glass, 1950s, mostly single-subject studies, credit stamps to versos, 

mostly 20 x 25cm and some smaller 

(20) £70-100 

697 Ogawa (Kazumasa). The Russo-Japanese War: Taken by the 

Photographic Department of the Imperial Headquarters, [Part 3], 

numbers 13-18 bound as 1, Tokyo, 1904, 182 collotype plates 

including one double page, correct as lists to each part, 

contemporary morocco gilt with title to lower cover and monogram 

‘AJC’ to lower corner, rubbed and marked, oblong folio 

(1) £100-150 

Lot 695 

165

698*AR Parkinson (Norman, 1913-1990). Air hostess waving in 

front of the nose of a British Airways aircraft with a second aircraft 

visible behind, circa 1950, vintage gelatin silver print, the reverse 

with photographer’s ‘Norman Parkinson, 1 Dover Street, Piccadilly, 

Regent 4388’ wetstamp and copyright stamp, further credit labels 

of John Stroud Collection and Aviation Picture Library (Austin J. 

Brown), 20.8 x 15.5cm 

(1) £400-600 

700*AR Parkinson (Norman, 1913-1990). Two studies of a British 

Airways aircraft, circa 1950, vintage gelatin silver prints, one oblique 

and above from the front, the second oblique looking up from the 

ground from rear, both with Norman Parkinson wetstamp and 

copyright stamp to versos, 21 x 16cm 

(2) £500-800 

699*AR Parkinson (Norman, 1913-1990). Three air hostesses 

laughing while stood next to a British Airways aircraft with pilot 

behind them, circa 1950, vintage gelatin silver print with Norman 

Parkinson wetstamp, copyright stamp and later credit labels of John 

Stroud Collection and Aviation Picture Library to verso, also printed 

caption label numbered 1419A, 15.2 x 20.6cm 

(1) £400-600 

701*AR Parkinson (Norman, 1913-1990). Study of a British Airways 

aircraft, circa 1950, vintage gelatin silver print, taken on the ground 

directly from the back with white cloud sky backdrop, corners a little 

bumped, together with a second study, taken looking downwards 

obliquely from above and showing the whole aircraft with a flag 

fluttering in the foreground corner, both with Norman Parkinson 

wetstamp and copyright stamp to versos, the second with ‘Return 

to John Stroud’ inscribed to verso, 20 x 28cm and 15.5 x 20.8cm 

(2) £400-600 

166

702*AR Parkinson (Norman, 1913-1990). British Aerospace aircraft 

studies, circa 1950, vintage gelatin silver prints, including one 

showing pilot and mechanic inspecting an aircraft, plus three partial 

views of an aircraft taken from the ground, each 18 x 24cm or very 

similar 

(4) £500-800 

704*AR Parkinson (Norman, 1913-1990). A group of 3 British 

Airways aircraft studies, circa 1950, vintage gelatin silver prints, each 

taken from the ground and showing a part of the aircraft and each 

with one or more pilots or passengers in view, two with John Stroud 

identification to verso, 19 x 24cm and slightly smaller 

(3) £400-600 

705*AR Parkinson (Norman, 1913-1990). Three studies of British 

Airways aircraft, circa 1950, vintage gelatin silver prints, each taken 

from the ground and looking obliquely upwards at the nose, each 19 

x 24cm 

(3) £400-600 

703*AR Parkinson (Norman, 1913-1990). A group of 5 British 

Airways studies, circa 1950, one showing an engineer working on 

the tailfin, the other four all showing inspections and works 

undertaken in the hangar, three with ‘Return to John Stroud’ 

inscribed to verso, 18.5 x 22.5cm or the reverse 

(5) £500-800 

167

706*AR Parkinson (Norman, 1913-1990). Five studies of British 

Airways aircraft, circa 1950, vintage gelatin silver prints, each closeups 

of the front of the aircraft taken upwards from the ground, 19 x 

24cm 

(5) £600-800 

708*AR Parkinson (Norman, 1913-1990). Two studies of British 

Airways aircraft, circa 1950, vintage gelatin silver prints, one looking 

upwards from under the right wing, light vertical crease, the second 

looking obliquely along the aircraft from the tail, 23.5 x 18cm and 

similar, plus 4 further gelatin silver prints of British Airways aircraft 

attributed to Norman Parkinson, later printings, 16 x 20cm and similar 

(6) £300-5003 

707*AR Parkinson (Norman, 1913-1990). Six studies of British 

Airways aircraft, circa 1950, vintage gelatin silver prints, all showing 

the whole aircraft from the ground or above, one with minor scratch 

marks to sky area, 19 x 24cm and very similar 

(6) £600-800 

168

709 Perckhammer (Heinz von). Edle Nacktheit in China, 1st 

edition, Berlin, 1928, 31 photogravure plates on 16 leaves, original 

stiff wrappers printed in red with linen spine tie, some dust soiling 

and marginal browning, several chips and nicks, 4to 

(1) £200-300 

711* Portraits. A large collection of gelatin silver print portraits by 

Vivienne studio, early to mid 20th century, many 16 x 12cm including 

multiples of the same mostly unidentified sitters, some stamped 

‘Proof’, 16 x 12cm, plus a number of larger prints by Vivienne 

including some identifiable personalities, Helen Shapiro, Mai, 

Vanessa Redgrave, Pat Smyth, John Profumo, Leslie Mitchell, Keith 

Joseph, Celia Johnson, Julie Hopkin, Duke of Edinburgh (playing 

cricket), copyright stamp, Antony Beauchamp, Zena Dare, Carole 

Carr, Jane Asher, the majority with Vivienne credit stamps to versos, 

over 1,000 prints in total, plus a quantity of over 100 mid 20thcentury 

professional photographs of architectural interest, 26 x 

20cm, plus a group of 8 larger format colour and black and white 

female modelling photographs, circa 1970s 

(a carton) £100-200 

712* Press photos. A very large collection of assorted black and 

white photos from TV Times, Press Association, etc., circa 

1950s/60s, largely organised in card folders, subjects including 

crime, murder, chess, gambling, entertainment, seaside, camping, 

pantomimes, operas, literature, numerous portraits, some 

photographed not from life, many with editorial markings, mostly 20 

x 25cm and similar sizes 

(4 cartons) £200-300 

710* Philippines & Java. A good group of vintage gelatin silver 

prints, circa 1890-1900, including seven ethnographic portraits in the 

Philippines, (16.5 x 11.5cm and similar, captioned in the negative, 

four tipped on to two album leaves), plus a rubber tree in Java, a 

cow and native in Madagascar and two scenes of a Chinese funeral 

in Java (21 x 28cm) 

(11) £150-200 

169

Lot 715 

170

713* Price (William Lake, circa 1810-1896). A Brace of Birds, 1857, 

photogalvanograph engraved after a photograph of two partridges 

by Lake Price, arched top, 29.5 x 24.5cm, engraved details to lower 

margin, some spotting to borders, contemporary card mount 

(1) £200-300 

714* Prout (Victor Albert, 1835-1877). Eton from Lower Loch, 

published by Ingalton & Drake, Eton, circa 1860, arched top albumen 

print, 21 x 26cm, original mount with publisher’s credit at foot 

(1) £70-100 

715* Rejlander (Oscar Gustave, 1813-1875). Two portraits of 

Alfred, Lord Tennyson (1809-1892), early 1860s, albumen prints, half 

length from the same sitting, one full face and one three-quarter 

profile, each 15 x 10.5cm, original mounts, a little spotting and soiling 

(2) £700-1000 

Lot 716 

716 Rome. An album of small-format lightly albumenised salt prints, 

circa early 1850s, 41 salt print views, each approximately 7 x 7.75cm 

or very slightly larger, mounted to album leaf rectos with neat ink 

captions in French lower right, some slight spotting and soiling and 

marginal insect damage to last few leaves not affecting photographs 

or captions, contemporary morocco-backed cloth, rubbed and soiled 

with a little loss at head of spine, 13.5 x 17.5cm 

Possibly attributable to Alfred Nicolas Normand (1822-1909) who certainly 

was photographing similar views in Rome, circa 1850-51. Besides typical 

views of buildings, monuments and ruins, several prominently feature trees 

and vegetation, including the Fountain of the Villa Medici, Villa Borghesi, 

Massif du Pincio, Villa Mondragone and Villa Pamphili. 

(1) £300-500 

717* Salt prints. A group of 3 large-format salt prints by an 

unidentified photographer, circa 1850, including a view through a 

winter woodland, a rustic bridge and a rocky riverbed in a valley, each 

approximately 22 x 30cm or the reverse, contemporary mounts 

(somewhat spotted) 

(3) £300-500 

Lot 717 

171

718* Shadbolt (Cecil Victor, 1859-1892) - Aerial Photography & Ballooning. A 

remarkable and historic collection of 76 magic lantern slides as owned and used by 

pioneering hot air balloonist-photographer Cecil Victor Shadbolt for his lecture 

‘Balloons and Ballooning’, circa 1882-1892, including 27 vertical and oblique aerial 

photographic views of London and one of the Eiffel Tower, plus two colour 

photographic slides of Reliance and a second balloon with crowds, one of Shadbolt 

and ‘Captain’ William Dale in the balloon car for Reliance (with Shadbolt’s camera 

visible and attached to the basket), two further photographic slides of the balloon 

being inflated with Shadbolt just visible among crowd scenes of each, five further 

photographic slides of the second balloon [‘Victoria’] airborne taken with balloon to 

balloon photography, in one of which a man stands on the edge of the balloon car, 

one slide giving the brief handwritten details of Shadbolt’s first successful balloonphotography 

ascent on 29 May 1882, the remaining 37 magic lanterns slides from 

engravings or drawings, all but four coloured and including the first slide to the 

lecture with decorative title ‘Balloons and Ballooning, “Upward and Onwards”, by 

C.V. Shadbolt’, some slides with manuscript order numbers, occasional captions 

and Shadbolt’s name, presumed in his hand, scattered minor mildew, but generally 

very good condition with seals intact, one non-photographic slide with hairline crack, 

contained in one large and one small wooden lantern slide box 

An extraordinary collection, including the earliest known surviving aerial photograph of Great 

Britain, being that of Stamford Hill, taken on 29 May 1882 (reproduced from an original or copy 

Cecil V. Shadbolt & ‘Captain’ William Dale 

held by George Eastman House in Beaumont Newhall’s The Airborne Camera: The World from 

the Air and Outer Space (1969), p. 37. 

The lantern slide reproducing handwriting gives Shadbolt’s account of this historic occasion: ‘1st Ascent: 29th May 1882 (Whit Monday), Balloon ‘Reliance’ from 

Alexandra Palace. Started at 4pm. Descended at 5.30. Duration of voyage 1hr 30 mins. Distance travelled 14 miles. Miles per hour 9 1/3. Highest altitude 5,000 

ft. Place of descent Ilford. 5min walk from station. Remarks: Weather fine and bright, but clouds were high so did not get above them. At 5000 ft noticed that 

although we were in shadow the sun was shining on the earth below. Obtained very successful photograph of Stamford Hill district at altitude of 2000 ft and 

several others not so good. Came down in a field of green corn and experienced very rough treatment at the hands of the crowds who tore the balloon and 

Barker’s coat in addition.’ 

The details and dates of some other sixty ascents by Shadbolt are not documented but it is thought that the majority or all of these aerial photographs were taken 

in the 1880s, and certainly no later than 1892 when Shadbolt died in a tragic ballooning accident at the Crystal Palace along with the balloon’s pilot Captain Dale. 

Other views identified on the slides (probably in Shadbolt’s hand) include Catford Bridge from 1900 feet (two similar views) and 1960 feet, Sutton from 800 feet, 

Beckenham Junction from 1500 feet, January on Wardle River from 1000 feet, Thornton Heath from 1500 feet, 6,000 feet Belvedere, 4,800 feet Dartford. Also 

identifiable is Blackheath: see illustration of similar Shadbolt photograph in Gaston Tissandier, La photographie en ballon (Paris, 1886), p. 21. Interestingly, this is 

accompanied by a short two-page chapter about Shadbolt’s balloon photography experiences in England in 1883 (sic). This mistaken date of 1883 is repeated in 

the article on Aerial Photography in John Hannavy (ed.), Encyclopaedia of Nineteenth-Century Photography (2007), pp. 12-13. The other clearly identifiable 

photograph is that of Crystal Palace, Sydenham, which is captioned as photographed at 2,000 feet. This photograph is a little blurry compared to the others and 

may well be because it was taken from a tethered balloon rather than from a free floating balloon and thus liable to more shake and vibration. In spite of the 

regular tethered balloon flights at Crystal Palace this is believed to be the earliest known surviving aerial photograph of the building of Crystal Palace itself. 

The one aerial photograph present in this collection not of London is that of the Eiffel Tower (opened 31 March 1889). ‘A very successful photograph of Paris, 

showing the Eiffel Tower and Exhibition Buildings, has been taken from a balloon by Mr Cecil V Shadbolt, of Chislehurst, and is published by Messrs Heywood 

and Co, 62, Ludgate Hill, EC’ (The Graphic, 30 November 1889). The Cambridge Daily News adds that the photo was taken ‘from the car of the captive balloon 

in the Exhibition grounds, at a height of about 1,000 feet. The landscape is remarkably clear, and the tower itself stands out boldly, dwarfing its surroundings into 

insignificance’ (23 November 1889). 

The photographs are remarkably clear and when magnified show very clear detail of houses, railway cuttings and other landmarks, notably the River Thames 

appearing in several of the slides. Four views are seen through some cloud cover. Of the other photographic slides one is notable for showing Shadbolt (and 

Captain Dale) with his camera, sitting on the edge of the balloon car and looking straight at the camera. This photograph is credited to H. Chubb of Chislehurst, 

close to where Shadbolt lived. This photograph is reproduced in The Photographic News, 17 October 1884, p. 659. The same article also includes the ‘Blackheath’ 

vertical as later published by Tissandier. The majority of photographs present here have not been traced elsewhere. 

Of the non-photographic slides (all but five of which are coloured illustrations) some show man’s various unusual attempts to fly and other incidents from 

ballooning history, real or imagined. Of the uncoloured slides two show scenes of mobbing, a not uncommon phenomenon with people angry at man’s unnatural 

and godly attempts at flight. As described in Shadbolt’s description of his first ascent in the slide included here it was something that Shadbolt suffered at least 

once. The other black and white slide that should be noted is the reproduction of a famous engraving from a drawing by W.L. Wyllie, reproduced in The Graphic, 

May 1884, showing a bird’s-eye view of London as seen from a balloon. 

Timeline: 

1784 Vincent Lunardi makes first successful balloon flight over British soil. 

1787 Robert Barker patents the Panorama, depicting views seen from a lofty viewpoint. 

1858 Nadar captures the first aerial photograph over Paris from a tethered balloon. The ‘tolerable’ result has not survived. 

1860 Oldest known successful surviving balloon photograph: a view of Boston, USA, by Professor Samuel A. King and J.W. Black. 

1863 Henry Negretti takes first successful aerial photographs over England in a free flight above the River Medway. Once again, the results have been lost. 

1879 Jean Nicolas Truchelut credited with taking first dry-plate aerial photographs of Paris in a balloon. 

1882 Earliest known surviving aerial photograph of Great Britain: Cecil V. Shadbolt, vertical view of Stamford Hill, London, 29 May. 

1883 Earliest known air photograph from a balloon taken in Canada, by Captain Henry Esdale. 

1909 Wilbur Wright takes first aerial photographs from an aeroplane, near Rome. 

1946 US launched V2 gives first photographic view of Earth from space. 

Digital slideshow available link available at the auctioneer’s website. 

(76) £7000-10000 

172

173

719 Smith (Theophilus). Sheffield and its Neighbourhood, 

Photographically Illustrated by Theophilus Smith, 1865, 16 mounted 

albumen print photos including additional vignette title, images mostly 

10 x 8.5cm, some spotting, old water staining throughout, heaviest 

at front but affecting all leaves, slightly shaken, all edges gilt, original 

gilt-decorated cloth, rubbed and partly water stained, small 4to 

Gernsheim, Incunabula, 279. 

(1) £100-150 

720* South Africa. An album of 62 albumen prints, late 19th 

century, including views and gardens, settlers and ethnic types, 

many with captions and initials of the photographer George 

Washington Wilson in the negative, including a four-part panorama 

of Cape Town and Table Mountain, linen-backed and partly laid down 

(23 x 115cm), other photographers include F. Pollard and Deale 

Brothers, many approximately 18.5 x 23cm and mounted one or 

more to a page and back to back on stiff card leaves throughout, 

contemporary half morocco gilt, rubbed, oblong folio, together with 

a group of 33 photographs of South Africa, circa 1900, mostly 

showing gardens, rural views and towns in Bulawayo and 

surroundings, some captioned and credited in the negative, 

photographers including W. Rausch, F. Pollard and J. & M. Lazarus, 

plus 4 other photographs depicting stuffed animals and identified to 

versos as exhibits at the Grahams Town exhibition of 1898, one 

photograph frayed without loss 

(99) £200-300 

Lot 719 

721 South Africa. Pretoria - Pietersburg Railway Company Limited, 

1899, a presentation photograph album given to G. Mayo by the 

Administration of the Company on the occasion of the opening to 

Pietersburg, 31 May 1899, 46 window-mounted gelatin silver prints, 

many with brief captions in the negatives, showing trains, groups 

of workers, bridges, stations and views, etc., window-mounted back 

to back on 23 stiff card leaves within printed gilt borders and with 

neat ink captions to mounts, lacks 47th and final photograph 

(Opening trains leaving Pretoria May 31st 1899), images 15 x 20cm, 

some spotting to mounts throughout, neat manuscript dedication 

leaf at front, somewhat shaken, original padded morocco with gilt 

title to upper cover, bruised and worn with several tears, oblong folio 

The Pretoria-Pietersburg Railway Company was founded on 13 May 1896 in 

London, and on 31 May 1899 the official opening of the railroad was celebrated. 

The daily service became very popular but due to the outbreak of the South 

African war the service came to an end. The city is now known as Polokwane. 

(1) £400-600 

Lot 720 

174

722 Tamamura (Kozabura). A Japanese photograph album 

containing 36 hand-coloured albumen print photographs, late 

19th century, including temples, views, a street scene (Osaka 

Street), geishas and tea ceremonies, a street brushes seller, 

textiles seller, tea pickers and a group of two young children with 

babies in papooses, many with captions in the negative, each 24 

x 19cm, mounted back to back on stiff card leaves with tissueguards 

present, album complete, all edges gilt, contemporary 

Japanese lacquered boards with birds and blossom designs to 

covers, leather backstrip (rubbed) detached but present, oblong 

folio and contained in original pictorial cloth book box, rubbed and 

marked and split on folds 

(1) £1000-1500 

175

723* Victorian Celebrities. A group of four carte-de-visite size 

albumen print portrait photographs, early 1860s, including Chang 

Wu Gow 'The Chinese Giant' (1841-1893), Deerfoot (Lewis Bennett, 

1828-1897) and two portraits of the first trapeze artist Jules Leotard 

(c. 1839-1870), all full-length poses, four contemporary card mounts 

with neat single word pencil caption to each, 9.5 x 6cm and slightly 

smaller, plus a contemporary album containing 40 pasted in cartede-visite 

albumen print portraits with military and theatrical interest, 

plus some larger portraits, country house views and mostly smallformat 

views in South Africa and the Alps, etc., some leaves 

detached, hinges broken, contemporary morocco, rubbed, 4to 

(5) £150-200 

Lot 723 

724* West Africa. A collection of vintage gelatin silver prints of 

Nigeria and West Africa taken by A.G. Dunnington, MD of 

Advertising Publicity Techniques Limited, 1959, many relating to the 

principal purpose of the tour photographing the uses of steel 

fabrication, but also including many of ethnographic interest, all 20 

x 25cm on glossy double weight paper, VG 

(approx. 100) £200-300 

725* Whistler (John, 1830-1897, attrib.). Study of broom, potato 

basket, pitcher and lamp in corner of sunlit brick courtyard, 1850s, 

salt print, 25.5 x 22cm, contemporary card mount, spotted, 

horizontal centre crease not affecting image 

Whistler was a prosperous builder and decorator from the village of 

Sherborne St. John, near Basingstoke in Hampshire. He took up photography 

in the 1850s, his only extant works being salt prints dating from this period, 

mainly cottage and rural scenes. He was the grandfather of the artist, Rex 

and Laurence Whistler. The Getty Museum hold an image of a girl leaning in 

the doorway of a brick farmhouse, the brick floor, broom, potato basket and 

pitcher featured in this photograph appearing identical. 

(1) £300-500 

176

726 World Tour. A good large photograph album of worldwide views, 1890s, mostly medium and large-format albumen prints, pasted 

as singles and multiples to rectos and versos of 40 stiff card leaves with neat ink captions in English throughout, including a three-part 

panorama of Gibraltar, 16 x 52.5cm, 18 street scenes and ethnographic portraits of Morocco, one of a group in Egypt dated 1888, 7 

views of Biarritz plus other views of Pyrenees and related, views of Germany (including collotypes), a three-part panorama of Funchal, 

Madeira, 14 views of Madeira and Canary Islands, 7 views of Warwick and Stratford, 3 views of New York, one of the Hudson, 4 of 

Niagara Falls, 11 views of Chicago from 1892 and 1893, photographers mentioned in the negative include J.W. Taylor and E.R. Walker, 

16 views of Canada including a two-part panorama of Montreal by Notman, 18 x 46cm, 7 views of Boston, Philadelphia (3), Washington 

(8), Royal Chester Rowing Club 1893, scenes from the opening ceremony of the Wilhelms Canal, 1895, Prince Bismarck’s 80th birthday 

and similar, views in Lisbon (7) and ending with views of Spain including Malaga (38), some spotting, contemporary half morocco, some 

wear, upper board and spine near detached, large oblong folio (40 x 58cm) 

(1) £600-800 

177

727* Zimbabwe. An album of views of Victoria Falls and locality, 

circa 1905, the first twenty-two with printed captions beneath and 

identified by a printed photographer’s list loosely inserted as the 

work of L. Pedrotti, Bulawayo, the final fifteen uncaptioned platinum 

prints also mounted one to a page and back to back throughout, all 

approximately 21 x 29cm and similar sizes, hand-coloured printed 

sketch plan of Victoria Falls mounted to front pastedown (20 x 

27cm), five stiff card leaves blank at rear, contemporary plain 

buckram, rubbed, folio 

The printed list offers twenty-seven views of Victoria Falls by Pedrotti as 

platinotype prints, this album containing all but numbers 13a, 15, 18, 19 & 20. 

(1) £150-200 

Lot 727 

MARCUS AND GILBERT ADAMS PHOTOGRAPHY ARCHIVE 

(Arthur) Walton Adams (1842-1934) was a photographer who worked in Southampton and Reading. He was the co-inventor of the dryplate 

process. His son, Marcus Adams (1875-1959), established a reputation as a leading child photographer. In 1919 he joined up with 

Bertram Park (1883-1972) and his wife Yvonne Gregory (1889-1970) to form the 'Three Photographers'. In 1926, Marcus Adams took 

first official photographs of the Duchess of York and Princess Elizabeth (future Queen Mother and Queen Elizabeth II) and continued 

up to 1956 in a sitting with Princess Anne. His son, Gilbert Adams (1906-1996), assisted in his early years but later established his own 

highly successful career as a photographer, specialising in photographing the ballet. 

All the following lots come from the estate of Gilbert Adams’ late widow, Rosalind Thuillier. See Rosalind Thuillier, Marcus Adams, 

Photographer Royal (1985). 

728* Elizabeth II (Queen of the United Kingdom, born 1926). A 

group of approximately 75 studio portrait photographs of the infant 

Princess Elizabeth by Marcus Adams, circa 1926-30, gelatin silver 

prints including many bromoil, comprising individual portraits, 

multiples from the same sitting, some duplication, portraits with her 

mother and father and sister, some signed and dated in pen or pencil 

by Adams to lower part of image, many with wet stamps to versos, 

some loose and some mounted, various sizes 

(approx. 75) £200-300 


group of approximately 100 studio portrait photographs of the young 

Princess Elizabeth by Marcus Adams, circa 1930-38, gelatin silver 






(approx. 100) £200-300 


group of approximately 70 studio portrait photographs of the 

teenage Princess Elizabeth by Marcus Adams, circa 1938-46, gelatin 

silver prints including many bromoil, comprising individual portraits, 





(approx. 70) £200-300 

731* Margaret (Princess, Countess of Snowdon, 1930-2002). A 

group of approximately 65 studio portrait photographs of the infant 

Princess Margaret by Marcus Adams, early 1930s, gelatin silver 






(approx. 65) £200-300 

178

Lot 728 

Lot 729 Lot 730 Lot 731 

179

732* Charles (Prince of Wales, born 1948). A group of 

approximately 100 studio portrait photographs of the infant Prince 

Charles by Marcus Adams, circa 1948-1956, gelatin silver prints 

including many bromoil, comprising individual portraits, multiples 

from the same sitting, some duplication, portraits with his mother 

Princess, later Queen, Elizabeth, and/or his sister Princess Anne, 

some signed and dated in pen or pencil by Adams to lower part of 

image, many with wet stamps to versos, some loose and some 

mounted, various sizes 

(approx. 100) £200-300 

733* Anne (Princess Royal, born 1950). A group of approximately 

100 studio portrait photographs of the infant and young Princess 

Anne by Marcus Adams, circa 1950s, gelatin silver prints including 

many bromoil, comprising individual portraits, multiples from the 

same sitting, some duplication, portraits with her mother and 

brother, some signed and dated in pen or pencil by Adams to lower 

part of image, many with wet stamps to versos, some loose and 

some mounted, various sizes 

(approx. 100) £200-300 

Lot 732 

Lot 733 

734*AR George VI (King, and family). A large group portrait of King 

George VI and Queen Elizabeth with their two daughters Princesses 

Elizabeth and Margaret, in the entrance to the Music Room, 

Buckingham Palace, photographed by Marcus Adams, 1939, bromoil 

gelatin silver print, a few old small water splash marks discernible, 76 

x 53.5cm, framed and glazed, printed details of the occasion to verso 

(1) £200-300 

180

735*AR Princess Elizabeth and Princess Margaret. Portrait of the 

young princesses by Marcus Adams, circa 1936, bromoil gelatin 

silver print, the two princesses seated smiling to camera, signed by 

the photographer and dated 1939 to lower margin of image, short 

closed tear lower right and a few minor marks, 57.5 x 46cm, framed 

and glazed 

(1) £200-300 

736*AR George VI (King, and family). A group of 10 exhibition 

standard portraits of the Royal Family by Marcus Adams, circa 1926- 

56, vintage bromoil gelatin silver prints, including portraits of Queen 

Elizabeth II with Princess Anne, circa 1956, Duchess of York and 

Princess Elizabeth, 1926, King George VI, Queen Elizabeth with 

princesses Elizabeth, Margaret and corgi at Buckingham Palace, 

Queen Elizabeth II with young Prince Charles and infant Princess 

Anne, Queen Mary and Princes Elizabeth aged one, Princess 

Margaret, Princess Elizabeth and Prince Charles as young children, 

the Duke and Duchess of York with Princess Elizabeth as a new-born 

baby, and Princess Elizabeth at age three with a Russian nesting 

doll, images mostly approximately 36 x 28cm and similar sizes, all 

in modern mat mounts 

(10) £300-500 

Lot 735 

737* Adams (Gilbert, 1906-1996). A large group of Society and 

ballet photographs, etc., circa 1930s and later, gelatin silver prints 

including bromoil, many vintage, some signed, various sizes 

(approx. 100) £100-200 

Lot 736 

181

738* Adams (Gilbert, 1906-1996). A similar lot 

(approx. 100) £100-200 

740* Society Portraits. A similar lot 

(approx. 100) £100-200 

739* Society Portraits. A large group of Society photographs, etc., 

circa 1920s and later, vintage and later gelatin silver and bromoil 

gelatin silver prints, photographers include Walton, Marcus and 

Gilbert Adams, Bertram Park and Yvonne Gregory, some signed by 

photographer, various sizes 

(approx. 100) £100-200 


(approx. 100) £100-200 

182

Lot 743 Lot 744 Lot 745 


(approx. 100) £100-200 

746* Marcus & Gilbert Adams Family. A large collection of glass 

plate negatives, 20th century, mostly relating to the work of Marcus 

Adams and his son Gilbert, mostly unidentified society subjects and 

their children, together with a large collection of proof prints 

including multiples, various sizes, plus a selection of the Adams’s 

photographic accessories 



(approx. 100) £100-200 


(approx. 100) £100-200 


(approx. 100) £100-200 

747* Marcus & Gilbert Adams Family. A large collection of mostly 

professional letters and replies, cuttings, notes, plus some photos 

and copies, etc., 20th century, mostly relating to the work of Marcus 

and Gilbert Adams, partly organized and arranged in boxes 


183

INFORMATION FOR BUYERS 

AFTER THE AUCTION 

Online results 

If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after 

the sale has ended. 

Payment 

The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a 

percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the 

name and address provided on your registration form. 

Please note successful bids made via the-saleroom.com cannot be invoiced or paid for until the day after an auction. 

A live bidding fee of 3% + vat will be added to your invoice. 

METHODS OF PAYMENT 

Cheque 

Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further 

information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear 

before purchases can be collected or posted. 

Cash 

Payments can be made at the Cashier’s Office, either during or after the sale. 

Debit Card 

There is no additional charge for purchases made with these cards. Debit cards drawn on an overseas bank, however, 

will be subject to a 2% surcharge. 

Credit Cards 

Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance 

if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay. 

Bank Transfer 

All transfers must state the relevant invoice no. If transferring from a foreign currency, the amount we receive must be 

the total due after the currency conversion and the deduction of any bank charges. 

Collection/Postage/Delivery 

If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has 

been made. 

Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house 

packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. 

Where it is not possible for our in-house packing department to send your item you will be required to make your own 

arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help. 

We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction. 

Payment must be received before this option can be requested. A charge will be added to your invoice for this service. 

184


SPECIALIST AUCTIONEERS & VALUERS 

Libraries & Archives 

Nathan Winter & Chris Albury 

Paintings & Prints 

Nathan Winter 

Antiques & Furniture 

Henry Meadows 

Medals & Militaria 

Henry Meadows 

Aviation & Transport Collections 

Chris Albury & Henry Meadows 

Atlases, Maps & Prints 

John Trevers 

Antiquarian Books 

Colin Meays 

Modern First Editions 

Paul Rasti 

Children's Books, Toys & Games 

Susanna Winters 

Oriental & Islamic Art 

Matthew Farren 

Sports Books & Memorabilia 

Paul Rasti 

Taxidermy, Fossils & Field Sports 

John Trevers 

Vintage Photography & Cinema 

Chris Albury 

Manuscripts, Autographs & Ephemera 

Chris Albury 

For free valuations without obligation, 

please contact any of the above 

specialists for further advice. 

A photograph of a Japanese 

lady in full dress, circa 1870, 

by Pyor Floyd, from a rare 

album of Chinese 

photographs and 

watercolours of the 1860s 

and 1870s. Sold in these 

rooms 9 October 2014 for 

£48,000. 

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 

01285 860006 / firstname or info@dominicwinter.co.uk 

185 

www.dominicwinter.co.uk

Conditions of Sale and Business 

1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or 

is properly authorised to sell the property by the true owner and is able to 

transfer good and marketable title to the property free from any third party claims. 

2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer 

considers that a dispute has arisen he has absolute authority to settle 

it or re-offer the lot. The Auctioneer may at his sole discretion determine 

the advance of bidding or refuse a bid, divide any lot, combine any two 

or more lots or withdraw any lot without prior notice. 

(b) Where goods are bought at auction by a buyer who has entered into 

an agreement with another or others that the other or others (or some 

of them) shall abstain from bidding for the goods and the buyer or other 

party or one of the other parties is a dealer (as defined in the Auction 

Biddings Agreement Act 1927) the buyer warrants that the goods are 

bought bona fide on joint account. 

3. The buyer shall pay the price at which a lot is knocked down by the 

Auctioneer to the buyer (“the hammer price”) together with a premium of 

19.5% of the hammer price. Where the lot is marked by an asterisk the 

premium will be subject to VAT at 23.40% which under the Auctioneer’s 

Margin Scheme will form part of the buyer’s premium on our invoice and 

will not be separately identified (the premium added to the hammer price 

will hereafter collectively be referred to as “the total sum due”). By making 

any bid the buyer acknowledges that his attention has been drawn to the 

fact that on the sale of any lot the Auctioneer will receive from the seller 

commission at its usual rates in addition to the said premium of 19.5% and 

assents to the Auctioneer receiving the said commission. 

4. (a) The buyer shall forthwith upon the purchase give in his name and 

permanent address and pay to the Auctioneer immediately after the 

conclusion of the auction the total sum due. 

(b) The buyer may be required to pay down during the course of the sale 

the whole or any part of the total sum due, and if he fails to do so after 

such request the lot or lots may at the Auctioneer's absolute discretion 

be put up again and resold immediately. 

(c) The buyer shall at his own expense take away any lot or lots purchased 

no later than five working days after the auction day. 

(d) The Auctioneer may at his own discretion agree credit terms with a 

buyer and extend the time limits for collection in special cases but 

otherwise payment shall be deemed to have been made only after the 

Auctioneer has received cash or a sterling banker’s draft or the buyer's 

cheque has been cleared. 

5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to 

clause 4 or breaches any other condition of that clause the Auctioneer 

as agent for the seller shall be entitled after consultation with the seller 

to exercise one or other of the following rights: 

(i) Rescind the sale of that or any other lots sold to the buyer who defaults 

and re-sell the lot or lots whereupon the defaulting buyer shall pay to 

the Auctioneer any shortfall between the proceeds of that sale after 

deduction of costs of re-sale and the total sum due. Any surplus shall 

belong to the seller. 

(ii) Proceed for damages for breach of contract. 

(b) Without prejudice to the Auctioneer's rights hereunder if any lots or 

lots are not collected within five days or such longer period as the 

Auctioneer may have agreed otherwise, the Auctioneer may charge the 

buyer a storage charge of £1.00 + VAT at the current rate per lot per day. 

(c) Ownership of the lot purchased shall not pass to the buyer until he has 

paid to the Auctioneer the total sum due. 

6. (a) The seller shall be entitled to place a reserve on any lot and the 

Auctioneer shall have the right to bid on behalf of the seller for any lot 

on which a reserve has been placed. A seller may not bid on any lot on 

which a reserve has been placed. 

(b) Where any lot fails to sell, the Auctioneer shall notify the seller 

accordingly. The seller shall make arrangements either to re-offer the 

lot for sale or to collect the lot and may be asked to pay a commission 

not exceeding 50% of the selling commission and any special expenses 

incurred in cataloguing the lot. 

(c) If such arrangements are not made within seven days of the notification 

the Auctioneer is empowered to sell the lot by auction or by private 

treaty at not less than the reserve price and to receive from the seller 

the normal selling commission and special expenses. 

7. Any representation or statement by the Auctioneer in any catalogue, 

brochure or advertisement of forthcoming sales as to authorship, attribution, 

genuineness, origin, date, age, provenance, condition or estimated selling 

price is a statement of opinion only. Every person interested should 

exercise and rely on his own judgement as to such matters and neither the 

Auctioneer nor his servants or agents are responsible for the correctness 

of such opinions. No warranty whatsoever is given by the Auctioneer or 

the seller in respect of any lot and any express or implied warranties are 

hereby excluded. 

8. (a) Notwithstanding any other terms of these conditions, if within fourteen 

days of the sale the Auctioneer has received from the buyer of any lot 

notice in writing that in his view the lot is a deliberate forgery and within 

fourteen days after such notification the buyer returns the same to the 

Auctioneer in the same condition as at the time of the sale and 

satisfies the Auctioneer that considered in the light of the entry in the 

catalogue the lot is a deliberate forgery then the sale of the lot will be 

rescinded and the purchase price of the same refunded. "A deliberate 

forgery" means a lot made with intention to deceive. 

(b) A buyer's claim under this condition shall be limited to any amount paid 

to the Auctioneer for the lot and for the purpose of this condition the 

buyer shall be the person to whom the original invoice was made out 

by the Auctioneer. 

9. Lots may be removed during the sale after full settlement in accordance 

with 4(d) hereof. 

10. All goods delivered to the Auctioneer's premises will be deemed to be 

delivered for sale by auction unless otherwise stated in writing and will 

be catalogued and sold at the Auctioneer's discretion and accepted by 

the Auctioneer subject to all these conditions. In the case of miscellaneous 

books, the Auctioneer reserves the right to extract and dispose of 

books that, in the opinion of the Auctioneer at his absolute discretion, 

have no saleable value and, therefore, might detract from the saleability 

of the rest of the lot and the Auctioneer shall incur no liability to the seller, 

in respect of the books disposed of. By delivering the goods to the 

Auctioneer for inclusion in his auction sales each seller acknowledges that 

he/she accepts and agrees to all the conditions. 

11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's 

premises and in their custody will be held insured against the risks of 

fire, burglary, water damage and accidental breakage or damage. 

The value of the goods so covered will be the hammer price, or in the 

case of unsold lots the best bid, or in the case of loss or damage prior 

to the sale that which the specialised staff of the Auctioneer shall in 

their absolute discretion estimate to be the auction value of such goods. 

(b) The Auctioneer shall not be responsible for damage to or the loss, theft, 

or destruction of any goods not so insured because of the owner’s 

written instructions. 

12. The Auctioneer shall remit the proceeds of the sale to the seller thirty 

days after the day of the auction provided that the Auctioneer has received 

the total sum due from the buyer. In all other cases the Auctioneer will 

remit the proceeds of the sale to the seller within seven days of the 

receipt by the Auctioneer of the total sum due. The Auctioneer will not be 

deemed to have received the total sum due until after any cheque 

delivered by the buyer has been cleared. In the event of the Auctioneer 

exercising his right to rescind the sale his obligation to the seller 

hereunder lapses. 

13. In the case of the seller withdrawing instructions to the Auctioneer to sell 

any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's 

middle estimate of the auction price of the lot withdrawn together with 

Value Added Tax thereon and any expenses incurred in respect of the lot 

or lots. 

14. The Auctioneer’s current standard notices and information (i.e. Collation 

and Amendments) will apply to any contract with the Auctioneer as if 

incorporated herein. 

15. These conditions shall be governed by and construed in accordance with 

English Law. 

186

# 

DOMINIC WINTER 

SPECIALIST AUCTIONEERS AND VALUERS 

Saleroom and Offices: Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ 

Tel: 01285 860006 Fax: 01285 862461 

COMMISSION SLIP 

Please Bid on my behalf at the sale on 15 October 2015 up to the amount shown. 

I acknowledge that I will be required to pay a buyer's premium at the current rate. 

Lot £ Brief Description 

______________________________________________________________________________________ 

Name: 

Address 

Telephone: 

Email: 

Fax: 

Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or 

Royal Mail: a separate charge is added to the invoice (minimum £15) and parcels are despatched as soon as possible 

after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe 

will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of 

these companies will quote and invoice separately. Please note: DWBA invoices must be paid before consignments 

are handed to third party shipping companies.

The nearest train station to the saleroom is Kemble (BR) which is on the London (Paddington) to Worcester Shrub Hill 

line. Train journey times from London are on average 90 minutes whether direct or with one change, and run at about 

one per hour from early until late. Several of the trains in each direction are direct and about half the services require a 

brief change at Swindon. Customers are advised to check train times and book as early as possible for the best range of 

ticket services and discounts. 

National Rail Enquiries: 08457 484950 

Telephone advance train ticket booking: 

Online train timetables and online ticket bookings: 

08457 000125 (First Great Western) 

www.nationalrail.co.uk 

Taxis from Kemble Station (5 miles/10 minutes) 

Brian's Cabs 01285 655299 / 07980 579947 

Cirencester Radio Cars 01285 650850 

Cirencester Taxis 01285 642767 

Taxis from Swindon Station (12 miles/25minutes) 

V-Cars 01793 701701 

Cirencester Visitor Information Centre +44 (0)1285 654180 

cirencestervic@cotswold.gov.uk 

Catalogue Produced by 

Jamm Design – 020 7424 7830 

info@jammdesign.co.uk 

Photography by 

Ben Cavanna – 07968 342013 

bencavanna@gmail.com

CHILDREN’S & ILLUSTRATED BOOKS 

ORIGINAL ILLUSTRATIONS 

MODERN FIRST EDITIONS 

Thursday 17 December 

Kay Rasmus Nielsen (1886-1957). ‘The Nightingale’. Original watercolour for “Fairy Tales” 

by Hans Christian Andersen, published in 1924. Estimate £30,000-50,000 

For further information please contact 

Susanna Winters susanna@dominicwinter.co.uk 

Paul Rasti paul@dominicwinter.co.uk

Dominic Winter

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