Pictures Old Masters to Modern British - Tuesday 10th June starting at 10am

Old Masters / Modern British

Tuesday 10 June 2025

FC

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Old Masters / Modern British

Tuesday 10th June

10.00am

15 North Street, Lewes, Sussex BN7 2PE

John Holmes

Managing Director

+44 (0)1273 472503

johnh@gorringes.co.uk

Rosie Byard

Specialist

+44 (0)1273 472503

rosie@gorringes.co.uk

Buyer’s Premium:

25% + VAT payable on the hammer price of all lots

Important changes to our bidding procedure:

Please note that, owing to the recent introduction of Money Laundering Regulations,

clients wishing to bid in this auction are likely to be asked to provide two forms of

identification. This applies to both new and existing clients.

General Enquiries:

Tel: 01273 472503

clientservices@gorringes.co.uk

Registered in England & Wales as a Limited Liability Partnership. Registration No. OC318535

Gorringes is a trading name of Gorringes LLP

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SALE NOTICES

SALE SYMBOLS

§ Artist’s resale right - 4% on the hammer price

† VAT on the hammer price

* Import tax of 5% on the hammer price

** Import tax of 20% on the hammer price

BIDDING

You may bid in the room, by commission bid, by telephone or live online. To register to bid in the room please visit the

cashiers desk on the day of the sale. To leave a commission bid please use the online facility, telephone, email or fill out

a bidding form. Bids must be received no later than 9 a.m. on the saleday.

TELEPHONE BIDDING

Telephone bids must be received no later than close of business on the 9th June.

ONLINE BIDDING

There are three online bidding platforms to choose from; thesaleroom.com, easylive.co.uk and GorringesLive. All have

different additional charges on top of the hammer price and buyer’s premium.

CONDITION REPORTS

Rarely are things at auction in perfect condition so do satisfy yourself as to the condition of each lot. Condition reports

are not printed in the catalogue. They are all available in the online catalogue at www.gorringes.co.uk. Please email if

you require further information about a lot.

VAT

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refunds

documentation for hand-carried exports. In order to qualify for a VAT refund, your lots must be exported by a shipper

and valid exportation documentation must be provided.

PAYMENT TERMS

Payment is required by Wednesday 19th November by debit card, BACS and cash (subject to money laundering

regulations). Please note we do not accept credit cards or American Express.

PACKING, DELIVERY & SHIPPING

Shipping can prove expensive so please ask us for a shipping quote before bidding. We aim to provide in-house packing

where practical but high value and delicate items may well require a specialist. Overseas shipping is best provided by

a shipper in order to access appropriate insurance cover. We can recommend local carriers, UK domestic carriers and

International shipping specialists.

BOOK A COLLECTION

Collection is by appointment only. You need to book a collection time by 4pm the previous day.

Visit the website or follow the link on your invoice to book a collection time. Purchases not collected within two weeks of

the sale date will be held in storage and charged at the rate of £5+ VAT per lot per day.

Please contact us if you require special arrangements to be made regarding storage.

CONDITIONS OF SALE

Visit www.gorringes.co.uk for full conditions of sale.

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VIEWING

Friday 6th June

Saturday 7th June

Monday 9th June

9am - 4.30pm

9am - 1.00pm

9am - 4.30pm

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1

Attributed to Giulio Pippi, called Gulio Romano (c. 1499-1546)

Chariot Horses,

signed “Julo Romano” in ink lower right,

ink heightened with white, on blue paper,

pencil sketch verso, monogrammed “R”,

mounted on card with ink inscriptions,

18.5cm x 27.3cm

£300 - £500

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2

Circle of Francesco Albani

(Italian, 1578-1660)

‘The Holy Family in a wooded

landscape’,

feigned tondo,

oil on canvas,

30cm x 29cm

Provenance: Christie’s, London,

7th June 1968

£1,000 - £2,000

3

Follower of Jan Van Goyen

(Dutch, 1596-1656)

River landscape,

with fishermen to the foreground,

oil on panel,

40.5cm x 54cm

£400 - £600

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4

Johannes Cornelisz Verspronck (Dutch, 1597-1662)

A portrait of a young boy,

signed and dated 1634 lower right,

oil on octagonal panel,

47cm x 33cm

Provenance: Purchased from Olivia Rumens Fine Art,

Ludlow, Shropshire, 12th November 1979, for £3,300

Private Collection, Kent

Gorringe’s are grateful to Dr Fred G. Meijer for his assistance in cataloguing this lot.

£5,000 - £8,000

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5

Attributed to Claude Gellée

called Le Lorrain

(French, 1600-1682)

Lakeland landscape with figures and dogs

to the foreground

signed “CLA.G” lower centre,

pencil inscription verso,

oil on canvas laid on panel,

21.6cm x 29.8cm

£1,000 - £2,000

6

Follower of David Teniers the Younger

(1610-1690)

‘Witches preparing for Sabbath’

oil on panel,

33cm x 25cm

£300 - £500

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7

Follower of Gerrit Willemsz. Heda

(Dutch, c.1620-c.1702)

Still life with fish, jugs and cooking equipment

old labels and wax seal verso,

oil on panel,

49cm x 37cm

£200 - £400

8

After Jan Van Der Heyden

(Dutch, 1637-1712)

‘Square with a Cobbler’s Shop

and a Gothic Church’

after the 1676 original,

oil on panel,

49cm x 63cm

£500 - £1,000

9

Circle of

Franz Werner von Tamm

(German, 1658–1724)

Flowers, fruit, birds and a white

rabbit,

Still life study,

oil on canvas,

42cm x 50cm

£400 - £800

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10

After Sir Godfrey Kneller (1646-1723)

Jane Battley, wife of James Merest Esq, died February

15th 1780 and Charles Merest, born April 28th 1720”

with inscriptions above and below the sitters,

oil on canvas,

126cm x 100cm

£3,000 - £5,000

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11

Charles Jervas (Irish, 1675-1739)

Portrait of a lady, said to be a member of the Dundas Family

the sitter depicted full-length in black Van Dyck dress, standing

in a landscape,

oil on canvas,

255cm x 127cm

255 x 127cm

Provenance: Christie’s, London 14th July 1989, lot 102 as by Henry

Pickering (unsold);

Christie’s, London, 18th October 1985, lot 135, as by Charles

Jervas;

Christie’s, London, 10th June 2003, lot 32 as by Charles Jervas;

Private Collection ex. French Chateau.

£3,000 - £5,000

12

Charles Collins (1680-1744)

Spaniel and a buzzard in a landscape

1742,

signed and dated lower left,

inscribed “Pone” lower right

oil on canvas,

61cm x 74cm

£4,000 - £6,000

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13

Continental School (17th/18th century)

‘Crucifixion of Christ and the Two Thieves on Mount

Golgotha’

oil on canvas laid on panel,

72cm x 52cm

£800 - £1,200

14

After Herman van der Mijn

(Dutch, 1684-1741)

Still life study of flowers on a ledge

inscribed “Copie n.herm.van.OerMijn”,

and below “b.silv.schmitz”

oil on canvas,

77cm x 62cm

£500 - £700

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15

Venetian School (18th century)

A pair of portraits of gentlemen

both depicted half-length in elegant period costume,

oils on canvas laid on board,

each 21cm x 18.5cm

(2)

£300 -£500

16

After Thomas Gainsborough RA FRSA (1727-1788)

‘Lavinia, the Milk Maid’

after the 1786 original,

oil on canvas,

45cm x 34cm

£300 - £500

15

17

Follower of Jacques-Philippe Caresme

(French, 1734-1796)

‘Jupiter and Antiope’

oil on panel,

30cm x 40cm

£150 - £250

18

Alexander Reid of Kirkennan (1747–1823)

William Thomson as a boy

the sitter depicted half-length,

wearing a blue tunic with large brass buttons over

a grey waistcoat and white lace collared shirt,

within a feigned oval,

oil on canvas, 54cm x 44cm

Provenance: To be sold with two handwritten notes

detailing both the history of the sitter and the provenance

of the painting

£400 - £600

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19

Scottish School, (19th Century)

Robert Reed of Kirkennan (1751-1831)

half-length portrait study,

the sitter depicted wearing a red/brown jacket over a mustard

waistcoat and white stock, a dog at his lap,

oil on canvas,

75cm x 63cm

£200 - £300

Lot 20 Lot 21

20

English School, (18th/19th century)

Major William Hamilton, Black Watch,

as a Falconer in armour

oil on canvas,

38cm x 30cm

Lot 22

£400 - £600

21

English School (18th/19th Century)

A portrait of a gentleman


wearing a frock coat over a striped waistcoat,

pastels,

29cm x 23cm (oval)

£250 - £350

22

English School, (19th century)

A portrait of a young child holding a posy,

the sitter depicted-half-length in a landscape,

oil on canvas,

60cm x 50cm

£300 - £500

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23

Thomas Rowlandson (1756-1827)

A cripple and child,

ink and watercolour on paper,

28 x 21cm

£300 - £500

24

Circle of Thomas Rowlandson (1756-1827)

A group of men lighting torches in an interior,

watercolour,

21cm x 33.5cm

£200 - £400

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25

Edwin Cooper of Beccles (1785-1833)

A hunt in full cry,

with a huntsman and hounds jumping a stream

to the foreground,

signed and indistinctly dated lower right,

oil on canvas,

45cm x 60cm

£2,000 - £3,000

26


A young boy and his hound in a landscape,

oil on copper,

30cm x 25cm

£1,000 - £1,500

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27


Church interior with figures,

possibly a Quadrille dance scene,

engraving, ink and collage,

19cm x 29cm

£200 - £400

28

Jules Coignet (French, 1798-1860)

Cavernous landscape,

1830,

signed and dated lower right,

oil on canvas,

26cm x 34cm

£400 - £600

29

William Bromley III (1816-1890)

‘A Gossip at the Spring’

signed lower left,

oil on canvas,

35cm x 45cm

£300 - £500

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30

Aster R. C. Corbould (c.1812-c.1882)

A Highland Cow in a landscape,

1863,


oil on canvas,

75cm x 61cm

£600 - £800

31

Aster R. C. Courbould (c.1812-c.1882)

A Stag in a Highland landscape,

1863,


oil on canvas,

74cm x 61cm

£600 - £800

32

Manner of Sidney Richard Percy

(1821-1886)

Scottish loch landscape,

oil on canvas,

75cm x 126cm

£400 - £700

21

33

Jan Walraven (Dutch, 1827-1878)

‘Children at the well, in Arlon’,

signed lower left,

dated 1871 to the gilt frame,

oil on canvas,

62cm x 75cm

£600 - £1,000

34

Pre-Raphaelite School

Two angels and attendant figures,

conté crayon on buff paper,

82cm x 122cm

£500 - £1,000

35

Charles Hunt II (1829-1900)

Interior scene with two men, a dog, a rabbit

and a donkey,


oil on board,

25cm x 35cm

£400 - £600

22

36

Samuel John Carter (1835-1892)

A fawn in a woodland landscape,

1870,


oil on canvas,

60cm x 50cm

Samuel John Carter was a British artist and

illustrator, known for his paintings and drawings

of animals. He was the father of the archaeologist

Howard Carter.

£2,000 - £3,000

37

James Charles Morris (fl. 1851-1863)

A pair of tondo rabbiting scenes,

one depicting two boys with terriers and an albino ferret flushing out a burrow,

the other showing terriers waiting beside a white horse, with four dead rabbits

hanging from its saddle,

signed,

oils on canvas,

each 41cm dia.

£700 - £1,000

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38

Attributed to Henri-Théodore Fantin-Latour

(French, 1836-1904)

Still life study of flowers in a grey vase,

signed “Fantin” lower left,

oil on canvas,

46cm x 39cm

£1,000 - £2,000

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Lot 39

Lot 40

39

Edwin Sherwood Calvert RSW (1844-1898)

‘The Lake’,

signed lower left,

oil on canvas,

60cm x 93cm

£500 - £800

Lot 41

40

School of Frederick William John Shore,

4th Baron Teignmouth (1844-1916)

‘Classical Buildings by Water’,

oil on canvas,

79cm x 78cm

£500 - £800

41

Helen Allingham RWS (1848-1926)

‘Near the shore at Lynmouth, North Devon, 1874’,

two figures spotting a hot air balloon flying over distant

hills,

signed lower right,

watercolour,

16 x 11.5cm

to be sold with a copy of ‘Happy England - as painted

by Helen Allingham’, with memoirs and descriptions by

Marcus B. Huish, publ. Adam & Charles Black, London,

1903

£1,000 - £2,000

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42

William Heath Wilson (1849-1927)

A view of Cairo, looking towards the Citadel

Mosque of Mohammed Ali,

signed lower left,

oil on card,

12cm x 19cm

£200 - £400

43

Stephen Catterson Smith

the Younger (1849-1912)

Audrey Maria Charlotte Bruce,

daughter of Alan Bruce-Pryce Esq.

1891,

the sitter depicted half-length

wearing a pink dress,

inscribed and dated in ink verso,

oil on canvas,

45cm x 35cm,

housed in a Florentine gilt frame

£800 - £1,200

26

The Tanyards Collection

of Horse Racing Art, Part I

27

George Finch Mason (1850-1915)

Finch Mason was a sporting artist, author and illustrator, specialising in humorous studies and caricatures.

His father was a schoolmaster at Eton and he was educated there in 1860-64. He contributed to several books including

‘Humours of the Hunting Field’ (1886), ‘Flowers of the Hunt’ (1889), ‘The White Hart and other Stories’ (1891), ‘The Run of the Season’

(1902), and ‘Heroes and Heroines of the Grand National’ (1907 and 1911). He was a frequent contributor to many sporting

publications of the time and was ‘Uncle Toby’ of The Sporting Times. He also worked for Punch.

44


A pair of horse racing scenes,

each with inscribed verse lower right,

signed lower left,

watercolour and bodycolour,

each 26cm x 36cm

(2)

£200 - £300

45


‘Becher’s Brook, 1st time round - The fall of Canter Home’

signed lower left,

titled lower right,


18cm x 26cm

£100 - £200

28

46


‘The Billiard Stakes’,

‘Green on Yellow - Red’s your player’, ‘A cannon off the red’,

‘The striker don’t win for a pony’ and ‘Taking the Pool’

a set of four,

each signed lower left,


each 25.5cm x 35.5cm

(4)

£300 - £500

47


A humorous horse racing scene,

depicting a gentleman taking up exercise before a horse

race,

signed lower left,

with captions throughout,


25cm x 35cm

£100 - £200

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48


‘Opinions of the Prophets’,

horse racing scene,

signed lower left,

titled and inscribed lower right “Turning to the timne honoured

wallop plate, i pause at the name of ‘Smike’, who hails from

Squeer’s’ stable in the north & who is bound to take a lot of

beating - Hotspur”


25cm x 35cm

49


‘Officious Person: Set further back, Gunvnor, you’ll give ‘im an

‘eadache!’,

Point-to-point racing scene,

signed lower left,

tiled lower right,


25cm x 35cm

£80 - £120

£100 - £200

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50


‘Double Event - Goodwood, 1899’,

‘Merman Wins! - The Goodwood Plate and The Goodwood Cup,

1899’,

each signed and titled,


35.5cm x 26cm

Merman (foaled in Australia) (1892–1914) was a Thoroughbred

racehorse, one of the finest racehorses in Colonial Australian

racing history that raced in Europe.

Merman’s owner W. R. Wilson had made contacts, one of which

was the bookmaker Joe Thompson, who at this time was in

England. Wilson sent a cable to William Allison offering to sell

Merman.

Thompson was a mentor to the horse owner and actress Lillie

Langtry and after seeing the cable from Wilson she agreed to

purchase the stallion through William Allison as an agent, for

1,600 guineas. Merman left Australia on the streamer Aberdeen

on 3 December 1896 from Melbourne, arriving in England in

February 1897.

Women were excluded from registering horses at this time so

the horse was registered under the pseudonym Mr. Jersey.

Merman started at the Glorious Goodwood meeting at

Goodwood Racecourse on 26 July in the 2 miles Goodwood

Plate and starting 4/1 as the second favourite won the event

easily by 4 lengths.

On the next day Merman’s owner Lily Langtry married Hugo

Gerald de Bathe in Jersey and was present to witness her

horse capture the prestigious Goodwood Cup over the 21/2

miles distance.

£150 - £250

51


‘Ambush II Wins! The Grand National, 1900’,

signed lower left,

titled lower right,


25cm x 32cm

Ambush II, owned by the then Prince of Wales (later King

Edward VII), won the 1900 Grand National. A popular

favourite and the last royal horse to win the race, Ambush

II was trained and ridden to victory by Algy Anthony and

was a 4/1 favourite. He jumped into the lead at the final

fence and won by four lengths.

£100 - £200

52


‘Manifesto Wins! The Grand National, 1897’,

signed lower left,

titled lower right,


25cm x 35cm

The 1897 Grand National was the 59th renewal of the

Grand National horse race that took place at Aintree

near Liverpool, England, on 26 March 1897.

Manifesto (foaled 1888) was a British National Hunt

racehorse best known for winning the Aintree Grand

National twice and running in the race a record eight

times. He was instrumental in restoring the prestige and

popularity to the Grand National as the race had been

marred by corruption in previous years.

£100 - £200

53


‘Flying Fox Wins! The Derby 1899’,

signed lower left,

titled lower right,


25.3cm x 35.5cm

Flying Fox was a very difficult colt to handle and only raced

for two years. However, he met with enormous success

under trainer John Porter, whom the National Horseracing

Museum says was “undoubtedly the most successful trainer

of the Victorian era.”

Flying Fox won three of his five starts at age two, and then

at age three went undefeated while becoming only the

8th horse in history to win the Triple Crown. In his sixth and

last race of his season and of his career, he won the Jockey

Club Stakes at Newmarket.

£150 - £250

31

John Beer (1860-1930)

John Beer was a British sporting artist, known for his horse racing scenes. Indeed, he is thought to have been among

a number of artists hired in Edwardian England by racecourses to make renderings of race finishes. He worked in oil, watercolor,

and gouache and documented races and other scenes at various venues including The Epsom Derby; Newmarket Racecourse,

Suffolk (various events); Nottinghamshire Handicap at Colwick; and Victoria Cup, Hurst Park. His sporting art was also published

as prints by Messrs. Fores and as illustration art in sporting periodicals.

54

John Beer (1860-1930)

‘Grand National, 1904’,

‘Beecher’s Brook’, ‘Valentine’s Brook’,’2 Fences before the Water’

and ‘Water Jump’,

a set of four,

each signed, dated and titled,


each 25cm x 35cm

(4)

The 1904 Grand National was the 66th renewal of the Grand

National horse race that took place at Aintree Racecourse near

Liverpool, England, on 25 March 1904.

The winner, Moifaa, was the first ever non-British/Irish winner of the

race. He ran in the race again the following year, when he was

owned by the King

£400 - £600

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55

John Beer (1860-1930)

‘The New Century Steeplechase, Hurst Park, March 2nd 1909’

‘At the Open Ditch’ and ‘The Finish’,

a pair of horse racing scenes,

both signed and with inscriptions,


each 25cm x 35cm

(2)

£200 - £400

56

John Beer (1860-1930)

‘Diamond Jubilee - In 4 Victories, 1900’,

a tribute to the 1900 Triple Crown and Eclipse Stakes

winner,

with central portrait surrounded by studies of the

finishes of the four races, The 2000 Guineas Stakes,

The Derby, The St. Leger Stakes and The Eclipse Stakes’,

signed to the central image,


48cm x 61cm

Diamond Jubilee (1897 – 10 July 1923) was a British-bred

and British-trained Thoroughbred race horse and sire,

bred by his owner, the Prince of Wales. He was foaled

in the year of the Diamond Jubilee

of Queen Victoria. In a career which lasted from June

1899 until October 1901 he ran sixteen times and won

six races.

He showed modest form as a two-year-old in 1899

but improved to be the leading colt of his generation

in 1900 when he won the British Triple Crown.

Diamond Jubilee was noted throughout his life for his

unpredictable and sometimes violent temperament.

£200 - £400

33

Isaac J. Cullen (Collin) (fl.1881-1947)

Isaac Cullin started his career as a portrait painter, but his interest in horses and artistic skill led him to concentrate on

equestrian portraiture. From 1881 to 1920, Cullin painted racehorses, watercolours of races and numerous other equestrian events.

Early examples of his work include Saddling Room, Newmarket and Weighing-In Room, Epsom, which was also produced as an

engraving. In 1883 he collaborated with J. A. Wheeler to paint the year’s Grand National winner and he later went on to produce

sporting illustrations for The Illustrated London News.

Cullin’s talent lies in the splendid portrayal of both people and horses in action. His horses are painted strongly, accurately and,

many have said, almost photographically, such is the attention paid to detail in every movement.

57

Isaac J. Cullen (Collin) (fl.1881-1947)

‘Mr W.B Purefoy’s Lully with B.Dillon up, and Sancy’,

1907,


titled lower left,

watercolour and pencil,

26cm x 35.5cm

£150 - £250

End of Collection

34

58

Aloysius C. O’Kelly (Irish, 1853-1936)

‘Activities at the Docks’,

signed lower right,

oil on board,

24cm x 31.5cm

£2,000 - £4,000

59

Henry Ryland RI (1856-1924)

‘Reverie’,

a study of a young lady in classical draperies

on a marble terrace gazing out to sea,

signed lower right,

titled in pencil verso,

watercolour,

54cm x 38cm (unframed, mounted)

£400 - £600

60

Henry Ryland RI (1856-1924)

‘Dione’,

a head and shoulders portrait of a young woman,

wearing classical dress,

signed lower left,titled verso,

watercolour on paper laid on card,

29cm x 21.5cm (unframed)

Provenance: With Arthur Ackermann & Son Ltd., Mayfair, London

£250 - £350

35

61

Riccardo Meacci (Italian, 1856-1938)

‘Ecce Panis Angelorum’,

signed lower centre,

pencil and watercolour heightened with white,

31cm x 41cm

housed in a twin-door cabinet frame decorated to the

interior with twin roundels of grapes and grain within subursts,

40cm x 50cm overall

£1,000 - £1,500

62

Sir Samuel Henry William Llewellyn

GCVO PRA RBA RI (1858-1941)

‘Bosham Harbour, West Sussex’,

monogrammed lower right,

oil on board,

16.5cm x 24cm

£800 - £1,200

63

Attributed to Frederick William Jackson

(1859-1918)

North African market scene with figures,

watercolour on card,


£300 - £500

36

37

64

John Terrick Williams RA (1860-1936)

’Pont Neuf, Paris’,

1923-7,

signed lower left,

signed, titled and dated verso,

oil on canvas,

62cm x 75cm

Provenance: With David Messum, Beaconsfield, ref W365

Private collection, West Sussex

£1,500 - £2,500

38

65

Manner of Henri Martin (French, 1860-1943)

‘Berger’,

a shepherd walking his flock beside a river,

obscured signature lower right,

oil on canvas,

65cm x 100cm

£500 - £800

39

66

Louis William Wain (1860-1939)

‘Signorita Cats’,

signed lower left,

watercolour,

38cm x 27.5cm

Provenance: The Brook Street Art Gallery Ltd., Mayfair, London

Raphael Tuck & Sons Ltd., Moorfields, London

Private collection, West Sussex

Note: This work has previously been authenticated by Chris Beetles

£4,000 - £6,000

40

67

Frederick William Davis RBA RBSA

(1862-1919)

Charles II inspecting work by Grinling Gibbons,

1890,


oil on canvas,

112cm x 132cm

£700 - £900

68

Herbert Thomas Dicksee (1862-1942)

Study of two lions resting,

signed lower left,

pencil and charcoal on paper,

22.5cm x 47cm (unframed, mounted)

£800 - £1,200

69

Herbert Thomas Dicksee (1862-1942)

Study of a horses head,

pencil on paper,


Provenance: Purchased from the Estate

of Herbert Dicksee’s daughter

£200 - £300

41

Thomas Buford Meteyard

Thomas Buford Meteyard was an American painter and graphic artist, who worked at the

crossroads of some of the most important art movements of his day. After growing up in

Rock Island, Illinois, and studying at Harvard (1885-87), Meteyard went to England where he

encountered members of the Aesthetic Movement, notably designer Walter Crane and

painter and illustrator Sir Edward Burne-Jones. He then travelled to Paris, where Meteyard

entered the atelier of Léon Bonnat, while also studying with Alfred Phillippe Roll and

Auguste-Joseph Delecluse.

Meteyard continued to travel, and in the early 1890s, joined the international artists’ colony

at Giverny, just north of Paris. Like so many other artists, including the Americans Robert

Vonnoh, Lilla Cabot Perry, and John Leslie Breck, Meteyard was attracted to Giverny by

its natural beauty and by the presence there of Claude Monet. Predictably, Meteyard

was influenced by the Impressionists and, like them, took a keen interest in the aesthetics

of Asian art. Meteyard flourished in Europe’s bohemian milieu and was one of the first

Americans to have his work included in the early Post-Impressionist exhibitions.

Meteyard moved to England once again in 1906, and after marrying British-born Isabel

Barber in 1910, became a permanent resident. He continued to work as a landscape painter

until his death.

70

Thomas Buford Meteyard (American, 1865-1928)

‘Les Brissants’,

signed lower left,

oil on canvas,

38cm x 56cm

Provenance: With The Redfern Gallery, Mayfair, London, no. 379

Purchased from the above by Mrs Geoffery Howard

£2,000 - £4,000

42

71

Thomas Buford Meteyard (American, 1865-1928)

‘La vallee, Giverny’,

haystacks in a landscape,

circa 1889,

signed lower right,

oil on canvas,

38cm x 56cm

Provenance: With The Redfern Gallery, Mayfair, London

Purchased from the above by Mrs Lees-Milne, 13th July 1956

£3,000 - £5,000

43

72

Mark Senior (1864-1927)

Town scene with figures,

signed lower right,

oil on board with impasto,

20cm x 30cm

£500 - £1,000

73

Philip Eustace Stretton (1865-1919)

Cattle watering,

signed lower right,

oil on canvas,

100cm x 151cm

£400 - £600

44

74

Julia Beatrice How (1867-1932)

Portrait of a lady,

signed middle right,

charcoal and coloured chalks,

29cm x 23cm

£400 - £600

75

Samuel John Lamorna Birch RA, RWS

(1869-1955)

Hillside stream,

1923,


oil on canvas laid on board,

26cm x 32cm

£500 - £1,000

76

Clewin Harcourt

(Australian, 1870-1965)

Figures on a beach,

signed lower right,

oil on board,

23.5cm x 34cm

£400 - £800

45

77

János Vaszary (Hungarian, (1867-1939)

‘Seascape 1904’


oils,

15.5cm x 24cm

János Vaszary was a highly important Hungarian painter

and graphic artist. An excellent colourist, his imagination

and sensitivity to modern artistic trends earnt him

considerable merit through his entire career. Vaszary’s

work was consistently at the forefront of modernism,

and he continually evolved his style and experimented

with the ranging avant-garde styles, from Art Nouveau

to Post-Impressionism and Fauvism.

£5,000 - £10,000

46

78

Gustave Cariot (French, 1872-1950)

‘Meule Ensoleillé’

1919,

study of a haystack in a sunny field,


oil on canvas,

60cm x 80cm

Provenance: Christie’s, London, 12th February 1971, lot 137

Private Collection, Surrey

£3,000 - £5,000

47

79

§ Sir Max Beerbohm (1872-1956)

‘March of The Gentlemen’,

study for a mural,

1922,

signed and inscribed upper left

“For Jack Lynch from Max 1922”,

pencil on paper,

47 x 58cm with original velvet mount

This Beerbohm study cartoon was intended

for a mural for the dining Room in his and Lady

Beerbohm’s Rapallo villa, where they had moved

in 1910. The mural was never executed.

It was gifted to ‘Jack’ Bohun Lynch (1884-1928),

a friend, writer, caricaturist-illustrator, and author

of ‘Max Beerbohm in perspective’ in 1922.

This study presented a unique and remarkable

socio-historical grouping of caricatures of

Beerbohm’s closest friends, from the Cultural,

Political, Social and Queer communities of Britain in

the early 20th Century.

The work was purchased from Scribners in New

York in c. 1950 , by Sir Yehudi Menuhin, OM KBE,

and was sold by his Estate.

£4,000 - £6,000

Identified sitters by Sir Edward Marsh KCVO CB CMG (1872-1953),

pps to Joseph Chamberlain and Sir Winston Churchill:

Sir Ray Lankester (1849-1929) - biologist,

Sir Edmund Gosse (1849-1928) - poet, author, and critic,

Sir Edward Carson (1854-1935) - politician,

Cunninghame Graham (1852-1936) - politician, writer, and journalist,

Philip Wilson Steer (1960-1942) - landscape artist,

Henry Tonks (1862-1937) - surgeon and artist,

Gilbert Keith Chesterton (1874-1936) - writer and philosopher,

John Masefield (1878-1967) - poet and writer,

John Singer Sargent (1856-1925) - artist,

John Galsworthy…….(1867-1933) English novelist and playwright,

Lytton Strachey (1880-1932) - writer and critic,

Henry Chaplin (1840-1923) - politician,

Herbert Asquith (1852-1928) - former Prime Minister,

Sir Henry Irving, (1838-1905) Stage Actor and Manager,.

AJ , Earl Balfour (1848-1930) - former Prime Minister,

George S Street (1867-1936) critic, journalist ad writer,

Sir Ian Malcolm (1868-1944) - Tory politician Director of Suez Canal

Company Chief of Clan MacCallum/Malcolm,

George Bernard Shaw (1856-1950) Irish playwright, critic, polemicist

and political activist.

Inscribed verso “This cartoon by Max Beerbohm was drawn for a

projected wall-painting for his villa at Rapallo, which was never

executed. It was given by him to his friend and biographer (Jack)

Bohun Lynch, to whom it is inscribed…… p……. It was purchased from

his estate in 1947 by Scribners…. Several of the identifications were

supplied by Sir Edward Marsh”, KCVO CB CMG a British translator

and friend to Rupert Brooke.

48

80

William R.C. Watson (1873-1928)

‘Up on the Cornish Cliffs’,

1895,

Sheep in golden light in a coastal landscape,


oil on panel,

22cm x 30cm

£500 - £800

81

Attributed to Harold Harvey (1874-1941)

Portrait of a girl wearing a blue hat,

oil on canvas,

50cm x 40cm

£600 - £800

82

§ Frederick ’Fred’ Taylor (1875-1963)

Piazza San Marco, Venice,

watercolour,

52cm x 74cm

Taylor was one of Britain’s leading poster artists between

1908 and the 1940s and is best known for his architectural

posters. A Londoner, he studied in Paris at the Academie

Julian and at Goldsmiths College where he was awarded a

gold medal for posters. A member of the Art Workers’ Guild

from 1924 he designed many posters for the railway and

shipping companies, as well as for the Empire Marketing

Board. A regular exhibitor at the Royal Academy he served

during World War 2 as a naval camofleur.

£400 - £600

49

83

Everett L. Shinn

(American, 1876-1953)

‘Sir Henry Irving as Shilock’,

c.1910,

signed and titled lower right,

pastel on paperboard,

71cm x 34cm

Provenance: With label from Marie Antoville

Galleries Corp., NY and a label on the reverse

of the frame “Property of Everett Shinn/26

Washington Squ. N / N.Y. City / Price #1/200

net” and inscribed “Sir Henry Irving as or a

“Shilock” / Made in his dressing room during

his last tour of this country. Considerate

enough of me to have his stage hands

construct a box out of scenery to keep out

a draught. E.S./ size 26” x 2” / Date - 1910”

£4,000 - £6,000

50

84

§ Berthe Des Clayes (1877-1968)

A group of four landscape studies,

circa 1912-14,

each signed “D Des C”,

oils,

each approximately 19cm x 24cm

(4)

Provenance: According to inscriptions verso, these were

Christmas gifts from the artist to Arthur E. Wilson, who like

the Des Clayes sisters, emigrated to Canada in the years

preceding World War I

The Family of Arthur E. Wilson and thence by descent

£400 - £600

85

§ Dame Laura Knight DBE RA RWS (1877-1970)

‘The Three Graces of Ballet’

1926,

signed and titled in pencil to the margin,

soft ground etching on laid paper,

edition of 30,

the image 35cm x 24.2cm

86

Ambrose McEvoy ARA (1878-1927)

Portrait of a child holding a teddy bear,

the sitter depicted half-length seated before foliage,

watercolour,

55cm x 47cm

£400 - £800

£500 - £800

51

87

§ Fortunino Matania (Italian, 1881-1963)

‘Garments for his lady’ or “Xerxes watching Antaynta

trying on the cloak’,

signed lower left,

pencil heightened with white,

27.2cm x 32.5cm

£500 - £700

88


‘The Women Sacrificing Their Hair’,

signed lower left,


29cm x 22cm

£300 - £500

89


‘The Flagellation of Bodicea by the Romans’,


21.5cm x 23cm

£300 - £500

52

90

Charles André Igounet de

Villers (French, (1881-1944)

View of Paris looking along The Seine,

signed lower left,

oil on canvas,

80cm x 95cm

(unframed, on stretcher)

£700 - £900

91

Heinrich Schröder

(German, 1881-1941)

Hillside village,

signed lower left,

oil on canvas,

59cm x 87.5cm

Schröder was a great friend of

fellow artist Adrian Paul Allinson and

during the 1930s the pair spent part

of each year painting together,

both domestically and around the

Mediterranean.

£600 -£800

53

92

Louis Marcoussis (Polish, 1883-1941)

‘Rhum & Musique’,

signed lower right,

further signed verso,

oil on canvas,

30cm x 31.5cm

£12,000 - £16,000

54

93

§ Anne Redpath OBE ARA (1885-1965)

‘The Spanish Church’,

oil on canvas,

30cm x 40cm

Provenance: Bearing a handwritten label verso stating

“this painting was purchased from the artist at her studio 1964

or 65 by H + V Thearle”

£6,000 - £8,000

55

Lot 94

Lot 95

94

Early 20th century school

Half-length study of a nude man standing,

oil on board,

39cm x 30cm

£200 - £400

95

Victor Robert Watt (Australian, 1886-1970)

‘Sheep Grazing’,

signed lower left,

watercolour,

22cm x 28cm

£100 - £200

Lot 96

96

English School (Early 20th Century)

Shepherd and his flock on a lane,

oil on board,

50cm x 39cm;

together with a simlar study of a tree-lined lane,

oil on board,

44cm x 44cm

(2)

£300 - £500

Lot 96

56

Lot 97

Lot 98

97

Monogrammist E.B.

Half-length portrait of a young girl wearing a pink bow,

circa 1900,

monogrammed lower left,

oil on canvas,

45cm x 35cm

Lot 99

£300 - £500

98

English School (early 20th century)

A portrait of an Irish Water Spaniel,

indistinctly signed lower right,

oil on canvas,

50cm x 40cm;

together with a silver Irish Water Spaniel Club medal,

featuring a similar portrait to the one offered here, by

William James Dingley, Birmingham, 1929, 51mm dia., 88.4g,

in blue leather presntation case with gilt lettering “Won by

Thunder of Lligwy, 1932” (2)

£300 - £500

99

Dutch School (early 20th century)

Profile portrait of a girl,

the sitter depicted bust-length,

wearing a red ribbon in her hair,

oil on canvas,

49cm x 38cm

£200 - £400

57

100

Australian School (20th Century)

Tree trunks beside a house,,


12cm x 17cm

£150 - £250

101

§ Georges Lepape (French, 1887-1971)

‘Étude de femme’,

signed with small sketch lower left,

ink and watercolour,

20.5cm x 16cm

£300 - £500

102

§ Friedrich Albin Koko-Micoletzky

(Austrian, 1887-1981)

A cabin in the shadow of a mountain,

signed and inscribed “Wien” lower left,

oil on canvas,

39cm x 59cm

£400 - £600

58

103

§ Laurence Stephen Lowry RBA RA (1887-1976)

‘Industrial Scene’,

signed in pencil to the margin lower right,

Fine Art Trade Guild blind stamp lower left equating to 15/850,

offset colour lithograph,

published 1976 by Venture Prints Ltd., Bristol,

the image 37cm x 26cm

£1,500 - £2,500

59

104

§ Laurence Stephen Lowry RBA RA

(1887-1976)

‘The Pond’,


Fine Art Trade Guild blind stamp lower right

equating to 784/850,

Offset colour lithograph,

published by Maidstone Publications, Norwich


£2,000 - £4,000

105


(1887-1976)

‘Huddersfield’,


Fine Art Trade Guild blind stamp lower right



published by Henry Donn,

the image 45.5cm x 58cm

£2,000 - £4,000

106


(1887-1976)

‘Industrial Panorama’,


Fine Art Trade Guild blindstamp lower left



published by the Medici Society, London, 1972,

the image 60.5cm x 79.5cm

£1,500 - £2,000

60

61

Lot 105

Lot 107

Lot 108

107

Paul Nash (1889-1946)

‘Still Life’,

1927,

signed, dated and numbered 40/50 in pencil to the margin,

wood engraving,


£400 - £600

108

Paul Nash (1889-1946)

‘The Sun and the Moon’,

Genesis series,

1929

signed, dated and numbered 8/12 in pencil to the margins,

wood engraving,


£200 - £300

109

§ Adrian Paul Allinson ROI (1890-1959)

Roses in a glass vase,

oil on board,

40cm x 32cm

Lot 109

£500 - £700

62

110

§ Sir Stanley Spencer CBE RA (1891-1959)

‘In the Corn’,

1940,

titled lower left, dated lower right,

pencil,

18cm x 17.2cm

Provenance: Deceased estate, Chichester, West Sussex

£1,000 - £1,500

63

111

Harold Christopher Davies

(American, 1891-1976)

‘Huntsville (Alabama Series),

1956,


oil on canvas,

61cm x 76cm

£800 - £1,200

112

§ Frank McKelvey RHA RUA

(Irish, 1895-1974)

‘The Lagan River at Maze, Co. Down’,

river landscape with cattle,

signed lower left,

oil on canvas,

37cm x 50cm

£2,000 - £3,000

113

§ Jean Timmermans (Belgian, 1899-1986)

‘Beached Yacht’,

signed lower right,

oil on canvas,

80cm x 94cm (unframed, on stretcher)

£500 - £1,000

64

65

114

§ Marcel Dyf (French, 1899-1985)

‘Dancing in the Square’,

signed lower right,

oil on canvas,

55cm x 65cm

£2,500 - £3,500

66

115

Continental school (20th century)

Frozen riverscape with figures skating,

oil on canvas,

38 x 61cm (unframed, on stretcher)

£150 - £250

116

Dutch School (20th Century)

A view of Veere,

oil on board,

36cm x 50cm

£300 - £500

117

§ Rhoda Vava Mary Lecky, Lady Birley

(Irish, 1900-1981)

‘Open Book with Jug’,

still life study,

oil on canvas,

41cm x 51cm (unframed on stetcher)

Provenance: According to a label verso this work

was bequeathed by the artist to Dr H.V. Blake of

5 Albion Street, Lewes, East Sussex

£800 - £1,200

118

§ Edward Ardizzone CBE RA (1900-1979)

‘Conversation Piece’,

figures in evening dress in a garden landscape,

titled in pencil to the stretcher verso,

oil on canvas,

37cm x 44cm

£1,500 - £2,000

67

119

§ Stanislaw Eleszkiewicz (Polish, 1900–1963)

Seated figure smoking,

signed upper left,

oil on board,

43cm x 33cm

£1,000 - £2,000

120

§ Frederick Clifford Harrison (1901-1984)

‘Candle Snuffer and Pottery’,

1982,

trompe-l’oeil still life study,

Initialled and dated upper left,

oil on board,

73cm x 53cm

Provenance: With E. Stacy-Marks, Eastbourne, East Sussex

£600 - £800

121

§ Frederick Clifford Harrison (1901-1984)

Trompe-l’oeil still life study of objects in a letter rack,

oil on board,

40cm x 61cm (unframed)

Provenance: With E. Stacy-Marks, Eastbourne, East Sussex

£300 - £500

68

122

§ John Piper CH (1903-1992)

‘Yarnton Monument, Oxon’,

(Levinson 70),

signed in pencil lower right,

coloured lithograph,

40.5cm x 51cm

£300 - £500

123

§ John Piper CH (1903-1992)

‘Street Scene in Don Giovanni’,

(Levinson 424),

1989,

signed and numbered 2/90 in pencil to the margin,

screenprint on Velin Arches 300gsm,

printed by Kelpra Studio for Glyndebourne

Productions Ltd.,


£300 - £500

124

Eric Ravilious (1903-1942)

‘Submarine Dream: The Lithographs’,

the portfolio, with a cover design by Tirzah Garwood,

containing the 12 prints, each blind stamped

Camberwell Press to the margin,

number 7 from an edition of only 50,

signed by Brian Webb

£300 - £500

69

Charles Tudor

Best known as the art director of Life Magazine for 21 years from its inception, American artist

Charles Tudor was a graduate of Baldwin-Wallace College, where his mother, Ethel Isola

Sapp, was a professor. He also attended Cleveland Art School.

He began his art career as a staff artist for the Cleveland Press aged 20 in 1923. After three

years at the Press he obtained a leave of absence to study in Paris. His employer thought it

was for four weeks. Tudor intended on staying a year. He returned from Paris after five weeks

and joined the New York Telegram in Cincinnati. Tudor was fired from the Telegram by the

police reporter about whom Tudor said, “I don’t think he liked my work”. Broke, Tudor returned

to Cleveland and in 1930 took a job as staff artist with ‘Parade’, a short-lived publication

based in Cleveland.

Tudor was dedicated to his artistic ideals and his journalistic ethics. His ambition was to be

a painter and as much as his pursuant career was to demand from him, he continued to

do pictorial work in oils and watercolors.

125

Charles Tudor (American, 1903-1970)

‘Figures on the dancing floor (SS Good Time)’,

1931,

an original design for Parade Magazine, Cleveland,

signed and dated lower centre,

pencil and wash on paper,

28cm x 37.5cm

£500 - £1,000

126


‘Baseball Players’,


signed lower right,

mixed media on paper,

30cm x 35cm

£500 - £1,000

70

127


‘Ice Hockey players’,

an original design for the cover of Parade Magazine,

Cleveland,

1932,

signed and dated middle left,

pen and ink on paper,

32cm x 24cm;

together with a framed copy of the printed magazine

cover

£700 - £900

128


‘Figures around a bar’,

1932,



pencil on paper,

32cm x 23.5cm

£500 - £1,000

71

129

§ Salvador Dali (Spanish, 1904-1989)

‘Le Cavalier Triomphant’,

1973,

from the ‘Apocalypse’ series,


also signed by the publisher Joseph Foret of Paris,

colour lithograph and drypoint on Arches cream wove paper,

printed by Mourlot and Leblanc-Lallier, Paris,


£1,000 - £1,500

130

§ Salvador Dali (Spanish, 1904-1989)

‘Métamorphose topologique de la Venus de Milo traversée par des tiroirs’,

bronze,

inscribed “Salvador Dali”,

numbered 156/350 and impressed with the Airaindor foundry mark,

20cm high x 11cm wide

Literature: R. & N. Descharnes, DALI, Scultpures and Objects: The Hard and the

Soft, Eccart 2004, p. 266, no. 683 (illustration of another cast)

Note: Conceived in plaster in 1973 and cast in bronze in 1982 in an edition

of 330.

£600 - £800

72

131

§ Betty Rea (1904-1965)

‘Balancing Figure’ or ‘The Balancer’,

a large floor standing figure,

bronzed resin,

110cm high;

together with a 1965 retrospective exhibition

catalogue produced by Zwemmer Gallery

£600 - £1,000

73

132

§ Frederick Griffin (1906-1976)

‘Hotel du Nord’,

signed lower right,

oil on board,

40cm x 50cm

£300 - £500

133


‘Notre Dame from the South Bank, Paris’,

signed lower right,

oil on board,

59cm x 67cm

£300 - £500

134


‘Butte, Paris’,

signed lower right, titled lower left,

oil on board,

55cm x 75cm

£300 - £500

74

135

§ Francis Wynne Thomas (1907-1989)

Portrait of a man holding a sword,

signed upper left,

oil on canvas,

55cm x 45cm

£600 - £800

136

Philip Campbell Curtis (American, 1907-2000)

‘Girl with a Hoop’,

1959,

signed lower right,

dated lower left,

oil on board,

56cm x 45cm

Provenance: Formerly in the collection of Yehudi Menuhin

(1916-1999)

£4,000 - £6,000

75

137

§ Charles Wyatt Warren (1908-1993)

‘Upland Farm near Nantlle’,

signed lower left,

oil on board,

23cm x 54cm

£300 - £500

138

§ Peter Greenham CBE RA

(1909-1992)

‘Cold day in September on the East Coast’,


oil on board,

26cm x 37cm

Exhibited: New Grafton Gallery, London SW13,

1989 and 1999

Peter Greenham CBE RA was a British artist

and Royal Academician, serving as Keeper

of the Royal Academy Schools from 1964 to

1985.

£800 - £1,200

76

139

§ Carel Weight CH CBE RA (1908-1997)

‘Battersea Rise’,

signed lower right,

oil on board,

70cm x 59cm

Exhibited: Royal Academy, London, 1989, No.38

Provenance: ‘Twentieth Century British Art’ Christie’s, London,

6th November 1998, lot 58, sold for £6,000

£3,000 - £5,000

77

140

§ John Humphrey Spender (1910-2005)

‘Saint-Vincent Church, Les Baux-de-Provence’,

1946,


mixed media on board,

17cm x 25cm

£400 - £600

141

§ Robin Vere Darwin CBE RA RSA

(1910-1974)

Seated figure reading on the bus,

1939,


oil on canvas,

63cm x 76cm

£500 - £1,000

142

§ Pierre de Clausade (French, 1910-1975)

‘Rive de la Loire’,

signed lower left,

oil on canvas,

45cm x 54cm

Provenance: Purchased from E. Stacy-Marks,

Eastbourne, East Sussex, 16th June 1986, for 3750gns

(£3,937.50)

£800 -£1,200

78

143

§ William Scott CBE RA (1913-1989)

‘The Harbour’,

1952,

signed, titled and dated in pencil upper left,

gouache on paper,

20cm x 40cm

Exhibited: ‘William Scott & Victor Pasmore’, Kunsthalle, Bern,

12th July - 18th August, 1963

The Hanover Gallery, Mayfair, London

The Piccadilly Gallery, Mayfair, London


£4,000 - £8,000

79

144

§ Emilio Grau-Sala (Spanish, 1911-1975)

Girl with red hair in an interior,

1956, signed and dated lower right, mixed media on

paper, 38cm x 55cm

£600 - £800

145

§ Frank Wootton OBE PPGAvA (1914-1998)

‘The Red Rover, London-Guildford-Southampton Coach’

signed lower right,

oil on canvas,

45cm x 75cm

£500 - £700

146

§ William Gear RA RBSA (1915-1997)

‘Fun Fair’,

1958,

signed, dated and numbered 4/20 in pencil to the

margin,

screenprint,

the image 48 x 35.5cm

£200 - £400

80

147

§ Markey Robinson

(Irish, 1918-1999)

Figures watching boats from the shore,

signed lower left,

gouache,

35cm x 49cm

£800 - £1,200

148

§ Bernard Stern (1920-2002)

‘Anemones’,

still life study,

acrylic on corrugated card,

88cm x 98cm

Provenance: Deceased estate,

Chichester, West Sussex

£400 - £600

81

149


‘The Friends’,

1969,

nude study,

signed upper right,

dated and titled verso,

oil on canvas,

101.5cm x 127cm

Provenance: Deceased estate,

Chichester, West Sussex

£500 - £1,000

150


‘Boy in Straw Hat’,

signed lower right,

titled verso,

oil on canvas,

100cm x 91cm

Provenance: Deceased estate, Chichester,

West Sussex

£400 - £600

82

151

§ Monica Poole RE (1921-2003)

‘Apple Tree’,

1961,

signed, dated and titled in pencil to the margin,

wood engraving,

the image 22cm x 14.5cm

£600 - £800

152

§ Monica Poole RE (1921-2003)

‘Beachcombings’,

signed, titled and numbered 14/75 in

pencil to the margin,

wood engraving,

the image 6cm x 9cm

£600 - £800

83

153

§ Donald Grant OBE (1924-2001)

Horses in a paddock,

signed lower right,

oil on canvas,

60cm x 90cm

£400 - £600

154

§ Donald Grant OBE (1924-2001)

Horses in a paddock,

signed lower left,

oil on canvas,

60cm x 90cm

£400 - 600

155

§ Konstantinos ’Dikos’ Vyzantios

(aka Constantin Byzantios) (Greek, (1924-2007)

‘Lignières’,

1971,

stylised landscape study with trees,

signed, dated and titled verso,

oil on canvas with impasto,

130cm x 97cm

£500 - £1,000

84

156

§ Ronald George Ferns (1925-1997)

‘Maritime Lawyer’ or ‘The Amphibious Barrister’,

Barrister on a bicycle riding the waves with shipping

around him,

signed lower right,

oil on board,

38cm x 54cm

Ferns was an English illustrator, designer, cartoonist

and surrealist painter. He created a large mural for

the 1951 Festival of Britain.

£500 - £800

157

§ Ronald George Ferns (1925-1997)

‘A view along Fleet Street c.1900’,

signed lower right,

oil on board,

60cm x 45cm

Ferns was an English illustrator, designer, cartoonist

and surrealist painter. He created a large mural for

the 1951 Festival of Britain.

£500 - £700

85

158

§ Alan Munro Reynolds (1926-2014)

‘June Structure, 1965’,

signed lower right,

further signed, titled and dated verso,

oil on board,

48cm x 45cm

Provenance: Private collection, East Sussex

£10,000 - £20,000

Alan Munro Reynolds started out as a landscape painter but then

came under influence of the artist Paul Klee, and his work became

more abstract and constructive from the late 1950’s onwards.

The Redfern Gallery gave him his first solo show in 1952 and he

continued to have regular exhibitions with them thereafter as well as

with the Leicester Galleries from 1958 and Annely Juda Fine Art from

1978. His work features in the permanent collections of The Museum of

Modern Art, New York, The National Museum of Canada, The Victoria &

Albert Museum and the Tate in London to name a few. Retrospectives

were held in London in 1991 and 2001, and at Kettle’s Yard, Cambridge,

in 2003.

86

159

§ David Michie RSA, RSW (1926-1988)

‘Swimming Pool’,

1971,


oil on paper,

30cm x 30cm

Provenance: Purchased from Mercury Gallery,

Mayfair, London, 13th November 1971 by a Miss McCririck.

Deceased estate, Chichester, West Sussex

£1,000 - £1,500 160

§ David Graham RP (b.1926)

‘Back in Britain’,

signed lower right,

oil on canvas,

110cm x 85cm

£1,000 - £2,000

161

§ Clarisse Loxton-Peacock,

later Lady Dunnett.

(Hungarian, 1926-2004)

Still life of bottles, a book and a

flagon on a table top,

1958,

monogrammed and dated lower left,

oil on board,

60cm x 121cm

Exhibited: Young Contemporaries,

Arts Council of Great Britain, 1958

£400 - £600

87

162

§ Elena Gaputyte (Lithuanian, 1927-1991)

‘Self portrait’,

1961,


charcoal on paper,

74cm x 50cm

163

§ John Bratby RA (1928-1992)

A woman in the bath,

probably the artist’s wide Jean Cooke,

oil on board,

30cm x 38cm

Provenance: From the vendors fathers collection of

works by John Bratby

£800 - £1,200

£200 - £400

164

§ Arthur Dooley (1929-1994)

Figure descending a staircase,

polished bronze and iron,

19cm wide x 29cm high

£800 - £1,200

88

165

§ Charles Thompson (b. 1931)

A BAC TSR-2 reconnaissance aircraft in flight,

1989,


oil on canvas,

59cm x 90cm

The BAC TSR-2 reconnaissance aircraft was an

experimental aircraft developed by the British Aircraft

Corporation for the Royal Air Force in the late 1950s.

Charles J. Thompson is one of the foremost artists in

the Guild of Aviation Artists, holding the position of

chairman from 1997-1999.

£300 - £500

166

§ Harold Mockford (1932-2023)

Interior scene with two seated figures,

1975,

signed, dated and iscribed verso,

oil on board,

90cm x 120cm

£400 - 600

167

§ Sir Peter Blake CBE RDI RA (b. 1932)

‘Some of the Sources of Pop-Art. 3’,

2007,


screenprint in colours with glitter and glaze,


£800 - £1,200

89

168

§ William Selby RWS (b. 1933)

‘Nab End Tower’,

1996,

signed lower right,

mixed media,

51cm x 67cm

£150 - £250

169

§ Paul Gunn (b. 1934)

‘Bankside, London’,

Thames view,

signed lower left,

oil on panel,

17 x 23cm

£300 - £500

170

§ Douglas Wilson RCA (1936-2021)

‘Dance of Winter’,

signed lower right,

oil on board,

24cm x 34cm

£200 - £400

90

171

§ John Hitchens (b. 1940)

‘Clouds Sweeping Low’,

1965,

signed lower right,

further signed, titled and dated verso,

oil on canvas,

27cm x 61cm

£300 - £500

Lot 172

Lot 173

172


‘South Downs through the haze’,

1959,

signed “Hitchens 3” lower right,

signed, dated and titled to a label verso,

oil on canvas,

45cm x 148cm


£1,000 - £1,500

173


‘October - Damp Wood’,

1981,

signed lower left,

oil on canvas,

43cm x 151.75cm


£1,000 - £1,500

91

174

British School (20th century)

Surreal landscape with trees,

oil on canvas,

81cm x 101cm

£300 - £500

175

§ David Dipnall (1941-2023)

‘The Path Through the Corn’,

1999,

signed lower right,

oil on canvas,

40.75cm x 50.75cm

Provenance: Purchased from Omell Galleries,

Ascot, 15th September 1999, for £2,850

£200 - £400

176

§ Philip Dunn (b. 1945)

‘Brighton Pier’,

signed lower right,

acrylic on canvas,

65cm x 99cm

£1,000 - £2,000

92

177

§ Maggi Hambling CBE (b. 1945)

‘Lady Singing’,

1972,


oil on canvas,

74cm x 59cm

£2,000 - £4,000

93

178

§ Archie Forrest RGI (b. 1950)

‘Beach scene, Collioure’,

signed lower right,

gouache,

43cm x 67cm

£400 - £600

179

§ Tim Woolcock (b. 1952)

‘Devon Hills’

2003,


oil on board,

50cm x 60cm

£700 - £900

180

§ Andrew Hemingway (b. 1955)

Still life with birds eggs and a rose,

1997,

signed and dated in Roman numerals lower left,

pastels on paper,

20cm x 21cm

£500 - £700

94

181

§ Paul Raymond Seaton (b. 1953)

Still life study of flowers in a glass jug,

1993,

monogrammed and dated lower left,

oil on canvas,

60cm x 49cm

£300 - £500

182


Anemones in a vase,

still life study,


oil on board,

30cm x 26cm

£200 - £300

183


Blue and white jug and flowers on a table top,

still life study,

monogrammed upper left,

oil on board,

30cm x 36cm

£200 - £300

95

184

§ Raymond Campbell (b.1956)

‘Apple’,

signed lower left,

oil on board,

9.5cm x 9.5cm

£200 - £300

185

§ Raymond Campbell (b. 1956)

‘Blue and white porcelain cup with cherries’,

signed lower left,

oil on board,

9.5cm x 9.5cm

£200 - £300

186

§ Raymond Campbell (b. 1956)

‘Oranges, grapes, greengage, and wine glass’,

signed lower left,

oil on board,

19.5 x 14cm

£250 - £350

96

187

§ Lucy Kinsella (b. 1960)

‘Drinking Horse’,

bronze with verdigris patination,

signed,

93cm high,

raised on a rectangular pedestal,

155cm high overall

Provenance: The Tanyards Collection,

East Sussex

£4,000 - £6,000

97

188

§ Tai-Shan Schierenberg (b. 1962)

‘Head I 1996’,

head and shoulders portrait study,

signed verso,

oil on board,

36cm x 35cm

Provenance: Purchased from Flowers East Gallery, London, 1996

£4,000 - £6,000

189

§ Tai-Shan Schierenberg (b. 1962)

‘Bush, 2001’,

stylised open landscape with forming storm

clouds,

oil on canvas,

102cm x 100cm (unframed on stretcher)

Provenance: Purchased from Flowers East

Gallery, London, 2001

£5,000 - 7,000

98

190

§ Mark Spain (b. 1962)

‘Waiting’,

a study of a young woman sitting on a

scalloped settee,

signed lower right,

oil on canvas,

60cm x 75cm

Provenance: With Halcyon Gallery, London

£200 - £400

191

§ Rory J. Brown (b. 1966)

‘St Paul’s and the City - Light to the Future’

2015,

titled lower centre, signed and dated

lower right,

mixed media on canvas,

122cm x 122cm (unframed on stretcher)

£800 - £1,200

99

192

§ Kirsty Wither (b. 1968)

‘Cheeky Blooms’,

2021,

signed lower left,

titled and dated to a label verso,

oil on canvas,

25cm x 30cm

£500 - £1,000

193

§ Ben Eine (b. 1970)

‘I Stand Here For All The Right Reasons’,

2018,

signed, dated and numbered 12/20

in black ink verso

spraypaint and stencil on brushed

aluminium,

the panel 60cm x 60cm

£400 - £600

100

The György Gordon (1924-2005)

collection of Austro-Hungarian Art

101

Sándor Brodszky

Sándor Brodszky was a succesful Hungarian painter whose works are featured in the

Hungarian National Gallery.

In 1845 he went to Munich, where he spent ten years, during which time he studied at the

Akademie der Bildenden Künste under Albert Zimmermann (1808-88) and Friedrich Voltz

(1817-86). In 1847 he exhibited his painting Solitary Mill (private collection) at the Kunstverein

in Munich. He subsequently became a well-known landscape painter.

As well as many successful exhibitions in Germany, from 1842 he regularly exhibited

landscapes and still-lifes in the annual exhibitions of the Artists’ Association of Pest

(Pesti Muegylet) and he settled in the capital in 1856. In the same year he painted a

view of the Margaret Island (Laxenburg, Royal Collection) for the Emperor Franz Joseph.

In 1857 the Hungarian National Museum in Budapest bought three of his newly painted

landscapes: Balaton in Storm, Ruins of Sasko and Esztergom and its Surroundings (all

Budapest, Hungarian National Gallery). Brodszky’s main interest was stormy landscapes

and landscapes with ruins. Sometimes he painted Hungarian landscapes with details that

were more typical of the Campagna of Rome. His landscapes also included small staffage

figures and popular genre scenes, often painted in a Romantic style.

After 1870 he was one of the conservative landscape painters in Hungary who preserved the

traditions of the artists in Vienna and Munich during the 1840s and 1850s.

194

Sándor Brodszky (Hungarian, 1819-1901)

Landscape with trees,

artist’s stamp verso,


9cm x 12cm

£150 - £250

102

August ‘Nachlass’ von Pettenkofen

Pettenkofen was born in Vienna; his father was a merchant and landowner. He grew up on

his father’s estate in Galitzia. After his father’s death, he grew up with the family of his cousin

Ferdinand von Saar in Vienna. In 1834, giving up a military career, he became a student at

the Academy of Fine Arts, where he studied with Leopold Kupelwieser and Franz Eybl. At this

time, he painted genre works in typical Biedermeier style.

During the Revolutions of 1848, he became a military painter in the style of Carl Schindler.

While performing his duties, he spent some time in Szolnok, Hungary; an area which left a

great impression on him and led to his style becoming more picturesque. In 1852, he went

to Paris and came under the influence of the Barbizon school. His paintings are recognized

for the sincerity with which the artist depicts the uneventful melancholy life of Hungarian

peasants and gypsies, without any theatrical pathos or forced humour.

He was admitted as a member of the Vienna Academy in 1866 and, in 1872, became an

honorary member of the Academy of Fine Arts, Munich. In 1876, he was knighted. Between

1870 and 1880, he took annual trips to Venice. He died at the “Sanatorium Loew” in Vienna in

1889. That same year, a street in Landstraße was named after him. In 1893, he was buried in

a grave of honor (German: Ehrengrab), designed by Viktor Tilgner, at the Zentralfriedhof.

195

August ‘Nachlass’ von Pettenkofen

(Austrian, 1822-1889)

Two sketches of a young child and their Nanny,

each with artist’s stamp lower left,

mounted together above the signature of the artist,

ink on paper,

8.2cm x 11.4cm and 7cm x 8.5cm

£150 - £250

103

196

Karl von Calzada (Austrian, 1824-?)

A portrait of a young gentleman,

1846,

possibly a self portrait,


signed and dated verso,

oil on panel,

19cm x 15cm (oval)

£200 - £400

197

Alajos Gerhardt


River landscape with trees,

oil on board,

7cm x 12cm

£100 - £200

104

Lajos Deák Ébner

Lajos Deák Ébner was a Hungarian painter who studied in Munich and Paris, where he joined

his fellow painters László Paál and Mihály Munkácsy and came under the influence of the

Barbizon school. After 1874, he spent his summers at the Szolnok art colony.

Many of his paintings are realistic portrayals of life around Szolnok. From 1887 to 1922, he was

head of the ‘Budapest School of Painting for Women’ (Budapesti Női Festőiskola). In 1890,

he and Károly Lotz painted frescoes at Tihany Abbey. From 1895 to 1899 he executed more

frescoes at the Kunsthalle Budapest

198

Lajos Deák Ébner (Hungarian, 1850-1934)

A head and shoulders portrait of a girl,

signed lower left,

pastel and watercolour on ingres paper,

24.5cm x 16cm

£100 - £200

105

Baron László Mednyánszky

Hungarian painter-philosopher Baron László Mednyánszky or Ladislaus Josephus Balthasar

Eustachius Mednyánszky, is one of the most enigmatic figures in the history of Hungarian art.

Despite an aristocratic background, he spent most of his life moving around Europe working

as an artist. Mednyánszky spent considerable periods in seclusion but mingled with people

across society – in the aristocracy, art world, peasantry and army – many of whom became

the subjects of his paintings. His most important works depict scenes of nature and poor,

working people, particularly from his home region in Kingdom of Hungary. He is also known

as a painter of folklore of Upper Hungary.

199



Interior scene,

artist’s estate stamp verso,

oil on canvas laid on board,

18cm x 23.5cm

£400 - £800

200



Moonlit trees beside a river,

signed lower right,

oil on panel,

25cm x 35cm

£500 -£1,000

106

201

Baron László Mednyánszky (Hungarian, 1852-1919)

Two First World War drawings, each depicting figures and horses,

the larger signed lower right,

the smaller with inscriptions and the artist’s estate stamp verso,

pencil and wash,

21cm x 30cm and 16cm x 16cm

(2)

£300 - £500

202



A figure and three horses in a landscape,

First World War sketch,

with inscriptions and artist’s estate stamp verso,


9cm x 18.5cm

£150 - £250

203



Six sketch books,

most bearing the artis’s estate stamp,

together with a folio of pictures and prints,

many by Mednyánszky

£300 - £500

107

Béla Spányi

Béla Adalbert von Spányi was one of Hungary’s most renowned painters of landscapes and

scenes of natural outdoor beauty.

Born in Budapest, Spányi took quickly to his artistic studies, later spending three years in

Vienna, then traveling on to Paris and Munich as part of perfecting his talent. His time in

Munich was of particular significance and professional success as his works were in great

demand from the Bavarian art dealers, Spányi even attracted the attention of Bavaria’s

Prince-Regent, later King Ludwig III, a well-known patron of fine art.

In 1889, Spányi was honoured in Berlin by the Fine Arts Society and received their Grand Prize

medal as well as an honorary diploma from their institute.

Spányi’s paintings are in prominent collections around the world, but the majority remains

within Hungary, most notably in the collection of the Hungarian National Gallery.

204

Béla Spányi (Hungarian, 1852-1914)

Woodland landscape,

signed and inscribed verso,

oil on board,

9cm x 11cm

£150 - £250

108

Izsák Perlmutter

Born in Budapest, Perlmutter painted large pictorial studies; ‘Village in the Morning Sun’ won

the Hungarian government gold medal in 1905. Later he concentrated on interpreting the

life of the peasants in Hungary.

The Uffizi Gallery of Florence commissioned his self-portrait in 1926. He left a collection of his

work to the Jewish Museum of Budapest.

205

Izsák Perlmutter (Hungarian, 1866–1952)

A woman sewing in an interior,

a smaller sketch of children upper left,

signed lower right,

pencil on ingres paper,

with inscriptions in ink,

27cm x 23cm

£150 - £250

206

Izsák Perlmutter (Hungarian, 1866–1952)

Ventian canal scene,

signed lower right,


32.5cm x 22cm

£150 - £250

109

Béla Iványi-Grünwald

Béla Iványi-Grünwald was a Hungarian painter, a leading member of the Nagybánya artists’

colony and founder of the Kecskemét artists’ colony. Born in Som, Iványi-Grünwald began

his artistic studies under Bertalan Székely and Károly Lotz at the Academy of Fine Arts in

Budapest (1882–1886) and continued them at Munich in 1886–1887 and at the Académie

Julian in Paris from 1887 to 1890.

His subjects were taken from his immediate surroundings and the human figure is shown

as an integral part of the landscape. Iványi-Grünwald also taught in Hollósy’s Nagybánya

school until he took up an award in 1905 that enabled him to spend a year in Rome. In 1906

he held an exhibition of his works in the Ernst Museum in Budapest, and this event effectively

announced the end of his Nagybánya period, although he remained there a few more

years.

A gradual change was brought about in Iványi-Grünwald’s work by the influence of younger

Hungarian painters returning from Paris and working in the style of the Fauves. More direct

inspiration was provided by the exhibition of modern French Impressionist and Post-

Impressionist painting held in Budapest in 1907.

207

Béla Iványi-Grünwald (Hungarian, (1867-1940)

Gypsy woman and child,

signed lower left,

with pencil inscriptions,

pencil and watercolour on buff paper,

24.5cm x 10cm

£100 -£200

110

Hugó Scheiber

Hugó Scheiber was born in 1873 in Budapest. When he was eight, the family moved to Vienna

where he worked with his father as a set painter in the theatre. At the age of fifteen he

returned to his native city, where he attended the School of Industrial Design and the School

of Decorative Arts. In the early 1900s he was painting in the Post-Impressionist style.

It was only in about 1910 that he became interested in German Expressionism and Futurism.

In the memoirs of composer Paul Arma, Scheiber is described as “pretty much selftaught,

almost illiterate […] a kind of primitive genius, a force of nature […], a virtuoso who

is all instinct.” In 1915 he met Filippo Tommaso Marinetti, who invited him to join the Futurist

movement. In 1921, with the support of Lajos Kassák, he exhibited with his friend Béla Kádár

with Max Hevesi in Vienna. This event brought him the recognition and the money he needed

to keep working. At the time he was fascinated by images of metropolitan life and painted

the cafés, theatres, cabarets and circuses frequented by society at the time. A letter of

recommendation from Kassák brought him to Herwarth Walden, who took a keen interest in

his expressive portraits and these were regularly reproduced, alongside other works, in the

journal Der Sturm after 1924, and shown in several exhibitions, both solo (1924, 1925, 1927) and

group, from then until 1928.

Thanks to his success in Berlin, he began to have exhibitions in London (Rehearsal Theatre,

Poplar Town Hall) and in New York (Brooklyn Museum, Anderson Gallery, Little Review), where

he was invited by Katherine Dreier’s Société Anonyme. In the 1930s, his exhibitions travelled as

far as La Paz. In 1933 Schreiber took part in the big Futurist exhibition in Rome at the invitation

of Marinetti. In the last years of his life his Futuro-Expressionist works were shown at the

National Salon and at the Ernst Museum in Budapest. After the war, like his friend Kádár, he

lived in poverty and obscurity. He died in 1950.

208

Hugó Scheiber (Hungarian, 1873-1950)

Modernist industrial landscape,

signed lower right,

oil on board with impasto,

27cm x 32cm

£500 - £1,000

111

Róbert Berény

Róbert Berény was born in 1887 in Budapest. A prominent representative of the Hungarian

avant-garde movement. Berény began his studies in 1904, at the Tivadar Zemplényi School

of Decorative Arts. In 1905 he went to Paris and became a student of the Julian Academy.

During his time there, Matisse’s and Cezanne’s art had a huge impact on Berény.

In 1909 he became a member of the avant-garde group known as The Eight. Berény played

an active part during the time of the Soviet Republic, and became the head of the painting

department at the Art Directory.

Most of his works can be found at the Hungarian National Gallery. He has numerous works at

the Janus Pannonius Museum (Pécs), in the Deák Collection, in Székesfehérvár, and in private

collections.

209

Róbert Berény (Hungarian, 1887-1953)

Trees in a landscape,

signed lower right,

pastel on paper,

50cm x 69cm

£500 - £1,000

112

210

Hungarian School (early 20th century)

Nude bathers,

1909,

avant-garde study,

possibly by a member of ‘The 8’ (A Nyolcak),

dated and indistinctly inscribed lower right,

pencil inscriptions verso,

oil on canvas,

20cm x 30cm

£200 - £400

‘The 8’ (A Nyolcak), an avant-garde art movement of

Hungarian painters active mostly in Budapest from

1909 to 1918

(clockwise from top left) Róbert Berény, Dezső Czigány,

Béla Czóbel, Károly Kernstok, Lajos Tihanyi, Bertalan Pór,

Dezső Orbán, and Ödön Márffy

113

Gyula Derkovits

Gyula Derkovits was a Hungarian painter and graphic artist, one of the most important

figures in Hungarian visual arts. He learned carpentry in his father’s workshop. He started

drawing at an early age, and was then taught to paint by a title painter. In World War I, his

left arm was paralyzed. He lived in Budapest from 1916. In 1917, his drawings were exhibited in

the editorial office of Ma. Then, at the suggestion of Márk Vedres, he learned painting and

etching at Károly Kernstok’s free school.

Between 1916 and 1918 he made mainly pencil and ink drawings. His paintings made in

Nyergesújfalu during the Council Republic reflect the influence of Kernstok. In 1922, his first

period as a painter ended with a collection exhibition in Belvedere. His works made in Vienna

between 1923–26 show the influence of German expressionist painting. In 1925, he presented

Refugees in Vienna. his painting, in 1927 he organized an exhibition at the Ernst Museum.

In 1928, he created the main work of his graphic work, the series of woodcuts entitled 1514,

inspired by the Dózsa peasant uprising. Around 1931, he transferred his Dózsa series to

etchings. His series of satirical ink drawings made in 1930 is a criticism of bourgeois society.

In the 1920s, Derkovits’s art was associated with expressionism, but in the last years of his life

he created a completely individual formal language for himself, a fine combination of strict

image editing, lyrical colors and inspired depictions of people, with strong social criticism

content.

211

Gyula Derkovits (Hungarian, 1894-1934)

‘Colour Dance’,

1920,

a nude female dancing beside a camp fire,

surrounded by onlookers,



18cm x 14.5cm

212

Gyula Derkovits (Hungarian, 1894-1934)

Deceased figures in a forest,

1922,



15cm x 16.5cm

£400 - £800

£400 - £800

114

213

Gyula Derkovits


Figural sketches,

double-sided page, probably from a

sketchbook,

with inscriptions in pencil,

ink on paper,

24.5cm x 34cm

£200 - £400

214

Hungarian School (19th/20th century)

‘Roma’,

study of boats before buildings,

titled and indistinctly signed lower right,


11.5cm x 18.5cm

£50 - £100

215

Hungarian School (early 20th century)

Double-sided landscape sketches,

each with inscriptions,

pencil on paper,

19.25cm x 28.5cm

£50 - £100

115

István Szonyi

István Szonyi was a Hungarian painter and printmaker. He was admitted to the Academy of

Fine Arts in the autumn of 1913, where his first master was Károly Ferenczy, who in the summer

of 1914 took his students – with Szőnyi among them - to the Artists’ Colony of Nagybánya. As a

soldier on leave, Szőnyi also spent the summers of 1917 and 1918 there. Szőnyi became one of

the most gifted members of the Nagybánya group.

After being discharged in 1918, he returned to the Academy, this time as István Réti’s pupil. In

1921, Szőnyi had his first one-man show at Ernst Museum. During trips to Europe (Vienna and

Berlin) he became acquainted with the great classical masters.

As a significant member of the “etching generation”, he contributed to the development of

Hungarian graphic art at the beginning of the 1920s. Szőnyi was appointed to a professor of

the Academy of Fine Arts in 1937, where he taught for more than two decades.

During his last years he suffered from ill health, spending almost all his time in Zebegény. The

Szonyi Istvan Memorial Museum in Zebegeny, Bartoky was established in 1967.

216

§ István Szonyi (Hungarian, 1894-1960)

‘Rowing boats on the Danube, Zebegény’,

signed lower right,

watercolour,

20cm x 33cm

£500 - £1,000

116

Vilmos Aba-Novák

Vilmos Aba-Novák was a Hungarian painter and printmaker who was one of the most

original and controversial talents in modern Hungarian painting.From 1912 to 1914, Aba-

Novák studied at the College of Fine Arts in Budapest. He then worked at the artists’ colonies

in Szolnok and in Nagybánya (now Baia Mare, Rom.). From 1928 to 1930 he was a fellow at

the Hungarian Academy of Rome, and from 1939 he taught at the College of Fine Arts in

Budapest.

His style combined elements of Expressionism with those of the Italian Novecento. His

dynamic compositions and use of strong colour conveyed a sense of the fantastic;

the worlds of the village fair and the circus were favourite themes. Aba-Novák received

numerous commissions for frescoes from the Hungarian government and from churches

throughout Hungary (notably the frescoes in the Roman Catholic church in Jászszentandrás,

on the Heroes’ Gate in Szeged, and in St. Stephen’s Mausoleum in Székesfehérvár). He won

the jury’s Grand Prize at the Paris World Exhibition in 1937 and that of the Venice Biennale in

1940. His paintings are held in the Hungarian National Gallery and in other public collections,

as well as in several private collections.

217

Vilmos Aba-Novák


Head study,

1925,



22.25cm x 15.5cm

£200 - £400

218

Vilmos Aba-Novák (Hungarian, 1894-1941)

Seated Nude,

1926,


pen and ink on buff paper,

23.5cm x 18cm

£200 - £400

117

219

Vilmos Aba-Novák


Nude study,

1928,


pencil on paper,

20cm x 27.2cm

£200 - £400

220

Vilmos Aba-Novák


Standing Nude,

1921,



32cm x 15cm

£200 - £400

118

Jenö Barcsay

Born in Katona, Hungary in 1900, Barcsay was a descendant of an aristocratic family from

Transylvania. In 1919, he went to Budapest where he began his studies in the Art School and

graduated in 1924. The summer of 1926 was spent in Makó and Hódmezovásárhely, where he

worked on the constructive structural powers in landscapes. In 1926, he went to Paris for a

year where he discovered the works of Cézanne. Cézanne’s paintings greatly influenced the

young artist.

While in Italy in 1927, Barcsay learned about the Quattrocento movement of the early

Renaissance, particularly the anatomical studies of the period. He became a resident

of Szentendre after many visits and embarked on another fellowship to Paris in 1929 to

understand the rules of cubism. He became a teacher at the Municipal Apprentice School

from 1931 to 1945 and later became a teacher at the Art School from 1945 until his retirement,

where he taught figure sketching and anatomy.

221

§ Jenö Barcsay (Hungarian, 1900-1988)

Figures in a woodland landscape,

signed lower right,


42cm x 49.5cm

£400 - £600

119

222

Continental School (early 20th century)

Nude study,

the female sitter depicted half-length, her arms raised,

oil on board,

31cm x 26cm

£150 - £250

120

223

First World War Interest: A signed Grand Hotel Budapest Menu,

January 9th 1917,

signed by (among others):

Mihaily Babits (1883-1941) poet and writer,

Frigyes Karinthy (1887-1938) author and playwright,

Árpád Tóth (1886–1928) poet and translator,

Zoltán Ambrus (1861-1932) writer and translator,

Géza Laczkó (1884-1953) journalist, writer, translator and teacher,

Milán Füst (1888–1967) writer, poet and playwright,

and Aladár Mihály Schöpflin (1872–1950) art critic, literary historian, writer and translator

17.5cm x 10.5cm,

framed and glazed

On January 7, 1917, in Budapest, there were demonstrations against Germany, with the windows of the

German Consulate being broken. This event occurred during a time of great upheaval in Europe, with

World War I ongoing and the Austro-Hungarian Empire facing internal tensions.

This was no doubt the topic of conversation over a dinner shared by the great minds of the time in

Budapest, two days later.

£200 - £400

End of Sale

121

Fine Art & Interiors

8 July 2025

An Impressive fossil triptych

Diplomystus dentatus and Priscacara liops

Eocene Period, 50 million years old

Green River Stone Company Quarry, Lincoln County, Wyoming, USA

each panel 122cm x 60.5cm

Provenance: The Tanyards Collection, East Sussex

Estimate: £12, 000 - £18,000

Gorringe’s are pleased to be inviting consignments for this auction until Tuesday 17th June

For further information, or should you wish to consign, please contact

Gorringe’s on 01273 472503 or email clientservices@gorringes.co.uk

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Pictures Old Masters to Modern British - Tuesday 10th June starting at 10am

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