1. Abbe, Salomon van (1883 – 1955)PAIR: Women at a well, a print and drawing.Drypoint etching. Signed and editioned ’15/50′. Sold with a study for the print in charcoal.10.5×10.5 inches.●
2. ANON (Nineteenth-Century)Profile of a woman in a bonnet.Pencil and watercolour. c.1820.7×4.5 inches.Framed: 14×11 inches.●
3. ANON (Nineteenth-Century)Tazza of fruit.Pencil, charcoal and stump. Signed ‘C.H.’. Inscribed and dated, ‘Colinshays May 25th 1832’ [Colingshay House, near Bruton].12.5×13.5 inches.Framed: 18×20 inches.●
4. ANON (Twentieth-Century)Woman in a cafe.Oil on canvas. 1930s. Provenance: Gawdy Hall, Norfolk.24×20 inches.●
6. ANON (Nineteenth-Century)The Wedding Dress; a Commitment before an altar.Oil on panel. Circa 1840.18×13 inches.Framed: 23×18 inches.●
7. Ayrton, Michael (1921 – 1975)‘Black Still Life’.Oil on board. 1959. Signed. Exhibited: Matthiesen Ltd, 1959, Cat. No.29. Ex. Collection: Andrew Burt. Literature: J. Hopkins, ‘Michael Ayrton Centenary: Ideas, Images and Reflections’, 2021.40×30 inches.Framed: 41.5×31.5 inches.●
8. Burne-Jones Bt. A.R.A, Sir Edward Coley (1833 – 1898)Sir Palomides; a study for Burnes Jones’s unfinished painting ‘Tristram and Iseult’ (Private Collection).Pencil. 1871. Provenance: Frederick Robinson Koch; Nevill Keating Pictures Ltd; John Schaeffer; Christie’s, Sydney, 16 May 2004, lot 365; Seymour Stein. Literature: John Christian, ‘Burne-Jones’s ‘Tristram and Iseult’ Rediscovered’, The Burlington Magazine, Vol. 154, No.1313, August 2012.10×8 inches.Framed: 17.75×14.5 inches.●
9. Bawden C.B.E. R.A., Edward (1903 – 1989)SET: Three designs for playing cards.Linocut with hand touching in ink and gouache. 1957. Printed on handmade Hayle Mill paper. Originally made for a competition run by De La Rue to celebrate their 125th anniversary. This design was not formally editioned at the time, though an edition of 25 was later produced by Merivale Editions in black and white in 1988.12×8 inches.●
13. Cheney, (Robert) Henry (1801 – 1866)Italy; Florence, the Duomo from the Boboli Gardens.Watercolour. c.1835. Inscribed and dated, ‘August 16’ verso. Provenance: Robert Henry Cheney and by descent; Christies, Cheney Sale, 12.10.2005.7.25×6 inches.Framed: 15×13.25 inches.●
15. Crockett, John (1918 – 1986)WWII; ‘Here, where the whoreson minds throw all our lives abroad; our hopes and fears, our pleasures and our loves…’.Pen, ink and watercolour. Signed and dated, ‘January 10th 1942’.19.75×13.5 inches.●
16. Cummings, Michael (1919 – 1997)Joseph Stalin reading the newspaper ‘Izvestia’.Pen and ink. 1940s. Probably for The Tribune or The Sunday Express.4×3 inches.Framed: 7.25×6.5 inches.●
17. Finney, Hubert Arthur (1905 – 1991)A fishing boat and quay from an upstairs window.Pencil, pen, ink and watercolour. Exhibited: Duncan Cambell, Hubert Arthur Finney Studio Sale, 2007.17.5×11.75 inches.●
19. Gruau, Rene (1909 – 2004)‘Remember these for next Spring’.Brush and ink fashion illustration. Circa 1960. Signed and inscribed.17.75×12.75 inches.Framed: 26.5×21 inches.
21. Halliwell, Albert Edward (1905 – 1987)Poster Design; ‘Kent County Art and Crafts Federation, 4th Annual Exhibition’.Pencil and gouache. c.1930. Signed. Provenance: the Artist’s Estate.29.5×21.25 inches.Framed: 34×25.5 inches.●
23. Heriot, George (1759 – 1839)Derbyshire; the Gorge at Matlock, ‘View near Cromford Village, 29th September 1819’.Watercolour. Inscribed and dated verso.4.5×7.25 inches.Framed: 12×14.5 inches.●
27. Lee R.A., Sydney (1866 – 1949)‘A Venetian Merchant’ (RM165).Wood-engraving. Signed. Signed and dated, 1928 in the block. Edition not declared (probably 100). Lee exhibited an oil of same subject at the R.A. in 1924.11.75×15 inches.
29. Morgan (Early Twentieth Century), L. LouisaScotland; ‘Snow Capped Arran’.Oil on canvas. Signed and titled to an old label verso. Also labelled ‘The Hut, Fairlie’, from where the view was presumably painted.10.5×15 inches.Framed: 13.75×18.25 inches.●
33. Parke, Henry (1792 – 1835)Egypt; the Temple of Maharraqa.Pencil and sepia wash. Signed and dated, 1824. Inscribed, ‘Ruins of Temple at Ofedino in Nubia’.5.75×9.25 inches.Framed: 13.5×16.5 inches.●
39. Varley O.W.S., John (1778 – 1842)A Lake Scene, Evening.Pencil and watercolour. Signed and dated 1804, verso. Exhibited: Andrew Wyld, 2011.4.25×5 inches.Framed: 7.5×8.5 inches.●
44. Webb, Joseph (1908 – 1962)‘A Buckinghamshire Lane’.Etching. 1930. Signed, titled and inscribed ‘1st State’. Inscribed ‘Midcross Press 1930’ under the mount.4×5.75 inches.
£875
JOHN FLAXMAN (1755-1826)
These casts were taken from maquettes by John Flaxman in the collection of University College London. They belonged to Lawrence Gowing and were likely made c.1975-1985 while he was Slade Professor.
45. Flaxman (After), John (1755 – 1826)‘Come thou blessed’; model for the monument to Agnes Cromwell in Chichester Cathedral (1797/98).Plaster cast. Made c.1975-1985 while Gowing was head of the Slade. Provenance: Sir Lawrence Gowing (1918-1991).13.5×7 inches.●
46. Flaxman (After), John (1755 – 1826)‘Come thou blessed’; model for the monument to Agnes Cromwell in Chichester Cathedral (1797/98).Plaster cast. Made c.1975-1985 while Gowing was head of the Slade. Provenance: Sir Lawrence Gowing (1918-1991).21×10.5 inches.●
47. Flaxman (After), John (1755 – 1826)‘Thy Will Be Done’; model for the monument to Rev. Thomas Brand, Wath, Yorkshire (1815-16).Plaster cast. Made c.1975-1985 while Gowing was head of the Slade. Provenance: Sir Lawrence Gowing (1918-1991).12×9.5 inches.●
48. Flaxman (After), John (1755 – 1826)An Evangelist.Plaster cast. Made c.1975-1985 while Gowing was head of the Slade. Provenance: Sir Lawrence Gowing (1918-1991).14.5×5.5 inches.●
49. Flaxman (After), John (1755 – 1826)Mourners and Angel.Plaster cast. Made c.1975-1985 while Gowing was head of the Slade. Provenance: Sir Lawrence Gowing (1918-1991).9.5×17 inches.●
50. Flaxman (After), John (1755 – 1826)Roman Senators.Composite cast. Made c.1975-1985 while Gowing was head of the Slade. Provenance: Sir Lawrence Gowing (1918-1991).13.75×6 inches.●
51. ANON (Twentieth-Century)Portrait of a woman in blue.Oil on card. c.1950. Probably by Harry (1920-1994) or Patricia (1925-2007) Redman. Provenance: the Estate of Harry Redman (1920-1994).12.75×10 inches.●
52. ANON (Seventeenth-Century)View of a Dutch town from the river.Pen and ink. Provenance: Album of drawings by Samuel Ward of Great Yarmouth (1710-1778).2.25×5.5 inches.Framed: 12.5×10 inches.●
55. Barber, Joseph (1757 – 1811)Landcape with bridge and ruin.Pencil and watercolour. Paper watermarked 1804. Provenance: Iolo Williams.8.25×11.25 inches.●
58. Carrick, James Mulcaster (1833 – 1896)France; ‘Villafranca near Nice’ (Villefranche-sur-mer).Oil on canvas. Signed and dated, 1884. Signed, inscribed and dated, verso.8×12 inches.●
61. Cox O.W.S., David (1783 – 1859)Wales; ‘Cader Idris from Kymmer Abbey’ [sic. Cymer].Pencil and watercolour. Exhibited: Society of Painters in Watercolour, 1828, No.62.; A Special Collection of Works by David Cox, Birmingham, 1890, No.456. Provenance: A. Pugin; William Everitt; Sotheby’s, 1/4/1993, lot 102; Private Collection.17×26 inches.Framed: 30.5×39.5 inches.
63. Drury, Paul (1903 – 1987)‘Evening’ (G.16).Etching. Signed and dated, 1925. State 3. Edition of 60. Numbered ‘No.36’ and titled under the mount.3×4 inches.●
64. Daintry, Adrian (1902 – 1988)Bedfordshire; Woburn Abbey, the Saloon.Pen and ink. Exhibited: Sally Hunter, ‘Adrian Daintry’, February 1988, No.57.21.5×14.5 inches.Framed: 27×21.5 inches.
70. Fry, Roger (1866 – 1934)‘Interior’ [Nina Hamnett].Woodcut. 1921. Printed from the original block (now in the Hogarth Press Archive, Reading University) at The Fleece Press and published by The Wood Lea Press, 1998.7.5×5 inches.Framed: 13×11 inches.●
76. Girtin, Thomas (1775 – 1802)Roxburghshire; ‘Jedburgh Abbey’, from the Riverbank.Pencil and monochrome wash. After another artist’s composition. Signed and dated 1794. The original mount inscribed ‘Jedburgh Abbey’ in another hand. The original mount further inscribed ‘Jedburgh Abbey by T. Girtin’ and ‘Belonged to Dr. Munro / Christie’s Sale 27 March 1936. / Lot No.1.’. Provenance: Dr Thomas Monro (1759-1833); … Christie’s, 27 March 1936, lot 1 as ‘Jedburgh Abbey and Six other Sepia Drawings of Landscapes and Sky Studies’; bought by Thos. Agnew & Sons; Norman Dakeyne Newall (1888-1952); his widow, Leslia Newall (d.1979); Christie’s, 14th December 1979, lot 145. Literature: this is one of the group of small sketches listed in Greg Smith, ‘Thomas Girtin: The Art of Watercolour’, Tate, 2002, Cat No. 27, p.47; Greg Smith, ‘Thomas Girtin (1775-1802): An Online Catalogue, Archive and Introduction to the Artist’, Cat no. TG0188.4×6 inches.●
77. Green, Amos (1735 – 1807)Yorkshire; Roos Castle.Pencil and watercolour. Ex. Collection: John Abbott.9.25×15 inches.Framed: 16.5×22.25 inches.●
78. Leighton, Clare (1898 – 1989)January: ‘Lambing’.Wood-engraving. 1933. For ‘The Farmer’s Year: A Calendar of English Husbandry’. Signed and titled. Editioned ‘1/30’ and ‘Second State’. From the US edition of 30 (there were also 20 issued in the UK).8×10.25 inches.●
79. Hunt, William Holman (1827 – 1910)‘The Desolation of Egypt’ (Hartnoll 15). The artist in his tent at Giza, 1854.Etching on cream chine colle, applied to original backing sheet from the only published edition (of 500) as issued in ‘Etchings for the Art Union’ for the Etching Club in 1857.1.75×4.25 inches.Framed: 13×17 inches.●
80. Lear, Edward (1812 – 1888)Italy; ‘Tivoli’.Pencil and monochrome wash. Inscribed and dated ‘Tivoli May 7th 1838’. Provenance: The Acland family. Exhibited: Fry Gallery.7×9.75 inches.Framed: 13.5×16.75 inches.●
81. Lamont, Edie (1899 – 1983)Spain; ‘Almunecar’.Ink and watercolour. Signed and dated. Exhibited: Leicester Galleries, ‘Artists of Fame and Promise, 1958, No.47.15×11.5 inches.Framed: 20.5×16.75 inches.
£575
82. Lee, Joseph (1901 – 1974)WW2: ‘Smiling Through / Desirable Residence / “Anything else you can think of, Dear?”‘Pen, ink and crayon. Signed and inscribed. For ‘The London Evening News’. Dated: 29th June, 1940.15×13 inches.
84. Raverat S.W.E., Gwen (1885 – 1957)Woman reading.Pencil. Provenance: Given by Raverat to the journalist Amy Landreth, and by descent.6.5×9.25 inches.Framed: 15.5×17.5 inches.●
85. Linnell, William (1826 – 1906)A Life Model, probably at the Royal Academy Schools.Recto: Front View. Verso: Back View. Black and white chalks on blue grey paper. Circa 1845. Provenance: Mrs Joan Linnell Burton. 28×17.5 inches.
89. Roussel, Theodore Casimir (1847 – 1926)‘Last Poppies’ (H120).Etching with soft ground. 1897. Edition of about 12 coloured impression and 20 monochrome proofs.3×2.5 inches.
£700
90. Rowlandson, Thomas (1756 – 1827)East Sussex; Brighton / Dieppe, ‘Embarking from Brigthelmstone to Diepp’. [sic]Etching. Signed, title and dated, 1787 in the plate.9.5×14.25 inches.●
96. Thornton, Valerie (1931 – 1991)‘Studio Creation’Charcoal and pastels. 1989/90. Inscribed verso in Michael Chase’s hand. Provenance: the artist’s husband, Michael Chase, and by descent.20.5×14.5 inches.Framed: 28.5×22 inches.
100. Williams, Hugh William ‘Grecian’ (1773 – 1829)Greece; ‘The Plains of Marathon’.Watercolour. c.1818. Inscribed verso with descriptions to the numerical key recto. Ex. Collection: William St Clair.5×8.75 inches.●
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