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John Harris (1791 - 1873), oil on canvas - a Gypsy encampment with a donkey and dogs, signed and dated 1861, in gilt frame, 50cm x 60cm
£100 - 150
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Augustus Walford Weedon (1838 - 1908), watercolour - The Pool, Lymington, signed, in glazed gilt frame, 33.5cm x 52cm
£100 - 150
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Andre Collot (1897-1975) mezzotint - classical scene of figures in rushes, signed and with personal inscription, 24cm x 17cm (plate), together with another mezzotint by the same hand and a signed wood engraving print of a panther, possibly from his series of illustrations for The Jungle Book, all framed (3)
£60 - 100
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John Burman (b. 1936), oil on board - Fakenham Races, signed, framed
£100 - 150
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*Andrew King (b. 1956), watercolour - Sailing Boats, Honfleur, signed, in glazed frame, 30cm x 43cm.
Provenance: Geedon Gallery, 28th April 2003
£150 - 200
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Charles Pyke (1770 - c. 1846), watercolour - 'Stoke Hills & Bridge, viewed from St. Peter's Dock, 1800, sketched Pyke', in glazed frame, 24.5cm x 40cm.
N.B. It is believed that this watercolour was the one used to produce a set of engravings depicting views of Ipswich in 1800, which were advertised in the 'Ipswich Journal' (see www. suffolkpainters.co.uk)
£100 - 200
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Edouard Joseph Dantan (1846 - 1897), oil on canvas - 'Hercule aux pieds a Omphale', signed and dated 1874, 105cm x 146.5cm, in fine period gilt gesso frame.
Exhibited: The Paris Salon, 1874, where the painting was awarded a third class medallion.
Provenance: Purchased from The Paris Salon, by Mr Hutton representing The Royal Manchester Institution, believed acquired from The Institution or the subsequent Manchester Art Gallery, by the Sidebottom family, prominent industrialists and cotton mill owners in the Manchester area, thence by family descent to the present owner. Footnote: In the myth of Hercules and Omphale, Hercules is commanded by the Delphic Oracle Xenoclea to be enslaven to Omphale for a year, penance for the inadvertent murder of Iphitus. The Musee des Avalines of St. Cloud (the artist's birthplace) hold Dantan's own accounts book, a digital file of which may be viewed at http://webmuseo.com/ws/musee-des-avalines/app/report/livre-de-raison-DANTAN.html.
This marvelously thorough document suggests that preparatory work for the painting was commenced in January 1873. Further entries in his log include in June 1873 - 'Etude de femme pour la tablean d'Hercules & Omphale'. By March 1874, the painting was complete and when offered in the salon, both the current work and another work described by Dantan as 'Moine Sculpture un Christ en bois' were awarded a third class medal. The theme of Hercules and Omphale was tackled by many 19th century writers and painters, no doubt owing to the great potential to explore the sexual undertones of the story. In Dantan's painting, the model for Omphale is his then partner, Agostina Segatori, mother to Dantan's first child. Agostina Segatori was a celebrated beauty and well-known model, featuring in works by many of the leading 19th century French artists including Corot, Manet, Delacroix and Gérôme. After splitting with Dantan, she later ran the 'Cafe de Tambourin', a notorious haunt of Cosmopolitan Paris, the cafe was decorated with paintings by Edouard Dantin, and in time also displayed works by Vincent Van Gogh, who gifted Segatori his still lifes in exchange for free food, he held his first Paris exhibition in the Cafe and also exhibited there alongside Gaugain and others. In due course Segatori became Van Gogh's lover and her portrait was captured in several of his paintings.
The Dantin account book confirms the present work was purchased by Mr Hutton 'membre de la Royale Invitation de Manchester' for 3000 francs. Mr Richard was paid 300 francs commission. Mr James T. Hutton was on the hanging committee of the Royal Manchester Institution in 1874 and on the council for at least the following 10 years. It is certain that The Royal Manchester Institution were in the market for paintings; established in 1823 with the objective of promoting Manchester as a centre of culture and refined taste. They were keen buyers and had funds, with wealthy industrialists amongst the Institutions members. What happened next in the present lot's history is less clear but it may be that when the Institute was dissolved in 1882 and the Art Collection was transferred to form the Manchester Art Gallery, that sometime soon after, the painting was sold. Certainly, the Art Gallery continued to have selling exhibitions for many years. An engraving by an unknown hand was taken around this time and illustrated in 'Great Men and Famous Women', edited by Charles Horne, pub 1894. The painting has for many years been in a local Suffolk collection and by family tradition, descended from the Sidebottom family, wealthy Manchester Industrialists. It is highly likely that the painting has been unseen by the general public for over a century and this exceptional work accurately befits the term 'lost masterpiece'
£30000 - 50000
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Peter Brooks (b. 1943), pen and ink - Stealth Bomber, signed and dated 13. 1X. 96., in glazed gilt frame, 26cm x 35cm.
Provenance: Chris Beetles, Ryder Street. Illustrated: The Times, 13th September 1996
£200 - 300
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Rowland Emett (1906 - 1990), ink and monochrome watercolour - "He Said If he took this camouflage job on he'd have to do it in his own way...", signed and inscribed, in glazed gilt frame, 19cm x 26cm.
Provenance: Chris Beetles, Ryder Street. Illustrated: Punch, 10th May 1944, page 392.
Exhibited: The Illustrators, The British Art of Illustration 1800 - 1991, no. 465
£500 - 700
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Michael Ffolkes (1925 - 1988), pen, ink and monochrome watercolour - "I enjoy the inventing. It's laying the rails, I hate", signed and inscribed, in glazed gilt frame, 23cm x 32cm
£250 - 350
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*Ronald Searle (1920 - 2011), pen, ink and watercolour - costume design for Frank Duncan as Arnold in 'Wild Thyme' Act 1, signed and inscribed, in glazed gilt frame, 26cm x 19cm.
Provenance: Chris Beetles, Ryder Street
£500 - 700
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*Henry Mayo Bateman (1887 - 1970), pen and ink cartoon - Present Arms, initialled and dated '19, in glazed gilt frame, 13.5cm x 15.5cm.
Provenance: Chris Beetles, Ryder Street
£400 - 600
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Louis Wain (1860 - 1939), watercolour - Lucky Black Cat, signed, in glazed gilt frame, 20.5cm x 11.5cm.
Provenance: Chris Beetles, Ryder Street.
Exhibited: The British Art of Illustration 1800 - 1995
£600 - 800
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Kamagurka (Luc Zeebroek b. 1956), pen, ink and crayon - A. and B. Mundsen Discover The Ancient Banana Joke in The Nile Valley, signed, mounted, 18cm x 25cm
£60 - 100
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Ken Pyne (b. 1951), pen and ink cartoon - "Since he appeared in pantomime, he's regarded it as his lucky costume", signed and inscribed, in glazed gilt frame, 14.5cm x 20cm
£100 - 150
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Reg Smythe (1917 - 1998), pen, ink and watercolour - "Wait For Me, Flo - !"..., signed, in glazed gilt frame, 9cm x 34cm.
Provenance: Chris Beetles, Ryder Street.
Exhibited: The British Art of Illustration 1780 - 1993, no. 563
£80 - 120
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Louis Wain (1860 - 1939), pencil sketch - a Pig in Judge's Wig, signed, in glazed ebonised frame, 25cm x 17cm
£150 - 200
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Louis Wain (1860 - 1939), pencil sketch - a Jovial Pig, signed, in glazed ebonised frame, 24cm x 18cm
£150 - 200
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Louis Wain (1860 - 1939), pencil sketch - a Terrier, signed, in glazed ebonised frame, 24cm x 18cm
£150 - 200
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Georges Du Maurier (1834 - 1896), pen and ink illustration - 'Things one would rather have left unsaid', signed, inscribed and dated 1885, in glazed frame, 21cm x 14cm
£200 - 300
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An early pen, ink and pastel map of Australia, in glazed frame, 33cm x 43cm
£150 - 250
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William Huggins (1820 - 1884), pencil and pastel study - A Lion, signed, in oval mount, 21.5cm x 28cm
£150 - 200
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Circle of Edward William Cooke (1811 - 1880), oil on panel - fisherfolk and their boats on the shore, in gilt frame, 36cm x 54cm
£300 - 500
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Attributed to William Anderson (1757 - 1837), watercolour - a Naval engagement, mounted, 19cm x 35cm
£200 - 300
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Circle of George Weatherill (1810 - 1890), watercolour - shipping off Whitby, in glazed gilt frame, 13cm x 19cm
£150 - 200
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Circle of Edward Angelo Goodall (1819 - 1908), watercolour - an extensive Continental Harbour, in glazed gilt frame, 32cm x 59cm
£150 - 200
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*Frank Brangwyn (1867 - 1956), black and white etching - figures gathered in a street, initialled, in glazed frame, 9.5cm x 6.5cm
£100 - 150
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*Frank Brangwyn (1867 - 1956), black and white etching - portrait of a man, signed, in glazed frame, 6.5cm x 5cm
£100 - 150
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*Frank Brangwyn (1867 - 1956), black and white etching - female figures, signed, in glazed frame, 4.5cm x 15cm
£100 - 150
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*Frank Brangwyn (1867 - 1956), black and white etching - figures and geese, initialled, in glazed frame, 9.5cm square
£100 - 150
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*Frank Brangwyn (1867 - 1956), black and white etching - portrait of a smiling man, unsigned, in glazed frame, 6.5cm x 6cm
£100 - 150
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Pair 19th century Naive School oils on canvas - Prize Pigeons in landscape, in gilt frames, 29cm x 34cm
£400 - 600
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*Cecil Kennedy (1905 - 1997), oil on canvas - still life of flowers in a vase, signed verso and dated 1927, inscribed, in gilt frame, 29cm x 19.5cm.
Provenance: Roland Goslett, Richmond 2001, copy of receipt verso
£2000 - 3000
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Mary Bampfylde Daniell (Exh: 1898 - 1908), Canadian School oil on canvas - Entrance to Victoria Harbour, titled to exhibition label verso, in gilt frame, 29.5cm x 95.5cm
£1000 - 1500
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Tom Campbell (1865 - 1943), watercolour - A Scottish Bay, signed, in glazed gilt frame, 24cm x 36cm
£100 - 150
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Frederick George Wills (1901 - 1993), watercolour - Blackbrook Reservoir, Leicestershire, signed, inscribed and dated 7 / 5 / 49, in glazed gilt frame, 26cm x 35cm
£100 - 150
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Pair of early 19th century English School watercolours - Highland Lochs, inscribed verso, in glazed gilt frames, 18cm x 26cm
£60 - 100
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William Hogarth (1697 - 1764), set of twelve engravings - Industry and Idleness, 1747, in glazed gilt frames, 27.5cm x 35cm
£400 - 600
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William Lionel Wyllie (1851 - 1931), signed etching - Shipping in the Pool of London, signed in pencil, in glazed gilt frame, 33.5cm x 48cm
£300 - 500
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Harry T. Tittensor (1887 - 1942), watercolour and gouache - Archway, Rouen, signed, in glazed gilt frame, label verso dated 1933, 42cm x 50cm
£250 - 350
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*Charles Pears (1873 - 1958), oil on canvas - a Tug towing in a sailing ship to harbour, signed, in gilt frame, 50cm x 75cm
£1000 - 1500
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George Henry Laporte (1799 - 1873), watercolour - a scene from Ivanhoe, original handwritten label verso, in glazed gilt frame, 60cm x 100cm
£450 - 650
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Thomas Moule (1784 - 1851), ink and watercolour - A View Through a Window, "From Albert Villa on Clevedon Hill 1849", Isle of Wight, initialled and entitled, in glazed frame, 13cm x 19.5cm.
Provenance: Sabin Galleries, Cork Street, label verso
£100 - 150
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Gordon Davies (1926 - 2007), oil on board - The Farm at Saint Martin Terressus, signed and dated '91, inscribed verso, in painted frame, 24cm x 34cm
£150 - 200
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Gordon Davies (1926 - 2007), oil on board - La Rochelle, signed and dated '94, inscribed verso, in gilt frame, 30.5cm x 45cm
£200 - 300
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John Piper (1903 - 1992), signed Artists Proof coloured etching - The Seasons: Autumn, in glazed frame, 40cm x 33cm
£200 - 300
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Giovanni Battista Piranesi (1720 - 1778), etching - Obelisco Egizio, circa 1759, in glazed frame, 54.5cm x 40.5cm
£150 - 200
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Mid-19th century English School, oil on board - fishing boats in squally seas, in gilt frame, 24cm x 29cm
£100 - 150
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Early 19th century English School, oil on panel - coastal landscape, unloading the catch, in gilt frame, 25cm x 35cm
£250 - 350
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William Daking of Bocking, early Victorian oil on canvas - portrait of Miss Lydia Smith, aged 6, inscribed verso and dated 1837, in gilt frame, 60cm x 50cm
£200 - 300
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