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A FOLIO OF OLD MASTER PRINTS principally Netherlandish, to comprise examples by or after Nicolaes van Berchem, Rembrandt (later impressions), Adriaen van Ostade, Christian Dietrich, Cornelis Dusart, Jakob Hackaert, Jan van Aken, Stefano della Bella, Karel Dujardin and others, some trimmed scraps, unframed (approx 57 leaves)
* Examples by/after Dietrich, Ostade and Dusart illustrated ++ Mixed condition; some trimmed; many later impressions; overall good £400-600 (+ 26.4% BP*)
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TWO PAIRS OF ARCHITECTURAL ENGRAVINGS depicting 'Obeliscus Pamphilius' from J. Blaeu's Citta del Vaticano, Roma e Napoli, 1682/1705, 46 x 30.5cm.; and Roman triumphal arches by P. Sluiter after J. Goeree, 35 x 45cm. (4) Provenance: London, Norman Blackburn, May 1997 ++ Some foxing; slight discoloration; the latter pair trimmed at left and right edges £150-200 (+ 26.4% BP*)
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SIX ARCHITECTURAL ENGRAVINGS to comprise designs for architectural elements after Bernini, Borromini, da Cortona and Il Domenichino; also the front elevations of Shobden Court (Herefordshire) by H. Hulsbergh after C. Campbell; and of Newcastle House by Sutton Nicholls, 1754, various sizes (6) Provenance: (first four) London, Phillips, April 1996 ++ Some foxing and pale old stains £200-300 (+ 26.4% BP*)
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AFTER JEREMIAS WOLFF (1663-1724) ARCHITECTURAL ORNAMENT Six, engravings, by Jean Berain and Gottfried Stein, published Augsburg c.1712-1724 32 x 25cm. and 32.5 x 27.5cm. (6) Provenance: London, Norman Blackburn, December 1988 ++ Good impressions; some slight soiling £200-300 (+ 26.4% BP*)
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JACOBUS HOUBRAKEN (1698-1780) THE HEADS OF THE ILLUSTRIOUS PERSONS OF GREAT BRITAIN Seventeen engravings from the celebrated series, sitters include Sir Francis Bacon, Oliver Cromwell [see illus.], Robert Devereux, Robert Dudley, Sir Walter Ralegh, Sir Francis Walsingham, King William III and many others, after various artists, published by J and P Knapton, c.1738-1744 Each image 35.5 x 22cm. (17) ++ Generally good. £150-200 (+ 26.4% BP*)
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GIUSEPPE VASI (1710-1782) LA VEDUTA DEL FIANCO DESTRO DELLA BASILICA VATICANA..; L'INTERNO DELLA BASILICA VATICANA.. Two, engravings, 1775-1778 but from a later edition (the former with Regia Calcografia blindstamp), each image on two joined sheets Each 69.5 x 96.5cm. (2) Provenance: London, Norman Blackburn, October 1995 ++ Each in good condition; the latter with slight mount burn in the margins £600-900 (+ 26.4% BP*)
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JOHN GOULD (1804-1881) SITTA FORMOSA (BEAUTIFUL NUTHATCH) Lithograph with hand colouring by Gould and H. C. Richter, printed by Hullmandel & Walton 50.5 x 35cm.; with another coloured lithograph, 'Iyngipicus Canicapillus', by W. Hart, mounted to a similar size (2) ++ Time toning in the former example; the latter generally good condition £120-180 (+ 26.4% BP*)
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AFTER WILLIAM HOGARTH (1697-1764) FOUR PRINTS OF AN ELECTION: AN ELECTION ENTERTAINMENT; CANVASSING FOR VOTES; THE POLLING; CHAIRING THE MEMBERS The set of four engravings by the artist, C. Grignion, S. le Cave and F. Aviline, slightly later impressions, originally published 1755-1758, pls. 2-4 with slight hand colouring in the sky only Each image 40 x 53.5cm. (4) Provenance: London, Phillips, September 1996 ++ Good impressions; slight soiling, handling marks etc £200-300 (+ 26.4% BP*)
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GEORGE CRUIKSHANK (1792-1878) THE BOTTLE The suite of eight glyphographs (electrotypes produced from an engraved plate), published by David Bogue, 1847-1848 Each 22 x 33cm. (8) Provenance: London, Christies South Kensington, August 1996
* The Bottle, inspired by Hogarth's The Rake's Progress, sees Cruikshank chart a drinker's calamitous descent from family man to violent dereliction and insanity. The plates were cheaply produced to ensure that they could address effectively the peril of alcohol for the vulnerable working classes. ++ Some time-staining and a few pale stains £150-250 (+ 26.4% BP*)
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DAVID ROBERTS, RA (1796-1864) BRIDGE OF TOLEDO, MADRID (from 'PICTURESQUE SKETCHES IN SPAIN') Tinted lithograph with hand colouring, published by Hodgson & Graves 1837, laid onto support sheet, unframed 27.5 x 39.5cm.; with 'The Mosque, Cordoba', 'On the Daro, Granada', and 'Part of the Cathedral at Burgos' from the same series (these framed); and 'Cochem', unframed. (5) ++ Principal item with some pale foxing; the others a little time-toned and faded £150-200 (+ 26.4% BP*)
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GIOVANNI ANTONIO CANAL, called CANALETTO (1697-1768) VIEW OF A TOWN WITH A BISHOP'S TOMB (Bromberg 16) Etching, c.1740-1744, on laid, unframed Plate 29.6 x 30.2cm; sheet 30.6 x 31cm. Provenance: Stamp verso of R. St. J. Davison ++ Generally good condition; narrow margins; some time-toning and pale spots of foxing; a few slight handling marks £800-1200 (+ 26.4% BP*)
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ITALIAN SCHOOL, 16th/17th CENTURY A SKETCH OF MEN ON HORSEBACK Red chalk, with a later attribution to Pisanello on reverse of support sheet, unframed 19 x 22cm. ++ Laid down; small nick on lower edge; some foxing, handling marks etc. £400-600 (+ 26.4% BP*)
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FOLLOWER OF AELBERT CUYP (1620-1691) STUDY OF TWO FIGURES Grey wash 17.5 x 22cm. Provenance: Formerly in the collection of Paul Sandby (according to a later inscribed label on the backboard) ++ The paper time stained; some foxing; ink blot on seated man's cheek; graze on standing man's cape £150-200 (+ 26.4% BP*)
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AFTER FEDERICO ZUCCARO (1540-1609) THE DISPUTATION OF SAINT CATHERINE OF ALEXANDRIA Bears inscriptions 'by Bacio' and 'Bacio', pen and brown ink with brown wash, traces of black chalk, heightened with white 32 x 47cm.
* A period copy of a drawing in Washington, National Gallery of Art, in preparation for the fresco in Santa Caterina dei Funari, Rome. Zuccaro's own composition does not include the figure on the left. Provenance: Sir Peter Lely; T. Thane; and two further collectors' marks (one possibly that of N. F. Haym) £600-800 (+ 26.4% BP*)
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ANGLO-FRENCH SCHOOL, 18th CENTURY PORTRAIT OF A GENTLEMAN, TRADITIONALLY IDENTIFIED AS LLOYD KENYON, 1st LORD KENYON (1732-1802) Bust length, wearing a long wig, pastels 48.5 x 39.5cm. Provenance: According to an inscription on the backboard, this was purchased at Sothebys in May 1919 as being by John Russell and described as a portrait of Lord Kenyon (from the collection of Major Lyon since 1894). It more probably depicts his father, also Lloyd Kenyon (1696-1773), a country gentleman and JP in Flintshire. ++ With some foxing, blemishes, marks and rubbing £200-300 (+ 26.4% BP*)
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FOUR OLD MASTER DRAWINGS comprising a wash drawing of a goat, ascribed to Johannes Lingelbach, bears signature, 21 x 27.5cm.; an ink drawing of fishermen in boats at sea, style of Bonaventura Peeters, bears initials, 14.5 x 27.5cm.; a red crayon drawing of an Italianate landscape, style of Francisque Millet, 19.5 x 30.5cm.; and a black crayon drawing of a putto feeding a leopard, 18 x 23cm., the last two unframed (4) ++ The first two each a little worn and in need of a clean; the third laid down; the last satisfactory £200-400 (+ 26.4% BP*)
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ALIDA WITHOOS (1660-1715) ROSES AND WILD STRAWBERRIES IN A BOWL Inscribed indistinctly lower right, with No69 lower centre, gouache on blue paper, on washline support sheet Sheet 27 x 21cm.; sight 36 x 29cm. Provenance: The collection of the late Ruth, Lady Fermoy ++Slight water stain on left edge; needs a light clean £200-300 (+ 26.4% BP*)
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THOMAS LYDE HORNBROOK (1780-1850) A VIEW AT ST. MALO Inscribed St Malo, watercolour and pencil 19 x 24.5cm. Provenance: London, The Parker Gallery ++ Good condition £200-300 (+ 26.4% BP*)
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NICHOLAS CONDY (1799-1857) NEAR THE HAMOAZE, PLYMOUTH Watercolour heightened with touches of bodycolour 10.5 x 14cm. Provenance: London, Frost and Reed Ltd; Plymouth Museum collection ++ Slightly oxidised pigments in the clouds £400-600 (+ 26.4% BP*)
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WILLIAM PAYNE (1760-1830) FISHERMAN IN AN ESTUARY OFF THE NEEDLES, ISLE OF WIGHT Watercolour with pen and ink 22.5 x 31.5cm. ++ Slight fading in sky £200-300 (+ 26.4% BP*)
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A GROUP OF SIX FRAMED DRAWINGS AND WATERCOLOURS to comprise landscape and marine subjects from c.1770-c.1840, principally watercolour, some with ink, various sizes (6) ++ Mixed condition; generally faded/poor £70-100 (+ 26.4% BP*)
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SIX ASSORTED WATERCOLOURS to comprise a city across a river by James Baker Pyne, 11 x 35cm. [see illus.]; a village view by John Flower (pupil of de Wint), 13.5 x 33cm.; a scene at Mortlake by Thomas Lindsay, October 1832, 11 x 21cm.; a town scene by W. H. Harriott (style of Prout), 23 x 16cm.; a view of Ben Blanen by John Adam Houston, 12 x 16.5cm.; and a sketch of Maidstone by Robert Streatfeild, 11 x 18cm. (6) ++ Mixed condition; generally satisfactory £200-400 (+ 26.4% BP*)
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ANTHONY VANDYKE COPLEY FIELDING (1787-1855) INVERARAY, ON THE SHORES OF LOCH FYNE, ARGYLL Watercolour and pencil 18 x 26cm. Provenance: London, Agnews ++ Some scattered foxing £300-400 (+ 26.4% BP*)
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WILLIAM CALLOW, RWS (1812-1908) A LAKESIDE TOWN (NORTHERN ITALY?) Signed and dated indistinctly (probably 1879), watercolour heightened with white 51 x 75.5cm. ++ Fading and light staining; laid down £800-1200 (+ 26.4% BP*)
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JOHN CHESSELL BUCKLER (1793-1894) WINDSOR CASTLE FROM THE PLAYGROUND AT ETON; EAST VIEW OF ETON COLLEGE A pair, both signed and dated 1838, watercolour and pencil Each 25 x 36cm approx. (2) ++ Each faded £150-300 (+ 26.4% BP*)
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WILLIAM ALFRED DELAMOTTE (1775-1863) HADDON HALL, DERBYSHIRE Signed and dated June 1837 over partially erased pencil inscription, pen and ink with pencil and washes 26 x 36cm. Provenance: London, Leger Galleries, March 1987 ++ Faded £200-300 (+ 26.4% BP*)
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JOHN LESSELS (1809-1883) INTERIOR OF THE CHANCEL AND NORTH TRANSEPT, MELROSE ABBEY, FROM THE SOUTH AISLE OF THE NAVE Watercolour and pencil 40 x 40cm.; with a watercolour of a marine scene in the style of Samuel Atkins, 29 x 43cm. (2) ++ Each with some fading; the latter also with some mat staining £150-200 (+ 26.4% BP*)
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WILLIAM CALLOW, RWS (1812-1908) DISTANT VIEW WITH A CATHEDRAL (LINCOLN?) Signed, also initialled and dated WC99 verso, watercolour and pencil 25 x 35cm. Provenance: London, The Manning Galleries Ltd (as a view of Wells) ++ Good condition £300-500 (+ 26.4% BP*)
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WILLIAM HENRY STOTHARD SCOTT OF BRIGHTON (1783-1850) A COUNTRY HOME Watercolour and pencil with scratching out 52 x 70.5cm. ++ Some fading; 3cm tear at left edge £200-300 (+ 26.4% BP*)
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A GROUP OF THREE FRAMED DRAWINGS AND WATERCOLOURS to comprise 'Figures by an Estuary' by Samuel Owen, signed, 16 x 22cm.; 'Aysgarth Force, Yorkshire from a drawing by Francis Grose', 36.5 x 53cm. [see image]; 'River Scene' by Martin-Jules Chouard, 23.5 x 31.5cm. (3) Provenance: (Chouard), London, Messrs Hazlitt, Gooden & Fox, 1985 ++ Some fading, foxing etc; each needs a clean £100-150 (+ 26.4% BP*)
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SAMUEL PROUT (1783-1852) SKETCHBOOKS comprising a book with inside cover inscribed 'Hastings, August 26th 1815', bears signature, with 11 leaves, subjects to include Winchelsea and studies of boats in wash and pencil; another book with 9 leaves (5 blank), subjects to include Hastings and other coastal studies with artist's colour notes; and 14 loose leaves, depicting Worthing, Brighton, Winchester Palace, Winchelsea and elsewhere, subjects to include buildings, boats and rural studies, wash and pencil, each 11 x 18cm approx. (a lot) Provenance: Formerly the property of The North Devon Athenaeum, until sold April 2010 ++ Generally fair-good condition £300-500 (+ 26.4% BP*)
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WILLIAM JAMES MULLER (1812-1845) COMBE MARTIN, N. DEVON Inscribed with title, watercolour and pencil 30.5 x 43.5cm. ++ Slight fading £200-300 (+ 26.4% BP*)
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ANTHONY VANDYKE COPLEY FIELDING (1787-1855) HIGHLAND LANDSCAPE, BEN NEVIS IN THE DISTANCE Signed and dated 1852, watercolour 17 x 23cm. ++ Good condition £200-300 (+ 26.4% BP*)
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ATTRIBUTED TO WILLIAM PAYNE (1760-1830) A WEST COUNTRY VILLAGE LANDSCAPE Watercolour 27.5 x 38cm. ++ A few minor marks and fading in the sky £100-150 (+ 26.4% BP*)
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ATTRIBUTED TO THE REV. JOHN SWETE (1752-1821) SEVEN DEVON SKETCHES: CHAPEL AT SALCOMBE; TAVISTOKE ABBEY; DUNSFORD WEAR; ENTRANCE TO THE QUARRY IN THE PARK AT UGBROOK; WEAR ON THE TAMAR; BRIDFORD MILL; GEARAH BRIDGE ON THE AVON [sic] Watercolours, each with titles legible through the mount, framed as one Each 7.5 x 12.5cm approx ++ Some fading and foxing £200-300 (+ 26.4% BP*)
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WILLIAM DANIELL, RA (1769-1837) THE KING'S GARDEN, ALLAHABAD Grey wash and pencil 29 x 47.5cm. Provenance: London, Thos. Agnew and Sons Ltd; Leger Galleries ++ Good condition £500-700 (+ 26.4% BP*)
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A FOLIO OF INDIAN WATERCOLOURS, c.1830 comprising twelve Indian subjects and one of Derwentwater, eight inscribed and/or signed and dated verso ('View in the island of Salsetti from a print, from the Bann Ghaut Francis Grindlay, Approach to the Ambolee Ghaut, Southern .., Karhees caves, Caves at Bugwanlee on the road to Kilapoor, .. Castle, many inscriptions indistinct), principally upland landscapes and archaeological/historical sites, the largest 26.5 x 39cm.; the smallest 13.25 x 21.5cm. (folio) ++ One laid down; three with tears and wear; each a littler faded £1000-1500 (+ 26.4% BP*)
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A FOLIO OF DRAWINGS AND WATERCOLOURS subjects to include copies of Classical urns and statuary from the Museo Borbonico, Naples, 'Temple of Theseus', 'The Lantern of Demosthenes', 'From the Acropolis, Corinth', 'Crater of Vesuvius' 'Asia', 'Xanthus', 'Tadanadure, Malta', 'Bonneparts' House, Malta' [Bonaparte's House?], 'Gozo', 'Sorrento' and other subjects, by Miss F. Oglander, Mrs Hay, Lieut. Hennah and Mrs G. Forbes, seventeen works laid down on twelve leaves, various sizes, unframed (folio) ++ Some laid down; some gum stains; generally fair-good £500-800 (+ 26.4% BP*)
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JOHN VARLEY (1778-1842) CHILDREN AND CATTLE IN A RUINED CRYPT Watercolour 10 x 16cm. Provenance: Mrs G. Porter, until 1967; the Hon. P. Broadbridge; London, Agnew's ++ Fading £400-600 (+ 26.4% BP*)
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THOMAS SHOTTER BOYS (1803-1874) COTTAGES BY A HIGHLAND RIVER Watercolour and pencil 25 x 19cm. Provenance: London, Christies, June 14th 1983, lot 105 and November 17th 1987, lot 182 ++ Some fading £200-300 (+ 26.4% BP*)
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THOMAS SHOTTER BOYS (1803-1874) CATTLE BY A BRIDGE, A CATHEDRAL BEYOND Watercolour 16.5 x 23cm. ++ On support sheet; slightly pale in the sky £400-600 (+ 26.4% BP*)
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JOHN FREDERICK LEWIS, RA (1804-1876) SPANISH BUILDINGS: STUDY Watercolour and pencil 16 x 24.5cm. Provenance: London, Christies, Sale of the artist's studio, May 4th 1877, possibly lot 55 (inscription on backboard in white chalk) ++ Light stained £1500-2000 (+ 26.4% BP*)
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EDWARD LEAR (1812-1888) PALERMO FROM PARES (SICILY) Inscribed Palermo/ fr. Pares/ April 6-/59, pen and ink and watercolour and pale blue/grey paper 21 x 35cm.
* Lear was not in Palermo on April 6th, 1859 so the date might have been confused. ++ A little pale £1500-2000 (+ 26.4% BP*)
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EDWARD LEAR (1812-1888) POTAMOS (KYTHIRA) Inscribed (in ink over pencil) in Greek, dated 21. May. 5.P.M. 1863 and numbered 189 32 x 48cm. ++ Good condition £2000-3000 (+ 26.4% BP*)
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FRANCIS TOWNE (c.1739-1816) WERRINGTON PARK, DEVONSHIRE Signed; also inscribed and numbered 82 (?) verso, also inscribed on the back of the mount In Devonshire/ A View taken in Werington (sic) Park/ looking from the Terrass/Drawn on the Spot by Francis Towne, pen and grey ink and watercolour 24 x 30.5cm.
* Two views of Werrington Park, near Launceston, were exhibited in Towne's exhibition at 20 Lower Brook Street in 1805 (nos 4, 5). Another view of the Grove, Werrington Park (1809) was in the Merivale Collection and, latterly, in the collection of Sir Marcus Worsley, Bt. ++ On washline mount; good condition £2500-3500 (+ 26.4% BP*)
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JAMES HOLLAND, RWS (1799-1870) THE RIALTO, VENICE Watercolour and pencil 25.5 x 36cm.
* Holland's first visit to Venice was in 1835. He returned in 1845, 1851, 1857 and 1865. From the middle of the 19th Century, Ruskin and Thackeray shared an irritation for the lack of inventiveness in artists' views of Venice, the latter remarking, "How long are we to go on with Venice, Verona, Lago di So-and-So, and Ponte di What d-ye-call-em? I am weary of gondolas, striped awnings, sailors with red night (or rather day) caps, cobalt distances and posts in water." (Martin Hardie, Water-colour Painting in Britain, vol. III, The Victorian Period [London, 1968, pp. 35, 34]). Holland has succumbed to gondolas, striped awnings and posts in the water but he preferred an asymmetrical stance. This viewpoint appealed to him: a larger composition (53.5 x 76cm) was with the Fine Art Society in 1949 and another similar composition (in pen, black ink and oil on board, 29.8 x 29.8cm) was at Christies (June 7th 2007, lot 46). Holland puts the shadowy and featureless underside of the bridge almost at the centre of the composition and this enables him to place figures, apparently in 17th Century dress, in the foreground. ++ Laid onto a support sheet; good colour; needs a very light clean £1500-2500 (+ 26.4% BP*)
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DAVID ROBERTS, RA (1796-1864) ON THE PRADO AT MADRID Signed, inscribed with title and further indistinctly inscribed, pencil and coloured washes heightened with touches of white, on grey paper 25 x 16.5cm.
* The statue of Apollo by Manuel Alvarez and Alfonso Bergaz was sculpted between 1780 and 1803 to a design by Ventura Rodriguez. It is situated on the Paseo del Prado. ++ Satisfactory £600-800 (+ 26.4% BP*)
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Ð ROYSTON JONES (b.1947) DESIGN FOR PIER TABLE AND OVERMIRROR (FOR WILLIAM CONSTABLE AT BURTON CONSTABLE, YORKSHIRE, UNEXECUTED) Pen and ink and ochre wash, 1984 Sight 30 x 17.5cm. Provenance: London, Alexandra Williams, November 1995 ++ Good condition £40-60 (+ 26.4% BP*)
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EDWARD J. HARDING (Fl.1840-1870) A FAMILY PORTRAIT, THE CHILD UPON A DONKEY Signed and dated 1839, watercolour 50 x 36.5cm. Provenance: London, Christies, May 19th 2000, lot 128 ++ Slight fading; generally good £250-350 (+ 26.4% BP*)
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SAM BOUGH, RSA (1822-1878) DHU HEARTACH LIGHTHOUSE, UNDER CONSTRUCTION Signed and dated July 1870, inscribed Duh Hartach [sic], watercolour and pencil heightened with white 30 x 47cm.
* Apparently a study for the oil of the same subject. The Thomas Stevenson lighthouse (Dubh Artach, 'Black Rock' in Gaelic), lies 24km south west of the Ross of Mull (Argyll & Bute) and it was built between 1867 and 1872. It stands 44m (145 feet high) and was manned until automation in 1971 ++ Slight time toning apparent in the paper; good colour £400-600 (+ 26.4% BP*)
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