Harry Moore Gwyn
British & Continental Pictures and Prints
on Wednesday 17th October 2018

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1.      CIRCLE OF NICCOLO CODAZZI (1642-1693)
A PAIR OF ARCHITECTURAL CAPRICCI
oil on canvas
60.8 x 73.2cm / 23.9 x 28.8in

Provenance:
Collection Pérez de Vargas, Counts de la Quintería, from the 19th century;
Ilustrísima. Sra. Doña María Carmen del Valle, 1960s;
The Property of a Spanish Noble Family.

(2)



£1500-2000
2.      NORTH ITALIAN SCHOOL (18th CENTURY)
ARCHITECTURAL CAPRICCIO
oil on canvas
43.0 x 34.0cm / 17.0 x 13.0in

£800-1200
3.      **FOLLOWER OF MICHELE MARIESCHI (1710-1743)
CAMPO DELL'ARSENALE, VENICE
oil on canvas
79 x 112cm / 31 x 44in

Provenance:
(1) Christie's, London, Anonymous Sale, 20th July, 1916, Lot 104
(2) With Bolmqvist Kunsthandel Oslo, where acquired by the present owner.


The painting is based on the original engraving by Michele Giovanni Marieschi, from the series Magnificentiores Selectioresque Urbis Venetiarum Prospectus (1741). Francesco Albotto (1721-1757), his pupil, painted this particular scene, drawing on his teacher's engraving and original painting. Palluchini notes that that Albotto's depiction of this view "can become the 'pilot-work' for the reconstruction of Albotto's activity" (1).

The present work was most likely completed by one closely familiar with both Marieschi's etching and Albotto's painting. There are a number of minor differences however the composition throughout remains similar.

Bibliography:
R. Pallucchini, 'Francesco Albotto, erede di Michele Marieschi', Arte Veneta, XXVI, 1972, p. 222
£6000-8000
4.      FLEMISH SCHOOL (17th CENTURY)
THE CRUCIFIXION
oil on copper
42.7 x 22.6cm / 16.8 x 8.9in

unframed
£600-800
5.      ANTWERP SCHOOL (c.1630)
ST JEROME& ST MARY MAGDELENE
oil on copper
36.0 x 26.0cm / 14.2 x 10.2in

There is a tradition of both saints retiring to remote places for penitence. St Jerome is known to have spent years of his life living as a hermit in a cell near Bethlehem, praying for the removal of his worldly desires and impulses. The book that Jerome is gazing intently at refers to his translation of the Hebrew and Greek which became the Latin Vulgate translation of the Bible. The legend of Mary Magdalene as a 'penitent' is an anachronistic conflation of various apocryphal records of women associated with Christ. Her status as a sinner comes from the Medieval presumption that she must have been the woman of 'ill-repute' who bathed Christ's feet with her tears . Her status as such is signified here by the hair shirt that she wears and her kneeling in penitence and prayer.

There are most probably two hands responsible for this pair, one for the floral garlands and one for the figures. The former worked in the style of Jan Brueghel and his workshop; the other in the style of Van Dyck and Titian (both of whom painted St Jerome and Mary Magdalene as penitents).

(2)

£1000-1500
6.      AFTER SIMON DE VOS (1603-1676)
THE FEAST OF BACCHUS
oil on copper
51.0 x 71.0cm / 20.0 x 28.0in

unframed

The present work is similar in subject and composition to those sold at Sotheby's, Amsterdam, Old Master Paintings, 8th April 2007, Lot 108 & Dorotheum, Vienna, Old Master Paintings, 18th October 2016, Lot 278. £800-1200
7.      JUAN SARINEÑA (1545 - 1619)
CHRIST IN THE GARDEN OF GETHSEMANE
oil on pine panel
118.3 x 79 cm. / 46.5 x 31.1 in.

PROVENANCE
Don Nicolás Fos Fortunato and Doña Fortunata Cebolla Grau, circa 1850;
Thence by family descent.

EXHIBITED
Valencia, Museo de Bellas Artes, Juan Sariñena (1545-1619). Pintor de la Contrarreforma en Valencia, 19 December 2007 - 23 March 2008, no. 28.

LITERATURE
F.B. Doménech, Juan Sariñena (1545-1619). Pintor de la Contrarreforma en Valencia, ex. cat., Valencia 2007/8, p. 138, cat. no. 28, reproduced. £7000-9000
8.      ANTWERP SCHOOL (c.1600)
PORTRAIT OF A GENTLEMAN
oil on panel
40.7 x 30.0cm / 16.0 x 11.8in

TO BE OFFERED WITHOUT RESERVE £600-800
9.      FOLLOWER OF PIETRO BELLOTTI (1625-1700)
A MISER
oil on canvas
42.5 x 33.3cm / 26.7 x 13.1in

TO BE OFFERED WITHOUT RESERVE £1200-1800
10.     DUTCH SCHOOL (17th CENTURY)
PORTRAIT OF A NOBLEMAN AND HIS DOG
oil on canvas
84.3 x 66.1cm / 33.0 x 26.0in

TO BE OFFERED WITHOUT RESERVE

£1200-1800
11.     FOLLOWER OF SIR ANTHONY VAN DYCK (1599-1641)
PORTRAIT OF A NOBLE LADY
pencil
15.0 x 10.5cm / 5.9 x 4.1in

TO BE OFFERED WITHOUT RESERVE
£300-500
12.     MANNER OF SIR ANTHONY VAN DYCK
THE INSPIRATION OF ST MATTHEW
oil on canvas
30.5 x 22.0cm / 12.0 x 8.6in

TO BE OFFERED WITHOUT RESERVE
£200-300
13.     AFTER DIEGO VELÀZQUEZ (1599-1660)
PORTRAIT OF KING PHILIP IV OF SPAIN
oil on canvas
50.2 x 43.0cm / 19.7 x 16.9in

TO BE OFFERED WITHOUT RESERVE £800-1200
14.     FLEMISH SCHOOL (17th CENTURY)
PORTRAIT OF AN OLD MAN
oil on canvas
58.0 x 40.5cm / 22.8 x 15.9in

TO BE OFFERED WITHOUT RESERVE £400-600
15.     FRANCESCO PODESTI (1800-1895)
SKETCH FOR THE DISCOVERY OF MOSES
signed l.l. Podesti
Sepia wash over pen and ink
21.5 x 33.0cm / 8.5 x 13.0in
£100-200
16.     MANNER OF NICOLAS LANCRET (1690-1743)
SCENE GALANTE
oil on canvas
52.0 x 43.0cm / 20.4 x 16.9in

£200-300
17.     JOHN MOORE OF IPSWICH (1820-1902)
A SEASCAPE WITH A DISTANT COASTLINE
signed l.l.: J. MOORE
oil on canvas
28 x 46cm


£400-600
18.     JOHN MOORE OF IPSWICH (1820-1902)
A SEASCAPE WITH A PIER
signed l.l.: J MOORE
oil on canvas
36 x 46cm
£400-600
19.     ATTRIBUTED TO STANISLAS LEPINE (1835-1892)
A VIEW OF A FRENCH VILLAGE
Signed l.l.: S. Lepine
oil on panel
33.0 x 41.0cm / 13.0 x 16.1in


£400-600
20.     FOLLOWER OF STANISLAS LEPINE (1835-1892)
A CONTINENTAL STREET SCENE
Bears signature l.r.: S. Lepine
oil on panel
28.0 x 22.0cm / 11.0 x 8.6in


£300-400
21.     WILLIAM WHITE WARREN (1832-1911)
A PAIR OF CONTINENTAL VIEWS
oil on board, laid to backboard
Largest 12.5 x 21.0cm / 4.9 x 8.2in

(2) £120-180
22.     F.M.P. WHELDON (fl. 1860's)
THE SULTANA AND A STEAMPACKET OFF A COASTLINE
oil on canvas
46.5 x 74.2cm / 18.3 x 29.2in

It has been suggested that this is the 198 ton passenger ship built by J Robertson in 1868, with screw propulsion, and that this may be the South Coast of England, near Dover.
£600-800
23.     ATTRIBUTED TO HENRY THOMAS SCHAFER (1854-1915)
CONTINENTAL STREET SCENE
oil on board
35.0 x 29.0cm / 14.0 x 11.0in


£200-300
24.     ATTRIBUTED TO HENRY THOMAS SCHAFER (1854-1915)
CONTINENTAL STREET SCENE
oil on board
35.0 x 29.0cm / 14.0 x 11.0in


£200-300
25.     HARRY WILLIAM ADAMS (1868-1947)
HILLSIDE COPSE (with sketch of tree, verso)
Signed HARRY W. ADAMS
oil on canvas
43.5 x 28.5cm / 17.1 x 11.2 in






£120-180
26.     EDWIN ELLIS (1842-1895)
SHIPPING OFF A COASTAL FORT ON THE SOUTH COST OF ENGLAND
signed l.l. E ELLIS
oil on canvas
52.0 x 37.0cm / 20.4 x 14.5in

It has been suggested that this could be Hurst Castle, on the Solent. £350-450
27.     SIR CHARLES HOLMES (1868-1936)
THE TOWER OF OXFORD CASTLE
signed dated verso: Oxford Castle / C.J. Holmes 1905
oil on canvas board
30.5 x 20.0cm / 12.0 x 7.8in
unframed

Sir Charles Holmes was a renowned art historian, as well as an artist in his own right. He studied etching under William Strang, and began exhibiting at the New English Art Club in 1900, becoming a member in 1905. He edited the esteemed Burlington magazine between 1903-1909 and was Slade Professor at Oxford between 1904-1910. He was made Director of the National Portrait Gallery between 1909-1916, going on to be Director of the National Gallery from 1916-1928. £120-180
28.     EDWARD F.D. PRITCHARD (1809-1905)
PORTLAND ISLAND FROM THE BEACH AT SANDSFOOT CASTLE, PORTLAND BAY
signed l.r. Pritchard
oil on canvas
39.0 x 58.0cm / 15.3 x 22.8in

Exhibited:
Royal Academy 1863 - No. 136 £300-500
29.     FRANK RICHARDS R.B.A. (1863-1935)
CLOUD EFFECTS - MOUNTS BAY
signed l.r.
oil on board
16.0 x 24.0cm / 6.3 x 9.4in

Provenance:
C. Madden Collection

Richards studied at the Birmingham School of Arts, later travelling to Europe and returning enthused about the virtues of painting en plein air.

He was elected a member of the Birmingham Society of Artists in 1884 and moved to Dorset the following year. By 1892 he had moved to Newlyn, then a popular location with a number of artists such as Stanhope Forbes, Laura Knight and Sir Alfred Munnings. Richards participated in the Newlyn School's exhibitions at St Ives, Newlyn and in London, and had a solo show at the Dowdeswell Gallery in London in 1894. He exhibited three paintings at the Royal Academy in his lifetime. He was elected a full member of the Royal Society of British Artists in 1921.

£600-800
30.     HENRIETTE GUDIN (1825-1892)
COASTAL SCENE BY MOONLIGHT
signed l.r. beneath frame: H Gudin
oil on board
17.0 x 25.0cm / 6.7 x 9.8in


Henriette Gudin was the daughter of the Marine painter Jean Antoine Théodore Gudin, and exhibited at the Salon de Paris in 1849, 1850 and 1853. She married the painter Capt. Étienne François Fauchier and thereafter signed Fauchier. £2000-3000
31.     CHARLES H. BRANSCOMBE (1858-1924)
DEVON BEACH ON AN ESTUARY NEAR FALMOUTH
signed l.l.: Char h b
oil on canvas
23.5 x 44.0cm / 9.2 x 17.3in

£200-300
32.     HOLGER HVIDTFELDT JERICHAU (1861-1900)
A STEAMBOAT ON THE TIBER
signed l.r.: Holger H Jerichau
oil on board
19 x 29cm / 7.5 x 11.4in




£500-700
33.     WILLIAM JOHN MONTAIGNE (1839-1902)
A PASTORAL LANDSCAPE WITH A STREAM
inscribed verso: W.J. MONTAIGNE
label verso: No1. (indistinct)...W.J. Montaigne / 97 Lancaster Road / Kensington Park
oil on panel
30.4 x 35.5cm / 12.0 x 14.0in

£500-700
34.     GEORGE WARREN BLACKHAM (fl.1870-1900)
RURAL SCENE WITH A DISTANT CHURCH
watercolour
36.0 x 55.0cm / 14.1 x 21.6in


£100-200
35.     BRITISH SCHOOL (19th CENTURY)
JOCKEY AND RIDER
painting on glass
18.6 x 24.7cm / 7.3 x 9.7in
£80-120
36.     ATTRIBUTED TO HUBERT-FRANÇOIS GRAVELOT (1699-177)
STUDY OF HEADS
signed on old mount l.r.: Gravelot
red chalk
25 x 19.6cm / 9.8 x 7.7in

mounted, unframed
£300-400
37.     ROMAN SCHOOL, c.1720
AN ARCHITECTURAL DESIGN FOR AN ALTAR
black chalk, pen and brown ink, grey and ochre wash, on two joined sheets, with two added sections revising the outer edges of the altar
extensively inscribed with directions for the sculptors
80.0 x 56.0cm / 31.0 x 22.0in


Provenance:
Christie's, London, Old Master and Early British Drawings and Watercolours,6th December 2012, Lot 62

£500-700
38.     DAVID COX JR. (1809-1885)
ARUNDEL CASTLE
watercolour
20.0 x 27.5cm / 7.9 x 10.8in

£80-120
39.     FOLLOWER OF ANNIE FRENCH (1872-1965)
CHILDREN PLAYING IN A FANTASTICAL GARDEN (1884)
inscribed at top, All conquering was I in days gone by, reverse me and all conquering still am I
pen and ink drawing
24.0 x 8.0cm / 9.4 x 3.0in

£100-150
40.     ENGLISH SCHOOL (19th CENTURY)
VIEW OF HEIDELBERG
pen and grey wash
23.0 x 32.0cm / 9.0 x 12.6in £80-120
41.     ANN MARY NEWTON (1832-1866)
PORTRAIT OF A YOUNG CHILD
signed and dated l.r.: Ann Mary Severn 1855
inscribed verso: Marie Antonia Newton
watercolour
18.6 x 24.6cm / 7.3 x 9.7in

Ann Mary Newton (née Severn) was a distinguished portrait painter who specialised in children, working primarily in watercolours, chalk and pastel. She was favoured among members of the Britishestablishment, and painted the children and a nephew of Queen Victoria. The Queen notes Newton's early death in her diary of the 7th January 1866, calling her "a clever young artist, who did several of the family, and did also beautiful copies of the Old Masters" (1). Later in life, she began to work in oils and exhibited at the Royal Academy on a number of occasions between 1852-1865. Severn married Sir Charles Thomas Newton K.C.B., the eminent archaeologist responsible for the discovery and excavation of the Mausoleum of Halicarnassus, and a friend of John Keats and John Ruskin. Her self-portrait hangs in the National Portrait Gallery, London.

(1) Queen Victoria - Diaries - Princess Beatrice's Copy, Vol. LV, p.vi-vii £250-350
42.     HERBERT MOXON COOK (1844-1928)
A WOODLAND SCENE
signed and dated l.l.: H. MOXON COOK 1883
watercolour
32.0 x 47.5cm / 12.6 x 18.7in

£80-120
43.     ATTRIBUTED TO GEORGE PERFECT HARDING (1780-1853)
RICHARD NEVILLE, 16th EARL OF WARICK & 6th EARL OF SALISBURY
indistinct inscription verso
watercolour and gouache
27.0 x 18.5cm / 10.6 x 7.3in

£150-200
44.     CHARLES CATTERMOLE (1832-1900)
OLIVER CROMWELL ADDRESSING THE ROUNDHEAD ARMY
to be sold with another watercolour, attributed to the same hand, of a Roundhead soldier
signed l.r.: Chas Cattermole RI.
watercolour
45.0 x 14.5cm / 17.7 x 5.7in £80-120
45.     •SAMUEL LAMORNA BIRCH R.A., R.W.S. (1869-195)
A HILLSIDE WOOD
signed in pencil l.r.: S. Lamorna Birch
inscribed and dated l.l.: Dec. 29 1889 / Thick...(?)
watercolour with gouache
25.5 x 34.5cm / 10.0 x 13.6in
£400-600
46.     HENRY JOHN YEEND KING (1855-1924)
A FARMER HERDING SHEEP
signed l.r.: YEEND KING
watercolour
20.0 x 30.0cm / 7.8 x 11.8in
£200-300
47.     HENRY JOHN YEEND KING (1855-1924)
A COUNTRY WALK
signed l.r.: YEEND KING
watercolour
20.0 x 30.0cm / 7.8 x 11.8in
£200-300
48.     NICOLAS-TOUSSANT CHARLET (1792-1845)
DRUMMER BOY FROM THE 75th HIGHLAND REGIMENT
signed l.r.: Charlet
ink and watercolour
26.6 x 22cm / 10.4 x 8.6in

unframed £80-120
49.     THOMAS MARIE MADAWASKA HEMY (1852-1937)
VIEW OF ST IVES
watercolour
signed and dated l.l.: Thom M. Hemy 1890
36.5 x 25cm / 14.3 x 9.8in

Hemy was born on the S.S. Madawaska as his family were emigrating to Australia. He later moved to Newcastle were he learnt to paint from his uncle Isaac Henzell R.B.A. He spent several years at sea, enduring a shipwreck on one occasion, and when he returned he enrolled at the School of Art in Newcastle. He sound found success and was sent to study under Charles Verlat in Antwerp - later director of the Royal Academy there. Thomas was also the younger brother of Charles Napier Hemy R.A. and Bernard Benedict Hemy, both marine painters as well.

unframed, mounted £250-350
50.     BRITISH SCHOOL (c.1765)
RURAL RIDES
watercolour and grey wash
31.6 x 20cm / 12.5 x 7.8in

unframed £80-120
51.     BRITISH SCHOOL (19th CENTURY)
BOTANICAL SKETCHES
including studies of the plantain family
watercolour, gouache and pencil
largest 32.5 x 55cm / 12.8 x 21.6in

unframed

(4) £250-350
52.     CONSALVO CARELLI (1818-1900)
A HILLSIDE SHRINE WITH A VIEW OF THE BAY OF NAPLES AND VESUVIUS IN THE DISTANCE
signed l.l.: Consalzo Carreli
watercolour and ink
37.0 x 24.9cm / 14.5 x 9.8in
£400-600
53.     AFTER JOHN LEECH (1817-1864)
A GROUP OF HUNTING PRINTS
chromolithographs
Signed l.l., inscribed and titled l.m, pub. Tho. Agnew & Sons, Jan. 2 1865
43 .0x 63.5 / 16.0 x 25.0in

(7) £250-350
54.     BRITISH SCHOOL (19th CENTURY)
A GROUP OF RACING PICTURES
hand coloured prints
18.0x 38.0cm / 7.0 x 15.0in

(4) £200-300
55.     THOMAS SUTHERLAND (b. 1785) AFTER JOHN GENDALL (1790-1865)
THE VIEW FROM EDINBURGH CASTLE
sold with two reproduction prints of views of Edinburgh
aquatint, partly printed in colours and hand-finished
34.0 x 55.0cm / 13.4 x 21.6in

(3)
£200-300
56.     GERMAN SCHOOL (17th CENTURY)
THE ELECTORS OF THE HOLY ROMAN EMPIRE
hand-coloured print
52.5 x 60.0cm / 20.6 x 23.6 in

Including an 18th Century Bohemian print, ex libris, and a 16th Century German print of a ring-riding manoeuvre. £60-80
57.     AFTER DAVID ROBERTS R.A. (1796-1864)
APPROACH OF THE SIMOON - DESERT OF GIZEH
signed l.l. DAVID ROBERTS RA, L. HAGHE LITH., titled l.r.
hand coloured lithograph
32.7 x 47.8cm / 12.8 x 18.8in



£400-600
58.     FOLLOWER OF JOHN FREDERICK LEWIS R.A. (1804-1876)
A SPANISH LADY
watercolour
31 x 21cm / 12.2 x 8.2in

Provenance:
Abbott and Holder £250-350
59.     EDWARD LEAR (1812-1888)
GEBEL WARDAN, SINAI
inscribed and dated l.r.: Gebel Wardan 10.50.AM. / 19.Jany. 1849 (64)
brown ink and pencil
7.5 x 35.5cm / 2.9 x 14.0in

Provenance:
Mr and Mrs Godfrey Pilkington of the Piccadilly Gallery

Lear drew a large number of sketches on his travels through Egypt and the Sinai desert, having left Malta for Alexandria at the start of 1849. We know that later on this day in 1849, he was close to Hawara, the site of a complex Roman subterranean necropolis and the pyramid of Amenemhat III (No. 70 in the series depicts an Encampent Near Hawara, sold Christie's, South Kensington, Old Master and Early British Drawings and Watercolours, 6th December 2012, Lot 277).


£600-800
60.     SEN NAKABAYASHI (1878-1937)
A RIVER WITH BOATS MOORED
Signed l.r. S. Nakabayashi
watercolour
47.0 x 32.0cm / 18.5 x 15.6in
£150-250
61.     EVGENI KAZMIN (b.1936)
MOSAIC DESIGNS FOR A RESTAURANT IN SOCHI
both signed in cyrillic l.r., one inscribed M 1:10
gouache
both 49.1 x 105.7cm / 19.5 x 40.7in


Kazmin, who was born in Rostov, is part of a generation of Eastern European painters who found regular commissions under the old Soviet regime as members of Artist's Unions. He was responsible for several murals and mosaics in Sochi in the 1960's and 70's, most notably the designs for the Sochi State Circus.

Provenance:
The Artist's Studio, St Petersburg, Russia

(2)


£1500-2000
62.     EVGENI KAZMIN (b.1936)
MATISSE COMPOSITION
signed in cyrillic l.r.
gouache
43.2 x 133.5cm / 17 x 53.3in

Provenance:
The Artist's Studio, St Petersburg, Russia
£800-1200
63.     AFTER KONSTANTIN YUON (1875-1958)
THE TRINITY LAVRA OF ST SERGIYUS, SERGIEV POSAD
Oil on canvas
Unframed
72 x 89.6cm / 28.5 x 36.3in

£200-300
64.     YURI SEMENYUK (1922-2006)
SPRING MOON (1981)
signed and dated l.r.
oil on board
32.0 x 37.0cm / 12.6 x 14.5in

unframed £100-150
65.     YURI KOVALENKO (1931-2004)
STILL LIFE OF FLOWERS IN A VASE
artist's monogram l.l.
oil on board
32.0 x 22.0cm / 12.6 x 8.6in
£500-700
66.     GEORG VOGT (1881-1940)
A FARMER AND HIS COW
signed l.l.: G VOGT
oil on canvas
56 x 72.3cm / 22 x 28.4in
£300-500
67.     REINHOLDT NIELSEN (1891-1984)
HORSES PLOUGHING A FIELD
signed l.r.: Reinholdt Nielsen
oil on canvas
64.5 x 78cm / 25.4 x 30.8in £300-500
68.     CARL LANGHAMMER (1840-1906)
COWS GRAZING IN A FIELD
signed l.r.: Carl Langhammer
oil on canvas
60 x 69.5cm / 27.1 x 27.3in

£600-800
69.     AGNES SLOTT-MØLLER (1862-1937)
FARM BUILDINGS
pastel
47.3 x 57.4cm / 18.6 x 22.6in £200-300
70.     IB EISNER (1925-2003)
THE CAFE IN BAKKEN
signed l.l.: IB EISNER
oil on canvas
53.5 x 57.5cm / 21 x 22.6in

Eisner was a Danish artist who studied at the Academy in Copenhagen in the wake of the Second World War. He favoured painting en plein air in the amusement parks of Tivoli and Bakken.

Provenance:
Purchased from the artist, Fredericksburg, Copenhagen


£300-500
71.     WERNER VON HAUSEN (1870-1951)
A MAID LOOKING OUT TO SEA
coloured pencil on paper
33.0 x 27.0cm / 12.9 x 10.6in



£300-500
72.     •
ANDREW MURRAY (1917-)
PICCADILLY CIRCUS
signed l.r.: ANDREW MURRAY
oil on canvas
66.5 x 51.5cm / 26.0 x 20.3in

Andrew Murray took up oil painting late in life, while living in Cape Town, having been a local newspaper editor. In 1969, Murray and his wife moved to London and thereafter he painted scenes of local life in London, and on his travels to France and to Italy. He had a series of exhibitions at the Portal Gallery. One of the paintings from his "Images of Reconciliation" exhibition was adopted as Unicef Christmas card. The success of this led Murray to continue to design highly distinctive post cards for the rest of his life and in 1980 "Andrew Murray's London", a collection of these cards, was published.

£600-800
73.     ANDREW MURRAY (1917-1998)
CAPE TOWN CATHEDRAL
signed l.r.: ANDREW MURRAY
oil on board
42.5 x 32cm / 16.7 x 12.6in



£300-500
74.     ANDREW MURRAY (1917-1998)
STILL LIFE OF FLOWERS
signed l.l.: ANDREW MURRAY
oil on board
14 x 11cm / 5.5 x 4.3in
£120-180
75.     •KENNETH ROWELL (1922-1999)
STUDY: OIL AND COLLAGE
oil and collage
26.0 x 34.5cm / 10.2 x 13.6in
£100-150
76.     CLAUDE BOUSSIN (EARLY 20th CENTURY)
INTERIOR OF AN ARTIST'S STUDIO
oil on board
32.0 x 39.0cm / 15.6 x 15.3in

£150-200
77.     •ELSIE HENDERSON (1880-1967)
STILL LIFE OF FLOWERS IN A VASE
signed l.l.: Elsie Henderson
oil on canvas
50 x 60.8cm / 19.7 x 29.7in

£600-800
78.     EVAN G. WALKER (20th CENTURY)
STUDY FOR A MURAL OF A GLASGOW STREET SCENE
gouache on paper
50 x 27cm / 19.6 x 10.6in

Walker was a student at the Glasgow School of Art between 1933-34. £250-350
79.     PIERRE-ANDRÉ BOUEY (1898-1976)
PROVENCAL KITCHEN
oil on canvas
79.3 X 114cm / 31.2 x 44.8in


£1500-2000
80.     HANS ØLLGAARD (1911-1969)
WOMEN SIFTING THROUGH FISHING NETS
artist's monogram l.r.
oil on canvas
68.7 x 95cm / 27 x 37.4in
£200-300
81.     •DAVID REMFRY, R.A. (b.1942)
ROCK'N'ROLL TEA
signed l.r.: David Remfry
oil on canvas
91 x 73cm / 35.7 x 28.2in

Dancers have been a regular subject of Remfry's work, most notably in his DANCERS series, which were collected in the International retrospective exhibitions of the same name in 2002. Remfry says of his work, "I'm obsessed with how people behave together - how we embrace as we dance, how we 'distract ourselves', as Francis Bacon put it. I love observing this and recording it in a painting. In the process, I hope to discover something of what we are." (1)


Bibliography:
(1) In The Studio: David Remfry, Harry Mount, The Daily Telegraph, 6th December 2005
£300-500
82.     •JACK PENDER (1918-1998)
WHITE PUNT I
titled and signed on board verso
oil on board
27.5 x 31.0cm / 10.8 x 12.2in

Provenance:
The Orion Gallery £600-800
83.     •RICHARD 'DICK' LEE (1923-2001)
A CRICKET MATCH AT THE OVAL, 1958
signed l.r.: R.D. LEE and dated 1958 verso
oil on board
19.0 x 23.5cm / 7.5 x 9.3in

Provenance:
The Redchurch Galleries

£600-800
84.     •FERMIN ROCKER (1907-2004)
A LONDON UNDERGROUND PLATFORM
signed l.r.: F.R. Rocker
oil on canvas
61.0 x 76.0cm / 24.0 x 29.9in £800-1200
85.     FREDERICK JAMES PORTER (1883-1944)
A RUGBY MATCH
signed verso: F.J Porter
oil on canvas
44.0 x 60.0cm / 17.3 x 23.6in

Porter studied in Paris for five years at the Academie Julien before moving to London in 1910, where he took a studio in Fitzrovia. He was friends with a number of well-known figures, including Walter Sickert, Roger Fry and Matthew Smith. He was made Vice-President of the London Group in 1924, and was a founder member of the London Artist's Association, along with Roger Fry, Vanessa Bell, Bernard Adeney and Frank Dobson. Porter's patrons included Virginia Woolf, John Maynard Keynes and Samuel Courtald. James Boswell wrote in 1945 that, "his paintings do not pleas easily or quickly, but like those whose temperament is quiet and friendly they repay only those who make the effort to see".
£600-800
86.     ATTRIBUTED TO MARGARET MORRIS (1891-1980)
THE BATHER
oil on canvas
62.0 x 51.5cm / 24.4 x 20.2in


Morris was one of Britain's most renowned dancers of the 20th century. She pioneered her own system of movement notation, based in part on Isadora Duncan's work. Together with her husband John Duncan Fergusson, the great Scottish Colourist, she founded her eponymous club, whose members included Ezra Pound, Wyndham Lewis and Augustus John among others. Although best known for her choreography, her paintings have been the subject of exhibitions in Scotland.

Her work shows the influence of her husband, with its bold brushstrokes and vibrant colour evoking the art of the Fauvists and the later Scottish Colourists. The artist's choice of subject suggests an affinity with the works of Edgar Degas, whose works her husband was familiar with from his time in Paris. £600-800
87.     HENRY DE BUYS ROESSINGH (1889-1954)
BATEAU AMARRÈES
oil on canvas
62.0 x 51.5cm / 20.7 x 25in

Provenance:
Magdalene Street Gallery, Cambridge £400-600
88.     EMILY BEATRICE BLAND (1864-1951)
LANDSCAPE WITH VIEW OF VILLAGE
oil on canvas
34.0 x 60.5cm / 13.4 x 23.8in

£180-220
89.     • HILDA CARLINE (1889-1950)
SPANISH GARDEN SCENE
signed and dated l.l.: Hilda Carline 1922
oil on canvas
47.0 x 65.5cm / 18.5 x 25.8in

Carline first studied under Percyval Tudor-Hart, and later Henry Tonks at the Slade. Her works were exhibited at the Royal Academy, the New English Art Club and the London Group.
She married the artist Stanley Spencer in 1925, with whom she had a difficult relationship throughout her life, later being divorced by him for Patricia Preece. When Spencer was, very soon after, expelled from his own house having signed over his finances to Preece, he resumed contact with Carline and - full of regret - painted a moving series of works depicting their domestic life together. £400-600
90.     JAN VAN MALDEREN (1883-1958)
SNOW SCENE
signed l.r.
oil on canvas
50.0 x 40.0cm / 19.6 x 15.7in
unframed
£150-250
91.     SYLVIA ST GEORGE (1881-1950)
A LADY DISTURBED WHILE BATHING
oil on canvas
40.0 x 33.0cm / 15.7 x 13.0in


Sylvia St George trained at the Edinburgh School of Art and later at the Slade. St George spent much of her life in Colchester and was an active member of the Colchester Art Society where she met John Nash and Cedric Morris. £150-200
92.     PAT WETZEL (ACTIVE 1930's)
SEATED NUDE WITH FLOWERS
oil on canvas
50.0 x 40.0cm / 19.6 x 15.7in

unframed £100-150
93.     MALLICA REYNOLDS (KAPO) (1911-1989)
LONADSAY PORTLAND
signed and dated l.r. Kapo 67, inscribed verso For A. Eitel / Lonadsay Portland by Kapo / ja(?) W. J. / G.T. / Mallica Reynolds (Kapo) / 12 Eighth St / Tre(?)town / Kingston P.C. / Ja. W.I(?). / 67
oil on board
47.0 x 68.5cm / 18.5 x 27.0in


Provenance:
Given by the artist to the present owners' family.

Mallica Reynolds was one of Jamaica's foremost 'Intuitive' painters, as well as being the patriarch Bishop of St. Michael's Revival Apostolic Tabernacle. £400-600
94.     •ROWLAND SUDDABY (1912-1972)
UPPER WHARFDALE, NORTH YORKSHIRE
signed l.r.: R. Suddaby '48
oil on canvas
50.0 x 60.0cm / 19.7 x 23.6in


£300-500
95.     •SUSAN FOORD (b.1945)
ABSTRACT LANDSCAPE
signed l.r.: Susan Foord
mixed media on paper laid to board
33.0 x 35.0cm / 13.0 x 13.8in

£100-150
96.     GIUSEPPE GAMBINO (1928-1997)
CARABINIERI
signed and dated l.l. Gambino 1963
oil on canvas
60.0 x 45.0cm / 23.6 x 17.7in

Gambino was a well known Modern Venetian painter. He first exhibited in Sicily in the 1950's, and continued to exhibit in and move around Italy, finally settling in Venice. His life as an artist is commemorated in the annual painting prize, the Premio Nazionale di pittura Giuseppe Gambino. £600-800
97.     ERNEST THESINGER C.B.E. (1879-1961)
A PAIR OF WATERCOLOURS OF MONTACUTE HOUSE
One titled, signed and dated l.l.: MONTACUTE, Ernest Thettinger, 1905
watercolour on canvas
47.0 x 32.0cm / 18.5 x 12.5in

Thesiger is best remembered for his work as an actor, in the film The Bridge of Frankenstein. He had a long and varied stage career, appearing alongside Katherine Hepburn in As You Like It, The Man in the White Suit with Sir Alec Guiness and other notable works with Vivien Leigh, John Gielgud and Warren Beatty. Before his acting career, he had studied at the Slade under Henry Tonks, and he painted primarily in watercolours for the rest of his life.

Montacute House is an Elizabeth manor house which today is owned by the National Trust. It is the South-West regional partner of the National Portrait Gallery, and has been the location in several films, most notably in The Libertine (2004) and Hillary Mantel's Wolf Hall (2014).

(2)
£200-300
98.     •ADRIAN DAINTREY (1902-1988)
STILL LIFE OF FLOWERS IN A JUG
signed l.l. and verso
oil on board
34.0 x 29.0cm / 13.3 x 11.4in
£250-350
99.     •ALFRED ROBERT HAYWARD (1875-1971)
SUNRISE OVER LAKE
signed indistinctly l.l.
oil on canvas
50.5 x 67
£250-350
100.    ANTHONY JOHN WALTON (b.1934)
TWO COSTUME DESIGNS FOR VALMOUTH, AND ONE BY ANOTHER HAND
(1) oil with collage & gold leaf (2) watercolour over pen & ink (3) gouache, pen & ink
Largest 83.0 x 64.0cm / 32.7 x 25.2in

Valmouth, written by Ronald Firbank in 1919, centres on a seaside resort famed for its restorative air where centenarians gather. Sandy Wilson adapted the novel into a musical in 1958.

(3) £400-600
101.    GEORGE BELCHER R.A. (1875-1947)
A PORTRAIT SKETCH OF AUGUSTUS JOHN
Inscribed and dated: Ladies' Field / January 8 1921
pencil
17.0 x 12.0cm / 6.7 x 4.7in

Exhibited: Parkin Gallery, The Cafe Royalists, Oct-Nov 1972, no.9

George Belcher was a regular artist for Punch, Vanity Fair and Tatler. He was elected R.A. in 1946. This sketch of Augustus John, one of several Belcher executed of his artist- friend, was intended for Field magazine in January 1921.

£200-300
102.    •AUGUSTUS JOHN, O.M., R.A. (1878-1961)
A SEATED FEMALE NUDE
signed l.r.: JOHN
pen and ink
36 x 27cm / 14.1 x 10.6in


The sitter is thought to be Edith Brice, also known as Lyndra. She married Derwent Lees in 1912 and ceased modelling for Augustus John following this. Lees was a well-known Australian landscape painter, himself a friend of John.

£1000-1500
103.    •IMRE GOTH (1893-1982)
THE ARTIST'S GIRLFRIEND, BERLIN (C.1929)
artist's monogram l.r.
watercolour
30 x 45.8cm / 11.8 x 18in

Goth studied in Budapest at the Academy, later moving to Weimar Berlin. He became well regarded as a portraitist and was favoured by the stars of the nascent German cinema. He was commissioned to paint a portrait of Goering which the Nazi Commander loathed, believing it to reveal his morphine addiction. Goth left Germany for England, having exhibited in Birmingham in 1935. At the outbreak of the Second World War he was interned on the Isle of Man. He became good friends with Alexander Korda, thus gaining entry to the world of British showbusiness.

Provenance:
Studio Sale, Bonhams, Knightsbridge, 3rd March 1993




£250-350
104.    •IMRE GOTH (1893-1982)
PORTRAITS OF ACTRESSES
all signed with artist's monogram
various, including red chalk and pencil
largest 31 x 54.3cm / 12.2 17.5in


This group comprises two Conte Berlin Film Studio portraits from the 1920's and 30's, and five unframed portraits from Korda London film studios, from the late 1940s.

It has been suggested that one of the unframed portraits may depict Vivien Leigh.

Provenance:
Studio Sale, Bonhams, Knightsbridge, 3rd March 1993

(7)
£250-350
105.    WILLIAM PAPAS (1927-2000)
OLD JERSUALEM
sold together with a sketch of an orthodox Jew and a copy of the artist's book People of Old Jerusalem (1982)
signed and inscribed l.l.: EL WAD / Turning into th Via Dolorosa / Papas
pen and watercolour
25.3 x 17.6cm / 64.2 x 44.7in

William 'Bill' Papas was a popular cartoonist who worked for The Sunday Times, Punch and The Guardian. £300-500
106.    •OTTO DIX (1891-1969)
THE DREAM OF THE SUB-LETTER
signed l.m. Otto Dix, titled (in German) u.m., inscribed l.r. Z 1926/1927
pencil drawing
43.0 x 33.0cm / 16.9 x 13.0in

£2000-3000
107.    •ERIC KENNINGTON R.A. (1888-1960)
PORTRAIT OF A LADY
signed and dated l.l.: Eric H Kennington 09.
pencil
26.5 x 19.0cm / 10.4 x 7.5in £300-500
108.    •LAURENCE PRESTON (1883-1960)
I GAVE / ICH GAB
signed l.r. L Preston
pen and black ink
47.5 x 28.5cm / 18.7 x 11.2in




£100-150
109.    •FRANK JOSEPH ARCHER (1912-1995)
A PAIR OF WAR SKETCHES
pen and ink
Largest: 9.5 x 16.5cm / 3.7 x 6.5in
Inscribed on one: Ennui. Kings Cliffe after a wet day on the working party.

(2)
£100-150
110.    HERBERT HAMPTON (1862-1929)
DESIGNS FOR A MEMORIAL TO EARL HAIG
pencil
37.0 x 25.2cm / 14.5 x 9.9in

(5)
£300-500
111.    EDWARD STOTT A.R.A. (1859-1918)
STUDY FOR THE WATERING PLACE
pencil
20.5 x 29.0cm / 8.0 x 11.4in

Stott's The Watering Place hangs in Standen House, owned by the National Trust, in West Sussex.



£250-350
112.    EDMUND PINK (1795-1847)
A DESIGN FOR A CENOTAPH
watercolour over pen and ink on paper
37.0 x 51.0cm / 14.5 x 20.0in
£250-350
113.    •ROLAND VIVIAN PITCHFORTH R.A. (1895-1982)
ZULU SHOPPERS AT A MARKET STALL, SOUTH AFRICA
Signed l.r.: Pitchforth '46
coloured chalks
43 x 35.5cm

Provenance:
Gerald Pitchforth, the artist's brother
Bonhams, Vivian Pitchforth Studio Sale 15.3.1990, lot 58
Private Collection

Exhibited: Wakefield Art Gallery & Museum, Pitchforth Exhibition

Pitchforth was born in Wakefield, North Yorkshire. He studied at Wakefield School of Art 1912-14, Leeds School of Art 1914-15 and 1919-20 (served in the Wakefield Battery, Royal Garrison Artillery 1915-19), and the Royal College of Art 1920-5, also visiting Paris. He was a member of the London Artists' Association 1928-32 and the London Group from 1929. His first one-man exhibition at the London Artists' Association was held in 1928 and thereafter he held further shows at the Lefevre, Redfern, Collings and Leicester galleries. He exhibited regularly at the Royal Academy from 1941, becoming a full member in 1953. A retrospective exhibition was held at Wakefield Art Gallery in 1943. At the war's end, Pitchforth acquired a lung infection and spent 1945-46 convalescing in South Africa before returning to London in 1948. From this period he took to working exclusively in watercolours. Visited Ceylon and Burma 1945 and worked in South Africa 1945-8, exhibiting at Cape Town, Durban and Johannesburg. An influential teacher, he taught at Camberwell from 1926, St Martin's School of Art from 1930 and the Chelsea Polytechnic from 1948; also teaching for a time at Clapham 1926-39 and the Royal College of Art 1937-9. Works by him are in many public collections both in this country and abroad.
£300-500
114.    ADRIAN HILL (1895-1977)
A SELECTION OF WATERCOLOURS
Signed variously l.r. & l.l. Adrian Hill
watercolour, pencil, pen and ink collage
Largest: 42 x 29cm

Unframed, mounted

(7)
£100-150
115.    CHARLOTTE FAWLEY (20th-21st CENTURY)
A REHEARSAL OF THE ROYAL BALLET PRODUCTION OF MANON
inscribed l.r.: Manon/The Royal Ballet / Makarova/Dowell
signed and dated l.r. Charlotte Fawley 1988
watercolour
48.0 x 34.0cm / 18.9 x 13.4in

unframed

Charlotte Fawley has sketched many productions and rehearsals at the Royal Opera House as an invited artist.
£150-250
116.    JAMES ARDERN GRANT R.E. P.P.S. (1885-1973)
A COLLECTION OF SKETCHES
various including watercolour, pencil and pastel
largest 25.5 x 37cm / 10 x 14.5in

Provenance:
The Ian Grant Collection, Sotheby's, Olympia, 18th September 2001

unframed

(12) £150-250
117.    • DONALD MCGILL (1875-1962)
SERIES OF ORIGINAL VALENTINE'S DAY CARD DESIGNS
variously inscribed verso with sizing
watercolour
27.0 x 17.0cm / 10.6 x 6.7in

(5)
£800-1200
118.    • DONALD MCGILL (1875-1962)
A POSTCARD DESIGN: A GIRL AND A PILLBOX
inscription attached verso with caption
watercolour
25.5 x 18.5cm / 10.0 x 7.3in

£200-300
119.    • DONALD MCGILL (1875-1962)
DESIGN FOR A VALENTINES POSTCARD
Inscription attached verso with caption
watercolour
27.0 x 17.0cm / 10.6 x 6.7in


£200-300
120.    •ALAN DAVIE R.A. (1920-2014)
DANTES
signed and dated l.r.: Alan Davie 70 and inscribed with title u.r.
with dedication on reverse of frame
watercolour with brush and ink
25.5 cm by 17.5 cm; 10 in by 7 in
framed

£400-600
121.    •WILLIAM GEAR R.A. (1915-1997)
A PAIR OF WATERCOLOURS, UNTITLED - BLUE AND BLACK & UNTITLED - RED, BLUE AND BLACK
ink and watercolour
39.0 x 29.0cm / 15.3 x 11.4in

(2)

£300-500
122.    •CHARLES SIMPSON (1885-1971)
RIDERLESS HORSES AT BEECHES BROOK, GRAND NATIONAL
gouache
37.0 x 54.5cm / 14.5 x 21.4in

unframed
£200-300
123.    •ETHELBERT WHITE R.W.S. (1891-1972)
A TRACK THROUGH OPEN COUNTRY
signed l.r.: Ethelbert White
watercolour
26.0 x 34.0 cm / 10.3 x 13.3in

£300-500
124.    •WILL ROBERTS (1907-2000)
STONELEIGH PARISH CHURCH (ST MARY THE VIRGIN)
signed and inscribed l.l.: Stoneleigh Parish Church / WR 1945
watercolour
37.5 x 27.0cm / 14.7 x 10.6in

Provenance:
Bonhams, Chester, Fine Art & Interiors, including Welsh Pictures, 5th March 2013, Lot 216 £100-150
125.    •WILL ROBERTS (1907-2000)
WARWICKSHIRE FARM
signed l.l.: WMR 45
watercolour and ink
27.0 x 37.5cm / 10.6 x 14.7in

Provenance:
Bonhams, Chester, Fine Art & Interiors, including Welsh Pictures, 5th March 2013, Lot 216 £100-150
126.    •MARJORIE COX (1915-2003)
TESS AND BELLA
pastel
59.0 x 65.0cm / 23.2 x 25.6in
£100-150
127.    MARJORIE COX (1915-2003)
COURTRAI MARY LOU
chalk on paper
34.3 x 42.0cm / 13.5 x 16.5in
titled l.m, signed and dated l.r. £200-300
128.    MARJORIE COX (1915-2003)
C.H. ROBINSON CRUSOE OF COURTRAI
chalk on paper
34.9 x 43.2cm / 13.5 x 17in
titled l.m., signed and dated l.r. £200-300
129.    MARJORIE COX (1915-2003)
TOPWIG TINA (TRACEY)
chalk on paper
39.4 x 47cm / 15.5 x 18.5in
titled l.m., signed and dated l.r. £200-300
130.    ATTRIBUTED TO RAOUL DUFY (1877-1953)
A COWBOY
pen and ink
17.8cm x 11cm / 7 x 4.3in

Provenance:
Collection of Joan Griffiths
Purchased by the present owner in 2007
£800-1200
131.    ATTRIBUTED TO RAOUL DUFY (1877-1953)
JOCKEYS AND THEIR HORSES
pen and ink
17.8cm x 14cm / 7 x 5.5in

Provenance:
Collection of Joan Griffiths
Purchased by the present owner in 2007 £800-1200
132.    •RICHARD BARRETT TALBOT KELLY (1896-197)
STILT, SPAIN
watercolour
22 x 22cm

Provenance:
The Fine Art Society, New Bond Street
Bill Thomson (Albany Gallery)

£100-150
133.    •FRANK ARCHER, R.W.S. (1912-199)
A SCENE IN WEST SUSSEX
watercolour and gouache
33 x 37cm
£100-150
134.    ATTRIBUTED TO HANNAH GLUCKSTEIN (1895-1978)
A COSTUME DESIGN
signed l.r.: GLUCK
watercolour and pencil
31.0 x 19.0cm / 12.0 x 7.0in
unframed


£100-150
135.    ADRIAN HILL (1895-1977) AND OTHER HANDS
A SELECTION OF SKETCHES FROM THE BBC'S 'SKETCH CLUB'
one drawing signed l.r. Adrian Hill, one signed and indscribed verso ADRIAN HILL / Shetland Drawing Programme
various media including chalk and watercolour
30.0 x 41.0cm / 11.8 x 16.0in
unframed

(15) £150-250
136.    ANDREW BROWNFOOT (20th CENTURY)
FOLIO OF ILLUSTRATIONS
two signed l.m.: ANDREW BROWNFOOT, one inscribed "Mind you leave the kitchen tidy" and signed and inscribed verso: Andrew Brownfoot, artist for Rubovia
watercolour, pencil and various media on paper
40 x 31cm / 15.7 x 12.2in
unframed

(4)

£80-120
137.    •ADRIAN DAINTREY, R.W.A. (1902-1988)
CHARTWELL
signed and titled l.l., signed in pencil l.r.
watercolour and pen
33.5 x 39cm / 13.0 x 15.3in


Adrian Maurice Daintrey, was born in Tooting and brought up in Wimbledon. He went from Charterhouse to the Slade School of Art. Here he chafed somewhat under Henry Tonks, then drawing master. Encouraged by Wilson Steer to study the Old Masters, he began to visit the National Gallery to paint, making friends with Vanessa Bell and Duncan Grant on these visits. He befriended Augustus John, who he had bumped into and enquired if he might see his studio. He became friends with the Slade legend, and soon was a regular drinking companion of his at the Cafe Royal.

His wartime career was varied, and took him from England to Iran, and Italy to Egypt. In each place he went, he took the opportunity to paint where he could, eventually being drafted into the Camouflage Corps.

Finding himself out of favour with gallerists after the war, he took to exhibiting in his Chelsea flat. Here, given his widespread popularity with fellow artists and with critics, he found success. During this time he shared a flat with Donald Maclean - in his memoirs he stated that he merely found the spy's politics odd - and came to be close friends with Matthew Bell.

Daintrey's memoirs, I Must Say (1963) are a remarkable record of the more personal side of some of Britain's most renowned artists, with whom he had spent many an evening dining or drinking. Sir John Betjeman was to place Daintrey in "the great tradition of London from Thackeray and Sir John Leech to Max Beerbohm and Osbert Lancaster".
£200-300
138.    •ADRIAN DAINTREY, R.W.A. (1902-1988)
TELHAM PLACE
titled, signed and dated 1972 l.l.
watercolour and pen
35.0 x 52.0cm / 13.7 x 20.4in

£150-250
139.    EDWARD MCKNIGHT KAUFFER (1890-1954)
GREECE FIGHTS ON (1942)
Signed in plate, lower right.
Lithograph in colours, offset, 1942, Issued by the Greek Office of Information, 30 Rockefeller Plaza, New York City
36.6 x 27.6cm / 13.1 x 10.9in


£300-500
140.    •DAVID HOCKNEY (b. 1937)
A POSTER FOR THE RAKE'S PROGRESS
94.5 x 76.0cm / 37.2 x 29.9in

For 'An Exhibition of Costume Drawings and Set Designs, Ashmolean Museum, May 18th - June 30th 1981'
£100-150
141.    •GILBERT AND GEORGE (B.1942 & 1943)
DIRTY WORDS PICTURES POSTER & ARE YOU ANGRY OR ARE YOU BORING
signed lr & l.l
screenprints
99.0 x 68.0cm / 38.9 x 26.7cm

(2)
£200-300
142.    •REUVEN RUBIN (1893-1974)
THOU SHALT NOT KILL (THE SIXTH COMMANDMENT)
numbered 153/200, signed and studio stamped l.l.
colour etching
64.8 x 49.5cm / 25.5 x 19.5in
£250-350
143.    •OTTO DIX (1891-1969)
STUDY FOR SELF-PORTRAIT WITH MARCELLA (1966)
Artist's proof, signed and dated l.r. Dix 66, inscribed verso N2607
lithograph
69.0 x 54.0cm / 27.1 x 21.3in
£700-900
144.    MANFRED SILNER (B.1937)
VIEW OF REGENSBURG
signed and dated l.r. Manfred Silner 1972, inscribed l.l. Castra Regina Submersa
print
23.0 x 17.0cm / 9.0 x 6.7in

Includes the original print matrix £80-120
145.    AFTER WALTER DEXELL (1890-1973)
PORTRAIT OF LENIN
Numbered l.l. 95/130, signed l.r. W. Dexell
colour print
67.0 x 50.0cm / 26.4 x 19.7in
£120-180
146.    •HANS JEAN ARP ( 1886-1966)
PRINT FROM LE VINGTIÈME SIÈCLE
bears pencil signature and date l.l.: ARP 1954
woodcut
26.0 x 19.0cm / 10.2 x 7.5in




£300-500
147.    •RIGBY GRAHAM (1931-2015)
BALLYNALACKEN
signed in pencil l.r.: Rigby Graham
artist's proof
colour etching with dust aquatint
20.0 x 30.0cm / 7.8 x 11.8in

£250-350
148.    •AFTER BANKSY
DI-FACED TENNER
Unknown edition number
offset lithograph printed in colours
7.6 x 14.3cm / 3.0 x 5.6in

Provenance:
Gift to the present owner from the Lazarides Gallery.


The artist known as Banksy has, at several times throughout his career, distributed these ten pound notes with an image of the late Diana, Princess of Wales in place of Queen Elizabeth II. The notes are best known for their appearance and reported use at Reading Festival and Notting Hill Carnival in 2004. £500-700
149.    •AFTER BANKSY
DI-FACED TENNER
Unknown edition number
offset lithograph printed in colours
7.6 x 14.3cm / 3.0 x 5.6in

Provenance:
Gift to the present owner from the Lazarides Gallery. £500-700
150.    PABLO PICASSO (1881-1973)
AU CIRQUE, ECUYERE SE CHAUSSANT DANS LES COULISSES ET CLOWN
Etching,1971, with the signature stamp, numbered 12/50
Publ. Michael Leiris, Paris, with full margins, in good condition
60.0 x 70.5 cm / 23.6 x 27.7in (image 31.5 x 41.5cm)

Literature: Georges Bloch, Catalogue de l'oeuvre gravé et lithographie de Picasso, no.1990

Provenance: Purchased William Weston, 2004
£2000-3000
151.    ALAN RICHARDS (20th/21st CENTURY)
MOL'S COFFEE SHOP, EXETER
signed & dated l.r.: Alan Richards 1975
titled & numbered l.l.: 15/30
screenprint
37.0 x 53.0cm / 14.6 x 20.8in
£100-200
152.    •DAVID SHEPHERD, CBE, FRSA, FRGS, OBE (1931-2017)
16 PRINCES GATE - 5TH MAY 1980
numbered 586/850
print
47.0 x 70.0cm / 18.5 x 27.5in

This print depicts the SAS siege of the Iranian Embassy. Shepherd was commissioned by the regiment to depict the events as described. This particular scene depicts the last of the terrorists encountered by the SAS, and is moments before the hostages were safely evacuated.

£300-400
153.    •AFTER LAURENCE STEPHEN LOWRY, R.A., R.B.A. (1887-1976)
BURFORD CHURCH
pencil signed l.r.: LS LOWRY
numbered 639/850 (1973 Edition, Grove Galleries Ltd., Manchester)
lithograph
plate: 45.5 x 59.0cm / 17.9 x 23.2in

£800-1200
154.    AFTER RAYMOND ALLEN JACKSON, A.K.A. JAK (1927-1997)
JAK BEHIND THE LINES: 50 YEARS OF THE S.A.S.
numbered 358/750
print
16.5 x 52.0cm / 6.5 x 20.5in
£100-150
155.    A COLLECTION OF 19th AND 20th CENTURY FRAMES
Largest 30.0 x 20.0cm / 11.8 x 7.8in

(6) £150-250
156.    A COLLECTION OF 19th AND 20th CENTURY FRAMES
Largest 30.0 x 20.0cm / 11.8 x 7.8in

(6) £150-250