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Auction Description for Chiswick Auctions: Fine Art
Viewing Notes:
Sunday Noon - 6pm Monday 10am - 6pm Tuesday 10am - 1pm

Fine Art (174 Lots)

by Chiswick Auctions


174 lots | 173 with images

December 13, 2016

Live Auction

Acton, London, United Kingdom

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EDWARD BURRA 1905-1976. 'Balcony'. Woodcut. Artist proof, No. XII of IX. Pencil signed to the margin. Plate size 15cm x 10cm. Mounted and in a good giltwood frame.

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Description: EDWARD BURRA 1905-1976. 'Balcony'. Woodcut. Artist proof, No. XII of IX. Pencil signed to the margin. Plate size 15cm x 10cm. Mounted and in a good giltwood frame.

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AFTER HEINRICH SCHERERE 1628-1704. 'Spiritus dei Ferebatur'. Engraving depicting the creation of the Eastern Hemisphere, forming one of the title pages from Scherer's Atlas. Published Munich 1705. Framed. 27cm x 19cm.

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Description: AFTER HEINRICH SCHERERE 1628-1704. 'Spiritus dei Ferebatur'. Engraving depicting the creation of the Eastern Hemisphere, forming one of the title pages from Scherer's Atlas. Published Munich 1705. Framed. 27cm x 19cm.

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JOHN SINGER SARGENT R.A. 1856-1925. 'Portrait of a Young Boy'. Lithograph on buff paper, with printed inscription: 'To my friend Sir George Lewis', dated 1914. With stamp verso for Paul Laib, Fine Art Photographer. Mounted and framed, 18.5cm x 14.5cm.

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Description: JOHN SINGER SARGENT R.A. 1856-1925. 'Portrait of a Young Boy'. Lithograph on buff paper, with printed inscription: 'To my friend Sir George Lewis', dated 1914. With stamp verso for Paul Laib, Fine Art Photographer. Mounted and framed, 18.5cm x 14.5cm.

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GERALD LESLIE BROCKHURST 1890-1978. 'Ranunculus'. Etching on cream wove paper, from the edition of 76 signed proofs, published September 1921. Signed in pencil. Mounted. Plate size 201 x 152mm (7.9 x 6 ins.), sheet size 318 x 250mm (12.5 x 9;8 ins.). Wright 25. Fletcher 25. This etching derives its name from the wild flower which is held by Anais, the artist's wife and model.

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Description: GERALD LESLIE BROCKHURST 1890-1978. 'Ranunculus'. Etching on cream wove paper, from the edition of 76 signed proofs, published September 1921. Signed in pencil. Mounted. Plate size 201 x 152mm (7.9 x 6 ins.), sheet size 318 x 250mm (12.5 x 9;8 ins.). Wright 25. Fletcher 25. This etching derives its name from the wild flower which is held by Anais, the artist's wife and model.

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ANDERS ZORN 1860-1920 SWEDISH, 'Vicke'. Etching. 1918. Pencil signed, Hjert and Hjert No: 166. Mounted. 19.9cm x 29.5cm. Together with: 'Ols Maria'. Etching. 1919. Pencil signed. Mounted. 19cm x 28.5cm. An exceptional print maker, as an oil painter his sitters included three American Presidents. (2).

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Description: ANDERS ZORN 1860-1920 SWEDISH, 'Vicke'. Etching. 1918. Pencil signed, Hjert and Hjert No: 166. Mounted. 19.9cm x 29.5cm. Together with: 'Ols Maria'. Etching. 1919. Pencil signed. Mounted. 19cm x 28.5cm. An exceptional print maker, as an oil painter his sitters included three American Presidents. (2).

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JAMES ABBOT McNEIL WHISTLER 1834-1903. 'The Rag Gatherers'. Etching, 1858. With full margins and inscribed to the margin in pencil, Kennedy 23. Known impression 80, number of states 5. 15.2cm x 9cm. Mounted.

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Description: JAMES ABBOT McNEIL WHISTLER 1834-1903. 'The Rag Gatherers'. Etching, 1858. With full margins and inscribed to the margin in pencil, Kennedy 23. Known impression 80, number of states 5. 15.2cm x 9cm. Mounted.

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WILLIAM STRANG 1859-1921. 'The Feasting'. Rare etching. Pencil signed lower right. Title in pencil lower left and marked as S655. With full margins. Mounted. 19.6cm x 27.7cm.

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Description: WILLIAM STRANG 1859-1921. 'The Feasting'. Rare etching. Pencil signed lower right. Title in pencil lower left and marked as S655. With full margins. Mounted. 19.6cm x 27.7cm.

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WILLIAM STRANG 1859-1921. 'Nativity'. Rare etching. 1901. Pencil signed lower right. Title in pencil lower left. Further signed in the plate. With full margins. Mounted. 19.9cm x 15.1cm.

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Description: WILLIAM STRANG 1859-1921. 'Nativity'. Rare etching. 1901. Pencil signed lower right. Title in pencil lower left. Further signed in the plate. With full margins. Mounted. 19.9cm x 15.1cm.

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DONALD SHAW MACLAUGHLIN 1876-1938 AMERICAN, b. Canada - Prince Edwards Island, d. Morocco. 'Landscape Poplars, Canal and Cow'. A rare evocative drypoint landscape etching, probably France. Pencil signed lower right. Mounted. 13.8cm x 10cm. A/F.  Like Whistler, MacLaughlan travelled to Europe to study in Paris, enrolling in the Ecole des Beaux Arts and studied further with Gerome and Laurens. In 1899 he began producing etchings. By 1907, such was his reputation as an exceptionally skilled print maker, he was entrusted by the French Government with several original plates by Rembrandt, for reprinting. Although regarded as one one of America's most important etchers, Shaw was born in Canada.

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Description: DONALD SHAW MACLAUGHLIN 1876-1938 AMERICAN, b. Canada - Prince Edwards Island, d. Morocco. 'Landscape Poplars, Canal and Cow'. A rare evocative drypoint landscape etching, probably France. Pencil signed lower right. Mounted. 13.8cm x 10cm. A/F. Like Whistler, MacLaughlan travelled to Europe to study in Paris, enrolling in the Ecole des Beaux Arts and studied further with Gerome and Laurens. In 1899 he began producing etchings. By 1907, such was his reputation as an exceptionally skilled print maker, he was entrusted by the French Government with several original plates by Rembrandt, for reprinting. Although regarded as one one of America's most important etchers, Shaw was born in Canada.

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AFTER GUIDO RENI 1575-1672 BOLOGNA, 'The Christ Child with the infant St John the Baptist'. Engraving, circa 1595/1600. Bartch 13. Mounted and framed. 11.7cm x 16.8cm.

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Description: AFTER GUIDO RENI 1575-1672 BOLOGNA, 'The Christ Child with the infant St John the Baptist'. Engraving, circa 1595/1600. Bartch 13. Mounted and framed. 11.7cm x 16.8cm.

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AFTER RICHARD DIGHTON, a good set of early 19th Century colour portrait engravings, all mounted and framed. 'Elegant Manners', A Princely Ambassador', 'Kangkook', 'A Good Whip', 'The Hero of the Chase', 'A View from Knightsbridge Barracks', 'A View from the Old South Sea House', 'The Privvy Seal'. Also, engravings after Gilray and Cruikshank', 'Reflections of an Exquisite', 'A Dandy', 'An Exquisitie', 'Dandy's Toilette', 'The Stays', and 'Monstrosities'. (14).

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Description: AFTER RICHARD DIGHTON, a good set of early 19th Century colour portrait engravings, all mounted and framed. 'Elegant Manners', A Princely Ambassador', 'Kangkook', 'A Good Whip', 'The Hero of the Chase', 'A View from Knightsbridge Barracks', 'A View from the Old South Sea House', 'The Privvy Seal'. Also, engravings after Gilray and Cruikshank', 'Reflections of an Exquisite', 'A Dandy', 'An Exquisitie', 'Dandy's Toilette', 'The Stays', and 'Monstrosities'. (14).

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GERALD LESLIE BROCKHURST 1890-1978. 'An Old Corsican'. Etching on J Watman, 1921. Edition of 76. Plate size: 16cm x 11.5cm. Signed in pencil lower right and within the plate. Mounted and framed. The model for this portrait was the wood engraver, Marquett.

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Description: GERALD LESLIE BROCKHURST 1890-1978. 'An Old Corsican'. Etching on J Watman, 1921. Edition of 76. Plate size: 16cm x 11.5cm. Signed in pencil lower right and within the plate. Mounted and framed. The model for this portrait was the wood engraver, Marquett.

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WILLIAM STRANG 1859-1921. 'A Normandy Church'. Etching. Signed lower right. Plate size: 18.5cm x 17.5cm. Mounted and framed.

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Description: WILLIAM STRANG 1859-1921. 'A Normandy Church'. Etching. Signed lower right. Plate size: 18.5cm x 17.5cm. Mounted and framed.

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DONALD SHAW MACLOUGHLIN 1876-1938 b. Canada, d. Morocco. 'A Continental Landscape'. Etching. Pencil signed. Plate size: 11.8cm x 21.9cm. Mounted and framed.

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Description: DONALD SHAW MACLOUGHLIN 1876-1938 b. Canada, d. Morocco. 'A Continental Landscape'. Etching. Pencil signed. Plate size: 11.8cm x 21.9cm. Mounted and framed.

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AFTER PIETRO DA CORTONA 'Barberinae aulae Fornix'. Published circa 1677 by Giovanni Giacomo de Rossi, Rome. Engraved by J. deRubeis. Set of ten unmounted engravings depicting Pietro da Cortona's frescoes on the ceiling of Palazzo Barbeni, and the Pitti Palace. 49.5 x 76cm paper size. (10).

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Description: AFTER PIETRO DA CORTONA 'Barberinae aulae Fornix'. Published circa 1677 by Giovanni Giacomo de Rossi, Rome. Engraved by J. deRubeis. Set of ten unmounted engravings depicting Pietro da Cortona's frescoes on the ceiling of Palazzo Barbeni, and the Pitti Palace. 49.5 x 76cm paper size. (10).

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Description: "The Seamstress" Oil on canvas portrait of a young woman with yellow polka dot headscarf, concentrating on her needlework. Signed lower left. With etched nameplate. 50cm x 40cm. In a good gilt wood and wash frame.

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Jacob Gibbs 1682-1754 A good set of framed architectural engravings featuring elevations, plans and details. 26c, x 40cm. H. Hulsbergh, Engraver. (10)

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Description: Jacob Gibbs 1682-1754 A good set of framed architectural engravings featuring elevations, plans and details. 26c, x 40cm. H. Hulsbergh, Engraver. (10)

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Description: "Figures in the Landscape" An impressive large oil on canvas forested landscape with figures fording a river, and distant views to the horizon. Possible indistinct signature lower left. Re-lined. 107cm x 160cm. With frame.

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REMBRANDT VAN RIJN 1606-1669. 'The Raising of Lazarus'. Etching 1642. Mounted. 15cm X 11.4cm plate size. Trimmed to margins. Signed within the plate Rembrandt f 1642. (B., Holl. 72; H. 198).

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Description: REMBRANDT VAN RIJN 1606-1669. 'The Raising of Lazarus'. Etching 1642. Mounted. 15cm X 11.4cm plate size. Trimmed to margins. Signed within the plate Rembrandt f 1642. (B., Holl. 72; H. 198).

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MORTIMER MENPES 18955-1938. 'The Water Wheel'. Drypoint etching with aquatint. Pencil signed lower right. Mounted, glazed and framed. Plate size 21cm x 29.8cm.

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Description: MORTIMER MENPES 18955-1938. 'The Water Wheel'. Drypoint etching with aquatint. Pencil signed lower right. Mounted, glazed and framed. Plate size 21cm x 29.8cm.

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Selina Bracebridge 1795-1878  En-grisaille watercolour and wash, Lake Scene, with figures observing the passage of light. In the oval, mounted and framed. 15cm x 20cm. Selina Bracebridge was a noted student of Samuel Prout. As a close friend of Florence Nightingale, she and her husband travelled to Scutari in the Crimea and served as assistants to Nightingale.

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Description: Selina Bracebridge 1795-1878  En-grisaille watercolour and wash, Lake Scene, with figures observing the passage of light. In the oval, mounted and framed. 15cm x 20cm. Selina Bracebridge was a noted student of Samuel Prout. As a close friend of Florence Nightingale, she and her husband travelled to Scutari in the Crimea and served as assistants to Nightingale.

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JOHN GLOVER 1767-1849. 'Cows Standing in a River', and 'Trees with Lane'. A pair of pencil and grey wash, and pen and ink works. Mounted and framed, 7.4cm x 11.8cm. Labels verso for The Fry Gallery, Jermyn St. (2), A/F. Glover held his first one man show in 1823 and travelled to Australia in 1831.

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Description: JOHN GLOVER 1767-1849. 'Cows Standing in a River', and 'Trees with Lane'. A pair of pencil and grey wash, and pen and ink works. Mounted and framed, 7.4cm x 11.8cm. Labels verso for The Fry Gallery, Jermyn St. (2), A/F. Glover held his first one man show in 1823 and travelled to Australia in 1831.

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PAUL SANBY MUNN 1773-1845. 'Stone Masons Resting'. Pencil with grey wash. Label verso for The Fry Gallery, Jermyn St. Mounted and framed, 26cm x 39cm.

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Description: PAUL SANBY MUNN 1773-1845. 'Stone Masons Resting'. Pencil with grey wash. Label verso for The Fry Gallery, Jermyn St. Mounted and framed, 26cm x 39cm.

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THOMAS BUSH HARDY 1842-1897. 'Boulogno Harbour'. Watercolour, with body colour and scratching out. Harbour scene with views to distant masted ships and a paddle steamer on the river. Signed and inscribed lower right, and dated 1889. Mounted, glazed and in a good giltwood frame, 22cm x 68cm.

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Description: THOMAS BUSH HARDY 1842-1897. 'Boulogno Harbour'. Watercolour, with body colour and scratching out. Harbour scene with views to distant masted ships and a paddle steamer on the river. Signed and inscribed lower right, and dated 1889. Mounted, glazed and in a good giltwood frame, 22cm x 68cm.

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L. ROWLAND, 19th century British. 'Lake Como'. Watercolour and gouache lake view. Signed and indistinctly signed lower left. Dated 1863. Mounted, framed and glazed, 18 x 48cm.

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Description: L. ROWLAND, 19th century British. 'Lake Como'. Watercolour and gouache lake view. Signed and indistinctly signed lower left. Dated 1863. Mounted, framed and glazed, 18 x 48cm.

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ATTRIBUTED TO WILLIAM CALLOW 1812-1908. 'Coast Scene with Shipping'. Watercolour. Indistinctly inscribed lower right. Bears signature verso, and is further inscribed verso on the mount; which indicates this work was once in the collection of Eward Seago. A very similar composition by Richard Parkes Bonnington is to be found in the collection of Aberdeen Art Gallery. Mounted and framed, 13cm x 18.4cm.

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Description: ATTRIBUTED TO WILLIAM CALLOW 1812-1908. 'Coast Scene with Shipping'. Watercolour. Indistinctly inscribed lower right. Bears signature verso, and is further inscribed verso on the mount; which indicates this work was once in the collection of Eward Seago. A very similar composition by Richard Parkes Bonnington is to be found in the collection of Aberdeen Art Gallery. Mounted and framed, 13cm x 18.4cm.

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PIETRO ANNIGONI 1910-1988. ' A London Suburb'. Pen and ink with wash, 1949. Signed lower right and inscribed 'XLIX'. Mounted and framed. 36cm x 56.5cm.

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Description: PIETRO ANNIGONI 1910-1988. ' A London Suburb'. Pen and ink with wash, 1949. Signed lower right and inscribed 'XLIX'. Mounted and framed. 36cm x 56.5cm.

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ROWLAND SUDDABY. 'Ponds and Elms, Autumn, Suffolk'. Oil on canvas landscape. Signed lower right and dated '41. Label verso for Leger and Son, Bond Street. In a lime washed frame 60cm x 90cm.

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Description: ROWLAND SUDDABY. 'Ponds and Elms, Autumn, Suffolk'. Oil on canvas landscape. Signed lower right and dated '41. Label verso for Leger and Son, Bond Street. In a lime washed frame 60cm x 90cm.

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A. ROGEZ, 19TH / 20TH CENTURY. 'Bandstand Boys'. A distinctive pen, ink, wash, conte and chalk en-grisaille composition. A group of boys, some with hoops, face the viewer. Signed lower right and dated 1906. In a good gilt frame, mounted and glazed, 34cm x 49cm.

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Description: A. ROGEZ, 19TH / 20TH CENTURY. 'Bandstand Boys'. A distinctive pen, ink, wash, conte and chalk en-grisaille composition. A group of boys, some with hoops, face the viewer. Signed lower right and dated 1906. In a good gilt frame, mounted and glazed, 34cm x 49cm.

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GATTI DOMENICO 1892-1916. A set of four Neapolitan views, gouache and body colour. In the oval. Depicting' 'Cleries in front of Vesuvius', 'The Sardine Seller', 'Vegetable Seller' with his laden Donkey', and 'The Net Menders'. Two signed lower right. 32cm x 26cm. Framed (4).

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Description: GATTI DOMENICO 1892-1916. A set of four Neapolitan views, gouache and body colour. In the oval. Depicting' 'Cleries in front of Vesuvius', 'The Sardine Seller', 'Vegetable Seller' with his laden Donkey', and 'The Net Menders'. Two signed lower right. 32cm x 26cm. Framed (4).

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JUDITH OLDHAM, LATE 18TH CENTURY. 'George III in his Coronation Robes'. Watercolour with body colour, and applied details in relief. An unusual depiction of the monarch set within a decorated border of ribbons, flowers and the Royal Crest. Signed to lower right: 'Judith Oldham Pinxt, 1785'. 31.5cm x 19.5cm. Mounted and framed. Together with: 'His Royal Highness, the Prince Regent', hand tinted engraving published by Richard Evans 1815. Mounted and framed. A further framed pair of tinted engravings: King William IV, together with Queen Adelaide. Published by J. Bell, London 1831. Framed (3).

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Description: JUDITH OLDHAM, LATE 18TH CENTURY. 'George III in his Coronation Robes'. Watercolour with body colour, and applied details in relief. An unusual depiction of the monarch set within a decorated border of ribbons, flowers and the Royal Crest. Signed to lower right: 'Judith Oldham Pinxt, 1785'. 31.5cm x 19.5cm. Mounted and framed. Together with: 'His Royal Highness, the Prince Regent', hand tinted engraving published by Richard Evans 1815. Mounted and framed. A further framed pair of tinted engravings: King William IV, together with Queen Adelaide. Published by J. Bell, London 1831. Framed (3).

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FOLLOWER OF WILLIAM HENRY HUNT 1790-1864. Oil on milled board. 'Flowers & Fauna'. Board supplied by Geo. Rowney & Co, 51 Rathbone Place. In a gilt and wash frame, 15cm x 19cm.

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Description: FOLLOWER OF WILLIAM HENRY HUNT 1790-1864. Oil on milled board. 'Flowers & Fauna'. Board supplied by Geo. Rowney & Co, 51 Rathbone Place. In a gilt and wash frame, 15cm x 19cm.

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LISA DE MONTFORD R.M.S. 'Flower Study with Landscape'. OIl on earlier panel. Signed lower left and monogrammed lower right. With label verso for Clarges Gallery, London. 24.5cm x 28.5cm.

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Description: LISA DE MONTFORD R.M.S. 'Flower Study with Landscape'. OIl on earlier panel. Signed lower left and monogrammed lower right. With label verso for Clarges Gallery, London. 24.5cm x 28.5cm.

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AN INTERESTING SMALL OIL ON TIN PORTRAIT OF FRANCOISE-MARGUERITE DE SEVIGNE', COMPTESSE DE GRIGNAN 1646-1705. Set within a part oval, with a painted shield of horizontal blue and red bands. 13cm x 11cm approx.   Once established at the court of Louis XIV, the 17 year old Francoise-Marqueritte made her debut at the Royal Ballet Des Arts. Remembered especially for her correspondence, 'I know of no sorrow  greater than that occasioned by a delay of post'.

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Description: AN INTERESTING SMALL OIL ON TIN PORTRAIT OF FRANCOISE-MARGUERITE DE SEVIGNE', COMPTESSE DE GRIGNAN 1646-1705. Set within a part oval, with a painted shield of horizontal blue and red bands. 13cm x 11cm approx.  Once established at the court of Louis XIV, the 17 year old Francoise-Marqueritte made her debut at the Royal Ballet Des Arts. Remembered especially for her correspondence, 'I know of no sorrow  greater than that occasioned by a delay of post'.

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FOLLOWER OF JOSEPH MALLORD WILLIAM TURNER 1775-1851. 'Venice seen from the Giudecca Canal'. Oil on canvas with good impasto, unre-lined and on a mid 19th Century stretcher. Bears monogram lower left 'J.M.W.T.' 40.5cm x 61cm in a period giltwood frame.  By family repute, this work is possibly by a student of Turner's. Tuners's best known version of this view is in The Tate Collection, and dated 1840.

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Description: FOLLOWER OF JOSEPH MALLORD WILLIAM TURNER 1775-1851. 'Venice seen from the Giudecca Canal'. Oil on canvas with good impasto, unre-lined and on a mid 19th Century stretcher. Bears monogram lower left 'J.M.W.T.' 40.5cm x 61cm in a period giltwood frame. By family repute, this work is possibly by a student of Turner's. Tuners's best known version of this view is in The Tate Collection, and dated 1840.

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VIVIAN PITCHFORTH R.A. 1895-1982.

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Description: VIVIAN PITCHFORTH R.A. 1895-1982. "Sheppey Island, 1942". Watercolour marinescape with distant views towards navel cranes. Signed lower right. Label verso for: J.Leger & Son, 13 Bond Street. Dated Dec 1942. Pitchforth was commissioned by the War Artist's Advisory Committee early in WWII, and painted numerous war scenes around London.

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ATTRIBUTED TO WILLEM MARRIS 1844-1910. 'The Coast of Scheveningen on a Stormy Day'. Oil on canvas au plein air view of the beach at Scheveningen with white tipped rolling waves, and a singly donkey with rider. In the distance, fine masts and shipping. Signed 'W. Maris' lower right. Re-lined. 27cm x 41cm.

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Description: ATTRIBUTED TO WILLEM MARRIS 1844-1910. 'The Coast of Scheveningen on a Stormy Day'. Oil on canvas au plein air view of the beach at Scheveningen with white tipped rolling waves, and a singly donkey with rider. In the distance, fine masts and shipping. Signed 'W. Maris' lower right. Re-lined. 27cm x 41cm.

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DAVID MURRAY SMITH R.B.A., R.W.S. Evening Trees and River'. Atmospheric oil on milled board, riverscape view. Signed lower left. In a good giltwood frame, 23.5cm x 34cm.

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Description: DAVID MURRAY SMITH R.B.A., R.W.S. Evening Trees and River'. Atmospheric oil on milled board, riverscape view. Signed lower left. In a good giltwood frame, 23.5cm x 34cm.

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P. MILON, CIRCA 1800. 'River Landscape with Washerwoman'. Oil on canvas, to the fore a washerwoman with child and dog, with distant views to sheep in the meadows and small sailboats. Re-lined. With original bill of sale dated 1964. 35cm x 43cm in a good giltwood frame.

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Description: P. MILON, CIRCA 1800. 'River Landscape with Washerwoman'. Oil on canvas, to the fore a washerwoman with child and dog, with distant views to sheep in the meadows and small sailboats. Re-lined. With original bill of sale dated 1964. 35cm x 43cm in a good giltwood frame.

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CIRCA LATE 18TH CENTURY BRITISH. 'Fisherman in the Landscape'. Oil on panel rural scene with distant views to a hillside ruined castle and the upper reaches of a flowing river. With good impasto. In a period giltwood frame, 25 x 30cm. Verso, four sets of old Christies stencil numbers.

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Description: CIRCA LATE 18TH CENTURY BRITISH. 'Fisherman in the Landscape'. Oil on panel rural scene with distant views to a hillside ruined castle and the upper reaches of a flowing river. With good impasto. In a period giltwood frame, 25 x 30cm. Verso, four sets of old Christies stencil numbers.

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JOHANN MATTHIAS RANFTL 1805-1854. 'A Family Takes Lunch'. A very fine oil on panel. A labourer holds his daughter aloft as his wife prepares food, with distant landscape views. Signed lower right and dated 1837. In a good giltwood frame, 43 x 35cm.  Provenance: This work once hung in the Monaco home of the Rothschild family.

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Description: JOHANN MATTHIAS RANFTL 1805-1854. 'A Family Takes Lunch'. A very fine oil on panel. A labourer holds his daughter aloft as his wife prepares food, with distant landscape views. Signed lower right and dated 1837. In a good giltwood frame, 43 x 35cm. Provenance: This work once hung in the Monaco home of the Rothschild family.

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ENGLISH SCHOOL CIRCA 1820/40. 'The New Baby'. Oil on panel interior parlour scene, with a nursing mother trying to keep her patience as around her older children play hide and seek. Unsigned. 15 x 20.5cm, in a good giltwood frame. Panel label for Waring and Dimes of Gt. Russell St.

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Description: ENGLISH SCHOOL CIRCA 1820/40. 'The New Baby'. Oil on panel interior parlour scene, with a nursing mother trying to keep her patience as around her older children play hide and seek. Unsigned. 15 x 20.5cm, in a good giltwood frame. Panel label for Waring and Dimes of Gt. Russell St.

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FRANCIS THOMAS CARTER 1853-1934. 'Lakeland scene, possibly Derwent Water'. Oil on board. Signed lower right. Mounted, framed and glazed, 32cm x 44cm.

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Description: FRANCIS THOMAS CARTER 1853-1934. 'Lakeland scene, possibly Derwent Water'. Oil on board. Signed lower right. Mounted, framed and glazed, 32cm x 44cm.

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AFTER PETER PAUL RUBENS 1577-1940. 'Le Fils de Rubens / Ruben's Son'. Oil on milled board, inscribed verso and attributed to Felix Moscheles. Framed, 39cm x 27cm. Together with an engraved version of the same portrait, published 1762, France. Framed, 35cm x 22cm (2).

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Description: AFTER PETER PAUL RUBENS 1577-1940. 'Le Fils de Rubens / Ruben's Son'. Oil on milled board, inscribed verso and attributed to Felix Moscheles. Framed, 39cm x 27cm. Together with an engraved version of the same portrait, published 1762, France. Framed, 35cm x 22cm (2).

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RALLI THEODORE JACQUES (GREEK, 1852-1909). Portrait study of a young Oriental Bedouin girl. Oil on panel. Bearing original Greek export stamp on the back, 29cm x 24cm. Ralli was born in Constantinople of Greek parents. He studied in Paris in the atelier of the leading pompier painter of the time, Jean-Lèon Gèrôme. He exhibited regularly at the Salon De Paris and was enthusiastically received by the French critics. His later work is characterised by scenes of the exotic world of the East with his charcteristic attention to detail and powers of observation and virtuosity in rendering the human face, capturing the aesthetic race of a young Oriental beauty.

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Description: RALLI THEODORE JACQUES (GREEK, 1852-1909). Portrait study of a young Oriental Bedouin girl. Oil on panel. Bearing original Greek export stamp on the back, 29cm x 24cm. Ralli was born in Constantinople of Greek parents. He studied in Paris in the atelier of the leading pompier painter of the time, Jean-Lèon Gèrôme. He exhibited regularly at the Salon De Paris and was enthusiastically received by the French critics. His later work is characterised by scenes of the exotic world of the East with his charcteristic attention to detail and powers of observation and virtuosity in rendering the human face, capturing the aesthetic race of a young Oriental beauty.

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FRANCISCO GOYA 1746-1828. 'Esta Um Pues, Como Digo'. Etching with aquatint, from Los Caprichos. Plate size 21.5cm x 15cm. Framed. In 1803, Goya offered the copper plates and unsold prints from Los Caprichos to Carlos IV having decided to withdraw his work from the scrutiny of the Inquisition.

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Description: FRANCISCO GOYA 1746-1828. 'Esta Um Pues, Como Digo'. Etching with aquatint, from Los Caprichos. Plate size 21.5cm x 15cm. Framed. In 1803, Goya offered the copper plates and unsold prints from Los Caprichos to Carlos IV having decided to withdraw his work from the scrutiny of the Inquisition.

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CIRCA 16TH / 17TH CENTURY, POSSIBLY GERMAN SCHOOL. Two male portraits, oil on canvas. Mounted to card and laid to panel. These works may be reductions from a larger work. Unsigned. 26cm x 22cm.

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Description: CIRCA 16TH / 17TH CENTURY, POSSIBLY GERMAN SCHOOL. Two male portraits, oil on canvas. Mounted to card and laid to panel. These works may be reductions from a larger work. Unsigned. 26cm x 22cm.

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ANNIE BELL, late 19th Century British. 'The Embrace'. Oil on canvas, Orientalist depiction of an exotic female in flowing garment being held by her admirer in an olive green robe. Signed lower left. In a giltwood frame with velvet slip.

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Description: ANNIE BELL, late 19th Century British. 'The Embrace'. Oil on canvas, Orientalist depiction of an exotic female in flowing garment being held by her admirer in an olive green robe. Signed lower left. In a giltwood frame with velvet slip.

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Follower of Hendrick Golzius 1558 - 1617 and Jacob Matham 1571 - 1631. 'The Judgement of Venus'. An exceptional watercolour, gouache and stipple work on vellum. In the round, and set in a baroque carved frame, with spun glass. Verso, an earlier label indicating this work was previously attributed to the great pastellist Rosalba Carriera 1673 - 1757, and exhibited in Northampton 1876.   Private Collection.

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Description: Follower of Hendrick Golzius 1558 - 1617 and Jacob Matham 1571 - 1631. 'The Judgement of Venus'. An exceptional watercolour, gouache and stipple work on vellum. In the round, and set in a baroque carved frame, with spun glass. Verso, an earlier label indicating this work was previously attributed to the great pastellist Rosalba Carriera 1673 - 1757, and exhibited in Northampton 1876. Private Collection.

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Follower of Hendrick Golzius 1558 - 1617 and Jacob Matham 1571 - 1631 'The Fates Cutting the Thread of Life'. An exceptional watercolour, gouache and stipple work on vellum, laid to card. Linked to the 1587 engraving by Jacob Matham, after the drawing by his father in law, Hendrick Golzius. The Dutch master painter and engraver Hendrick Golzius published several versions of the Fates. This version is near identical to the print by Matham, and presents the Fates as elegant young nudes, positioned in a rocky landscape and sets Atropos's scissors at the centre of the circular composition. In the round, and set in a period baroque carved frame, with spun glass. Verso, an earlier label indicating this work was attributed to the great pastellist and miniaturist Rosalba Carriera 1673 - 1757. In pencil on the card backing to the vellum, further inscription:

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Description: Follower of Hendrick Golzius 1558 - 1617 and Jacob Matham 1571 - 1631 'The Fates Cutting the Thread of Life'. An exceptional watercolour, gouache and stipple work on vellum, laid to card. Linked to the 1587 engraving by Jacob Matham, after the drawing by his father in law, Hendrick Golzius. The Dutch master painter and engraver Hendrick Golzius published several versions of the Fates. This version is near identical to the print by Matham, and presents the Fates as elegant young nudes, positioned in a rocky landscape and sets Atropos's scissors at the centre of the circular composition. In the round, and set in a period baroque carved frame, with spun glass. Verso, an earlier label indicating this work was attributed to the great pastellist and miniaturist Rosalba Carriera 1673 - 1757. In pencil on the card backing to the vellum, further inscription: "Rosalba, 1700. Imported by C.T. James 1856". Private Collection. Please also see lot 349 by the same hand.

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