25 Blyth Road - BRITISH & CONTINENTAL PICTURES & PRINTS & PHOTOGRAPHS 17 March 2016

AUCTION ENQUIRIES AND INFORMATION
Enquiries:
Harry Moore-Gwyn, Pictures and Prints
Arnaud Delas, Photographs
Kate Goad, General Enquiries
25 Blythe Road Ltd
25 Blythe Road
London W14 0PD
Tel: +44 (0)20 7806 5541
Fex: +44 (0)20 7806 5546
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Online Catalogue listed:
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Front cover: Lot 5 opposite page Lot 9
Back cover: Lot 189

Harry Moore-Gwyn - BRITISH & CONTINENTAL PICTURES & PRINTS & Arnaud Delas - PHOTOGRAPHS - 17 March 2016
25 Blythe Road | London’s Specialist Auctioneers
25 Blythe Road Ltd
Harry Moore-Gwyn - BRITISH & CONTINENTAL PICTURES &
PRINTS
Arnaud Delas – PHOTOGRAPHS
including works by; Jonas Plosky, Walter Sickert, Oliver Messel, James Lawrence Isherwood, Charles Cundall,
Edward Ardizzone, Henri Hayden, James Jacques Joseph Tissot, Henri-Joseph Harpignies, Sir Stanley
Spencer, Henry Tonks, James Gillray and a collection of works associated with the Mackinnon Clan as well as
over 80 lots by the Polish photographer Edward Hartwig, a group of albums of Uganda, Japan and European
views and loose photographs of India.
TO BE SOLD BY AUCTION AT
25 Blythe Road Ltd
25 Blythe Road
London W14 0PD
PUBLIC EXHIBITION
Sunday 13th March 12.00noon to 4.00pm
Monday 14th March 10.00am to 5.00pm
Tuesday 15th March 10.00am to 8.00pm
Wednesday 16th March 10.00am to 5.00pm
Thursday 17th March 10.00am to 12.00noon (Limited View Only)
DAY OF SALE
Thursday 17th
March 2016
at 12noon, precisely
This auction is conducted by 25 Blythe Road Ltd in accordance with our Conditions of Business printed in this
catalogue

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On certain Lots marked ‘•’ in the Catalogue that are sold for a Hammer Price of €1,000 or greater (converted into GBP
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Hammer Price Percentage Amount
From €0 to €50,000 4%
From €50,000.01 to €200,000 3%
From €200,000.01 to €350,000 1%
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On receipt of cleared funds, lots can be collected from 25 Blythe Road during the auction or immediately after its
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they will be transferred to a third party for storage. A transfer fee of £10 per lot plus all incurred transfer and storage costs
due to the third party will be payable prior to release.

1.
CIRCLE OF ARTHUR WILLIAM DEVIS (1766-1822)
FULL LENGTH PORTRAIT OF AN ARMY OFFICER
oil on canvas in a period hand carved guilt frame
77cm by 63cm; 30 1/2in by 24 3/4in
£2000-3000

2.
DUTCH SCHOOL (18TH CENTURY)
STILL LIFE OF FLOWERS IN AN URN
oil on canvas
82.5cm by 70cm; 32 1/2in by 27 1/2in
£800-1200

3.
L.M.C. IRELAND (19TH/20TH
CENTURY)
STILL LIFE OF FLOWERS
signed l.r.: L.M.C. Ireland, oil on
canvas
60cm by 50cm; 23 2/3in by 19
2/3in
£400-600
4.
ENGLISH SCHOOL (19TH
CENTURY)
A PORTRAIT OF JOHN PERYAM
(BORN 1540), MERCHANT AND
ALDERMAN OF EXETER
oil on canvas
73cm by 61cm; 28 3/4in by 24in
£300-500

5.
ATTRIBUTED TO SIR GEORGE HAYTER (1792-1871)
A PORTRAIT OF WILLIAM ALEXANDER MACKINNON, 33RD CLAN CHIEF
oil on canvas
124cm by 91cm; 48 3/4in by 35 3/4in
William Alexander Mackinnon succeeded to the family estates as 33rd
chief of the Clan Mackinnon on the
death of his grandfather in 1809. The following year Walter Scott wrote: ‘Mackinnon of Mackinnon, a young
gentleman born and bred in England but nevertheless a Highland chief ... who now visits the Highlands for the
first time, is anxious to buy back some of the family property which was sold long since’. In 1812 he married
Mary the daughter of Joseph Budworth Palmer who was also heir to her father’s fortune.
Mackinnon entered Parliament as Member of Parliament for Dunwich in 1816 although in his first Parliament
he made no reported speeches and was left without a seat in 1820. He was returned as Member of Parliament
for Lymington in 1831 where he served until the early 1850s. He was later returned as Member of Parliament
for Rye from 1853 until 1865.
£6000-8000

6.
JAN MORGHEN (FL. MID 19TH CENTURY)
WINTER LANDSCAPE
signed l.l.: J. Morghen, oil on canvas
48cm by 69.5cm; 19in by 27in
£300-400
7.
GIUSEPPE GOZZINI (FL. 1824-1870)
A PAIR OF CAPRICCIO SEASCAPES, AFTER SALVATOR ROSA (1615-1673)
one signed, inscribed and dated on stretcher, Gius e Gozzini Copio a Firenze 1845, oil on canvas
24cm by 46cm; 9 1/2in by 18 in
(2)
Copies of paintings by Salvator Rosa in the Palatini Gallery and Pitti Palace, Florence
£600-800
8.
GIUSEPPE GOZZINI (FL. 1824-1870)
ROAD THROUGH A ROCKY LANDSCAPE
signed and dated l.l.: G. Gozzini 1844, oil on canvas
30cm by 23cm; 12in by 9in
£300-500

9.
RICHARD BANKES HARRADEN (1778-1862)
THE GREAT COURT, TRINITY COLLEGE, CAMBRIDGE, AND THE WREN LIBRARY, TRINITY COLLEGE
CAMBRIDGE
(a pair)
one signed, inscribed and dated (reverse of canvas) R.B. Harraden pinxt 1819 Cambridge/The Great Court,
Trinity College Cambridge: one signed, inscribed and dated (reverse of canvas) R.B. Harraden pinxt 1819/
Trinity College Cambridge Library & Bridge 1819
each oil on canvas
37cm by 55cm; 14.5in by 21.5in
(2)
£1500-2000

10.
ATTRIBUTED TO WILLIAM LEIGHTON LEITCH
(1804-1883)
COASTAL SCENE WITH FIGURES
signed and dated l.l.: W.L. Leitch/1873,
watercolour, together with another watercolour
by the same hand and two watercolours by John
Varley Jr. (1850-1933), one signed and dated l.l.:
John Varley/90
various sizes
(4)
£100-150
11.
CIRCLE OF PAUL SANDBY, R.A. (1731-1809)
AT AN INN
watercolour, together with John Absolon (1815-
1895), Study of a Well, watercolour over traces of
pencil, and another watercolour by H.B. Richardson
various sizes
(3)
£60-80
12.
ATTRIBUTED TO ANTHONY VANDYKE COPLEY
FIELDING (1787-1855)
LANDSCAPE WITH FIGURES IN THE
FOREGROUND
bears signature l.l.: Copley Fielding; watercolour,
together with another watercolour attributed to
the same hand, another watercolour attributed to
William Havell (1782-1857), Ruins of an Abbey, and
two further watercolours by different hands
various sizes
(5)
£150-200
13.
•ARTHUR WARDLE, R.I., R.B.A., (1864-1949)
STUDIES OF A PANTHER
together with study of a lion’s paw (19cm by 28
cm), by the same artist, coloured chalks
32.5cm by 21.5cm; 12 3/4in by 8 1/2in
£200-300

14.
•HILDA MAY GORDON (1874-1972)
TIBET
signed l.r.: H.M. Gordon, watercolour and gouache
26.5cm by 18cm; 10 1/4in by 7 1/4in
£300-500
15.
GEORGE ARTHUR FRIPP, R.W.S. (1813 - 1896)
THE CHURCH PORCH
watercolour
25cm by 32cm; 9 3/4in by 12 1/2in
Fripp exhibited a watercolour titled The Church
Porch at the Royal Watercolour Society in 1872.
£120-180
16.
THOMAS SEWELL ROBINS, N.W.S. (1810-1880)
STUDY OF A FISHERWOMAN
signed with initals and dated l.r.:TSR 50,
watercolour
31cm by 18.5cm;12 1/4in by 7 1/4in
£150-200
17.
•CIRCLE OF JOHN CYRIL HARRISON (1898-1985)
DUCKS IN FLIGHT
inscribed l.l.: J.C. Harrison, watercolour
£80-100

19.
FANNY HOOD (FL. C. MID 19TH Century)
DUNSTER CASTLE
bears label on backboard (Dunster Castle by Fanny
Hood, 1842 ?); watercolour
£80-120
20.
THE HOOD FAMILY (19TH CENTURY)
A PAIR OF CANADIAN VIEWS
including Occasional Bay, Labrador and Entrance
to St John Newfoundland, inscribed with titles on
mount, watercolour
various sizes, unframed
(2)
£100-150
18.
WILLIAM DERBY (1786 - 1847)
A PORTRAIT OF ARTHUR WILLIAM ACLAND HOOD
signed and dates l.r.: W Derby/May 1840, watercolour
42.5cm by 91cm; 48 3/4in by 35 3/4in
The sitter is Admiral Arthur William Acland Hood, 1st
Baron Hood of Avalon (1824-1901). The grandson of
Captain Alexander Hood (1758-98), Arthur Hood joined
the Royal Navy in 1836 at the young age of 12. He gained
significant experience and in November 1854 he was
appointed as Commander of the brig HMS Acorn. In 1854-
55, Arthur Hood took part in the Crimean War fighting
with the Naval Brigade. By May 1856 he and his vessel
were in China under Rear-Admiral Sir Michael Seymour
(1802-1887), commander-in-chief of the East Indies and
China Station. In June 1857 HMS Acorn contributed to the
destruction of the fleet of Chinese junks in the Battle of
Fatshan Creek and later in the attack on Canton. In 1885
he became First Sea Lord, but left the Admiralty when he
reached the age of 65 in 1889. This particularly attractive
watercolour by the English portraitist and miniature
painter William Derby shows Hood in his early days as a
young naval officer.
£300-500
21.
THE HOOD FAMILY (19TH CENTURY)
A FOLIO OF LANDSCAPE WATERCOLOURS
including views of the Alps, Capri, South Coast,
Lowestoft, and Navirino Bay, some copies of
other artists including after Callow and Robertson,
watercolour
various sizes
(29)
£300-500

22.
WILLIAM SKEOCH CUMMING (1864-1929)
PORTRAIT OF THE MACKINNON CHILDREN
signed and dated l.l.: W.S. Cumming/1899,
watercolour with bodycolour
61cm by 53cm; 24in by 20 3/4in
Provenance
Given to Emily Jane Mackinnon (Hon. Mrs
Mackinnon) by her mother The Lady Hood of
Avalon
£400-600
23.
SIR JOHN GILBERT, R.A., P.R.W.S. (1817-1897)
A SCENE FROM THE TEMPEST
watercolour
£150-200
24.
SOLOMON J. SOLOMON, R.A. (1860-1927)
A YOUNG GIRL BY A HORSE AND CART
pencil
12cm by 17cm; 4 3/4in by 6 2/3in
£200-300
25.
JAMES BURRELL SMITH (1822-1897)
THE KNOCKIE BRIDGE LOOKING EASTWARDS, GLEN TANA
signed and dated l.l.: J. Burrell Smith/1884, watercolour
12cm by 16.5cm; 4 3/4in by 6 1/2in
Provenance
With Agnew and Sons
£200-300

26.
JOSHUA WALLIS (1789-1862)
CASTLE BY A ROCKY GORGE
varnished watercolour
23.5cm by 36cm; 9 1/4in by 14 1/4in
£150-200
27.
A GROUP OF DRAWINGS AND PRINTS
including a pair of 19th century continental
shipping scenes in grey wash, two English school
naval scenes, a reproduction after Bakhuizen
and John J. Egan’s Major General Sir Denis Pack
Monument at St Canice’s Cathedral in Kilkenny,
signed and dated l.l.: J.J. Egan/1841, various
media
various sizes
(8)
£100-150
28.
WILLIAM WELLS QUATREMAIN (1857-1930)
FIGURES BOATING ON THE RIVER AT BRADFORD
UPON AVON
signed l.l.: W.W. Quatremain, sepia wash over
touches of pencil
10.5cm by 25cm; 4 1/4in by 9 3/4in
£100-150 29.
ERNEST CROFTS, A.R.A. (1847-1911)
AGINCOURT
signed and dated l.l.: E. Crofts /77, wash over
pencil and ink heightened with white
20cm by 26cm; 7 3/4in by 10 1/4in
£100-150
30.
COLONIAL SCHOOL mid 19th Century
THE HUNT
22cm by 30.5cm; 8 2/3in by 12in
£80-120
31.
WILLIAM WELLS QUATREMAIN (1857-1930)
HENLEY STREET, STRATFORD-UPON-AVON
signed and dated l.l.: W.W. Quatremain/24
22.5cm by 36cm; 8 3/4in by 14 1/4in
£100-150

32.
EMILE ROTURIER (19TH CENTURY)
SAILOR SORTING NETS, 1872
signed and dated l.l.: Emile Roturier/Dec 3 1872,
charcoal and crayon
68cm by 48.5cm; 26 3/4in by 19in
£250-350
33.
RICHARD HENRY NIBBS (1816-1893)
TWO LONDON VIEWS
including Scene on the Thames and Greenhithe
Pier
the first signed and dated l.r.: J.H. Nibbs/86, the
second signed l.r.: J.H. Nibbs and inscribed and
dated l.r.: Greenhithe Pier, April 1841;
the first watercolour with bodycolour, the second
pen and sepia ink
50.5cm by 29cm; 20in by 11 1/2in
21cm by 27cm; 8 1/3in by 10 2/3in
£150-250
34.
WILLIAM LINNELL (1826-1906)
A LARGE FOLIO OF DRAWINGS AND
WATERCOLOURS
including studies of trees, landscapes, figure
studies; watercolour with bodycolour and pencil,
one oil on paper
various sizes
(approx. 31)
Provenance
Linnell family; Sotheby’s 12 October 1993, Lot 1658
£200-300
35.
ATTRIBUTED TO HENRY TYRRELL (FL. C. 1850)
A FOLIO OF DRAWINGS OF THE DUKE OF
WELLINGTON’S FUNERAL
variously inscribed; one in sepia wash over pencil,
two in pencil
various sizes
(3)
£300-400

36.
FREDERICK NAPOLEAN SHEPHERD (1819-1878)
POPE’S HOUSE, LOMBARD STREET
signed l.r.: Fred Shepherd, watercolour
24cm by 17.5cm; 9 1/2in by 7in
£150-250
37.
ALONZO MYRON KIMBALL (1874-1923)
PORTRAIT OF A WOMAN SLEEPING
pastel
£500-700
38.
G.H. BRENNAN (FL. EARLY 20TH CENTURY)
A COLLECTION OF DRAWINGS AND PRINTS OF
MILITARY SUBJECTS
including portraits of soldiers from The 55th Coxe’s
Rifles, The 57th Wilde’s Rifles, The 58th Vaughans
Rifles, The 108th Infantry, The 16th Lancers, The
Black Watch; eight in watercolour and gouache,
together with eight prints after Brennan
various sizes
(16)
£100-200
39.
ALFRED GOMERSAL VICKERS (1810-1837)
THE CONVENT OF THE ASCENSION AND THE
HOLY GATE, MOSCOW
inscribed Moscow and inscribed Convent of the
Ascension Holy Gate (verso) pencil
25cm by 39.5cm; 10in by 15.5in
Provenance
Albany Gallery
Vickers was the pupil of his father Alfred Vickers,
and was influenced by Bonington and Francia.
He exhibited from 1827, and in 1833 was sent to
Russia by Charles Heath to make drawings for his
Annuals.
£300-600

40.
C. C. CLARKE (FL. EARLY 19TH CENTURY)
A JANISSARY
signed and dated l.r: C.C. Clarke/1835 and
inscribed A Janissary, watercolour
26.5cm by 20.5cm; 10 1/2in by 8in
£250-400
41.
ROBERT LITTLE, R.W.S., R.S.W. (1854-1944)
SCOTCH FURS
signed l.r: R. Little/1886, watercolour
46.5cm by 32cm; 18 1/4in by 12 1/2in
£200-400
42.
CONSTANCE FREDERICA GORDON-CUMMING
(1837-1924)
IN SUNGRI FOREST, NEAR SIMLA
signed and dated l.r.: C.F. Gordon Cumming/
June 9th and inscribed One of the big Cedars
(Diodars) at Poinda(?) in Sungri Forest near Nachar
Himmalaya, watercolour
£500-800
43.
ENGLISH SCHOOL (EARLY 20TH CENTURY)
MASTED SHIP
signed indistinctly with monogram, watercolour
£80-120
44.
CECIL ARTHUR HUNT, R.W.S., R.B.A. (1873-1965)
TAORMINA
signed l.l.: C. A. Hunt, watercolor
27cm by 36cm; 10 1/2in by 14 1/4in
£400-600

45.
GEORGE CATTERMOLE, O.W.S. (1800-1868)
MONKS READING IN A MEDIEVAL INTERIOR
watercolour, in an exceptional antique carved-gilt frame
49cm by 64.5cm; 19 1/4in by 25 1/4in
Exhibited
London, Old Watercolour Society, 1850, no. 377
George Cattermole was born at Dickleburgh, in Norfolk. When he was fourteen he began working as an
architectural and topographical designer for the antiquary John Britton. He became an associate of the
Royal Watercolour Society in 1822 and a full member in 1833. In 1850 he abandoned the society, dedicating
his attention to painting in oil. At the Paris Exhibition of 1855 George Cattermole was honoured with one of
the five first-class gold medals awarded to British painters. He also received professional artistic honours in
Amsterdam and in Belgium. Among his leading works are The Murder of the Bishop of Liege, The Armourer
(relating the Story of the Sword) and The Assassination of the Regent Murray by Hamilton of Bothwellhaugh.
He was strongly influenced by the writing of Walter Scott whose work he also illustrated. The present work is
a major exhibition piece from his final years as a watercolour painter.
£800-1200

46.
V. MEUNIER (1831-1905)
GARDENER
signed l.r: V. Meunier; oil on canvas
£300-400
47.
ADRIEN JOSEPH VERHOEVEN-BALL (1824-1882)
THE FLOWER SELLER
signed and dated l.l.: A.J. Verhoeven Ball /1871,
watercolour
£300-400
48.
CARL VOORHEES (1871-1933)
A PAIR OF SEASCAPES
one signed l.l.: Voorhees, oil on paper or board
14.5cm by 20cm; 6in by 8in
(2)
£150-200
49.
ATTRIBUTED TO THEOPHILE STEINLEN (1859-
1923)
A GIRL IN A SHAWL
crayon
9.5cm by 9cm; 3 3/4in by 3 1/2in
£80-120
50.
NEAPOLITAN SCHOOL 20TH Century
TWO VIEWS OF THE ERUPTION OF VESUVIUS
each inscribed on mount m vesuvia, gouache
both 39cm by 59cm; 15 1/3in by 23 1/4in
(2)
£200-400

51.
HENRI-JOSEPH HARPIGNIES (1819-1916)
SUNSET BY A WOODED RIVER BANK
signed and dated l.l.: H Harpignies 1911, oil on board
45cm by 29.5cm; 17 1/2in by 11 3/4in
£2000-3000
52.
THEODORE FOURMOIS (1814-1871)
WOODED LANDSCAPE WITH FARM BUILDINGS
signed l.r.: T Fourmois, oil on canvas
36.5cm by 50.5cm; 14 1/in by 20in
£600-800

53.
•GOTTLIEB THEODORE KEMPF VON HARTENKAMPF (1871-1964)
DAS IRRLICHT (WILL-O’-THE-WISP)
signed l.r.: G.T.H. Kempf, oil on canvas
45cm by 39.4cm;17 1/2in by 15 1/2in
Kempf attended the Academy in Vienna from 1886 to 1896 studying under J.V.Berger and L.K.Mueller.
A significant figure in the turn-of-the-twentieth century Viennese art scene he showed with the Vienna
Succession in 1899 and was also a member of the Siebener Club and Wiener Kunstlerhaus. The present
work is a strong example of his work which assimilates the influence of the Succession and Art Nouveau
with a strongly symbolist style of his own. He also excelled as an etcher and illustrator and is represented in
numerous museum collections in Continental Europe.
£5000-7000
54.
PAUL HARNISCH (B.1874)
FISHERWOMAN ON THE QUAYSIDE, MORNING
signed in pencil l.r.: P. Harnisch, oil on paper
mounted on board
53.5cm by 48.5cm; 21in by 19in
£450-550
55.
ALFRED FITZWATER GRACE, R.B.A. (1844-1903)
LANDSCAPE ON THE SOUTH DOWNS
oil on board
£120-180

56.
JAMES HAYLLAR R.B.A (1851-1893)
A SUNNY AFTERNOON
signed l.r.: J.HAYLLAR, oil on canvas
£400-600
57.
JOHN TRIVETT NETTLESHIP (1841-1902)
AN OWL IN FLIGHT
signed and dated l.r.: J.T.N./1892, coloured chalk
£150-200
58.
ATTRIBUTED TO WILLIAM JAMES MULLER
(1812-1845)
NOCTURNE BY AN ITALIAN LAKE
oil on board
27.5cm by 22.5cm; 10 3/4in by 9in
£250-350
59.
ROBERT FOWLER, R.I. (1853-1926)
STEAM TRAIN BY THE NORTH WELSH COAST
oil on board
22.5cm by 32cm; 9in by 12 1/2in
£100-150
60.
EDWARD HARGITT, R.I., R.O.I. (1835-1895)
CLOUD STUDY OVER THE SOUTH DOWNS
oil on canvas
£200-300
61.
FREDERICK GOLDEN SHORT (1863-1936)
CLIFFS NEAR BERRYHEAD, SOUTH DEVON
signed and dated l.r.: F. Golden Short 1924, oil on
board
29cm by 22cm; 11 1/2in by 8 3/4in
£100-150

62.
ATTRIBUTED TO SIR DAVID MURRAY, R.A.
(1849-1933)
SUMMER LANDSCAPE
oil on canvas
£300-500
63.
ARTHUR JAMES STARK (1831-1902)
VIEW FROM KILRONAN GARDEN WALL
inscribed with title (reverse of panel), oil on panel
19cm by 27.5cm; 7.5in by 11in
Provenance
Miss P. Stark
£100-150
64.
CHARLES RICHES (FL. LATE 19TH/EARLY 20th
CENTURY)
THE BESSIE DODD TIED TO ANCHOR
signed l.l.: Chas. Riches, oil on canvas
49.5cm by 74cm; 19 1/2in by 29in
Exhibited
London, Royal Academy 1904 (according to an
inscription on the frame)
£600-900
65.
•N. BLOND (MID 20TH CENTURY)
THE ARTIST’S PALET
signed u.r.: N. BLOND, oil on board
33cm by 46 cm; 13in by 18in
£150-200
66.
JOSEPH PAUL PETTITT (1812-1882)
SANDOWN, ISLE OF WIGHT
signed monogram l.l: oil on board
35cm by 50cm; 13 3/4in by 19 3/4in
£80-100
67.
•ELLIOT SEABROOKE, LG (1886-1950)
STILL LIFE
signed and dated l.l.: ELLIOT SEABROOK /1927, oil
on canvas
60cm by 50cm; 23 3/4in by 19 3/4in
£250-350

68.
J.P MC L. WATTERS (1851-1943)
LANDSCAPE NEAR THE SOUTH COAST
signed l.l.: J.P. Mc L WATTERS, oil on canvas laid
to board
19cm by 27cm; 7 1/2in by 10 1/2in
£100-150
69.
•ARNOLD AUERBACH (1898-1978)
PORTRAIT BUST AND A BOWL OF ORANGES
with a portrait of the artist on reverse of canvas,
signed u.r.: 54, oil on canvas
50cm by 42 cm; 19 3/4in by 16 1/2in
£150-200
70.
•EVAN CHARLTON (1904-1984)
PEONIES AND ROCKS
oil on panel
59.5cm by 89.5cm; 23 1/2in by 35 1/4in
Provenance
Martin Tinney Gallery
£500-700
71.
THOMAS BUSHBY (1861-1918)
AT THE VET
signed l.l.: Bushby, oil on board
26cm by 50cm; 10 1/4in by 19 3/4in
£150-200
72.
JAMES HAMILTON MACKENZIE, A.R.S.A., R.S.W.
(1875-1926)
NOCTURNAL STILL LIFE WITH PIPE AND CANDLE
oil on board
32cm by 25cm; 12 1/2in by 9 3/4in
Provenance
The artist’s studio
£200-300
73.
SCOTTISH SCHOOL 20TH CENTURY
MEMBERS OF THE MACKINNON FAMILY BY A
SCOTTISH LOCH
signed indistinctly l.l.: W. Fife, oil on canvas laid to
board
33.5cm by 24cm; 13 1/4in by 9 1/2in
£400-600

74.
HERBERT F. ROYLE (1870-1958)
END OF A WINTER’S DAY, YORKSHIRE
signed l.r.: H. Royle, oil on panel
19.5cm by 24.5cm; 7 2/3in by 9 2/3in
£500-700
75.
HERBERT F. ROYLE (1870-1958)
EXTENSIVE COASTAL LANDSCAPE
signed l.l.: H. Royle, oil on board
49cm by 58cm; 19 1/3in by 22 3/4in
£500-700
76.
CIRCLE OF WILLIAM ROBERTS, R.A. (1895-1980)
THE ARTILLERY MEN
monogrammed and dated l.r.: PC /44, oil on board
45cm by 54cm; 17 3/4in by 21 1/3in
£500-700
77.
ALFRED DANIELS, R.W.S., R.B.A. (1924-2015)
SPRING COMES TO ALEXANDRA PARK, 1958
signed and dated l.l.: Alfred Daniels/58, oil on
board
49cm by 67cm; 19 1/3in by 26 1/3in
Provenance
Zwemmer Gallery, where purchased by Patrick
White
£800-1200

78.
HEMA JOSHI (B.1934)
ABSTRACT
oil on canvas
...some may say Joshi’s oils and semi-abstract
works are whimsical, but looking at them, most
people find the poetry, fancy and maybe even
childhood that they lost when the troubles of
the world alighted onto their shoulders. Through
her works, Joshi has created for her viewers a
way in which to escape from all that is pleasant -
Saffronart
She studied at Elphinstone College, Bombay, then
at the famous Sir J.J. School of Art. She lives and
works in Mumbai, but has exhibited internationally,
and in India - with seventeen solo exhibitions to
her name. In 1996, she served a year’s residency
in the North of England for the Visual Arts UK
Program.
£300-500
79.
HANNAH GLUCKSTEIN, CALLED GLUCK (1895-
1978)
STUDY FOR A PORTRAIT OF WILFRED ARTHUR
LORD GREENE, MASTER OF THE ROLLS
signed and dated l.l.: Gluck/1949, oil on canvas
40cm by 34.5cm; 15 3/4in by 13 1/2in
£100-150
80.
•OWEN BOWEN, R.O.I. (1873-1967)
DOVEDALE, DERBYSHIRE
signed l.l.: Owen Bowen; oil on canvas
30cm by 39.5cm; 11 3/4in by 15 1/2in
£300-400
81.
WILLIAM GEORGE ROBB (1872-1940)
NEAR AYLESFORD, KENT
bears signature l.l.: Robb, signed and inscribed
(reverse of panel): near Aylesford, Kent/W.G. ROBB,
oil on panel
25cm by 35.5cm; 10in by 14in, unframed
£100-150
82.
•CHARLES CUNDALL, R.A., R.W.S. (1890-1971)
THE WOOD GATHERER
signed l.r.:C Cundall, oil on canvas
£500-700

83.
•GEORGE BISSILL (1896-1973)
WINTER LANDSCAPE
signed l.l.: Bissill, oil on canvas
40cm by 50cm ; 15 3/4in by 19 3/4in
£150-200
84.
HARRY MUSGRAVE (1854-1935)
SEASCAPE
signed with initials l.l.: H.M, oil on board
24cm by 29cm; 9 1/2in by 11 1/2in
£100-150
85.
•BERYL SINCLAIR (1901-1967)
VIEW OF REGENT’S PARK FROM THE JUNCTION
OF PARK ROAD AND GLOUCESTER
oil on canvas
45cm by 75.5cm; 17 3/4in by 29 3/4in
This unusual view of Regent’s Park probably dates
from the 1930s and appears to have been painted
from Sinclair’s studio, which was at the upper end
of Gloucester Place. A number of other views by
Sinclair from the same area of London are in the
Government Art Collection.
£300-500
86.
ANNABEL DAON PISSARRO (20TH CENTURY)
PORTRAIT OF THE ARTIST IN A MIRROR
with dedication on stretcher; for Georgia/Annabel
Daon and with further inscriptions, oil on canvas
76cm by 60.5cm; 30in by 24in, unframed
£200-300
87.
•JAMES LAWRENCE ISHERWOOD (1917-1989)
CROWDS IN THE RAIN, WIGAN
signed l.l.: Isherwood, inscribed and dated (reverse
of board), rain shawls wigan/51, oil on board
34.5cm by 44.5cm; 30 1/2in by 17 1/2in
£300-500
88.
•JAMES LAWRENCE ISHERWOOD (1917-1989)
THE HEAD OF A WOMAN
signed l.r.: Isherwood, inscribed and dated on
verso scholes? woman/52, oil on board
34cm by 24cm; 13 1/2in by 9 1/4in
£100-200

89.
•PETER NUTTALL (1943-2011)
OYSTERS
mixed media
63cm by 49.5cm; 24 1/2in by 19 1/2in
£80-120
90.
EDWARD HARTLEY MOONEY (1877-1938)
CLOUDBURST OVER THE DOWNS
signed and dated l.l.: E.H. Mooney/1919, oil on
canvas
50cm by 60cm; 19 3/4in by 23 1/2in
£200-300
91.
•ANTHONY EYTON, R.A. (B. 1923)
A NORMANDY BEACH
signed l.r.: A. Eyton, oil on panel
36cm by 47.5cm; 14in by 18 3/4in
£1200-1800
92.
GEORGE THOMSON, N.E.A.C. (1860-1939)
ITALIAN LANDSCAPE
signed l.l.: George Thomson/1916, oil on board
George Thomson was born in Towie in Aberdeenshire and began his career as an architect in Glasgow. In
1882 he entered the Royal Academy Schools and he first exhibited at the Royal Academy in 1886. He became a
member of the New English Art Club and in 1895 was appointed as Lecturer in Perspective at the Slade School
of Art. Both here and at Bedford College (where he worked from 1899 until his retirement in 1914) Thomson
became an influential teacher at a time when the standard of the British Art School was at its height. His style
as a painter was influenced by the techniques of the Old Masters and he also excelled as a natural painter en
plein air as the present work demonstrates.
£300-600

93.
ENGLISH SCHOOL, C.1930
STILL LIFE
signed with monogram l.r.: FAB, oil on canvas
56cm by 55.5cm; 21 1/2in by 22in
£120-220
94.
•RUDOLF SAUTER, R.B.A. (1895-1977)
MODERN PYRAMIDS, JOHANNESBERG
signed and dated l.r.: R. H. Sauter/1927, oil on
canvas
47cm by 64cm; 18 1/2in by 25 1/4in
£400-600
95.
BRIAN DAVIS (20TH CENTURY)
PORTRAIT OF RICHARD GIBSON
bears signature l.r.: Brian Davis/1968, and signed u.l.: Davis, oil on
canvas
Brian Davis is an English painter who shows the strong influence of
the work of Walter Sickert, his subject pictures including numerous
views of the interiors of theatres and music halls. Something of
Sickert’s style also pervades this intense portrait of the antiquity
scholar Richard Gibson.
£100-150
96.
HENRY TONKS (1862-1937)
REVERIE
signed and dated I.I.: H.T./Jan 1885; blue/grey wash heightened with white over ink
21cm by 19.5cm; 8 1/4in by 7 1/4in (unframed)
Provenance
bequeathed to the artist’s nephew, Myles Tonks and thence by descent
Henry Tonks is widely regarded as one of the most influential art teachers of the early twentieth century.
Originally trained as a surgeon, Tonks joined the staff of the Slade School of Art at the end of the nineteenth
century, becoming Slade Professor of Fine Art in 1918. He was a major influence on a brilliant generation of
young artists who studied there before the War including Stanley Spencer, Dora Carrington, David Bomberg,
C.R.W.Nevinson and Mark Gertler. Tonks himself worked as a War artist in World War I where he executed
pastel drawings recording facial injuries. This group of drawings by Tonks dates from the earlier part of
his life and shows the great charm of his work as a caricaturist and illustrator. The drawings have been in
the family of Henry’s nephew Myles Tonks since they were executed and have only very recently been re-
discovered. Myles Tonks was also trained as a doctor and studied under his uncle to whom he was very close.
He was a talented landscape painter who specialised in views of Devon and the Scottish Highlands
£300-500

97.
HENRY TONKS (1862-1937)
A FOLIO OF DRAWINGS AND LETTERS
including a sheet of studies with a man reading,
figures ice skating, a portly gentleman, an
Aesthetic gentleman, a lady playing a harmonium
by lamplight, promenading on a London square,
the contented reader, scene at a Classical dance,
together with a letter to Henry Tonks from Sir
Thomas Monnington PRA; one initialled and dated
(1879), several taken from letters from the artist;
pen, ink and pencil, with one in watercolour over
pencil
various sizes
(9)
Provenance
Bequeathed to the artist’s nephew, Myles Tonks
and thence by descent
£200-300
98.
•MYLES TONKS, RI, RBA (1890-1960)
A FOLIO OF PASTELS OF COASTAL SCENES
including holiday makers bathing on a beach,
sailing boats by a Continental port, views of the
Scottish coast and other subjects, pastel
various sizes
(5)
Provenance
The artist’s studio, by direct descent to the present
owner
£120-180
99.
MYLES TONKS, R.I., R.B.A. (1890-1960)
A FOLIO OF PASTEL DRAWINGS
to include: a still life of Chrysanthemum, two views
of a highland river, a coastal scene, and other
subjects, pastel
various sizes
(9)
Provenance
owner
£200-300
100.
A FOLIO OF WATERCOLOURS OF SCOTTISH
SUBJECTS
including a rock pool, river running through a
highland glen, cloud burst in the highlands, cloud
capped highland peak and others
various sizes
(10)
Provenance
owner
£200-300

101.
A FOLIO OF WATERCOLOURS AND PASTELS
including a display of stuffed birds, bathers by a
loch, wet day, venus emerging from her shell and
other subjects
various sizes
(12)
Provenance
owner
£200-300
102.
A GROUP OF LANDSCAPES OF HIGHLAND AND
WEST COUNTRY VIEWS
including clouds over the downs, Scottish river in
full flow, view from the garden, view of a castle
from a forest
oil on board
various sizes
(4)
£150-200
103.
MYLES TONKS R.I., R.B.A. (1890-1960)
BODIAM CASTLE AND THREE OTHER
LANDSCAPES
including a Scottish glen in autumn, study of trees,
a cathedral under restoration, one signed, three oil
on board, one oil on canvas
various sizes
(4)
£150-200
104.
•JOHN ARMSTRONG, A.R.A. (BRITISH, 1893-1973)
THE MAD PRIEST
signed with initials: JA, watercolour
36cm x 24cm; 14in x 9 1/2in
Provenance
the artist’s estate, by direct descent
This a rare example of Armstrong’s earlier work in
watercolour and probably dates from the 1930s or
1940s. Before Armstrong had established himself
as one of the most distinctive and important artists
of the British avant-garde, he had already enjoyed
a successful career as sought-after designer
for British stage and screen. His collaborations
included work with Robert Donat and Alexander
Korda, creating costumes and sets for stage works
such as Façade, The Magic Flute (Sadler’s Wells),
and Riverside Nights and for the films The Private
life of Henry VIII, The Scarlet Pimpernel and
Rembrandt
£250-350
105.
•ELIOTT SEABROOKE, L.G. (BRITISH, 1886-1950)
BOATS IN A HARBOUR
signed with initials l.r.: ES, watercolour
45cm by 58cm; 17 3/4in by 22 3/4in
£100-200

106.
•CHARLOTTE HALLIDAY R.W.S. (B. 1935)
GLOUCESTER TERRACE, BAYSWATER
signed and dated l.l.: Charlotte Halliday, pen and ink
£80-120
107.
•ADRIAN DAINTREY (1902-1988)
RUE ST. ANTOINE, PARIS
signed and dated Adrian Daintry December 1953,
watercolour over pen and ink
£150-200
108.
•AVERIL BURLEIGH, R.W.S. (1883-1949)
ALPINE LANDSCAPE
watercolour
48cm by 57cm; 18 3/4in by 22 1/2in
£200-300
109.
•PIETRO ANNIGONI (1910-1988)
PORTRAIT OF ZSUZSI ROBOZ
signed, inscribed and dated l.r., ink and pen
52cm by 44cm; 20 1/2in by 17 1/4in
£200-300
110.
•ELLIS SILAS (B. 1882)
THE CITY OF LONDON FOLLOWING A WORLD
WAR I ZEPPELIN RAID
signed l.l.: Ellis Silas, watercolour and gouache
50cm by 35cm; 19 3/4in by 13 3/4in
Ellis Silas was born in London, and was son of
flower painter Louis Silas, who he studied under
together with W.R. Sickert. Silas was an official
war artist for the Australian Government in World
War I; his work ‘Crusading in Anzac’ is based on
his front-line sketchbooks. After this time he spent
three years living Gauguin-style, among the natives
of Papua, recording his impressions in pencil
sketches and watercolours. His portfolio contains
works of landscapes and seascapes in oil and
watercolour, as well as designs for stained glass
windows, murals, posters, cards and souvenirs. In
1930 he became president of the London Sketch
Club.
£350-450

111.
ENGLISH SCHOOL 20TH CENTURY
LANDSCAPE WITH FARM BUILDINGS
signed indistinctly l.r.: John V. ? Browne,
40cm by 30cm; 15 3/4in by 11 3/4in
£80-120
112.
•GEORGES CSATO (1910-1983)
A GROUP OF FRAMED ABSTRACT COLLAGES
two signed: Csato, one dated: 65, collage
various sizes
(4)
The Hungarian born artist Georges Csato studied
in Vienna then in Prague under some of the great
names of the period including Archipenko, Hofer,
Kokoschka and Thiel who had taken refuge there
from Nazi Germany.
After the War (when he was imprisoned by the
Russians) he became a distinguished portrait
painter with sitters including Colette, Einstein,
Rachmaninov and Bertrand Russell. His first
exhibition, organized by Jean Cocteau, was held in
Paris in 1948. Attractive abstracts like the present
work were generally produced to great acclaim in
the post-war years. A recent retrospective was held
by the Burford art dealer Brian Sinfield.
£400-600
113.
•PETER NUTTALL (1943-2011)
MOTHER AND CHILD
signed l.l.: Peter Nuttall and dated l.r.: 66; coloured
chalk over pencil
26cm by 25.5cm; 10 1/4in by 10in
£100-150
114.
ATTRIBUTED TO MARION TAYLOR (20TH/21ST
CENTURY)
TENCRAM SERIES
signed and dated on frame l.l.: Taylor/98, titled on
frame l.r.: Tencram Series, mixed media
38cm by 45cm; 15in by 17 3/4in (unframed)
£70-100
115.
GALLANTS IN AMAZEMENT
signed with initials and dated l.r.: M.M. /1955,
inscribed l.c.: Gallants in A-Maze-ment or, Occasion
for unprecedented navigation by use of heavenly
bodies, watercolour
£80-100

116.
•STANLEY ANDERSON, R.A. (1884-1966)
THREE UNFRAMED DRAWINGS
including Study of trees at Scotsgrove, Studies
of Bob loading hay; three signed l.r.: Stanley
Anderson, one dated l.r.: 50, pencil
various sizes
(3)
£200-300
117.
•VAL ARCHER (B. 1946)
BIRDS NEST AND BLACKCURRANTS, 1984
signed with initials and dated l.r.: VMA /1984,
watercolour
21.5cm by 32cm; 8 1/2in by 12 2/3in
£80-120
118.
HEAD OF A MAN
charcoal
£80-120
121.
NORMAN ADAMS, R.A. (1927-2005)
A NEW HEAVEN AND EARTH, 1991
signed with initials, dated and titled l.l.: A New
Heaven and Earth/NA/1991, watercolour
72cm by 72cm; 28 1/3in by 28 1/3in
£400-600
120.
•CAROL ANN SUTHERLAND (B. 1952)
STILL READING THE FT, 1989
signed and dated l.l.: Carol Ann Sutherland /1989,
mixed media and collage
52cm by 60cm; 20 1/2in by 23 2/3in
Provenance
Mercury Gallery, purchased by Andras Kalman, 19
June 1989
£300-500
119.
•PAUL MANOUSSO (B. 1930)
POEKHRI, NEPAL, 1982
signed, titled and dated l.r.: Paul Manousso?Poekhri
Nepal /Dec 1982, watercolour and gouache
49cm by 39cm; 19 1/4in by 15 1/2in
£300-500

122.
PHILIP NAVIASKY (1894-1983)
MOTHER AND CHILD
signed l.l.: Philip Naviasky, red and black chalk
76cm by 55.5cm; 30in by 20 3/4in
£250-350
123.
HUBERT L. WELLINGTON (1879-1967)
A FOLIO OF LITHOGRAPHS
including elegant lady seated in a chair, lady
reclining on a chaise longue, nude lying on a bed;
lithographs
Various sizes
(5)
£200-300
124.
•HUBERT L. WELLINGTON (1879-1967)
A FOLIO OF DRAWINGS
including Hampstead 1922, Studies of trees, A
view from Greenwich to London, Summer 1900,
From a roof in Chelsea, Wooded landscape, Lady
reading in an interior; one inscibed (verso): ? with
Wyndham Lewis Summer 1900, four in pen and
black ink, one with sepia wash, one pen and sepia
ink
various sizes
(6)
£300-400
127.
•CONRAD H. R. CARELLI (1869-1956)
A SKETCHBOOK OF WATERCOLOURS
comprising approximately 25 pages including Far
Eastern views, Aden harbour, Humayun’s tomb,
Benares, Calcutta, Coniston (Lake District), and
others; mostly watercolour, one in pen and black
ink
9.5cm by 13.5cm by 1.5cm; 3 3/4in by 5 1/3in by
2/3in
£400-600
126.
WALTER TAYLOR, R.I. (1860-1943)
A FOLIO OF DRAWINGS AND WATERCOLOURS
including Study of a Bass brewery cart, London
scene, Snowy landscape, The beach tree, Bouquet
of flowers, Horse chestnut, R.A.C. Epsom; three in
pencil (mounted together), seven in watercolour
various sizes
(10)
£300-400
125.
•HANNAH GLUCKSTEIN, CALLED GLUCK (1895-
1978)
A SKETCHBOOK OF DRAWINGS
comprising approximately 35 pages of drawings,
including views of London, studies of a ship, steam
engine, figure studies; pencil, some pages with
watercolour
18cm by 13cm by 1cm; 7in by 5in by 1/3in
£150-200

128.
EDWARD STOTT, A.R.A. (1859-1918)
A PAIR OF DRAWINGS
Including studies of a young child and a mother
and child; one pencil, one black and white chalk,
one stamped with the artist’s studio stamp
30.5cm by 23cm; 12in by 9in
(2)
£80-120
129.
•OLIVER MESSEL (1904-1978)
TWO DESIGNS FOR A BLUE SCARAB DRESS FOR
‘CLEOPATRA’
inscribed u.l.: blue scarab dress and signed l.l.:
Oliver Messel, watercolour heightened with gold
paint over pencil
36.5cm by 24cm; 14 1/4in by 51/2in
£400-600
130.
•OLIVER MESSEL (1904-1978)
A COSTUME DESIGN FOR ‘CLEOPATRA’ XXIV
signed l.l.: Oliver Messel, watercolour over pencil
36.5cm by 24cm; 14 1/4in by 51/2in
£400-600
132.
•KATHLEEN HALE (1898-2000)
THE POND
signed and dated l.l.: K. Hale/54, watercolour
25cm by 35.5cm; 10in by 14in
£400-600
131.
WALTER SICKERT, A.R.A. (1860-1942)
PORTRAIT OF JOHN ADDISON
inscribed with title l.c.: John Addison, inscribed and
dated (verso): Meisseurs Harrisons Printers, 45 St
Martin’s Lane, London/by R.Sickert/1890/for The
Whirlwind, pen and black ink
19.5cm; 7 3/4 in (diameter)
Sickert produced character sketches, reviews and
art criticism for a periodical called The Whirlwind
from August to December 1890. His lack of
commitment and general unreliability forced
him to relinquish his position there after only a
few months. Portrait vignettes, like the present
work, were drawn to break up the text within the
periodical’s columns and remain rare examples of
some of Sickert’s only graphic work in this vein.
This drawing depicts John Addison who was a
well-known Liberal MP of the period.
Provenance
Produced as an illustration for The Whirlwind
magazine, 1890
£600-800

133.
•WILL ROBERTS (1907-2000)
BIGGIN HILL CAMP, KENT, 1943
signed l.l.: WMR and inscribed and dated Billet
Biggin Hill/1943, watercolour over pen and ink
During World War Two, Roberts trained at the
Colerne Airfield in Wiltshire where he captured
this intriguing scene from the everyday life of
the Wartime RAF cadet. Roberts, one of the
greatest Welsh painters of the twentieth century,
was a scholar at Swansea School of Art, not
far from his hometown of Neath, There he was
discovered by Josef Herman, becoming the
painter’s great disciple and executing work in a
powerful expressionist style reminiscent of his
master. Always recognised as a particularly fine
draughtsman, his earlier Wartime work is very
rare.
£250-350
135.
•RUDOLF SAUTER, R.B.A. (1895-1977)
STILL LIFE WITH GREEN PARROT
signed l.l.: R. H. Sauter, oil on board
55cm by 45.5cm; 21 3/4in by 18in
Exhibited
Royal Institute of Painters in Watercolour (c. late
1940s)
£400-600
134.
•WILL ROBERTS (1907-2000)
BURTON HASTINGS, WARWICKSHIRE, 1944
signed, inscribed and dated l.r.: (Will) William
Roberts/Burton Hastings/1994, watercolour over
pencil
£200-300
136.
DOUGLAS PERCY BLISS (1900-1984)
THE CONSERVATORY
watercolour over pencil
27cm by 31cm; 10.5in by 12in
Provenance
From the artist’s estate
£400-600

137.
PHILIP BURGOYNE HUDSON (1887-1952)
PETIT TRIANON VERSAILLES
signed and dated l.l.: Phillip B. Hudson Del 1946,
watercolour and gouache over pencil
20cm by 32cm; 8in by 12.5in
£80-120
138.
DAVID VIVIANS (20TH CENTURY)
DACHSHUND
signed l.l.: David Vivians, watercolour
29cm by 21cm; 11.5in by 8 1/4in
£150-200
139.
ENGLISH SCHOOL, C.1930
EGYPTIAN GIRL
pen and ink
28.5cm by 21cm;11 1/4in by 8 1/4in
£60-90
140.
•ANNA ZINKEISEN (1901-1961)
BRITANNIA MOUNTED BY HORSE GUARD’S PARADE
signed l.r.: A. Zinkeisen, gouache with gold paint
39cm by 28.5cm; 15 1/2in by 11 1/4in
Anna Katrina Zinkeisen won a scholarship to the Royal Academy Schools from Harrow School of Art and in
both 1920 and 1921 she won the Landseer Award. She later worked for Wedgwood as a ceramics designer.
With her sister Doris Anna she contributed murals to the passenger liners the Queen Mary and the Queen
Elizabeth. During the Second World War she worked mornings in the casualty ward at St Mary’s Hospital
Paddington and painted in a disused operating theatre in the afternoons. Her painting of plastic surgeon Sir
Archibald Hector McIndoe is hung at the National Portrait Gallery as is her own self-portrait circa 1944.
£700-1000

141.
CIRCLE OF PHILIP WILSON STEER (1860-1942)
SANDBANKS FROM STUDLAND
watercolour
25.5cm by 36cm; 10in by 14 1/4in
£100-200
142.
ERNEST BOROUGH JOHNSON (1866-1949)
KENSINGTON GARDENS
inscribed and dated l.r.: Kensington Palace/1928,
pencil
25cm by 39cm; 9 3/4in by 15 1/2in
£100-200
143.
SIR STANLEY SPENCER, R.A., N.E.A.C. (1891-1959)
STANLEY, HILDA AND THE CHILDREN OUT WALKING, CIRCA 1935
pencil, squared for transfer, title inscribed by Richard Carline on reverse
24.8cm by 19.7cm; 9 3/4in by 7 3/4in
Provenance
Richard Carline, Private Collection
Spencer’s paintings and drawings documenting the life he had with his first wife Hilda Carline are amongst
his most touching and poignant works and are a constant in his mature work. In the present drawing Spencer
himself is shown on a walk with Hilda and several of their children. The drawing was formerly in the collection
of Hilda’s brother, the painter Richard Carline.
£3000-5000

144.
•JONAS PLOSKY (1940-2011)
UNEARTHED STILL LIFE
oil on board
27cm by 31.5cm; 10 2/3in by 12 1/3in
£200-300
145.
STILL LIFE WITH WHITE VASE
oil on board
50cm by 44.5cm; 19 2/3in by 17 1/2in
£300-400
146.
CORNISH CHURCHYARD
oil on board
51cm by 76cm; 20in by 30in, unframed
£300-500
148.
END OF THE ROAD
signed l.r.: PLOSKY, oil on board
75cm by 85.5cm; 29 1/2in by 33 2/3in
£400-600
147.
MUSIC MAID
signed l.r.: J. PLOSKY, oil on board
70cm by 90cm; 27 1/2in by 35 1/2in
£500-700
•JONAS PLOSKY (1940-2011) - Lots 144 - 154
Whether in the streets of his own north London, or the industrial-coloured blacks and greys of the Cornish
landscape and the English coast, Jonas Plosky’s highly appealing and original paintings have a style and
subject that are unmistakably his own.
Plosky studied at Hornsey College of Art before leaving to become a designer and illustrator. He exhibited
frequently at the Royal Academy and the Royal Society of British Artists and his work can be found in the
permanent collections of Glasgow Art Gallery, the National Library of Wales and the University of Portland,
Maine, USA.

149.
CORNISH BOATS
oil on board
49.5cm by 62cm; 19 1/2in by 24 1/3in
£400-600
150.
THE YELLOW YOYO
signed l.l.: PLOSKY, oil on board
80cm by 67.5cm; 31 1/2in by 26 1/2in
£500-700
151.
EARTHBOUND
signed with initials l.r.: JP, oil on board
£300-400
154.
STILL LIFE: PRIMITIVE
signed l.c.: PLOSKY, oil on board
70cm by 91cm; 27 1/2in by 35 3/4in
£500-700
152.
WHITE BUTTERFLY
33.5cm by 35.5cm; 13in by 14in, unframed
£300-400
153.
NASTURTIONS
36.5cm by 29cm; 14 1/3in by 11 1/3in
£250-350

155.
SIX UNFRAMED DRAWINGS
oil on paper
various sizes
(6)
£100-150
156.
•PERCY DRAKE BROOKSHAW (1907-1993)
FOOTBALL EXCURSION
original poster for London transport
£60-80
157.
A FOLIO OF DRAWINGS AND PRINTS OF ANIMAL
SUBJECTS
including baboons, elephant, birds in flight,
rhinoceros, hippopotamus and others animals;
various media
Various sizes
(15)
£150-200
160.
GEORGE CRUIKSHANK (1792-1878)
THE BRIGHTON REFORM BILL
engraving
26.5cm by 36.5cm; 10 1/2in by 14 1/3in
£60-80
159.
A GROUP OF FOUR PAINTINGS OF MAINLY
CORNISH SUBJECTS
including Port Isaac, Across The Haven Roscarrock
various sizes
(4)
£100-150
158.
A BOX OF ASSORTED PAINTINGS
including seascapes, landscapes and portraits
various sizes
(9)
£100-150

161.
ELIZA PERIAM
AN 18TH CENTURY SAMPLER
flourished c. 1784
£80-120
162.
A PAIR OF BOTANICAL PRINTS
both, 36cm by 28cm; 14 1/4in by 11in
(2)
£50-70
163.
JAMES GILLRAY (1757-1815)
FIGHTING FOR THE DUNGHILL- OR JACK TAR
SETTLING CITOYEN FRANCOIS
published 20th November 1798 by H.Humphrey,
London, handcoloured etching with aquatint
£300-500
166.
DIDO IN DESPAIR!
published February 6th 1801 by H.Humphrey,
handcoloured etching and aquatint
24.5cm by 35cm; 9 2/3in by 13 3/4in
£300-500
165.
A COGNOCENTI CONTEMPLATING YE BEAUTIES
OF YE ANTIQUE ETCHING
published February 11th 1801 by H.Humphrey,
handcoloured etching and aquatint
35cm by 25cm; 13 3/4in by 9 3/4in
£300-500
164.
FRENCH LIBERTY, BRITISH SLAVERY
published 1792, handcoloured etching and aquatint
24cm by 34cm; 9 1/2in by 13 1/3in
£300-500

167.
A LARGE FOLIO OF BRITISH PRINTS
including a collection of etchings by Hugh Stanley
White (1904-1984) (approx.21) subjects; including
the Sudan, village high street, boat house, Warwick
Castle, Windsor Castle from Eton, the river Congo,
Arundel Castle, Sussex, the Gorge, Castle Cambell
and other subjects; Skysigns, Trafalgar Square
(wood engraving) by Graham Dudley Page, signed
and dated 1934; After the Masquerade etched
by Paul Rajon after J. L. Gerome, Going to the
Park, original etching by John Everett Millais; The
Abundance of Egypt, original etching by William
Holman Hunt
various Sizes
(approx.25)
£100-150
168.
HENRI FANTIN-LATOUR (1836-1904)
BENVENUTO CELLINI: ACTE III, LA FONTE DU
PERSEE
lithograph
29.5cm by 19.5cm; 11 1/2in by 7 3/4in
£100-150
171.
WALTER GREAVES, R.I. (1846-1930)
THE CREMORNE GARDENS
signed and dated within plate: W. Greaves/1870
etching
17.5cm by 27cm; 7in by 10 2/3in, unframed
£200-300
169.
JEAN-LOUIS FORAIN (1852-1931)
DANCERS IN THEIR DRESSING ROOM
etching
£150-200
170.
JEAN-FRANCOIS RAFFAELLI (1850-1924)
SOUS LA PLUIE, LES RAPINS, LES MAIGRES
REPAS
a group of three etchings, one signed within a
plate: J.F. Raffaelli /79, one signed in pencil,
etching
various sizes
(3)
£160-220

172.
JAMES-JACQUES-JOSEPH TISSOT
(1836-1902)
LE CROQUET (Wentworth 37)
1878, etching and drypoint, on wove
paper, from an edition of about 100
£1200-1800
173.
JOHN RAPHAEL SMITH (1752-1812) AFTER REVEREND MATTHEW PETERS
EDWARD WORTLEY MONTAGU IN HIS DRESS AS AN ARABIAN PRINCE published August 15th 1776,
mezzotint
47.5cm by 35.5cm; 18 3/4in by 14in
Provenance
Christopher Lennox-Boyd
Edward Wotley Montagu (1713-1776) was a traveller, linguistic and eccentric. The oldest son of Edward and
Lady Mary Wortley Montagu he was much infuenced by his childhood visit to Constantinople between 1716-
18. Using his inheritance as security against his creditors he left England permanently in 1762 and travelled in
the Middle East as an enthusiastic archeologist for a little over a decade. In 1773, Edward settled in Venice and
lived, according to one of his contemporaries, with ‘the manners, habit and magnificence of a Turk’.
£450-650

174.
•AFTER STANLEY SPENCER, R.A. (1891-1959)
JULY
for the Chatto and Windus almanac, 1927,
reproduction print
9cm by 13cm; 3 1/2in by 5 1/4in
£30-50
175.
•ARCHIBALD STANDISH HARTRICK, R.W.S., O.B.E.
(1864-1950)
PUTNEY BRIDGE FROM FULHAM PALACE
lithograph together with the original study in pencil
for the lithograph
both 24cm by 31cm; 9 1/2in by 12in, (2 framed as
1)
£250-350
176.
•VICTOR VASARELY (1906-1997)
COMPOSITION
signed and numbered in pencil: Vasarely/73/180,
silkscreen
45cm by 32cm; 17 3/4in by 12 1/2in
£200-300
179.
QUENTIN BELL (1910-1996)
STILL LIFE WITH BOOTS
signed, numbered and inscribed with title in pencil
l.l.: Q. Bell /3/10/Still life with boots, lithograph
47.5cm by 61cm; 18 3/4in by 24in
£80-120
178.
•HENRI HAYDEN (1883-1970)
BLUE LANDSCAPE, 1968
signed and dated l.r.: Hayden /1968, numbered l.l.:
57/75, lithograph
£150-200
177.
•PAUL WUNDERLICH (1927-2010)
BIEN ASSISE
signed in pencil l.r.: Wunderlich, inscribed l.l.: E.A.,
artist proof lithograph
£80-120

180.
•EDWARD ARDIZZONE, R.A. (1900-1979)
CRICKET NETS AT ST. PAUL’S SCHOOL
signed in pencil l.r.: Edward Ardizzone, and numbered 57/100, lithograph
Author of children’s books, illustrator and print-maker, Edward Ardizzone was trained as an artist at the
Westminster School of Art in London. In 1926 he started a career as an illustrator of genre scenes using
different media, often with a comic Victorian flavour. He rose to prominence with the book entitled Little
Tim and the Brave Sea-Captain (Oxford, 1936), which was then followed by several children’s books and
other illustrated books. Baggage to the Enemy (London, 1941), in which Ardizzone tackles his designation to
Official War Artist in 1940, is an excellent testimony to the German invasion of France, and the Italian and
North African campaigns. After the war Ardizzone continued working as a freelance print-maker, producing
illustrations that gradually developed an instantly recognisable style based on delicate ink lines. The present
work is an attractive example of Ardizzone’s fine technique as a lithographer and is part of a series the artist
produced on English public schools in c.1964 which included several other views of St Paul’s school.
£300-500
182.
CHARLES HERBERT CLARK (FL. EARLY 20TH
CENTURY)
FULL MASTED SHIP IN A DOCK
signed l.r.: Charles H. Clark, etching
£80-150
181.
FRANCIS DODD, R.A., A.R.E., R.S.W. (1874-1949)
LEON
signed l.l.: Francis Dodd and inscribed Leon,
etching with drypoint
19cm by 28.5cm; 7.5in by 11in
£120-180
183.
JAPAN
two Japanese albums of coloured albumen prints:
the first including fifty coloured photographs,
mainly views, 21cm x 26cm, the second containing
fifty coloured photographs, views and types, both
bound with Japanese lacquer boards, circa 1890
21cm x 26cm
(2)
£500-700

184.
CHINA
THE GREAT WALL
one photograph albumen print, circa 1865
21cm x 27cm
£200-300
185.
JAPAN
ALBUM VIEWS OF JAPAN
over 140 photographs taken by an amateur
photographer in Kyoto and Nara of views, scenes,
monuments, and a few portraits, silver prints,
oblong Japanese binding, c. 1920
sizes range from 14 by 9cm to 20 by 29cm
£150-200
186.
JOHNSON AND HENDERSON
BUJGOTEES
one photographic, plate nr. 82, of People of India,
albumen print, circa 1870
18cm x 17cm
£100-200
188.
INDIA
group of approximately sixty four photographs c. 1865/1900, by different photographers including the Bourne
Studio, many views of monuments, a few portraits of British citizens in India, albumen prints, gelatin silver
prints and silver prints
various sizes from 5cm by 7cm to 22cm by 28cm
£300-400
187.
INDIA
J. SACHE
a group of fifteen CDV (carte de visite) type, circa
1870
10cm by 6cm
(15)
£80-100

189.
INDIA
group of eight photographs: Coolie Woman,
inscribed verso Hindoo Drug Acharm sellers, some
could be attributed to Johnson and Henderson,
albumen prints, c. 1870-1880, plus two of Hill
Station: Tonga Road and Jakko (near Simla),
gelatin silver prints
five measure 24cm by 19cm; the other three:
22cm by 19cm
(8)
£600-800
191.
ARGENTINA
group of fifteen photographs, the majority of
Buenos Aires, Las Vacas Station, Gauchos, ten
albumen prints and five by mechanical process, c.
1890
18cm by 23cm
(15)
£200-300
190.
NEW ZEALAND
BURTON BROS
a group of five photographs of Milford Sound,
albumen prints, circa 1880
14cm x 19cm
(5)
£80-100
192.
CHILE
group of nine photographs: Santiago and
countryside
albumen prints, c. 1890
(9)
£150-200
193.
PANAMA
group of eleven black and white photographs
including loading bananas onto a locomotive train
for the United Fruit Company, Columbian soldiers
in Panama, and early stages of the building of the
Panama Canal, albumen prints, gelatin silver prints
18cm by 23cm
(11)
£250-350

194.
CANADA
group of fourteen photographs: Montreal, Sunday
Camp, Lake Timagaming, Ontario showing views
of lakes and mountains, and the Kipaua River,
gelatin silver prints, c. 1890-1900
18cm by 24cm
(14)
£250-350
195.
TANGIER
group of nineteen photographs attributed to Cavilla
showing a local market, horse racing and interiors,
albumen prints, c. 1885
approx. 18cm by 24cm
(19)
£200-300
196.
BRAZIL
group of four photographs by J. Marques Pereira,
three gelatin silver prints, c. 1900
17cm by 22.5cm
(4)
£150-200
198.
UGANDA
an interesting in quarto album of Uganda, East
Africa belonging to a British resident Frank
Padget, some of the photographs could be
attributed to him, the album includes more than
220 photographs, post cards, ephemera and
press cuttings, views and scenes including good
ethnographical studies, portraits: King of Uganda,
Lendu woman and colonial life, mainly gelatin
silver prints, c.1910
Various sizes from 5cm by 8cm to 29cm by 20cm
£300-500
197.
EGYPT
group of fifteen photographs some with the
photographers name Zangaki, mainly landscape
views and a good portrait of the mummy Seti I,
albumen print, c. 1885
21cm by 28 cm, all unmounted
(15)
£200-300

199.
SCHONSCHEIDT
INTERIOR OF COLOGNE CATHEDRAL
one photograph, albumen print, circa 1860, blind
stamp of photographer at foot of image
39cm x 32cm
£100-200
200.
CHANNEL BRIDGE AND RAILWAY COMPANY
two photographs showing the engineers design for
the Bridge over the Channel, albumen prints, circa
1870
29cm x 36cm
£100-200
201.
TOPOGRAPHICAL ALBUM
including more than 300 photographs, mainly albumen prints as well as images produced by mechanical
process and post cards: three photographs of Turkey by Robertson & Beato: Entrance of the Sultan’s New
Palace of Dolma 1861, signed in the negative, albumen print, 26cm by 31cm , Fountain of Sultan Selvin,
signed in the negative, albumen print, Mosque of Dophanek Constantinople 1861, albumen print 25cm by
30cm; four photographs of Niagra falls, albumen print, 1884, 18cm by 24cm, and views of Egypt; four large
scale photographs of Rome, albumen print, c.1860; three photographs of Pisa, albumen print, 1865, 17cm by
23cm; two photographs of Naples, albumen print, c.1861, three photographs of Messina, albumen print, c.
1862, 21cm by 19cm, together with some views of Continental Europe and Britain showing Nice and Cannes,
c. 1880, and a small group of photographs produced by mechanical process and post cards depicting the
English Hospital Haifa, c. 1902
£400-600

202.
GLASS NEGATIVES
two boxes, each with twelve glass negatives,
England, c.1900
8cm by 10.5cm
(24)
£50-80
203.
•BRASSAI (1899-1984)
CYCLIST VELODROME, PARIS
photograph, silver print, circa 1940, studio stamp of
photographer on verso: Copyright by Gyula Halasz,
74 rue de la Glaciere, Paris (13er)
23cm by 17.5cm
£500-700
204.
FRENCH NUDES
six photographs of nude studies, citrate prints,
circa 1910
16.5cm by 12cm, all unmounted
(6)
£100-200
205.
ITALY
group of thirty-five views of monuments in Pompei
and Naples, albumen prints, c. 1885 credit by
Sommer, Lambiase stamp on verso, Luigi Armoni
stamp on verso
19cm by 25cm
(35)
£200-300

207.
•EDWARD HARTWIG (1909-2003)
POLA (FIELDS)
signed u.r. and with initials l.l.: EH, signature and photographer stamp on verso, silver print, c. 1970
35cm by 43cm
£500-700
206.
SZATNIA (CLOAKROOM I)
signed with initials l.l.: EH, studio stamp on verso, silver print, late 1990
32cm by 34cm
£500-700
EDWARD HARTWIG (POLISH, 1909-2003) - Lot 206-291
Edward Hartwig was active over 50 years as a practitioner and champion of the medium. He successfully
combined photography with graphic art, and was equally fascinated by the subjects of trees and landscape
(particularly the Polish landscape), man, the theatre and architecture. However, in all of his works he captures
the intensity of the moment.
Hartwig was convinced that artistic insights in photography can only be gained by applying innovative
perspectives and creative methods. In order to enhance the dynamism, expression and structural impact of
his works, he used – particularly in his black and white photography – intense contrasts of light and shadow
and combines real elements with the purely abstract. His interest in the pattern of nature, as well as its
fragments, characterised by severe realism or dreamlike quality displays the variety of his artistic output.

208.
DRABINA (LADDER)
signature, photographer stamp and label on verso,
silver print, c. 1955
38cm by 44.5cm
£500-700
209.
PORTRET STUDENCKI (PORTRAIT OF A STUDENT)
signed in pencil on recto, photographer stamp on
recto, silver print, c. 1950
47cm by 38cm
£500-700
210.
PODNIESONE RECE (RAISED ARMS)
signed l.l., photographer stamp and label on verso,
34cm by 28cm
£500-700
213.
TEATR - IALKI (THEATER - DOLLS)
signature, title and photographer stamp on verso,
27.5cm by 22cm
£500-700
212.
ODBITE CIENIE (REFLECTED SHADOWS)
signed with initials l.r., signature and title in pencil
and photographer stamp on verso, silver print, c.
1980
39cm by 39cm
£500-700
211.
PASKI - LITERATURA NA PLAZY (STRIPES -
LITERATURE ON THE BEACH)
signed l.l., signature, title and photographer
stamps on verso, matt silver print, c. 1950
29cm by 37.5cm
£500-700

214.
WIBRACJE (VIBES)
signed l.r., signature, title, date and photographer
stamp on verso, 1989
30cm by 46cm
£500-700
215.
DANKA
signature and title in pencil and photographer
stamp on verso, c. 1975
55.5cm by 42cm
£500-700
216.
ZIMA I (WINTER I)
signed with initials l.l., title and photographer
stamp on verso, silver print, c. 1957
27cm by 28.5cm
£500-700
219.
PRZEWIDYWANIA (PREDICTIONS)
signed l.l., title and photographer stamp on verso,
silver print, late 1960
21cm by 26cm
£500-700
218.
PEJZAZ ZIMOWY (WINTER LANDSCAPE)
signature in pencil and photographer stamp on
verso, silver print, late 1950
26.5cm by 28cm
£500-700
217.
ZDZIWIENIE (AMAZEMENT)
signature, label and photographer stamp on verso,
36cm by 28cm
£500-700

220.
PARYZ NA ZAPLECZU (PARIS IN THE
BACKSTAGE)
signed l.r., signature, title and photographer stamp
on verso, silver print, c. 1954
23cm by 20cm
£300-500
221.
ZAKONNICE I, ZAKONNICE II (NUNS I, NUNS II)
first with signature, photographer stamp and label
on verso, second with photographer stamp on
verso, silver print
Various sizes
(2)
£300-500
222.
OKIENKA (WINDOWS)
first with signature and date in pencil and
photographer stamp on verso, silver print, second
signed with initials l.l., photographer stamp on
verso, silver print c. 1990/1992
£300-500
225.
AKT PRZED LUSTREM (MIRROR ACT)
signed with initials l.l., signature and photographer
stamp on verso, silver print, c. 1960
24cm by 18cm
£300-500
224.
SIECI (NETS)
signed with initials u.r., photographer stamp on
27cm by 35cm
£300-500
223.
WYOBRAZENIA (FANTASY)
signature and photographer stamp on verso, silver
print, c.1960
23cm by 28.5cm
cf. p. 110-111 and 116 Edward Hartwig “Poetic
Rebel”
£500-700

226.
GLAZ Z KOBIETA W TLE (BOULDER WITH A
WOMAN IN THE BACK)
signed with initials, signature, photographer
stamp and label on verso, silver print, 1970
27cm by 19cm
£300-500
227.
PARYZANKA (PARISIAN)
signed with initials l.l., signature, title,
photographer stamp and label on verso, silver
print, c. 1960
19cm by 25cm
£300-500
228.
PRACOWNIA LUBELSKIEGO MALARZA W.
FILIPIAKA (LUBLIN STUDIO OF THE PAINTER W.
FILIPIAK)
signature, title and photographer stamp on verso,
1940
28.5cm by 35.5cm
£300-500
231.
KAMIENIE (STONES)
signature, inscription, photographer stamp and
label on verso, silver print, 1978
45cm by 37cm
£300-500
230.
JUWENALIA (STUDENT CARNIVAL)
signed with initials l.l., signature, inscription and
photographer stamp on verso, silver print, 1965
22.5cm by 38cm
£300-500
229.
SZKLANA WIERZBA (GLASS WILLOW)
signed with initials l.l., signature, photographer
28cm by 37cm
£500-700

232.
KRAJOBRAZ (LANDSCAPE)
signed l.r., inscription, photographer stamps and
label on verso, silver print, 1983
31cm by 39cm
£300-500
233.
SZATNIA II (CLOAKROOM II)
28cm by 36cm
£300-500
234.
SZATNIA III (CLOAKROOM III)
27.5cm by 37cm
£300-500
237.
CIEN (SHADOW)
signed l.r., signature and photographer stamp on
verso, silver print, 1986
28.5cm by 38cm
£300-500
236.
PORTRET MEZCZYZNY Z KWIATAMY (PORTRAIT
OF A MAN WITH FLOWERS)
print, c. 1960
48cm by 39.5cm
£300-500
235.
SZATNIA IV (CLOAKROOM IV)
30cm by 38.5cm
£300-500

238.
ZIMA II (WINTER II)
signed with initials l.r., signature and
photographer stamp on verso, silver print, 1972
34cm by 44cm
£300-500
239.
STREFY OCHRONNE (PROTECTION ZONES)
signed l.r., inscription and photographer stamp on
43cm by 31.5cm
£300-500
240.
FURTKA (GATEWAY)
signed l.l., photographer stamp on verso, silver
print
58cm by 44cm
£300-500
243.
DRZEWO (TREE)
verso, silverprint, 1955
44.5cm by 34.5cm
£300-500
242.
WLADYSLAW HASIOR - PORTRET (WLADYSLAW
HASIOR - PORTRAIT)
signature, inscription and date on verso,
silverprint, 1960
40cm by 48cm
£300-500
241.
WIERZBY I (WILLOWS I)
signed l.r., photographer stamp on verso, silver
print, 1989
34.5cm by 50.5cm
£300-500

244.
MIESZKANIE (APARTMENT)
silverprint, 1952
46cm by 35cm
£300-500
245.
KANAL (CHANNEL)
stamp on verso, silverprint, late 1960
38cm by 49cm
£300-500
246.
POSAG (STATUE)
stamp on verso, silver print, 1985
46cm by 39.5cm
£300-500
249.
KAMIENIE (STONES)
signed l.r., photographer stamp and label on verso,
silver print, 1957
29cm by 33cm
£300-500
248.
PIELGRZYM (PILGRIM)
signed l.r., title and photographer stamp on verso,
silver print, 1986
39cm by 47cm
£300-500
247.
AKT W TLE DRZEWA (ACT WITH A TREE IN THE
BACKGROUND)
signed in pencil and photographer stamp on verso,
43cm by 43cm
£300-500

250.
W PRACOWNI PLASTYKA (IN AN ARTIST’S
STUDIO)
signed l.l., signature, inscription and photographer
37cm by 30cm
£300-500
251.
PAPIERY (PAPERS)
mounted on card, signed l.l. on card, photographer
27cm by 36cm
£300-500
252.
AKT (ACT)
print, 1970
27cm by 22.5cm
£500-700
255.
KRAJOBRAZ BALKANSKI (BALKAN LANDSCAPE)
signed u.r., signature and photographer stamp on
43cm by 38cm
£300-500
254.
NATURA (NATURE)
verso, silver print, c. 1960
22cm by 28.5cm
£300-500
253.
WIERZBY II (WILLOWS II)
38.5cm by 42cm
£300-500

256.
KAZIMIERZ NAD WISLA (KAZIMIERZ ON THE
VISTULA RIVER)
signed l.r., inscription and photographer stamp on
28.5cm by 37.5cm
£100-300
257.
KONIE (HORSES)
on cardboard, signed l.r., signature, photographer
stamps and label on verso, silver print, 1959
48cm by 39.5cm
£100-300
258.
ARCHITEKTURA (ARCHITECTURE)
signature, photographer stamp and label on verso,
38cm by 26.5cm
£100-300
261.
WIERZBY III (WILLOWS III)
print, late 1980
26cm by 35cm
£100-300
260.
ZASLONY (CURTAINS)
one signed with initials l.l., both with signature,
photographer stamps and labels on verso, silver
print, c. 1980
£100-300
259.
SOLISTA BALETU (BALLET SOLOIST)
signed l.r. and l.l., signatures, photographer stamps
and labels, silver print, late 1950
£100-300

262.
KWITNACE DRZEWO (FLOWERING TREE)
signed l.l., photographer stamp on verso, late 1970
34.5cm by 28cm
£100-300
263.
BAJKOWE WIERZBY (FAIRYTALE WILLOWS)
signed l.l., photographer stamp on verso, silver
print, 1960, later print
37cm by 29cm
£100-300
264.
WIERZBA (WILLOW)
monogrammed l.l., signature and photographer
stamp on verso, silver print, late 1970
34.5cm by 28.5cm
£300-500
267.
SZYBA (GLASS WILLOW)
signed with initials l.l., photographer stamps on
23cm by 28.5cm
£100-300
266.
KONARY (LIMBS OF TREES)
28cm by 37.5cm
£100-300
265.
POLA (FIELDS)
signed with initials on l.r., photographer stamp on
verso, silver print, c. 1950
29cm by 22cm
£300-500

268.
STARA ULICZKA W BRUKSELY (OLD STREET IN
BRUSSELS)
signed with initials l.r., signature in pencil and
photographer stamp on verso, silver print, late
1950
26cm by 22cm
£100-300
269.
PORTRETY (PORTRAITS)
one signed l.l., both with signature and
photographer stamps on verso, silver print, 1964
£100-300
270.
RYTMY (RHYTHMS)
one signed, signature and photographer stamp on
verso, silver print, 1975 and modern copy print,
2001
£100-300
273.
SPACER (WALK)
27cm by 36.5cm
£500-700
272.
ULICZKA (ALLEY)
1950
25cm by 20.5cm
£100-300
271.
ZABYTEK (ANTIQUE)
both signed l.r., both with signature, photographer
25.5cm by 19.5cm
£100-300

274.
PRZY WODOPOJU (AT THE WATERING)
print, late 1950
28cm by 21.5cm
£100-300
275.
PORTRET PODWOJNY PRZYJACIELA - JAN
ZIOLKOWSKI (DOUBLE PORTRAIT OF A FRIEND -
JAN ZIOLKOWSKI)
one signed l.r., both with signature, title and
photographer stamps on verso, silver print, 1975,
1958
27.5cm by 20.5cm
£100-300
276.
MANEKINY (MANNEQUINS)
mounted on card, signed l.l. on card, title,
photographer stamp and label on verso, silver
print, 1992
23.5cm by 36cm
£300-500
279.
KOMPOZYCJA (COMPOSITION)
signed l.l. and l.r., photographer stamp and label on
verso, silver print, late 1980s
£300-500
278.
WIESZAKI (HANGERS)
silver print, 1976
35cm by 27cm
£500-700
277.
FIORDY (FJORDS)
signed l.l., title, photographer stamp and label on
38.5 by 47cm
£100-300

280.
RAMY (FRAMES)
1970
28cm by 37.5cm
£100-300
281.
PRZYSIEGA PRACY (WORK VOW)
mounted on card, signed l.l. on card, photographer
stamp on verso, silver print
22cm by 29cm
£100-300
282.
PORTRET MODELKI (PORTRAIT OF A MODEL)
signed with initials l.r., signature and photographer
stamp on verso, silver print, late 1980
26.5cm by 21.5cm
£100-300
284.
OBSERWATORKA I SILACZ (OBSERVER AND A STRONGMAN)
signed l.l. and l.r., signature, photographer stamp and label on verso, silver print, late 1960s
£100-300
283.
KRAJOBRAZ (LANDSCAPE)
print, late 1940s
21.5cm by 27cm
£100-300

285.
PORTRET ZNAJOMEJ (PORTRAIT OF A STRANGER)
signed l.l., photographer stamp on verso, silver print, 1960
28.5cm by 34cm
cf. p. 38-39 and 117 Edward Hartwig ‘Poetic Rebel’
£500-700
287.
WOLNOSC (FREEDOM)
print, 1950
26cm by 32.5cm
£100-300
286.
WIERZBY IV (WILLOWS IV)
27cm by 36.5cm
£100-300

289.
DESKI (BOARDS)
signed with initials, signature, photographer stamp
and label on verso, silver print, 2003
32.5cm by 40cm
£100-300
290.
WENECJA (VENICE II)
36.5cm by 32cm
£100-300
291.
BUDOWA AUTOSTRADY (HIGHWAY
CONSTRUCTION)
print, 1970
42cm by 38.5cm
£100-300
288.
WENECJA (VENICE)
one signed with initials l.l., one signature on
verso, both with photographer stamp on verso,
silverprint, 1950
£100-300

Storage
On receipt of cleared funds, lots can be collected from 25 Blythe Road during the auction or immediately after its
completion. Thereafter, all purchased lots will be stored at 25 Blythe Road Ltd’s premises. Please note that collection is
BY APPOINTMENT on +44 (0) 207 602 4805. All lots should be cleared within two months of the auction date, after which
they will be transferred to a third party for storage. A transfer fee of £10 per lot plus all incurred transfer and storage costs
due to the third party will be payable prior to release.
25 Blythe Road Ltd’s Authenticity Guarantee
If 25 Blythe Road Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below 25
Blythe Road Ltd will rescind the sale and refund the Buyer the total amount paid by the Buyer to 25 Blythe Road Ltd for
that Property, up to a maximum of the Purchase Price.
The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-
transferable.
“Counterfeit” means an item of Property that in 25 Blythe Road Ltd’s reasonable opinion is an imitation created with the
intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such
matters is not included in the catalogue description for the Property.
Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work
(including, but not limited to, recolouring, tooling or repatinating).
Please note that this Guarantee does not apply if either:-
(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of
the sale, or the catalogue description indicated that there was a conflict of such opinions; or
(ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means
of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused
damage to or loss in value to the Property (in 25 Blythe Road Ltd’s reasonable opinion); or
(iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.
To claim under this Guarantee, the Buyer must:-
(i) notify 25 Blythe Road Ltd in writing within one (1) month of receiving any information that causes the Buyer to question
the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and
the reasons why it is believed to be Counterfeit; and
(ii) return the Property to 25 Blythe Road Ltd in the same condition as at the date of sale and be able to transfer good title
in the Property, free from any third party claims arising after the date of the sale.
25 Blythe Road Ltd has discretion to waive any of the above requirements. 25 Blythe Road Ltd may require the Buyer to
obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and acceptable to 25
Blythe Road Ltd. 25 Blythe Road Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to
seek additional expert advice at its own expense. In the event 25 Blythe Road Ltd decides to rescind the sale under this
Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports,
provided always that the costs of such reports have been approved in advance and in writing by 25 Blythe Road Ltd.
Conditions of Business for Buyers
1. Introduction
(a) The contractual relationship of 25 Blythe Road Ltd and Sellers with prospective Buyers is governed by:-
(i) these Conditions of Business for Buyers;
(ii) the Conditions of Business for Sellers displayed in the saleroom and available from 25 Blythe Road Ltd;
(iii) 25 Blythe Road Ltd’s Authenticity Guarantee;
(iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or
auctioneer’s announcement.
(b) As auctioneer, 25 Blythe Road Ltd acts as agent for the Seller. Occasionally, 25 Blythe Road Ltd may own or have a
financial interest in a lot.
2. Definitions
“Bidder” is any person making, attempting or considering making a bid, including Buyers;
“Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when
bidding as agent;
“Seller” is the person offering a lot for sale, including their agent, or executors;
“BR” means 25 Blythe Road Ltd, Auctioneers, 25 Blythe Road, London, W14 0PD, company number 7982062.
“Buyer’s Expenses” are any costs or expenses due to 25 Blythe Road Ltd from the Buyer;
“Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for
Prospective Buyers;
“Hammer Price” is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price;
“Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses;
“Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.
The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.
3. Examination of Lots
(a) BR’s knowledge of lots is partly dependent on information provided by the Seller and BR is unable to exercise
exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for
carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of
descriptions.
(b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue,
condition reports or elsewhere are statements of BR’s opinion and not representations of fact. Estimates may not be relied
on as a prediction of the selling price or value of the lot and may be revised from time to time at BR’s absolute discretion.

4. Exclusions and limitations of liability to Buyers
(a) BR shall refund the Purchase Price to
the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of BR’s Authenticity
Guarantee.
(b) Subject to Condition 4(a), neither BR nor the Seller:-
(i) is liable for any errors or omissions in any oral or written information provided to Bidders by BR, whether negligent or
otherwise;
(ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as
such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer
(for which the Seller is solely responsible) under the Conditions of Business for Sellers;
(iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by BR in connection with the
conduct of auctions or for any matter relating to the sale of any lot.
(c) Without prejudice to Condition 4(b), any claim against BR and/or the Seller by a Bidder is limited to the Purchase Price
for the relevant lot. Neither BR nor the Seller shall be liable for any indirect or consequential losses.
(d) Nothing in Condition 4 shall exclude or limit the liability of BR or the Seller for death or personal injury caused by the
negligent acts or omissions of BR or the Seller.
5. Bidding at Auction
(a) BR has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form
and supply such information and references as BR requires. Bidders are personally liable for their bid and are jointly and
severally liable with their principal, if bidding as agent (in which case BR’s prior and express consent must be obtained).
(b) BR advises Bidders to attend the auction, but BR will endeavour to execute absentee written bids provided that they
are, in BR’s opinion, received in sufficient time and in legible form.
(c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to BR’s other
commitments; BR is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.
6. Import, Export and Copyright Restrictions
BR and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright
restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or
other licence required by law, including licences required under the Convention on the International Trade in Endangered
Species (CITES).
7. Conduct of the Auction
(a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer)
if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems
necessary.
(b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is
entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable.
(c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s
hammer.
(d) Any post-auction sale of lots shall incorporate these Conditions of Business.
8. Payment and Collection
(a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the
auction (the “Payment Date”).
(b) Title in a lot will not pass to the Buyer until BR has received the Purchase Price in cleared funds. BR will generally not
release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the
Purchase Price, as above.
(c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation
to pay for the lot, as per Condition 8(a).
(d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer’s risk
from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, BR will compensate the Buyer
for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. BR’s assumption of
risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers.
(e) All packing and handling of lots is at the Buyer’s risk. BR will not be liable for any acts or omissions of third party
packers or shippers.
9. Remedies for non-payment
Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for
the lot within 5 working days of the auction, BR may in its sole discretion exercise 1 or more of the following remedies:-
(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense;
(b) cancel the sale of the lot;
(c) set off any amounts owed to the Buyer by BR against any amounts owed to BR by the Buyer for the lot;
(d) reject future bids from the Buyer;
(e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase
Price is received in cleared funds;
(f) re-sell the lot by auction or privately, with estimates and reserves at BR’s discretion, in which case the Buyer will be
liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred
in such re-sale;
(g) Exercise a lien over any Buyer’s Property in BR’s possession, applying the sale proceeds to any amounts owed by the
Buyer to BR. BR shall give the Buyer 14 days’ written notice before exercising such lien;
(h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs;
(i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings

10. Failure to collect purchases
(a) If the Buyer pays the Purchase Price but does not collect the lot within 20 working days of the auction, the lot will be
stored at the Buyer’s expense and risk at BR’s premises or in independent storage
(b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, BR will
re-sell the lot by auction or privately, with estimates and reserves at BR’s discretion. The sale proceeds, less all BR’s costs,
will be forfeited unless collected by the Buyer within 2 years of the original auction.
11. Data Protection
(a) BR will use information supplied by Bidders or otherwise obtained lawfully by BR for the provision of auction related
services, client administration, marketing and as otherwise required by law.
(b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to
the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as
per Condition 9(i).
12. Miscellaneous
(a) All images of lots, catalogue descriptions and all other materials produced by BR are the copyright of BR.
(b) These Conditions of Business are not assignable by any Buyer without BR’s prior written consent, but are binding on
Bidders’ successors, assigns and representatives.
(c) The materials listed in Condition 1(a) set out the entire agreement between the parties.
(d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and
effect.
(e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of
the English Courts, in favour of BR.
25 Blythe Road Ltd’s Authenticity Guarantee
If 25 Blythe Road Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below 25
Blythe Road Ltd will rescind the sale and refund the Buyer the total amount paid by the Buyer to 25 Blythe Road Ltd for
that Property, up to a maximum of the Purchase Price.
The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-
transferable.
“Counterfeit” means an item of Property that in 25 Blythe Road Ltd’s reasonable opinion is an imitation created with the
intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such
matters is not included in the catalogue description for the Property.
Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work
(including, but not limited to, recolouring, tooling or repatinating).
Please note that this Guarantee does not apply if either:-
(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of
the sale, or the catalogue description indicated that there was a conflict of such opinions; or
(ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means
of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused
damage to or loss in value to the Property (in 25 Blythe Road Ltd’s reasonable opinion); or
(iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.
To claim under this Guarantee, the Buyer must:-
(i) notify 25 Blythe Road Ltd in writing within one (1) month of receiving any information that causes the Buyer to question
the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and
the reasons why it is believed to be Counterfeit; and
(ii) return the Property to 25 Blythe Road Ltd in the same condition as at the date of sale and be able to transfer good title
in the Property, free from any third party claims arising after the date of the sale.
25 Blythe Road Ltd has discretion to waive any of the above requirements. 25 Blythe Road Ltd may require the Buyer to
obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and acceptable to 25
Blythe Road Ltd. 25 Blythe Road Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to
seek additional expert advice at its own expense. In the event 25 Blythe Road Ltd decides to rescind the sale under this
Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports,
provided always that the costs of such reports have been approved in advance and in writing by 25 Blythe Road Ltd.

Charles Miller
MARITIME & SCIENTIFIC MODELS
Auction: 10 May 2016
Matthew Barton
EUROPEAN & ASIAN WORKS OF ART
Auction: 24 May 2016
Thomas Del Mar
ANTIQUE ARMS, ARMOUR & MILITARIA
Auction: 29 June 2016
AUCTION CALENDAR

25 Blyth Road - BRITISH & CONTINENTAL PICTURES & PRINTS & PHOTOGRAPHS 17 March 2016

25 Blyth Road - BRITISH & CONTINENTAL PICTURES & PRINTS & PHOTOGRAPHS 17 March 2016

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