25 blyth road - british & continental pictures & prints & photographs 17 march 2016

AUCTION ENQUIRIES AND INFORMATION

Enquiries:

Harry Moore-Gwyn, Pictures and PrintsArnaud Delas, PhotographsKate Goad, General Enquiries

25 Blythe Road Ltd25 Blythe RoadLondon W14 0PD

Tel: +44 (0)20 7806 5541Fex: +44 (0)20 7806 5546Email: [email protected]

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Front cover: Lot 5 opposite page Lot 9

Back cover: Lot 189

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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 Ltd25 Blythe Road

London W14 0PD

PUBLIC EXHIBITIONSunday 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 SALEThursday 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

Important Information for Buyers

All lots are offered subject to 25 Blythe Road Ltd’s Conditions of Business and to reserves. The Conditions of Business for Buyers are also published in this catalogue.

Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”. A Buyer’s Premium of 20% is applicable to all lots in this sale. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated, lots are offered for sale under the auctioneer’s margin scheme and VAT on the Buyer’s Premium is payable by all buyers.

A webcast fee of 3% + plus VAT is payable on the hammer price for items bought online. Lots marked with the symbol ‡ have been imported from outside the European Union (EU) to be sold at auction under Temporary Import Rules. When released to buyers within the EU, including the UK, the buyer will become the importer and must pay VAT at the rate of 5% on the hammer price and 20% on the Buyer’s Premium. Buyers outside the EU will normally be eligible to obtain a refund in respect of temporary import VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request.

Artist Resale Right On certain Lots marked ‘•’ in the Catalogue that are sold for a Hammer Price of €1,000 or greater (converted into GBP using the European Central Bank Reference rate prevailing on the Auction End date) an additional premium will be payable by the Buyer to cover the payment of royalties under the Artist Resale Right Regulations 2006. The additional premium will be a percentage of the amount of the hammer price calculated in accordance with the table below, and shall not exceed the equivalent of €12,500. Hammer Price Percentage AmountFrom €0 to €50,000 4%From €50,000.01 to €200,000 3%From €200,000.01 to €350,000 1%From €350,000.01 to €500,000 0.5%Exceeding €500,000 0.25%

25 Blythe Road Ltd will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition). This service is offered free of charge. 25 Blythe Road Ltd can supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and will assist in the application for any export licences which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Payment Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. We are pleased to accept major credit cards (regrettably we are unable to accept American Express), for which a surcharge will be made of 3% of the transaction total. There is no charge for payments made by a UK debit card; however non-UK debit cards will attract a 3% charge. Cash and Credit card payments, made on the premises, above £6,000 will not be accepted without prior arrangement and remote card payments can only be made up to the value of £2,000. Electronic transfers may be sent directly to our Bank.

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.



1.CIRCLE OF ARTHUR WILLIAM DEVIS (1766-1822)FULL LENGTH PORTRAIT OF AN ARMY OFFICERoil on canvas in a period hand carved guilt frame77cm by 63cm; 30 1/2in by 24 3/4in£2000-3000

http://www.25blytheroad.com/catalogues/2016/pp170316/lot0001.html

2.DUTCH SCHOOL (18TH CENTURY)STILL LIFE OF FLOWERS IN AN URNoil on canvas82.5cm by 70cm; 32 1/2in by 27 1/2in£800-1200




3.L.M.C. IRELAND (19TH/20TH CENTURY)STILL LIFE OF FLOWERSsigned l.r.: L.M.C. Ireland, oil on canvas60cm 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 EXETERoil on canvas73cm 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 LANDSCAPEsigned l.l.: J. Morghen, oil on canvas48cm 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 canvas24cm 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 LANDSCAPEsigned and dated l.l.: G. Gozzini 1844, oil on canvas30cm 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 1819each oil on canvas37cm by 55cm; 14.5in by 21.5in(2)£1500-2000


10.ATTRIBUTED TO WILLIAM LEIGHTON LEITCH (1804-1883)COASTAL SCENE WITH FIGURESsigned 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/90various sizes(4)£100-150

11.CIRCLE OF PAUL SANDBY, R.A. (1731-1809)AT AN INNwatercolour, 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 FOREGROUNDbears 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 handsvarious sizes(5)£150-200

13.•ARTHUR WARDLE, R.I., R.B.A., (1864-1949)STUDIES OF A PANTHERtogether with study of a lion’s paw (19cm by 28 cm), by the same artist, coloured chalks32.5cm by 21.5cm; 12 3/4in by 8 1/2in£200-300








14.•HILDA MAY GORDON (1874-1972)TIBETsigned l.r.: H.M. Gordon, watercolour and gouache26.5cm by 18cm; 10 1/4in by 7 1/4in£300-500

15.GEORGE ARTHUR FRIPP, R.W.S. (1813 - 1896)THE CHURCH PORCHwatercolour25cm 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 FISHERWOMANsigned with initals and dated l.r.:TSR 50, watercolour31cm by 18.5cm;12 1/4in by 7 1/4in£150-200

17.•CIRCLE OF JOHN CYRIL HARRISON (1898-1985)DUCKS IN FLIGHTinscribed l.l.: J.C. Harrison, watercolour27cm by 38cm; 10 2/3in by 15in£80-100





19.FANNY HOOD (FL. C. MID 19TH Century)DUNSTER CASTLEbears label on backboard (Dunster Castle by Fanny Hood, 1842 ?); watercolour31cm by 48cm; 12 1/4in by 19in£80-120

20.THE HOOD FAMILY (19TH CENTURY)A PAIR OF CANADIAN VIEWSincluding 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 HOODsigned and dates l.r.: W Derby/May 1840, watercolour42.5cm 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 WATERCOLOURSincluding views of the Alps, Capri, South Coast, Lowestoft, and Navirino Bay, some copies of other artists including after Callow and Robertson, watercolourvarious sizes(29)£300-500







22.WILLIAM SKEOCH CUMMING (1864-1929)PORTRAIT OF THE MACKINNON CHILDRENsigned and dated l.l.: W.S. Cumming/1899, watercolour with bodycolour61cm by 53cm; 24in by 20 3/4in

ProvenanceGiven 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 TEMPESTwatercolour15cm by 20cm; 6in by 7 3/4in£150-200

24.SOLOMON J. SOLOMON, R.A. (1860-1927)A YOUNG GIRL BY A HORSE AND CARTpencil12cm by 17cm; 4 3/4in by 6 2/3in£200-300

25.JAMES BURRELL SMITH (1822-1897)THE KNOCKIE BRIDGE LOOKING EASTWARDS, GLEN TANAsigned and dated l.l.: J. Burrell Smith/1884, watercolour12cm by 16.5cm; 4 3/4in by 6 1/2in

ProvenanceWith Agnew and Sons£200-300





26.JOSHUA WALLIS (1789-1862)CASTLE BY A ROCKY GORGEvarnished watercolour23.5cm by 36cm; 9 1/4in by 14 1/4in£150-200

27.A GROUP OF DRAWINGS AND PRINTSincluding 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 mediavarious sizes(8)£100-150

28.WILLIAM WELLS QUATREMAIN (1857-1930)FIGURES BOATING ON THE RIVER AT BRADFORD UPON AVONsigned l.l.: W.W. Quatremain, sepia wash over touches of pencil10.5cm by 25cm; 4 1/4in by 9 3/4in£100-150 29.

ERNEST CROFTS, A.R.A. (1847-1911)AGINCOURTsigned and dated l.l.: E. Crofts /77, wash over pencil and ink heightened with white20cm by 26cm; 7 3/4in by 10 1/4in£100-150

30.COLONIAL SCHOOL mid 19th CenturyTHE HUNTwatercolour with bodycolour22cm by 30.5cm; 8 2/3in by 12in£80-120 31.

WILLIAM WELLS QUATREMAIN (1857-1930)HENLEY STREET, STRATFORD-UPON-AVONsigned and dated l.l.: W.W. Quatremain/2422.5cm by 36cm; 8 3/4in by 14 1/4in£100-150









32.EMILE ROTURIER (19TH CENTURY)SAILOR SORTING NETS, 1872signed and dated l.l.: Emile Roturier/Dec 3 1872, charcoal and crayon68cm by 48.5cm; 26 3/4in by 19in

£250-350

33.RICHARD HENRY NIBBS (1816-1893)TWO LONDON VIEWSincluding Scene on the Thames and Greenhithe Pierthe 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 ink50.5cm by 29cm; 20in by 11 1/2in21cm by 27cm; 8 1/3in by 10 2/3in£150-250

34.WILLIAM LINNELL (1826-1906)A LARGE FOLIO OF DRAWINGS AND WATERCOLOURSincluding studies of trees, landscapes, figure studies; watercolour with bodycolour and pencil, one oil on papervarious sizes(approx. 31)

ProvenanceLinnell 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 FUNERALvariously inscribed; one in sepia wash over pencil, two in pencilvarious sizes(3)£300-400





36.FREDERICK NAPOLEAN SHEPHERD (1819-1878)POPE’S HOUSE, LOMBARD STREETsigned l.r.: Fred Shepherd, watercolour24cm by 17.5cm; 9 1/2in by 7in£150-250 37.

ALONZO MYRON KIMBALL (1874-1923)PORTRAIT OF A WOMAN SLEEPINGpastel30cm by 26cm; 12in by 10in£500-700

38.G.H. BRENNAN (FL. EARLY 20TH CENTURY)A COLLECTION OF DRAWINGS AND PRINTS OF MILITARY SUBJECTSincluding 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 Brennanvarious sizes(16)£100-200

39.ALFRED GOMERSAL VICKERS (1810-1837)THE CONVENT OF THE ASCENSION AND THE HOLY GATE, MOSCOWinscribed Moscow and inscribed Convent of the Ascension Holy Gate (verso) pencil 25cm by 39.5cm; 10in by 15.5in

ProvenanceAlbany 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 JANISSARYsigned and dated l.r: C.C. Clarke/1835 and inscribed A Janissary, watercolour26.5cm by 20.5cm; 10 1/2in by 8in£250-400

41.ROBERT LITTLE, R.W.S., R.S.W. (1854-1944)SCOTCH FURSsigned l.r: R. Little/1886, watercolour46.5cm by 32cm; 18 1/4in by 12 1/2in£200-400

42.CONSTANCE FREDERICA GORDON-CUMMING (1837-1924)IN SUNGRI FOREST, NEAR SIMLAsigned 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, watercolour39cm by 61cm; 15 2/4in by 24in£500-800

43.ENGLISH SCHOOL (EARLY 20TH CENTURY)MASTED SHIPsigned indistinctly with monogram, watercolour33cm by 26cm; 13in by 10 1/4in£80-120

44.CECIL ARTHUR HUNT, R.W.S., R.B.A. (1873-1965)TAORMINAsigned l.l.: C. A. Hunt, watercolor27cm by 36cm; 10 1/2in by 14 1/4in£400-600






45.GEORGE CATTERMOLE, O.W.S. (1800-1868)MONKS READING IN A MEDIEVAL INTERIORwatercolour, in an exceptional antique carved-gilt frame49cm by 64.5cm; 19 1/4in by 25 1/4in

ExhibitedLondon, 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)GARDENERsigned l.r: V. Meunier; oil on canvas38cm by 56cm; 15in by 22in £300-400

47.ADRIEN JOSEPH VERHOEVEN-BALL (1824-1882)THE FLOWER SELLERsigned and dated l.l.: A.J. Verhoeven Ball /1871, watercolour34cm by 46cm; 13 1/3in by 18in£300-400

48.CARL VOORHEES (1871-1933)A PAIR OF SEASCAPESone signed l.l.: Voorhees, oil on paper or board15cm by 21cm; 6in by 8 1/3in 14.5cm by 20cm; 6in by 8in(2)£150-200

49.ATTRIBUTED TO THEOPHILE STEINLEN (1859-1923)A GIRL IN A SHAWLcrayon9.5cm by 9cm; 3 3/4in by 3 1/2in£80-120

50.NEAPOLITAN SCHOOL 20TH CenturyTWO VIEWS OF THE ERUPTION OF VESUVIUSeach inscribed on mount m vesuvia, gouacheboth 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 board45cm 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 canvas45cm 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, MORNINGsigned 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 DOWNSoil on board25cm by 33cm; 9 3/4in by 13in£120-180




56.JAMES HAYLLAR R.B.A (1851-1893)A SUNNY AFTERNOONsigned l.r.: J.HAYLLAR, oil on canvas41cm by 51cm; 16 1/4in by 20in£400-600

57.JOHN TRIVETT NETTLESHIP (1841-1902)AN OWL IN FLIGHTsigned and dated l.r.: J.T.N./1892, coloured chalk23cm by 45cm; 9in by 17 3/4in£150-200

58.ATTRIBUTED TO WILLIAM JAMES MULLER (1812-1845)NOCTURNE BY AN ITALIAN LAKEoil on board27.5cm 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 15cm by 36cm; 6in by 14in£200-300

61.FREDERICK GOLDEN SHORT (1863-1936)CLIFFS NEAR BERRYHEAD, SOUTH DEVONsigned 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 28cm by 49cm; 11in by 19 1/2in£300-500

63.ARTHUR JAMES STARK (1831-1902)VIEW FROM KILRONAN GARDEN WALLinscribed with title (reverse of panel), oil on panel19cm by 27.5cm; 7.5in by 11in

ProvenanceMiss 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 canvas49.5cm by 74cm; 19 1/2in by 29in

ExhibitedLondon, Royal Academy 1904 (according to an inscription on the frame)£600-900

65.•N. BLOND (MID 20TH CENTURY)THE ARTIST’S PALETsigned u.r.: N. BLOND, oil on board33cm by 46 cm; 13in by 18in£150-200

66.JOSEPH PAUL PETTITT (1812-1882) SANDOWN, ISLE OF WIGHTsigned monogram l.l: oil on board35cm by 50cm; 13 3/4in by 19 3/4in£80-100

67.•ELLIOT SEABROOKE, LG (1886-1950)STILL LIFEsigned and dated l.l.: ELLIOT SEABROOK /1927, oil on canvas60cm by 50cm; 23 3/4in by 19 3/4in£250-350







68.J.P MC L. WATTERS (1851-1943)LANDSCAPE NEAR THE SOUTH COASTsigned l.l.: J.P. Mc L WATTERS, oil on canvas laid to board19cm by 27cm; 7 1/2in by 10 1/2in£100-150

69.•ARNOLD AUERBACH (1898-1978)PORTRAIT BUST AND A BOWL OF ORANGESwith a portrait of the artist on reverse of canvas, signed u.r.: 54, oil on canvas50cm by 42 cm; 19 3/4in by 16 1/2in£150-200

70.•EVAN CHARLTON (1904-1984)PEONIES AND ROCKSoil on panel59.5cm by 89.5cm; 23 1/2in by 35 1/4in

ProvenanceMartin Tinney Gallery£500-700

71.THOMAS BUSHBY (1861-1918)AT THE VETsigned l.l.: Bushby, oil on board26cm 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 CANDLEoil on board32cm by 25cm; 12 1/2in by 9 3/4in

ProvenanceThe artist’s studio£200-300

73.SCOTTISH SCHOOL 20TH CENTURYMEMBERS OF THE MACKINNON FAMILY BY A SCOTTISH LOCHsigned indistinctly l.l.: W. Fife, oil on canvas laid to board33.5cm by 24cm; 13 1/4in by 9 1/2in £400-600









74.HERBERT F. ROYLE (1870-1958)END OF A WINTER’S DAY, YORKSHIREsigned l.r.: H. Royle, oil on panel19.5cm by 24.5cm; 7 2/3in by 9 2/3in£500-700

75.HERBERT F. ROYLE (1870-1958)EXTENSIVE COASTAL LANDSCAPEsigned l.l.: H. Royle, oil on board49cm by 58cm; 19 1/3in by 22 3/4in£500-700

76.CIRCLE OF WILLIAM ROBERTS, R.A. (1895-1980) THE ARTILLERY MENmonogrammed and dated l.r.: PC /44, oil on board45cm 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, 1958signed and dated l.l.: Alfred Daniels/58, oil on board49cm by 67cm; 19 1/3in by 26 1/3in

ProvenanceZwemmer Gallery, where purchased by Patrick White£800-1200





78.HEMA JOSHI (B.1934)ABSTRACToil on canvas61cm by 84cm; 24in by 33in

...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 ROLLSsigned and dated l.l.: Gluck/1949, oil on canvas40cm by 34.5cm; 15 3/4in by 13 1/2in£100-150

80.•OWEN BOWEN, R.O.I. (1873-1967)DOVEDALE, DERBYSHIREsigned l.l.: Owen Bowen; oil on canvas30cm by 39.5cm; 11 3/4in by 15 1/2in £300-400

81.WILLIAM GEORGE ROBB (1872-1940)NEAR AYLESFORD, KENTbears signature l.l.: Robb, signed and inscribed (reverse of panel): near Aylesford, Kent/W.G. ROBB, oil on panel25cm 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 63cm by 53cm; 24 1/4in by 21in £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 GLOUCESTERoil 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 MIRRORwith dedication on stretcher; for Georgia/Annabel Daon and with further inscriptions, oil on canvas76cm by 60.5cm; 30in by 24in, unframed£200-300

87.•JAMES LAWRENCE ISHERWOOD (1917-1989)CROWDS IN THE RAIN, WIGANsigned 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 WOMANsigned 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 DOWNSsigned and dated l.l.: E.H. Mooney/1919, oil on canvas50cm by 60cm; 19 3/4in by 23 1/2in£200-300

91.•ANTHONY EYTON, R.A. (B. 1923)A NORMANDY BEACHsigned l.r.: A. Eyton, oil on panel36cm by 47.5cm; 14in by 18 3/4in£1200-1800

92.GEORGE THOMSON, N.E.A.C. (1860-1939)ITALIAN LANDSCAPEsigned l.l.: George Thomson/1916, oil on board30cm by 40cm; 12in by 16in

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.1930STILL LIFEsigned with monogram l.r.: FAB, oil on canvas56cm by 55.5cm; 21 1/2in by 22in £120-220

94.•RUDOLF SAUTER, R.B.A. (1895-1977)MODERN PYRAMIDS, JOHANNESBERGsigned and dated l.r.: R. H. Sauter/1927, oil on canvas47cm by 64cm; 18 1/2in by 25 1/4in£400-600

95.BRIAN DAVIS (20TH CENTURY)PORTRAIT OF RICHARD GIBSONbears signature l.r.: Brian Davis/1968, and signed u.l.: Davis, oil on canvas59cm by 48cm; 23in by 19in

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.£100-15096.HENRY TONKS (1862-1937)REVERIEsigned and dated I.I.: H.T./Jan 1885; blue/grey wash heightened with white over ink21cm by 19.5cm; 8 1/4in by 7 1/4in (unframed)

Provenancebequeathed 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 LETTERSincluding 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)

ProvenanceBequeathed 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 SCENESincluding holiday makers bathing on a beach, sailing boats by a Continental port, views of the Scottish coast and other subjects, pastelvarious sizes(5)

ProvenanceThe 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 DRAWINGSto include: a still life of Chrysanthemum, two views of a highland river, a coastal scene, and other subjects, pastelvarious sizes(9)


100.MYLES TONKS, R.I., R.B.A. (1890-1960)A FOLIO OF WATERCOLOURS OF SCOTTISH SUBJECTSincluding a rock pool, river running through a highland glen, cloud burst in the highlands, cloud capped highland peak and othersvarious sizes(10)








101.MYLES TONKS, R.I., R.B.A. (1890-1960)A FOLIO OF WATERCOLOURS AND PASTELSincluding a display of stuffed birds, bathers by a loch, wet day, venus emerging from her shell and other subjectsvarious sizes(12)


102.MYLES TONKS, R.I., R.B.A. (1890-1960)A GROUP OF LANDSCAPES OF HIGHLAND AND WEST COUNTRY VIEWSincluding clouds over the downs, Scottish river in full flow, view from the garden, view of a castle from a forestoil on boardvarious sizes(4)£150-200

103.MYLES TONKS R.I., R.B.A. (1890-1960)BODIAM CASTLE AND THREE OTHER LANDSCAPESincluding a Scottish glen in autumn, study of trees, a cathedral under restoration, one signed, three oil on board, one oil on canvasvarious sizes(4)£150-200

104.•JOHN ARMSTRONG, A.R.A. (BRITISH, 1893-1973)THE MAD PRIESTsigned with initials: JA, watercolour36cm x 24cm; 14in x 9 1/2in

Provenancethe 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 HARBOURsigned 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, BAYSWATERsigned and dated l.l.: Charlotte Halliday, pen and ink28cm by 33cm; 11in by 13in£80-120

107.•ADRIAN DAINTREY (1902-1988)RUE ST. ANTOINE, PARISsigned and dated Adrian Daintry December 1953, watercolour over pen and ink 28cm by 38cm; 11in by 15in £150-200

108.•AVERIL BURLEIGH, R.W.S. (1883-1949)ALPINE LANDSCAPEwatercolour48cm by 57cm; 18 3/4in by 22 1/2in£200-300

109.•PIETRO ANNIGONI (1910-1988)PORTRAIT OF ZSUZSI ROBOZsigned, inscribed and dated l.r., ink and pen52cm 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 RAIDsigned l.l.: Ellis Silas, watercolour and gouache50cm 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 CENTURYLANDSCAPE WITH FARM BUILDINGS signed indistinctly l.r.: John V. ? Browne, watercolour with bodycolour40cm by 30cm; 15 3/4in by 11 3/4in£80-120

112.•GEORGES CSATO (1910-1983)A GROUP OF FRAMED ABSTRACT COLLAGEStwo signed: Csato, one dated: 65, collagevarious 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 CHILDsigned l.l.: Peter Nuttall and dated l.r.: 66; coloured chalk over pencil26cm by 25.5cm; 10 1/4in by 10in£100-150

114.ATTRIBUTED TO MARION TAYLOR (20TH/21ST CENTURY)TENCRAM SERIESsigned 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.ENGLISH SCHOOL 20TH CENTURYGALLANTS IN AMAZEMENTsigned 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, watercolour20cm by 15cm; 7 3/4in by 6in£80-100






116.•STANLEY ANDERSON, R.A. (1884-1966)THREE UNFRAMED DRAWINGSincluding 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, 1984signed with initials and dated l.r.: VMA /1984, watercolour21.5cm by 32cm; 8 1/2in by 12 2/3in £80-120

118.ENGLISH SCHOOL 20TH CENTURYHEAD OF A MANcharcoal46cm by 34cm; 18in by 13 1/3in£80-120

121.NORMAN ADAMS, R.A. (1927-2005)A NEW HEAVEN AND EARTH, 1991signed with initials, dated and titled l.l.: A New Heaven and Earth/NA/1991, watercolour72cm by 72cm; 28 1/3in by 28 1/3in£400-600

120.•CAROL ANN SUTHERLAND (B. 1952)STILL READING THE FT, 1989signed and dated l.l.: Carol Ann Sutherland /1989, mixed media and collage52cm by 60cm; 20 1/2in by 23 2/3in

ProvenanceMercury Gallery, purchased by Andras Kalman, 19 June 1989£300-500

119.•PAUL MANOUSSO (B. 1930)POEKHRI, NEPAL, 1982signed, titled and dated l.r.: Paul Manousso?Poekhri Nepal /Dec 1982, watercolour and gouache49cm by 39cm; 19 1/4in by 15 1/2in£300-500









122.PHILIP NAVIASKY (1894-1983)MOTHER AND CHILDsigned l.l.: Philip Naviasky, red and black chalk76cm by 55.5cm; 30in by 20 3/4in£250-350

123.HUBERT L. WELLINGTON (1879-1967)A FOLIO OF LITHOGRAPHSincluding elegant lady seated in a chair, lady reclining on a chaise longue, nude lying on a bed; lithographsVarious sizes(5)£200-300

124.•HUBERT L. WELLINGTON (1879-1967)A FOLIO OF DRAWINGSincluding 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 inkvarious sizes(6)£300-400

127.•CONRAD H. R. CARELLI (1869-1956)A SKETCHBOOK OF WATERCOLOURScomprising 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 WATERCOLOURSincluding 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 watercolourvarious sizes(10)£300-400

125.•HANNAH GLUCKSTEIN, CALLED GLUCK (1895-1978)A SKETCHBOOK OF DRAWINGScomprising approximately 35 pages of drawings, including views of London, studies of a ship, steam engine, figure studies; pencil, some pages with watercolour18cm by 13cm by 1cm; 7in by 5in by 1/3in£150-200







128.EDWARD STOTT, A.R.A. (1859-1918)A PAIR OF DRAWINGSIncluding studies of a young child and a mother and child; one pencil, one black and white chalk, one stamped with the artist’s studio stamp28cm by 38cm; 11in by 15in30.5cm 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’ XXIVsigned 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 PONDsigned and dated l.l.: K. Hale/54, watercolour25cm by 35.5cm; 10in by 14in£400-600

131.WALTER SICKERT, A.R.A. (1860-1942)PORTRAIT OF JOHN ADDISONinscribed 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 ink19.5cm; 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.

ProvenanceProduced as an illustration for The Whirlwind magazine, 1890£600-800








133.•WILL ROBERTS (1907-2000)BIGGIN HILL CAMP, KENT, 1943signed l.l.: WMR and inscribed and dated Billet Biggin Hill/1943, watercolour over pen and ink17.5cm by 25.5cm; 7in by 10in

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 PARROTsigned l.l.: R. H. Sauter, oil on board55cm by 45.5cm; 21 3/4in by 18in

ExhibitedRoyal Institute of Painters in Watercolour (c. late 1940s)£400-600

134.•WILL ROBERTS (1907-2000)BURTON HASTINGS, WARWICKSHIRE, 1944signed, inscribed and dated l.r.: (Will) William Roberts/Burton Hastings/1994, watercolour over pencil28cm by 37cm; 11in by 14 1/2in£200-300

136.DOUGLAS PERCY BLISS (1900-1984)THE CONSERVATORYwatercolour over pencil27cm by 31cm; 10.5in by 12in

ProvenanceFrom 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)DACHSHUNDsigned l.l.: David Vivians, watercolour 29cm by 21cm; 11.5in by 8 1/4in£150-200

139.ENGLISH SCHOOL, C.1930EGYPTIAN GIRLpen and ink28.5cm by 21cm;11 1/4in by 8 1/4in£60-90

140.•ANNA ZINKEISEN (1901-1961)BRITANNIA MOUNTED BY HORSE GUARD’S PARADEsigned l.r.: A. Zinkeisen, gouache with gold paint39cm 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 STUDLANDwatercolour25.5cm by 36cm; 10in by 14 1/4in£100-200

142.ERNEST BOROUGH JOHNSON (1866-1949)KENSINGTON GARDENSinscribed and dated l.r.: Kensington Palace/1928, pencil25cm 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 1935pencil, squared for transfer, title inscribed by Richard Carline on reverse24.8cm by 19.7cm; 9 3/4in by 7 3/4in

ProvenanceRichard 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 LIFEoil on board27cm by 31.5cm; 10 2/3in by 12 1/3in£200-300

145.•JONAS PLOSKY (1940-2011)STILL LIFE WITH WHITE VASEoil on board50cm by 44.5cm; 19 2/3in by 17 1/2in£300-400

146.•JONAS PLOSKY (1940-2011)CORNISH CHURCHYARDoil on board51cm by 76cm; 20in by 30in, unframed£300-500

148.•JONAS PLOSKY (1940-2011)END OF THE ROADsigned l.r.: PLOSKY, oil on board75cm by 85.5cm; 29 1/2in by 33 2/3in£400-600

147.•JONAS PLOSKY (1940-2011)MUSIC MAIDsigned l.r.: J. PLOSKY, oil on board70cm by 90cm; 27 1/2in by 35 1/2in£500-700

•JONAS PLOSKY (1940-2011) - Lots 144 - 154Whether 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.•JONAS PLOSKY (1940-2011)CORNISH BOATSoil on board49.5cm by 62cm; 19 1/2in by 24 1/3in£400-600

150.•JONAS PLOSKY (1940-2011)THE YELLOW YOYOsigned l.l.: PLOSKY, oil on board80cm by 67.5cm; 31 1/2in by 26 1/2in£500-700

151.•JONAS PLOSKY (1940-2011)EARTHBOUNDsigned with initials l.r.: JP, oil on board28cm by 36cm; 11in by 14in£300-400

154.•JONAS PLOSKY (1940-2011)STILL LIFE: PRIMITIVEsigned l.c.: PLOSKY, oil on board70cm by 91cm; 27 1/2in by 35 3/4in£500-700

152.•JONAS PLOSKY (1940-2011)WHITE BUTTERFLYsigned l.r.: PLOSKY, oil on board33.5cm by 35.5cm; 13in by 14in, unframed£300-400

153.•JONAS PLOSKY (1940-2011)NASTURTIONSsigned l.r.: PLOSKY, oil on board36.5cm by 29cm; 14 1/3in by 11 1/3in£250-350







155.•JONAS PLOSKY (1940-2011)SIX UNFRAMED DRAWINGSoil on papervarious sizes(6)£100-150

156.•PERCY DRAKE BROOKSHAW (1907-1993)FOOTBALL EXCURSIONoriginal poster for London transport76cm by 51cm; 30in by 24 3/4in£60-80

157.•PERCY DRAKE BROOKSHAW (1907-1993)A FOLIO OF DRAWINGS AND PRINTS OF ANIMAL SUBJECTSincluding baboons, elephant, birds in flight, rhinoceros, hippopotamus and others animals; various mediaVarious sizes(15)£150-200

160.GEORGE CRUIKSHANK (1792-1878)THE BRIGHTON REFORM BILLengraving26.5cm by 36.5cm; 10 1/2in by 14 1/3in£60-80

159.•PERCY DRAKE BROOKSHAW (1907-1993)A GROUP OF FOUR PAINTINGS OF MAINLY CORNISH SUBJECTSincluding Port Isaac, Across The Haven Roscarrockvarious sizes(4)£100-150

158.•PERCY DRAKE BROOKSHAW (1907-1993)A BOX OF ASSORTED PAINTINGSincluding seascapes, landscapes and portraitsvarious sizes(9)£100-150









161.ELIZA PERIAM AN 18TH CENTURY SAMPLERflourished c. 1784£80-120

162.A PAIR OF BOTANICAL PRINTSboth, 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 FRANCOISpublished 20th November 1798 by H.Humphrey, London, handcoloured etching with aquatint25.5cm by 35.5cm; 10in by 14in£300-500

166.JAMES GILLRAY (1757-1815)DIDO IN DESPAIR!published February 6th 1801 by H.Humphrey, handcoloured etching and aquatint24.5cm by 35cm; 9 2/3in by 13 3/4in£300-500

165.JAMES GILLRAY (1757-1815)A COGNOCENTI CONTEMPLATING YE BEAUTIES OF YE ANTIQUE ETCHINGpublished February 11th 1801 by H.Humphrey, handcoloured etching and aquatint35cm by 25cm; 13 3/4in by 9 3/4in£300-500

164.JAMES GILLRAY (1757-1815)FRENCH LIBERTY, BRITISH SLAVERYpublished 1792, handcoloured etching and aquatint24cm 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 Huntvarious Sizes(approx.25)£100-150

168.HENRI FANTIN-LATOUR (1836-1904)BENVENUTO CELLINI: ACTE III, LA FONTE DU PERSEElithograph29.5cm by 19.5cm; 11 1/2in by 7 3/4in£100-150

171.WALTER GREAVES, R.I. (1846-1930)THE CREMORNE GARDENSsigned and dated within plate: W. Greaves/1870etching17.5cm by 27cm; 7in by 10 2/3in, unframed£200-300

169.JEAN-LOUIS FORAIN (1852-1931)DANCERS IN THEIR DRESSING ROOMetching28cm by 19cm; 11in by 7 1/2in£150-200

170.JEAN-FRANCOIS RAFFAELLI (1850-1924)SOUS LA PLUIE, LES RAPINS, LES MAIGRES REPASa group of three etchings, one signed within a plate: J.F. Raffaelli /79, one signed in pencil, etchingvarious 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 10030cm by 18cm; 11 3/4in by 7in £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, mezzotint47.5cm by 35.5cm; 18 3/4in by 14in

ProvenanceChristopher 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)JULYfor the Chatto and Windus almanac, 1927, reproduction print9cm 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 PALACElithograph together with the original study in pencil for the lithographboth 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, silkscreen45cm by 32cm; 17 3/4in by 12 1/2in£200-300

179.QUENTIN BELL (1910-1996)STILL LIFE WITH BOOTSsigned, numbered and inscribed with title in pencil l.l.: Q. Bell /3/10/Still life with boots, lithograph47.5cm by 61cm; 18 3/4in by 24in£80-120

178.•HENRI HAYDEN (1883-1970)BLUE LANDSCAPE, 1968signed and dated l.r.: Hayden /1968, numbered l.l.: 57/75, lithograph50cm by 66cm; 19 2/3in by 26in£150-200

177.•PAUL WUNDERLICH (1927-2010)BIEN ASSISEsigned in pencil l.r.: Wunderlich, inscribed l.l.: E.A., artist proof lithograph66cm by 51cm; 26in by 20in£80-120









180.•EDWARD ARDIZZONE, R.A. (1900-1979)CRICKET NETS AT ST. PAUL’S SCHOOLsigned in pencil l.r.: Edward Ardizzone, and numbered 57/100, lithograph38cm by 55cm; 15in by 21 1/2in

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, etching45cm by 23cm; 17 3/4in by 9in£80-150

181.FRANCIS DODD, R.A., A.R.E., R.S.W. (1874-1949)LEONsigned l.l.: Francis Dodd and inscribed Leon, etching with drypoint 19cm by 28.5cm; 7.5in by 11in£120-180

183.JAPANtwo 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 189021cm x 26cm(2)£500-700




184.CHINATHE GREAT WALLone photograph albumen print, circa 186521cm x 27cm£200-300

185.JAPANALBUM 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 HENDERSONBUJGOTEESone photographic, plate nr. 82, of People of India, albumen print, circa 187018cm x 17cm£100-200

188.INDIAgroup 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 printsvarious sizes from 5cm by 7cm to 22cm by 28cm£300-400

187.INDIAJ. SACHEa group of fifteen CDV (carte de visite) type, circa 187010cm by 6cm(15)£80-100




189.INDIAgroup 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.ARGENTINAgroup 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 ZEALANDBURTON BROSa group of five photographs of Milford Sound, albumen prints, circa 188014cm x 19cm(5)£80-100

192.CHILEgroup of nine photographs: Santiago and countrysidealbumen prints, c. 1890(9)£150-200

193.PANAMAgroup 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 prints18cm by 23cm(11)£250-350


194.CANADAgroup 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.TANGIERgroup of nineteen photographs attributed to Cavilla showing a local market, horse racing and interiors, albumen prints, c. 1885approx. 18cm by 24cm(19)£200-300

196.BRAZILgroup of four photographs by J. Marques Pereira, three gelatin silver prints, c. 190017cm by 22.5cm(4)£150-200

198.UGANDAan 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.1910Various sizes from 5cm by 8cm to 29cm by 20cm£300-500

197.EGYPTgroup of fifteen photographs some with the photographers name Zangaki, mainly landscape views and a good portrait of the mummy Seti I, albumen print, c. 188521cm by 28 cm, all unmounted (15)£200-300



199.SCHONSCHEIDTINTERIOR OF COLOGNE CATHEDRALone photograph, albumen print, circa 1860, blind stamp of photographer at foot of image39cm x 32cm£100-200

200.CHANNEL BRIDGE AND RAILWAY COMPANYtwo photographs showing the engineers design for the Bridge over the Channel, albumen prints, circa 187029cm 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.19008cm by 10.5cm (24)£50-80

203.•BRASSAI (1899-1984)CYCLIST VELODROME, PARISphotograph, 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 NUDESsix photographs of nude studies, citrate prints, circa 191016.5cm by 12cm, all unmounted(6)£100-200

205.ITALYgroup 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 verso19cm 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. 197035cm by 43cm£500-700

206.•EDWARD HARTWIG (1909-2003)SZATNIA (CLOAKROOM I)signed with initials l.l.: EH, studio stamp on verso, silver print, late 199032cm by 34cm £500-700

EDWARD HARTWIG (POLISH, 1909-2003) - Lot 206-291Edward 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.•EDWARD HARTWIG (1909-2003)DRABINA (LADDER)signature, photographer stamp and label on verso, silver print, c. 195538cm by 44.5cm£500-700

209.•EDWARD HARTWIG (1909-2003)PORTRET STUDENCKI (PORTRAIT OF A STUDENT)signed in pencil on recto, photographer stamp on recto, silver print, c. 195047cm by 38cm £500-700

210.•EDWARD HARTWIG (1909-2003)PODNIESONE RECE (RAISED ARMS)signed l.l., photographer stamp and label on verso, silver print, c. 196034cm by 28cm £500-700

213.•EDWARD HARTWIG (1909-2003)TEATR - IALKI (THEATER - DOLLS)signature, title and photographer stamp on verso, silver print, c. 196527.5cm by 22cm £500-700

212.•EDWARD HARTWIG (1909-2003)ODBITE CIENIE (REFLECTED SHADOWS)signed with initials l.r., signature and title in pencil and photographer stamp on verso, silver print, c. 198039cm by 39cm£500-700

211.•EDWARD HARTWIG (1909-2003)PASKI - LITERATURA NA PLAZY (STRIPES - LITERATURE ON THE BEACH)signed l.l., signature, title and photographer stamps on verso, matt silver print, c. 195029cm by 37.5cm£500-700









214.•EDWARD HARTWIG (1909-2003)WIBRACJE (VIBES)signed l.r., signature, title, date and photographer stamp on verso, 198930cm by 46cm £500-700

215.•EDWARD HARTWIG (1909-2003)DANKAsignature and title in pencil and photographer stamp on verso, c. 197555.5cm by 42cm £500-700

216.•EDWARD HARTWIG (1909-2003)ZIMA I (WINTER I)signed with initials l.l., title and photographer stamp on verso, silver print, c. 195727cm by 28.5cm£500-700

219.•EDWARD HARTWIG (1909-2003)PRZEWIDYWANIA (PREDICTIONS)signed l.l., title and photographer stamp on verso, silver print, late 196021cm by 26cm£500-700

218.•EDWARD HARTWIG (1909-2003)PEJZAZ ZIMOWY (WINTER LANDSCAPE)signature in pencil and photographer stamp on verso, silver print, late 195026.5cm by 28cm£500-700

217.•EDWARD HARTWIG (1909-2003)ZDZIWIENIE (AMAZEMENT)signature, label and photographer stamp on verso, silver print, c. 196036cm by 28cm £500-700







220.•EDWARD HARTWIG (1909-2003)PARYZ NA ZAPLECZU (PARIS IN THE BACKSTAGE)signed l.r., signature, title and photographer stamp on verso, silver print, c. 195423cm by 20cm£300-500

221.•EDWARD HARTWIG (1909-2003)ZAKONNICE I, ZAKONNICE II (NUNS I, NUNS II)first with signature, photographer stamp and label on verso, second with photographer stamp on verso, silver printVarious sizes (2)£300-500

222.•EDWARD HARTWIG (1909-2003)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.•EDWARD HARTWIG (1909-2003)AKT PRZED LUSTREM (MIRROR ACT)signed with initials l.l., signature and photographer stamp on verso, silver print, c. 196024cm by 18cm £300-500

224.•EDWARD HARTWIG (1909-2003)SIECI (NETS)signed with initials u.r., photographer stamp on verso, silver print, late 196027cm by 35cm£300-500

223.•EDWARD HARTWIG (1909-2003)WYOBRAZENIA (FANTASY)signature and photographer stamp on verso, silver print, c.196023cm by 28.5cm

cf. p. 110-111 and 116 Edward Hartwig “Poetic Rebel”£500-700









226.•EDWARD HARTWIG (1909-2003)GLAZ Z KOBIETA W TLE (BOULDER WITH A WOMAN IN THE BACK)signed with initials, signature, photographer stamp and label on verso, silver print, 197027cm by 19cm £300-500

227.•EDWARD HARTWIG (1909-2003)PARYZANKA (PARISIAN)signed with initials l.l., signature, title, photographer stamp and label on verso, silver print, c. 196019cm by 25cm £300-500

228.•EDWARD HARTWIG (1909-2003)PRACOWNIA LUBELSKIEGO MALARZA W. FILIPIAKA (LUBLIN STUDIO OF THE PAINTER W. FILIPIAK)signature, title and photographer stamp on verso, 194028.5cm by 35.5cm £300-500

231.•EDWARD HARTWIG (1909-2003)KAMIENIE (STONES)signature, inscription, photographer stamp and label on verso, silver print, 197845cm by 37cm£300-500

230.•EDWARD HARTWIG (1909-2003)JUWENALIA (STUDENT CARNIVAL)signed with initials l.l., signature, inscription and photographer stamp on verso, silver print, 196522.5cm by 38cm £300-500

229.•EDWARD HARTWIG (1909-2003)SZKLANA WIERZBA (GLASS WILLOW)signed with initials l.l., signature, photographer stamp and label on verso, silver print, 198928cm by 37cm£500-700







232.•EDWARD HARTWIG (1909-2003)KRAJOBRAZ (LANDSCAPE)signed l.r., inscription, photographer stamps and label on verso, silver print, 198331cm by 39cm £300-500

233.•EDWARD HARTWIG (1909-2003)SZATNIA II (CLOAKROOM II)signed with initials l.l., photographer stamp on verso, silver print, late 199028cm by 36cm£300-500

234.•EDWARD HARTWIG (1909-2003)SZATNIA III (CLOAKROOM III)signed with initials l.l., photographer stamp on verso, silver print, late 199027.5cm by 37cm£300-500

237.•EDWARD HARTWIG (1909-2003)CIEN (SHADOW)signed l.r., signature and photographer stamp on verso, silver print, 198628.5cm by 38cm £300-500

236.•EDWARD HARTWIG (1909-2003)PORTRET MEZCZYZNY Z KWIATAMY (PORTRAIT OF A MAN WITH FLOWERS)signature and photographer stamp on verso, silver print, c. 196048cm by 39.5cm£300-500

235.•EDWARD HARTWIG (1909-2003)SZATNIA IV (CLOAKROOM IV)signed with initials l.l., photographer stamp on verso, silver print, late 199030cm by 38.5cm£300-500









238.•EDWARD HARTWIG (1909-2003)ZIMA II (WINTER II)signed with initials l.r., signature and photographer stamp on verso, silver print, 197234cm by 44cm£300-500

239.•EDWARD HARTWIG (1909-2003)STREFY OCHRONNE (PROTECTION ZONES)signed l.r., inscription and photographer stamp on verso, silver print, 198543cm by 31.5cm£300-500

240.•EDWARD HARTWIG (1909-2003)FURTKA (GATEWAY)signed l.l., photographer stamp on verso, silver print58cm by 44cm£300-500

243.•EDWARD HARTWIG (1909-2003)DRZEWO (TREE)signed with initials l.l., photographer stamp on verso, silverprint, 195544.5cm by 34.5cm £300-500

242.•EDWARD HARTWIG (1909-2003)WLADYSLAW HASIOR - PORTRET (WLADYSLAW HASIOR - PORTRAIT)signature, inscription and date on verso, silverprint, 196040cm by 48cm £300-500

241.•EDWARD HARTWIG (1909-2003)WIERZBY I (WILLOWS I)signed l.r., photographer stamp on verso, silver print, 198934.5cm by 50.5cm £300-500







244.•EDWARD HARTWIG (1909-2003)MIESZKANIE (APARTMENT)signed l.l., photographer stamp and label on verso, silverprint, 195246cm by 35cm £300-500

245.•EDWARD HARTWIG (1909-2003)KANAL (CHANNEL)signed with initials l.l., signature and photographer stamp on verso, silverprint, late 196038cm by 49cm £300-500

246.•EDWARD HARTWIG (1909-2003)POSAG (STATUE)signed with initials l.l., signature and photographer stamp on verso, silver print, 198546cm by 39.5cm£300-500

249.•EDWARD HARTWIG (1909-2003)KAMIENIE (STONES)signed l.r., photographer stamp and label on verso, silver print, 195729cm by 33cm£300-500

248.•EDWARD HARTWIG (1909-2003)PIELGRZYM (PILGRIM)signed l.r., title and photographer stamp on verso, silver print, 198639cm by 47cm £300-500

247.•EDWARD HARTWIG (1909-2003)AKT W TLE DRZEWA (ACT WITH A TREE IN THE BACKGROUND)signed in pencil and photographer stamp on verso, silver print, late 196043cm by 43cm £300-500









250.•EDWARD HARTWIG (1909-2003)W PRACOWNI PLASTYKA (IN AN ARTIST’S STUDIO)signed l.l., signature, inscription and photographer stamp on verso, silver print, 194837cm by 30cm£300-500

251.•EDWARD HARTWIG (1909-2003)PAPIERY (PAPERS)mounted on card, signed l.l. on card, photographer stamp and label on verso, silver print, 1992 27cm by 36cm£300-500

252.•EDWARD HARTWIG (1909-2003)AKT (ACT)signature and photographer stamp on verso, silver print, 197027cm by 22.5cm £500-700

255.•EDWARD HARTWIG (1909-2003)KRAJOBRAZ BALKANSKI (BALKAN LANDSCAPE)signed u.r., signature and photographer stamp on verso, silver print, late 196043cm by 38cm£300-500

254.•EDWARD HARTWIG (1909-2003)NATURA (NATURE)signed with initials l.l., photographer stamp on verso, silver print, c. 196022cm by 28.5cm£300-500

253.•EDWARD HARTWIG (1909-2003)WIERZBY II (WILLOWS II)signed with initials l.l., signature and photographer stamp on verso, silver print, 198338.5cm by 42cm£300-500







256.•EDWARD HARTWIG (1909-2003)KAZIMIERZ NAD WISLA (KAZIMIERZ ON THE VISTULA RIVER)signed l.r., inscription and photographer stamp on verso, silver print, 196028.5cm by 37.5cm£100-300

257.•EDWARD HARTWIG (1909-2003)KONIE (HORSES)on cardboard, signed l.r., signature, photographer stamps and label on verso, silver print, 195948cm by 39.5cm£100-300

258.•EDWARD HARTWIG (1909-2003)ARCHITEKTURA (ARCHITECTURE)signature, photographer stamp and label on verso, silver print, late 197038cm by 26.5cm£100-300

261.•EDWARD HARTWIG (1909-2003)WIERZBY III (WILLOWS III)signed l.r., photographer stamp on verso, silver print, late 198026cm by 35cm £100-300

260.•EDWARD HARTWIG (1909-2003)ZASLONY (CURTAINS)one signed with initials l.l., both with signature, photographer stamps and labels on verso, silver print, c. 1980£100-300

259.•EDWARD HARTWIG (1909-2003)SOLISTA BALETU (BALLET SOLOIST)signed l.r. and l.l., signatures, photographer stamps and labels, silver print, late 1950£100-300









262.•EDWARD HARTWIG (1909-2003)KWITNACE DRZEWO (FLOWERING TREE)signed l.l., photographer stamp on verso, late 197034.5cm by 28cm £100-300

263.•EDWARD HARTWIG (1909-2003)BAJKOWE WIERZBY (FAIRYTALE WILLOWS)signed l.l., photographer stamp on verso, silver print, 1960, later print37cm by 29cm £100-300

264.•EDWARD HARTWIG (1909-2003)WIERZBA (WILLOW)monogrammed l.l., signature and photographer stamp on verso, silver print, late 197034.5cm by 28.5cm£300-500

267.•EDWARD HARTWIG (1909-2003)SZYBA (GLASS WILLOW)signed with initials l.l., photographer stamps on verso, silver print, 196523cm by 28.5cm£100-300

266.•EDWARD HARTWIG (1909-2003)KONARY (LIMBS OF TREES)signed with initials l.l., photographer stamp on verso, silver print, late 195028cm by 37.5cm£100-300

265.•EDWARD HARTWIG (1909-2003)POLA (FIELDS)signed with initials on l.r., photographer stamp on verso, silver print, c. 195029cm by 22cm£300-500







268.•EDWARD HARTWIG (1909-2003)STARA ULICZKA W BRUKSELY (OLD STREET IN BRUSSELS)signed with initials l.r., signature in pencil and photographer stamp on verso, silver print, late 195026cm by 22cm£100-300

269.•EDWARD HARTWIG (1909-2003)PORTRETY (PORTRAITS)one signed l.l., both with signature and photographer stamps on verso, silver print, 1964£100-300

270.•EDWARD HARTWIG (1909-2003)RYTMY (RHYTHMS)one signed, signature and photographer stamp on verso, silver print, 1975 and modern copy print, 2001£100-300

273.•EDWARD HARTWIG (1909-2003)SPACER (WALK)signed with initials l.l., photographer stamp on verso, silver print, 198627cm by 36.5cm£500-700

272.•EDWARD HARTWIG (1909-2003)ULICZKA (ALLEY)photographer stamp on verso, silver print, late 195025cm by 20.5cm£100-300

271.•EDWARD HARTWIG (1909-2003)ZABYTEK (ANTIQUE)both signed l.r., both with signature, photographer stamp and label on verso, silver print, 198725.5cm by 19.5cm £100-300









274.•EDWARD HARTWIG (1909-2003)PRZY WODOPOJU (AT THE WATERING)signed l.r., photographer stamp on verso, silver print, late 195028cm by 21.5cm£100-300

275.•EDWARD HARTWIG (1909-2003)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, 195827.5cm by 20.5cm£100-300

276.•EDWARD HARTWIG (1909-2003)MANEKINY (MANNEQUINS)mounted on card, signed l.l. on card, title, photographer stamp and label on verso, silver print, 199223.5cm by 36cm£300-500

279.•EDWARD HARTWIG (1909-2003)KOMPOZYCJA (COMPOSITION)signed l.l. and l.r., photographer stamp and label on verso, silver print, late 1980s£300-500

278.•EDWARD HARTWIG (1909-2003)WIESZAKI (HANGERS)signed l.l., photographer stamp and label on verso, silver print, 197635cm by 27cm£500-700

277.•EDWARD HARTWIG (1909-2003)FIORDY (FJORDS)signed l.l., title, photographer stamp and label on verso, silver print, 196538.5 by 47cm£100-300







280.•EDWARD HARTWIG (1909-2003)RAMY (FRAMES)photographer stamp on verso, silver print, late 197028cm by 37.5cm £100-300

281.•EDWARD HARTWIG (1909-2003)PRZYSIEGA PRACY (WORK VOW)mounted on card, signed l.l. on card, photographer stamp on verso, silver print22cm by 29cm£100-300

282.•EDWARD HARTWIG (1909-2003)PORTRET MODELKI (PORTRAIT OF A MODEL)signed with initials l.r., signature and photographer stamp on verso, silver print, late 198026.5cm by 21.5cm£100-300

284.•EDWARD HARTWIG (1909-2003)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.•EDWARD HARTWIG (1909-2003)KRAJOBRAZ (LANDSCAPE)signed l.r., photographer stamp on verso, silver print, late 1940s21.5cm by 27cm£100-300








285.•EDWARD HARTWIG (1909-2003)PORTRET ZNAJOMEJ (PORTRAIT OF A STRANGER)signed l.l., photographer stamp on verso, silver print, 196028.5cm by 34cm

cf. p. 38-39 and 117 Edward Hartwig ‘Poetic Rebel’£500-700

287.•EDWARD HARTWIG (1909-2003)WOLNOSC (FREEDOM)signature and photographer stamp on verso, silver print, 195026cm by 32.5cm£100-300

286.•EDWARD HARTWIG (1909-2003)WIERZBY IV (WILLOWS IV)signed with initials l.l., photographer stamp on verso, silver print, 195027cm by 36.5cm £100-300




289.•EDWARD HARTWIG (1909-2003)DESKI (BOARDS)signed with initials, signature, photographer stamp and label on verso, silver print, 200332.5cm by 40cm£100-300

290.•EDWARD HARTWIG (1909-2003)WENECJA (VENICE II)signed with initials l.l., signature and photographer stamp on verso, silver print, 197036.5cm by 32cm£100-300

291.•EDWARD HARTWIG (1909-2003)BUDOWA AUTOSTRADY (HIGHWAY CONSTRUCTION)signature and photographer stamp on verso, silver print, 197042cm by 38.5cm£100-300

288.•EDWARD HARTWIG (1909-2003)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 GuaranteeIf 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 Buyers1. 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 tothe 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 RestrictionsBR 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-paymentWithout 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 MillerMARITIME & SCIENTIFIC MODELSAuction: 10 May 2016

Matthew BartonEUROPEAN & ASIAN WORKS OF ARTAuction: 24 May 2016

Thomas Del MarANTIQUE ARMS, ARMOUR & MILITARIAAuction: 29 June 2016

AUCTION CALENDAR

25 blyth road - british & continental pictures & prints & photographs 17 march 2016

Art & Photos