for our Antique, Fine Art and Collectables auction to be held on Wednesday 12th and Thursday 13th of August 2026
| Lot No | Description | Est | Image |
|---|---|---|---|
| 833 | John Landon (fl.1798-1827), Landscape with Figures and Distant Coastline, early 19th century oil on canvas, signed, 65cm x 90cm, within a gilt frame. | 240-340 |
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| 834 | William Frederick Witherington (1785-1865), Landscape with Distant Mountains and Figures on a Road, early 19th century oil on canvas, signed, 75cm x 109cm, within a gilt composition frame. Exhibited: Royal Academy 1851, cat no. 456. Note: When the present work was exhibited at the Royal Academy in 1851, Witherington appended the quotation, 'How oft...our pace / Has slacken'd to a pause...', taken from William Cowper's poem The Task (1785). The passage celebrates the quiet pleasures of rural life, describing a leisurely walk through the countryside and expressing the poet's deep appreciation of the tranquillity and restorative beauty of the natural landscape. The quotation aptly reflects the serene atmosphere of the present view of Windermere, where the still waters and distant fells evoke the contemplative spirit of Cowper's verse. The painting received a favourable notice in The Athenaeum, where its careful handling and attention to detail were commended. Although Witherington established his reputation painting the landscapes of southern England, from the late 1840s he increasingly turned his attention to the scenery of the Lake District, producing a distinguished series of paintings of the region between 1849 and 1863. The present work belongs to this important phase of his career, when the grandeur of the Cumbrian landscape inspired some of his most accomplished and poetic compositions. | 1200-1500 |
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| 835 | British School, A View of Lewes with the Castle and St John-sub-Castro Church, early 19th century oil on canvas, label verso, 22cm x 32cm, within a gilt composition frame. Provenance: Clifford Dann auctioneers, 1997. References: Lewes History Group: Bulletin 158, September 2023. | 150-250 |
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| 837 | Christian Delphin Wexelsen (1830-1883), Landscape with Cattle and Farm Buildings, probably Norway, oil on canvas, signed and dated 1879, 61cm x 103cm, within a gilt composition frame. | 240-340 |
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| 848 | L. Dale, Still Life with Grapes, Peaches and Flowers on a Ledge, late 19th/early 20th century oil on paper, signed, 26cm x 47cm, within an ebonized wood frame. | 40-60 |
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| 849 | Belgian School, Landscape with Cottages beside a Country Road, early 20th century oil on board, indistinctly signed recto, label verso, 23cm x 31cm, within a gilt composition frame with berry and leaf motif. | 50-80 |
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| 850 | Romolo Pergola (1890-1960), Venetian Quayside Scene, 20th century oil on canvas, signed, 38cm x 78cm, within a gilt composition frame. | 100-200 |
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| 851 | Sebastion, Parisian Street Scenes, a pair of 20th century oils on canvas, both signed recto, labels verso, each 28.5cm x 39cm, both within painted composition frames. | 60-90 |
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| 857 | Wilhelmina Barns-Graham (British, 1912-2004), "Nocturne", oil on paper laid onto board, signed and dated 1961 recto, titled, further dated 1962 and inscribed with artist's address verso, 25.5cm x 34cm, within a painted wood frame. Provenance: Alan Wheatley Art; David Lay, 30th July 2009. Christie's 25th July 1996, lot no.346. Note: During the 1950s, Wilhelmina Barns-Graham developed an increasingly abstract visual language rooted in close observation of the natural world, progressively reducing landscape to a disciplined vocabulary of geometric form. By the early 1960s she had largely abandoned direct references to landscape, embarking upon a sustained exploration of abstract compositions based on the rhythmic arrangement of squares and circles. Executed during this pivotal period, "Nocturne" belongs to a significant series of works produced between 1960 and 1965 in which Barns-Graham experimented with repeated square forms, often applied using a wooden block or similar implement to create a stamped, rhythmic surface. The careful proportional division of the picture plane, a recurring concern throughout her mature career, is already evident here. Closely related compositions include Time Present and Different (1962; Aberdeen Art Gallery), Dancing Squares (1962-63), In the Wind's Eye (1964) and Cluster (1963), all of which explore the dynamic interplay of repetition, balance and spatial rhythm that characterises this important phase of the artist's oeuvre. | 2000-3000 |
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| 862 | Frederike Stokhuyzen (South African, b.1938), "Tree Study", oil on canvas, signed and dated '74 recto, titled and dated 1975 to label verso, 50cm x 61cm, within a painted wood frame. | 40-60 |
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| 863 | Don Micklethwaite (British, b.1936), Harbour Scenes, a pair of 20th century oils on canvas, both signed recto, labels verso, each 28cm x 38cm, both within gilt composition frames. | 50-80 |
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| 864 | Mary Pym (British, b.1935), "Green, Wiltshire", oil on board, signed recto, titled labels verso, 58cm x 52cm, within a painted wood frame. Provenance: The Wykeham Gallery, Stockbridge, 2003 | 300-500 |
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| 865 | Robert Lee-Wade (1944-2024), "Wadi Rum, Jordan", oil on canvas, signed recto, titled label verso, 23cm x 28cm, within a stained wood frame. | 40-60 |
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| 866 | Anthony Hodge (British, 1948-2009), "Figures on the Beach", oil on board, signed recto, titled verso, 44cm x 53cm, within a painted and gilt wood frame. | 200-400 |
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| 867 | Anthony Hodge (British, 1949-2009), View of a Country House, oil on board, signed and dated '99, 46.5cm x 71cm, within a painted wood frame. | 200-400 |
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| 870 | Wainbrook, Portrait of a Horse, 20th century oil on canvas, signed, 39cm x 28cm, within a gilt composition frame. | 50-75 |
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| 876 | Denise Gale, "Winter", oil on board, signed recto, titled artist's label verso, 28cm x 36cm, within a painted wood frame. | 40-60 |
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