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 |
|---|---|---|---|
| 826 | A sampler by Anne Cox aged 11, with biblical verse in a horizontal formation above an architectural palace form, enclosed in a border, dated 1797, 29.5cm x 29.5cm, within a gilt frame. | 70-90 |
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| 827 | A sampler by Mary Elizabeth Hooley aged 11, with letters of the alphabet in horizontal formation above a floral frieze and a seated female holding a lamb in a landscape with cottages, enclosed in a floral border, dated 1849, 30cm x 30cm, within a stained wood frame. | 40-60 |
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| 828 | A sampler by Emma Barnard aged 10, with letters of the alphabet and numbers and verse in horizontal formation, enclosed in a floral border, dated 1850, 30cm x 30cm, within a stained wood frame. | 70-90 |
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| 829 | A sampler by Margaret Edith Heslop aged 12, with The Lord's Prayer in a horizontal formation above a bowl of fruit flanked by flowers, enclosed in a border, dated 1861, 58cm x 30cm, within a gilt frame. | 40-60 |
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| 830 | A sampler by J.A. McDonald, with letters of the alphabet and numbers in a horizontal formation, enclosed in a border, dated 1871, 29cm x 16cm, within a gilt frame. | 40-60 |
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| 831 | Northern European School, Lady and Gentleman in Elizabethan Dress, late 18th/early 19th century carved wood relief, 25cm x 19cm, mounted on velvet within an oak and gilt composition frame. | 50-75 |
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| 832 | After William Stewart Watson (1800-1870), "The Inauguration of Robert Burns as Poet-Laureate of the Canongate Kilwinning Lodge", 19th century chromolithograph, 42cm x 64cm, within a gilt composition frame. | 40-60 |
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| 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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| 836 | Edward Lear (1812-1888), "A Street Scene in Vevey, Switzerland", watercolour, inscribed and dated 1837, 28cm x 18cm, within a stained wood frame. Provenance: Christie's 8th July 1997, lot no.76. Note: Executed during Edward Lear's first journey to Italy in 1837, the present watercolour belongs to a pivotal period in the artist's career, when his reputation as a topographical draughtsman was rapidly becoming established. Leaving London in July, Lear journeyed through Belgium, Luxembourg and Germany before passing through Vevey, on the northern shore of Lake Geneva, en route to Rome, where he arrived in December. Situated at the mouth of the Veveyse Valley beneath Mont Pélerin, Vevey offered Lear a striking combination of Alpine scenery and expansive views across Lake Geneva. Although almost certainly begun on the spot, the present work was subsequently developed into a highly finished watercolour, representative of the carefully resolved exhibition watercolours that characterised Lear's early career. | 1600-2200 |
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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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| 838 | Joseph Arthur Palliser Severn (1842-1931), "A Volunteer Camp on Wimbledon Common", watercolour, signed and dated 1868, 19.5cm x 29.5m, within a gilt frame. Provenance: Sotheby's, 18th December 1980, lot no.42. | 240-340 |
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| 839 | Henry Harry Stannard (British, 1844-1920), Landscape with Thatched Cottage and a Figure on a Road, late 19th/early 20th century watercolour, signed, 33cm x 45.5cm, within a gilt frame. | 40-60 |
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| 840 | William G. Whittington (act.1904-1914), Maritime Scene with several Sailing vessels in a stiff breeze near a Harbour Pier with Lighthouse, 19th century watercolour, signed, 27cm x 76cm, within a gilt frame. | 400-600 |
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| 841 | Herbert Thomas Dicksee (British, 1862-1942), "Who Goes There" (Scottish Terrier), late 19th/early 20th century etching, 40cm x 38cm, within a wood frame. | 40-60 |
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| 842 | Charles "Snaffles" Johnson Payne (British, 1884-1967), "Merry England and Worth a Guinea a Minute", lithograph printed in colours, signed in pencil and with blindstamp, 43cm x 41cm, within an ebonised frame. | 50-75 |
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| 843 | British School, Profile Portraits of Dorothea Luscombe and Miss Ritchie, a pair of 19th century ink with gouache silhouette portrait miniatures, both inscribed verso, each 8.5cm x 7cm, both within ebonized wood frames with metal acorn clasps | 40-60 |
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| 844 | Continental School, Portrait of a Lady in Profile wearing a Black Dress, White Silk Shirt and Scarf and a Black Headscarf, watercolour on ivory, 6.5cm x 5.5cm, within a gold metal frame. Ivory Exemption Certificate TLHJQYN3 | 60-90 |
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| 845 | Walter Richard Sickert (British, 1860-1942), "Le Pollet, Dieppe", ink with watercolour, signed, titled and dated 1900, 27cm x 19.5cm, within a stained wood frame. Provenance: Private collection, USA before 1993; Christie's Modern British & Irish Art, 21st March 2018, lot no.109. Note: Between 1899 and 1900 Walter Sickert produced at least four oil paintings and three drawings depicting this view, traditionally known as *La Maison qui fait le coin* ('The House on the Corner'), a building in Le Pollet, Dieppe's historic fishermen's quarter. Dieppe had become Sickert's second home from 1885 onwards, reflecting the deep and enduring ties between the artist, his family and the French port. His brother, Oswald Sickert, later wrote: 'The Sickerts can't expect other people to see in Dieppe all that it means to them. We have inherited the place from Mother, who came to school here when she was eleven and was happy and well for the first time. Father came here too, years before they were married, and afterwards he did his best work here.' Although closely related to the painted versions of the subject, Wendy Baron has observed that the drawings were probably conceived as finished works in their own right rather than as preparatory studies. A version of the subject in coloured chalks, formerly owned by Sickert's friend, the painter Jacques-Emile Blanche, is on long-term loan to the Chateau-Musee de Dieppe. References: Wendy Baron, "Sickert Paintings and Drawings" (Yale University Press, 2006), p.231, cat nos.120-120.5. Wendy Baron, "Sickert" (Phaidon, 1973) p.15. | 900-1200 |
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| 846 | Blanche Odin (1865-1957), Still Life with Roses, watercolour, signed, 36cm x 54cm, within a silvered frame. Note: Blanche Odin was among the most accomplished French watercolourists of the late nineteenth and early twentieth centuries, celebrated particularly for her exquisitely observed floral still lifes. She studied under the renowned flower painter Madeleine Lemaire and exhibited regularly at the Salon des Artistes Francais from 1888 to 1946, receiving an Honourable Mention in 1907 and a Third-Class Medal the following year. Odin established a highly successful studio in Paris, attracting numerous pupils while producing an extensive body of commissioned works, especially her celebrated studies of roses. Her paintings enjoyed considerable commercial success during her lifetime and were exhibited in leading Parisian galleries, including the Galerie Georges Petit. Such was her association with the flower that, in 1941, a new variety of rose was named 'Blanche Odin' in her honour. Today, her work is represented in the collection of the Musee Salies, Bagneres-de-Bigorre, to which she donated forty-eight watercolours in 1938. | 200-300 |
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| 847 | Salomon van Abbe (1883-1955), Portrait of a Lady, watercolour, signed, 22cm x 17cm, within an ebonised and gilt composition frame. | 60-90 |
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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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