for our Antique, Fine Art and Collectables auction to be held on Wednesday 4th and Thursday 5th of November 2026
| Lot No | Description | Est | Image |
|---|---|---|---|
| 851 | Chinese Canton School, Criminals, Tortures and Punishments, nine Qing dynasty watercolours with gouache on pith paper, each 21cm x 31cm, within a paper folder with original paper label for "Wing Tai Hing Rice Paper Picture Shop, Canton". | 40-60 |
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| 852 | Chinese School, circle of Wu Yisheng, Peonies, ink with watercolour, inscribed in mandarin calligraphy "Hua Kai fu gui" (when flowers blossom, they bring great wealth), indistinctly signed dated, 49cm x 98cm, within an ebonised wood frame. | 40-60 |
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| 853 | After Dong Bangda, In Imitation of Jing Hao's "Mount Kuanglu", ink with watercolour Chinese scroll painting, signed with seal, 112cm x 64cm. | 30-40 |
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| 854 | Follower of Wang Guanqing, Fishing in Changbai Mountains, ink with watercolour Chinese scroll painting, 103cm x 60cm. | 30-40 |
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| 855 | Georg Braun and Frans Hogenberg, "Urbino - Sulmo Ovidii Patria" (Bird's-eye view of Urbino and Sulmona), 17th century engraving with later hand-colouring, 36cm x 49cm, within a gilt frame, together with Sebastian Munster, "Florencz" (View of Florence) engraving with later hand-colouring, and one further 19th century map, "Etruriae". | 100-200 |
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| 856 | Cosimo Mogalli (1667-1738), after Guercino, Appollo flaying Marsyas, etching with engraving, published circa 1778, 48cm x 38cm, within a stained wood frame. | 40-60 |
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| 857 | Charles Turner (British, 1774-1857), after T. Blake, "The Interior of the Fives Court with Randall and Turner Sparring", aquatint with hand-colouring, published by W. Sams 1825, 52cm x 66cm, within a painted wood frame. | 80-120 |
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| 858 | King William IV and Queen Adelaide, a pair of 19th century stipple engravings, each 7.5cm x 6cm, within matching yew wood frames, together with a portrait engraving of Charles, Prince of Wales (King Charles I). | 40-60 |
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| 859 | Henry King Taylor (1799-1869), "Rye Fishing Boat", oil on canvas, signed and dated 1857, 50cm x 74cm, within a swept gilt composition frame. | 600-900 |
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| 860 | Follower of John Wood (British, 1801-1870), Portrait of a Lady at a Window, 19th century watercolour, 13cm x 10cm, within a gilt composition and velvet lined cased frame. | 50-75 |
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| 861 | Thomas Francis Dicksee (1819-1895), "Sunday Morning", oil on canvas, signed with monogram, 59cm x 48cm, within a pierced and swept gilt composition frame. Exhibited: Institution for the Free Exhibition of Modern Art, Late Chinese Gallery, Hyde Park Corner, April 1848; London Art Union, September 1848, catalogue no.53. | 1000-2000 |
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| 862 | Rosa Branwhite Muller (1822 -1914), Landscape with Fly Fisherman on a Riverbank, possibly the River Lyn, North Devon, watercolour, signed and dated '79 recto, Frost & Reed gallery label verso, 31cm x 50cm, within a gilt frame. | 40-60 |
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| 863 | William Mouncey (Scottish/British, 1852-1901), "The Watermill", oil on board, signed and dated '96 recto, titled The Fine Art Society label verso, 40cm x 30cm, within a stained wood frame. Provenance: The Fine Art Society, April 1980, stock no. 7734. Note: William Mouncey (1852-1901) was a Scottish landscape painter born in Kirkcudbright, where he spent most of his life. Initially following his father into the house-painting and decorating trade, Mouncey pursued his ambition to become a professional artist, studying briefly in Edinburgh before largely teaching himself. His paintings drew inspiration from the surrounding Galloway countryside, particularly the burns, woodland and riverbanks around Kirkcudbright. Mouncey first exhibited at the Royal Scottish Academy in 1881 and subsequently showed regularly there and at the Royal Glasgow Institute, as well as exhibiting in London and Dresden. Encouraged early in his career by fellow Kirkcudbright artist E. A. Hornel, whose eldest sister Margaret he married in 1874, Mouncey eventually established his own house and studio, Woodlea, overlooking the town. He died in 1901, aged 49, having established a lasting reputation as a painter of the Scottish landscape. | 300-500 |
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| 864 | Joseph Milne (Scottish/British, 1857-1911), Quayside Scene, probably the Fife Coast, oil on canvas, signed, 29cm x 44cm, within a stained wood frame. Note: Joseph Milne (1859-1911), who generally signed his paintings 'Joe Milne', was a professional landscape artist particularly noted for his harbour scenes, many depicting the east coast of Scotland, especially the Fife coastline. Born in Aberdeen in 1859, Milne was the eldest of eight children. His family subsequently moved to Edinburgh, where he pursued his artistic training. He began exhibiting at the Royal Scottish Academy (RSA) in 1877, the same year that one of his works was also exhibited at the Glasgow Institute of the Fine Arts. Between 1882 and 1886, he attended the RSA Life Class, where he was awarded the Chalmer Prize and, in 1885, the Maclaine Watters Medal. In 1884, Milne married Janet Thomson, the daughter of a fisherman from Buckhaven, Fife. Their first child, born in Buckhaven in August 1885, was the artist John Maclauchlan Milne RSA, who would go on to establish his own reputation as a painter. | 300-500 |
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| 865 | Lucy, Lady Hume-Williams (British, 1862-1948), "Etna from Taormina", late 19th/early 20th century watercolour, signed with initials recto, titled gallery label verso, 23cm x 34cm, within a gilt frame. | 40-60 |
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| 866 | Lucy, Lady Hume-Williams (British, 1862-1948), "Fasana, Lake Garda", late 19th/early 20th century watercolour, artist's name and title to gallery label verso, 25cm x 17cm, within a gilt frame. | 40-60 |
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| 867 | William Miller Frazer (Scottish/British, 1864-1961), "Spate on the Dochart, Killin", oil on canvas, signed recto, titled artist's label verso, 40cm x 60cm, within a gilt composition frame. Exhibited: Royal Scottish Academy, 1945, catalogue no. 333. Note: William Miller Frazer was born in Scone, Perthshire. He studied at the Board of Manufactures School in Edinburgh from 1883 and subsequently at the Royal Scottish Academy Life School. Following travels on the Continent in 1890, he developed a particular affinity for the tranquil landscapes of the Norfolk Broads, the Fen Country and rural Scotland. His paintings are distinguished by their lyrical treatment of landscape and sensitivity to atmospheric effects, qualities likened to the later work of Jean-Baptiste-Camille Corot. A prominent figure in Scottish art, Frazer exhibited regularly at the Royal Scottish Academy, was elected an Associate in 1909 and became a full Academician in 1924. He continued painting into his eighties. | 300-500 |
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| 868 | Robert Hope (Scottish/British, 1869-1936), Landscape with Agricultural Labourer, 19th century watercolour, signed and dated '97, 15cm x 30cm, within a gilt frame. Note: Robert Hope was born and educated in Edinburgh. Initially trained as a lithographic draughtsman, he later worked in design and book illustration before pursuing a career in fine art. He studied at the Edinburgh School of Design and the Royal Scottish Academy Life School, where he received several awards, before continuing his studies at Academie Julian, Paris. Hope was elected an Associate of the Royal Scottish Academy in 1911 and a full Academician in 1925. His varied practice encompassed landscape, portraiture, figure painting and decorative schemes, including commissions for Manderston House, Edinburgh City Chambers and St Cuthbert's Church. He frequently drew inspiration from Scottish ballads and literature, and his work is represented in several public collections. | 50-75 |
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| 869 | Henry Sylvester Stannard (British, 1870-1951), "By the Duckstream, Eastbury, Kent", watercolour, signed recto, titled gallery label verso, 25cm x 35cm, within a gilt frame | 80-120 |
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| 870 | Henry Sylvester Stannard (British, 1870-1951), Village Scene with Thatched Cottages, Waggon and Chickens, watercolour, signed recto, titled label verso, 25cm x 36cm, within a gilt frame. | 80-120 |
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| 871 | After Mabel Lucie Attwell, Wait till the Cars Roll by Jinnie, watercolour, bears signature, 19.5cm x 27cm, within an ebonised wood frame. | 40-60 |
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| 872 | Dutch School, Street Scene, oil on board, signed with monogram 'W.A.', 40cm x 29cm, within a gilt composition frame | 50-75 |
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| 873 | Romolo Pergola (1890-1960), Venetian Quayside Scene, 20th century oil on canvas, signed, 38cm x 78cm, within a gilt composition frame. | 40-60 |
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| 874 | Mogens Egil Ege (Danish, 1892-1946), Copenhagen Canal Scene, oil on canvas, signed, 33cm x 48cm, within a painted composition frame. | 40-60 |
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| 875 | Frank Lewis Mills (1891–1976), Children and a Donkey on a Beach, early 20th century oil on canvas, signed, 50cm x 62cm, within a painted wood frame. | 60-90 |
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