for our Antique, Fine Art and Collectables auction to be held on Wednesday 7th and Thursday 8th of October 2026
| Lot No | Description | Est | Image |
|---|---|---|---|
| 858 | Yoshijiro "Mokuchu" Urushibara (Japanese, 1888-1953), Lilies, early 20th century woodblock, signed and editioned "no.68" (out of 100) in pencil, 31cm x 21m, within an ebonised frame. | 100-200 |
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| 859 | Joseph Kiener, "Le Berceau Historique des Mysteres de la Franc-Maconnerie, du Tableau de L'Historie Ancienne de L'Ordre" (The Historic Cradle of the Mysteries of Freemasonry, from the Tableau of the Ancient History of the Order), mid-19th century stone lithograph by Baudet, printed by Vayron, Paris, 58cm x 72cm, within a stained wood frame. Note: Scarce, we can find only one other example in the musee de la franc-maconnerie, Paris. A Parisian publisher and bookseller, Joseph Kiener was initiated in 1845, joined several Lodges, attained the rank of Chevalier Kadosch, and became an officer in the Grand Orient. He served as one of the dignitaries in the Bonaparte Lodge in Paris during the 1850s. Kienere believed that Napoleon had been a Freemason, publishing in 1848 the lithograph "Les Cinq Neveux" depicting portraits of Napoleon I's son and his four nephews arranged as the grand cross of the Legion d'Honneur around a medallion with the masonic square and compass (see British Museum registration. no. 1983,U.2957). | 100-200 |
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| 860 | Joseph Kiener, "Le Berceau Historique des Mysteres de la Franc-Maconnerie, Deuxieme Tableau" (The Historic Cradle of the Mysteries of Freemasonry, from the Tableau of the Ancient History of the Order), mid-19th century stone lithograph by Jannin, Paris, 58cm x 72cm, within a gilt wood frame. Note: Scarce. | 100-200 |
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| 861 | Pettibone Bros, "From Darkness to Light" (Masonic Interest), chromolithograph, published 1887, 68cm x 50cm, within a stained wood frame. | 40-60 |
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| 862 | British School, Caricature Portraits of British Napoleonic War Officers, a pair of pen and ink with watercolour, each 5.5cm x 5.5cm, both within painted wood frames. | 40-60 |
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| 863 | After Peter Paul Rubens, Lamentation of Christ, oil on board, 52cm x 22cm, within a painted composition frame with oak leaf, acorn and fig ornament. | 80-120 |
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| 864 | Provincial follower of John Riley, Three-Quarter Length Portrait of a Gentleman holding a copy of Dr George Bate's Pharmacopoeia Bateana, possibly William Salmon (1644-1713), 18th century oil on panel, 136cm x 70cm, within a stained wood frame. | 200-400 |
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| 865 | Circle of William Henry Williamson, Maritime Scene with Sailing Vessels near an Island, possibly Bass Rock, 19th century oil on panel, 26cm x 37cm, within a gilt composition frame with floral and shell corner crestings. | 80-120 |
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| 866 | Follower of Charles Edward Dixon, Shipping on the Thames at Greenwich, and Shipping on the Thames with Steam Vessels and Tall Ships, a pair of 19th century watercolours, both signed with initials "L.W.J.", each 33cm x 57cm, both within matching gothic gilt composition frames with fleur-de-lys crestings. | 60-90 |
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| 867 | John Henderson (1764-1843), Alpine River Landscape, watercolour with monochrome wash, labels verso, 9cm x 14cm, within a gilt frame, together with a similar watercolour by the same hand. Note: John Henderson (1764 - 843) was a collector, artist and an early patron of Thomas Girtin and J.M.W. Turner. A neighbour of Dr Thomas Monro at Adelphi Terrace, Henderson owned a distinguished collection of works by Canaletto, subsequently bequeathed by his son to the British Museum, and played an important role in the development of the two young artists. Henderson, Girtin and Turner are known to have studied and copied works by Canaletto, Piranesi and other artists, using these exercises to develop their skills in drawing and watercolour. A number of Henderson's watercolours are preserved in the British Museum, alongside drawings in the Tate collection. The latter also contains works by Turner inscribed "after Henderson", indicating that Turner copied compositions by his older contemporary. The close artistic relationship between Henderson and Turner is further demonstrated by collaborative works such as "Dover" (British Museum, inv. no. 1878,1228.45), in which the outline is traditionally attributed to Turner, with the watercolour subsequently applied by Henderson. | 40-60 |
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| 868 | After J.M.W. Turner, "The Sun of Venice Going to Sea", late 19th/early 20th century oil on canvas, 41cm x 48cm. | 100-200 |
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| 869 | 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. | 50-75 |
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| 870 | Attributed to Robert Woodley Brown (fl.1840-1860), Figure in a Landscape with River, Bridge and Distant Mountains, oil on canvas, 18cm x 25cm, within a gilt composition frame. Note: a near identical scene signed by Woodley Brown was with Rosebery's, 20th November 2024, lot no.291. | 40-60 |
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| 871 | British School, Lake Scene, possibly Derwentwater, oil on canvas laid onto board, signed with initials "W.B." and dated 1875, 52cm x 79cm, within a gilt composition frame. | 80-120 |
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| 872 | British School, Landscape with Farm buildings and Cattle grazing near a River, 19th century oil on canvas, signed with initials "E.B.", 23cm x 18cm, within a swept gilt composition frame. | 50-75 |
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| 873 | 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 | 100-200 |
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| 874 | Henry Sylvester Stannard (British, 1870-1951), "The Boat Race", watercolour, signed recto, titled gallery label verso, 24cm x 34cm, within a stained wood and gilt frame. | 100-200 |
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| 875 | 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. | 100-200 |
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| 876 | Carl Langguth, after Renoir, Reading Girl, enhanced print on canvas, 55cm x 45cm, within a painted and gilt composition frame. | 60-90 |
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| 877 | Victor-Joseph Roux-Champion (French, 1871-1953), Portrait of Maurice Denis, etching with aquatint, circa 1905, 19cm x 25cm, within an ebonised frame. | 50-75 |
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| 878 | Lucien Potronat (French, 1889-1973), "Villa overlooking the Mediterranean", oil on canvas, signed recto, titled E. Stacy-Marks gallery label verso, 36cm x 75cm, within a gilt frame. | 150-250 |
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| 879 | Romolo Pergola (1890-1960), Venetian Quayside Scene, 20th century oil on canvas, signed, 38cm x 78cm, within a gilt composition frame. | 60-90 |
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| 880 | Mogens Egil Ege (Danish, 1892-1946), Copenhagen Canal Scene, oil on canvas, signed, 33cm x 48cm, within a painted composition frame. | 50-75 |
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| 881 | **Rowland Hilder (British, 1905-1993), "Willows by Stream", watercolour, signed recto, titled verso, 17cm x 24cm, within a gilt frame.**Please note that Artists Resale Rights may be payable on this lot | 200-300 |
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| 882 | Jeanne Courtauld (British, 1909-2009), "The Orchard and Chimneys of Cooke's House, West Burton", oil on canvas, signed recto, titled and dated 1963 to artist's label verso, within a hessian and gilt frame. Provenance: Catharine Dowman nee Courtauld (1878-1972), Wyke Lodge, Weymouth. | 80-120 |
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