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Catalogue for our Antique, Fine Art and Collectables auction to be held on Wednesday 4th and Thursday 5th of November 2026

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description ( and estimated value in GBP )
  • 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).

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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  • Henry King Taylor (1799-1869), "Rye Fishing Boat", oil on canvas, signed and dated 1857, 50cm x 74cm, within a swept gilt composition frame.

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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  • 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.

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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  • 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.

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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  • 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.

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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  • 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.

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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  • 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.

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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  • 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.

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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  • 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.

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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  • 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.

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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  • 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.

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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  • 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

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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  • 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.

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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  • After Mabel Lucie Attwell, Wait till the Cars Roll by Jinnie, watercolour, bears signature, 19.5cm x 27cm, within an ebonised wood frame.

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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  • Dutch School, Street Scene, oil on board, signed with monogram 'W.A.', 40cm x 29cm, within a gilt composition frame

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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  • Romolo Pergola (1890-1960), Venetian Quayside Scene, 20th century oil on canvas, signed, 38cm x 78cm, within a gilt composition frame.

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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  • Mogens Egil Ege (Danish, 1892-1946), Copenhagen Canal Scene, oil on canvas, signed, 33cm x 48cm, within a painted composition frame.

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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  • 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.

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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  • Maurice Barle (French, 1903-1961), Les Bouquinistes with Notre Dame, Paris, 20th century oil on board, signed, 36cm x 44cm, within a stained wood frame. Note: The bouquinistes (booksellers) beside the Seine, with Notre-Dame Cathedral rising in the background, represent a quintessentially Parisian subject. The scene proved popular with artists working in the late nineteenth and early twentieth centuries, including Eugene Galien-Laloue, Edouard Leon Cortes, Antoine Blanchard and Maurice Barle. Maurice Barle studied at the Ecole Nationale des Beaux-Arts and the Ecole des Arts Decoratifs in Paris. From 1926, he exhibited at the Salon des Independants and the Salon d'Hiver. In 1962, he was awarded a silver medal by the City of Paris.

876

Maurice Barle (French, 1903-1961), Les Bouquinistes with Notre Dame, Paris, 20th century oil on board, signed, 36cm x 44cm, within a stained wood frame. Note: The bouquinistes (booksellers) beside the Seine, with Notre-Dame Cathedral rising in the background, represent a quintessentially Parisian subject. The scene proved popular with artists working in the late nineteenth and early twentieth centuries, including Eugene Galien-Laloue, Edouard Leon Cortes, Antoine Blanchard and Maurice Barle. Maurice Barle studied at the Ecole Nationale des Beaux-Arts and the Ecole des Arts Decoratifs in Paris. From 1926, he exhibited at the Salon des Independants and the Salon d'Hiver. In 1962, he was awarded a silver medal by the City of Paris. £80-120
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  • **Salvador Dali (Spanish, 1904-1989), "The Usurers" (Inferno: Canto 17), wood engraving in colours, bears signature, from 'La Divine Comedie' (The Divine Comedy), published by Editions d'Art Les Heures Claires, Paris 1960, 32cm x 23cm, within a gilt composition frame. **Please note: Artist's Resale Rights may be payable on this lot

877

**Salvador Dali (Spanish, 1904-1989), "The Usurers" (Inferno: Canto 17), wood engraving in colours, bears signature, from 'La Divine Comedie' (The Divine Comedy), published by Editions d'Art Les Heures Claires, Paris 1960, 32cm x 23cm, within a gilt composition frame. **Please note: Artist's Resale Rights may be payable on this lot £60-90
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  • **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

878

**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 £160-240
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  • Piet Zwiers (Dutch, 1907-1965), Wetland Landscape with Boat and Fishing or Eel Nets, 20th century oil on canvas, signed, 79cm x 99cm, within a painted wood frame. Note: Pieter Roelof Zwiers, known as 'the painter of Giethoorn', was a Dutch artist born in Meppel who spent almost his entire life in the province of Overijssel, living first in Steenwijk and later in Giethoorn. The village and its surrounding waterways and countryside provided the principal inspiration for his work, featuring its characteristic canals and high bridges, pollarded willows and traditional eel traps on the Belterwijde. In 2007, the Stedelijk Museum Zwolle held a retrospective exhibition of his work.

879

Piet Zwiers (Dutch, 1907-1965), Wetland Landscape with Boat and Fishing or Eel Nets, 20th century oil on canvas, signed, 79cm x 99cm, within a painted wood frame. Note: Pieter Roelof Zwiers, known as 'the painter of Giethoorn', was a Dutch artist born in Meppel who spent almost his entire life in the province of Overijssel, living first in Steenwijk and later in Giethoorn. The village and its surrounding waterways and countryside provided the principal inspiration for his work, featuring its characteristic canals and high bridges, pollarded willows and traditional eel traps on the Belterwijde. In 2007, the Stedelijk Museum Zwolle held a retrospective exhibition of his work. £400-500
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  • British School, Mountainous Landscape with Trees and Distant River, 20th century oil on board, 28cm x 48cm, within a gilt frame.

880

British School, Mountainous Landscape with Trees and Distant River, 20th century oil on board, 28cm x 48cm, within a gilt frame. £60-80
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  • **Edward Wesson (British, 1910-1983), "Flowerpiece" (Still Life of Roses in a Glass Vase), 20th century oil on board, signed recto, titled gallery label verso, 39cm x 34cm, within a painted and gilt frame. **Please note: Artist's Resale Rights may be payable on this lot

881

**Edward Wesson (British, 1910-1983), "Flowerpiece" (Still Life of Roses in a Glass Vase), 20th century oil on board, signed recto, titled gallery label verso, 39cm x 34cm, within a painted and gilt frame. **Please note: Artist's Resale Rights may be payable on this lot £150-200
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  • **Daphne Day (1922-2014), Intertwined Figures, pen with ink, signed and dated 1954, 29cm x 22cm, within a gilt frame. Note: Daphne Day was a British painter who lived in Chiswick and whose work encompassed portraiture alongside subjects inspired by her interests in clairvoyance and esoteric traditions. She studied at the Chelsea School of Art in 1948 and exhibited at the Mall Galleries. Among her notable works was a portrait of Sir Winston Churchill, painted in 1965 and presented to the Duke of Marlborough. The portrait was subsequently exhibited at Blenheim Palace in 1966 and at the English-Speaking Union of the Commonwealth's commemorative Churchill banquet at the London Hilton Hotel in 1967. During the late 1960s and early 1970s, Day attracted tabloid attention for her youthful appearance and her interest in clairvoyance and the occult, which also informed her artistic practice. In 1976, she was ordained as a priest in the Templar Church of the New Covenant. Her spiritual philosophy drew upon elements of yoga, Christianity and the occult, reflecting the eclectic spiritual interests of the period. In this respect, her beliefs invite comparison with those of Joan Cooper of Culbone, wife of the artist Waistel Cooper. **Please note: Artist's Resale Rights may be payable on this lot

882

**Daphne Day (1922-2014), Intertwined Figures, pen with ink, signed and dated 1954, 29cm x 22cm, within a gilt frame. Note: Daphne Day was a British painter who lived in Chiswick and whose work encompassed portraiture alongside subjects inspired by her interests in clairvoyance and esoteric traditions. She studied at the Chelsea School of Art in 1948 and exhibited at the Mall Galleries. Among her notable works was a portrait of Sir Winston Churchill, painted in 1965 and presented to the Duke of Marlborough. The portrait was subsequently exhibited at Blenheim Palace in 1966 and at the English-Speaking Union of the Commonwealth's commemorative Churchill banquet at the London Hilton Hotel in 1967. During the late 1960s and early 1970s, Day attracted tabloid attention for her youthful appearance and her interest in clairvoyance and the occult, which also informed her artistic practice. In 1976, she was ordained as a priest in the Templar Church of the New Covenant. Her spiritual philosophy drew upon elements of yoga, Christianity and the occult, reflecting the eclectic spiritual interests of the period. In this respect, her beliefs invite comparison with those of Joan Cooper of Culbone, wife of the artist Waistel Cooper. **Please note: Artist's Resale Rights may be payable on this lot £40-60
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