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JAZZ - LPs. Taking us from swing to contemporary, here's a musically rich collection of over 90 x LPs. Artists/titles include Don Byas - 1945, Fats Navarro with Tadd Dameron, Art Pepper - Omega Alpha, Dave Brubeck - Time Out, Clifford Brown - Paris Collection, George Wallington - Knight Music, McCoy Tyner - Live At Newport, Lucky Thompson - In Paris 1956, Only The Blues, Eddie 'Lockjaw' Davis, Alex Welsh, Johnny Griffin, JJ Johnson, Jerri Winters, Norman Granz Jazz At The Philharmonic, Red Norvo And His Band, Clifford Brown/Max Roach, Charlie Ventura, Lennie Tristano, Flip Phillips, Oscar Peterson, Don Pullen, Jazz West Coast and Atlantic Jazz West Coast. Condition is generally VG to Ex.

JAZZ - LPs. Taking us from swing to contemporary, here's a musically rich collection of over 90 x LPs. Artists/titles include Jackie Mclean - Swing Swang Swingin' Gene Ammons - Red Top, Ella Fitzgerald - Swings Gently With Nelson, Stan Getz/Chet Baker, Wes Montgomery - Round Midnight, Gerry Mulligan/Chet Baker, Dave Brubeck, Cannonball/Nat Adderley Quintet, Fats Navarro, Wardell Gray/Don Lanphere Quintet, Sidney Bechet, Art Pepper - So In Love and One September Afternoon, Lee Konitz, Shelly Manne, MJQ, Warne Marsh, George Lewis And His Ragtime Band, Earl Hines, Wynton Marsalis and Billie Holiday. Condition is generally VG to Ex.

JAZZ - LPs. Taking us from swing to contemporary, here's a musically rich collection of over 90 x LPs. Artists/titles include Bill Evans - More From The Vanguard, Kenny Baker Presents - Date With The Dozen, Ronnie Scott - Studio Recordings, Volume 1, Peter King Quartet, Victor Feldman - In London Kenny Graham's Afro-Cubists, Clifford Brown and Max Roach, The Be-Bop Preservation Society, Wardell Gray, Dexter Gordon, The Jimmy Giuffre 3, Dizzy Gillespie, Art Pepper - Living Legend, Ruby Braff, Spectrum - Tribute To Monk, Cleo Laine/John Dankworth, John Lewis & Hank Jones and Sarah Vaughan. Condition is generally VG to Ex.

ARR Edward Bawden (1903-1989) - Coloured lithograph (after a lino cut) - "Cattle Market, Braintree", printed in black, red, blue and fawn, showing a busy market scene with auctioneer conducting sale to left hand side surrounded by pens of cattle, sheep and pigs and numerous figures, 20.5ins x 30.5ins, published by Contemporary Lithograph Ltd, London, published 1937, signed with initials E.B. and fully signed in pencil to lower right margin, in modern ash frame and glazed Note: Illustrated in "Art for Everyone - Contemporary Lithographs Ltd" Ruth Artmonsky 2007 (reprinted 2010 and illustrated in colour on front cover and with copy of book to go with this lot)

3rd century AD. A bronze parade helmet comprising a bowl of plaited bronze strips with hollow tapering bronze crest, frontal panel with repoussé wreath detailing and triangular plate to the rear; a matched pair of bronze hinged cuff vambraces of similar plaited-strip construction. Cf. Travis, H. & J. Roman Helmets, Stroud, 2014, fig.101 for type. 3.2 kg total, helmet: 32cm, bracelets 12cm (12 1/2"). Property of a central London collector; imported from Switzerland in 2009, previously acquired from Mr George Kotolakis in Geneva in the mid-1980s. Accompanied by a report of metallurgic analytical report number 122668/575, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford. The use of bronze parade helmets by the Roman military is documented, although the type with a silvered face-mask (cavalry sports helmets) is best known. The plaited or openwork construction is paralleled on the later iron type found in Vendel Period (6th-7th century AD) Sweden (e.g. Valsgärde graves 5, 6) which in turn have Roman and Sassanian antecedents. Vambraces of splinted type also feature in the contemporary armaments of the Vendel Period graves. [A video of this item is available to view on TimeLine Auctions website.] Fine condition. Very rare.

AFTER LAURENCE STEPHEN LOWRY (1887-1976). 'Punch & Judy' from the School Prints second series printed by The Baynard Press for School Prints Ltd. London, a set of 24 lithographs produced in the 1940s with the intention of bringing contemporary art to young children, signed in plate lower left, coloured lithograph on paper, framed and glazed, 48 x 74 cm

A boxed Glen Eagles Art Deco figure, a boxed RCR wildlife figure of an eagle, embossed vase, contemporary mantel clock

Contemporary Michael Cardew C.B.E. (1901 - 1983), art pottery bowl with brown glazed and slip decoration - impressed marks, 31cm diameter.Provenance: Purchased from Austin / Desmond Fine Art Ltd. in 1991 for £2,430. Sold with receipt CONDITION REPORT Good original condition. No cracks or chips - some fritting to edges

JOSEPH STANNARD (1797-1882) BritishShipping at the Mouth of the ScheldtOil on panel, framed. 82.5 x 60 cm. Note: The panel was damaged during the bombing of Rougham Hall in 1940 and broken in to three pieces.Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, old repairs to panel and associated over painting, old label to verso.

JAMES HOLLAND (1799-1870) BritishBartolomeo Colleoni MonumentOil on board, variously inscribed to verso and with remnants of old label, framed. 28 cm diameter. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, minor losses to frame.

SIR JOSHUA REYNOLDS (1723-1792) BritishPortrait of Francis, Marquess of Tavistock (1739-1767) BritishOil on canvas, various old labels to verso including 19th century Royal Academy Exhibition label inscribed with artist, sitter and lender's name of William Agnew Esq., a City of Manchester Art Gallery Old Masters Exhibition 1909 label inscribed with artist, title and name of lender Sir William Agnew Bart, and a Thomas Agnew & Sons London label, framed and with panel inscribed Francis Russell, Marquess of Tavistock B.1739 to D.1767, Reynolds 1766. 61.5 x 74 cm.Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Re-lined with some possible overpainting, some minor cracklure, some minor scuffs, minor losses to frame.

Circle of THOMAS GAINSBOROUGH (1727-1788) BritishPortrait of Squire RoweOil on canvas, various old labels and chalk inscriptions to verso, framed. 62 x 75 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, re-lined, some over painting, two previous cracklure, slight losses to frame.

EDWARD CHARLES WILLIAMS (1807-1881) BritishFigures in an Extensive Norfolk LandscapeOil on canvas, framed. 105 x 59.5 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Re-lined, old repairs and associated over painting, some surface crazing, some blooming to varnish, some paint loss to edges, some surface deposits, losses to frame.

PETER DE WINT (1784-1849) BritishHarvesters at LunchOil on canvas, old label to verso for Thomas Agnew & Sons Ltd, London and further label for H Holder & Sons, framed. 88.5 x 56 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, re-lined, cleaned at some stage, some possible over painting, minor losses to frame.

WILLIAM JAMES MULLER (1812-1845) BritishHorseman Riding in to a StormOil on board, signed and dated 1843, old label to verso for Thomas Agnew & Sons, London and various chalk inscriptions, inscribed with artist and dated 1843 to slip, framed. 43 x 21 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, losses to frame.

FREDERICK RICHARD LEE (1798-1879) British and THOMAS SIDNEY COOPER (1803-1902) BritishMoorland Scene with Resting Shepherd and His FlockOil on panel, signed, old label to verso for Thomas Agnew & Sons, London, framed. 60 x 44.5 cm.Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, cleaned at some stage, thin in parts, could do with another light clean, losses to frame, chalk inscriptions to verso.

WILLIAM JAMES MULLER (1812-1845) BritishTivoliOil on panel, signed, old label to verso for Thomas Agnew & Sons, London, old label to verso for W Boswell & Son, Norwich, and further old label inscribed with the title View in Italy by Muller, framed. 24 x 34 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, minor area of paint loss.

CARLO GRUBACS (1810 - circa 1870) ItalianFigures in Piazza San Marco Before the Bassilica and CampanileBodycolour, signed, old label to verso for Thomas Agnew & Sons, London, framed and glazed. 13.5 x 26 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear.

WILLIAM JAMES MULLER (1812-1845) BritishAt VersaillesOil on panel, old label to verso for W J Muller Exhibition 1896 inscribed with the title A Garden Scene and lender's name of Sir William Agnew, framed. 26.5 x 34 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, losses to frame.

JOHN LINNELL (1792-1882) BritishRiver Scene at DuskOil on panel, stamped R Davy, 83 Newman Street to verso, framed. 25.5 x 18.5 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, losses to frame.

DAVID FARQUHARSON (1840-1907) BritishMoorland Scene Near Loch Tummel, PerthshireOil on canvas, signed and dated 1904, old label to verso for Thomas Agnew & Sons, London, framed. 75 x 50 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, some surface deposits, losses to frame.

JOSEPH STANNARD (1797-1830) BritishThe Marl Staithe, Whitlingham, Near NorwichOil on canvas, old label to verso for Thomas Agnew & Sons, London, old label for Royal Academy Exhibition of Works by the Old Masters 1891 inscribed with artist, title and owner, further printed label for Burlington House Exhibition 1891, further inscribed labels, chalk and pencil inscriptions, and stencilled stock number, framed. 39 x 29 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, re-lined, could do with a light clean, some surface crazing, losses to frame.

Attributed to JOHN BERNEY CROME (1794-1842) BritishOn the YareOil on panel, framed. 37.5 x 45.5 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, some slight lifting and very minor paint loss.

A pair of contemporary Art Deco style polished chromium plated table lamps with tall square and partially bobbin stems, circular weighted disc shaped bases, together with a further pair with angular stems

A contemporary floorstanding composite to simulate bronze floorstanding lamp in the form of two Art Nouveau style female figures, one holding basket of flowers, the other carrying a vase over her shoulder, three foliate light fittings with coloured glass shades, 118 cm high approx

A Paul Bisson colour Etching of Shalford Mill with a Christie's contemporary art label.

James Tatum (1944-),Contemporary Westcountry landscape artist, oil and acrylic on board 'Dartmoor Landscape', 60cm x 90cm (with high quality white frame approx 80cm x 110cm), signed verso, Provenance, Whitespace art Gallery, Totnes, circa 2016, James Tatum exhibits regularly with the South West Academy and in 2017 was awarded 'Landscape Painter of the Year' by Devon Life Magazine.

 此件拍品将没有网络拍卖请联系威立士拍卖行进行竞投。ONLINE BIDDING WILL NOT BE AVAILABLE FOR THIS LOT - PLEASE CONTACT THE AUCTIONEER DIRECTLY TO PLACE ANY BIDSYANG FEI YUN (1954-) THE NORTHERN GIRL A Chinese painting, oil on canvas, signed September 1987, Yang Fei Yun hua Peng Peng, framed, with a paper label for the Hefner Galleries, Inc., 88cm x 70cm. Provenance: Exhibited in 1987 at the inaugural 'National Oil Painting Exhibition' in Shanghai, winning the first prize. Exhibited in 1988 at the Hefner Galleries Inc. New York, 'Contemporary Oil Paintings from The People's Republic of China'. Purchased by Dame Anita Roddick (1942-2007) c.1990 from Hefner Galleries Inc., New York. Sold on behalf of the Roddick Charitable Foundation. Literature: 1. F Y Yang, Soul and beauty: Yang Fei Yun and Fan Xue De's Conversation, cover page. 2. Q X Gao, Art and Truth: Yang Fei Yun and Chinese Classic realism, cover page and appendix page. 3. F Li, Love in the painting: Yang Fei Yun, p.5. 4. F Y Yang, Zhong Guo Xie Shi Pai: Yang Fei Yun, p.5, No. 51. 5. F Y Yang and D J Jia, Searching the Literature: Chinese Art Academy, Yang Fei Yun Shi Sheng Zuo Pin Ji, p.3. 6. F Y Yang and C L Zhu, Gu Dian Xie Shi Yu Yan, p.231. 7. F Y Yang and H Wang, Zhong Guo You Hua Shi Jia: Yang Fei Yun, p.12 8. F Y Yang, Zhong Guo Gu Dian Zhu Yi Dai Biao Hua Jia, p.37 9. F Y Yang, Ming Jia Ming Hua: Yang Fei Yun Zuo Pin, cover page. 10. J C Liu, Zhong Guo Dang Dai Shi Li Pai You Hua Jing Pin Cong Shu: Yang Fei Yun,p.19. 11. T Z Shui, S H Dai and S Lu, Yang Fei Yun: Zhong Guo Xian Dai Yi Shu Pin Ping Cong Shu, p.21, No.5. 楊飛雲（1954-） 北方姑娘 油彩畫布 畫框款識：1987年9月，飛雲畫芃芃。楊飛雲（背面）展覽：1987年参加上海‘全国第一届油画展’，《北方姑娘》获得优秀奖。1988年参加美国纽约哈夫纳画廊举办的‘中国当代油画展’，之后由哈夫纳画廊收购此画。来源：1989-1990年由著名英国护肤品牌The Body Shop的创始人由安妮塔·羅迪克（1942-2007）购于美国紐約赫夫納畫廊，安妮塔过世之后一直由其家族收藏至今。背面附畫廊標籤。著錄：楊飛雲、范學德及昌旭正，《靈魂與美感——楊飛雲范學德對話錄》，廣西師範大學出版社，2017年8月，封面作品。高全喜，《畫與真——楊飛雲與中國古典寫實主義》，北京時代華文書局，2014年2月，封面及附錄。李放，《情在畫中——楊飛雲》，天津楊柳青畫社，2013年1月，P5。 楊飛雲，《中國寫實畫派——楊飛雲》，吉林美術出版社，2009年1月，P5，No

Gladys MacCabe ROI FRSA MA HRUA (1918-2018) The Green Room, Shelbourne Hoteloil on boardsigned lower left and titled on reverse 61 x 102cm (24 x 40.2in)Taylor Gallery, Belfast; Private Collection Gladys MacCabe was born in Co Antrim in 1918. One of her ancestors was a famous 18th-century Scottish painter, Sir George Chalmers. She had a picture published in the Royal Drawing Society's magazine when she was 16 years old and went on to study at the Belfast College of Art. In 1941 she married fellow artist and musician Max MacCabe (who died in 2000). Gladys and Max exhibited together on many occasions, starting in Ireland at Robinson & Cleaver in Belfast, 1942, and in England at the Kensington Art Gallery in 1949. Gladys and Max were members of the group of artists known as The Contemporary Ulster Group, which included Daniel O'Neill, George Campbell, and Gerard Dillon. William Conor was also an associate and Gladys painted his portrait in 1957 (now hanging in the Ulster Folk Museum). She formed the Ulster Society of Women Artists in 1957, as she felt that there was an untapped wealth of talent among the women artists of Northern Ireland. The Society's first major exhibition was in the Belfast Museum and Art Gallery in 1959.

* JANET KENYON, DARWEN TOWER, FROM EGERTON MOORS watercolour on paper, signed 34cm x 27cm Mounted, framed and under glass Note: Janet Kenyon is a multi-award winning watercolour artist who has gained an enviable reputation for her innovative use of watercolour and is now widely recognised as one of the UK’s leading watercolour artists. Over the course of her career, Janet has received an impressive number of accolades, including winner of the Sunday Times/Smith & Williamson Cityscape Prize twice , first in 2009 for her painting titled: Northern lights, Blackpool and most recently in 2016 for her painting titled: Gridlock (Manhattan) The Sunday Times Watercolour Competition is the largest and most prestigious showcase of contemporary watercolour painting in the UK. Born and brought up in Bolton, Lancashire in 1959. In 1975 she studied for two years at Bolton College of Art & Design. In 1977 she moved away from Bolton to study at Leeds Polytechnic and later gained a B.A. Hons. in Graphic Design. It was here she began to experiment in watercolour and ever since as continued to push the boundaries of this very difficult medium. For Janet it’s the capturing of natural & artificial light, in her paintings, and the way it interacts with the landscape, alongside the unexpected perspective and sense of space, that ignites her imagination. Janet’s highly individual and distinctive landscapes have been exhibited in many leading galleries including the Mall Galleries, London, The Royal Scottish Academy, Edinburgh and The Lowry Gallery, Salford and can also be found in private collections in the UK and abroad. This watercolour was completed "around 1987" and so far as we can ascertain, it is somewhat remarkably, the first Janet Kenyon work to be offered at a UK auction.

GERARD BURNS, THE VIEW FROM BACKSTAGE oil on canvas, signed 50cm x 50cm Framed. Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include: Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include: Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include: Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016.

* CATRIONA MILLAR, THE YOUNG MARINERS oil on canvas, signed with monogram 75cm x 61cm Framed. Note: Ever since Catriona Millar's 2005 Degree Show at Gray's School of Art in Aberdeen sold out within hours her unique and highly distinctive figurative oil paintings have captivated and delighted art collectors. The Sunday Herald newspaper has ranked Catriona Millar in the top five most collectable Scottish artists and her work is admired and collected throughout Europe, the Far East and America. She has won the respect and acclaim of collectors, critics and leading galleries while her stunning works continue to enjoy a special place amongst the contemporary art buying public. Catriona Millar's paintings speak a universal language to all ages and over recent years many schools around the world have studied her work. See Scottish Television (STV) report at: https://vimeo.com/34197015 . Catriona Millar is listed in the 2012 edition of Who's Who in Scotland.

Kramer (Jacob, Russian/British, 1892-1962) Ghandi, 1932, screenprint, 275 x 210 mm., signed in the stone at top right, inscribed in ink "To Fred from Jacob 1933" at bottom left, framed.⁂ Inscribed to the artist Fred Lawson, a contemporary at Leeds School of Art from 1907 to 1913.

Ward (Edward) The secret history of the Calves-Head Club, complt. or, the republican unmask'd. Wherein is fully shewn, the religion of the Calves-Head heroes, in their Anniversary Thansgiving-Songs on the Thirtieth of January, half-title, final advertisement f., some staining and spotting, contemporary panelled calf, spine ends chipped, corners worn, rubbed, printed and sold by the booksellers of London, and Westminster, 1705 § Glasse (Hannah) The Art of Cookery made Plain and Easy, large folding table, section of title cut away with loss of text, table torn, but without loss, some staining and spotting, lightly browned, contemporary calf, gilt spine in compartments, spine ends and corners worn, rubbed, Edinburgh, 1771; and an odd vol., 8vo (3)

*Brunsdon (John, 1933-2014). Point Lynas, Anglesey, colour etching with aquatint on Somerset handmade paper, from the edition of 150 published by Christie's Contemporary Art in 1985, plate size 44.5 x 60 cm (17.5 x 23.75 ins), sheet size 56 x 75.5 cm (22 x 29.75 ins), framed and glazed, with publisher's signed certificate in envelope attached to verso (1)

*Felix (Auguste, active 1850-1870). A large collection of original designs for hats, 87 pen, ink, and watercolour designs on wove paper (many of the 87 sheets with the design shown from two different angles), some highlighted in gold, several uncoloured (or with only a touch of watercolour), mostly for hats and headdresses, but some for jewellery, stoles, veils, and other accoutrements of dress, many dated variously 1860-1869 in neat contemporary manuscript to lower margin or beneath on album leaf, and some with caption names in the same hand e.g. Omphale, Marie TherŠse, Diva, Niska, Circassienne, Florentine, Bienvenue, ComŠte, Donna Garcia, Toque Grecque, Baudelette Greques, Senorita, approximately 10 x 14cm (4.25 x 5.5ins) and slightly smaller, some light toning and marks in places, 21 mounted (some in double aperture mounts), five mounted, framed, and glazed, most of remainder laid down on album leaves, housed together in a large green cloth solander box (rubbed and marked) Little seems to be known about Felix Auguste, although he was associated with the House of Worth, one of the most important fashion houses in Paris in the 19th century. The founder of the company was Charles Frederick Worth (1825-1895), the English dressmaker accredited with being the father of haute couture. His designs dominated the Paris fashion scene in the second half of the 19th century and well into the 20th. Later, Auguste Felix worked as a fashion designer for Parisian couturier Paul Poiret (1879-1944). His designs are drawn with great delicacy and his creations were inventive and often witty. The Victoria & Albert Museum and the Costume Institute at The Metropolitan Museum of Art hold examples of his watercolours, which rarely come onto the market. Indeed, such a large collection of his work at auction is unprecedented. (87)

3 CONTEMPORARY ART GLASS VASES

A selection of 20th century contemporary art prints to include a signed print of a Tim King drawing depicting visitors to an David Hockey exhibition at the Royal Academy entitles 'Thanks so much for Supporting the Project', the drawing comes from a series from 2016 where the artist drew scenes of London everyday for a year. Also including a sketch by Neile Thomas with charcoal and ink on paper of figures with a racing car, an abstract print of two overlapping circles in black and white, and a print of a collage by Peter Joseph limited edition number 842/1000. 42cm-high 30cm-wide biggest. 

A triptych of contemporary wall art consisting of three acrylic paintings of abstract design with blue hues and chalk detailing by Janet Bell, signed to the corners. Measures: 51cm high x 51cm wide.

A selection of vintage 20th century art / illustration related ephemera to include a folio full of west country and British architecture prints and etchings of Churches and Cathedrals, a selection of folding maps of the world including Europe central America, South East Asia, Canada, Poland the USA etc. 'Contemporary Figure Painters, Special Winter Number of the Studio 1925-6' with colour plates, 'The Lady's Realm Vol. 2' book published by Hutchinson & Co with over 500 illustrations of historical women, and a red leatherette stationery organiser with notebook to the interior.

A contemporary tramp / outsider art geometric carved wood crucifix sculpture depicting the Crucifixion of Jesus, having a cast white metal Jesus Christ affixed, ladder, including a scroll to the top inscribed with INRI. Measures 45cm-high 19cm-wide.

Contemporary chandelier light fitting with eight metal branches to art deco style glass floral shades.

Binding. Lays of the Scottish Cavaliers and other Poems, by William Edmonstoune Aytoun, Edinburgh & London: William Blackwood and Sons, 1863, half-title, numerous illustrations by Joseph Noel Paton and Waller H. Paton, scattered minor spotting, all edges gilt, near contemporary gilt panelled and decorated dark green morocco by Ramage of Edinburgh, lightly rubbed to joints and board edges, 4to, together with St. Dominic's Press, Pertinent & Impertinent, An Assortment of Verse [by Hilary Pepler], Ditchling, 1926, numerous wood engravings by Desmond Chute, David Jones, and Harold Purney, some full-page, untrimmed, front free endpaper inscribed "Rosemary Oakeley - from H.A.R., Christmas 1933" [Harold Rigby, Head of Art at Christ's Hospital], free endpapers partially lightly toned, original linen-backed boards, in glassine wrapper (torn mostly at head & foot with a little loss), 8vo, (limited edition, 69/200 copies) (2)

[Glasse, Hannah]. The Art of Cookery, made Plain and Easy ... the sixth edition, with very large additions, printed for the author, and sold by A. Miller and T. Trye, 1758, front free endpaper lacking, contents toned, staining and sporadic minor worming to margins, closed tears in leaves D4 and R2, chip to corner of M5 costing a few letters, contemporary and later ownership inscriptions to pastedowns and rear free endpaper, contemporary sprinkled calf, worn, 8vo Maclean p. 59; this edition not in Bitting, Cagle or Vicaire. (1)

Nodes (O., & J. Bowcher). A Selection of Psalm and Hymn Tunes, adapted to the Various Metres now in use in all Churhces, Chapels, and Dissenting Congregations throughout Great-Britain, the whole carefully figureed for the Organ, Piano-Forte, etc., 1st edition, printed for the editors, by W. Smith, 1803, 10 pp. preliminary text including title page, introduction, list of subscribers, and index, 152 pp. of engraved music score, 80 pp. (paginated 153-232) of contemporary manuscript music score to rear, initial blank loose, title page chipped at corner, final leaf of introduction torn and repaired, contemporary calf-backed boards, worn, vertical median cracks to boards, oblong 4to, together with Ashworth (Caleb), A Collection of Tunes, Part I. Consisting of Psalms Tunes ... with an Introduction to the Art of Singing and Plain Composition, 4th edition, enlarged, J. Buckland, 1775, 28 pp. preliminary text, 80 pp. engraved music score, 14 pp. contemporary manuscript music score to rear, some minor worming, pagination occasionally shaved, contemporary sheep (probably original, the title page with 'Price, bound in Sheep and rolled, Three Shillings' at foot), worn, oblong 4to, and Engraved music. [Primer and hymn book], 72 leaves of engraved music score including scales, exercises and hymns, printed rectos only and foliated 1-72, possibly lacking the title page, erratically interleaved with blanks filled with contemporary manuscript music score, 20 further leaves of manuscript music score to rear, 18th-century ownership inscriptions to pastedowns, contemporary calf, worn, oblong 8vo, and 3 similar ESTC N28000 for Ashworth (tracing two copies only, Newberry and Pittsburgh); the second part did not appear until 1782 and ESTC traces only the British Library copy. For the first work (Nodes and Bowcher) OCLC traces four copies in libraries (British Library, King's College London, and two US institutions). (6)

Indagine (Johannes ab). The Book of Palmestry and Physiognomy. Being brief introductions, both natural, pleasant and delectable, unto the art of chiromancy, or manual divination and physiognomy: with circumstances upon the faces of the signes. Also, canons or rules upon diseases or sicknesses. Whereunto is also annexed as well the artificial as natural astrologie, with the nature of the planets, translated by Fabian Withers, 1st edition, 1651, woodcut frontispiece, woodcut illustrations, printed in black letter, a few leaves close-trimmed shaving headlines, H4 with small marginal insect damage, occasional slight soiling, contemporary calf, modern reback, a little rubbed and stained, 8vo Wing I141. First edition of this version, originally translated into English by Withers from Idagine's Chiromancy, as Briefe Introductions, both naturall, pleasaunte and also delectable unto the arte of Chiromancy, in 1558. (1)

Rothmann (Johann). Keipomantia: Or, the Art of Divining by the Lines and Signatures engraven in the Hand of Man, by the Hand of Nature, Theorically, Practically. Wherein you have the Secret Concordance and Harmony betwixt it, and Astrology made evident in 19 Genitures. Together with a Philosophicall Discourse of the Souls of the World, and the Universal Spirit thereof, translated by George Wharton, 1st edition in English, Nathaniel Brooke, 1652, engraved frontispiece, woodcut illustrations, occasional small wormstracks affecting text and illustrations, light spotting and soiling, contemporary presentation inscription to frontispiece verso: "To his much loved cozni Mr. William Forth, is wished in this world: hialth/in a better: happiness, by Hugh Forth, London 12 8b:r 1653" (show-through to verso), contemporary sheep, upper cover detached, spine defective, rubbed, 8vo Sabattini 474; Wing R2001. First published in Latin in 1595 as Chiromantia Theorica Pratica, the work is an attempt to unify chiromancy and astrology in that the mounts of the hand are ruled by the planets and as everyone has a planet in their birthchart, signs and characters will be appear in the hand corresponding to that planet. Thus examining the hand should give the horoscope and examining the birthchart will describe the hand. (1)

Spare (Austin Osman). Cockney Visionary, 1st edition, Jerusalem Press, 2010, numerous colour and black and white illustrations, original cloth in dust jacket, 8vo, together with Billcliffe (Roger), The Glasgow Boys, 1st edition, 2008, contemporary inscription to front endpaper, numerous colour and black and white illustrations, original cloth in dust jacket, large 4to, and Bolofo (Koto), Racing Style, Goodwood Revival, New York, 2005, numerous colour and monochrome illustrations, original cloth in dust jacket, large 4to, plus Day (F. Holland), Suffering The Ideal, USA, 1996, numerous monochrome illustrations, original illustrated yellow cloth in glassine wrapper, large 4to, and modern photograph and art reference and related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/4to (24)

Jackson (John). A Treatise on Wood Engraving, Historical and Practical, 1839, numerous black and white illustrations, bookplate to front pastedown, pencil annotations to front endpaper, some minor spotting, contemporary black half morocco, boards and spine lightly rubbed, 8vo, together with Brassington (W. Scott), A History of the Art of Bookbinding..., 1894, numerous monochrome illustrations and plates, some minor toning and wear, front guttering cracked, original embossed brown cloth, spine slightly faded and rubbed, large 8vo, and Shaw-Sparrow (Walter), Frank Brangwyn and His Work, 1910, 20 colour and 16 black and white plates, some minor toning, original cloth in dust jacket, covers slightly rubbed with some minor tears and loss, large 8vo, plus other late 19th century and modern bibliography and literary reference and related, mostly original cloth, some in dust jackets, G/VG, 8vo/4to (3 shelves)

A contemporary 9ct gold Art Nouveau style diamond pendant on chain, gross wt. 2.9g.

A contemporary hallmarked silver Art Nouveau style photograph frame, height 30cm.

Pritt (Thomas Evan). The Book of the Grayling: Being a Description of the Fish, and the Art of Angling for Him, as Practised Chiefly in the Midlands and the North of England, Leeds: Goodall & Suddick, 1888, three chromolithograph plates (including folding frontispiece), advert leaf at rear, front free endpaper inscribed 'Bolton, 1902', original cloth gilt, slim 8vo, together with Murray (Sir John & Pullar, Laurence), Bathymetrical Survey of the Scottish Fresh-Water Lochs, volumes 1 & 2 only (of 6), Edinburgh, 1910, numerous black & white plates, illustrations and diagrams, folding colour maps, ink stamp to title of volume 2, contemporary brown half pigskin gilt, spine to volume 2 torn at head, 8vo, with Calderwood (W.L.), The Salmon Rivers and Lochs of Scotland, 2nd edition, 1921, black & white plates, single-page maps, original cloth gilt, dampstain at head of cover, 8vo, with Hawker (Peter), Instructions to Young Sportsmen in all that relates to Guns and Shoots, 9th edition, 1844, engraved frontispiece, plates and illustrations (one plate torn with loss of image), some dampstaining, top edge gilt, late 19th century green half calf, red morocco title label to spine, rubbed and marked, 8vo, and Pennell (Harry Cholmondeley), Fly-fishing and Worm-fishing for Salmon, Trout and Grayling, London: George Routledge, [1876],lithograph frontispiece, few illustrations, original printed boards, joints cracked, worn, 8vo, plus Leslie (A.S.), The Grouse in Health and in Disease, being the Popular Edition of the Report of the Committee of Inquiry on Gouse Disease, 1912, colour and black & white plates, diagrams to text, original cloth gilt, extremities rubbed, 8vo, plus two salmon fly reference (9)

Dillenius (Johann Jakob). Catalogus Plantarum sponte circa Gissam Nascentium. Cum Appendice, qua Plantae post editum Catalogum, circa & extra Gissam observatae recensentur, Johann Maximilian von Sande, Frankfurt, 1719, engraved map frontispiece, 16 engraved plates, a little light toning, contemporary annotations at front, previous owner inscription of John Innys, 1769, Redland Court, Gloucestershire, armorial bookplate of George Weare Braikenridge, Gloucestershire County Library ink stamp to front pastedown, contemporary calf gilt, manuscript author name to spine label, joints and edges rubbed, 8vo Nissen BBI 490; Stafleu & Cowan TL2 1470. Second edition (first published in Frankfurt in 1718) and the first with the appendix, of Dillenius's flora on the area around Giessen in Germany. Bibliographically confusing with Nissen calling for 18 plates, Stafleu & Cowan calling for 16. Presentation copy, inscribed at foot of title: "Gift of the author to Littleton Brown, M.A., F.R.S.". Brown is mentioned by Dillenius in his Historia Muscorum, and assisted him by gathering specimens in Wales, Herefordshire and Shropshire. Interesting provenance with John Innys (died 1778), a London bookseller, who formed a publishing partnership with his brother William before later moving to Redland Court in Bristol. George Weare Braikenridge (1775-1856) was an English antiquarian, who purchased Broomwell House in Brislington, Bristol in 1823 where he amassed the important Braikenridge Collection of Bristol related history and topography. The collection is mostly now held at the Bristol City Museum and Art Gallery, Bristol Central Library and Bristol Archives. (1)

A walnut-cased set of six shellfish/oyster picks, one other non-matching set of six shellfish/oyster picks, an early 20th century white metal and paste Art Deco bracelet, in box marked 'Bigelow, Kennard Co. Boston' and a contemporary blue, black and bejewelled ribbon work evening wrap by a local Liverpool designer.

Two Art glass sculptures by Nick Orsler (British Contemporary) both of organic shape with 'molten' indentations, multicoloured splashed decoration and smoked finish, date 1988, H31cm and H18cm (2) Condition Report Click here for further images, condition, auction times & delivery costs

Allister Malcolm (British Contemporary) 'Frozen Moment', a naturalistic clear art glass vase with applied luster glass ammonite's, signed and dated 2012, H24cm Condition Report Click here for further images, condition, auction times & delivery costs

Terence John McCaw (South African 1913-1978) SPIER signed and dated 46; inscribed with the title on the reverse oil on canvas 53,5 by 69cm The work of Terence McCaw is enjoying a revival of interest. His large format landscapes and depictions of buildings and architecture are appreciated for their powerful and evocative portrayal of a serene world that we no longer know, yet value in retrospect. Iconic Cape heritage homesteads, exquisite arched views of Zanzibar and sun-drenched Mediterranean villages demonstrate his competence at rendering architectural landscapes that resonate with a contemporary audience. McCaw enjoyed an excellent training in art including a period at the Central School of Art in London in 1935, together with his contemporaries, Freida Lock and Gregoire Boonzaier. On returning to South Africa the three artists founded the New Group in 1937 to campaign for a fresh vision in the local art world that would embrace European movements and influences. His success at home culminated in an appointment as Official War artist during the Second World War from 1942-1945 in both North Africa and Italy. Completed at the high point of his career on return to Cape Town in 1946, this sensitive rendering of Spier betrays little of the turmoil and horror encountered up North. An atmosphere of calm and sombre solitude is emphasised by the artist’s use of grey, black and green tones. The unusual view of the side gables of the manor house in the famous Spier werf, is painted in the so called “impressionist” style of the New Group for which McCaw is best known. His work is represented in all major public collections in South Africa. - C. K. Berman, E. Art & Artists of South Africa, A.A. Balkema, Cape Town, 1974

Jacob Hendrik Pierneef (South African 1886-1957) KARROO (sic.) signed and dated 39; a plaque adhered to the frame bears the title and the inscription 'aan Mev. D J.J.G Loots van susters Pretoria Noord oil on board 29 by 39cm One of the most celebrated artists of his generation and one of the most sought after artists today, J. H. Pierneef is known as an authority on the splendour of South African landscapes through his stylised interpretations.Pierneef returned from a trip to Europe in 1925 – 1926 having gained experience with an array of contemporary styles, and influenced by the theories of Willem van Konijnenberg, from his book de Aesthetische Idee which was published in 1916. Konijnenberg writes that both idealbeauty and the harmony required in order to achieve it are derived from laws of mathematics. He stressed that unity in a painting is attained through the use of rhythm, and this influenced Pierneef’s production greatly. This use of structure in achieving form can be viewed in many of his paintings after this period in the strong linear style, geometric shapes and simplified lines.Prior to travelling to Europe Pierneef followed the Dutch Masters’ tradition of painting nature as he saw it. It took him many years to perfect the scientific formulae that were required to achieve a balanced composition, but evidence of these theories, which were incorporated to become Pierneef’s style, can be viewed in the painting Karroo.The work consists of diagonal lines that create the clouds and the geometrically shaped hills, with horizontal lines of the land in the foreground and the base of the clouds above it. The artist employs horizontal lines and geometric shapes to create a landscape of clouds and hills. Also typical of Pierneef’s style is an archway of clouds. A succession of short, blunt brushstrokes creates a strong sky that becomes darker as it extends towards the top of the composition.The soft pinks and delicate purples of the hills, as well as the use of blues, were used by the Romantic School, of which Pierneef was a follower. Another element characteristic of Romanticism is the burgeoning cloud formation, which emphasises a gentle turbulence ofthe elements. Pierneef’s technique varied in his use of oils, sometimes applied in thick layers, sometimes in thin layers. Karroo is evident of the latter, with its shallow layers of paint. The light colours used are typical of those found in the work produced in Pierneef’s mid to late career.Pierneef painted Karroo in 1939, three years after he was awarded the Medal of Honour for Painting by the South African Akademie. - S. D.Berman, E., Art and artists of South Africa, Cape Town, A A Balkema, 1974Nel, PG (Ed)., JH Pierneef: His life and work, Cape Town and Johannesburg, Perskor Publishers, 1990

Artists Anonymous (German/British - founded 2001) - A group of three original photographic panels, 'Haunch'Inset matching ebonised frames.NB: Artists Anonymous are an art group based in Berlin and London, during their studies at The Berlin University of the Arts at the Classes of Georg Baselitz & Stan Douglas. Since 2005 they have exhibited in different international galleries such as The Sommer Contemporary Art, Tel Aviv, Christian Ehrentraute Berlin, Goff Rosenthal, Berlin/NY. In 2006 a work from there Apocalyptic Warriors Series was bought by Charles Saatchi. For further information for Saatchi Gallery and The Wetterling Gallery, Stockholm.

A large contemporary Art Glass model of a ToucanInternally decorated with swimming fish, possibly Murano, height 46cm, together with a Murano glass model of a horse’s head, complete with original label, height 24cm