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Harold II (1066), PAX type with Sceptre [BMC I; N 836; S 1186], Penny, Cambridge, Godwine, Gp A, +harold rex anglo:, rev. +go

Noonans Mayfair

Lot 1034

Harold II (1066), PAX type with Sceptre [BMC I; N 836; S 1186], Penny, Cambridge, Godwine, Gp A, +harold rex anglo:, rev. +godpine on grantv, 1.38g/12h (Bt 40, this coin; Pagan, NM p.195 [one example noted]; Jacob 36, same dies; BMC –). About extremely fine with an excellent portrait, light hoard patina over fresh metal; an extremely rare and attractive coin £3,000-£4,000 --- Struck from the same dies as Braintree 39 Writing in 1984 Kenneth Jacob noted the existence of only five Pennies struck at the Cambridge mint under Harold II, three of which are held in museum collections; Hugh Pagan made no additions to this list, while the great Chew Valley hoard contained not a single Penny of Harold struck at Cambridge.

Live Auction

Harold II (1066), PAX type with Sceptre [BMC I; N 836; S 1186], Penny, Lincoln, Ælfgæt, Gp A, +harold rex angl, rev. +alfgeat

Noonans Mayfair

Lot 1050

Harold II (1066), PAX type with Sceptre [BMC I; N 836; S 1186], Penny, Lincoln, Ælfgæt, Gp A, +harold rex angl, rev. +alfgeat on lin:, 1.39g/9h (Bt 61, this coin; Pagan, NM p. 198 [nine examples noted]; Mossop pl. lxxx, 9 [Bb]; BMC 49-50). The flan with a very gentle curve, extremely fine with an excellent portrait; fresh metal with light earthen deposits £4,000-£5,000

Live Auction

Harold II (1066), PAX type with Sceptre [BMC I; N 836; S 1186], Penny, London, Godric, Gp B, +harold rex ai, rev. +godric on

Noonans Mayfair

Lot 1063

Harold II (1066), PAX type with Sceptre [BMC I; N 836; S 1186], Penny, London, Godric, Gp B, +harold rex ai, rev. +godric on lvndei, 1.35g/11h (Bt 70, this coin; Pagan, NM p.192 [seven examples noted]; BMC 63). Very fine, strong portrait, light hoard patina over excellent metal £2,000-£2,600

Live Auction

Harold II (1066), PAX type with Sceptre, Penny, London, Wulfgar, Gp A, +harold rex anglo:, rev. +pvlgar on lvni, 1.46g/12h (B

Noonans Mayfair

Lot 1077

Harold II (1066), PAX type with Sceptre, Penny, London, Wulfgar, Gp A, +harold rex anglo:, rev. +pvlgar on lvni, 1.46g/12h (Bt 85, this coin; Pagan, NM p.192 [seven examples noted]; BMC 73; SCBI NM 1084, same obv. die). Slight central crease, otherwise very fine, light hoard patina over fresh metal £1,500-£1,800 --- Struck from the same dies as Braintree 84

Live Auction

Harold II (1066), PAX type with Sceptre [BMC I; N 836; S 1186], Penny, London, Aldgar, Gp B, +harold rex ang, rev. +aldgar on

Noonans Mayfair

Lot 1052

Harold II (1066), PAX type with Sceptre [BMC I; N 836; S 1186], Penny, London, Aldgar, Gp B, +harold rex ang, rev. +aldgar on lvnd, 1.33g/5h (Bt 65, this coin; Pagan, NM p.192 [seven examples noted]; BMC 54). Good very fine and wholesome with a small neat bust; light hoard patina over fresh metal £3,000-£4,000 --- Struck from the same reverse die as Braintree 64

Live Auction

Harold II (1066), PAX type with Sceptre, Penny, Rochester, Leofwine, Gp B, +harold rex ango, faint wire-line inner circle aro

Noonans Mayfair

Lot 1092

Harold II (1066), PAX type with Sceptre, Penny, Rochester, Leofwine, Gp B, +harold rex ango, faint wire-line inner circle around king’s bust, rev. +leofpine on ro, plain lines above and below pax, 1.36g/8h (Bt 102, this coin; Pagan, NM p.191 [two examples noted]; BMC –). About extremely fine and extremely rare, light hoard patina £4,000-£5,000 --- The mint not represented in Chew Valley A die duplicate of this coin was offered at Glendining’s on 21 September 1983 (lot 46), achieving a hammer price of £1,250.

Live Auction

Edward the Confessor (1042-1066), Facing Bust type [BMC XIII; BEH Ac], Penny, Thetford, Sumarlithi, +eadpared rex, rev. +svmr

Noonans Mayfair

Lot 1025

Edward the Confessor (1042-1066), Facing Bust type [BMC XIII; BEH Ac], Penny, Thetford, Sumarlithi, +eadpared rex, rev. +svmred on detfo, 1.08g/12h (Bt 26, this coin; Carson 142; Freeman 209; BMC 1558). Bent by edge with resulting stress crack, otherwise very fine, light hoard patina £90-£120

Live Auction

Edward the Confessor (1042-1066), Facing Bust type [BMC XIII; BEH Ac; N 830; S 1183], Penny, London, Æthelwig, eadpard rex an

Noonans Mayfair

Lot 1013

Edward the Confessor (1042-1066), Facing Bust type [BMC XIII; BEH Ac; N 830; S 1183], Penny, London, Æthelwig, eadpard rex angl, rev. +ægelpi on lvnde, 1.13g/6h (Bt 15, this coin; Freeman 39; BMC 1048; SCBI Mack 1286, same dies). Obverse weakly struck and fine, reverse better, light hoard patina £150-£180

Live Auction

Franck Muller. A limited edition stainless steel quartz wristwatchModel: Sky, especially made for Theo FennellReference: 6002

Bonhams

Lot 123

Franck Muller. A limited edition stainless steel quartz wristwatchModel: Sky, especially made for Theo FennellReference: 6002 M QZ, No.1/10Date: Purchased 4th November 2006Movement: Jewelled quartzDial: Guilloché engraved light blue, black Arabic numeral hour markers with Theo Fennell logo at 12, black inner minute track, blued steel spade hands with pink insertsCase: Brushed and polished square form, back secured by 4 screwsStrap/Bracelet: Black alligator leatherBuckle/Clasp: Signed steel buckleSigned: Case & dialSize: 33mm Accompaniments: Franck Muller box, outer card, certificate of origin and guaranteeThis lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

Live Auction

A Victorian Ladies walnut Nursing Chair, with balloon shaped button back, covered in light tan fabric. (1)

Fonsie Mealy Auctioneers

Lot 190

A Victorian Ladies walnut Nursing Chair, with balloon shaped button back, covered in light tan fabric. (1)

Live Auction

A three speed Raleigh Gentlemen's Bike, with bell, light, brooks leather seat and spoked wheels. (1)

Fonsie Mealy Auctioneers

Lot 386

A three speed Raleigh Gentlemen's Bike, with bell, light, brooks leather seat and spoked wheels. (1)

Live Auction

A fine quality Georgian style five branch ormolu Ceiling Light, the bulbous centre moulded with grotesque masks and five uptu

Fonsie Mealy Auctioneers

Lot 429

A fine quality Georgian style five branch ormolu Ceiling Light, the bulbous centre moulded with grotesque masks and five upturned branches decorated with acanthus leaf. (1)

Live Auction

A fine quality Regency ormolu three branch lustre Light, the central two tier sconce with droplets and conforming branches, t

Fonsie Mealy Auctioneers

Lot 300

A fine quality Regency ormolu three branch lustre Light, the central two tier sconce with droplets and conforming branches, the pillar support with female figures surmounted on a step circular ormolu base, approx. 33cms high (13") high. (1)

Live Auction

Wrought steel garden bench in light blue and bronze finish Dimensions: Height: 100cm  Length/Width: 140cm&nbsp

David Duggleby Auctioneers & Valuers

Lot 44

Wrought steel garden bench in light blue and bronze finish Dimensions: Height: 100cm Length/Width: 140cm Depth/Diameter: 60cm

Live Auction

Set of eight Nordic design modern plastic and fabric tub chairs in dark grey, light grey and white - THIS LOT IS TO BE COLLEC

David Duggleby Auctioneers & Valuers

Lot 333

Set of eight Nordic design modern plastic and fabric tub chairs in dark grey, light grey and white - THIS LOT IS TO BE COLLECTED BY APPOINTMENT FROM DUGGLEBY STORAGE, GREAT HILL, EASTFIELD, SCARBOROUGH, YO11 3TXDimensions: Height: 73cm Length/Width: 59cm Depth/Diameter: 59cm

Live Auction

Cigarette cards, Cope's, Dogs of the World (Scandinavian) (set, 50 cards) (most with light staining backs, fair/gd)

Loddon Auctions Ltd

Lot 499

Cigarette cards, Cope's, Dogs of the World (Scandinavian) (set, 50 cards) (most with light staining backs, fair/gd)

Live Auction

Cigarette cards, Wills, Cinema Stars, 3rd Series, two cards, no 7 Laurel & Hardy (very slight foxing to back, gd) & no 24 Wal

Loddon Auctions Ltd

Lot 300

Cigarette cards, Wills, Cinema Stars, 3rd Series, two cards, no 7 Laurel & Hardy (very slight foxing to back, gd) & no 24 Walt Disney (light album corner marks, gd) (2)

Live Auction

Cigarette card, H.C. Lloyd & Son, Devon Footballers & Boer War Celebrities, type card, Lieut. Gen. R.S.S. Baden-Powell (light

Loddon Auctions Ltd

Lot 193

Cigarette card, H.C. Lloyd & Son, Devon Footballers & Boer War Celebrities, type card, Lieut. Gen. R.S.S. Baden-Powell (light creasing, gd) (1)

Live Auction

Cigarette cards, Taddy, Victoria Cross Heroes (21-40) (17/20, missing nos 26, 31 & 38) (all with faults, most with light tape

Loddon Auctions Ltd

Lot 502

Cigarette cards, Taddy, Victoria Cross Heroes (21-40) (17/20, missing nos 26, 31 & 38) (all with faults, most with light tape marks to top edge of back, fronts, gen. gd)

Live Auction

Frank Sugg, Lancashire, rookie card, only 1 known?,dated to 1887-88 believed to be by W.N. Sharpe, HOF sporting legend, ATG c

Loddon Auctions Ltd

Lot 93

Frank Sugg, Lancashire, rookie card, only 1 known?,dated to 1887-88 believed to be by W.N. Sharpe, HOF sporting legend, ATG captain of Burnley F.C. & Lancashire CCC, England test cricketer. ex-Derby County captain. In his day Sugg was the British equivalent of USA sporting legend Jim Thorpe. Sugg also played for Everton, Sheffield Wednesday & Bolton Wanderers. He was a champion shooter, a top billiards player, a mighty shot putter, an awesome weight lifter and a medal-winning swimmer. The card is dated accurately thanks to its provenance, the John Tipper 1886-88 Baines scrapbook from where it came. The pencil letter "F" was in place when the card was laid down in the scrapbook. (Light handling, some edge wear but intact, clean back free of damage, gd) (1)

Live Auction

Cigarette cards, Faulkner, Our Gallant Grenadiers 1st Series, (ITC clause) (set, 20 cards) (most with light foxing, fair/gd)

Loddon Auctions Ltd

Lot 180

Cigarette cards, Faulkner, Our Gallant Grenadiers 1st Series, (ITC clause) (set, 20 cards) (most with light foxing, fair/gd)

Live Auction

Trade cards, Clevedon Confectionery, Trains of the World (set, 50 cards, 1 dark blue back, rest light blue back) (gd/vg)

Loddon Auctions Ltd

Lot 247

Trade cards, Clevedon Confectionery, Trains of the World (set, 50 cards, 1 dark blue back, rest light blue back) (gd/vg)

Live Auction

Cigarette cards, Clarke's, Sporting Terms, 2 cards, Football Terms 'Dark Blue Forwards, Light Blue Backs' & Golf Terms 'An Un

Loddon Auctions Ltd

Lot 370

Cigarette cards, Clarke's, Sporting Terms, 2 cards, Football Terms 'Dark Blue Forwards, Light Blue Backs' & Golf Terms 'An Uneven Match' (gen. gd) (2)

Live Auction

A 9ct turquoise and split pearl ring, the central oval turquoise cabochon surrounded by split pearls on a raised scalloped su

Keys Fine Art Auctioneers

Lot 26

A 9ct turquoise and split pearl ring, the central oval turquoise cabochon surrounded by split pearls on a raised scalloped surround, with split shoulders and plain band hallmarked London 1971, size O, 7.1ghead approx. 29mm long x 16.5mm widesigns of light wear throughoutwould benefit from a light clean

Live Auction

A silver and enamel bracelet, the five Tudor rose style enamelled links, each stamped 'silver' to reverse, interspaced with s

Keys Fine Art Auctioneers

Lot 114

A silver and enamel bracelet, the five Tudor rose style enamelled links, each stamped 'silver' to reverse, interspaced with small round discs, 18cm long, 14.6glight wear throughout and would benefit from a light clean but overall good

Live Auction

A sapphire and diamond ring, the central rectangular sapphie surrounded by small single cut diamonds, all set in white metal

Keys Fine Art Auctioneers

Lot 22

A sapphire and diamond ring, the central rectangular sapphie surrounded by small single cut diamonds, all set in white metal with millegrain mounts, with plain band of unmarked yellow metal (tests as approx. 18ct gold), size I-J, 2.0ghead approx. 10mm long x 9mm widesigns of light wear throughoutoverall good

Live Auction

A 1960's 18ct and ruby flower ring, set to centre with small round rubies and surrounded by naturalistically modelled petals,

Keys Fine Art Auctioneers

Lot 18

A 1960's 18ct and ruby flower ring, set to centre with small round rubies and surrounded by naturalistically modelled petals, with plain band with makers mark RHB, Birmingham import mark 1963, size N, 7.5ghead - 17.5mm diametersigns of light wearwould benefit from a light clean

Live Auction

An 18ct emerald and diamond ring, the central step cut emerald surrounded by small round diamonds, diamond set shoulders, all

Keys Fine Art Auctioneers

Lot 23

An 18ct emerald and diamond ring, the central step cut emerald surrounded by small round diamonds, diamond set shoulders, all with millegrain mounts, plain band hallmarked Sheffield 2014, size O, 3.7ghead approx. 9.2 x 8.8mmvery small conchoidal fracture to one of table facets (not eye visible)surface rising inclusion to one corner of tablelight wear throughout would benefit from a clean

Live Auction

A collection of light wood modern furniture to include four single door cabinets and a pair of open bookcases, Location:

Bourne End Auction Rooms

Lot 353

A collection of light wood modern furniture to include four single door cabinets and a pair of open bookcases, Location:

Live Auction

A collection of light oak finished open bookcase to include two tall bookcases and three smaller bookcase, Location:

Bourne End Auction Rooms

Lot 351

A collection of light oak finished open bookcase to include two tall bookcases and three smaller bookcase, Location:

Live Auction

A mixed lot to include a GWR railway lantern/coach light, a German carriage clock, a Brownie camera, a lighter, a decorative

Bourne End Auction Rooms

Lot 405

A mixed lot to include a GWR railway lantern/coach light, a German carriage clock, a Brownie camera, a lighter, a decorative brass tube telescope mounted on a magnetic compass and various other items, Location:

Live Auction

A set of the 'non sans droit' The Temple Shakespeare collection of books circa 1897, 40 volumes, pub. MacMillan & Co usin

Bourne End Auction Rooms

Lot 416

A set of the 'non sans droit' The Temple Shakespeare collection of books circa 1897, 40 volumes, pub. MacMillan & Co using the text used in the Cambridge Edition, Third/Forth Edition, red leather soft covers with Shakespeare's crest to the front, housed in an Edwardian light oak table top cabinet, with bevelled glass glazed door, 35 x 36 x 20.5cm

Live Auction

A modern part built harpsichord in a light wood frame, 83cm x 174cmLocation:

Bourne End Auction Rooms

Lot 336

A modern part built harpsichord in a light wood frame, 83cm x 174cmLocation:

Live Auction

A modern light wood five tier ladder shelf unit, 177hx55wLocation:

Bourne End Auction Rooms

Lot 276

A modern light wood five tier ladder shelf unit, 177hx55wLocation:

Live Auction

An Olly & Co Formals black soft leather ladies slimline coat with zipped front and Mandarin style collar, UK size 10 toge

Bourne End Auction Rooms

Lot 120

An Olly & Co Formals black soft leather ladies slimline coat with zipped front and Mandarin style collar, UK size 10 together with a Press & Bastyan light beige leather ladies coat with brown visible overstitch design to the borders. Location:Rail

Live Auction

A group of late 20th Century/early 21st Century gents clothing and vintage scarves to include an Odermark mid blue jacket, a

Bourne End Auction Rooms

Lot 131

A group of late 20th Century/early 21st Century gents clothing and vintage scarves to include an Odermark mid blue jacket, a Marks & Spencers black dinner suit 34" waist x 33" inside leg x 42" chest (long), a Jaeger light blue and grey checked jacket, 42" chest, a John Lewis Kin blue jacket, 42" regular, a Zara Man silvered beige/grey jacket, 42/44" chest . Location:Rail

Live Auction

ENOCH SEEMAN (BRITISH CIRCA 1694-1744) SELF PORTRAIT AGED EIGHTEEN Signed and inscribed 'AETATIS.18.' (lower right) Oil on c

Dreweatts 1759

Lot 67

ENOCH SEEMAN (BRITISH CIRCA 1694-1744) SELF PORTRAIT AGED EIGHTEEN Signed and inscribed 'AETATIS.18.' (lower right) Oil on canvas 53.3 x 43.1cm (20 x 16¾ in.) Provenance: Denis Cowell Collection, Lewes, Sussex The self-portraits of Enoch Seeman ''in the finical manner of [Balthasar] Denner'' [1] that he painted in the early 1700s are impressive statements of the artist's virtuosity. The combination of elegance of execution, personal beauty and exceptional talent is no doubt intended to recall the early self-portraits of Van Dyck in the previous century, whilst alluding further to the intellectual inner life of the Rembrandt School. This painting, which, with the ambitious Colonel Andrew Bisset and his family, appears to be the painter's earliest datable work in this country is a striking demonstration of excellence in such a young painter. Indeed the prominence of the inscription suggests that this painting may well have acted as an advertisement for the painter as he began to build a portrait practice in London. The exceptional precocity of these self-portraits was recognised by no less a connoisseur than the Earl of Burlington. George Vertue [2] records that Seeman ''did his own picture in that finished manner extremely well, when he was about 19 years old this picture was much admired. & Sig Ricci when he was here advised Lord Burlington to give him 100 guineas for it but understanding he had a mind to make another therefore bought it not. Since that Lord bought it and is in his pose?.'' This entry of 1723 refers to events a decade previously, as Sebastiano Ricci was working for Burlington in 1713 - 1714. As a comparison with the price suggested by Ricci it is worth noting that at the same date Sir Godfrey Kneller, the most fashionable of portraitists, was charging around sixty guineas for a privately commissioned full-length.That Seeman was particularly taken with painting himself at this date is confirmed by the number of self-portraits that exist from the period. A contemporary example (Historical Portraits, exhibited Southampton City Art Gallery 2001) is of similar composition and dimensions, and the untraced three-quarter-length self-portrait engraved by J. Faber (example National Portrait Gallery) must likewise be close in date, and is a dynamic suggestion of the artist in the very moment of inspiration. The most conceptually daring of these self-portraits is the artist's placing of himself in the background of Colonel Andrew Bisset and his family. Behind the Colonel and his wife and daughters there is a further shadowy figure, which was long believed to be a posthumous depiction of Bisset's son. Comparison with this Self Portrait suggests that it is a further image of Seeman himself. In confirmation of this, the figure gestures towards a pedestal on which is inscribed Enoch Seeman. Pinx. AE. 18? 1708.The continental manner that Seeman employs in these self-portraits would, nonetheless, seem not to have been congenial to his clients for their own images. He sufficiently impressed Society to be able to pursue a career into the 1740s - in 1723 Vertue remarks that ''Enoch. for portrait painting. is in the greatest vogue'' [3] - and his aristocratic and royal patronage makes him a rival to Charles Jervas, but his portraits are painted in a solid version of the prevailing London manner, plainly more to the public taste. 1. Horace Walpole Anecdotes of Painting ed. Dallaway 1876 vol II p2942. Notebooks III p 15 - 163. ibid. Condition Report: The canvas has been relined, and presents a thin craquelure across the whole surface. UV light reveals various retouches on the background area, most visible on the bottom left, where a thin horizontal line of resonation crosses part of the shoulder; such thin retouching is of about 8 cm long. Similar thin and long retouches are also present across the upper left border, and upper border. A few dotted retouches are also visible on the background area on the right of the sitter, and at the centre of the bottom border. Also visible are retouches on the pupils of the sitter, and a patch of retouching of about 2 cm wide next to the right eye. To conclude, very thin and slight retouches are present on the nostrils and near the mouth, and a single retouch on the hair at the height of the eye. Condition Report Disclaimer

Live Auction

JEAN FRANCOIS AUBERTIN (FRENCH 1866-1930) FEMME AU CYGNE Pastel and gouache Signed with monogram (lower right), further sign

Dreweatts 1759

Lot 210

JEAN FRANCOIS AUBERTIN (FRENCH 1866-1930) FEMME AU CYGNE Pastel and gouache Signed with monogram (lower right), further signed, titled, inscribed '5th exposition de la Societie Internationale de la peinteure a l'eau 1910, reproduit dans le No. 99 des 'ARTS' de Mars 1910' and dated '1910' (verso) 48.5 x 61.5cm (19 x 24 in.)Exhibited: Paris, 5th Exposition de la Société Internationale de la Peinture a l'Eau, 1910 Condition Report: It is behind glass and unexamined out of the frame. The painting reveals various small, dotted marks of dirt on certain areas such as on the body and swan. Furthermore, on the upper right corner there a few small holes, which are though hardly noticeable. UV light reveals no evident signs of retouching. Condition Report Disclaimer

Live Auction

JOHN RILEY WILMER (BRITISH 1883-1941) DANTE BEFORE THE CITY OF DIS Watercolour Signed and dated '1918' (lower right) 22.5 x

Dreweatts 1759

Lot 209

JOHN RILEY WILMER (BRITISH 1883-1941) DANTE BEFORE THE CITY OF DIS Watercolour Signed and dated '1918' (lower right) 22.5 x 28cm (8¾ x 11 in.) Condition Report: The watercolour presents a few dotted losses of paint, most visible at to the left centre, and upper centre, and on the upper right corner, where there is a loss of paint of about 1.5 cm. Various brushstrokes fluoresce under UV light, but rather that restorations, they should be the yellow pigments used for depicting the light coming from the clouds.Condition Report Disclaimer

Live Auction

ABRAHAM VAN DEN HECKEN (DUTCH 1615-1669) SCHOLAR SEATED BESIDE AN OPEN PSALTER, GLOBE, AND A MOMENTO MORI Oil on panel Signed

Dreweatts 1759

Lot 25

ABRAHAM VAN DEN HECKEN (DUTCH 1615-1669) SCHOLAR SEATED BESIDE AN OPEN PSALTER, GLOBE, AND A MOMENTO MORI Oil on panel Signed (lower left) 53 x 44cm (20¾ x 17¼ in.)Provenance: David Wade Fine Art Ltd, North Yorkshire Condition Report: The panel presents a very superficial surface scratch of about 2 cm in the upper left corner, and three small, dotted chips of paint loss on the left centre border, of about 1mm. UV light reveals an uneven varnish, and various retouches in the background area. The most evident ones are in the lower left corner, and at the lower centre, where some paint has been applied to cover a thin crack of the panel. Other visible retouching is evident in the right of the curtain, where there are two patches of about 3 cm wide. To conclude, scattered dots of retouches are present in the background area near the globe. There are also very small retouches on the head of the astrologer, which are though hardly noticeable.Condition Report Disclaimer

Live Auction

DOMENICO TINTORETTO (ITALIAN 1560 - 1635) SAINT FRANCIS RECEIVING THE STIGMATA Oil on canvas 142 x 103cm (55¾ x 40½ in.) Prov

Dreweatts 1759

Lot 7

DOMENICO TINTORETTO (ITALIAN 1560 - 1635) SAINT FRANCIS RECEIVING THE STIGMATA Oil on canvas 142 x 103cm (55¾ x 40½ in.) Provenance: With Thos. Agnews & sons, London, 1985 (as by Jacopo Tintoretto) From whom acquired by CG Hoare, CMG, CBE Thence by descent Sale, Sotheby's, London, Old Master Paintings, 24 April 2008, lot 310Exhibited: London, Agnew's Coronation Exhibition of thirty-five Masterpieces of Venetian Painting, 1953, no 34 (as by Jacopo Tintoretto) Kings Lynn, Fermor Art Gallery, The Collection made by CG Hoare MC, and family, 1970, no. 5 (as by Jacopo Tintoretto)Literature: P Rossi, Per la grafica di Domenico Tintoretto. Il Arte Veneta, 1984, XXXV111, p. 60, reproduced plate 6.Though long attributed to Jacopo Tintoretto, the attribution to his son, Domenico, was first proposed by Paola Rossi in 1984. Condition Report: The canvas has been relined. The original canvas is coming apart from the lining canvas in a small section along the lower edge (approx 10 cm long). There are minor abrasions to the edges and the canvas weave is quite apparent. Fine surface cracking is visible in places but the paint layer seems to be stable. Under UV light there are scattered areas of retouching including some small areas on the clothes of the central figure. There are some broader areas of retouching in the background, particularly in the shadows along the lower edge. It has been cleaned and re-varnished. Condition Report Disclaimer

Live Auction

AFTER TITIAN SACRED AND PROFANE LOVE Oil on canvas 75 x 35cm (29½ x 13¾ in.)After the original painting commissioned by Nicco

Dreweatts 1759

Lot 1

AFTER TITIAN SACRED AND PROFANE LOVE Oil on canvas 75 x 35cm (29½ x 13¾ in.)After the original painting commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, Laura Bagarotto. The work was completed in 1514, and is now housed in the Borghese Gallery, Rome. Condition Report: The canvas is relined and presents a thick varnish across the whole surface. The canvas has a few small, and hardly visible holes, of which the most visible on the pink sleeve of the woman on the left; the latter is about 1mm long. UV light reveals various retouches, most noticeable on the borders, where on each part there is a thick layer of paint, some of which up to 7 cm of width. Other smaller retouches are present in the greenery in the background, while a another retouch of about 4 cm of width is present in the sky near the right border. Condition Report Disclaimer

Live Auction

THOMAS BUTTERSWORTH JUNIOR (BRITISH 1807-1842) A FIFTH RATE FRIGATE SIGNALLING TO A SHIP OF THE LINE OFF DEVON Oil on canvas

Dreweatts 1759

Lot 130

THOMAS BUTTERSWORTH JUNIOR (BRITISH 1807-1842) A FIFTH RATE FRIGATE SIGNALLING TO A SHIP OF THE LINE OFF DEVON Oil on canvas Signed (lower left) 60 x 88cm (23½ x 34½ in.)Provenance: Richard Joslin Fine Art, London Condition Report: The canvas is relined and presents a subtle craquelure that was more visible in the past, as UV light reveals retouching in the cracks that have widened, mostly visible in the sky, sea, and on the coastal cliffs. UV light further reveals various retouches, some of which wide 3 cm, across the whole borders of the painting, and most visible at the bottom border. Smaller retouches are also present in the sea around the boats, with a most visible spherical retouch of about 2 cm wide diameter at the right of the left boat. Condition Report Disclaimer

Live Auction

CHARLES JOSEPH FREDERIC SOULACROIX (FRENCH 1825-1900) AN OFFICER AND A LADY Oil on canvas Signed (lower right) 78 x 87cm (30

Dreweatts 1759

Lot 177

CHARLES JOSEPH FREDERIC SOULACROIX (FRENCH 1825-1900) AN OFFICER AND A LADY Oil on canvas Signed (lower right) 78 x 87cm (30½ x 34¼ in.)Provenance: Private Collection, UK Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Inspection under UV reveals light scattered retouching throughout, with the heaviest areas to the female sitter's face and chest. Condition Report Disclaimer

Live Auction

λ &nbspGEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960) NUDES BATHING, EL BAÑO DE LAS NINFAS Oil on canvas Signed and dated '46

Dreweatts 1759

Lot 218

λ &nbspGEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960) NUDES BATHING, EL BAÑO DE LAS NINFAS Oil on canvas Signed and dated '46' (lower right) 91 x 60cm (35¾ x 23½ in.) Condition Report: The canvas has not been lined. Some areas of undulation to the corners. Otherwise, the work appears to be in good original condition with no evidence of restoration or repair under UV light. Condition Report Disclaimer

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JOHN BOULTBEE (BRITISH 1753-1812) A HUNTER IN A LANDSCAPE Oil on canvas 70 x 90cm (27½ x 35¼ in.) Condition Report: The pa

Dreweatts 1759

Lot 267

JOHN BOULTBEE (BRITISH 1753-1812) A HUNTER IN A LANDSCAPE Oil on canvas 70 x 90cm (27½ x 35¼ in.) Condition Report: The painting is relined and presents a general craquelure most visible in the sky above the horse. There are various brownish dots of dirt scattered across and a few small dotted losses of paint, most visible in the bottom right corner. UV light reveals a thick varnished across the whole surface, and two patches of retouches of about 3cm wide in the lower left corner. Condition Report Disclaimer

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FANNY CAILE (FRENCH 19TH CENTURY) A LADY READING Oil on canvas Signed (upper left) 43 x 41cm (16¾ x 16 in.) Provenance: Gavi

Dreweatts 1759

Lot 184

FANNY CAILE (FRENCH 19TH CENTURY) A LADY READING Oil on canvas Signed (upper left) 43 x 41cm (16¾ x 16 in.) Provenance: Gavin Graham, LondonFanny Caile was born in Paris during the 19th century. She studied under the direction of Charles Chaplin and exhibited at the Salon from 1869. She also exhibited throughout provincial France. Condition Report: The canvas does not appear to have been lined. Stretcher marks visible. Craquelure and some surface dirt throughout. There is an area of possible repair to the upper right corner, with associated overpainting which can be seen in natural light. Rubbing and abrasions to the framing edges. Inspection under UV reveals scattered retouching and infilling throughout, together with a green cloudy varnish.Condition Report Disclaimer

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G. DEACON (BRITISH 19TH CENTURY) DIAMOND JUBILEE NAVAL REVIEW, SPITHEAD, 1897 Oil on canvas Signed and dated '97' (lower le

Dreweatts 1759

Lot 133

G. DEACON (BRITISH 19TH CENTURY) DIAMOND JUBILEE NAVAL REVIEW, SPITHEAD, 1897 Oil on canvas Signed and dated '97' (lower left) 15 x 53cm (5¾ x 20¾ in.) Unframed Provenance: Property of a gentleman Thence by bequest to the present owner Condition Report: Oil on canvas, nailed to panel. A vertical tear to the lower right corner circa. 2cm. Light surface dirt throughout and possible discolouration caused by yellowing carnish. Some rubbing to the extreme edges with associated loss, most notable to the centre of the upper edge. Surface scratches and small losses to the lower left corner. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

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EUGÈNE GRASSET (SWISS 1845-1917) SARAH BERNHARDT AS JEANNE D'ARC Oil on paper Signed (lower left) 119 x 75cm (46¾ x 29½ in.)

Dreweatts 1759

Lot 212

EUGÈNE GRASSET (SWISS 1845-1917) SARAH BERNHARDT AS JEANNE D'ARC Oil on paper Signed (lower left) 119 x 75cm (46¾ x 29½ in.)Please note this is mixed media on paper laid to canvas. The sketch is likely a study for the artist's renowned lithograph of the French actress Sarah Bernhardt, which advertised her role as Jeanne D'Arc. Condition Report: Please note this is mixed media on paper laid to canvas. The colours are good. The sheet however is very fragile and has numerous rips and tears. The most substantial of these runs horizontally across the length of the sheet, and also includes the canvas below. There is an area of restoration (approx. 4cm)to the sitter's coat, which includes an area of overpainting which is visible in natural light. Overall the work would benefit from extensive conservation and restoration.Condition Report Disclaimer

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FOLLOWER OF MARY BEALE PORTRAIT OF A LADY Oil on canvas, feigned oval 74 x 62.5cm (29 x 24½ in.) Condition Report: The c

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Lot 68

FOLLOWER OF MARY BEALE PORTRAIT OF A LADY Oil on canvas, feigned oval 74 x 62.5cm (29 x 24½ in.) Condition Report: The canvas is relined and presents a thick yellowing vanish across the whole surface. UV light reveals a few dotted retouches below the chin, and a patch of about 7 cm of length and 4 of width on the right shoulder. The thick vanish on the hair might mask some further retouches. Condition Report Disclaimer

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FOLLOWER OF GIOVANNI PAOLO PANNINI CAPRICCIO WITH ROMAN RUINS AND STATUE Oil on canvas Bears the indistinct signature 'P.P.

Dreweatts 1759

Lot 114

FOLLOWER OF GIOVANNI PAOLO PANNINI CAPRICCIO WITH ROMAN RUINS AND STATUE Oil on canvas Bears the indistinct signature 'P.P. ***' (lower left) 55 x 40cm (21½ x 15½ in.) Condition Report: The canvas is relined and presents a thin yellowing layer of dirt and varnish. UV light reveals various retouches on the bottom left corner, on the plinth where the statue rests; such retouches are of about 2 cm of width. A similar retouch is present on the right of the statue and on the arch at the centre. The most evident retouching is on the marble relief on the bottom right corer: the whole area in shade has been repainted with a few small dotted brushstrokes on the left side of the relief. Condition Report Disclaimer

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ATTRIBUTED TO EDMA MORISOT-PONTILLON (FRENCH 1839-1921) TWO FIGURES IN A RIVER LANDSCAPE Pastel on paper laid down to canvas

Dreweatts 1759

Lot 249

ATTRIBUTED TO EDMA MORISOT-PONTILLON (FRENCH 1839-1921) TWO FIGURES IN A RIVER LANDSCAPE Pastel on paper laid down to canvas 38 x 46cm (14¾ x 18 in.)Provenance: The Rouart Collection, Paris Rosalind de Boland Roberts, editor of Growing Up with the Impressionists: The Diary of Julie Manet (1987) (a gift from the family of the above) Thence by descent to the present ownerAn inscription on the reverse of the painting suggests that the present work is after Jean-Baptiste-Camille Corot. The work itself is very reminscent of Corot's work and it would not be surprising given that both Edma and her younger sister, Berthe Morisot were both taught by Corot. The sisters grew up in a bourgeois family just outside Paris and were artistically minded from a young age, encouraged by their mother. Having first studied under Joseph Guichard, a former student of Ingres, in 1860, they began lessons with Corot who introduced them to the art of painting en plein air. Edma in particular was strongly influenced by the Barbizon school of painting and this particular work exhibits many of the attributes associated with the movement. Unusually, the work is executed in pastel. Edma worked predominately in oils although she is noted later in life, as having produced pastel copies of Berthe's work.Edma's artistic output was curtailed by her decision to concentrate on family life after her marriage in 1869 to a naval officer, Adolphe Pontillon. The close relationship with Berthe, which had seen them traverse France painting side by side, each acting as the other's chaperone, was forever changed. The sisters corresponded throughout their lives and Edma occasionally modelled for Berthe, creating some of her most enduring images, including The Cradle, dating from 1872 and depicting Edma with her second child. Condition Report: Some light discolouration and surface dirt to the sheet. The pastel is wearing q little thin in some places. Overall the work appears to be in good condition commensurate with age. Condition Report Disclaimer

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λ&nbspEDOUARD LÉON CORTES (FRENCH 1882-1969) PLACE VENDOME SOUS LA PLUIE Oil on canvas Signed (lower left); stamped with the

Dreweatts 1759

Lot 238

λ&nbspEDOUARD LÉON CORTES (FRENCH 1882-1969) PLACE VENDOME SOUS LA PLUIE Oil on canvas Signed (lower left); stamped with the artist's copyright and numbered 5184 (verso) 31.5 x 44cm (12¼ x 17¼ in.)Provenance: Galerie F. Clair, Paris (acquired directly from the artist, 1950) Herbert Arnot Inc., New York (by July 1950) Sarachek, United States (by August 1950) Belnord Art Studio, New York, Private Collection (acquired circa 1955) Sale, Sotheby's, New York, Fine Old Master & 19th Century European Art, 1 February 2018, lot 799 Literature: Verdier, Nicole, Edouard Cortès Catalogue Raisonné de L'Oeuvre Peint, Volume III, No. EC001079 Place Vendome sous la Pluie, was painted by Edouard Leon Cortes, circa 1950-1960. Condition Report: The canvas has not been lined. Some light rubbing and abrasions to the framing edges. Light craquelure throughout. Traces of a dirty varnish has caused some discolouration, and the work would benefit from a clean. Inspection under UV reveals one small area of infilling (approx. 3cm) to the sky at the mid-right of the column.Condition Report Disclaimer

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PIERRE FRANCOIS BOUCHARD (FRENCH 1831-1889) YOUNG WOMAN WITH BUTTER CHURN Oil on canvas Signed (lower right) 107 x 61.5cm (42

Dreweatts 1759

Lot 165

PIERRE FRANCOIS BOUCHARD (FRENCH 1831-1889) YOUNG WOMAN WITH BUTTER CHURN Oil on canvas Signed (lower right) 107 x 61.5cm (42 x 24 in.) Provenance: Sale, Grogan & Company, American & European Paintings, Drawings, Sculpture, Prints, Boston, 7th April 1995, lot 95, for 13.800 USD Haynes Fine Art Broadway, Broadway, Worcestershire, England Condition Report: The canvas is relined and presents a subtle craquelure. UV light reveals a thick varnish applied unevenly, a few very small, dotted retouches in the background area, and a 3 cm patch retouch on the upper right corner. Condition Report Disclaimer

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JULES EMILE SAINTIN (FRENCH 1829-1894) AN ELEGANT LADY LOOKING AT A BOOK OF JAPANESE PRINTS Oil on canvas Signed and dated '1

Dreweatts 1759

Lot 204

JULES EMILE SAINTIN (FRENCH 1829-1894) AN ELEGANT LADY LOOKING AT A BOOK OF JAPANESE PRINTS Oil on canvas Signed and dated '1879' (lower left) 59 x 42cm (23 x 16½ in.)Provenance: Sale, Christie's, South Kensington, 19th Century European Art including Orientalist Pictures, 18 June 2003, lot 107 Condition Report: The canvas has been lined and cleaned. Stretcher marks visible in a raking light. Craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV reveals very light scattered retouching throughout including an area of possible L 'Shaped repair (approx. 3cm square) to the left of the sitter's right arm. Condition Report Disclaimer

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CHARLES JONES (BRITISH 1836-1892) SHEEP IN A SNOWY HIGHLAND LANDSCAPE Oil on canvas Signed with monogram and dated '65' (lowe

Dreweatts 1759

Lot 156

CHARLES JONES (BRITISH 1836-1892) SHEEP IN A SNOWY HIGHLAND LANDSCAPE Oil on canvas Signed with monogram and dated '65' (lower right) 54 x 95cm (21¼ x 37¼ in.) Condition Report: The canvas has been lined and there is some light craquelure throughout. No evidence of restoration or repair under UV light. There is a pigment which fluoresces in the sky, however this appears to be an original pigment confined to the clouds. Overall the work appears to be in good condition commensurate with age.Condition Report Disclaimer

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ENGLISH SCHOOL (19TH CENTURY) THE BATTLE OF ASSAYE, WESTERN INDIA Oil on canvas 53 x 89.5cm (20¾ x 35 in.) Provenance: The P

Dreweatts 1759

Lot 95

ENGLISH SCHOOL (19TH CENTURY) THE BATTLE OF ASSAYE, WESTERN INDIA Oil on canvas 53 x 89.5cm (20¾ x 35 in.) Provenance: The Parker Gallery, LondonThe Battle of Assaye took place on 23rd September 1803 near Assaye in Western India. It was fought between the Maratha Empire and the British East India Company. An outnumbered Indian and British force, under the command of Major General Arthur Wellesley (later Duke of Wellington), defeated the combined Maratha army of Daulatrao Scindia and the Bhonsle Raja of Berar. It was Wellesley's first major victory and was followed by victories at Argaon and Gawilghur which resulted in the defeat of Scindia and Berar's armies in the Deccan. Wellesley's progress was matched by Lieutenant General Lake's successful campaigns in northern India and led to the British becoming the dominant power in the heartland of India. Condition Report: The canvas is relined and presents a thin layer of varnish and dirt. UV light reveals a few spotted retouches on the borders of the painting, extensive ones on the horse at the centre, on the horse on the right, an on the clouds on the right; a few retouches on the white cloth of the Indian soldier on the right, on the red jacket of the English soldier on the right, and on the left arm of general Wellesley. There are also some, but less noticeable, retouches in background areas, such as near the man holding the hat on the left. Condition Report Disclaimer

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UTRECHT SCHOOL (17/18TH CENTURY) THE MONEY LENDER Oil on canvas 98 x 131cm (38½ x 51½ in.) Condition Report: The canvas ap

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Lot 18

UTRECHT SCHOOL (17/18TH CENTURY) THE MONEY LENDER Oil on canvas 98 x 131cm (38½ x 51½ in.) Condition Report: The canvas appears not to be lined and is loose on its stretcher. Stretcher marks and fine surface cracking across the image. Abrasions and rubbing to the edges. There is an indentation (from the reverse) in the upper left corner which is visible recto. Under UV light there are scattered areas of retouching throughout, however these mostly appear to be in background areas. There is a thick layer of dirt and discoloured varnish.Condition Report Disclaimer

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GASTON LA TOUCHE (FRENCH 1854-1913) L'ARRIVÉE DE LA PRINCESSE Oil on cradled panel, painted on gold ground Signed, inscribed

Dreweatts 1759

Lot 213

GASTON LA TOUCHE (FRENCH 1854-1913) L'ARRIVÉE DE LA PRINCESSE Oil on cradled panel, painted on gold ground Signed, inscribed 'STC' and dated '1911' lower right 311.1 x 191.8cm (122¼ x 75½ in.)Provenance:Le Transatlantique 'France'. Collection Henri Cangardel, Chairman of the Compagnie Generale Transatlantique French Line. Private Collection, by descent. Private Collection, London. Exhibited:St Cloud ( Paris), Musée des Avelines, 16th October 2014 - 1st March 2015, Gaston La Touche, Les Fantaisies d'un peintre de la Belle EpoqueVersailles, Château de Versailles, Revival 1867-1937, 19th November 2019 - 15th March 2020 Literature:Henri Frantz, Gaston La Touche 1854-1913, London 1914, p. 19. Louis Rene Vian, Arts d'ecoratifs a bord des paquebots francais 1880-1960, Paris 1992, p. 48 and 49. Selina Baring Maclennan, Gaston La Touche. A Painter of the Belle Epoque, Antique Collector's Club, UK 2009, p. 71, illustrated p. 73, pl 71, illustrated in colour. Musée des Avelines, Gaston La Touche, Les Fantaisies d'un peintre de la Belle Epoque, Saint-Cloud 2014, illustrated p. 91. La Touche could not have received a more appropriate commission than this large panneau decoratif for the First Class Dining Room of the liner France. A major exhibition of 323 works at the Galeries Georges Petit had firmly established his reputation in 1908 and this commission came a few years later in 1911. The four funnel France was built in St Nazaire, France in 1911 and was the most lavishly decorated liner of the day - it accommodated 517 First Class passengers from a total of 1623. Known as the "Versailles des mers" or the "Chateau de l'Atlantique", the decor throughout was opulent gilded Louis XIV, expressed so grandly in the two tiered First Class Dining Room with its magnificent sweeping staircase ending in the centre of the salon - indeed, it was said that no self respecting woman would enter by any other way. It was for this staircase that La Touche painted this panel. Throughout his life he had had a love affair with the Palace and gardens of Versailles: painting several large canvases of beautiful women alighting from carriages and stepping into brightly coloured barges and gondolas. As early as 1895 he painted a suite of Quatre Saisons for the Salle de Mariage in the Mairie at St Cloud and it is here that La Touche used the format for this panel in his depiction of Spring. To echo the opulence of its setting, he has the viewer looking up at the central figure as she is helped from her carriage towards a waiting barge, complete with musical ensemble - she appears to be of royal standing as her entourage bow to show her status.The France was sold in 1933 and broken up by Dunkirk Breakers in 1934 - the whereabouts of this painting were unknown until its discovery 25 years ago. Photograph: French Line, S.S. "France", Interior, Dining Salon,1924. [Byron Company (New York, N.Y.)][ 93.1.1.11467] Museum of the City of New York. Condition Report: Please note that the present lot has been shot with and without the frame, but the frame has been photo shopped in place as was in pieces and was not built around the picture. This may not reflect the actual fitting of the frame, which may need building and is not guaranteed to fit properly. The painting presents a few scattered losses of paint at the borders and a generally sparse craquelure which has though been covered by restoration. UV light, in fact, reveals numerous fillings in the cracks that have widen across the whole surface, most noticeable in the background area of the sky, and on the carriage. Furthermore, there are extensive restorations on the lower centre part of the panel, such as on the back of the musician at the centre, or on the water of the fountain; such restorations can be up to 10 cm of width. Numerous restorations are also present on the vessel, in the leaves of the tree, and on the head and dress of the lady at the centre. Condition Report Disclaimer

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WILLIAM POWELL FRITH, O.M., R.A. (BRITISH 1819-1909) A CARD PARTY, THE VICAR OF WAKEFIELD Oil on panel 15 x 20cm (5¾ x 7¾ in.

Dreweatts 1759

Lot 194

WILLIAM POWELL FRITH, O.M., R.A. (BRITISH 1819-1909) A CARD PARTY, THE VICAR OF WAKEFIELD Oil on panel 15 x 20cm (5¾ x 7¾ in.)Provenance: G.E. (unidentified) Sale, Christie's, London 1867, where purchased by Addington (£112,7s) Thomas Agnews & Sons, Manchester'The intervals between conversation were employed in teaching my A daughters picquet; or sometimes in setting my two little ones to box, to make them sharp as he (the Squire) called it.'-See Vicar of Wakefield, chap. xvi. This study relates to a series of pen and ink drawings for the artist's 1876 Royal Academy picture Squire Thornhill teaching the young ladies Picquet. Painted circa 1876 Condition Report: The panel has been extended around the margins, however this is original to the work's conception. Light craquelure throughout, together with some surface dirt. Inspection under UV reveals a green cloudy varnish which is making any overpaint hard to detect. There is a brown pigment which is fluorescing however this appears to be original paint. Overall the work looks to be in good condition commensurate with age.Condition Report Disclaimer

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