| Lot No |
Description |
Low Est |
High Est |
| 4 |
M. Booth, oil on canvas, still life of tulips and forsythia, signed to lower left with label to verso, housed in a gilt and painted frame |
10 |
20 |
| 5 |
Patti Wright, ”Henley-on-Thames”, oil on board, signed to lower right and housed in a gilt frame |
15 |
25 |
| 6 |
A pair of large modernist photos in aluminium frames. |
15 |
25 |
| 7 |
Francis Edward James (1849-1920), ‘Fuschias’, watercolour, signed to lower left, label to verso and housed in a gilt frame |
30 |
50 |
| 8 |
A 20th century pastel landscape of fields, river and trees to background. Indistinctly signed to lower right with label to verso, housed in an oak frame. |
15 |
25 |
| 14 |
Two watercolours, one of a Scottish mountain lake scene with buildings to the foreground, the other a summer hillside scene with river to the foreground, possibly Exmoor, both unsigned and housed in gilt frames |
10 |
20 |
| 15 |
Two framed 19th century samplers, one by Elizabeth Ranson, Ipswich, June 12th 1835, the other by E.A.Wright, June 14th, 1839 (2 items) |
40 |
60 |
| 16 |
A 20th century watercolour, Scottish loch scene with mountains to the background and figures to the shore, unsigned and housed in a gilt frame |
20 |
30 |
| 17 |
Henry George Walker (Exh 1921 – 31), ‘Cottages by Cleeve Pier’, coloured etching, signed lower right, title en verso, framed and glazed |
10 |
20 |
| 21 |
G. A. Slater, ‘Near the Docks in Marseilles’, pencil on card, signed and dated ’39, framed |
15 |
25 |
| 22 |
A 20th century print of a watercolour entitled ‘St. Paul’s Bay, Malta’, unsigned, framed and glazed |
20 |
30 |
| 23 |
An early 20th century engraving of a portrait of a bespectacled gentleman, signed F. Huth to lower right, indistinctly signed to lower left and housed in an ebonised and gilt frame |
20 |
30 |
| 24 |
A 19th century colour engraving from the ‘Cries of London series entitled ‘Strawberries, Scarlet Strawberries’, from a painting by F Wheatley, R.A., engraved by Vendramm, housed in an ornate ebonised frame |
10 |
20 |
| 25 |
A late 19th century engraving, ‘The Liverpool Grand National Steeple Chase’, originally painted by J Sturgess and engraved by E.G.Hester, housed in a white painted frame |
30 |
50 |
| 26 |
H. Sparling, Rye High Street, watercolour, signed to lower left with label to verso |
20 |
40 |
| 27 |
H. Sparling, Rye Harbour, watercolour, signed to lower left, label to verso |
20 |
40 |
| 35 |
G. Hooker, oil on board of a lake with pine trees and mountains to the background, signed to lower right and housed in a gilt frame |
10 |
20 |
| 36 |
A pastel of a King Charles Spaniel watching a bumble bee, signed to lower right, possibly by Cecil Elgar, housed in a gilt and painted frame |
30 |
50 |
| 37 |
An oil on canvas of sunflowers and a watercolour of irises (2 items) |
15 |
25 |
| 38 |
J Armstrong Neame (Exh. 1920 – 35), barges on the river Thames, etching, signed lower right and dated 1920, framed and glazed |
15 |
20 |
| 39 |
An early 20th century novelty coloured print of laughing dogs, signed in pencil to lower right and housed in an oak frame |
15 |
25 |
| 40 |
Oliver Trowell, oil on canvas, brick-built bungalow with shrubs and trees to driveway and starlings to foreground, signed to lower left and housed in an ornate gilt frame |
20 |
30 |
| 49 |
A needlework panel of a courting couple on a bridge with swans, housed in an ornate gilt frame |
20 |
30 |
| 50 |
Golfing interest, a Punch magazine plate entitled ‘P’raps you’d better go on ahead’, dated October 31 1928 |
10 |
20 |
| 51 |
W.A. Porter, oil on board of oak trees, signed to lower right and housed in a gilt frame |
15 |
20 |
| 53 |
A 20th century oil on canvas, still life of yellow and pink roses, indistinctly signed to lower right and housed in an ornate gilt frame |
10 |
20 |
| 54 |
Oliver Trowell, watercolour, farm buildings by the downs, signed to lower left and housed in a gilt frame |
30 |
40 |
| 55 |
A limited edition print numbered 19/90, contemporary landscape, indistinctly signed to lower right and dated 06, housed in a gilt frame |
15 |
20 |
| 56 |
Two 19th century framed samplers, one by ‘Ann Emerson, her work in the year 1853’, the other indistinctly signed |
30 |
50 |
| 57 |
Oliver Trowell, oil on canvas, a weather-boarded bungalow and garden with sunflowers, shrubs and tennis court to foreground, signed to lower left and housed in a painted and gilt frame |
20 |
30 |
| 63 |
A colour print of Lord’s cricket ground, indistinctly signed to lower right and housed in a gilt and mahogany frame |
10 |
20 |
| 64 |
A late 19th century oil on canvas, possibly Scottish hillside with bridge and river flowing to the sea, unsigned and housed in a gilt frame |
15 |
25 |
| 65 |
Two dry point etchings each signed in pencil, entitled ‘Venice’ and ‘Evening Flow’ (2 items) |
15 |
25 |
| 68 |
J. Well, oil on canvas, depicting cattle grazing at the water’s edge |
30 |
50 |
| 69 |
Christine Bernhardt-Kirby (1914-2008), oil on board ‘Creature Comforts’, under the guidance of Jonas Plosky (1940-2011) |
50 |
70 |
| 71 |
A folio of assorted watercolours dating from the mid-20th century, most signed K. Wills, on varying subjects (1 box) |
20 |
40 |
| 73 |
Two early 20th century etchings of farmhouses, indistinctly signed in pencil to mount and two watercolours of Valle Crucis Abbey, Llangollen (4 items) |
20 |
30 |
| 74 |
A print of a Lancaster aeroplane crossing the east coast together with two car prints (3 items) |
30 |
40 |
| 79 |
A still life watercolour of orchids, unsigned and housed in a gilt frame |
10 |
20 |
| 82 |
Karl Schmidbauer (1921-1998), oil on canvas of mountainous view entitled ‘The Secluded Cabin’, signed, unframed and bearing a label to the reverse |
30 |
50 |
| 85 |
A 19th century Continental oil on board of a seated gentleman and a child, together with six French hand-coloured prints of various traders |
30 |
50 |
| 93 |
A 20th century oil painting of a Singapore street scene, housed in a gilt frame |
20 |
30 |
| 94 |
W.P.Burtt, signed watercolour of a garden |
15 |
20 |
| 95 |
E. Wilkins, watercolour, seascape of sailing boats, signed to lower left and housed in a beech frame |
20 |
30 |
| 98 |
Rev. S. Shaw, ‘View of Elford from the south-east’, watercolour, signed and dated 1797 to lower left, housed in a wooden frame |
80 |
100 |
| 99 |
Felix Kelly, ‘Old Cater Ryder Building at 1 King William’s Street, London EC4’, limited edition print of 125 commissioned from the original in 1971, signed in pen to lower right and housed in a wood and gilt frame |
120 |
150 |
| 102 |
Rowing at sundown, oil on canvas, with a tree-lined background, monogrammed PAK to lower right and housed in a gilt frame. |
15 |
25 |
| 103 |
A 19th century hand-coloured engraving of a pair of bulls, indistinctly signed to lower left and housed in a wooden frame |
10 |
20 |
| 105 |
Heinrich Windelschmidt, watercolour of Madonna and child, signed, mounted and framed |
30 |
50 |
| 106 |
A 19th century engraving of a Continental street scene by A.E.Hubert, dated 1876, housed in an ebonized and gilt frame |
10 |
20 |
| 107 |
A 20th century red and black print of a young shepherd and sheep, signed Wandby in the plate |
20 |
30 |
| 108 |
An etching of a Persian cat, signed D. Sandhem, 17/25 |
30 |
40 |
| 109 |
A Japanese print depicting peasant figures with horse and bull, with chop stamp and Japanese text |
25 |
35 |
| 113 |
A 19th century hand-coloured engraving inscribed ‘Dutch Sam’, fought over 100 battles, last battle in 1814′ |
30 |
40 |
| 114 |
Eileen Constance Greenwood (1915-2008), signed limited edition etching ‘The Antiques Shop’, numbered 35/150 |
25 |
35 |
| 115 |
Max Bill, poster advertising exhibition at the Marlborough Fine Art Gallery, London 1974 |
30 |
50 |
| 116 |
A colour engraving, ‘Bendigo’, W. Thompson Champion of England’, originally engraved by Chas. Hunt |
30 |
40 |
| 117 |
Emma Leschallas, pair of watercolours, one entitled ‘Fat Pig’, both signed and dated to lower left and right, 1992, housed in gilt frames |
20 |
40 |
| 118 |
A 19th century hand-coloured engraving inscribed ‘Deaf Burke’, early 18th century pugilist born December 1809, housed in a maple frame |
30 |
40 |
| 122 |
20th century acrylic/watercolour, study of figures moving pictures in an art gallery, signed ‘Boyd’, framed |
80 |
100 |
| 123 |
A limited edition print entitled ‘Squatter Huts’ 101/500, signed to lower right |
10 |
20 |
| 124 |
Darrell Lawrence, ”Solar Swirl”, a coloured print, signed to lower left and housed in a silver frame |
10 |
20 |
| 125 |
A late Victorian coloured engraving of a horse and jockey entitled ‘Robert the Devil, Winner of the Grand Prize, Paris 1880’ |
15 |
20 |
| 126 |
Lee Young (1914 – 1988), oil on canvas of a sea Captain with pipe, signed to lower left and housed in an ornate gilt frame |
40 |
50 |
| 127 |
W. T. Bracewell, (Act. c.1820-1850), watercolour of a seated young lady with flowers, signed to lower left and dated 1847, housed in a gilt frame |
30 |
40 |
| 131 |
Beryl Booth, still life of roses and fruit, oil on board, monogrammed to lower right, label to verso, housed in a painted frame |
10 |
15 |
| 132 |
Lorna Vahey, ‘I Won’t Dance, Don’t Ask Me’, oil on board view of a figure on a bench, signed, dated and housed in an ornate painted frame, label to the reverse |
30 |
50 |
| 137 |
V. Talbot, oil on canvas, dock yard scene, signed and dated ’77 to lower right and housed in a white painted frame |
10 |
20 |
| 138 |
A print of a reclining nude inscribed to margin Sir William Russell Flint |
10 |
15 |
| 139 |
R. King, oil on canvas, rural scene depicting a thatched cottage, a village church and a river |
50 |
60 |
| 140 |
Indian watercolour, bride and husband on camel with following attendants |
50 |
60 |
| 147 |
Various watercolours including a Victorian example showing a cluster of houses beside a lake with mountains to the background, signed and dated 1857, another of Bakehouse Close, Edinburgh, signed plus one other (3 items) |
15 |
20 |
| 148 |
W.C.Lee, watercolour, Oriental village scene with pagoda to centre, signed to lower left and housed in a wood and gilt frame |
10 |
20 |
| 149 |
Wallace R Hester (19th/20th century British) pair of engravings of Uppingham, both signed in pencil to lower left and housed in ebonised gilt frames |
10 |
20 |
| 153 |
A pair of 1880s Dickins canvases with lithoprint images. |
15 |
25 |
| 154 |
A Phisson Guillaume photographic print, Candida-Astra, Nioulargue sailing ships racing in the Louis Vuitton Tradition Trophy |
10 |
20 |
| 155 |
Elizabeth Smith, local artist, oil on board, still life of flowers, monogrammed to lower left and labelled to verso, housed in a mahogany frame |
10 |
20 |
| 156 |
A 20th century Polish school, oil on board, nude study |
60 |
70 |
| 158 |
Babette Cole, ‘Hair in Funny Places’, signed book poster with inscription to lower left together with an unsigned Babette Cole poster (2 items) |
20 |
40 |
| 159 |
Two Victorian sentimental prints of babies |
10 |
15 |
| 191 |
A watercolour of a fishing boat by John Owen, signed and dated ’93 together with other prints |
15 |
25 |
| 192 |
Assorted oils,watercolours, prints, maps etc to include two Ronald Searle character prints (1 box) |
20 |
40 |
| 196 |
A reproduction 17th/18th century recruitment poster for the Frigate ‘The Flying Pallas’, as Captained by Lord Cochrane |
10 |
20 |
| 200 |
A box of assorted pictures and prints to include Julie Douglas limited edition print 409/500 of Geese, a coloured engraving of Winchelsea Church, a Peter Scott ‘Flash by Two Tree’ print plus other items |
15 |
25 |
| 201 |
A collection of assorted prints, watercolours, picture frames and photographic prints |
10 |
20 |
| 210 |
Two unframed watercolours, one entitled ‘Old Oak by River Brent, near Ealing’ signed R.J.G Reed, dated 1890, label to verso, the other entitled ‘River Brent, Perivale, Middlesex’ dated 1890, by the same artist |
30 |
40 |
| 265 |
A print of figures in a boat in an oak frame plus two others (3 items) |
10 |
15 |
| 286 |
A pair of 1970s oil on boards of still life with flowers |
10 |
15 |
| 287 |
An oil on canvas of two men sculling, signed P A Kent to lower right, housed in a gilt frame. |
15 |
25 |
| 291 |
A late 19th century hand-written expenses ledger for Sir Ralph de Beston and Sir Simon de Baldriston, glazed and housed in a gilt frame |
30 |
50 |
| 292 |
A collection of various artists’ proofs of country pubs, possibly for a travel brochure, together with a print of St. Paul’s Cathedral, London |
20 |
40 |
| 293 |
A collection of unframed watercolours |
20 |
30 |
| 299 |
J.B.Parslew, watercolour of leaves together with an oil on board of a water scene, A. Morley limited edition print 46/200, a Charles Rennie MacKintosh print and a watercolour of tulips and butterflies (5 items) |
30 |
40 |
| 319 |
Four mid-20th century prints of British birds, housed in oak frames |
10 |
20 |
| 331 |
A set of five lithographs showing town scenes, possibly Wakefield |
10 |
20 |
| 332 |
Four assorted prints including one depicting a mounted huntsman with hounds, a Vanity Fair print by Vincent Brooks, Day & Son Ltd entitled ‘A King’s Jockey’, a Victorian cricket match plus one photographic print of a house, all framed and glazed (4 items) |
10 |
15 |
| 341 |
A box of assorted oils, prints and engravings on various subjects |
20 |
30 |
| 351 |
Eileen McKeown watercolour still life of champagne and fruit signed and dated to lower left 2005 and housed in a gilt frame together with 6 other pictures and prints. |
15 |
25 |
| 355 |
A 1970s large fabric picture of Russian Cossacks |
10 |
15 |
| 365 |
Two photographs of brown bears fishing at Brooks Falls, a signed print of Brighton and three other prints (6 items). |
10 |
15 |
| 535 |
Stanley Davis, pencil sketch of a young lady, signed to lower left and dated 1915, with inscription to verso, unframed |
20 |
30 |
| 536 |
An engraving of the Duchess of Devonshire an Lady Georgina Cavendish together with a watercolour of a country lane, unsigned, a print after Rembrandt and two other prints (5 items, 1 box) |
20 |
30 |