Fine Art

Fred Cuming - 'Roses 1', 20th century oil on board, signed and dated '89 recto, titled to Jonleigh Gallery label verso, 29cm x 34cm, within a painted wood frame.

Fred Cuming - 'Fowey, Square Rigger', oil on board, signed recto, titled and dated 1996 to Jonleigh Gallery label verso, 22cm x 17cm, within a painted and gilt frame.

Arthur Segal - 'Palma in Mist', oil on board, signed recto, titled and dated 1934 verso, 16.5cm x 42cm, within a hessian and silvered frame.

Tom Coates - 'The Apple Tree', 20th century oil on canvas, signed with initials recto, titled Jonleigh Gallery label verso, 35cm x 45cm, within a painted and gilt wood frame.

Edward Wesson - 'Freshwater Bay, Isle of Wight', 20th century watercolour, signed recto, titled verso, 24.5cm x 35cm, within a gilt frame.

Eliot Hodgkin - Study of Bamboo, 20th century pencil with ink, signed and annotated, 37.5cm x 47.5cm, within a gilt frame.

Camilla Göbl - Still Life of Roses, early 20th century oil on canvas, signed, 40.5cm x 57cm, within a gilt composition frame.

Robert Robin Fenson - Fenland Landscape with Figure and Sheep on a Bridge, oil on canvas, signed and dated 1906, 50cm x 75cm, within a painted wood composition frame.

Attributed to Dominic Serres - 'Phoebe attacking Four French Frigates', late 18th/early 19th century watercolour on laid paper, titled in ink verso, 24cm x 35.5cm, within a gilt frame.

Circle of Edward Armfield - Two Gun Dogs in a Landscape with an Injured Game Bird, 19th century oil on canvas, 51.5cm x 87.5cm, within a gilt composition frame.

Attributed to Samuel de Wilde - Portrait of an Actor, traditionally identified as Charles Macklin, late 18th/early 19th century oil on canvas, 54cm x 34.5cm, within a raked knull gilt composition frame with applied plaque. Provenance: Christie's 'British Pictures 1500-1850', 16th June 2005, lot no. 240a.

George Chambers - 'The Thames at Southwark', 19th century oil on canvas, signed with initials, titled label verso, 34.5cm x 45cm, within a gilt composition frame.

Thomas Rowlandson - 'On the Thames', late 18th/early 19th century watercolour with ink, signed recto, title to Squire Gallery label verso, 16.5cm x 25.5cm, within a gilt frame.

Circle of Thomas Sidney Cooper - Cow and Sheep in a Landscape, 19th century oil on canvas, 62.5cm x 80.5cm, within a gilt frame.

Juan Manuel Blanes - A Gaucho on Horseback in a Uruguayan Prairie Landscape, 19th century oil on canvas, signed with initials recto, label verso, 112cm x 128cm, within a Watts style gilt composition frame. Provenance: Baldomero Hyacinth de Bertodano, 7th Marquis del Moral (1844-1921), Solicitor of the Supreme Court of Judicature and resident of Cowbridge House, Wiltshire; The sale of the Contents of Cowbridge House, Messrs Matthews, Matthews & Goodman in conjunction with Messrs Dore, Fielder & Co, October 1922, lot no.137 described thus, 'A fine Oil Painting, The Gaucho on the Pampas in Argentine about 52 by 46 ins'; where purchased by Charles Edmund de Bertodano M.Inst.C.E. (1853-1926); thence by family descent. Note: Juan Manuel Blanes was one of the most important artists in the history of Uruguay, helping to shape the visual identity of the country, which was, at the time, locked in an independence battle with Spain. He was also instrumental in establishing wider Latin and South American aesthetic archetypes. The gaucho was a recurring theme in his work. Intrigued by the powerful proud landless cattle ranchers that roamed the plains of Uruguay, Argentina and Brazil, Blanes stamped for posterity his vision of these characters who lived lives of seemingly utter freedom. Blanes himself said of the gaucho, 'A man among the thousands of hapless men who live in our ravaged countryside; a decent, vigorous, and intelligent man reduced by the contempt in which he is held; a man garbed in a chiripá, a rough shirt, a flimsy pair of short trousers, a vincha (headband), a bandanna handy at the neck, carrying the adornments of his trade, the bolas and belt…' Blanes' 'equestrian gauchos' were painted during 1875 to 1878. Light played a crucial element in these works; in this painting the luminous glow from the sky beyond shares the stage with the gaucho, whose pointing gesture amplifies the rising or setting sun. With thanks to Arch. Gabriel Peluffo Linari for his help with the cataloguing of this lot.

François Boitard - Bacchanalian Scene, late 17th/early 18th century pen with ink on laid paper, signed and inscribed, 19.5cm x 22cm, within a gilt frame.

William Marlow - 'Below Posilippo', 18th century monochrome watercolour wash over pencil, artist's name and title to labels verso, 13cm x 19cm, within a gilt frame. Note: this work was exhibited at The Arts Club in 1961 and Brighton Art Gallery in 1962, catalogue no. 67. Marlow visited Naples in 1765. Whilst he was there, he made a number of drawings which he worked up into paintings on his return to England in 1766. The present composition shows the view of the Bay of Naples from Posillipo, the Vomero Hill with the Monastery of San Martino and the Castel Sant'Elmo beyond.

George Romney - Study of a Lady with a Lyre, 18th century pen and brush with ink over pencil on laid paper, 43.5cm x 21cm, within a gilt frame. Note: the facial features are an intervention by a later hand. This work is a study for The Honorable Mrs. Trevor (Viscountess Hampden) circa 1779-1780, now in the collection of the Carnegie Museum of Art, Pittsburgh, USA. A closely related sketch by Romney was sold at Bonhams, 8th November 2005, lot no. 48. We are grateful to Alex Kidson for confirming the attribution to Romney as well as his help in the cataloguing of this lot.

Henry Earp Senior - Cows, Figure and Horse-drawn Wagon on a Tree-lined Country Lane, 19th century oil on canvas, signed, 52cm x 52cm, within a gilt frame.