German School mid 19th Century The dining room at Kolešovice (Kolleschowitz), Bohemia, Czech Republic

Chinese School early 19th Century A fish with a pointy nose Watercolour with silver on pith paper, unframed 21 x 31 cm.; 8 ¼ x 12 ¼ inches Mount size 35 x 48 cm.; 13 3/4 x 18 3/4 inches Provenance Sir John Witt (1907-1982), by descent until 2022

KT741 John Linnell (1792-1882) Near Windsor Signed, inscribed and dated l.r.: J Linnelll Nr Windsor 1815, pencil with white on blue paper 26.8 x 27.2 cm.; 10 5/8 x 10 ¾ inches Mount size 40 x 40 cm.; 15 3/4 x 15 3/4 inches Provenance Cheffins, Cambridge, 26 November 2015, lot 398, where bought by Professor David Bindman (1940-2025)

Samuel Palmer, RWS (1805-1881) La Vocotella near Corpo di Cava, Italy Pencil and watercolour heightened with bodycolour with scratching out 26.7 x 37.8 cm.; 10 ½ x 14 7/8 inches Provenance With Agnew’s, London 2002, no. 53 Anonymous sale Sotheby’s, London, 23 November 2006, lot 145; W/S Fine Art, ‘Andrew Wyld: Connoisseur Dealer’, Christie’s, London, 10 July 2012, lot 147; Timothy Clowes, his sale at Sotheby’s, London, 23 September 2021, lot 148; Where bought by a private collector until 2026 Samuel and Hannah Palmer stayed at a small inn at Corpo di Cava on their Italian honeymoon in the summer of 1838. The inn overlooked a Benedictine monastery and a ravine. During this very happy period of his life, Palmer produced some of his finest watercolours, which combined the mysticism of his Shoreham work with more Italianate composition and structure. He told his friend George Richmond that it was here that he felt he was ‘no longer a mere maker of sketches, but an artist’ (E. Malins Samuel Palmer’s Italian Honeymoon, 1968, p. 73). This watercolour is constructed on classical lines with the receding serpentine path with a figure and is infused with the golden glow of Italian sunlight. A similar watercolour of the same place from a different viewpoint is in the collection of the Graves Art Gallery Sheffield (see R. Lister Catalogue Raisonné of the works of Samuel Palmer, 1988, no. 311, pp. 126-7, ill.). In a letter to her parents, written during August 1838, Hannah Palmer mentioned two views of Corpo di Cava by her husband. Presumably one is the Graves Art Gallery drawing and the present work may be the second which Raymond Lister records as untraced (R. Lister, Catalogue Raisonné of the Works of Samuel Palmer, Cambridge 1988, see no. 310).

Pen and grey ink and watercolour over pencil 11 x 17.2 cm.; 4 ¼ x 6 ¾ inches Provenance: Sotheby’s, London, 29 October 1964, lot 248; Ann Spokes Symonds, Oxford Ann Symonds worked for the Fine Art Society in 1960s.

Signed l.r.: CF Tunnicliffe, watercolour over pencil with touches of white on cream paper 41 x 55 cm.; 16 1/8 x 21 5/8 inches Provenance The Tryon Gallery; Private collection, UK, sold at Christies South Kensington, London, 3 November 2010, lot 58 The artist was a countryman who was brought up Cheshire. After studying at the Macclesfield School of Art he won a scholarship to the Royal College of Art in London, gaining his teaching diploma and a further scholarship to study in the RCA's new Etching and Engraving School. He worked as a commercial artist and taught art at Manchester Grammar School. Tunnicliffe was a regular exhibitor at the Royal Academy and in 1974 a ‘Members Exhibition’ was held there of his work. He and his wife Winifred moved from Cheshire to Angelsey in 1947 and lived at Shorelands in Malltraeth until his death.

Signed with initials l.r.: HSM, watercolour over traces of pencil on buff paper heightened with white 24 x 9 cm.; 5 ¾ x 3 ¾ inches Frame size 27 x 18.5 cm.; 9½ x 7 ½ inches Provenance The Fine Art Society Marks’ earlier works were usually historical and literary, especially Shakespearian and sometimes humorous. However, he became increasingly interested in painting birds and this body of work was highly praised by John Ruskin. Marks had three exhibitions in six years at the Fine Art Society in London, the first of which was Birds in Bond Street in 1889. He was a frequent visitor to London Zoo where he was frequently approached by other curious visitors . He wrote in his preface to the 1890 catalogue: “The most common remark I hear is, “Ah pretty creature! Don’t he seem to know he’s sitting for his picture?” and concluded “… I hope I may be excused, and not held too eccentric, in preferring to converse with a parrot for one hour, rather than with a politician for two”. The Victoria and Albert Museum have a holding of his work. The artist was born in London, the fourth child of John Isaac Marks, a solicitor. He studied in London at the Royal Academy Schools and later in Paris. He exhibited at the Royal Academy and elsewhere from 1853. He was elected ARA in 1870 and became a full RA in 1878.

Vaulted Hall under the Terrace, Heidelberg, Germany Inscribed and dated l.l.: Vaulted Hall under the Terrace. Heidelberg/Sep 21st/1865, watercolour over pencil with bodycolour on blue paper 17.2 x 25.5 cm.; 6 ¾ x 10 inches Heidelberg Castle is one of the most important Renaissance buildings in Northern Europe. The residence of the Counts Palatine of the Rhine dates back to 1225 and was largely rebuilt in the sixteenth century. It was badly damaged by the French army in the course of the War of the Grand Alliance, or the Nine Year’s War (1688 - 1697), and was finally ruined by two devastating lightening strikes in 1764.

Peter Paillou (c. 1720-1790) A pair of snipe and a kingfisher in a landscape Watercolour over pencil on wove paper 35.2 x 44 cm.; 13 ¾ x 17 ¼ inches Provenance Sotheby’s London, 9 November 1995, lot 19; where bought by James Hall, his collection, no. 70 until 2022 The artist’s life is not well documented, but he is believed to have come to Britain from France in the first half of 18th century. London based, he worked for the famous Welsh naturalist and antiquarian Thomas Pennant (1726-1798), drawing birds. His son, Peter Paillou Jr. was a miniature and portrait painter.

Pen and black ink over pencil Each 13 x 21 cm.; 5 x 8 ½ inches Provenance J.M. Hunter, purchased from The Fine Art Society 22 November 1968 until 2023 Exhibited The Fine Art Society Ltd., London, 'Edward Bawden, CBE, RA - Recent works', 1968 Literature Claudia Roden, 'A Book of Middle Eastern Food', published by Thomas Nelson, London, 1968, with photographs by Pinkard, and black and white illustrations at the head of each chapter by Edward Bawden. These are the original drawings used to illustrated Claudia Roden’s (b. 1936) first cookery book on Middle Eastern food which mixed Bawden’s playful drawings with modern food photography and revolutionised Western attitudes to the cuisines of the Middle East and North Africa. It was substantially expanded and published in a new edition in 1986. She is the author of ten popular and critically-acclaimed cookery books and has a particular interest in the social and historical background of cooking. Bawden lived in Great Bardfield in Essex from the 1930s to 1970 and was a central figure of the Great Bardfield Artists.

Henry Lamb (Australian/British 1883 – 1960) Inscribed l.r.: Edwin John, pencil Provenance The Estate of the artist; Davis & Langdale Company, New York (DLA 3328); Where purchased by Sarah John (1946 - 2024); Bequeathed to the present owner This drawing dates from c. 1913-1915. Edwin John (1905-1978) was the fourth son of Augustus John and Ida and was born in Paris. After a brief career as a middleweight boxer he became a watercolourist. He inherited the estate of his aunt Gwen and did much to secure her posthumous reputation. Henry Lamb was born in Adelaide, Australia in 1883. He studied medicine in Manchester before abandoning it in1905 to train as an artist. At twenty-two he left for London to study under Augustus John and William Orpen at their Chelsea Art School at 72 Flood Street. They held weekly classes in life drawing and painting, still life, figure composition, landscape and decorative painting. He was a talented student and he and John formed a strong friendship. For a while Lamb imitated John’s bohemian manner of dress, wore gold earrings and grew his hair longer. He also began to draw like John. Lamb was a frequent visitor to the John household into 1930s and became close to Dorelia (with whom he had an affair) and to the children who he encouraged to draw. This drawing also has echoes of the work of Stanley Spencer. Spencer (like John) had studied at the Slade from 1908-1912 under Henry Tonks. Lamb and Spencer met in 1913 and were close friends for a while. Another drawing of Edwin from this period was with Piano Nobile in 2024 (Augustus John and the First Crisis of Brilliance, 26 April –13 July 2024, no. 12).