Decorative Pictures

Allan Chidgery – Female Nude Study, 20th century pen with ink, signed and dated ’71, 68cm x 48cm, within a stained wood frame.

Roy Ullyett – ‘HRH is keen to cut the gaps of winners between him and the Shoe to 7,906’, 20th century pen with ink cartoon, signed and titled, sheet size 30.5cm x 24cm, together with a collection of related horse racing ephemera.

Robert van Cleef – ‘Le Bel Enfant’, 20th century oil on canvas, signed recto, titled verso, 26cm x 21cm, within a swept gilt carved wood frame.

Walter Crowley – Cloud Study, 19th century oil on board, signed with initials recto, inscribed verso, 13cm x 21cm, within an ebonized and gilt frame.

George Tincu – Beach Scene in the Dominican Republic, 21st century oil on canvas, signed, 76cm x 76cm, within a painted wood frame, together with two further oils by the same hand.

J. Diner – Tulips, 20th century sanguine with pastel, signed, sheet size 42cm x 26.5cm, together with three similar drawings of tulips by the same hand.

Anne Batty – ‘Mercy and love have met’, 20th century oil on board, signed recto, titled and dated 1994 verso, 37cm x 35cm, within a stained wood frame.

Anne Batty – ‘Ware for eye’, 20th century oil on board, titled verso, 29cm x 38.5cm, within a painted wood frame.

Anne Batty – ‘The mist is gathering’, 20th century oil with collage on board, artist’s name and title to label verso, 31cm x 41cm, within a painted wood frame.

Anne Batty – Maritime Composition, 20th century oil with collage on board, 29cm x 39cm, within a painted wood frame.

Anne Batty – ‘Close Voyages’, 20th century oil on board, titled verso, 23cm x 27cm, within a painted wood frame.

Anne Batty – ‘A moments sway’, 20th century oil with collage on board, signed and titled verso, 23.5cm x 28cm, within a stained wood frame.

Gladys Peto – Mountain Landscape, Cyprus, pen with ink and watercolour, signed, 29cm x 34cm, within a painted wood frame, together with two similar landscapes by the same hand.

British School - View of the River Thames with Westminster Bridge, Westminster Hall and Westminster Abbey, 19th century watercolour heightened with bodycolour, 10cm x 15cm, within a gilt composition frame.

After John James Halls – Edmund Keane as Richard in Richard III, 19th century watercolour, 9cm x 6cm, within a gilt composition frame, together with six 19th century silhouettes, an equestrian gouache on vellum and a stipple engraving by William Wynne Ryland after Angelica Kauffman, Conjugal Peace.

Paul Thomas — Half Length Portrait of John Frederick Macdonald, charcoal with pastel and chalk, dedicated, signed and dated 1899, 33.5cm x 24cm. Note: John Frederick Macdonald (1876-1915) was a Scottish born author who before the age of 21 wrote a series of articles on Paris for ‘The Saturday Review’, later published as ‘Paris of the Parisiens’ (Grant Richards, 1900) and ‘Two Towns One City: Paris-London’ (Grant Richards, 1917). He died of consumption at the age of 39 after volunteering at a French hospital during the First World War.

British School – Portrait of a Gentleman seated on a Stick Back Chair, 19th century oil on canvas, 55.5cm x 45cm, within a gilt composition frame.

James Stead Crosland – ‘Large Goods Engine, Parnassus, R. Peacock Esq Engineer’, monochrome ink with wash, signed and dated 1856, 48cm x 118.5cm. Note: James Stead Crosland (1818-1888) was an accomplished engineer who devised several innovative solutions aimed at enhancing the efficiency and performance of steam engines. This detailed side elevation was made in collaboration with Richard Peacock (1820-1889) of Beyer, Peacock and Company. Executed in 1856 at their Gorton foundry, this drawing exemplifies the dedication and ingenuity of Crosland and Peacock in their attempts to advance locomotive engineering at the height of the industrial revolution. Provenance: collection of notable Arundel based artist Ann Sutton O.B.E.

Italian School – Capriccio Landscape with Cow, Figures and Ruins, 18th century oil on canvas, 48.5cm x 68cm, within a gilt composition frame.