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244	ENGLISH SCHOOL, late 17th century A portrait of a gentleman wearing a powdered wig, a red coat and a white cravat, bust-length, oil on canvas, 29.5" x 24.5" Estimate: 300-600	Nil	700
245	MANNER OF ALBERT CUYP A gentleman seated full length in a landscape with hounds and a young attendant, a distant landscape beyond, oil on canvas, 25.5" x 21.25", in a carved and silvered-wood frame. See illustration Provenance: According to the vendor acquired from the late Sir Philip Shelborne, Myles Place, Salisbury, Wiltshire. Private Collection, Sherborne, Dorset. Estimate: 1500-2500	Nil	1700
246	MANNER OF JEAN BAPTISTE MONNOYER A still life of summer flowers on a stone ledge, oil on canvas, 29" x 24", in a carved giltwood frame. See illustration Provenance: Private Collection, Sherborne, Dorset. Estimate: 800-1500	Nil
247	MANNER OF GASPAR VAN WITTEL, called Vanvitelli A view on a river, probably the Tiber at the Ponte Rotto, Rome, oil on canvas, 27" x 35". See illustration Provenance: Private Collection, Devon. Estimate: 1000-2000	Nil	15500
248	ASCRIBED TO PIERRE AUGUST RENOIR "Paysage avec Personnages", bears signature "Renoir" and the reverse with various labels, 10.5" x 8.25". See illustration (FP) Provenance: Acquired from the Lefevre Gallery in 1957 by Sir Antony Hornby and thence by descent to his grand-daughter, Annabel Barley. Private Collection, Dorset. Exhibited: The Tate Gallery - "Private Views" no. 85 from the collection of Sir Anthony Hornby, 12 Radnor Place, W2. The exhibition "Private Views" was works from the collections of twenty friends of the Tate Gallery and included a number of works from the collection of Sir Antony and Lady Hornby. In addition to this work (no. 85) the Hornby's lent others by Pierre Bonnard, Georges Braque, Henry Matisse and Edouard Bruillard. At the time this work was sold and lateR exhibited at The Tate, it was accepted as an autograph work by the artist. The Wildenstein Institute in Paris, however, do not accept this work as autograph.	Nil	12000
249	IAN DAVENPORT "Rain", signed and dated on the reverse 1988, oil on panel, 25" x 27.5". See illustration Provenance: The Collection of Julie Balmforth, a contemporary of Ian Davenport and Damien Hirst at Goldsmiths from 1986-1989. In 1988 both artists became tenants of Jacob Street Film Studios, Mill Street, London SE1; a company connected to the vendor. This painting was a gift to the vendor from the artist. Estimate: 2000-4000	Nil	4000
250	DAMIEN HIRST "Red Rubber Ball", the reverse with a typed label with the title, mixed media collage, 39.5" x 31.5". See illustration Provenance: From the collection of Julie Balmforth, a contemporary of Damien Hirst at Goldsmiths. Later, the artist rented space from Jacob Street Film Studios, London SE1; a company connected to the vendor. Hirst's studio was in the attic above the studio canteen. This collage was a gift from the artist to the vendor when he left the Studios in 1990. Literature: Hirst's early collages are amply described in Stuart Morgan's essay for the catalogue of "In and Out of Love", Hirst's 1991 Exhibition. For a full discussion of this period and the artist's works see Damien Hirst: "I want to spend the rest of my life everywhere, with everyone, one to one, always forever, now", London 1997, pp. 68-73. Red Rubber Ball is an early work produced Damien Hirst in the late 1980's. Unlike his later work, "Red Rubber Ball" exudes a sense of individual craftsmanship not seen in many other works from his oeuvre. The inclusion of ready-made objects and the fragmentation of a corpse, however, prefigure what is to come in "Twelve Disciples", "The Physical Impossibility of Death in the Mind of Someone Living" and, more recently "The Golden Calf". Hirst's collage is composed of various found objects and covered with spattered paint on a found wood assemblage. A doll's severed head, media images and a dried rose figure amongst the items have been playfully juxtaposed onto the picture plane. The uneven paint creates a sense of disorder, whilst the randomly placed and colliding items enhance a sense of anarchic jumble. His fascination with death and the fragility of human existence can already be found in this work. This distinctive work is reminiscent of the destructive, often fragmented, aesthetic of post-war European art, and, more specifically, the Nouveaux-Realists. Like Tinguely, Hirst's work seems to be created out of all kinds of disparate found objects, but somehow an intrinsic beauty transcends the fragmentation and disorder. Estimate: 30000-50000	Nil	26000
251	LUDOVICO MAZZOLINO The Virgin and Child with St. Joseph in a landscape, dated in gold 15XXII, oil on panel, with an arched top, 18.5" x 13.5". See illustration (the right hand page of a double page spread) Provenance: The collection of Edmund Burke sold Christie's London 5th June 1812 for £21.0. Purchased by Winstanley. Presumably the painting entered the collection of William Blundell Spence at the Villa Medici, Fiesole some time in the mid-19th century. In 1862 he was visited there by Eliza Charlotte Moss, his first cousin. The visit is recorded in her diary, a typed copy of which is retained by the family. It is probable that this painting, along with a number of others, was bequeathed to Eliza Charlotte Moss, the great-grandmother of the vendor. We are grateful to the National Gallery, London, for their assistance with this catalogue entry. Estimate: 40000-60000	Nil	90000
252	SOUTHERN NETHERLANDISH SCHOOL, circa 1580 The Holy Family, oil on panel, 24.25" x 20". See illustration (including the frame if possible FP) We are grateful to the Rijks Museum, Amsterdam for their assistance in cataloguing this lot. Estimate: 7000-10000	Nil
400	T.E. LAWRENCE: A LETTER dated 19/3/35 with a post-script "Romsey on Sunday night and London by 4pm Monday: seventy five miles that second day! Improving!", signed "TES". See illustration Provenance: The Knowles Collection Estimate: 500-1000	Nil	950
401	T.E. LAWRENCE: A LETTER dated 17/4/31 "Dear Mrs Knowles, My plans have been upset by being ordered here for a fortnight or so to test some new motor boat engines for the RAF", signed T.E. Shaw. See illustration Provenance: The Knowles Collection. Estimate: 800-1500	Nil	1300
402	T.E. LAWRENCE: A LETTER dated 1/12/29 "Dear Knowles, A Christmas letter".... signed "T.E. Shaw". See illustration Provenance: The Knowles Collection. Estimate: 800-1500	Nil	1100
403	T.E. LAWRENCE: A LETTER dated 30/11/26 "Dear Pat ... I am rushing madly about (with a cracked knee due to contact with Islington High Street - the bike is a ruin)", signed "TES". See illustration Provenance: The Knowles Collection Estimate: 800-1500	Nil	1100
404	T.E. LAWRENCE: A LETTER to HW (Henry Williamson) dated 28/2/29 from 14 Barton Street, Westminster, London SW1 ... "Executor: Yes. I will do it, if it can be completed by April 1935 when my present life (RAF) ends...... and I should ask you to be mine!, signed TES., with addressed envelope. See illustration Reference: TE Lawrence correspondence with Henry Williamson, Russell Hill Press 2000. Estimate: 800-1500	Nil	1400
405	T.E. LAWRENCE: A LETTER dated 22/7/29 "Dear HW, I am off to London, crack of dawn, tomorrow, Schneider Race Committee Meeting.", signed TES., with addressed envelope. See illustration Reference: T.E. Lawrence correspondence with Henry Williamson, Russell Hill Press, 2000. Estimate: 800-1500	Nil	1400
406	T.E. LAWRENCE: A LETTER dated 28/8/28 from 338171 A/C Shaw RAF Miranshah, Waziristan "Dear Williamson .... The risk is that you may grow too rich! because then you will have, like poor Belloc, always to do all sorts of dirty things to earn a little more.", signed T.E. Shaw, with addressed envelope. See illustration Reference: TE Lawrence correspondence with Henry Williamson, Russell Hill Press, 2000. Estimate: 800-1500	Nil	1700
407	T.E. LAWRENCE: A LETTER dated 21/12/33 from 13 Birmingham Street, Southampton "Dear HW .... Lately I have re-read Tarka - and find the old mastery that shocked and startled me in India. It is a fine book. You could make Bradshaw interesting if you edited it...." signed "TES", with envelope. See illustration Reference: TE Lawrence correspondence with Henry Williamson, Russell Hill Press, 2000 Estimate: 800-1500	Nil	1400
408	T.E. LAWRENCE: A PHOTOGRAPH probably inscribed by Lawrence to the reverse "TE & LH (Liddell Hart) at Hythe, dated 2/6/34. See illustration Estimate: 100-200	Nil	260
409	T.E. LAWRENCE: A LETTER dated 16/3/25 "Dear Robin, Bike wants £100 more. How do I draw it? .... Cape is nibbling at the abridgment idea. I propose to offer him less than a half of the Seven Pillars ..." signed "TES". See illustration Estimate: 1000-2000	Nil	1800
410	T.E. LAWRENCE: A LETTER dated 6.4.25 "Dear Robin .... On Saturday I drew a cheque for £198 odd on the special account. This was for my new bike, and other things.... Till Cape's £1500 comes in. This will not be yet: he has made out a contract, and I have to look at it, re-write it from my point of view, send it to GBS for his approval, ....", signed "TES". See illustration Estimate: 1000-2000	Nil	2200
411	T.E. LAWRENCE: A LETTER from Cloud's Hill dated 28/12/23 "Dear Robin .... The overdraft is hideous large. I'll do my best at it now. You are exceedingly good to let me have so much on no security and discussing the printing and the first batch of four plates of the Seven Pillars", signed "TES". See illustration Estimate: 1000-2000	Nil	3400
412	T.E. LAWRENCE: A LETTER dated 4/12/23 "Dear Robin .... Meanwhile my incomparable bike has been borrowed (in my absence) and returned a hopeless wreck ...", signed "TE". See illustration Estimate: 1000-2000	Nil	2000
413	T.E. LAWRENCE: A LETTER dated 19/3/29 from 338171 A/C Shaw RAF Cattewater Plymouth "Dear Robin .... Oh yes: and a bill to Brough, for things done to my bike in Nottingham a fortnight ago. It's a heavenly bike, goes like smoke and is as smooth as milk to ride.....", signed T.E. Shaw (?). See illustration Estimate: 1000-2000	Nil	3000
414	FLORENCE HARDY: A LETTER dated 22/10/35 addressed "Dear Mr and Mrs Pat Knowles" on Maxgate paper, signed "Florence Hardy" and seven other Florence Hardy letters on Maxgate paper (8) Estimate: 300-500	Nil	1000
415	FLORENCE HARDY: A LETTER dated July 25th from Max Gate, Dorchester: "Mrs G.B. Shaw says that if TEL has not paid up for his cottage at Clouds Hill, she would like to give what is owing to secure it for him", another Florence Hardy letter, and two letters from AW Lawrence Estimate: 300-500	Nil	450
416	THOMAS HARDY: A studio photograph of Hardy seated aged about 60 by Bernhard Griffen of Dorchester, signed by the author on the mount, 5.5" x 3.5", and Florence Hardy studio photograph aged 36 (taken in 1915), signed by Mrs Hardy on mount, 5.5" x 3.75", framed as a matching pair (2). See illustration Estimate: 500-800	Nil	450
417	THOMAS HARDY: "The Return of the Native", first edition, published Smith Elder & Co, 15 Waterloo Place, London, volume I, signed "To Clement Shorter, yours sincerely Thomas Hardy, July 2 1903" (3) calf bound, gilt spines, the frontispiece with a Clement K Shorter book plate. See illustration Provenance: Ex Libris W A Foyle Beeleigh Abbey Estimate: 6000-8000	Nil
418	THOMAS HARDY: "Tess of the d'Urbervilles", first edition, published Osgood Mcilvaine & Co, London 1891, III vols. cloth bound, in case. See illustration Estimate: 5000-8000	Nil	4600
419	THOMAS HARDY: "The Mayor of Casterbridge" first edition, published Smith Elder & Co London, 1886, cloth bound, II vols. See illustration Estimate: 600-1000	Nil
420	THOMAS HARDY: "The Woodlanders", first edition, published Macmillan & Co, London and New York, 1887, cloth bound, III vols. See illustration Estimate: 300-500	Nil