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English School, early 19th Century

The hungry caterpillar

watercolour on vellum

5 x 6 ⅝  in. (12.7 x 16.8 cm.)

frame 7 ⅞ x 9 ½  in. (19.7 x 24.1 cm.)

Fittingly about to commence munching on some privet, this glorious (and meticulously detailed) caterpillar would have turned into a Privet Hawk-moth - the United Kingdom’s largest hawk-moth, with a wingspan of up to 12 cm.







English School, 19th Century

Little owls

indistinctly signed with initials ‘F.L.Q. [?]’ (lower right)

oil on board
17 ½ x 14 ½ in. (44.4 x 36.8 cm.)
frame 27 ⅝ x 24 ½ in. (70.2 x 62.3 cm.)

The little owls depicted in this work are life-size.



Although the little owl population is in rapid decline, they have taken to life in London, and can be seen (and heard) at night, in Hyde Park and Kensington Gardens.

A great picture for a study or hallway, the little owl has traditionally represented wisdom and knowledge, and had a close association with the Greek and Roman goddesses Athena and Minerva. The murder of Julius Caesar is also said to have been heralded by the call of a little owl. Inhabiting the more temperate parts of Europe, North Africa, Asia (as far as Korea), and the South Island of New Zealand, the species first came to the Britain at the end of the nineteenth century, it’s introduction credited to the ornithologist Thomas Littleton Powys, 4th Baron Lilford (1833-1896).





English School, circa 1818

Fishy friends

both indistinctly signed and inscribed

‘H. Sims Ruul [?] RGA [Royal Garrison Artillery]/ Gibraltar’

and dated ‘13.6.18’ and ‘11.7.18’ respectively (lower right)
pencil, pen and ink and watercolour
each 43⁄8 x 61⁄4 in. (11.1 x 15.8 cm.)

frames 51⁄4 x 71⁄4 in. (13.3 x 18.4 cm.)

The fish depicted are thought to be from the Triglidae family.

a pair, not quite a shoal                         (2)



British Impressionist School, circa 1905

Off to the party

signed with initials and dated ‘D.D. 1905’ (on the reverse)

oil on panel

9 1/2 x 6 1/2 in. (24.1 x 16.5 cm.) 

with frame 16 x 13 1/2 in. (40.6 x 34.3 cm.)


with an extensive landscape study (verso)



English School, 19th Century

Ploughing the fields

indistinctly signed (lower right)

oil on canvas

18 x 24 in. (45.7 x 60.9 cm.)

with frame 25 x 31 in. (63.5 x 78.7 cm.)



French School, 19th Century

A Gothic interior, with panelling and a canopied fireplace

oil on canvas

16 x 22 1/4 in. (40.7 x 56.5 cm.)

with frame 20 ½  x 27 in. (52.1 x 68.6 cm.)




with Christopher Wood Gallery, London.


Christopher Wood: a very Victorian Eye; Christie’s, London, 7 February 2007, lot 277.


Canadian School, late 19th/early 20th Century

Jack pines and log, Algonquin Park, Canada

signed with monogram ‘NM’ or ‘MN’ (lower left) with title inscribed (on the reverse)

oil on canvas

17 1/8 x 21 in. (43.2 x 53.3 cm.)

with frame 23 1/4 x 27 1/4 in. (59 x 69.2 cm.)



An unattributed, and highly speculative painting, the artist who produced this work was obviously a highly competent, able hand. A difficult perspective has been captured, with long, confident brush-strokes, complimented by a well selected and balanced palette.


Algonquin Park, Ontario, has some of the most glorious landscape Canada, and is home to bears, moose, common loons, and the famous Whiskey Rapids Trail.


A cold-painted cast iron piggybank, circa 1900, wth a coin-slot in his back

9 x 17 x 7 in. (22.8 x 43.2 x 17.8 cm.)


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