Chiswick-Auctions-British-&-European-Fine-Art-March-2019

Chiswick 6th March Eu Fine Art covers.qxp_Layout 1 08/02/2019 15:45 Page 1

British & European Fine Art 6 March 2019

1 Colville Road, London W3 8BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

British & European Fine Art including Portrait Miniatures London 6th March 2019

Chiswick 6th March Eu Fine Art covers.qxp_Layout 1 08/02/2019 15:45 Page 2

SPECIALISTS

SALE CALENDAR

MARCH

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TUESDAY Silver & Objects of Vertu Design & Interiors

Suzanne Zack

Adrian Biddell

Head of Sale British & European Fine Art suzanne.zack@chiswickauctions.co.uk

Head of Department Paintings & Fine Art adrian.biddell@chiswickauctions.co.uk

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TUESDAY

Photographica

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WEDNESDAY

Old Master Paintings

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TUESDAY

Fine Oriental Rugs & Carpets Melissa van Vliet

Julian Laurence Samuels

Krassi Kuneva

Head of Sale Old Masters melissa.vanvliet@chiswickauctions.co.uk

Department Coordinator Paintings & Fine Art julian.samuels@chiswickauctions.co.uk

Head of Sale Modern & Post-War British Art kkuneva@chiswickauctions.co.uk

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WEDNESDAY

Books & Works on Paper Fine European Works of Art & Clocks

APRIL

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TUESDAY Modern & Post-War British Art

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WEDNESDAY Books & Works on Paper

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TUESDAY Ceramics & Glass

Lot 201 Harald Mahrenholz (German 1904-1994) The Artist’s Mother (detail)

British & European Fine Art including Portrait Miniatures

Wednesday 6th March 2019, 14.00

VIEWING AT SOUTH KENSINGTON selected highlights only Thursday 21 February - Thursday 28 February 11.00 - 17.00

VIEWING AT CHISWICK full sale Saturday Sunday Monday Tuesday Wednesday

02 March 03 March 04 March 05 March 06 March

11.00 - 17.00 11.00 - 17.00 10.00 - 18.00 10.00 - 18.00 10.00 - 14.00

PHOTOGRAPHERS GENERAL ENQUIRIES +44(0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk 1 Colville Road, London W3 8BL 127 Fulham Road, London SW3 6RT

Steven McCauley Jordan Salzmann Darrell Russell Monika Olek

Basak Ulukose

Front cover: Lot 123 Back cover: Lot 114, 115 Sale Calendar: 201

Contents Portrait Miniatures

1 - 73

Drawings & Watercolours

74 - 152

Oil Paintings

153 - 241

PORTRAIT MINIATURES

1

1 SPANISH SCHOOL (c.1660) Portrait miniature of a Lady, wearing a pink low cut dress with wide lace neckline and a bow at her corsage, pearl choker and pearls in her dark brown curled hair Oil on copper White metal frame with spiral cresting Oval, 70mm high

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2 ENGLISH SCHOOL (c.1700) Portrait miniature of a Lady wearing a pink dress with white trim Oil on copper Set within an ebony frame Oval, 52mm high

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3 ENGLISH SCHOOL (c.1660) Portrait miniature of a Lady, wearing a brown dress with white underslip, pearl choker, long powdered and curled hair Oil on copper Unmarked gold frame with spiral cresting Oval, 55mm high

£300-£500 £200-£300

£300-£500

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*See inside front cover for information regarding fees

4 DUTCH SCHOOL (c.1660) Portrait miniature of a Gentleman, wearing a black coat with tied white jabot Oil on copper Gilt-copper frame with spiral cresting Oval, 75mm high £300-£500 5 FLEMISH SCHOOL (c.1660) Portrait miniature of a Gentleman, wearing a brown cloak and white lace jabot, his natural hair curled and worn long Oil on copper Yellow metal frame Oval, 40mm high £200-£300

7 ATTRIBUTED TO FRANCISZEK SMIADECKI (ANGLO/POLISH fl.c.1660-1670) Portrait miniature of a Gentleman, wearing a white lace falling collar with tassels, c.1670 Oil on copper Later gilded metal frame with spiral cresting Oval, 57mm high Provenance: European Private Collection Very little is known about Smiadecki, who was born in either Poland or Russia. He is thought to have been tutored by Alexander Cooper in Sweden and worked primarily in oils on copper or vellum. The work of Smiadecki has only really gained the deserved recognition in the last fifty years, and like many other portrait miniaturists working in oils, Smiadecki did not always sign his work, making the possibility for study limited. The present work would appear to accord with his technique, particularly in the characterful observation of the sitter’s features and the carefully delineated lace jabot.

6 AFTER SIR ANTHONY VAN DYCK Portrait miniature of Thomas Wentworth, 1st Earl of Strafford Watercolour on card Gilt metal frame with pierced spiral cresting Oval, 67mm high

Smiadecki appears to have been one of many artists, most of whom were Dutch in origin, providing small scale oil paintings as an alternative portable form of portrait to the traditional watercolour miniature or limning. These varied in quality with some, such as the example here, were painted with exceptional skill.

£300-£500

£600-£800 8 ENGLISH SCHOOL (c.1705) Portrait miniature of a Gentleman, wearing a grey cloak with pink trim and white jabot, full-bottomed wig Oil on copper Unmarked gold frame with spiral cresting Oval, 72mm high £300-£500

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9 NATHANIEL HONE (BRITISH 1718-1784) Portrait miniature of a Lady in a purple dress with white underslip, pearl choker and pearl earrings Signed and dated l.l. NH / 1760 Enamel (with crack to the lower edge) Gold frame Oval, 40mm high

11 λ GERVASE SPENCER (BRITISH c.1715-1763) Portrait miniature of a Lady in a blue dress with pearl details to the sleeves and bodice with white underslip, a strand of pearls worn across her and a pearl choker tied with a blue ribbon, a blue feather in her upswept hair Signed on the obverse with initials and dated GS/1761 Watercolour on ivory Gold bracelet clasp frame Oval, 37mm high

£200-£300 £300-£500 10 λ GERVASE SPENCER (BRITISH c.1715-1763) Portrait miniature of a Lady wearing a blue dress with lace collar, a pearl choker, her hair adorned with pearls and blue ribbon Signed with initials l.l. GS Watercolour on ivory Gilt-metal mount with gold bracelet clasp Oval, 32mm high

12 ATTRIBUTED TO CHRISTIAN FRIEDRICH ZINCKE (GERMAN 1683-1767) Portrait miniature of a Gentleman, wearing blue coat with gold frogging Enamel Gold frame Oval, 45mm high

Provenance: Christie’s, 27th June 1961

£500-£700

£300-£500

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*See inside front cover for information regarding fees

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13 λ ATTRIBUTED TO JAMES SCOULER (BRITISH c.1740-1812) Portrait miniature of a Gentleman, wearing green coat with brown cloak over his left shoulder and frilled cravat Watercolour on ivory Gilt-metal frame Oval, 61mm high £150-£250 14 λ THE ARTIST SIGNING ‘V’ (BRITISH fl. c.1775-1795) Portrait miniature of a Lady c.1770, wearing a pink dress with white underslip with frilled edge, her hair upswept and curled at the nape of her neck Watercolour on ivory Gold bracelet clasp mount Oval, 38mm high £400-£600

15 λ JEREMIAH MEYER R.A. (BRITISH 1735-1789) Portrait miniature of a Lady in a white dress and blue stole and pink lace choker tied in a bow at the nape of her neck, her dark upswept hair falling in a curl over her left shoulder Watercolour on ivory Gold frame, the reverse with central glazed aperture to reveal gold monogram CJ on plaited dark brown hair Oval, 42mm high £300-£500 16 λ JAMES SCOULER (BRITISH c.1740-1812) Portrait miniature of a Lady, seated at a side table with her elbow resting on books, wearing a blue dress trimmed with lace and pearls, a blue ribbon choker, blue ribbon and pearls in her upswept hair and pearl drop earrings Signed l.l.: J. Scouler Watercolour on ivory Gold frame Oval, 55mm high £400-£600

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17 λ RICHARD CROSSE (BRITISH 1742-1810) Portrait miniature of a young Gentleman in a black coat and knotted cravat, his hair powdered and worn en queue Watercolour on ivory Gold frame Oval, 33mm high £400-£600 18 λ SAMUEL SHELLEY (BRITISH 1750/6-1808) Portrait miniature of a gentleman wearing a brown coat, white waistcoatand frilled cravat Watercolour on ivory Gold frame Oval, 67mm high £300-£500

19 λ SAMUEL SHELLEY (BRITISH 1750/6-1808) Portrait miniature of a Lady identified as Miss Sharp wearing a blue dress with a white frill collar Watercolour on ivory Gold frame with split pearl border the reverse with blue and white enamel border around a gold engraved border engraved with sitter’s dates around a glazed aperture to reveal locks of hair tied with gold wire on opalescent Oval, 43mm high £300-£500 20 λ RICHARD CROSSE (BRITISH 1742-1810) Portrait miniature of a Lady c.1780, wearing a white dress with blue ribbon waistsash and an elaborate bonnet trimmed with a white plume and blue ribbon Watercolour on ivory Gold frame, the reverse glazed to reveal two locks of hair around a gold initial L within a gold oval belt motif engraved with inscription, In Deo Fido, on white glass Oval, 70mm high £800-£1,200

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*See inside front cover for information regarding fees

21 JOHN SMART (BRITISH 1742/3-1811) Portrait miniature of a Gentleman, head and shoulders, in white chemise and stock, his hair powdered and worn en queue Watercolour on card Mounted in a rectangular gilt wood frame 55mm high Provenance: With Thos. Agnew & Sons Ltd. £600-£800

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22 λ ATTRIBUTED TO JOHN SMART (BRITISH 1742/3-1811) Portrait of the Hon. Mrs Bright, wearing white dress with frilled collar trimmed with blue ribbon, a blue bandeau in her brown curled hair Watercolour on ivory Set within a later rectangular gilt moulded frame Oval, 40mm high

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23 λ CIRCLE OF JOHN SMART (BRITISH c.1765) Portrait miniature of a Lady in blue dress with white fichu and a blue ribbon with pendant necklace, her brown hair curled Watercolour on ivory Gold frame Oval, 37mm high Provenance: Sotheby’s, 19th December 1960

Provenance: Harold Williams & Partners, auction The contents of Coombe Dower, Croham Road, 13th May 1968; Private collection UK

24 λ HORACE HONE (IRISH c.1756-1825) Portrait miniature of a Gentleman wearing a red coat with black collar, frilled chemise and tied cravat Dated 1788 Watercolour on ivory Gold frame with bright-cut border, the reverse with with gold-mounted blue glass border around glazed aperture to reveal plaited hair Oval, 70mm high

£150-£250 £500-£700

£200-£300

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25 λ GEORGE ENGLEHEART (BRITISH 1750/3-1829) Portrait miniature of a Gentleman wearing a brown coat, yellow striped waistcoat and frilled cravat, his hair powdered and worn en queue Watercolour on ivory Gilt-metal brooch mounted frame Oval, 52mm high £1,000-£1,500 26 λ RICHARD COSWAY (1742-1821) Portrait miniature of a Gentleman, wearing a blue coat, white jabot and powdered hair en queue, c.1785 Watercolour on ivory Contemporary gold frame with seed pearl border, the reverse with bright-cut engraved border, the reverse glazed to reveal paper Oval, 42mm high Provenance: Sotheby’s, 16 January 1990, lot 512 European Private Collection Cosway was one of the leading portrait miniature painters of the eighteenth century, who, along with a handful of competitors, fed the hunger for the virtuoso grandeur which so typified the Regency period.

of Cosway’s work is the sky background, which was exemplified by Cosway and later adopted by competitors such as Andrew Plimer (1763-1837), who, along with brother Nathaniel, Cosway taught to paint.

The present work dates to c.1785 and was painted at a time when Cosway very much dominated the market for portrait miniatures. He developed a technique, seen clearly here, which contrasted delicate stipple work in the face with more fluent, expressive brushwork in the body and background. Other techniques include ‘floating’ his watercolour pigments on the pale ivory surface he allowed the luminous transparency of the material to suggest the natural glow of light. Here he has left much of the ivory behind the sitter’s head bare. £1,000-£1,500 27 λ GEORGE ENGLEHEART (BRITISH 1752-1829) Portrait miniature of a Lady in profile facing left, wearing white dress with long strand of black pearls across her décolletage, her powdered hair adorned with a black headdress decorated with black and white feathers and white ribbons Watercolour on ivory Gold frame Oval, 50mm high £500-£700

Born in Devon, the son of a headmaster was attracted to art from an early age and by the age of twelve was working in London under Thomas Hudson and learning at Shipley’s drawing school. Cosway first exhibited at the Society of Artists in 1760 and entered the Royal Academy Schools in 1769, exhibiting there 1770-1806. Cosway was made Miniature Painter to the Prince of Wales in around 1786, a position he maintained until the Prince became Regent in 1811.

Perhaps the most characteristic feature of Cosway’s work is the captivating level of luminosity he manages to create. Throughout his career Cosway mastered the use of transparent pigments, which when applied diligently onto ivory exploited the natural glow of the support, as seen in the present work. Another distinguishable feature

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28 λ ANDREW PLIMER (BRITISH 1763-1837) Portrait miniature of a Gentleman, wearing a black coat with white cravat, cloud and sky background Watercolour on ivory Gold frame, the reverse glazed to reveal plaited hair, fitted red leather case Oval, 77mm high £800-£1,200

*See inside front cover for information regarding fees

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29 λ THOMAS RICHMOND (BRITISH 17711837) Portrait miniature of a Naval Officer wearing blue jacket with gold epaulets, white waistcoat and cravat Watercolour on ivory Gold frame, the reverse glazed to reveal locks of hair tied with gold wire and seed pearls on opalescent glass Oval, 74mm high £800-£1,200

30 λ ANDREW PLIMER (BRITISH 1763-1837) Portrait miniature of a Gentleman, wearing a dark blue coat with gold buttons, a white waistcoat and cravat, cloud and sky background Watercolour on ivory Gold frame, the reverse glazed to reveal gold monogram ‘ST’ on a woven hair panel Oval, 77mm high

31 λ THOMAS HAZLEHURST (BRITISH c.1740-c.1821) Portrait miniature of a Cleric, wearing black robes and white collar Watercolour on ivory Gold brooch mount frame with chased border, the reverse with central glazed aperture to reveal plaited hair Oval, 54mm high

£800-£1,200 Provenance: Messrs King & Chasemore, auction of the contents of the Manor House at Barkfold Kirkford, Nr. Billingsnhurst, Sussex, 22nd June 1967, Lot 535; Private collection UK. £300-£500

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32 λ ADAM BUCK (IRISH 1759-1833) A pair of portrait miniatures of Caroline Hardwick (née Spencer) (1778- 1834) and Joseph Hardwick (1775-1844); she in white dress with frilled border and belt with ‘Wedgwood’ clasp; he in a black coat with a white stock, dated 1803 Watercolour on ivory, both inscribed, signed and dated on the front ‘Buck/1803’ Both cased in gold frames (not matching) and in matching red leather travelling cases with inserts inscribed with sitter’s details (Inscription in the case of Joseph Hardwick’s portrait reads: ‘Joseph, youngest son of John & Mary Hardwick of Credenhill, Herefordshire. Born October 14th 1775. Married Caroline Willshen October 5th 1805. Died November 9th 1844.’/ Inscription in the case of Caroline Hardwick’s portrait reads: ‘Caroline, third daughter of Benjamin & Lydia Willshen of Aldenham, Herts. Born January 28th 1778. Married Joseph Hardwick October 5th 1805. Died July 10th 1834.’

Oval, 70mm high (2) Provenance: European Private Collection £1,200-£1,800

32 33 λ WILLIAM GRIMALDI (BRITISH 1751-1830) Portrait miniature of a Gentleman identified as ‘Mr John Ord’, wearing a blue coat and white cravat Signed and dated on the obverse, ‘Grimaldi R.A., 1791’ and inscribed on the backing card verso, ‘John Ord/ son of/ Richard Ord & Elizabeth McKenzie/ of / Darchmolaveroch / painted in 1791 / by Grimaldi / R.A.’ Watercolour on ivory Gold frame, the reverse glazed to reveal original pen and ink inscription on the backing card Oval, 65mm high £400-£600 34 λ WILLIAM GRIMALDI (BRITISH 1751-1830) Portrait miniature of a Lady c.1806, wearing a black dress over a white lace chemise with a gold brooch at her corsage, a white bonnet, and a gold earring Watercolour on ivory Gold frame, the reverse glazed to reveal locks of hair tied with seed pearls and gold wire on opalescent glass Oval, 73mm high

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£300-£500 35 λ ENGLISH SCHOOL (18TH CENTURY) A pair of portrait miniatures of a Lady and Gentleman, she wearing black dress with white fichu and white frilled cap; he wearing black coat with white frilled cravat Watercolour on ivory Gold frames Each 47mm high (2) Provenance: Sotheby’s, 9th December 1960 £400-£600

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*See inside front cover for information regarding fees

36 λ JOHN BOGLE (SCOTTISH 1746-1803) Portrait of a Lady identified as The Hon. Miss Catherine Stewart (nee Honeyman), wearing a white dress with a blue bow around her waist Signed with initials and dated IB / 1801 Watercolour on ivory Gilt-mounted rectangular papier-mache frame set with gilt monogram CS Oval, 60mm high £400-£600 37 λ ANDREW ROBERTSON (SCOTTISH 1777-1845) Portrait miniature of a Gentleman. wearing a blue coat with gold buttons, white waistcoat and knotted cravat Signed on the obverse with initials and dated AR/1807 Watercolour on ivory Gold frame, the reverse glazed to reveal plum coloured silk Oval, 75mm high

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£400-£600 38 λ MANNER OF GEORGE CHINNERY (BRITISH 17741852) Portrait miniature of an officer of the British Light Dragoons/Hussars, wearing blue uniform with red facings and silver braid and a red sash, cloud and sky background Watercolour on ivory Gold frame, the reverse glazed to reveal plaited brown hair Oval, 88mm high £400-£600 39 λ ENGLISH SCHOOL (c.1812) Portrait miniature of a Lady, c.1812, wearing a white dress with red buckled belt, coral bead necklace, her dark hair curled and upswept Watercolour on ivory Gold frame, the reverse glazed to reveal cream silk Oval, 63mm high £200-£300

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40 λ J. LEWIS (BRITISH fl.1801-1808) Portrait miniature of a Gentleman, wearing blue coat, white waistcoat and stock, curtain pulled back to reveal a balcony background Signed, J Lewis Watercolour on ivory Gold frame, the reverse glazed to reveal brown woven hair Oval, 77mm high £200-£300 41 λ ENGLISH SCHOOL (c.1810) Portrait miniature of a Gentleman, wearing blue coat with black collar, yellow waistcoat and tied cravat Watercolour on ivory Gold frame, the reverse glazed to reveal gold monogram MR on plaited brown hair Oval, 75mm high £200-£300

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*See inside front cover for information regarding fees

42 CHARLES HAYTER (BRITISH 1761-1835) Portrait miniature of a Gentleman, profile facing left, wearing a blue coat, striped waistcoat and frilled cravat and tied stock, his hair powdered and worn en queue Pastel on card Original oval carved gilt-wood frame with the artist’s label attached to the backboard Oval, 110mm high

44 λ MANNER OF JEAN BAPTISTE GREUZE (18TH CENTURY) Portrait miniature of a Girl looking over her shoulder with long auburn hair wearing a chemise and a green shawl falling off her shoulder Watercolour on ivory Circular Gold frame, the reverse set with blue silk set into a fitted red leather case Circular, 80mm diam

£200-£300

Provenance: Delehar Antiques and Works of Art, Kensington, London where purchased by the present owner in 1966

43 CHARLES HAYTER (BRITISH 1761-1835) Portrait miniature of a Lady, in profile, wearing white muslin dress with frilled neckline, landscape background, c.1805 Pastel, watercolour and graphite on vellum Later gilt-metal frame with velvet backing Oval, 118mm high Provenance: European Private Collection Charles Hayter was born in Twickenham in 1761. At the age of twenty-four he entered the Royal Academy schools and went on to forge a career as a portraitist and tutor (he taught ‘perspective’ to Princess Charlotte). In 1813 he published an ‘Introduction to Perspective’, where he noted the influence of the pastellist Russell on his work (‘chiefly very small portraits…generally on vellum’). As seen in the present portrait, he liked his vellum to have a ‘soft, velvet-like nap’. He seems to have lived rather frugally in a rather tawdry part of Soho (in his ‘Dictionary of Pastellists before 1800’, Neil Jeffares notes that his street included the prostitute, Mrs. Hindes’s, residence). He seems to have had an agreeable personality, recorded in the diary of Crabb Robinson as ‘self- educated…[who] blends humour with all he says’. His marriage to Martha Stevenson in 1788 produced three children, all of whom became artists (including Sir Charles Hayter b.1792). The present portrait shows Hayter adapting his style to encompass the new craze for the Neoclassical fashions. The profile portrait and sitter’s muslin dress would have been extremely fashionable in the early 1800s. By this date many miniaturists were also offering their clientele larger portraits, either in graphite or crayons, which were hung on the wall and moved away from the miniature as an item of jewellery.

£600-£800 45 λ PETER EDOUARD STROELY (GERMAN 1768-1826) Portrait miniature of a distinguished Gentleman, wearing state occasion dress with the Order of the Garter and a badge of a knightly order in the form of a cross Bears added signature ‘Cosway’ on the obverse Watercolour and bodycolour on ivory Gilt-metal mount, fitted oval red leather carrying case Oval, 71mm high (hairline crack) Provenance: Christie Manson & Woods Ltd., Sale 21st November 1967, Lot 39; Private collection UK. £600-£800 46 λ JENNY GIRBAUD (FRENCH 1822-1894) Portrait miniature of a Lady, wearing black dress with white lace bodice, a white lace cap trimmed with red ribbon Signed and dated J Girbaud 1852 Watercolour on ivory Gilt-metal frame with bow surmount Oval, 77mm high £300-£500

£500-£700

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*See inside front cover for information regarding fees

47 λ SIMON JACQUES ROCHARD (FRENCH 1788-1872) A pair of portrait miniatures of an Officer and a Lady. He wearing black uniform with white facings, gold epaulettes, gold buttons and black stock. She wearing a white dress with a striped multi coloured shawl, gold chain with gem set quatrefoil pendant, gold earrings and floral headband in her upswept curled dark brown hair.

Gilt metal mounts in rectangular gilt metal frames Rectangular, 84mm high Together with an Exhibition letter from The Society of British Artists inscribed, ‘For Mr S. Rochard Esq./ 131/ New Bond Street’ dated 5th July 1824 stating that the present miniatures would be exhibited until 10th July 1824.

(2) £600-£800 48 λ ANTONIO MARIA ESQUIVEL SUAREZ DE URBINA (SPANISH 1806-1857) Portrait miniature of a Spanish Lady, wearing a black dress with sheer lace overlay and red neck scarfe, her black hair adorned with a traditional Spanish high comb and gold hoop earrings Watercolour on ivory Gilt-metal rectangular frame, the reverse glazed to reveal red velvet Rectangular, 65mm high £300-£500 49 λ B FAIVRE (FRENCH 19TH CENTURY) A pair of portrait miniatures of a Lady and Gentleman, he wearing black coat and knotted cravat, she wearing grey dress with lace collar Both signed and dated, B Faivre 1824 Watercolour on ivory Gilt-mounted square wood frames Oval, 77mm high (2) £300-£500

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50 λ JOSEPH FOURCADE (AMERICAN b. c.1795-1870) Portrait of a Gentleman, wearing a dark blue coat and tied stock Signed l.r., Fourcade pinxit Watercolour on ivory Gilt-mounted in rectangular wooden frame Oval, 70mm high £400-£600

51 λ LOUIS FRANÇOIS AUBRY (FRENCH 1767-1851) Portrait miniature of a Lady wearing a blue dress with transparent silk ruffled collar, her dark brown hair upswept and adorned with a blue floral headpiece, before a curtained balustrade overlooking a landscape Signed Aubry Watercolour and bodycolour on ivory Ormolu mount Oval, 70mm high

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£1,000-£1,500

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52 λ COMTE FERDINAND DE TASCHER c.1821 Portrait of Comte Kosakosky 1821, wearing a blue coat, white waistcoat with a red striped waistcoat and a knotted cravat, wooded landscape background Signed with initials F.T., and inscribed in pen and ink on old label attached to the backboard with details of the sitter and dated 1821 Watercolour on ivory In rectangular gilt moulded frame with arched gilt mount 125 x 100mm sight size within arched top Comte Ferdinand de Tascher was a member of Empress Josephine’s family.

Provenance: The Imperial French Royal Family; D. S. Lavender Antiques Ltd.; Private Collection UK. £1,000-£1,500

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*See inside front cover for information regarding fees

53 λ WILLIAM EGLEY (BRITISH 17981870) Portrait miniature of a young Girl with blonde hair wearing a white low cut dress with short puffed sleeves Watercolour on ivory Gilt-metal frame with split-pearl border, the reverse engraved with monogram H C in Gothic script Oval, 47mm high £400-£600 54 λ GEORGE HARGREAVES (BRITISH 1797-1870) Portrait miniature of a young Boy, wearing a blue coat with white shirt collar Watercolour on ivory Oval gilt-metal mount set into black lacquer frame Oval, 63mm high £300-£500

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55 λ ENGLISH SCHOOL (c.1895) Portrait miniature of a young Girl aged three or four, wearing a white dress with frilled collar and a white bow in her curly fair hair Watercolour on ivory Circular gold and enamel frame set with rose cut diamonds and rubies Circular, 33mm diam £400-£600 56 λ ISAAC WAYNE SLATER (BRITISH 1784/5-1836) Portrait miniature of a Boy in black coat with gold buttons and white ruffled collar shirt Signed and dated I W Slater / 1815 and indistinctly inscribed in pencil on the backing card Watercolour on ivory Gold frame, the reverse glazed to reveal original backing card inscribed by the artist, fitted leather case Oval, 70mm high

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£300-£500 57 λ THOMAS ARROWSMITH (BRITISH fl.1792-1829) Portrait miniature of a young Boy wearing a blue coat with a gold button, a white waistcoat and black stock, sky background Signed with initials and dated TA / 99 Watercolour on ivory Gilt-mounted rectangular papier mache frame Oval, 63mm high £200-£300

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58 λ NATHANIEL PLIMER (BRITISH 1757-1822) Portrait miniature of a Gentleman, wearing a blue coat with black collar and white waistcoat and cravat Watercolour on ivory Gilt mounted rectangular papier-mâché frame Oval, 64mm high Provenance: Bonhams, 21st March 1995; Private collection UK £150-£250

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59 λ ENGLISH SCHOOL (c.1805) Portrait miniature of John Hodgson Pearson 1781-1814, wearing black coat, white waistcoat and stock Watercolour on ivory Gilt-metal frame, the reverse engraved, ‘John Hodgson Pearson / H.E.J.C.S. born 1781 / died 1814 at Tellicherry’ Oval, 78mm high £200-£300 60 λ ENGLISH SCHOOL (c.1880) Portrait miniature of Theresa, Marchioness of Londonderry, née Chetwynd-Talbot (1856-1919) Watercolour on ivory Gold frame, the reverse glazed to reveal ivory silk grosgrain Oval, 97mm high Provenance: Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry and by descent £300-£500 61 λ ENGLISH SCHOOL (c.1810) Portrait miniature of a Gentleman, wearing brown coat, white waistcoat, frilled white chemise and tied stock Watercolour on ivory Rectangular gilt moulded frame Oval, 60mm high

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£200-£300 62 λ ATTRIBUTED TO ROGER JEAN (BRITISH c.1783-1828) Portrait miniature of a Gentleman, wearing black coat, black waistcoat and knotted cravat Watercolour on ivory Gold frame, the reverse glazed to reveal dark brown plaited hair Oval, 76mm high £200-£300 63 ATTRIBUTED TO THOMAS HEATHFIELD CARRICK (BRITISH 1802- 1875) Portrait miniature of a Gentleman, with dark brown hair, wearing a brown coat, olive waistcoat, white shirt with black cravat and a flower in his buttonhole, streetscape background Watercolour on marble, Oval, 124mm high, card mount, rectangular gilt-wood frame Footnote: Carrick received a medal from the Prince Consort in 1845 for inventing a method of painting on marble. He was friendly with several members of the literary world including Dickens, Wordsworth and Longfellow.

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£100-£200

*See inside front cover for information regarding fees

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64 λ STEPHEN POYNTZ DENNING (1795-1864) Portrait miniature of Master James Hannen (later Sir James Hannen) (18211894), seated in a red chair, wearing brown suit, white shirt and black stock, 1833 Watercolour on ivory Rectangular ormolu frame with inner gilded slip Oval, 136mm high Provenance: Christies, London, 11 July 1985, lot 471; Sotheby’s, London, 19 & 24 October 1989, lot 330; European Private Collection

66 λ SIR WILLIAM JOHN NEWTON (BRITISH 1785-1869) Portrait miniature of Mrs Goad, later Lady Bradford, facing left, wearing a white silk and gauze dress, ochre-lined plum cloak around her arms, her dark hair dressed in curls, landscape background Signed and dated, ‘W.J. Newton 1827’ and on the backing paper, ‘Mrs. Goad / Wm.J. Newton/ pinxit/8, Argyle St/ 1827’ Watercolour on ivory Cast gilt-bronze frame with shell corners 114 x 87mm Exhibited: Vienna Albertina, Meisterwerke der Europaischen Miniaturmalerei von 1750 bis 1850, 1965, No. 291

Exhibited Royal Academy, 1833, no. 753 (Master James Hannen) This portrait, by the London portraitist, and curator of the then newly opened Dulwich College Picture Gallery, Stephen Poyntz Denning, shows the judge James Hannen as a boy aged twelve.

Provenance: Christie’s London, 17th October 1995, Lot 111; Private collection UK.

£400-£600

67 λ ENGLISH SCHOOL (19TH CENTURY) Three miniatures framed together of three young Girls of the Londonderry family Watercolour on ivory Framed together in a gilt easel frame engraved on the reverse with the Londonderry family coronet and monogram

65 λ SIR WILLIAM CHARLES ROSS R.A. (1794-1860) Portrait miniature of Frances Anne Vane, Marchioness of Londonderry, seated, wearing a pink silk dress trimmed with white ermine, flowers at her corsage and in her hair Watercolour on ivory Ornate gilt metal easel frame surmounted with the coronet of the Marchioness and her monogram Rectangular with arched top, 130 x 103mm

£250-£350

Provenance: Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry and by descent £150-£250

Provenance: Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry and by descent. £300-£500

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68 λ ENGLISH SCHOOL c.1843 Portrait of Lieutenant Henry Reid wearing the uniform and cross belt of the Bengal Light Cavalry of the Honourable East India Company Watercolour on ivory Rectangular gilt wood frame, inscribed with details of the sitter on original label attached to the backboard, ‘Lieut Henry Reid/ Born at Boulogne / Oct 24. 1825 / Died in Cawnpore India / Oct 25 1843 / aged 18 yrs £200-£300

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69 λ JAMES GODDARD (BRITISH b.1756) Portrait miniature of a Midshipman c.1822, wearing blue coat with gold buttons and black collar, white waistcoat and black stock Watercolour on ivory Rectangular black lacquer frame, the reverse with original artist’s label inscribed, ‘J. Goddard pinx / London / 182 2’ 104mm high £150-£250 70 λ ENGLISH SCHOOL (c.1850) Portrait miniature of a Gentleman, wearing a black coat, white waistcoat and tied black cravat Watercolour on ivory Chased foliate gilt-metal fausse montre frame Oval, 45mm high £200-£300 71 λ ENGLISH SCHOOL (c.1790) Portrait miniature of a Naval Officer, wearing blue uniform with red facings, white waistcoat and stock, before a coastal landscape background Watercolour on ivory Silver gilt frame, the reverse glazed to reveal a lock of fair hair tied with split pearls over woven fair hair Oval, 63mm high

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£200-£300 72 λ MANNER OF JOHN DOWNMAN Portrait miniature of a Lady Watercolour on ivory Gold frame, the reverse with opalescent glass border surrounding central glazed aperture to reveal gold monogram JW on plaited hair Oval, 57mm high and two further portrait miniatures of ladies by different hands (3) £200-£300

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73 λ CONTINENTAL SCHOOL (LATE 18TH CENTURY) Portrait miniature of a Child wearing a light brown dress with double white lawn collar, holding a bunch of grapes, green curtain and column background Watercolour on ivory Gilt-mounted in square wooden frame Circular, 60mm diameter

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£150-£250

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DRAWINGS AND WATERCOLOURS

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76 74 RICHARD COOPER (SCOTTISH 1740-1822) Trees on a bank Signed upper right, R Cooper Pencil 19.5 x 30.5cm (7 3/4 x 12in) Provenance: P & D Colnaghi & Co. Ltd., Old Bond Street, London; John Baskett, New Bond Street, London

77 75 FRANCIS TOWNE (BRITISH 1739-1816) View from Barton Place Inscribed Pen and ink over pencil 23.5 x 16.4cm (9 3/8 x 6 1/2in) Provenance: With Thos. Agnew & Sons. Ltd., No. 28016 £400-£600

76 JOSEPH FARRINGTON (BRITISH 1747-1821) Castle de Saint Antoine near Fontenoy Signed, inscribed and dated Aug 10th 1793 Pen and brown ink over pencil with grey wash 26 x 15.5cm (10 1/4 x 6in) Unframed £400-£600

£150-£250

77 REV. JAMES BOURNE (BRITISH 1773-1854) Chepstow Castle, Monmouthshire Signed ‘J. Bourne’ and inscribed ‘Chepstow Castle’ on original mount and further inscribed in artist’s hand verso, ‘Chepstow Castle / Monmouthshire / J. Bourne / 41 Margt Street Cavendish Sq’ Watercolour laid down to original artist’s wash line mount 29.6 x 36.8cm (11 3/4 x 14 1/2in) Unframed £600-£800

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78 WILLIAM PAYNE (BRITISH c.1760-c.1830) View on the Rhone Signed and dated 1819 Watercolour 25.5 x 38cm (10 x 15in) Provenance: Abbott and Holder Ltd. £800-£1,200

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79 DOMINIC SERRES R.A. (BRITISH 1722-1792) Ile de Sainte-Marguerite Pencil and watercolour 6 x 37.4cm (2 1/2 x 14 3/4in)

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£500-£700

80 CORNELIUS VARLEY (BRITISH 1781-1873) The Thames from Richmond Hill Signed, inscribed and dated Oct 21 1826 Pencil 36 x 53cm (14 1/4 x 21in) £300-£500

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81 HENRY GASTINEAU (BRITISH 1791-1876) Landscape with waterfall Watercolour heightened with stopping out and gum Arabic 19.8 x 32cm (7 3/4 x 12 1/2in) Unframed £600-£800

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82 JOSEPH WILKINSON (BRITISH 1764-1831) A mill at Keswick Watercolour pencil and wash 24 x 38cm (9 1/4 x 14 3/4in) £300-£500

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83 RICHARD WESTALL R.A. (BRITISH 1765-1836) Two Men Fishing on a Riverbank with cattle resting on the other side Watercolour on wove paper 14 x 16cm (5 1/2 x 6 1/4in) Provenance: bought at Sotheby’s, 17th Dec. 1941, from the Collection of the late Percy Hedley Esq. Was previously in the Arthur N. Gilbey Collection sold in April 1940; Gilbey sale, Christies 1940 £200-£300

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84 WILLIAM LEIGHTON LEITCH R.I. (BRITISH 1804-1883) Roma Signed with monogram, titled and dated Watercolour 10.5 x 16.7cm (4 1/4 x 6 3/4in) Provenance: Moss Galleries, Brompton Road £200-£300

84 85 WILLIAM ROXBY BEVERLEY (BRITISH 1811-1889) Perth Watercolour over pencil 11.5 x 27cm (4 1/2 x 10 1/2in) Provenance: Spink, King Street, St. James’s, London £400-£600

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86 RICHARD WESTALL R.A. (1765-1836) The Four Seasons Sepia wash and watercolour over pencil 12 x 14cm (5 1/4 x 5 1/4in) (set of 4) Engraved 1816 £300-£500

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87 WILLIAM SAWREY GILPIN (BRITISH 1733-1807) Out of cover Watercolour 36 x 56cm (14 3/16 x 22 1/16in). £300-£500

87 88 EDWARD WILLIAM COOKE R.A., F.R.S. (BRITISH 1811-1880) At Ventnor Cove, Isle of Wight Inscribed and dated 9th July 1831 pencil 11.5 x 19cm (4 1/2 x 7 1/2in) Provenance: With Martyn Gregory, St. James's, London Extract from E.W. Cooke’s Diary - 9th July 1831 Saturday “Had breakfast at the Inn, made sketches all about the Chine, had dinner at the Inn. Bathed in the morning and walked along the beach to Luccombe Chine (1 mile) and made sketches.

Returned to Shanklin, got fishermen to carry luggage and we walked along the beach to Bonchurch (lovely place) and on to Ventnor. Had tea at the Crab and Lobster and went down to the cove and sketched. Slept at the Crab.”

88 £300-£500

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89 MICHAEL ANGELO HAYES (BRITISH 18201877) British heavy cavalry on manoeuvres wearing bearskins and cuirasses Signed with monogram, dated and inscribed, ‘No 34. Westmoreland st. / DUBLIN / 1840’ Watercolour heightened with white and gum Arabic 33 x 48cm (13 x 19in) Provenance: The Boydell Galleries, Liverpool £800-£1,200 90 JAMES WARD R.A. (BRITISH 1769-1859) Study of horses heads Pencil 19 x 27.5cm (7 1/2 x 10 3/4in)

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Provenance: Sabin Galleries Ltd., London £400-£600 91 GODEFROY DURAND (BELGIAN 1832-1920) The burning of Paris - from Montmartre (Franco-Prussian War) Signed and dated 1870-1871 and inscribed on original artist’s label attached to the backboard, ‘Sur la butté Montmartre/ pendant une sortie / 1870-1871 / G. Durand’ Watercolour 30.5 x 50.5cm (12 x 20in) £700-£1,000

90

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92

93

92 ATTRIBUTED TO THOMAS ORDEPOWLETT, LORD BOLTON (BRITISH 1746-1807) John Rochley condemned to be hanged at Lancaster - August 1777 Inscribed and dated, Pencil strengthened with ink on laid paper 10 x 8.5cm (4 x 3 1/4in) stuck to a large sheet Together with another pencil sketch by the same hand, G. Muckle, 1776 Mounted together, unframed £100-£200

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93 WILLIAM WEST (BRITISH 1801-1861) Soldier plundering a cathedral at night Black ink and wash heightened with scratching out 26.8 x 23cm (10 1/2 x 9in) Unframed

94 LOUISA ANNE, MARCHIONESS OF WATERFORD (BRITISH 1818-1891) Two standing and one seated male figures dressed in seventeenth century costumes Pen and ink 21 x 15cm (8 1/4 x 5 3/4in)

William West is one of the main exponents of the School of Bristol. His so-called Monochrome Drawings are counted amongst the most technically and visually independent and remarkable works of the School of Bristol. They are a rarity amongst English drawings of the first half of the 19th Century.

Provenance: Moss Galleries, Brompton Road £200-£300

£400-£600

96 95 95 LOUISA ANNE, MARCHIONESS OF WATERFORD (1818-1891) Kneeling woman Pen and ink on wove paper Oval, 13.8 x 16.5cm (5 1/2 x 6 1/2in) £200-£300

96 RICHARD BEAVIS (BRITISH 1824-1896) Study of Branches Signed with monogram and inscribed, ‘Cobham Park / no 20 / 59’ with further indistinct annotations to the lower edge of the sheet Pencil and watercolour 19.5 x 32cm (7 1/2 x 12 3/4in) Unframed £500-£700

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97 GEORGE ARTHUR FRIPP (BRITISH 1813-1896) Eel traps on the Thames with fishermen in a boat Indistinctly signed and dated lower right Watercolour 31 x 63cm (12 1/4 x 24 3/4in) Provenance: With Frost & Reed Ltd., 1956; Private collection UK. £800-£1,200 98 HENRY BARLOW CARTER (BRITISH 1803-1867) Fishing vessels off the coast in a stormy sea Signed with initials Watercolour heightened with scratching out 13.7 x 22cm (5 1/2 x 8 3/4in)

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£300-£500 99 GEORGE “SIDNEY” SHEPHERD (BRITISH 1784-1862) Figures and bathing huts on the beach at Hastings looking towards the cliff with the ruins of Hastings castle Watercolour over pencil 15.5 x 23.5cm (6 1/4 x 9 1/4in) and a companion, Coastal scene, by the same hand, a pair (2) £300-£500 100 JOHN MACWHIRTER R.A. (SCOTTISH 1839-1911) In a wood Signed l.r., and inscribed on original exhibition label from The Leicester Galleries attached to the backboard Watercolour 8.5 x 15.5cm (3 3/8 x 6in) Exhibited: The Leicester Galleries, Exhibition of Works by J. Macwhirter R.A., June 1911

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£200-£300

99

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BRITISH DRAWINGS AND WATERCOLOURS From the collection of CHRISTOPHER FRY Playwright, Educator, Poet, Actor 1907-2005 (Lots 101-117 & 148)

Christopher Fry (18 December 1907 – 30 June 2005) was one of the most celebrated English poets and playwrights of the 20th century and the leading figure, together with T.S. Eliot, in the revival of poetic drama. In 1948 he emerged with his lively verse play, “The Lady’s Not for Burning” and was able to consolidate his position in the 1950’s and 1960’s with a series of plays in free verse, including Venus Observed, Ring Around the Moon and The Boy With the Cart. He worked with all the biggest names of the British stage, from John Gielgud to Laurence Olivier and occasionally lent his talents to Hollywood, helping with the script of Ben Hur and other movies. In the 1970’s and 1980’s he worked on several translations and wrote TV series and a short play about the early religious poet Caedmon for performance in Chelmsford Cathedral. He was a passionate collector of fine art and amassed a large collection with a focus on British 18th, 19th & 20th century artists.

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101 101 PAUL SANDBY R.A. (BRITISH 1731-1809) A Fortress in a Mountainous River Landscape Gouache 8.3 x 11.5cm (3 1/4 x 4 1/2in) and a companion, ‘Figure and Cattle in a River Landscape’, a pair (2) Provenance: Christopher Fry and thence by descent £300-£500

102 EDWARD LEAR (BRITISH 18121888) Lake Nemi Inscribed with artists colour notes in pencil Pencil on buff paper 23.5 x 40.5cm (9 1/4 x 16in) Provenance: With Thomas Agnew & Sons Ltd, Old Bond Street; Christopher Fry and thence by descent £400-£600

103 EDWARD LEAR (BRITISH 18121888) Adam’s Peak, Columbo, Ceylon Inscribed 23 Nov 8:30 am lower left and further inscribed with artists colour notes Pencil and wash 5 x 22.2cm (2 x 8 3/4in)

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Provenance: Christopher Fry and thence by descent £300-£500

103

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104 RICHARD WESTALL R.A. (BRITISH 17651836) Study for Macbeth, Act V., scene 1; Lady Macbeth, doctor, and waiting gentlewoman Signed and dated, R.W., 1797 Pen and ink and wash on tinted paper 25 x 18cm (9 3/4 x 7in) Provenance: Christopher Fry and thence by descent £300-£500 105 GEORGE CHINNERY (BRITISH 17741852) Four figures around a table, Macau Pencil on textured wove paper 10 x 10.5cm (4 x 4 1/4in) Provenance: Christopher Fry and thence by descent £300-£500

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106 FREDERIC, LORD LEIGHTON P.R.A. (18301896) A sheet of figure studies for “ The Visible Madonna” & “Dangerous Colleagues” from Leighton’s illustrations for George Eliot’s “ Romola” Black and white chalk on blue paper 20 x 28cm (8 x 11in) sheet size partially obscured by the hinged mount Provenance: Christopher Fry and thence by descent The present drawing is part of a series of 25 drawings and fourteen decorated initials Leighton executed for George Eliot’s Romola: a historical novel set in Florence in the fifteenth century. It was first published between 1862-3 in a series of fourteen parts in the Cornhill Magazine. Leighton had lived in Florence and was therefore the perfect choice for Eliot to illustrate his novel. Initially Eliot disapproved of Leighton’s designs and relations between the two were strained.

However they were eventually reconciled, and Leighton’s drawings were acknowledged to have contributed to the edition’s commercial success and the surge in popularity of illustration. The complete work can be seen in: Russell Barrington, The life, letters and work of Frederick Leighton, London, 1906, plate 62.18. £2,000-£3,000

105

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106

107 GEORGE CHINNERY (BRITISH 1774-1852) Sketch of a harpist Brown pen and ink on wove paper 11 x 8cm (4 1/4 x 3in) Provenance: Christopher Fry and thence by descent £150-£250

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108 THOMAS ROWLANDSON (BRITISH 1756-1827) Billiards Pen and ink and watercolour over pencil, tondo 31cm (12 1/4in) diameter.

Provenance: Christopher Fry and thence by descent Rowlandson is known to have produced a small series of circular compositions depicting gambling and gaming scenes between 1795 and 1818. It is likely that many of these were intended to decorate screens for the Prince Regent at Brighton Pavilion. This subject matter was close to him as he was known for gambling most of his wealth away. £1,000-£1,500

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109 ANTHONY DEVIS (BRITISH 1729-1816) Shepherd and his dog in a mountainous landscape Pen and ink and wash on wove paper 29 x 38cm (11 1/2 x 14 3/4in) Provenance: The Fine Art Society Ltd, New Bond Street, London ‘Mr Dahl’s Collection’; Christopher Fry and thence by descent £200-£300

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110 MANNER OF RICHARD WILSON (BRITISH 1714-1782) Figures in an Italianate landscape Black and white chalk on laid paper 26.5 x 38cm (10 1/2 x 15in) Provenance: Christopher Fry and thence by descent £300-£500

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111 JOHN VARLEY O.W.S. (BRITISH 1778-1842) Figures on the banks of a lake by a castle ruin at sunset Signed lower right Watercolour 9 x 14.5cm (3 1/2 x 5 3/4in) Provenance: Christopher Fry and thence by descent £400-£600

111

112 MANNER OF JOHN VARLEY O.W.S. (BRITISH 1778-1842) Figure on a path in a river landscape Watercolour 6 x 9.8cm (2 1/4 x 3 3/4in) Provenance: Christopher Fry and thence by descent £150-£250

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113 WILLIAM CROUCH (BRITISH ACTIVE 1817-1850) View over an extensive rural landscape Bears signature lower left J. Varley Watercolour and bodycolour 8.5 x 13.5cm (3 1/4 x 5 1/2in) Provenance: Christopher Fry and thence by descent £200-£300

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JOHN CONSTABLE R.A. (BRITISH 1776-1837) Four drawings (lots 114-117)

This fascinating group of drawings by, or attributed to, John Constable are an exciting new discovery and are published here for the first time.

Two of them (nos 114 and 115) are small compositional drawings in pen, ink and wash which can be dated to Constable’s late period and may represent his early thoughts for an illustration to a scene from Shakespeare’s As You Like It, of Jaques and the Wounded Stag. The other two drawings from the group, in pencil (one with added watercolour wash), nos 116 and 117, are less certainly attributable to Constable.

These four drawings can be traced back to the collection of Leonard Gordon Duke CBE (1890-1971). Duke was a civil servant who worked at the Board of Education and who assembled a large and impressive collection of British drawings.

An annotated manuscript catalogue of Duke’s collection is held in the Prints and Drawings Department of the British Museum. All of the drawings, which carry the numbers D2299, D2298, D2181 and D2180, are listed in that catalogue. Further provenance is given there only for the latter two which were bought in 1950 from a Mr Ewer.

In the catalogue the drawings are indicated as having been sold in October 1951, ‘through Chamberlain’. Even though the two pen and ink compositional drawings (lots 114 and 115) were described by Duke in the catalogue as ‘certainly by Constable’, they were sold to a Mr Chamberlain in 1951 for as little as £3 each, compared with a sum of £11 and 10 shillings for each of the other two drawings which now carry a less certain attribution (lots 116 and 117). At some stage after that date all four drawings were acquired (presumably as a group) by Christopher Fry. Leonard Duke’s collection was comparable in size and range to those formed in the 1950’s by Paul Oppé, Iolo Williams, Bruce Ingram and Gilbert Davies. Duke sold and gave away drawings during his lifetime, and his remaining collection was sold in 1351 lots in seven sales at Sotheby’s in 1970-71, shortly before his death.

Lots 114 and 115 From around 1830, Constable began to favour the use of brown pen, ink and wash on paper for trying out his compositional ideas. He was familiar with the drawings made in this vein by seventeenth-century French artist Claude Lorrain. He also knew of the imaginary ‘blot’ drawings made in brown washes by the eighteenth-century British artist and drawing master Alexander Cozens - indeed, in 1823 Constable had even made copies after some of Cozens’s published landscape designs. However by 1830 Constable was also deeply involved in supervising the production of a series of mezzotint engravings after his own compositions, known as English Landscape, the chief purpose of which was to demonstrate what he called the ‘chairo’scuro of nature’. It is perhaps not surprising, then, that in his late career he should turn to the use of monochrome media in his drawings similarly to experiment with the expressive potential of light and shade.

The following two lots (114 and 115) have been examined by paper historian Peter Bower who has confirmed that both of them are made from the same paper, probably a Whatman writing paper. Their small size and drawn ‘frame’ borders would tend to suggest that they might well have been cut from a letter. Certainly Bower has identified other similar small brown ink drawings by Constable of around the same date, some on Whatman paper, which have close associations with written texts - whether transcripts by the artist of poetry, manuscript letters or other draft jottings by him such as variant titles for the series of engravings known as English Landscape.

The subject of these two related drawings cannot be identified with any certainty. However they bear strong similarities with the designs Constable was working on between about 1832 and 1835 to illustrate the episode from As you Like It of the melancholy Jaques in the Forest of Arden gazing across a swiftly flowing brook towards a wounded stag. The play (and this episode from it) was a particular favourite with Constable and with his friend and patron Sir George Beaumont.

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Constable’s surviving designs made as illustrations to this Shakespearean scene, which are variously in pencil, watercolour or pen and brown ink, relate to two different projects separated by about three years. He made a finished watercolour of the subject in a horizontal format which he exhibited at the Royal Academy in 1832 and for which three related (and similarly horizontal ) designs survive (see G.Reynolds, The Later Paintings and Drawings of John Constable, 1984, nos. 32.10-12 and Christie, Old Master and British Drawings, 9 December 2015, lot 216). This version of the subject was subsequently engraved (posthumously) for English Landscape. In addition, there are nine surviving upright designs by Constable, nearly all of them executed in pen and brown ink, which relate to a commission the artist received from the publisher John Martin in 1835 to produce an illustrated vignette of the same episode from As you Like It for a volume entitled The Seven Ages of Shakespeare (see Reynolds, ibid, nos 35.32-35, 35.37-38 and G.Reynolds, The Early Paintings and Drawings of John Constable, 1996, appendix with additions to the Later Paintings, 35.38 A-C).

If the two designs catalogued here do relate to the Jaques subject, it is difficult to say whether they are more likely to be connected – in their rectangular format - to the earlier, horizontal iteration of the subject made in 1832. Or else, perhaps, whether they are early experimental designs in a horizontal format (for an image subsequently rethought in vertical form) made a few years later for John Martin’s Seven Ages; and perhaps originally drawn in a letter from Constable to Martin which was subsequently cut up. Certainly we know from C. R. Leslie that Constable apparently made ‘nearly twenty sketches’ in connection with this latter project.

We are grateful to Anne Lyles and Peter Bower for their assistance in preparing this catalogue entry.

*See inside front cover for information regarding fees

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114 JOHN CONSTABLE R.A. (BRITISH 1776-1837) A Woodland Glade; possibly a study for ‘Jaques and the Wounded Stag’, c.1832-5 Pen and brown ink on wove writing paper 4.7 x 7.7cm (1 13/16 x 3in) Provenance: Leonard G. Duke (D2298, ‘A Pool with Trees’); Sold to Mr Chamberlain, October 1951, for £3; Christopher Fry and thence by descent We are grateful to Anne Lyles and Peter Bower for their assistance in preparing this catalogue entry. £5,000-£8,000

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115

115 JOHN CONSTABLE R.A. (BRITISH 1776-1837) A Woodland Glade; possibly a study for ‘Jaques and the Wounded Stag’, c.1832-5 Pen and brown ink on wove writing paper 6.4 x 8.3cm (2 1/2 x 3 1/4in) Provenance: Leonard G. Duke (D2299, ‘A Pool with Trees’); Sold to Mr Chamberlain, October 1951, for £3; Christopher Fry and thence by descent We are grateful to Anne Lyles and Peter Bower for their assistance in preparing this catalogue entry. £5,000-£8,000

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116 ATTRIBUTED TO JOHN CONSTABLE R.A. (BRITISH 1776-1837) Study of an entrance gate to a park Pencil on wove writing paper 17.1 x 10.9cm (6 3/4 x 4 1/4in) Provenance: Mr. Ewer, 1950; Leonard G. Duke (D 2181, ‘Trees & Gateway’); sold, through Chamberlain, Oct 1951, for £11-10/-0’; Christopher Fry and thence by descent Although this is an accomplished drawing which shares some features in common with Constable’s early drawing style, it cannot be attributed with any degree of certainty to his hand. As Peter Bower points out, the combination of the irregularly cut left hand edge and the slightly rounded corners at top and bottom right indicate that the paper on which this drawing was made has been removed from a sketchbook. Bower notes that it’s page size and partial watermark (identifying the paper as one made by James Tayler at Poll Mill, Boxley, near Maidstone) do not correspond with any of John Constable’s surviving sketchbooks. On the other hand, Bower points out that this is not unusual. Furthermore, Constable did use sketchbooks of a similar page size in around 1806 when he was visiting a number of country houses in connection with portrait commissions. Bower meanwhile observes that the gateposts shown in the drawing might be identifiable as those marking the entrance to Malvern Hall which Constable first visited in 1809.

We are grateful to Anne Lyles and Peter Bower for their assistance in preparing this catalogue entry. £4,000-£6,000

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117 CIRCLE OF JOHN CONSTABLE R.A. (BRITISH 1776-1837) Study of trees Pencil and watercolour wash on laid writing paper 10.6 x 9.5cm (6 9/16 x 3 3/4in) Provenance: Mr. Ewer, 1950; Leonad G. Duke (D2180, ‘Tree Study’; Sold, through Chamberlain, Oct 1951, for £11-10/-0); Christopher Fry and thence by descent We are grateful to Anne Lyles and Peter Bower for their assistance in preparing this catalogue entry. £2,000-£3,000

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VARIOUS PROPERTIES

118 SAMUEL PROUT (BRITISH 1783-1852) Church Interior Pen and brown ink and watercolour heightened with white 34 x 24.5cm (13 1/2 x 9 1/2in) Unframed £1,000-£1,500

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119 SAMUEL PROUT (BRITISH 1783-1852) Interior of Ratisbon (Regensburg) Cathedral, Germany Signed with monogram and dated 1848 l.l.

Watercolour 43 x 32.5cm (17 x 12 3/4in) £700-£900

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120 CHARLES VACHER N.W.S (1818-1883) Villa d’Este, Tivoli Signed lower left Watercolour 35.5 x 23cm (14 x 9in) £400-£600

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121 JAMES HOLLAND O.W.S. (BRITISH 1800-1870) A side canal, Venice Signed with monogram, lower right and titled on a label attached to the backboard Watercolour 24 x 14.7cm (9 1/2 x 5 3/4in) Provenance: Christies Sale, March 16th 1912; With Thos. Agnew & Sons, Manchester; The collection of Lord Vestey £600-£800

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122

Property from an English Private Collection 122 SIR FREDERICK WILLIAM BURTON R.H.A. (IRISH 1816-1900) The Little Scholar Signed with initials FWB Watercolour and bodycolour over pencil 42 x 33cm (16 1/2 x 13in) Provenance: The Important Collection of Sir Thomas Lucas Bart., Lot 2, Christie’s June 7th 1902; where purchased by Henry Seymour Guinness of Burton Hall, Stillorgan, Dublin (1858-1945). He was Governor of the Bank of Ireland and the first Protestant Senator in the Free State Senate. Thence by descent to his grandson the present owner. £10,000-£15,000

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Property from an English Private Collection

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123 SIR FREDERICK WILLIAM BURTON R.H.A. (IRISH 1816-1900) The Romany Girl Signed with monogram and dated 1865 Watercolour and bodycolour over pencil 50 x 37cm (19 3/4 x 14 1/2in) Provenance: The Important Collection of Sir Thomas Lucas Bart., Lot 2, Christie’s June 7th 1902; where purchased by Henry Seymour Guinness of Burton Hall, Stillorgan, Dublin (1858-1945). He was Governor of the Bank of Ireland and the first Protestant Senator in the Free State Senate. Thence by descent to his grandson the present owner. £15,000-£25,000

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124 EYRE CROWE A.R.A. (BRITISH 1824-1910) Study of a young maid in 18th century dress Charcoal heightened with white chalk on two joined sheets of buff paper Dated Aprl 19 51.5 x 23cm (20 1/4 x 9in) Together with two further similar figure studies, one signed and dated Aprl 19 1901 / Ey. Crowe All unframed (3) £200-£300 125 WILLIAM HENRY HUNT (BRITISH 1790-1864) A young boy blowing a bubble Signed lower right Pencil, watercolour and bodycolour 35.5 x 23cm (14 x 19in)

124

125

Provenance: Christies South Kensington 27th March 1997, lot 152, illustrated on front cover of catalogue £1,500-£2,000 126 HENRY RYLAND (BRITISH 18561924) Music making Signed and dated 1905 Watercolour 51.8 x 82.5cm (20 2/5 x 32 1/2in) £800-£1,200

126

44

*See inside front cover for information regarding fees

127

128

127 JAMES CHARLES PLAYFAIR (BRITISH ?- 1904) At the piano Signed and dated ‘J.C. Playfair / 72’, lower left Watercolour 27 x 19.5cm (10 1/2 x 7 3/4in) £300-£500

128 GASTON BOUY (FRENCH 1866) Femme à la robe jaune Signed Pastel 46 x 29cm (18 x 11 1/4in) £600-£800

129 FREDERIQUE VALLET-BISSON (FRENCH 1862-1949) Methe Signed lower right Pastel on paper 71 x 58cm (28 x 23in) £700-£900

129 45

130 HERCULES BRABAZON BRABAZON (BRITISH 1821-1906) Rome Signed Watercolour and bodycolour 25 x 21.5cm (9 3/4 x 8 1/2in) Provenance: Spike Milligan; Gifted to the present owner Norma Farnes, Spike Milligan’s assistant and manager, December 1971 “He also brought me a present, a beautiful watercolour of Rome by Brabazon H. Brabazon. It was not like him to remember my birthday.” Extract from Spike An Intimate Memoir by Norma Farnes, 2004 £400-£600

130

131 HERCULES BRABAZON BRABAZON (18211906) Genoa Watercolour and bodycolour on tinted paper 23.5 x 32.5cm (9 1/4 x 12 3/4in) £400-£600

132 CARL HAAG (GERMAN 1820-1915) Resting in the Desert Signed Watercolour 13.5 x 30cm (5 1/4 x 11 3/4in) Provenance: Arthur Tooth & Sons, London; Christie’s; Collection of Lord Vestey £300-£500

131

132

46

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133 WILLIAM RICHARDSON (BRITISH fl.18421877) The tower of St. Mary-Le-Strand from Hollywell Street Signed and dated 1870 Watercolour 62 x 46cm (24 1/2 x 18in) £500-£700

134 ELIZABETH SARAH FULLEYLOVE (BRITISH 1849-1919) Chapel Street, Stratford-Upon-Avon Signed and dated 1904 Watercolour 19.3 x 27cm (7 1/2 x 10 1/2in) Elizabeth Sarah Fulleylove, neé Elgood, was the wife of the artist and illustrator John Fulleylove (1844-1908). They were married in In 1878. She was also from an artistic family, the daughter of George Ellgood and sister of Samuel Ellgood.

133

£200-£400

135 THOMAS MARIE MADWASKA HEMY (BRITISH 1852-1937) View of the Thames near the Customs House Signed and dated 1883 Watercolour 31 x 55cm (12.2 x 21.7in) £300-£500

134

135 47

136

137

138

136 FREDERICK EDWARD JOSEPH GOFF (BRITISH 1855-1931) Salisbury Signed and inscribed Watercolour 11 x 14.5cm (4 1/4 x 5 3/4in) and ‘Eton from the river’, watercolour, 19 x 33cm (7 1/2 x 13in), by the same hand (2) £400-£600 137 NOEL HARRY LEAVER (BRITISH 1889-1951) Ely Signed Watercolour 26 x 36.5cm (10 1/4 x 14 1/2in) £400-£600

139

138 CLAUDE ALLIN SHEPPERSON A.R.A., A.R.W.S., R.I. (BRITISH 1867-1921) The Park Signed and dated Shepperson ‘14, and further signed with monogram attached to the backboard Coloured chalk over pencil 18.5 x 24cm (7 1/4 x 9 1/2in) Provenance: The Royal Society of Painters in Water Colours, Jan 17 1916; J S Maas & Co Ltd., London £300-£500 139 MYLES BIRKET FOSTER (BRITISH 1825-1899) A view of Whitby with the Abbey beyond Signed with monogram Watercolour 9.5 x 14cm (3 3/4 x 5 1/2in) and a companion, ‘Sailing vessels off the coast’, a pair (2) £200-£300

48

*See inside front cover for information regarding fees

140

141 140 SIR WILLIAM RUSSELL FLINT R.A. (SCOTTISH 1880-1969) From a window in Venice Signed lower left Watercolour 28 x 37cm (11 x 14 1/2in) Provenance: with Frost & Reed, New Bond St., London £4,000-£6,000

142 141 SIR WILLIAM RUSSELL FLINT R.A. (SCOTTISH 1880-1969) Scroggie Signed lower left Watercolour 24 x 34.5cm (9 1/2 x 13 1/2in) Unframed

142 ARR ATTRIBUTED TO SIR WILLIAM RUSSELL FLINT R.A. (SCOTTISH 18801969) Bion, Vol II from ‘The Idyls of Theocritus, Bion & Moschus’, Medici Society 1922 Watercolour 12.8 x 19cm (5 x 7 1/2in)

£1,000-£1,500

The present watercolour is a version of the illustration of Bion by Russell Flint for ‘Theocritus, Bion & Moschus’ published in two volumes by the Medici Society Ltd. London in 1922, rendered into English prose

by Andrew Lang £200-£400

49

143 MARTIN HARDIE C.B.E., R.I., R.E. (BRITISH 1875-1952) At a French Funeral Inscribed and dated, At a French Funeral / Apr 30 1917 / Boulogne Pen and black wash over pencil 17 x 11cm (6 3/4 x 4 1/2in) Exhibited: The Great War Exhibition, David Cohen Fine Art, The King Street Galleries, November 1988 £150-£250

144 GEORGE DENHOLM ARMOUR (BRITISH 1864-1949) The New Boots, 1926 Signed Pencil 19.5 x 13cm (7 3/4 x 5in) Literature: Illustrated in Hunting, A Portrait by Anne Holland, published 2003 £200-£300

143

145 J. L. (1906) Figaro, A Radical / We should about have won if it had not been for that d-d Lady Londonderry!

Signed with initials, J L and dated 1906 and inscribed Pencil and watercolour 22 x 24.5cm (8 1/2 x 9 1/2in) In leather easel frame embossed in gold lettering, MAIDSTONE. JAN. 17th 1906, lower edge Provenance: Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry and by descent £200-£300

144 50

145 *See inside front cover for information regarding fees

146 JULES PASCIN (FRENCH 1885–1930) Nu feminin, c.1926 Signed and stamped 'Atelier Pascin' lower right Pencil 21.4 x 12.8cm (8 1/2 x 5in) Provenance: Guy Krogh £200-£300

147 JEAN-LOUIS FORAIN (FRENCH 1852-1931) Lawyer Crayon 37 x 23cm (14 1/2 x 9in) Unframed Provenance: Ex: Beres Collection, Paris; Hazlitt Gallery, London £250-£350

148 GRAHAM ARNOLD (BRITISH b.1932) ‘God gently raises the unconscious Eve out of Adam’s side.’

Inscribed Pencil 20.5 x 20cm (8 x 8in) Provenance: Sir Christopher Fry and thence by descent £150-£250

146

147

148 51

149 PIERRE EMILE CORNILLIER (FRENCH 1862-1946) Portrait of Paul Menard Signed upper right Pastel 64 x 48cm (25 1/4 x 19in) £600-£800

150 DINO PARAVANO (ITALIAN 1935 - ) A lioness in the shade Signed and dated lower left Pastel 34 x 50cm (13 1/2 x 19 3/4in) £600-£800

149

150 52

*See inside front cover for information regarding fees

151 WILLIAM HENRY BARRIBAL (BRITISH 1874-1952) A young girl in a doorway Signed Watercolour and mixed media on paper 47.5 x 32cm (18 3/4 x 12 1/2in)

The present works dates from circa 1918/19. On the verso is affixed a label giving the number 1052 and the title Waiting and Copyright the property of The International Art Co, Florence House Barnes...

This refers to the use of this image as a postcard published in 1921.

Barribal studied at the Academy Julien before the first world war where he met both Cheret and Mucha. For a time in the 1920's his reputation in England was similar to that of Cheret and Mucha in Paris. His images of the Barribal girl were ubiquitous, appearing in much popular culture: cigarette cards, playing cards and posters.

The Barribal Girl was in fact drawn from his wife, his only model: one source gives her name as Elinor Glyn. £800-£1,200

152 CECIL ALGERNON NEWTON A.R.A. (BRITISH 1880-1968) Canal Near Paddington Pen and brown ink and grey wash 35 x 48cm (14 x 18 1/2in) Provenance: P & D Colnaghi & Co.; Grosvenor Gallery; Francis Draper Park St. Grosvenor Sq.; Sir Edward Marsh K.C.V.O. Exhibited: Lent to the National Gallery Trafalgar Square, Exhibition of 20th Century British Paintings, 1940 by Sir Edward Marsh K.C.V.O. £600-£800

151

152 53

OIL PAINTINGS

153

154 54

*See inside front cover for information regarding fees

153 BRITISH SCHOOL (19TH CENTURY) A London street Oil on panel 16 x 22cm (6 1/2 x 8 1/2in) Provenance: The Lord Vestey. Collection number verso £400-£600

154 J. PRIOR (BRITISH c.1800) Westminster, Windsor, Richmond and Lambeth (a set of four views) Oil on canvas 12 x 20cm (4 3/4 x 8in) (4)

155

£300-£500

155 JAMES EDWIN MEADOWS (BRITISH 1828-1888) Richmond bridge from the Surrey side Oil on canvas 31 x 53cm (12 x 21in) £700-£1,000

156 JOHN ISIAH LEWIS (BRITISH 1861-1934) Richmond bridge from the Surrey side Signed lower right Oil on canvas laid to board 22 x 38cm (8 3/4 x 15in)

156

£300-£500

157 JOHN JAMES CHALON (SWISS 1778-1854) Richmond from the Middlesex side Oil on canvas 42 x 58cm (16 1/2 x 23in) £400-£600

157 55

158

159 56

*See inside front cover for information regarding fees

158 WILLIAM THORNLEY (BRITISH fl.1858-1898) A pair of harbour views Each signed lower left Oil on canvas 30 x 24cm (12 x 9 1/2in) (2) £2,000-£4,000 159 GERADUS HENRICKS (DUTCH 19TH CENTURY) A river landscape Signed lower right Oil on board 34.5 x 45cm (13 1/2 x 17 3/4in)

160

£1,000-£1,500 160 FRANÇOIS ETIENNE MUSIN (BELGIAN 1820-1888) Bringing in the catch Signed and inscribed f. musin, Bx lower right; stamped in wax F.MUSIN/OSTENDE on the reverse Oil on panel 44 x 58cm (17 1/4 x 22 3/4in) Provenance: The Boydell Galleries, Liverpool £1,000-£1,500 161 PIETER CHRISTIAN DOMMERSEN (DUTCH 18421928) Ships in a calm Signed and dated 1874 Oil on canvas 40 x 60cm (15 3/4 x 23 1/2in)

161

£800-£1,200 162 CONTINENTAL SCHOOL (19TH CENTURY) Fisherman on the coast Indistinctly signed lower left Oil on panel 18 x 23cm (7 x 9in) Footnote: Label verso reads J De Thiennes £300-£500

162 57

163

164

Property of a Gentleman 163 ATTRIBUTED TO JOHN PARTRIDGE (BRITISH 1790-1872) Portrait of a Gentleman Oil on panel 46 x 37.5cm (18 x 14 3/4in) Acquired by the present owner in the late 1960’s £500-700 Property of a Gentleman 164 RICHARD ROTHWELL (IRISH 1800-1868) The Orphan Mendicant Oil on paper laid down on board 24 x 19cm (9 1/2 x 7 1/2in) Provenance: possibly Sir George Nayler (a gift from the artist, according to a letter written by the artist attached to the back of the present work).

Acquired by the present owner in the late 1960’s £200-300 165 FREDERICK MORGAN (BRITISH 1847-1927) Flowers for mother Signed Fred Morgan, lower right Oil on board in a painted oval 25.4 x 20.3cm (10 x 8in) Provenance: Sotheby’s London, 2nd December 2002, Lot 27 £3,000-5,000

165 58

*See inside front cover for information regarding fees

166 ATTRIBUTED TO AUGUSTUS LEOPOLD EGG R.A. (1816-1863) Girl with a parrot Oil on panel 13 x 10cm (5 1/4 x 4in) £400-£600

167 SCOTTISH SCHOOL (19TH CENTURY) Maid in an interior Oil on panel 29 x 22cm (11 1/2 x 8 1/2in) £300-£500

168 CIRCLE OF SIR THOMAS LAWRENCE (BRITISH 1769-1830) Head study of Frances Moore, née Elliot Oil on canvas laid to board 50 x 40cm (19 3/4 x 15 3/4in) £600-£800

166

167

168 59

169 CONTINENTAL SCHOOL (19TH CENTURY) Still life Oil on canvas 82 x 64cm (32 1/4 x 25 1/4in) £1,000-£1,500

169

170 CONTINENTAL SCHOOL (19TH CENTURY) Pink peonies in a white vase Oil on panel 32 x 30.5cm (12 1/2 x 12in) £300-£500

170 60

*See inside front cover for information regarding fees

171

171 JOSEPH AUGUSTAN FONTAN (FRENCH fl.1880-1900) Bouquet de fleurs et énventail Signed and dated 1886 lower right Oil on canvas 85 x 110.5cm (33 1/2 x 43 1/2in) £1,000-£1,500

172 EMILE VILLA (FRENCH 1836-c.1900) A small misunderstanding Signed upper left Oil on canvas 24 x 19cm (9 1/2 x 7 1/2in) £2,000-£3,000

172 61

173 TERRICK JOHN WILLIAMS R.A. (BRITISH 1860-1936) Venice from the Lagoon: morning; and a companion, Venice from the Lagoon, evening, a pair Oil on canvas 23 x 46cm (9 x 18in) (2) £3,000-£5,000

173

174 JAMES BAKER PYNE (BRITISH 1800-1870) Bay of Naples Signed lower right Oil on canvas 22cm (8 3/4in) diameter £300-£500

174 62

*See inside front cover for information regarding fees

175 175 MARCEL BRUNERY (FRENCH 1893-1982) A Chirpy Companion Signed lower right Oil on canvas 45 x 38cm (18 x 15in) £3,000-£5,000

63

176 RAFAEL BENJUMEA (SPANISH 1845-1888) Head of a man Signed, inscribed and dated lower right Tangier 9 Oil on panel 20.5 x 14cm (8 x 5 1/2in) £400-£600 177 WILLIAM RAPHAEL (CANADIAN 1833-1914) Fisherman in his hut Signed lower right Oil on canvas 34 x 24cm (13 1/2 x 9 1/2in) £700-£1,000

176

177

178 JOSÉ VILLEGAS Y CORDERO (SPANISH, 1844-1921) The cock fight Signed lower left Oil on board 53.5 x 36.5cm (21 x 14 1/2in) £5,000-£7,000

178 64

*See inside front cover for information regarding fees

179

180 179 SALVATORE MARESCA (ITALIAN 19TH CENTURY) The Entertainment Signed lower left Oil on canvas 63 x 75.5cm (25 x 29 3/4in)

180 CHARLES LANDSEER (BRITISH 1799-1879) The Confrontation Signed and dated 1851 Oil on canvas 52 x 65cm (20 1/2 x 25 1/2in)

£800-£1,200

£2,000-£3,000

65

181 183 BRITISH SCHOOL (19TH CENTURY) Portrait of a gentleman possibly Sir Walter Scott Oil on copper 12 x 10cm (4 3/4 x 4in) £200-£300

184 ENGLISH SCHOOL (19TH CENTURY) Portrait of a cleric Oil on canvas 69 x 58cm (27 1/4 x 23in) £400-£600

182 181 BRITISH SCHOOL (18TH/19TH CENTURY) Lady with a fortune teller Oil on canvas 33 x 42cm (13 x 16 1/2in) £400-£600 Property of a Gentleman 182 ATTRIBUTED TO ANTOINE VOLLON (FRENCH 1833-1900) Still life Oil on canvas 19 x 24cm (7 1/2 x 9 1/2in)

185 ARR FRANK OWEN SALISBURY (BRITISH 1874-1962) “Crosspatch” – self-portrait as a boy aged 4 Signed with monogram and dated 1878 Oil on canvas board 46 x 36cm (18 x 14in) £400-£600

186 ENGLISH SCHOOL (19TH CENTURY) Portrait of a lady Oil on canvas Height 109cm (43in) £400-£600

Provenance: Acquired by the present owner in the late 1960’s £200-300

66

*See inside front cover for information regarding fees

183

184

185

186

67

187

188 187 ATTRIBUTED TO JAMES DUFFIELD HARDING (BRITISH 1798-1863) Bergamo from the river Adda Oil on board 22 x 32cm (8 1/2 x 12 1/2in)

188 FELIX KREUTZER (GERMAN 1835-1876) Moonlit coastal scene Oil on canvas 62 x 94cm (24 1/2 x 37in)

£400-£600

£400-£600 189 No Lot

68

*See inside front cover for information regarding fees

190 190 WILLIAM SHAYER (BRITISH 1787-1879) Sorting the catch Oil on canvas 48.5 x 70cm (19 x 27 1/2in)

191 CIRCLE OF GEORGE MORLAND (BRITISH 1763-1804) Resting on a country lane Oil on canvas 42 x 52cm (16 1/2 x 20 1/2in)

192 NORWICH SCHOOL (19TH CENTURY) Country landscape with figures crossing a bridge Oil on canvas 49 x 59cm (19 1/2 x 23 1/4in) £400-£600

£3,000-£5,000 £400-£600

191

192 69

193 PETER GRAHAM R.A. (BRITISH 1836-1921) The chasm Signed and dated Peter Graham 1879 lower right Oil on canvas 92 x 72cm (36 x 28 1/4in) Provenance: Sold: 31st March 1981, Lot 16. £400-£600

193

194 TOM MOSTYN (BRITISH 1864-1930) The secret garden Signed lower right Oil on canvas 45 x 69cm (17 3/4 x 27 1/4in) £2,000-£3,000

194 70

*See inside front cover for information regarding fees

195 FRANCIS SYDNEY MUSCHAMP (BRITISH 1851-1929) Seated by the river Signed and dated 1875 lower left Oil on canvas 75 x 63cm (29 1/2 x 25in) £700-£900

195

196 WILLIAM HENRY MANDER (BRITISH 1850-1922) Cattle watering Signed lower right Oil on canvas 44 x 60cm (17 1/2 x 23 1/2in) £400-£600

196

197 JOSEPH THORS (BRITISH 1835-1920) Figures by a river with a village beyond Signed Oil on board 40 x 60cm (15 3/4 x 23 1/2in) £700-£900

197 71

198 ALFRED MONTAGUE (BRITISH 1832-1883) View of Dortrecht Oil on board 13 x 19cm (5 1/4 x 7 1/2in) Provenance: W. S. Hoare Esq £500-£700

198

199 WILLIAM LOGSDAIL (BRITISH 1859-1944) Laundry cart Signed, lower left Oil on canvas

£4,000-£6,000 200 WILLIAM JAMES MULLER (BRITISH 1812-1845) Sketch of a country bridge Oil on canvas 25 x 29cm (10 x 11 1/2in) £400-£600

199

72

200

*See inside front cover for information regarding fees

HAROLD MAHRENHOLZ Five works by Harold Mahrenholz, 1904-1994 (lots 201-206)

Born in Berlin, Harold Mahrenholz was from a cultured Jewish background. His maternal grandfather – Frederic-Guillaume Schneklud (1859-1930) – was a cellist, and the subject of Portrait of Upaupa Schneklud with Cello painted by Paul Gauguin in 1894 (now in the collection of the Baltimore Museum of Art). His mother was a concert pianist and one of the circle of musicians surrounding the celebrated Berlin pianist Artur Schnabel (1882-1951) and his wife, the contralto Therese Behr (1876-1959). Harold’s elder brother Rolf (1902-91) became a highly regarded portrait and fashion photographer, working for such titles as Harpers Bazaar. Those who sat for Rolf featured German and Austrian nobility, and after he moved to England in 1939 he photographed much of London’s gliterati such as actors Peter Ustinov and Margaret Rutherford.

It was Gauguin’s painting of Schneklud, consigned to the attic by Harold’s parents (who considered the work too ‘modern’) that Harold Mahrenholz credited as the inspiration for becoming an artist. He studied early on in the Berlin studio of the Expressionist painter Ludwig Meidner, and subsequently worked for the stage and film director Max Reinhardt. He moved to Paris in 1920, where he was befriended by the Fauve artist turned society portraitist Kees Van Dongen. Through Van Dongen he met Albert Marquet. Van Dongen and Marquet both encouraged Mahrenholz, lending him their studios on occasion and buying his work. Mahrenholz also became a longstanding friend of Matisse, and a close acquaintance of Picasso.

In 1929 Mahrenholz met the young Christian Dior, then co-director of the newly opened Galerie Jacques Bonjean at 34 rue la Boétie. Picasso lived on the same street at no. 23; Picasso’s dealer Paul Rosenberg had his premises at no. 21. A great admirer of Mahrenholz’s work, Dior exhibited his paintings alongside others that he championed, from Leonor Fini, Salvador Dali and Joan Miró to neo-Romantics, Eugène and Léonide Berman and Pavel Tchelitchew. In the process he introduced him to the Parisian beau-monde and intelligentsia whom he sold to – from Gertrude Stein to Coco Chanel. It was through Chanel and Dior that Harold developed his keen interest in haute couture, working with them at their ateliers.

Mahrenholz moved to London in 1936, setting up his haute couture Mayfair Salon at 39a Curzon Street. There he came to rival Norman Hartnoll and Hardy Amies as the couturier of the day. Among his clients were Princess Margaret, prima ballerina Margot Fonteyn, Woolworth heiress Barbara Hutton, Margaret, Duchess of Argyll and Vivien Leigh. A dress design for Leigh – a rare remaining example of Marenholz’s work – is in the collection of the Royal Albert Memorial Museum, Exeter. Mahrenholz also collaborated with the designer Elizabeth Arden, and through her and Coco Chanel was introduced to Daniel Wildenstein who offered him a one-man show of his paintings at his gallery on New Bond Street in 1947. Mahrenholz continued to paint for the rest of his life, exhibiting frequently at the Royal Academy, managing to balance his work as an artist with that of couturier.

73

201

201 ARR HAROLD MAHRENHOLZ (GERMAN 1904-1994) The red dress Oil on board 90 x 72cm (35 1/2 x 28 1/2in) Exhibited: Wildenstein & Co., New Bond Street, 9th April - 3rd May 1947 £800-£1,200

74

*See inside front cover for information regarding fees

202 202 ARR HAROLD MAHRENHOLZ (GERMAN 1904-1994) The Artist’s Mother Oil on board 41 x 24cm (16 x 9 1/2in) £600-£800 203 No Lot

Photograph of the artist’s mother in Wildenstein & Co., New Bond St., during Mahrenholz’s exhibition in 1947, with lot 202 hanging on the right.

75

204

204 ARR HAROLD MAHRENHOLZ (GERMAN 19041994) Farm in Sussex Oil on canvas laid on board 50 x 50cm (19 3/4 x 19 3/4in)

205 ARR HAROLD MAHRENHOLZ (GERMAN 19041994) Pansies on a table Oil on board 31 x 38cm (12 x 15in)

206 ARR HAROLD MAHRENHOLZ (GERMAN 19041994) Azaleas with fruit on a table Oil on board 54 x 67cm (21 1/4 x 26 1/2in)

£400-£600

£400-£600

£700-£900

76

*See inside front cover for information regarding fees

205

206 77

207

208 78

*See inside front cover for information regarding fees

207 ARR GOYO DOMINGUEZ (SPANISH b.1960) Woman with lute - ‘Damas’ Signed lower right; dated 2002 verso Oil on board 63.5 x 79.5cm (25 x 31 1/4in) £800-£1,200

208 ARR GOYO DOMINGUEZ (SPANISH b.1960) El angel cansado Signed lower right Oil on board 64 x 80cm (25 1/4 x 31 1/2in) £800-£1,200

209 ARR PINCHUS KREMEGNE (FRENCH 1890-1981) The Church Signed lower right Oil on canvas 73 x 55cm (28 3/4 x 21 1/2in)

209

Exhibited: London, Crane Kalman Gallery, Soutine and his Circle, April, 1960, no.13 Provenance: Crane Kalman Gallery where purchased by Basil Jacobs, (1960) £3,000-£5,000

210 ARR ARTHUR GREUELL (BELGIAN 1891-1966) Two women dancing Signed and indistinctly dated lower left Oil on board 35 x 27cm (14 x 10 1/2in) £500-£700

210 79

211 ARR ERIK ENROTH (FINNISH 1917-1975) A Late Night Signed lower right Oil on board 48.5 x 39.5cm (19 x 15 1/2in) £200-£300

211

212 ARR ÉDOUARD PIGNON (FRENCH 1905-1993) Batattoge Signed and dated ‘62/Pignon’ lower left; signed, titled and dated on the reverse Oil on canvas 45.8 x 55.8cm (18 x 22in) £700-£1,000

212 80

*See inside front cover for information regarding fees

213

213 ARR ERIK ENROTH (FINNISH 1917-1975) Still life with carafe Signed and dated Enroth 7, lower left Oil on board 80 x 80cm (31 1/2 x 31 1/2in) £600-£800

81

214

215 82

*See inside front cover for information regarding fees

216

214 ARR NICOLAAS BRUYNESTYN (DUTCH 18931950) Regatta near Antwerp c.1928 Signed lower right Oil on board 23 x 39cm (9 x 15 1/2in)

215 ARR EMIL JANKES (FINNISH 1884-1952) The Pile Drivers Signed and dated ’48, lower left Oil on canvas 63 x 90.5cm (24 3/4 x 35 1/2in)

216 ORJ (19TH/20TH CENTURY) At the races Signed with monogram lower right Oil on canvas 60 x 91cm (23 1/2 x 35 3/4in)

£600-£800

£3,000-£5,000

£400-£600

83

217

217 TOM MOSTYN (BRITISH 1864-1930) Venetian Pageant Signed lower right Oil on canvas 48 x 68cm (19 x 26 3/4in) £3,000-£5,000

218 ARR M TONELLI (ITALIAN 20TH CENTURY) A market, Italy Signed lower left Oil on canvas 75 x 60cm (29 1/2 x 23 1/2in) £400-£600

218 84

*See inside front cover for information regarding fees

219 219 ARR ANGELO BROMBO (ITALIAN 1893-1962) Canal vena a S. Andrea, Chioggia Signed lower right; titled and signed verso Oil on board 38 x 47cm (15 x 18 1/2in)

221 ARR ANGELO BROMBO (ITALIAN 1893-1962) Rive Chioggiatta, Venezia Signed lower left; titled and signed verso Oil on board 39 x 29cm (15 1/4 x 11 1/2in)

£500-£800

£400-£600

220 ARR ANGELO BROMBO (ITALIAN 1893-1962) Palazzo van axel, Venezia Signed lower left, titled and signed verso Oil on board 48 x 38cm (19 x 15in)

222 ARR ANGELO BROMBO (ITALIAN 1893-1962) Casa sarfatti in corte del remer, Venezia Signed lower left, titled and signed verso Oil on board 47 x 37cm (18 1/2 x 14 1/2in)

£500-£800

£500-£800

220

221

222 85

223 223 ALESSANDRO BATTAGLIA (ITALIAN 1870-1940) La vendemmia: a grape harvest Signed lower right Oil on canvas 94 x 61cm (37 x 24in) Provenance: Anonymous sale: Dorotheum, Vienna, 26 June 1986; Anonymous sale: Sotheby's, New York, 24 February 1987, lot 316; Anonymous sale: Phillips, London, 14 June 2000, lot 124 £8,000-£12,000

86

*See inside front cover for information regarding fees

224 FEDERICO DEL CAMPO (PERUVIAN 1837-1923) A Venice courtyard Signed lower right Oil on canvas 37 x 54cm (14 1/4 x 21 1/4in) £8,000-£12,000

87

225 225 ARR HUGH RUSSELL-HALL (BRITISH 20TH CENTURY) Lady in her Boudoir Signed lower right Oil on canvas 89 x 69cm (35 x 27in) £700-£1,000

88

*See inside front cover for information regarding fees

226 LUDOVIC VALLÉE (FRENCH 1864-1939) Nature morte aux fleurs Signed lower right Oil on canvas 46 x 38cm (18 x 15in) £600-£800

226

227 ARR DIETZ EDZARD (GERMAN 1893-1963) The Bouquet Signed, lower right Oil on canvas £2,500-£3,500

227 89

228 19TH/20TH CENTURY EUROPEAN SCHOOL The runaways Indistinctly signed lower left Oil on canvas 38 x 52cm (15 x 20 1/2in) £400-£600

228

229 HENRIETTE RONNER KNIP (DUTCH 1821-1909) Fighting over a bone Signed lower right Oil on panel 16 x 21cm (6 1/4 x 8 1/4in) £600-£800

229

230 SCOTTISH SCHOOL (20TH CENTURY) Highland cattle by a loch Indistinctly signed lower left Oil on canvas 30 x 40cm (12 x 15 3/4in) £400-£600

231 No Lot

230 90

*See inside front cover for information regarding fees

232 20TH CENTURY BRITISH SCHOOL Seated female nude Oil on canvas laid on board 37 x 26cm (14 1/2 x 10 1/4in) £300-£500 233 20TH CENTURY EUROPEAN SCHOOL Portrait of a woman Oil on canvas 63 x 45cm (25 x 17 3/4in) £400-£600 234 ARR RUDIGER WINTZEN (GERMAN 1884-1958) A woman at her dressing table Signed and dated 1945, lower right Oil on board 76 x 58cm (30 x 23in) £600-£800 235 HENRI OTTMAN (FRENCH 1877-1927) Portrait de femme Signed lower left Oil on canvas 46 x 38cm (18 x 15in) £800-£1,000

235

232

233

234 91

236 WILLIAM RAYMOND DOMMERSEN (DUTCH ACTIVE c.18501927) View of Dordrecht Signed lower left Oil on canvas 45 x 35cm (17 3/4 x 13 3/4in) £600-£800 237 ATTRIBUTED TO CHARLES EUPHRASIE KUWASSEG (FRENCH 1838-1904) A pair of coastal views Oil on panel 18 x 36cm (7 x 14in) (2)

£200-£300 238 ARR W. RICHARDS (BRITISH 1895-1950) A pair of coastal scenes depicting fishermen arriving with their catch Signed lower right Oil on canvas 28.5 x 38.5cm (11 1/4 x 15 1/4in) (2) £300-£500

236

237

238 92

*See inside front cover for information regarding fees

239 ARR MANFRED RAPP (AMERICAN 20TH CENTURY) Walking through New Orleans Signed M RAPP lower left Oil on board 60 x 76cm (23 1/2 x 30in) £500-£700

239

240 ARR PAUL GAGNI (FRENCH 20TH CENTURY) The flower sellers Signed lower right Oil on canvas 50 x 60cm (20 x 23 3/4in) £500-£700

240

241 FRIEDRICH AUGUST HERKENDELL (GERMAN 1876-1940) Apachenhall dance Signed and dated lower left, F.A. / HERKENDELL / PARIS 19…, Oil on canvas 76 x 95cm (30 x 37 1/2in) £1,500-£2,000

241 93

Glossary of Picture Cataloguing Terms Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact.

The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

1.

JMW Turner: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

2.

Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category.

3.

Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction.

4.

Circle of JMW <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja IV I[ aM\ ]VQLMV\QÅML J]\ LQ[\QVK\ PIVL KTW[MTa I[[WKQI\ML with the named artist and of the period, but not necessarily his pupil.

5.

Style of…; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil.

6.

Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date.

7.

After JMW Turner: In our opinion a copy (of any date) of a known work of the artist.

8.

The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

9.

The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist.

10. Dimensions are given height before width.

11. Pictures are framed unless otherwise stated.

Index To Artists A Anne, Louisa, Marchioness of Waterford Armour, George Denholm Arnold, Graham Arrowsmith, Thomas Aubry, Louis François

94, 95 144 148 57 51

B Barribal, William Henry 151 Battaglia, Alessandro 223 Beavis, Richard 96 Benjumea, Rafael 176 Beverley, William Roxby 85 Bogle, John 36 Bourne, Rev. James 77 Bouy, Gaston 128 Brabazon, Hercules Brabazon 130, 131 British School 153, 181, 183 British School, 20th Century 232 Brombo, Angelo 219, 220, 221, 222, Brunery, Marcel 175 Bruynestyn, Nicolaas 214 Buck, Adam 32 Burton, Sir Frederick William 122, 123

C Carrick, Thomas Heathfield, Attributed to 63 Carter, Henry Barlow 98 Chalon, John James 157 Chinnery, George 105, 107 Chinnery, George, Manner of 38 Constable, John 114, 115 Constable, John, Attributed to 116 Constable, John, Circle of 117 Continental School 73, 162, 169, 170 Cooke, Edward William 88 Cooper, Richard 74 Cordero, JosĂŠ Villegas Y 178 Cornillier, Pierre Emile 149 Cosway, Richard 26, 17, 20 Crouch, William 113 Crowe, Eyre 124

D del Campo, Federico Denning, Stephen Poyntz Devis, Anthony

224 64 109

Dominguez, Goyo 207, 208 Dommersen, Pieter Christian 161 Dommersen, William Raymond 236 Downman, John, Manner of 72 Durand, Godefroy 91 Dutch School 4

E Edzard, Dietz 227 Egg, Augustus Leopold, Attributed to 166 Egley, William 53 Engleheart, George 25 Engleheart, George 27 English School 2, 3, 35, 39, 41, 55, 59, 60, 61, 67, 68, 70, 71, 184, 186 Enroth, Erik 211, 213 European School, 19th/20th Century 228 European School, 20th Century 233

F Faivre, B 49 Farrington, Joseph 76 Ferdinand De Tascher, Comte 52 Flemish School 5 Flint, Sir William Russell 140, 141 Fontan, Joseph Augustan 171 Forain, Jean-Louis 147 Foster, Myles Birket 139 Fourcade, Joseph 50 Fripp, George Arthur 97 Fulleylove, Elizabeth Sarah 134

G Gagni, Paul 240 Gastineau, Henry 81 Gilpin William Sawrey 87 Girbaud, Jenny 46 Goddard, James 69 Goff, Frederick Edward Joseph 136 Graham, Peter 193 Greuell, Arthur 210 Greuze, Jean Baptiste, Manner of 44 Grimaldi, William 33, 34

H Haag, Carl

132

Hardie, Martin C.B.E. 143 Harding, James Duffield, Attributed to 187 Hargreaves, George 54 Hayes, Michael Angelo 89 Hayter, Charles 42, 43 Hazlehurst, Thomas 31 Hemy, Thomas Marie Madwaska 135 Henricks, Geradus 159 Herkendell, Friedrich August 241 Holland, James 121 Hone, Horace 24 Hone, Nathaniel 9 Hunt, William Henry 125

J J. L. Jankes, Emil Jean, Roger, Attributed to

K Knip, Henriette Ronner Kremegne, Pinchus Kreutzer, Felix Kuwasseg, Charles Euphrasie, Attributed to

145 215 62

229 209 188 237

L Landseer, Charles 180 Lawrence, Sir Thomas, Circle of 168 Lear, Edward 102, 103 Leaver, Noel Harry 137 Leighton, Frederic, Lord 106 Leitch, William Leighton 84 Lewis, J. 40 Lewis, James Isiah 156 Logsdail, William 199

M Macwhirter, John Mahrenholz, Harold

100 201, 202, 204, 205, 206 Mander, William Henry 196 Maresca, Salvatore 179 Meadows, James Edwin 155 Meyer, Jeremiah 15 Montague, Alfred 198 Morgan, Frederick 165

95

Index To Artists Morland, George, Circle of Mostyn, Tom Muller, William James Muschamp, Francis Sydney Musin, François Etienne

N Newton, Cecil Algernon Newton, Sir William John Norwich School

191 194, 217 200 195 160

152 66 192

O Orde-Powlett, Thomas, Lord Bolton, Attributed to 92 Orj 216 Ottman, Henri 235

P Paravano, Dino 150 Partridge, John, Attributed to 163 Pascin, Jules 146 Payne, William 78 Pignon, Édouard 212 Playfair, James Charles 127 Plimer, Andrew 28, 30 Plimer, Nathaniel 58 Prior, J. 154 Prout, Samuel 118, 119 Pyne, James Baker 174

96

R Raphael, William Rapp, Manfred Richards, W. Richardson, William Richmond, Thomas Robertson, Andrew Rochard, Simon Jacques Ross, Sir William Charles Rothwell, Richard Rowlandson, Thomas Russell-Hall, Hugh Ryland, Henry

177 239 238 133 29 37 47 65 164 108 225 126

S Salisbury, Frank Owen 185 Sandby, Paul 101 Scottish School 167, 230 Scouler, James 16 Scouler, James, Attributed to 13 Serres, Dominic 79 Shayer, William 190 Shelley, Samuel 18, 19 Shepherd, George “Sidney” 99 Shepperson, Claude Allin 138 Slater, Isaac Wayne 56 Smart, John 21 Smart, John, Attributed to 22 Smart, John, Circle of 23 Smiadecki, Franciszek, Attributed to 8 Spanish School 1 Spencer, Gervase 10, 11 Stroely, Peter Edouard 45 Suarez De Urbina, Antonio Maria Esquivel 48

T Thornley, William Thors, Joseph Tonelli, M. Towne, Francis

158 197 218 75

V ‘V’ Vacher, Charles Vallée, Ludovic Vallet-Bisson, Frederique Van Dyck, Sir Anthony, After Varley, Cornelius Varley, John Varley, John, Manner of Villa, Emile Vollon, Antoine, Attributed to

14 120 226 129 6 80 111 112 172 182

W Ward, James 90 West, William 93 Westall, Richard 83, 86, 104 Wilkinson, Joseph 82 Williams, Terrick John 173 Wilson, Richard, Manner of 110 Wintzen, Rudiger 234

Z Zincke, Christian Friedrich, Attributed to

12

*See page 2 for information regarding fees

<MZU[ IVL +WVLQ\QWV[ NWZ *]aMZ[ I\ +PQ[_QKS )]K\QWV[

1. BEFORE THE SALE 1.1 Agent for the seller Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer. ,MĂ&#x2026;VQ\QWV[ For the purposes of the current Terms and Conditions, the Seller shall JM LMĂ&#x2026;VML I[ \PM W_VMZ WN \PM /WWL[ 1\ Q[ QUXTQML \PI\ \PM ;MTTMZ Q[ \PM legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot. The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply. +I\ITWO]M LM[KZQX\QWV[ Any representation in any catalogue or otherwise as to the origin, date, age, attribution, genuineness or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description.

The absence of mention related to prior restorations in the Catalogue descriptions does not imply that the good is exempt thereof.

Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representa-tion of the said Lot. The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good.

1V[XMK\QWV Prior to auction, prospective purchasers are strongly advised to personally examine personally any property in which they are interested to satisfy themselves in relation to matters which may concern them. +WVLQ\QWV ZMXWZ\ CA Ltd may issue a Condition Report on request prior to the sale. <PQ[ +WVLQ\QWV :MXWZ\ Q[ NWZ QLMV\QĂ&#x2026;KI\QWV X]ZXW[M[ WVTa IVL KIVVW\ JM considered as giving a precise account of the Lotâ&#x20AC;&#x2122;s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report.

As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyerâ&#x20AC;&#x2122;s sole duty to inspect in person the Lot in order be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto.

-TMK\ZQKIT[ )TT MTMK\ZQKIT Q\MU[ IZM [WTL I[ [MMV IVL +) 4\L Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZ[ VW O]IZIV\MM I[ \W the working condition of such items or their safety.

1\ Q[ \PM *]aMZÂź[ L]\a \W \ISM VMKM[[IZa [\MX[ \W JM I[[]ZML \PI\ \PM 4W\ is safe for normal use.

-[\QUI\M[ Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the

condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates.

1.8 Reserves 5IVa 4W\[ IZM Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZML []JRMK\ \W I ZM[MZ^M _PQKP Q[ \PM KWVĂ&#x2026;LMV\QIT minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids. ! :MOQ[\ZI\QWV \W \PM [ITM 6M_ JQLLMZ[ _QTT VMML \W ZMOQ[\MZ XZQWZ \W \PM [ITM 1\ Q[ [\ZWVOTa advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneerâ&#x20AC;&#x2122;s entire discretion.

1V\MZVI\QWVIT JQLLMZ[ UIa JM ZMY]QZML \W ZMOQ[\MZ PW]Z[ JMNWZM \PM sale and to submit bank details.

A deposit may be requested prior to each sale.

Failure to register shall result in the impossibility for the bidder to purchase a Lot. 8ZWWN WN QLMV\Q\a Bidders not previously known to CA Ltd will be required to provide: Â&#x152; 7â&#x20AC;ŤŮťâ&#x20AC;ŹKQIT XZWWN WN QLMV\Q\a QV \PM NWZU WN I XI[[XWZ\ WZ XPW\WKIZL LZQ^QVO TQKMVKM 6W W\PMZ NWZU[ WN 1, IZM IKKMX\IJTM Â&#x152; 8ZWWN WN ILLZM[[ WN UIQV ZM[QLMVKM 7VTa Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKQIT LWK]UMV\[ showing name and address will be accepted. â&#x20AC;˘ Both landline and mobile telephone numbers â&#x20AC;˘ A bank reference for foreign bidders may be requested Â&#x152; +WZXWZI\M KTQMV\[ _QTT PI^M \W XZW^QLM I KMZ\QĂ&#x2026;KI\M WN QVKWZXWZI\QWV XZQWZ \W \PM I]K\QWV ITWVO _Q\P \PM ZMXZM[MV\I\Q^MÂź[ 1, QV IKKWZLIVKM with the abovementioned requirements for proof of identity.

Any Bidder that does not match the provided identity for registration may not purchase during the sale.

2. DURING THE SALE )\\MVLIVKM I\ I]K\QWV Attending the auction in person is recommended.

CA Ltd has the right in their absolute discretion to refuse participation QV IVa I]K\QWV \W ZMRMK\ IVa JQL IVL \W ZMN][M ILUQ[[QWV \W \PM XZMUQ[M[ Bidders are not obliged to be present in person at the auction.

Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale.

8MZ[WVIT JQLLQVO Bidders attending the auction in person shall be required to collect a number plate prior to the sale.

+WUUQ[[QWV JQL[ +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ \W KIZZa W]\ +WUUQ[[QWV JQL[ received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it. +WUUQ[[QWV JQL[ [PITT JM M`MK]\ML I\ \PM TW_M[\ XW[[QJTM XZQKM []JRMK\ to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyerâ&#x20AC;&#x2122;s responsibility to check if they have been successful in purchasing a Lot. 1V \PM M^MV\ WN U]T\QXTM KWUUQ[[QWV[ I\ \PM [IUM XZQKM \PM KWUUQ[[QWV set at the older date shall be taken into account.

<ZIV[NMZ WN ZQ[S[ Purchased Lots shall be at the Buyerâ&#x20AC;&#x2122;s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise.

<MTMXPWVM JQL[ 1N I JQLLMZ Q[ VW\ IJTM \W I\\MVL QV XMZ[WV IV I]K\QWV +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ \W KWV\IK\ XZW[XMK\Q^M *]aMZ[ _PW UISM IZZIVOMUMV\[ prior to commencement of the sale to bid by telephone. +) 4\L KIVVW\ JM PMTL ZM[XWV[QJTM QV \PM M^MV\ WN Q[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\Q^Q\a resulting in the loss of a chance of purchasing the Lot for the Bidder.

/ZW]VL[ NWZ KIVKMTTI\QWV ]VLMZ \PM XZM[MV\ [MK\QWV [PITT QVKT]LM J]\ VW\ be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences WZ KMZ\QÃ&#x2026;KI\M[ IVa []J[MY]MV\ KPIVOM[ QV LWUM[\QK WZ QV\MZVI\QWVIT legislations restricting the sale of export of goods etc.

1V \PM M^MV\ WN QV\MZVM\ WVTa I]K\QWV[ \PM *]aMZ [PITT PI^M I LIa right to retract, after reception of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

1V\MZVM\ JQL[ Some sales may be available to internet bidding, as well as personal I\\MVLIVKM 1V \PQ[ M^MV\ +) 4\L [PITT VW\ JM PMTL ZM[XWV[QJTM NWZ Q[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\QWV *QLLQVO WV JMPITN WN [WUMWVM ) *]aMZ UIa JQL Ja XZW`a 1V \PQ[ M^MV\ XZWWN WN QLMV\Q\a WN JW\P \PM Buyer and the proxy must be communicated to CA Ltd prior to the sale.

A copy of the mandate shall also be required. *QLLQVO WV IV Q\MU Bid incrementing is at the auctioneerâ&#x20AC;&#x2122;s entire discretion. >QLMW \ZIV[UQ[[QWV For the purpose of the sale, Lots may be displayed on video during the I]K\QWV 1V \PM M^MV\ WN \ZIV[UQ[[QWV Q[[]M[ +) 4\L [PITT VW\ JM PMTL responsible for any subsequent outcome. ! 7VTQVM WVTa I]K\QWV[ Some auctions may be available to bidders only through an online XTI\NWZU 1V \PQ[ M^MV\ *]aMZ[ PI^M I LIa XMZQWL I\ ZMKMX\QWV WN \PM Lot to withdraw from the sale, in accordance with EU Consumer Law. ,Q[X]\M ZM[WT]\QWV L]ZQVO \PM I]K\QWV Any dispute shall be settled at the auctioneerâ&#x20AC;&#x2122;s absolute discretion.

Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneerâ&#x20AC;&#x2122;s entire discretion.

3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller.

The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. ?PMV I *]aMZ X]ZKPI[M[ U]T\QXTM 4W\[ MIKP 4W\ Q[ \PM []JRMK\ WN I separate contract of sale. <ZIV[NMZ WN XZWXMZ\a Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyerâ&#x20AC;&#x2122;s premium, relevant taxes, and costs in relation to shipping.

+IVKMTTI\QWV WN \PM [ITM At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter.

Under no circumstances can the Buyer cancel the sale.

CA Ltd may at its entire discretion, during or after the auction, cancel \PM [ITM WN \PM 4W\ WZ ZMWâ&#x20AC;«Ùºâ&#x20AC;¬MZ IVL ZM[MTT \PM 4W\ QN Q\ JMKWUM[ I_IZM WN any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

3.5 Returns and refunds CA Ltd will only issue a refund using the same method of payment originally used by the Buyer to pay for the purchase, or by bank transfer.

The Buyerâ&#x20AC;&#x2122;s refund will be processed without undue delay and in any M^MV\ _Q\PQV VW UWZM \PIV LIa[ WN \PM LIa \PM *]aMZ OI^M +) 4\L notice of cancellation.

1N \PM *]aMZ M`MZKQ[M[ \PMQZ ZQOP\ WN ZM\ZIK\QWV _PMV I]\PWZQ[ML \W LW [W

by Law, CA Ltd shall proceed to issue a complete refund, comprising the hammer price of the Lot, buyerâ&#x20AC;&#x2122;s premium and shipping fees. However return fees shall remain at the expense of the Buyer.

4. AFTER THE SALE 8IaUMV\ All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be in cash, debit, credit card or bank transfer. Cheques are not accepted. +I[P XIaUMV\[ [PITT VW\ JM ZMKMQ^IJTM NWZ IUW]V\[ W^MZ Ã&#x201A; ZMOIZLTM[[ of the payment being for one or multiple Lots.

Payments made by someone other than the registered Buyer shall not be accepted.

Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. *]aMZ¼[ 8ZMUQ]U The Buyer will pay CA Ltd a premium of 25% on the hammer price XT][ >)< WV \PI\ KWUUQ[[QWV WV \PM Ã&#x2026;Z[\ Â&#x160; IVL XT][ >)< WV \PM JITIVKM \PMZMIN\MZ ) *]aMZ¼[ 8ZMUQ]U WN ! XT][ >)< Q[ charged on Wine & Spirits Lots.

The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 WN -+ ;\IVLIZL =3 >)< _QTT JM KPIZOML WV \PM J]aMZ[¼ premium and invoiced on an inclusive basis. â&#x20AC; : Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the EU for sale and XTIKML ]VLMZ \PM <MUXWZIZa )LUQ[[QWV ZMOQUM 1UXWZ\ >)< Q[ XIaIJTM I\ WV \PM PIUUMZ XZQKM >)< I\ _QTT JM ILLML \W \PM J]aMZ¼[ premium but will not be shown separately on the invoice.

1V WZLMZ \W ZMKMQ^M I ZMN]VL WN >)< IUW]V\[ 1UXWZ\ >)< I[ applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and J M`XWZ\ \PM TW\ NZWU \PM -= _Q\PQV LIa[ WN KWTTMK\QWV NWZ TW\[ IVL 3 months of collection for all other lots and immediately afterwards provide us with satisfactory proof of export. (c) Details of the documents which you must provide to us to show [I\Q[NIK\WZa XZWWN WN M`XWZ\ [PQXXQVO IZM I^IQTIJTM NZWU W]Z .QVIVKM \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS [PQXXQVO M`XWZ\ LWK] UMV\[ L 6W >)< IUW]V\[ WZ 1UXWZ\ >)< _QTT JM ZMN]VLML _PMZM \PM \W\IT ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. â&#x20AC;¢ To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. â&#x20AC;¢ To take such other action as is permissible by Law and in the discretion of CA Ltd. +WTTMK\QWV Purchased Lots can be collected from the auction room after the sale PI[ MVLML WZ JM\_MMV IU IVL XU ]X ]V\QT KTW[M WN J][QVM[[ WV the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltdâ&#x20AC;&#x2122;s discretion.

4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyerâ&#x20AC;&#x2122;s premium. The rate applicable shall be the legal rate at the date of the sale. /WWL[ []KP I[ JWWS[ IVL IV\QY]M JWWS[ U][QK UIX[ IVL KPIZ\[ M\K IZM []JRMK\ \W bMZW ZI\ML >)< 1V ILLQ\QWV IVa QUXWZ\ \I`M[ \PI\ UIa JM QVK]ZZML [PITT JM XIQL Ja \PM Buyer above hammer price, VAT and Buyerâ&#x20AC;&#x2122;s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale.

4.7 Storage Purchased Lots not collected before 6pm on the day after the sale shall QVK]Z [\WZIOM KPIZOM[ WN Â&#x160; XMZ 4W\ XMZ LIa WZ XIZ\ \PMZMWN +) 4\L shall be entitled to retain purchased Lots sold until all sums due have been XIQL \W +) 4\L 1N IVa X]ZKPI[ML TW\ ZMUIQV[ ]VKWTTMK\ML LIa[ IN\MZ \PM [ITM [\WZIOM KPIZOM[ [PITT \PMZMIN\MZ JM Â&#x160; XMZ LIa IVL +) 4\L [PITT in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding.

Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

)Z\Q[\ :M[ITM :QOP\[ ,ZWQ\ LM ;]Q\M 4W\[ UIZSML _Q\P »)::¼ UIa JM []JRMK\ \W I TM^a Droit de Suite is a royalty payable to a qualifying artist or to the artistâ&#x20AC;&#x2122;s heir each time a work is resold during the artistâ&#x20AC;&#x2122;s lifetime and up to I XMZQWL WN aMIZ[ IN\MZ \PM IZ\Q[\¼[ LMI\P :WaIT\QM[ IZM KITK]TI\ML on a cumulative sliding percentage scale based on the hammer price excluding the buyerâ&#x20AC;&#x2122;s premium. The royalty does not apply to Lots [MTTQVO JMTW_ \PM [\MZTQVO MY]Q^ITMV\ WN Ã&#x201A; IVL \PM UI`QU]U ZWaIT\a XIaIJTM WV IVa [QVOTM 4W\ Q[ \PM [\MZTQVO MY]Q^ITMV\ WN Ã&#x201A; Royalties for Droit de Suite are as follows:

;PQXXQVO Any shipping costs that may arise subsequently to the sale shall be at the Buyerâ&#x20AC;&#x2122;s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. +) 4\L LWM[ VW\ Wâ&#x20AC;«Ùºâ&#x20AC;¬MZ QV[]ZIVKM NWZ [PQXXQVO 0W_M^MZ +) 4\L UIa arrange insurance upon the Buyerâ&#x20AC;&#x2122;s request and at the Buyerâ&#x20AC;&#x2122;s expense.

CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.

Â&#x152; .ZWU \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; -`KMMLQVO Ã&#x201A; :MUMLQM[ NWZ VWV XIaUMV\ 1N \PM *]aMZ NIQT[ \W UISM N]TT XIaUMV\ QV KTMIZML N]VL[ _Q\PQV \PM \QUM required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: â&#x20AC;¢ To cancel the sale â&#x20AC;¢ To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. â&#x20AC;¢ To resell the Lot on such terms by auction or otherwise entirely at CA Ltdâ&#x20AC;&#x2122;s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. Â&#x152; <W Wâ&#x20AC;«[Ùºâ&#x20AC;¬M\ IOIQV[\ IVa []U[ _PQKP +) 4\L UIa W_M \PM *]aMZ \PM outstanding sums unpaid by the said Buyer Â&#x152; ?PMZM \PM *]aMZ W_M[ []U[ \W +) 4\L QV ZM[XMK\ WN LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. Â&#x152; <W ZMN][M MV\Za \W \PM *]aMZ I\ IVa N]\]ZM I]K\QWV IVL WZ ZMRMK\ IVa N]\]ZM JQL[ Ja \PM *]aMZ IVL WZ [MMS I LMXW[Q\ NZWU \PM *]aMZ entirely in the discretion of CA Ltd. â&#x20AC;¢ To exercise a lien over the Buyerâ&#x20AC;&#x2122;s property in the possession of

! 4W[[ WZ ,IUIOM CA Ltd does not accept liability for loss or damage occurring to Lots after \PM [ITM +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ _PMV PIVLTQVO XIKSQVO IVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]ZIT /WWL[ QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +]T\]ZIT OWWL[ UIa JM []JRMK\ \W QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ =VLMZ EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the itemâ&#x20AC;&#x2122;s ^IT]M M`KMML[ \PM -= \PZM[PWTL =VLMZ =3 4I_ I TQKMVKM UIa IT[W JM required for intra-EU trade.

Licenses are issued by Arts Council England and it is the Buyerâ&#x20AC;&#x2122;s duty to WJ\IQV \PMU ;WUM KW]V\ZQM[ ZM[\ZQK\ \PM QUXWZ\ WN [XMKQÃ&#x2026;K K]T\]ZIT OWWL[ For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural OWWL[ QV XZW^MVIVKM NZWU [WUM KW]V\ZQM[ []JRMK\ \W IZUML KWVÃ&#x2020;QK\[ The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. +1<-; QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +MZ\IQV MVLIVOMZML [XMKQM[ IZM TQ[\ML QV \PM +1<-; +WV^MV\QWV 4Q[\ML [XMKQUMV[ IVL IVa XIZ\[ WZ XZWL]K\[ \PMZMWN IZM []JRMK\ \W Q[[]IVKM WN IV export permit when leaving the European Union. )XXMVLQ` 1 [XMKQM[ IZM IT[W []JRMK\ \W Q[[]IVKM WN I XZQWZ QUXWZ\ XMZUQ\ from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyerâ&#x20AC;&#x2122;s duty to initiate the proceedings with the relevant authority.

The Buyer must be aware that certain countries prohibit the import of

some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. ?WZSML Q\MU[ \PI\ IZM LI\ML JMNWZM ! IZM M`MUX\ NZWU QUXWZ\ restrictions for intra-EU trade and shall not require export licences.

Please be aware that all Lots marked with the symbol Æ&#x20AC; IZM []JRMK\ \W +1<-; ZMO]TI\QWV[ 4QUQ\I\QWV WN TQIJQTQ\a ZMOIZLQVO +1<-; M`XWZ\ TQKMV[M[ Where licences are required for importing or exporting outside of the European Union, it is the Buyerâ&#x20AC;&#x2122;s duty to obtain them.

CA Ltd cannot be held responsible if the Buyerâ&#x20AC;&#x2122;s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. ?IZZIV\QM[ CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. )]\PMV\QKQ\a _IZZIV\a 1V \PM M^MV\ WN I 4W\ JMQVO [WTL I[ I]\PMV\QK ]VLMZ \PM KI\ITWO]M description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not, CA Ltd will refund the purchase price. <PM *]aMZ [PITT OQ^M VW\QKM \W +) 4\L _Q\PQV LIa[ NZWU SVW_TMLOM or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall JM LMÃ&#x2026;VML I[ \PM [\I\M WN I 4W\ \PI\ Q[ OMV]QVM IVL VW\ I NWZOMZa WZ I KWXa 5. ANTIQUITIES AND TRIBAL ART 1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ IVL ZMO]TI\QWV[ )ZKPIMWTWOQKIT OWWL[ W^MZ aMIZ[ WN IOM ]VTM[[ KW^MZML Ja M`MUX\QWV WN TQUQ\ML [KQMV\QÃ&#x2026;K QV\MZM[\ _QTT ZMY]QZM IV -= 4QKMVKM NWZ M`XWZ\ \W I third country, regardless of their value.

1\ Q[ ZMKWUUMVLML \PI\ \PM *]aMZ KWV\IK\ \PM -`XWZ\ 4QKMV[QVO =VQ\ at Arts Council England in order to be assured the good is or not of TQUQ\ML IZKPIMWTWOQKIT WZ [KQMV\QÃ&#x2026;K QV\MZM[\ )ZKPIMWTWOQKIT OWWL[ NW]VL WV =VQ\ML 3QVOLWU [WQT WZ QV =3 \MZZQ\WZQIT _I\MZ[ W^MZ aMIZ[ WN IOM [PITT ZMY]QZM I =3 4QKMVKM regardless of their value and regardless of the export destination.

7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV 1VLQ^QL]IT 4QKMVKM WZ 7/-4 LMXMVLQVO WV \PMQZ ^IT]M *W\P -]ZWXMIV =VQWV IVL =3 4QKMVKM[ UIa JM ZMY]QZML [QU]T\IVMW][Ta NWZ [WUM Q\MU[ 1\ Q[ \PM *]aMZ¼[ L]\a \W ]VLMZ\ISM \PM VMKM[[IZa [\MX[ CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

6. JEWELLERY /MU[\WVM \ZMI\UMV\ IVL M[\QUI\M[ Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: â&#x20AC;¢ Heat treatment to enhance sapphires and rubiesâ&#x20AC;&#x2122; clarity and colour Â&#x152; 7QT IVL ZM[QV \ZMI\UMV\[ NWZ MUMZITL[ IXXTQML QV LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ _Ia[ \W enhance clarity of the stone â&#x20AC;¢ Staining Â&#x152; 1ZZILQI\QWV â&#x20AC;¢ Coating Estimates provided by CA Ltd are deemed to be based on the fact that the

OMU[\WVM UIa PI^M JMMV []JRMK\ \W IVa \aXM WN \ZMI\UMV\ QV \PM XI[\ +) Ltd shall not be responsible in the absence of mention thereof. ) KMZ\QÃ&#x2026;KI\M UIa JM Q[[]ML Ja I TIJWZI\WZa XZW^QLQVO _Q\P LM\IQTML information on the condition of the gemstone and any treatment applied \PMZM\W <PM *]aMZ U][\ JM I_IZM \PI\ LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ TIJWZI\WZQM[ PI^M LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ approaches as to the degree or type of treatment for a particular gemstone.

1N I KMZ\QÃ&#x2026;KI\M IKKWUXIVQM[ \PM 4W\ \PM *]aMZ U][\ JM I_IZM \PI\ Q\ Q[ merely a statement of the laboratoryâ&#x20AC;&#x2122;s opinion and in no way can CA Ltd JM PMTL ZM[XWV[QJTM NWZ IVa UMV\QWV[ \PMZMQV ;]KP KMZ\QÃ&#x2026;KI\M[ IZM LMMUML to be delivered with the Lot for informative purposes only.

-[\QUI\ML _MQOP\[ 1N I [\WVM¼[ M`IK\ _MQOP\ IXXMIZ[ _Q\PQV \PM JWLa WN \PM LM[KZQX\QWV \PM [\WVM PI[ JMMV ]V UW]V\ML IVL _MQOPML Ja +) 4\L 1N \PM _MQOP\ WN a stone is stated to be approximate, the stone has been assessed by CA 4\L _Q\PQV Q\[ [M\\QVO IVL \PM LMÃ&#x2026;VML _MQOP\ Q[ I [\I\MUMV\ WN WXQVQWV only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. ;QOVI\]ZM[ â&#x20AC;&#x2DC;) LQIUWVL ZQVO Ja @â&#x20AC;&#x2122;: When the makerâ&#x20AC;&#x2122;s name appears in the title, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion the piece is by that maker. â&#x20AC;&#x2DC;) LQIUWVL ZQVO [QOVML @â&#x20AC;&#x2122;: Has a signature that, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. â&#x20AC;&#x2DC;) LQIUWVL ZQVO UW]V\ML Ja @â&#x20AC;&#x2122;: Has been created by the RM_MTTMZ QV +PQ[_QKS )]K\QWV[¼ WXQVQWV J]\ ][QVO [\WVM[ WZ LM[QOV[ supplied by the client. â&#x20AC;&#x2DC;5ISMZ¼[ UIZS NWZ @â&#x20AC;&#x2122;: Has a makerâ&#x20AC;&#x2122;s mark which in Chiswick Auctionsâ&#x20AC;&#x2122; opinion is authentic.

Some items may include parts or products derived from endangered [XMKQM[ []KP I[ Q^WZa WZ KWZIT ;]KP Q\MU[ UIa JM []JRMK\ \W QUXWZ\ WZ M`XWZ\ ZM[\ZQK\QWV[ ;MM [MK\QWV WV +1<-; ZMO]TI\QWV[ NWZ UWZM LM\IQT[ 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and _Q\PW]\ LMNMK\[ WZ PI[ JMMV []JRMK\ \W ZMXIQZ WZ ZM[\WZI\QWV CA Ltd makes no representation or warranty that any clock or watch Q[ QV _WZSQVO WZLMZ )[ KTWKS[ IVL _I\KPM[ WN\MV KWV\IQV Ã&#x2026;VM IVL complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto.

The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof.

Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for QUXWZ\ WZ M`XWZ\ X]ZXW[M[ QV IKKWZLIVKM _Q\P +1<-; ZMO]TI\QWV[ CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps.

8. FURNITURE =XPWT[\MZML N]ZVQ\]ZM IN\MZ !

According to The Furniture and Furnishings (Fire Safety) Regulations ! N]ZVQ\]ZM \PI\ _I[ ]XPWT[\MZML IN\MZ \PM [\ WN 2IV]IZa ! Q[ []JRMK\ \W ZM[\ZQK\QWV[ QV \PM =VQ\ML 3QVOLWU Exempt upholstered furniture that does not meet such requirements

is deemed sold for purely aesthetic purposes.CA Ltd shall not be ZM[XWV[QJTM NWZ TI\MZ IT\MZI\QWV[ \W \PM N]ZVQ\]ZM UISQVO Q\ ]VÃ&#x2026;\ NWZ [ITM 9. GLOSSARY OF PICTURE CATALOGUING TERMS Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

1 JMW Turner: 1V W]Z WXQVQWV I _WZS Ja \PM IZ\Q[\ ?PMV \PM IZ\Q[\¼[ forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. )\\ZQJ]\ML \W 25? <]ZVMZ" 1V W]Z WXQVQWV XZWJIJTa I _WZS Ja \PM artist, but less certainly as to the authorship expressed than in the preceding category. ;\]LQW WN 25? <]ZVMZ" 1V W]Z WXQVQWV XZWJIJTa I _WZS Ja IV unknown hand in the studio of the artist, which may or may not have been executed under the artistâ&#x20AC;&#x2122;s direction. +QZKTM WN 25? <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja IV I[ aM\ ]VQLMV\QÃ&#x2026;ML but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. ;\aTM WN°# .WTTW_MZ WN 25? <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja I painter working in the artistâ&#x20AC;&#x2122;s style, but not necessarily his pupil.

6 Manner of JMW Turner: 1V W]Z WXQVQWV I _WZS QV \PM [\aTM WN \PM artist and of a later date.

7 After JMW Turner: 1V W]Z WXQVQWV I KWXa WN IVa LI\M WN I SVW_V work of the artist.

8 <PM \MZU »[QOVML¼ IVL WZ »LI\ML¼ IVL WZ »QV[KZQJML¼ UMIV[ \PI\ QV W]Z WXQVQWV \PM [QOVI\]ZM IVL WZ LI\M IVL WZ QV[KZQX\QWV IZM NZWU \PM PIVL of the artist.

9 <PM \MZU »_Q\P [QOVI\]ZM¼ IVL WZ »_Q\P LI\M¼ IVL WZ »_Q\P QV[KZQX\QWV¼ UMIV[ \PI\ QV W]Z WXQVQWV \PM [QOVI\]ZM IVL WZ LI\M IVL WZ QV[KZQX\QWV have been added by another hand than that of the artist.

10 Pictures are framed unless otherwise stated.

Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of â&#x20AC;&#x2DC;bindingâ&#x20AC;&#x2122; or â&#x20AC;&#x2DC;bindingsâ&#x20AC;&#x2122;.

12. WINES AND SPIRITS 1V IKKWZLIVKM _Q\P IOZMML [\IVLIZL[ QV \PM \ZILM M[\QUI\M[ [PITT JM LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM Ã&#x2026;TT TM^MT For the purposes of the present Terms and Conditions, the â&#x20AC;&#x2DC;Fill Levelâ&#x20AC;&#x2122; refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit.

Lack of mention thereof in the description is not a representation of IV »IKKMX\IJTM¼ Ã&#x2026;TT TM^MT NZWU +) 4\L CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc.

13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. ;WUM 4W\[ UIa JM []JRMK\ \W KWXaZQOP\ XZW\MK\QWV +) 4\L LWM[ VW\ guarantee said Lots are free thereof.

14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyerâ&#x20AC;&#x2122;s prior consent.

CA Ltd never sell, lend or trade in personal data provided by any Bidder.

10. ASIAN ARTS

15. SEVERABILITY

1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ ?PMV LMITQVO _Q\P )[QIV )Z\[ IVL UWZM [XMKQÃ&#x2026;KITTa _Q\P Q\MU[ UILM WN exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must JM I_IZM WN QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ QV IKKWZLIVKM _Q\P +1<-; Regulations. As aforementioned in the Section relating to such matters, QUXWZ\ IVL M`XWZ\ XMZUQ\[ WZ ZM M`XWZ\ KMZ\QÃ&#x2026;KI\M[ UIa JM ZMY]QZML >MZQÃ&#x2026;KI\QWV TM\\MZ[ _QTT JM ZMY]QZML NWZ ZM M`XWZ\ WN _WZSML ZPQVWKMZW[ Q\MU[

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, []KP XZW^Q[QWV Q[ \W \ISM Mâ&#x20AC;«Ùºâ&#x20AC;¬MK\ WVTa QV [W NIZ I[ Q\ UIa LW [W without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way \W JM Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\ML WZ QUXIQZML I[ I ZM[]T\ 16. AMENDMENTS

.QVM +PQVM[M 8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM Ã&#x2026;MTL WN +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[ VW\ XMZUQ\ ]VY]ITQÃ&#x2026;ML [\I\MUMV\[ I[ \W \PM I]\PWZ[PQX WZ LI\M WN execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings.

6W\_Q\P[\IVLQVO QN _Q\PQV LIa[ WN \PM [ITM WN IVa []KP 4W\ \PM original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, I »NWZOMZa¼ Q[ LMÃ&#x2026;VML I[ I _WZS KZMI\ML _Q\P \PM QV\MV\ \W LMKMQ^M 11. BOOKS AND MANUSCRIPTS *WWS[ IVL UIV][KZQX\[ [WTL I[ QVKWUXTM\M IZM VW\ []JRMK\ \W ZM\]ZV[

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale.

17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. .WZ \PM JMVMÃ&#x2026;\ WN +) 4\L ITT JQLLMZ[ IVL [MTTMZ[ IOZMM \PI\ \PM +W]Z\[ WN -VOTIVL IZM \W PI^M M`KT][Q^M R]ZQ[LQK\QWV \W [M\\TM ITT LQ[X]\M[ IZQ[QVO QV connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply.

All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

Old Master Paintings

CIRCLE OF GIOVANNI ROMANELLI (VITERBO 1610-1662) Rinaldo and Armida Estimate £5000-7000

20 MARCH 2019 FOR ENQUIRIES CONTACT Head of Old Master Paintings, Melissa van Vliet melissa.vanvliet@chiswickauctions.co.uk

AN INVITATION TO CONSIGN FOR

Modern & Post-War British Art

MARY FEDDEN, R.A. (1915-2012) Portrait of Julian Trevelyan, signed and dated ‘Fedden 1955’ (lower left) oil on canvas, 58 x 23 1/2 in. (147 x 60 cm.)

16 APRIL 2019 Closing for entries 1st March 2019 FOR A COMPLIMENTARY VALUATION CONTACT Head of Modern & Post-War British Art, Krassi Kuneva kkuneva@chiswickauctions.co.uk

SPECIALISTS

ANTIQUITIES & TRIBAL ART Alice King, Head of Department alice.king@chiswickauctions.co.uk

JEWELLERY Sarah Duncan, Head of Department sarah@chiswickauctions.co.uk

ARMS, ARMOUR & MILITARIA Matt Easton, Specialist matt.easton@chiswickauctions.co.uk

Inez Flynn, Specialist QVMb ÆaVV(KPQ[_QKSI]K\QWV[ KW ]S

ASIAN ART Lazarus Halstead, Head of Department lazarus@chiswickauctions.co.uk

Lissa Holmes, Specialist lissa.holmes@chiswickauctions.co.uk PHOTOGRAPHICA

Austin Farahar, Specialist Yasuko Kido, Japanese Art Specialist yasuko@chiswickauctions.co.uk CERAMICS & GLASS Dr. Jim Peake, Head of Department jim@chiswickauctions.co.uk

austin.farahar@chiswickauctions.co.uk RARE BOOKS & WORKS ON PAPER

Clive Moss, Head of Department clive.moss@chiswickauctions.co.uk

DESIGN & INTERIORS Liz Winnicott, Head of Department liz.winnicott@chiswickauctions.co.uk

Dr. Carmen Donia, Specialist

Toby Roberts, General Valuer toby.roberts@chiswickauctions.co.uk

valentina.borghi@chiswickauctions.co.uk

DESIGNER HANDBAGS & FASHION Meg Randell, Head of Department meg@chiswickauctions.co.uk EUROPEAN WORKS OF ART & CLOCKS Rachael Osborn-Howard, Head of Department rachael@chiswickauctions.co.uk FINE ART Adrian Biddell, Head of Department adrian.biddell@chiswickaucions.co.uk Suzanne Zack, Head of Sale - British and European Fine Art suzanne@chiswickaucions.co.uk Krassi Kuneva, Head of Sale - Modern & Post-War British Art kkuneva@chiswickauctions.co.uk Melissa Van Vliet, Head of Sale - Old Masters melissa.vanvliet@chiswickauctions.co.uk ISLAMIC & INDIAN ART Beatrice Campi, Head of Department beatrice.campi@chiswickauctions.co.uk

carmen.donia@chiswickauctions.co.uk

Valentina Borghi, Head of Sales - Autographs & Memorabilia

RUGS & CARPETS Mark Henry Lampé, Head of Department mark.lampe@chiswickauctions.co.uk SILVER & OBJECTS OF VERTU John Rogers, Head of Department john.rogers@chiswickauctions.co.uk WATCHES Tomas Aznar, Specialist tomas.aznar@chiswickauctions.co.uk

Chiswick 6th March Eu Fine Art covers.qxp_Layout 1 08/02/2019 15:45 Page 2

SPECIALISTS

SALE CALENDAR

MARCH

12

TUESDAY Silver & Objects of Vertu Design & Interiors

Suzanne Zack

Adrian Biddell

Head of Sale British & European Fine Art suzanne.zack@chiswickauctions.co.uk

Head of Department Paintings & Fine Art adrian.biddell@chiswickauctions.co.uk

19

TUESDAY

Photographica

20

WEDNESDAY

Old Master Paintings

26

TUESDAY

Fine Oriental Rugs & Carpets Melissa van Vliet

Julian Laurence Samuels

Krassi Kuneva

Head of Sale Old Masters melissa.vanvliet@chiswickauctions.co.uk

Department Coordinator Paintings & Fine Art julian.samuels@chiswickauctions.co.uk

Head of Sale Modern & Post-War British Art kkuneva@chiswickauctions.co.uk

27

WEDNESDAY

Books & Works on Paper Fine European Works of Art & Clocks

APRIL

09

BUYER’S PREMIUM The buyer shall pay Chiswick Auctions Ltd a premium on the hammer price of 25% plus VAT on that commission.

TELEPHONE BIDDING Please note that requests for telephone bids should be submitted no later than 5pm on the day prior to the sale.

LIVE BIDDING

the-saleroom.com Please note there is a 4.95% +VAT surcharge for using this service.

TUESDAY Antiquities & Tribal Art COLLECTION OF LOTS Buyers are asked to collect their lots on the day of the sale or between 10.00 and 18.00 up until close of business on Friday following the sale.

IMPORTANT INFORMATION

invaluable.co.uk Please note there is a 5% +VAT surcharge for using this service.

ARTIST’S RESALE RIGHT/DROIT DE SUITE

Lots marked with ARR indicates that an additional levy may apply for this lot.

Please see our Terms & Conditions for more information.

16

TUESDAY Modern & Post-War British Art

17

WEDNESDAY Books & Works on Paper

30

TUESDAY Ceramics & Glass

Lot 201 Harald Mahrenholz (German 1904-1994) The Artist’s Mother (detail)

Chiswick 6th March Eu Fine Art covers.qxp_Layout 1 08/02/2019 15:45 Page 1

British & European Fine Art 6 March 2019

1 Colville Road, London W3 8BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

British & European Fine Art including Portrait Miniatures London 6th March 2019