Thursday 24 April, 11:00
Old Masters & 19 th Century Art
Thursday 24 April, 11:00
Viewing exclusively at the Barley Mow Centre, W4 4PH
Thursday, 17 April 10:00 - 20:00 (extended preview evening)
Friday, 18 April Closed for Good Friday
Saturday, 19 April 10:00 - 16:00
Sunday, 20 April Closed for Easter Sunday
Monday, 21 April Closed for Easter Monday
Tuesday, 22 April 10:00 - 16:00
Wednesday, 23 April 10:00 - 16:00
Thursday. 24 April 10:00 - 11:00 (auction begins at 11:00)
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Jean-Baptiste Deschamps (Dunkirk, 1715-1791, Paris)
Academic study of a seated male nude signed in pen and ink ‘J B Descamps’ (lower right) red chalks on grey paper heightened with white 45 x 54 cm. (17 3/4 x 21 1/4 in.)
£500 - 700
Provenance
Private collection, Southwest England
47
Attributed to Charles Leickert (Dutch, 1816-1907)
A Dutch river scene in summer signed ‘Ch Leickert’ (lower right) oil on panel 19 x 27 cm. (7 1/2 x 10 5/8 in.)
£600 - 800
Provenance
With MacConnal-Mason, St James’s, London (label verso)
Leickert began following drawing classes at the Drawing Academy in The Hague at as young as eleven years old, with one of his tutors being renowned townscape painter Bartholomeus Johannes van Hove (1790-1880). He joined the studio of fellow academy student Wijnand Nuyan (1813-1839) in 1833, before moving to the studio of Nuyen’s tutor Andreas Schelfhout (1787-1870) who had a significant impact on his work. Leickert went on to present at the founding of the Pulchri Studio in The Hague and he became a regular member of the artist’s society ‘Arti et Amicitiae’ in Amsterdam.
Abraham Hulk, SNR (Dutch, 1813-1897)
On the Scheldt signed ‘A. Hulk’ (lower right) oil on board
25 x 35 cm. (9 7/8 x 13 3/4 in.)
£1,000 - 2,000
Provenance
With MacConnal-Mason, St James’s, London (label verso)
A leading marine painter of the 19th Century, Abraham Hulk was born in London to a Dutch family and went on to study at the Rijksacademie in Amsterdam from 1828. Influence stemmed from his teacher Jean Augustus Daiwaille (1786-1850) who greatly encouraged his successful career as a maritime painter, exhibiting extensively from 1832-1896 in Amsterdam, The Hague and Leeuwarden. Notably, his works were also exhibited at the Royal Academy between 1876-1890. The present example showcases the artist’s ability to capture a tranquil coastal scene with boats on still waters where the depiction of gentle light infuses a sense of calm.
Attributed to Nicholas Condy Jr. (British, 1815-1881)
Sunset at the entrance to Portsmouth Harbour inscribed ‘Entrance to Ports…’ (verso) oil on panel
30.5 x 25 cm. (12 x 9 7/8 in.) (unframed)
£300 - 500
Provenance
Frank T. Sabin, 46 Albermarle Street, London (framers’ note is definitely post-war so suspect this is the correct address)
Private collection, Hertfordshire
Jan Jacob Spohler (Dutch, 1811-1866)
Skaters on a Dutch river at sunset, windmill and village beyond signed ‘J J Spohler’ (lower left) oil on panel 16 x 24 cm. (6 5/16 x 9 7/16 in.)
£2,000 - 3,000
Provenance
With MacConnal-Mason, St James’s, London (label verso)
Jan Jacob Spohler was a leading figure in 19th Century Dutch school landscape painting. His works typically depict summer and winter landscapes, such as the present example, showcasing life in the rural countryside of the Netherlands. He became a member of the Amsterdam Academy in 1845 and had exhibited in Amsterdam and The Hague from as early as 1830 to 1859.
Hermanus Koekkoek the Elder (Dutch, 1815-1882)
On the Scheldt signed ‘H: Koekkeok’ (lower left) oil on panel 23 x 31 cm. (9 x 12 1/4 in.)
£4,000 - 6,000
Provenance
With MacConnal-Mason, St James’s, London (label verso)
As part of the notorious 19th Century Koekkoek family of painters, Hermanus Koekkoek is renowned for his depictions of marine art such as the present example. As the youngest of four son to Jan Hermanus Koekkoek (1778-1851), he became a pupil of his father, going on to become a member of the Amsterdam Academy in 1840 and the Rotterdam Academy in 1841. His scenes typically depict calm estuaries with boats and figures in a tranquil light, and can be found in museums such as the Stedelijk Museum in Amsterdam, the City Art Gallery in Glasgow, and the Paul Tétar van Elven Museum in Delft, amongst others.
Richard Barnett Spencer (British, 1840-1874)
Admiral Duncan’s victory over the Dutch at Camperdown, 1797 oil on canvas
47 x 71.5 cm. (18 1/2 x 28 1/8 in.)
£6,000 - 8,000
Provenance
Private Collection UK
The Battle of Camperdown was fought on the 11th of October 1797. The battle took place between the British Royal Navy’s North Sea Fleet (led by Admiral Adam Duncan), and a Batavian Navy fleet (led by Vice Admiral Jan Willem de Winter). Duncan’s fleet achieved a decisive victory over de Winter’s in the most significant conflict between British and Batavian forces during the French Revolutionary Wars, seizing eleven ships while suffering no losses themselves.
References Stewart, Dugald, 1753-1828, et al. Encyclopaedia Britannica, A. & C. Black.
Jasper Francis Cropsey (American, 1823-1900)
View of Sicily signed and dated ‘J.F.C 1859’ (lower right) oil on board 23 x 13 cm. (9 1/16 x 5 1/4 in.)
£20,000 - 30,000
Provenance
Private Collection UK
Jasper Francis Cropsey was born in Staten Island, New York into a large family who lived on his father’s farm in Rossville. Cropsey displayed a keen eye for drawing from a very young age; at fourteen he was awarded a diploma at Mechanics Institute Fair of the City of New York for model house building and became known for his skill locally. Following this, he trained as an architect apprentice and developed his skills in drawing. After colleagues encouraged his talent, Cropsey first exhibited his work at the National Academy of Design in 1843. His early paintings hung alongside those of Asher B. Durand, Cole, and other early Hudson River School artists. In 1844, he was elected as the youngest ever associated member of the institution and was awarded full membership in 1851. Cropsey developed his artistic career producing landscape studies and paintings, such as the present example. The artist would often travel to areas of great natural beauty such as Greenwood Lake in New Jersey, Switzerland, the British countryside and the Italian coast, such as the Sicilian view captured in the present example which Cropsey is known to have painted a number of times.
In the 1850s, Cropsey’s career was blossoming, and he was regarded as one of the leading members of the Hudson River School. After settling in London with his wife for several years, Cropsey returned to America in 1863 where he eventually settled in his home and studio at Hastings-on-Hudson, New York, where he painted for fifteen years. The property he lived, named Ever Rest, now exists as a museum maintained by the Newington-Cropsey Foundation.
We are grateful to the Newington-Cropsey Foundation for their assistance in the authentication of this work.
Sir Alfred James Munnings P.R.A., R.W.S. (British, 1878-1959)
Four Grey Horses: Studies of The 9th Duke of Marlborough and Lord Ivor Spencer-Churchill signed and inscribed ‘Study for picture of/Lord Ivor Churchill & Duke of Marlborough/a j Munnings.’ (upper right); the reverse signed ‘a j Munnings’ (lower left), and inscribed and dated ‘Studies for/Lord Ivor Churchill/R.A. 1923 - ‘ (centre left) oil on panel 29.5 x 40.5 cm. (11 1/2 x 15 3/4 in.)
Please note there is a further work painted verso.
£40,000 - 60,000
Provenance
Acquired directly from the artist by Sir Jack Jarvis; Thence by descent.
This double-sided panel of sketches in oil features studies for one of Munnings’ most important commissions in the 1920s - The Duke of Marlborough and Lord Ivor Spencer-Churchill. The painting, which depicts the Duke and his son changing horses whilst out hunting, was exhibited at the Royal Academy in 1924 and remains today in the Spencer-Churchill collection at Blenheim Palace.
Munnings describes the commission extensively in the second volume of his memoirs (A.J. Munnings, The Second Burst, Bungay, 1951, pp. 155-6), recounting how plans were set in motion during a dinner with the Duke at The Other Club.
‘He [the Duke] launched into the subject of traditional composition: a hunting picture of himself and Lord Ivor Churchill on horseback, on grey horses - Lord Ivor had already suggested the picture to me. “A signpost to Melton was the thing,” said the Duke; “we must have a signpost in it! Changing horses, four greys, with the second horseman in full rig; what a subject! Mind you put me on the best horse.”’
The account continues to describe how both the Duke and Lord Ivor came for sittings at his London studio at Glebe Place, while he painted the grooms and horses at Blenheim. He prepared meticulously for portraits, making preparatory sketches to get to know a subject, and the present studies represent part of this process for the commission.
The first side of the panel is a compositional study, which is especially intriguing in light of Munnings’ conversation with the Duke about composition referenced above and may well be the original concept. It closely resembles the beautifully balanced assembly of the finished work – Lord Ivor on the grey horse on the right having its curb-chain adjusted by a second horseman, the Duke in the centre, and on the left, another second horseman holding the two greys from which father and son have just dismounted. There is a wonderful confidence and immediacy to the mark making and we can see Munnings developing his palette and exploring the effects of light with subtle tones and dashes of blue, purple and yellow.
The other side of the panel provides a different perspective, with three intricate workings of Lord Ivor on his horse in hunting pinks and top hat. Munnings tries out different positions for his head and arms against light and dark backgrounds, combining a soft and delicate handling of the faces with more expressive strokes elsewhere. This was presumably executed from life during the sitter’s visit to Munnings’ studio.
Several other preparatory works relating to the commission have appeared on the market, including four panels of the same size as the present work which all sold for between $156,000 and $296,000 at Christie’s New York on 1st December 2006 (lots 62-65). These panels had passed by descent through the Spencer-Churchill family whereas this work was purchased directly from Munnings by renowned racehorse trainer Sir Jack Jarvis (1887-1968), before being passed by descent. Jarvis trained nine British Classic winners and in 1967 became the first trainer to be knighted for services to racing.
Charles Richard John Spencer-Churchill, 9th Duke of Marlborough (1871-1934) succeeded his father in 1892 and famously married prominent American socialite Consuelo Vanderbilt at Blenheim Palace in 1895. They had two children together – John Spencer-Churchill, 10th Duke of Marlborough (1897-1972) and Lord Ivor Spencer-Churchill (1898-1956).
This work has been specially framed making it possible to easily switch between displaying either side of the panel.
115
Peter Biegel (British, 1913-1988)
Over the rail
signed and dated ‘Peter Biegel / ‘67’ and inscribed ‘Surrey Union’ (lower left) oil on canvas
50.8 x 61 cm. (20 x 24 in.)
£1,500 - 2,500
Provenance
With the Roundtree Tryon Gallery, London
Alfred Crowdy Lovett (British, 1862-1919)
Aden Camel Corps, circa 1880s signed ‘A C Lovett’ (lower right) watercolour
50 x 35 cm. (19 5/8 x 13 3/4 in.) (unframed)
£1,000 - 1,500
Provenance
Private Collection of the artist, left to the family by descent
Lieutenant Colonel Alfred Crowdy Lovett (1862-1919) was a British military artist predominantly known for his watercolours, which captured his travels and the British Army in colonial India. His artworks are valuable historical records of the era and the places he documented. Born and raised in Croydon, London, where he won third prize for an art competition in the iconic British publication, Boys Own Paper, Lovett joined the Gloucestershire Regiment in 1882. His early military career took him to Karachi and Western India between 1883 and 1893. He later participated in a military campaign in Aden before returning to England.
In 1901-1902, Lovett resumed active service and played a prominent role in early World War I campaigns, including those at Mons and Ypres along the French-Belgian border. He was appointed commanding officer of the 1st Gloucestershire Regiment in 1911. During the war, he led his regiment in pivotal battles such as the Aisne and the First Battle of Ypres. Following the wounding of two divisional commanders during the Battle of Gheluvelt, he took charge of the 3rd Brigade. For his distinguished service in 1914, Lovett was made a Companion of the Order of Bath.
His work was celebrated in 1911 when, the book ‘The Armies of India’, painted by Major A.C Lovett, described by Major G. F. MacMunn D.S.O. (Royal Field Artillery), with forward by Field Marshal Earl Roberts V.C, K.G, K.P, O.M, Erc., was published. His illustrations enhanced the book, creating a completely new perspective and insight into Indian history. The Armies of India was arguable well-timed; as European powers competed fiercely for arms and colonies, Britain was determined to maintain its lead. The many regiments, particularly across the Indian subcontinent, offered a striking visual representation of the Empire’s power. The diverse uniforms and regalia highlighted the vastness and the varied peoples under the Crown’s rule. The army, beyond symbolizing power, also represented glory, and Lovett’s illustrations captured this magnificently.
After the war, Lovett commanded the East Lancashire Reserve Division from 1916 until his death in 1919. His paintings gained widespread recognition after his death. He displayed a passion for art throughout his military career, documenting important depictions of military uniforms, equipment and soldiers. His works remain a testimony of the past and have been featured throughout Royal Academy exhibitions.
Alfred Crowdy Lovett (British, 1862-1919)
Indian Army soldiers, possibly the Mumbai Governors Indian bodyguard signed ‘A C Lovett’ (lower left) watercolour
41.5 x 61 cm. (16 1/4 x 24 1/4 in.) (unframed)
£3,000 - 5,000
Provenance
Private Collection of the artist, left to the family by descent
The Governor’s Body Guard of Bombay Presidency was established on 22 March 1865. It was a regiment of the Bombay Army and served as a ceremonial bodyguard unit for the British army in India.
After Peter Paul Rubens (Flemish, 1577-1640)
Lot and his daughters oil on copper
34.3 x 42.5 cm. (13 1/2 x 16 3/4 in.)
£1,000 - 2,000
Provenance
Sale; Christie’s, Christie’s Interiors, 28 July 2009, lot 275, London
After the original picture in the Staatliches Museum, Schwerin, Germany
Anglo-Dutch School (1591)
Portrait of a lady, three-quarter length, in a red dress and black hat, a handkerchief in her right hand, a glove in her left charged and dated ‘AETATES.SUE.33 1591.’ (upper right) oil on panel
32.7 x 26 cm. (12 7/8 x 10 1/4 in.)
£1,000 - 2,000
Provenance
Sale; Christie’s, Old Master & British Pictures & Old Master Drawings, 2 Dec 2008, lot 226, London
Geroge Armfield (British, fl.1840-1875)
Spaniels flushing mallard signed and dated ‘G. Armfield / 1850’ (lower right) oil on canvas
35.5. x 45.5 cm. (14 x 18 in.)
£1,000 - 2,000
Provenance
Richard Green, London
J. G. Gulliver Esq.
James Edward Grace (British, 1851-1908)
Morning at Capel Curig, North Wales
signed and dated ‘J.E Grace, 1870’ (lower left), further signed, titled and dated ‘Morning at Capel Curig, 1870, J.E Grace’ (verso) oil on canvas
33 x 49 cm. (13 x 19 in.)
£1,000 - 2,000
Thomas Whittle (British, 1803-1887)
An old mill (Evening) near Beddgelert, Wales signed ‘T Whittle’ (lower right), further signed, titled and dated (verso) oil on canvas
35 x 46 cm. (13 3/4 x 18 in.)
£1,000 - 2,000
Circle of William Marlow (British, 1740-1813)
A coastal landscape near Terracina, Italy oil on canvas
37.1 x 52.7 cm. (14 1/2 x 20 7/8 in.)
£1,500 - 2,500
Provenance
Sale; Christie’s, The Barratt Collection - From Crowe Hall, Bath, 16 Dec 2010, Lot 21, London
After Jan Wack (Dutch, 1644-1702)
Portrait of William III (1650-1702), full-length, on horseback, at the Battle of the Boyne, 1690 with inscription ‘WILLIAM 3RD.../ by WYCK’ (upper left) oil on canvas
28 x 24 3/4 in. (71.1 x 60.3 cm.)
£2,000 - 3,000
Provenance
Fort Belvedere, Runnymede, Surrey 1956-1976. Virginia Water Cottage, Windsor Great Park, Berkshire.
After the picture in the Collection of the Muscarelle Museum of Art, Virginia, USA
John Syer and James Doubting (British, 1815-1885)
Moel Siabod signed, monogrammed and dated ‘J Syer 68 / JD’ (lower right) oil on canvas
56.5 x 92 cm. (22 1/4 x 36 1/4 in.)
£2,000 - 3,000
Provenance
Frost and Reed, London
Charles Lorraine Smith (British, 1751-1835)
Huntsmen and hounds in a wooded landscape; Drawing cover oil on canvas
each 39 x 54 cm. (15 1/4 x 21 1/4 in.)
(2, a pair)
£3,000 - 5,000
Provenance
Sale; Christie’s, Sporting Art, Wildlife & Dogs, 7 Nov 2007, lot 27
George Henry Laporte (German, 1799-1873)
The Hunt; and a companion painting the first signed and dated ‘G.H.Laporte. 1841.’ (lower left) each oil on canvas each 12 x 16 in. (30.5 x 40.6 cm.) The first painted in 1841. (2)
£3,000 - 5,000
Provenance with Needham’s Antiques Inc., New York. Sale; Chritie’s, Christie’s Interiors; Property from The Estate of James Pearson Duffy, 22 June 2011, lot 191, London
Thomas Blinks (British, 1860-1912)
Full cry signed and dated ‘T Blinks 99’ (lower right) oil on canvas
25.5 x 36 cm. (10 x 14 1/8 in.)
£4,000 - 6,000
Provenance
Sale; Bonhams, The Sporting and Ornithological Pictures Including a Collection of Primitive and Livestock Art, 9 September 2008, lot 60, London, Knightsbridge.
Thomas Blinks painted rural and sporting scenes, with a particular focus on hunting and shooting. He was highly regarded for his ability to capture the natural beauty and grace of animals, especially horses and dogs, and for his attention to detail in depicting their behaviour and anatomy.
Blinks’ paintings were popular among hunting enthusiasts and members of the British aristocracy, and he received numerous commissions from wealthy patrons. His works were exhibited at prestigious venues such as the Royal Academy of Arts in London, where he gained recognition for his talent and craftsmanship.
While Blinks is best known for his paintings of hunting dogs and game birds, he also painted other subjects, including domestic animals, rural landscapes, and genre scenes. His paintings are characterised by their warmth and charm.
Today, Thomas Blinks is remembered as one of the leading sporting artists of the late 19th and early 20th centuries, celebrated for his ability to capture the spirit of the hunt and the beauty of the natural world.
Stephen Elmer, A.R.A. (British, 1714-1796)
A covey of partridges in a landscape signed ‘S Elmer’ (lower right) oil on canvas
67.4 x 91.5 cm. (26 1/2 x 36 in.) Held in a Lely panel frame
£4,000 - 6,000
Provenance
Sale; Christie’s, The Sunday Sale, 9 Dec 2007, lot 109, London
Richard Barnett Spencer (British, 1840-1874)
A study for Bread Winners signed ‘T Blinks’ (lower left), further inscribed and titled (label attached verso) oil on canvas
31 x 41 cm. (12 x 16 in.)
£4,000 - 6,000
The present work is possibly a preparatory study for another painting by the artist; Bread Winners, oil on canvas (112 x 142 cm.), which was sold at Sotheby’s, Victorian Paintings & Sculpture, London, 17 Jun 1987, lot 96
Thomas Blinks painted rural and sporting scenes, with a particular focus on hunting and shooting. He was highly regarded for his ability to capture the natural beauty and grace of animals, especially dogs, and for his attention to detail in depicting their behaviour and anatomy.
One of Blinks’ most famous works is “The Dead Shot,” which portrays a hunter and his dogs after a successful day of shooting. The painting exemplifies Blinks’ talent for conveying the excitement and camaraderie of the hunt, as well as his skill in rendering the textures of fur and feathers.
Blinks’ paintings were popular among hunting enthusiasts and members of the British aristocracy, and he received numerous commissions from wealthy patrons. His works were exhibited at prestigious venues such as the Royal Academy of Arts in London, where he gained recognition for his talent and craftsmanship.
While Blinks is best known for his paintings of hunting dogs and game birds, he also painted other subjects, including domestic animals, rural landscapes, and genre scenes. His paintings are characterised by their warmth and charm.
Today, Thomas Blinks is remembered as one of the leading sporting artists of the late 19th and early 20th centuries, celebrated for his ability to capture the spirit of the hunt and the beauty of the natural world.
275
Thomas Blinks (British, 1860-1912)
Through the stream signed and dated ‘1891’ (lower right)
oil on panel
25.5 x 36 cm. (9 3/4 x 14 in.)
£4,000 - 6,000
Thomas Blinks painted rural and sporting scenes, with a particular focus on hunting and shooting. He was highly regarded for his ability to capture the natural beauty and grace of animals, especially horses and dogs, and for his attention to detail in depicting their behaviour and anatomy.
Blinks’ paintings were popular among hunting enthusiasts and members of the British aristocracy, and he received numerous commissions from wealthy patrons. His works were exhibited at prestigious venues such as the Royal Academy of Arts in London, where he gained recognition for his talent and craftsmanship.
While Blinks is best known for his paintings of hunting dogs and game birds, he also painted other subjects, including domestic animals, rural landscapes, and genre scenes. His paintings are characterised by their warmth and charm.
Today, Thomas Blinks is remembered as one of the leading sporting artists of the late 19th and early 20th centuries, celebrated for his ability to capture the spirit of the hunt and the beauty of the natural world.
276
Dutch School (18th Century), possibly attributed to Johann Georg Stuhr (C. 1640-1721)
A capriccio of water-side palaces, with elegant figures oil on canvas
99.1 x 140 cm. (39 x 55 1/8 in.)
£6,000 - 8,000
Provenance
Sale; Christie’s, The Barratt Collection - From Crowe Hall, Bath, 16 Dec 2010, Lot 180, London
Pieter Cornelisz. Van Soest (Dutch. born c. 1600–1620, fl c. 1640–67)
The Battle of the Downs oil on panel
53 x 96 cm. (20 7/8 x 37 32/4 in.)
£8,000 - 12,000
The Naval Battle of the Downs occurred near Dover on October 21, 1639, during the Eighty Years’ War. It was a decisive victory for the United Provinces, led by Lieutenant-Admiral Maarten Harpensz. Tromp, over the Spanish fleet commanded by Admiral Antonio de Oquendo.
278
German School (17 th Century)
Portrait of Martin Luther, bust length with inscription ‘MARTINVS.LVTHER. M. D. XV11.’ (upper centre) oil on panel
64.2 x 45.7 cm. (25 1/4 x 18 in.)
£600 - 800
Provenance
Sale; Christie’s, London, 2 Dec 2008, lot 225
Follower of Louis-Gabriel Blanchet (French, 1701-1772)
Portrait of James Edward Stuart (1688-1766), The Old Pretender, three-quarter-length, in armour and an ermine cloak oil on canvas
53.3 x 44.5 cm. (21 x 17 1/2 in.)
£800 - 1,200
Provenance
Sale; Christie’s, The Gyrn Castle House Sale, North Wales, Property From Gyrn Castle, Nantlys, Mostyn Hall and Capesthorne Hall, 17 July 2006, lot 142, London
Attributed to Henry Barnard Chalon (British, 1770-1849)
of a terrier in a landscape oil on canvas
36 x 43.5 cm. (14 1/8 x 17 1/8 in.)
£2,000 - 3,000
Portrait
Attributed to L. Paul (British, 18 th Century)
Group portrait of a family and a maid in a domestic interior oil on canvas
48.8 x 61 cm. (19 1/8 x 24 in.)
£2,000 - 3,000
Provenance
Sale; Christie’s, The Barratt Collection - From Crowe Hall, Bath, 16 Dec 2010, lot 375, London
Benjamin Williams Leader, R.A (British, 1832-1923)
A quiet pool on the river Llugwy, near Capel Curig signed and dated ‘B. W. Leader. 1872.’ (lower right) and signed and inscribed ‘A Quiet pool on the river Llugy near Capel Curig/B.W Leader.’ (on the stretcher) oil on canvas
50.7 x 76.3 cm. (20 x 30 in.)
£2,000 - 3,000
Provenance
Sold by the artist to Colls of Birmingham, January 1872 for £40 as ‘A Still Pool on the Llugwy near Capel Curig.’
R. Waldron, 1958
With Omell Galleries, London Sale; Christie’s, London, Victorian Pictures, 30 Nov 2001, lot 121
Giovanni Francesco Briglia (Italian, 1737-c.1794)
Portrait of the artist, bust-length, in hunting dress, a rifle resting on his shoulder, with duck in flight beyond oil on canvas
63.5 x 51 1/2 cm. (25 x 20 1.4 in.)
£2,000 - 3,000
Provenance
Sale; Christie’s, London, 26 October 2011, lot 169
August Querfurt (Austrian, 1696-1761)
A horse trader displaying his wares; A peasant feeding horses by a rocky archway each oil on panel each 45.5 x 34 cm. (17 7/8 x 13 3/8 in.) (2, a pair)
£2,500 - 3,500
Provenance
In the collection of the Sherborne family (according to wax seals on the reverse); In the collection of the Yarrow family (according to wax seals on the reverse); With Gallerio Pratt (according to old labels on the reverse); With Frost & Reid, London, by 1945 (according to old labels on the reverse)
Flemmish School (late 16th Century), possibly studio of Frans Francken (1542-1616)
Five episodes from the life of Moses oil on panel
71 x 63 cm. (28 x 25 in.)
£3,000 - 5,000
286
Jan Jacobsz Van Der Stoffe (Dutch, 1611-1682)
A cavalry skirmish oil on panel
73 x 107 cm. (28 3/4 x 42 1/8 in.)
£3,000 - 5,000
Provenance
Anonymous sale; Sotheby’s, London, 6 June 1994, lot 112
Literature
G. Sestieri, I pittori di battaglie, Rome 1999, p. 616, reproduced plate 2
287
Samuel Henry Alken (British, 1810-1894)
A hunt in full cry signed ‘H. Alken’ (lower right) oil on panel
40.5 x 80.2 cm. (16 x 31 1/2 in.)
£3,000 - 5,000
Provenance
Sotheby’s, LondonImportant British Paintings 1500-1850Lot 86, 22nd November 2007
288
Attributed to Jan Fyt (Antwerp, 1611-1661)
A lion attacked by a pack of hounds in a wooded landscape oil on canvas
95.2 x 100.4 cm. (37 1/2 x 39 1/2 in.) (unframed)
£10,000 - 15,000
Provenance
Sale; Christie’s, London, 25 April 2008, lot 76
Circle of Paul De Vos (Belgian, 1592-1678)
Hounds hunting a brace of foxes oil on canvas
84.5 by 175 cm. (33 1/4 x 68 7/8 in.)
£8,000 - 12,000
Provenance
Sale; Sotheby’s, London, 1 November 2007, lot 67
Constantijin Netscher (Dutch, c.1668-c.1723)
Portrait of King William III of England (1689-1702), full length, wearing armour and holding a globe, a dog beneath the table; Portrait of Queen Mary II of England (1689-1694), full length and holding a crown, a small dog on the chair each signed ‘Const. Netscher fec’ (lower right) each oil on canvas
85 x 60 cm. (33 1/2 x 23 5/8 in.) (2, a pair)
£8,000 - 12,000
George Smith of Chichester (British, 1714-1776)
A capriccio river landscape with figures fishing, the Temple of Vesta on a hill beyond signed ‘Geo : Smith’ (lower left) oil on canvas
44.1 x 63.8 cm. (17 3/8 x 25 1/8 in.)
held in a fine carved and gilded Maratta frame
£8,000 - 12,000
Provenance
Sale; Christie’s, London, The Barratt Collection - From Crowe Hall, Bath, 16 Dec 2010, lot 148
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The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply.
1.3 Catalogue descriptions
Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity 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 representation 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.
1.4 Inspection
Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them.
1.5 Condition report
CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’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 Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto.
1.6 Electricals
All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety.
It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use.
1.7 Estimates
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
Many Lots are offered subject to a reserve, which is the confidential 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.
1.9 Registration
to the sale
New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneer’s entire discretion.
International bidders may be required to register 48 hours before the 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.
1.10 Proof of identity
Bidders not previously known to CA Ltd will be required to provide:
• Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable.
• Proof of address of main residence. Only official documents showing name and address will be accepted.
• Both landline and mobile telephone numbers
• A bank reference for foreign bidders may be requested
• Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the above mentioned 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
2.1 Attendance at auction
Attending the auction in person is recommended.
CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises.
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.
2.2 Personal bidding
Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale.
2.3 Commission bids
CA Ltd will use reasonable efforts to carry out Commission bids 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.
Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot.
In the event of multiple commission bids set at the same price, the first registered commission bid will take priority.
2.4 Telephone bids
If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone. CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder.
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.
1.2 Definitions
For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the 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.
1.3 Catalogue descriptions
Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity 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 representation 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.
1.4 Inspection
Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them.
1.5 Condition report
CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’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 Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto.
1.6 Electricals
All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety.
It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use.
1.7 Estimates
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
Many Lots are offered subject to a reserve, which is the confidential 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.
1.9 Registration to the sale
New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneer’s entire discretion.
International bidders may be required to register 48 hours before the 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.
1.10 Proof of identity
Bidders not previously known to CA Ltd will be required to provide:
• Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable.
• Proof of address of main residence. Only official documents showing name and address will be accepted.
• Both landline and mobile telephone numbers
• A bank reference for foreign bidders may be requested
• Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the above mentioned 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
2.1 Attendance at auction
Attending the auction in person is recommended.
CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises.
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.
2.2 Personal bidding
Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale.
2.3 Commission bids
CA Ltd will use reasonable efforts to carry out Commission bids 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.
Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot.
In the event of multiple commission bids set at the same price, the first registered commission bid will take priority.
2.4 Telephone bids
If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone. CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder.
2.5 Internet bids
Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for
Invaluable.com, Artsy.net or Liveauctioneers.com are liable for a 5% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium.
4.4 Taxes
VAT is payable on the buyer’s premium, and for some lots, VAT is payable on the hammer price. The successful bidder will be responsible to ascertain and pay any applicable taxes including VAT, sales tax or any equivalent tax arising on sale of a particular lot.
W.e.f. 1st January 2021 (Post Brexit), Private individual buyers based outside UK will now be charged VAT at the applicable rate and will not be able to claim a VAT refund.
Trade clients based outside UK and who arrange for their own shipping can get the VAT refunded if all the below conditions are met:
1. Have registered to bid with an address outside of the UK
2. Provide immediate proof of export out of the UK within 90 days from the date of the auction
Please note, we charge an administrative fee of £35 per invoice to check export documents and arranging VAT refunds. VAT refunds will be done to the original method of payment used by the buyer.
No VAT will be refunded where the total VAT on an invoice is under £70.
Trade clients based outside UK and who arrange shipping with our recommended shipper JGM Shipping can get the VAT taken off the invoice prior to making payment. In order to do this, you must email katy.mcevoy@chiswickauctions.co.uk a confirmation of shipping with JGM Shipping. If you cancel or change the shipping with our recommended shipper, we will issue a revised invoice charging all applicable taxes.
4.5 Artist Resale Rights / Droit de Suite
Lots marked with ‘ARR’ may be subject to a levy.
Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500. Royalties for Droit de Suite are as follows:
• From 0 to €50,000 4%
• From €50,000.01 to €200,000 3%
• From €200,000.01 to €350,000 1%
• From €350,000.01 to €500,000 0.5%
• Exceeding €500,000 0.25%
4.6 Remedies for non-payment
If the Buyer fails to make full payment in cleared funds within the time 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:
• To cancel the sale
• To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’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.
• To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer
• Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionary apply any sum paid by the Buyer for discharge of any owed sums.
• To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd.
• To exercise a lien over the Buyer’s property in the possession of 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.
• To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs.
• To take such other action as is permissible by Law and in the discretion of CA Ltd.
4.7 Collection
Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7).
4.8 Storage
CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd shall, 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.
4.9 Shipping
Any shipping costs that may arise subsequent to the sale shall be at the Buyer’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. CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense.
CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.
4.10 Loss or Damage
CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care.
4.11 Cultural Goods import and export restrictions
Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade.
Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of preColumbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts.
The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible.
4.12 CITES
Import and export restrictions
Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such
permits are necessary before applying for export permits and it is the Buyer’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.
Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations.
4.13 Limitation of liability regarding CITES export licenses
Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them.
CA Ltd cannot be held responsible if the Buyer’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.
4.14 Warranties
CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law.
4.15 Authenticity warranty
In the event of a Lot being sold as authentic under the catalogue 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 authentic, CA Ltd will refund the purchase price.
The Buyer shall give notice to CA Ltd within 28 days from knowledge 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 be defined as the state of a Lot that is genuine and not a forgery or a copy.
5. ANTIQUITIES AND TRIBAL ART
5.1 Import and export restrictions and regulations
Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value.
It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest.
Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value.
Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.
6. JEWELLERY
6.1 Gemstone treatment and estimates
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:
• Heat treatment to enhance sapphires and rubies’ clarity and colour
• Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone
• Staining
• Irradiation
• Coating
Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in
the past. CA Ltd shall not be responsible in the absence of mention thereof.
A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone.
If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only.
6.2 Estimated weights
If a stone’s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy.
6.3 Signatures
‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker.
‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.
‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client.
‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic.
Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details.
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 without defects, or has been subject to repair or restoration.
CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and 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 import or export purposes in accordance with CITES regulations.
CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps.
8.1 Upholstered furniture after 1950
According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale.
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: 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 Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated 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 Pictures are framed unless otherwise stated.
10. ASIAN ARTS
10.1 Import and export restrictions
When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items.
10.2 Fine Chinese Paintings
Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the 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, a ‘forgery’ is defined as a work created with the intent to deceive.
11. BOOKS AND MANUSCRIPTS
Books and manuscripts sold as incomplete are not subject to returns. 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 ‘binding’ or ‘bindings’.
12. WINES AND SPIRITS
In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level.
For the purposes of the present Terms and Conditions, the ‘Fill Level’ 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 an ‘acceptable’ fill level from CA Ltd.
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 above-mentioned materials without the prior written consent of CA Ltd.
Some Lots may be subject to copyright protection, CA Ltd does not 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 Buyer’s prior consent.
CA Ltd never sell, lend or trade in personal data provided by any Bidder.
15. SEVERABILITY
Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result.
16. AMENDMENTS
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.
For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in 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.
