Roseberys London

IMPRESSIONIST, MODERN, POST WAR & CONTEMPORARY ART Wednesday 3 July 2019

IMPRESSIONIST, MODERN, POST WAR AND CONTEMPORARY ART Wednesday 3 July 2019 Starting at 12 noon VIEWING

Sunday 30 June 10am-2pm Monday 1 July 9.30am-5.30pm Tuesday 2 July 9.30am-5.30pm Wednesday 3 July 9.30am-11.45am Head of Sale: Tess O’Brien Specialist: Kate Pritchard Please note the conditions of sale at the back of this catalogue Buyer’s Premium 25% + VAT (30% inclusive of VAT) Condition of items: a catalogue description does not state the condition of the item Catalogue Price £10 (£12 by post) Cover: Lot 54 Inside Front Cover: Lot 63 Inside Back Cover: Lot 131

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk

Online bidding available at:

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BUYING AT ROSEBERYS The following is intended to serve as a useful quick reference to buying at Roseberys.

Prior to bidding please familiarise yourself with our full conditions of sale which are applicable when bidding at one of our auctions. Our staff are available to assist you with any questions you may have.

Viewing Catalogues are available from reception and all lots are listed and illustrated at www.roseberys.co.uk Condition is not stated in the catalogue description and buyers are encouraged to view lots in person prior to bidding to satisfy themselves as to the accuracy of the description and condition of lots.

New Bidders New buyers are required to register before bidding. This can be done in person at reception, or via email to clientservices@roseberys.co.uk.

Photographic identification, full contact details and proof of address are required. Roseberys cannot accept bids from unregistered buyers. Once registered you will be provided with a paddle which states your bidding number for the auction.

New International Bidders

Alternatively, online bidding is available through www.thesaleroom.com and www.invaluable.com, successful online bidders are charged an additional premium of 5% + VAT. Bidders must register by 9am on the morning of the auction to be able to buy online. You will be asked to complete the registration process prior to approval.

• Telephone bidding: A limited number of phone lines for lots in the auction are available for bidders subject to a minimum threshold. A member of staff would telephone you during the auction and bid live on your behalf. Please contact reception if you would like to enquire about booking a phone line.

The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate.

Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon of:

In addition to providing proof of identity, new international bidders must leave a £500 deposit the first time they register and before bidding.

Successful bidders will be refunded their deposit once they have paid for their lots. Unsuccessful bidders will automatically be refunded within a week of the auction.

25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT)

Methods of bidding

VAT

• In person: at the auction room.

VAT is not charged on the hammer price unless it is stated that there is ‘VAT applicable on the hammer price’ at the end of the description. Buyer’s premium is subject to VAT.

• Commission bid: If you are unable to attend the auction, commission bids may be left indicating the maximum amount to be bid excluding the buyer’s premium. All bids must be received at reception at least one hour before the start of the auction. Clients are also able to leave a commission bid via our website on individual lot pages. These bids are actioned on your behalf by our in-house bidding software RoseberysLive, and are not visible to the auctioneer.

• Online bidding: You can follow all our auctions live online and bid via the internet using RoseberysLive, our in-house live bidding platform.

RoseberysLive is a secure online bidding platform provided by Roseberys to enable our clients to bid online from anywhere in the world. You can register to use the service or view the auction through our website www.roseberys.co.uk.

There is no charge to use this service.

The premium price is subject to VAT at the standard rate.

(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with hammer value over €1,000 as follows: 0 to €50,000 - 4%, €50,000.01 to €200,000 - 3% €200,000.01 to €350,000 - 1%, €350,000.01 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500 Please note ARR is calculated in euros.

Auctioneers will apply current exchange rates.

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Payment Payment is required immediately after the auction and can be made in the following ways: • Cash: up to the sterling equivalent of 10,000 Euros on the day of the transaction.

• Debit and Credit cards: excluding American Express. To protect against card fraud we are unable to make ‘card not present’ transactions online or over the phone for amounts over £1000.

To make a payment of over £1000 please make a bank transfer or visit the auction house in person.

• Bank transfer: Payment is accepted via bank transfer to the following account, (International bank transfers are subject to a £25 administration fee.)

Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, Iban GB80NWBK60300636952613.

• Online via www.roseberys.co.uk (up to £1,000) Clearance of Goods Roseberys requests all lots are collected within five working days following the auction. After this, storage charges of £2 + VAT per lot will apply. Please contact our Client Services team should you be unable to collect your purchases within this time and we would be happy to discuss alternative arrangements.

Delivery Roseberys is unable to pack and ship items but can suggest the following companies: London/Surrey • Capital Fine Art Move: +44 (0) 7957 209523 • Bernard Thornton: +44 (0) 7970 118762 Nationwide/International • Mail Boxes Etc: +44 (0) 20 8649 9777 Specialist Packing • Pack and Send: +44 20 8392 6990 In order to release to a third party carrier you must inform Roseberys in writing of the lot number and carrier name. Please email clientservices@roseberys.co.uk Export of goods Buyers intending to export goods should ascertain whether an export licence is required before bidding.

Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on 020 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.

Lot 137

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1 Fritz Wucherer, German 1873-1948 Village landscape with fields watercolour over traces of pencil, heightened with white, signed, inscribed and dated ‘IX.15’, 32 x 48cm Provenance: Private collection, London £200 - 300* 2 Fried Stern, German 1875-1942 1

River landscape with a church, c.1930s black and coloured crayon on buff coloured paper, 33 x 43cm: together with a study of a river landscape in pencil and watercolour by the same artist, signed and dated 1932, 22 x 29.2cm (2) Provenance: with Edmund Haas, Frankfurt AM, according to the label attached to the reverse of one of the frames; Private collection, London £100 - 150* 3 Paul Vorgang, German 1860-1927 A path by a lake in Grunewald forest

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oil on canvas laid down on panel, signed, 37 x 51cm Provenance: Peter Lamda studio sale, Sotheby's, London, 13 May 1998 lot 208: Private collection, London Note: Paul Vorgang studied at the Berlin academy under Professor Eugen Bracht. By 1886 he was an assistant instructor at the Charlottenburg Academy of Fine Art. Vorgang is known for his depictions of austere Brandenburg scenery and motifs drawn from the immediate environs of Berlin, such as the Grunewald forest. Paintings by the artist hang at the Berlin National Gallery, the City Art Museum, St. Louis, Missouri and other distinguished art museums.

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£300 - 500*

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4 Leo Klein von Diepold, German 1865-1944 Herbstwald (Autumn Forest) oil on canvas, signed, 80 x 65cm Provenance: Private collection, London Note: Leo Klein von Diepold was the son of the Düsseldorf painter Friedrich Emil Klein and his wife, the poet Friederika Wilhelmina Ada von Diepold. He was the brother of the artist Julian and Maximilian (Max) Klein von Diepold and the art writer Rudolf KleinDiepold. Furthermore, he was friends with and worked alongside the renowned artist Max Liebermann. £200 - 300*

4 5 Eugene Cadel, French 1862-1942 'Passage en Provence' (Passage in Provence), 1899; oil on canvas, signed, and titled and dated on the reverse of the stretcher, 65 x 55cm £300 - 500*

5 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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Pantazis was one of the first Greek painters to explore the new discourse suggested by French Realism and Impressionism. Significantly, each artist began his training in Nikiforos Lytras' Athens studio during the early 1870s, before establishing a vision and career in a foreign city. In 1872 he moved to Paris and it was there that he met Gustave Courbet, whose approach to painting became the cornerstone of Pantaszis style. ''Courbet's Realism offered the young artist new means of self-expression: no longer would his perception of nature concern merely the purely visible aspect, but its inherent truth also. The object would be invested with a spiritual content, not through embellishment or exaltation, but because, however rude, it could be shown as it really existed.'' (S.G. de Heusch, O. Metzafou-Polyzou & S. Samaras, ‘Pericles Pantazis’, Athens, 1994, p. 23)

6 6 Périclès Pantazis, Greek, 1849-1884 ‘Barques sur l’Escaut’ (Boats on the Scheldt River) oil on canvas, 41.5 x 56 cm Provenance: Sotheby’s, London 09 Nov 2009 lot 15; Private collection, Greece Literature: Serge Goyens de Heusch, Olga Metzafou-Polyzou & Stephanos Samaras,’ Pericles Pantazis, Athens’, 1994, no. 127 £2,000 - 3,000*

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7 7 Périclès Pantazis, Greek, 1849-1884 Self Portrait of the Artist oil on canvas, 46 x 37cm Provenance: Sotheby’s, London 17 May 2010 lot 106; Private collection, Greece Literature: Stelios Lydakis,’ History of Neo-Hellenic Painting, 16th - 20th Century, Athens,’ 1976, p. 371, illustrated; illustrated on the back cover of the book: Georgia Dracopoulou,’Pericles Pantazis’ and the Belgian Painting of the 19th Century, Athens, 1982, p. 52, illustrated: Serge Goyens de Heusch, Olga Metzafou-Polyzou & Stephanos Samaras, ‘Pericles Pantazis’, Athens, 1994, p. 180 & 219, no. 254, illustrated: Kathimerini Newspaper, Athens, 14 July 1994, illustrated £1,500 - 2,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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8 Wilhelm Kuhnert, German 1865-1926 ‘Elefanten im Fluss’ (Elephants in a river) oil on canvas, signed, signed, titled and inscribed ‘Berlin’ on the reverse, 92 x 123cm Provenance: Doig Wilson & Wheatley, Edinburgh according to the label attached to the stretcher; Christie’s London 9 July 2014 lot 109; Private collection, London Note: The work is accompanied with a certificate of authentication and report from Dr Angelika Grettmann-Werner who will be including this work in the Wilhelm Kuhnert catalogue raisonné as no. 4069.

During the late 19th century, artists such as Wilhelm Kuhnert were encouraged to study the animals from the many zoos that were becoming popular across Europe at the time. However, Kuhnert felt that these animals were often aged or sickly animals. Dissatisfied with this, Kuhnert chose to follow the example of Germany’s celebrated animal painter Richard Friese (18541918), who advocated the study of wild animals in their native habitats. Thus, Kuhnert travelled to the German and English colonial territories of East and South Africa on safari in 1905 and 1911-12 in order to study animals in the wild, such as this painting of elephants.

Dr Angelika Grettmann-Werner noted in her report on ‘Elefanten im Fluss’ that there is another similar painting by the artist, WV No.4211 in her upcoming catalogue, which is also three elephants, two adults and one baby. Grettman-Werner noted that ‘’While the three animals are represented in a similar manner in arrangement and behaviour, the water has been designed as flowing water. There are many more waves, so that the behaviour of all animals is even more alive. The shore is different: the lines between the sand area and the reed are comparable, but the edge is harder. Both on the waterfront and on the shore area there is a flock of birds (ibises)” The Schirn Kunsthalle museum in Frankfurt held a retrospective of the Kuhnert’s works ‘King of the Animals’ October 2018-January 2019, since then there has been an increased interest in this artist, his works can be found in institutions around the world. £10,000 - 20,000*

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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9 Eanger Irving Couse, American, 1866-1936 ‘Watching Game’ c.1906 oil on canvas, signed, 33 x 43cm Provenance: L. Lehamier, believed to be an art dealer, purchased it for $150 from the artist in 1906; Bion Hall Barnett (1857 - 1958), an American banker, who founded the Bank of Florida and thence by descent.

Note: This work will be included in Virginia Leavitt, the artist’s granddaughter, forthcoming catalogue raisonné.

Eanger Irving Couse was president and a founding member of the Taos Society of Artists. Native Americans and landscapes of the Southwestern United States, such as this painting were amongst Couse’s most celebrated images. Couse was a renowned artist, as described by art historian Nicholas Woloshuk: “[Couse’s] in-born genius in art, his intensive study of the art of the European masterpieces which hung in museums and galleries, and his tutelage of [William-Adolphe] Bouguereau, [Tony] Robert-Fleury, and [Gabriel] Ferrier resulted with Couse’s paintings ranking with those of the masters of his time. Most of his paintings were spontaneously executed with bold confident strokes of the brush. Some were almost impressionist and near perfection in colour and coordination. His technique was genuinely masterful”.

(E. Irving Couse: 1866-1936, Santa Fe, New Mexico, 1976, p. I) A comparable work to ‘Watching Game’ entitled ‘Indian at Sacred Lake’, is held in the El Paso Museum of Art, Texas. £10,000 - 15,000*

Eanger Irving Couse’s sketch of ‘Watching for Game’, image courtesy of the Couse Foundation

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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10 Egon Schiele, Austrian 1890-1918 ‘Portrait eines jungen Mädchens’ (Portrait of a young girl) pencil on paper, signed and dated ‘18.II.07’, 52.1 x 33.7cm Provenance: with Galerie 10, Vienna; Sotheby’s, New York, 11 Mar 1998 lot 81; Christie’s, New York, 14 Feb 2007 lot 67; Master Art, California, where it was purchased by the current vendor.

Literature: J.Kallir, Egon Schiele, ‘The Complete Works’, New York, 2009, p. 357, number D 89.

Note: This lot is accompanied by a certificate of authenticity from Jane Kallir.

‘Portrait eines jungen Mädchens’ was created the first year Schiele studied at the Vienna Academy of Fine Arts (1907-09). During these formative years the artist was influenced by the Jugendstil, the German Art Nouveau movement. It was around this period, the artist met Gustav Klimt (1862-1918), whom soon became the artist’s mentor. Klimt exchanged his own pieces with the artist and also arranged models and potential patrons for Schiele.

A very similar comparison to this piece ‘Portrait of a Girl’, 1907, which is held at the Albertina Museum in Vienna. £20,000 - 30,000*

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10 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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11 11 Armand Guillaumin, French, 1841-1927 ‘Le Puy Barriou, Paysage de la Creuse, Aout, 1916’ pastel on laid paper, signed in pastel, titled in black chalk on the reverse, 45 x 61.5cm Provenance: Madame Rousso, Paris: Purchased from the Madame Rousso by Eardley Knollys in April 1954 for £12; Bonhams Knightsbridge, October 23, 2013 Lot 8; Private collection, London Note: This lot will be included in the Comité Guillaumin’s (Dominique Fabiani, Jacques de La Béraudière and Stéphanie Chardeau-Botteri) forthcoming second volume of the catalogue raisonné. A photo-certificate of authenticity from the Comité Guillaumin accompanies this lot.

Armand Guillaumin studied at the Académie Suisse in the 1860s, where he met Paul Cézanne (1839-1906) and Camille Pissarro (1830-1903). He exhibited alongside his contemporaries in the Salon des Refusés in 1863 and in six of the eight renowned Impressionist exhibitions. In 1886 he befriended Vincent van Gogh (1853-1890) whose brother Theo van Gogh (1857-1891), the art dealer, began to sell the artist’s works.

Depicted here is La Creuse, an area in central France named after the river Creuse that runs through it, it is a scene often repeated in Guillaumin’s oeuvre. La Creuze drew the attention of numerous other painters and a group soon formed, named École de Crozant after a small village in the region called Crozant. £8,000 - 10,000*

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12 Marie Lefèvre, French 1840-?

Trois personnages sur la plage de Deauville (Three Figures on Deauville Beach) oil on board, signed and inscribed ‘Deauville’, 23 x 31cm (unframed) Provenance: Purchased from Bonhams, London 19 Oct 1999 lot 272 by the current owner. £200 - 300*

12 13 Rudolf Diener-Denes, French/ Hungarian 1889-1956 Un canal (a Canal), Paris, 1927 coloured pastel on paper, signed and dated, 36 x 52cm (ARR) Provenance: John Denham Gallery, London; Private collection, London Note: Hungarian picture expert, Tibor Zsolnai, has confirmed the authenticity of this work. £400 - 600*

13 14 Arthur Baker-Clack, Australian 1877-1955 Haystacks by a country lane (recto), Trees by a roadside (verso) oil on panel and traces of pencil, signed on the recto, 26 x 34.9cm (unframed) Note: After joining the art colony at Étaples in 1910, Baker-Clack embraced the French Post-Impressionism. £400 - 600*

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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15 André Dunoyer de Segonzac, French 1884-1972 ‘Le chemin du golfe’ (A road to a gulf) c.1960; pen, black ink and wash on paper, signed, 50 x 74cm (ARR) Provenance: 5 rue de la Terrasse, Paris; A.D.S.,13 rue Bonaparte, Paris, (according to the label on the reverse); Private collection, London Exhibited: Wildenstein & Co., London, no. 93, according to label attached to the reverse of the frame Note: André Dunoyer de 15 Segonzac often sketched the Charente area, such as this picture. There is another version of this view also called, ‘Le chemin du Golfe’ from 1959 that was sold by M. Knoedler & Co, New York that shows the same hills at an earlier date. £800 - 1,200 16 André Dunoyer de Segonzac, French 1884-1972

17 Paulémile Pissarro, French 1884-1972

Paysage (Landscape)

Arbres dans un Champ (Trees in a field)

pen and black on laid paper, signed, 29 x 47cm (ARR)

charcoal, signed, 25 x 33cm (unframed) (ARR)

Provenance: Private collection, London £200 - 300*

Note: Lélia Pissarro believes the work to be authentic and has confirmed the work will be entered into the Paulémile Pissarro’s archive. £200 - 300* 18 Willy Eisenschitz, Austrian 1889-1974 Haus (House) pastel on paper, bears artist’s atelier stamp, 35 x 45cm (ARR) Note: Kunsthandel Widder, experts on the artist, have confirmed the authenticity. £700 - 900*

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19 Maximilien Luce, French 1858-1941

20 Maximilien Luce, French 1858-1941

‘In the Forge’

Mother and Child

pencil and wash on coloured paper, signed with initials and dated indistinctly, 26.5 x 20cm

pencil and wash on coloured paper, signed with initials and dated indistinctly, 26.5 x 20cm

Provenance: Boundary Gallery, London; Private collection, London

Provenance: Boundary Gallery, London; Private collection, London

£500 - 800*

£500 - 800*

21 Jules Cheret, French 1836-1932

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Sketch of a woman side profile, and Head studies of lady in bonnet, c. 1918-1921 black chalk on light blue/grey coloured paper, pair, both signed, one dated ‘5-11-18’ and the other ‘25.10.21’ in black chalk, 24 x 36.5cm & 24 x 37cm, (2) Provenance: Private collection, London £800 - 1,200*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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22 Else Meidner, German 1901-1987 Self Portrait, c.1940s charcoal on wove paper, 26.5 x 19.5cm (ARR) Provenance: Collection of Siegfried Oppenheimer; John Denham Gallery, London; Private collection, London £400 - 600* 23 Théophile Alexandre Steinlen, French/Swiss 1859-1923 ‘Nu de dos allongé’ (Nude with elongated back) c. 1910-1915 charcoal on paper, signed, 46.5x61cm Provenance: with Cabinet Baysers, Paris (according to label attached to the reverse of the frame); Millon & Associés SAS, Paris 23 Jun 2011 lot 158; James’s Art Books, London in 2014, where purchased by the current owner Note: This lot is accompanied with a certificate of authentication from Madame Orset Claude.

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£700 - 1,000*

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24 Jules Pascin, Bulgarian/American 1885-1930 Hermine David, l'épouse de Pascin (the wife of Pascin) watercolour, pen and black ink, signed, bears ‘Atelier Pascin’ stamp, 30 x 16.5cm Provenance: Private collection, London Note: This work is accompanied with a certificate of authentication from the Comité Pascin. £1,000 - 1,500* 25 Médard Tytgat, Belgium 1871-1948 ‘Theatre de la Scala’, 1916 lithograph printed in colours, signed and dated within the plate, 85 x 59.5cm Provenance: Private collection, London Note: Tytgat worked on costumes and designs for theatres in Brussels in the early 20th century, he was particularly known for his theatre posters such as this lot.

The Royal Library of Belgium has another example of a theatre lithographic by the artist ‘Théâtre Royal des Galeries St Hubert - Ali Baba’ (no. S.V 4053) £150 - 200*

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26 26 André Édouard Marty, French 1882-1974 ‘Le Diner’ (the Dinner) pen, black ink and wash, signed, 13x25cm, (ARR) Provenance: Purchased from Julian Hartnoll by the current owner.

Exhibition: Julian Hartnoll, London ‘19th Century English Drawings and Prints,’ No.8 £300 - 400* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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27 Jean Cocteau for Classic Rose Rosenthal ‘Têtes’ (Heads), c.1952 porcelain vases, two, with black printed design, two, vase form designed by Fritz Heridenreich, bears ‘Classic Rose / Rosenthal Group / Germany’, underfoot, height 20.5cm and 24cm respectively, (2) £300 - 500*

27 28 René Magritte, French 1898-1967 ‘Toffée Antoine Tonny’s’ advert, 1931 lithograph printed in colours, produced by Dongo Studio, Brussels, 26.5 x 54.5cm (ARR) Note: For a similar example see MoMA's collection no.1174.2013 £150 - 250* 29 Vaslav Nijinsky, Russian 1888-1950 Petrouschka pen and ink and watercolour, signed and inscribed, 20 x 9.5cm Provenance: Private collection, London £800 - 1,200*

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30 30 André Derain, French 1880-1954 Portrait de Femme (Portrait of a Woman), c. 1922 oil on board, signed, 23.3 x 18cm (ARR) Provenance: Private collection, London Literature: Michel Kellermann, ‘André Derain, Catalogue Raisonné de l’Oeuvre Peint Tome 2 1915-1934,’ no.1109 p.205 (the work is listed as oil on canvas) Note: André Derain is best known for his contribution to the Fauvist movement. In 1905, with a group of artists including Henri Matisse (1869-1954) and Maurice de Vlaminck (1876-1958), Derain exhibited at the Salon d’Automne, Paris, where the critic Louis Vauxcelles used the word fauves (wild beasts), the movement later being called Fauvism.

Derain’s oeuvre marries the volumes of Paul Cezanné’s (1839-1906) flatness with known non-Western sculpture, which is evident in this portrait. The portrait is likely Derain’s wife, Alice, as the sitter’s features appear to be similar to those of Derain’s other portraits of Alice, for example ‘Madame Derain in Green’, 1907 held in MoMA’s collection.

With thanks to Robert Stoppenbach, a member of the comité Derain, for his assistance in the cataloguing of this lot. £6,000 - 8,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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31 André Bicât, French 1909-1996 Deux femmes dan l’intérieur (two women in the interior) watercolour, signed, 28 x 37.5cm: together with six other watercolours by the same artist, ea. signed, various sizes, (7) (unframed) (ARR) Provenance: Private collection, London £200 - 400* 32 Margarete Marks, nee Heymann, German 1899-1990 32

Café Scene, Berlin, c.1919 watercolour, 17 x 20.5cm (ARR) Provenance: John Denham Gallery, London; Private collection, London.

Exhibited: John Denham Gallery, London, March 1992, no. 25 Note: The work dates from the year the artist joined the Bauhaus as a student in 1919.

With thanks to John Denham for his assistance cataloguing the work. £500 - 700* 33 Martin Bloch, Polish 1883-1954 Café Scene, Berlin, c.1920s

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coloured crayon on wove paper, signed in pencil, 11 x 17.5cm (ARR) Provenance: John Denham Gallery, London; Private collection, London Exhibited: John Denham Gallery, London, Émigré Artists, June 1987, no. 8 £300 - 500* 34 Martin Bloch, Polish 1883-1954 Jazz Band, Berlin Cabaret, c.1920s coloured crayon wove paper, signed in pencil, 12.5 x 17.5cm (ARR) Provenance: John Denham Gallery, London; Private collection, London Exhibited: John Denham Gallery, London, Émigré Artists, June 1987, no. 6

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£300 - 500*

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35 Marcel Kalman Ronay, Hungarian 1910-1997 Portrait of Vera Sahle, Vienna watercolour on wove paper, signed and dated 1929, 25 x 21cm (ARR) Provenance: John Denham Gallery; Private collection, London Note: With thanks to Andrew Ronay and Nick Overhead for confirming the authenticity of this work.

For cognate works see John Denham Gallery, London, Marcel Ronay, December 1995; John Denham Gallery, London, Emigré Artists, June 1987; for similar example see Sotheby’s, London Marvin & Janet Fishman Collection,18 October 2000, lot 117 £1,500 - 2,000*

35 36 Marcel Kalman Ronay, Hungarian 1910-1997 Tree, 1928 ink on paper, signed with monogram and dated, 27 x 22cm (ARR) Provenance: Bonhams, London 15 Nov 2005 lot 129; Private collection, London Note: With thanks to Andrew Ronay and Nick Overhead for confirming the authenticity of this work. £200 - 300*

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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37 Charles Vetter, German 1858-1941 Busy city street scene with figures, c. 1920s oil on canvas, signed, 52 x 41cm Provenance: Private Collection, London Note: Charles Vetter was an Impressionist painter that concentrated mainly on city scenes, mainly Munich his adopted city. This is most likely München Marienplatz und altes, the old town hall in Munich, the artist painted another work of this subject from a different angle in 1923. £2,000 - 3,000*

38 Kiyoshi Kobayakawa, Japanese 1897-1948 ‘Le Jardin Anglais’ (the English garden), 1924

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oil on board, signed and dated, ‘Le Continental Menkes, Bruxelles’ transportation label attached verso, 16 x 22cm Note: Kobayakawa was born in Fukuoka, Japan in 1897. He was a pupil of the famous painter and print-maker Kaburagi Kiyokata before joining the Teiten group of artists. After coming to Europe in the mid-1920s he underwent a radical aesthetic change, adopting a delicate Impressionist technique as a result. He exhibited in Brussels and Paris and was featured in the Exposition d’Art Japonais at the Jeu de Paume in 1929. He is also known for his woodcuts.

Kobayakawa’s work is in the Musee d’Art Moderne in Paris and the Museum of Modern Art in Tokyo. £300 - 500*

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40 39 Jean Hippolyte Marchand, French 1883-1941 Trees near the rails, c.1935-36 pencil on buff, bears atelier stamp, 34 x 27.4cm Provenance: Boundary Gallery, London; Private collection. £200 - 300* 40 Aleksej Konstantinovic Korovin, Russian 1897-1950 цветы в вазе (Flowers in a Vase) gouache, signed, 46 x 68cm Provenance: From a Russian private collection. £2,000 - 3,000* 41 Alfréd Réth (Róth), Hungarian 1884-1966 Vase of flowers

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watercolour, signed in pencil, 40.5 x 30cm (ARR) Provenance: With the Arterie, Dulwich, London according to the label on reverse; Private collection, London £300 - 600* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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42 Paul Arnoul, German 1901-1946 ‘Blemen Mit Vase’ (Flowers in a vase) oil on canvas, signed, 84 x 69cm Note: Paul Arnoul was an integral member of the Bachstrasse group of early twentieth century German artists, that included Anlitz, Appel, Arnoul, Richter, and Volk. The group members lived and worked in the Little Paris area of Offenbach which centred around the Bachstrasse and Friedenstrasse. £150 - 200*

42 43 Loren Roberta Barton, American 1893-1975 The Guitar-Player, Arthur Tracey, 1925 oil on canvas, signed and dated, 102 x 82cm Note: Loren Barton was an American painter and engraver, born in Oxford, Massachusetts in 1893.

During 1920s and 1930s, Barton travelled throughout Mexico and southern Europe. She exhibited widely throughout her life, winning numerous medals for her work. Her paintings can be found in the Art Institute of Chicago, the Brooklyn Museum and the Los Angeles Museum of Art. £800 - 1,200*

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44 44 Mordecai Ardon, Israeli 1896-1992 Self-Portrait, c.1938 oil on canvas, 56 x 44.5cm Provenance: according to Vishny, ‘Mordecai Ardon’, Harry N. Abrams, Inc., Publishers, New York, 1974, the painting (work no. 36) belonged to “F. Adler, Wessen, Switzerland”; according to 1985 Tel Aviv Museum catalogue of ‘Ardon: A Retrospective (no. 14)’ it belonged to “Judith and Florian Adler, Switzerland”, it is now being sold by their descendants Exhibited: ‘Ardon: A Retrospective,’ 1985 The Tel Aviv Museum, no. 14 (ill. Eng. list) Literature: Michelle Vishny,’Mordecai Ardon’, 1973 p.233 no.36: Dalia Ardon ‘Ardon: A Comprehensive Catalogue,’ 2019 p. 223, no. 36 (ill.) £5,000 - 8,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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45 Grégoire Michonze, Russian/French 1902-1982 Village scenes, 1966 oils on board, a pair, both signed and dated ‘66’, ea. 6.5 x 29.5cm (2) (ARR) Provenance: Art gallery Hadassa, K, Tel Aviv according to the labels attached to the reverse.

Note: Michonze often liked to paint on these little oblong boards which he called his ‘oblonguettes’.

These works will be in the artist’s forthcoming catalogue raisonné being compiled by his daughter Anna Solal. £1,500 - 2,000* 46 Nelly Vago, Hungarian 1937-2006 ‘Singbad Travels I & II’, 1978 mixed media on paper, two, ea. signed and dated 1978, 30.5 x 20.5cm and 52 x 29.5cm respectively, (2) (ARR) Note: This first image was the costume design ‘Unhappy Ones” by Milán Füst; the second image is the costume design for ‘Loyalty’ by Lajos Szabó, and the character is Aunt Berta (the house keeper).

Drávai Tamás, the artist son, has confirmed the authenticity of these works 46

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47 Nelly Vago, Hungarian 1937-2006 ‘Lovers of the World, I, II & III’ mixed media on paper, three, ea. signed, ea. 70 x 98cm (3) (ARR) Note: This is a series of lovers.

‘Lovers of the World I’ depicts Csongor and Tunde; Romeo and Juliet; Adam and Eve; Titania and Oberon with Puck; ‘Lovers of the World II’ depicts Roxanne and Cyrano; Dante and Beatrice; Antony and Cleopatra ; 19th century couple from Mikszath Kalman novel; ‘Lovers of the World III’ depictrs Syndbad and his women; Abelard and Heloise ; Jancsi and Juliska; Mephistopheles with medieval woman Drávai Tamás, the artist son, has confirmed the authenticity of these works £3,000 - 4,000*

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48 Herbert Kallem, American 1909-1994 ‘The Virgin’ 1952 bronze with a green patina, height 11cm Provenance: Private collection, London Note: Herbert Kallem shared a studio on 28th Street in New York with artist and actor, Zero Mostel (19151977), they were members of an artist group called the “The 28th Street Gang”, whose focused on their New York community post World War II. £400 - 600*

48 49 Reuben Nakian, American 1897-1986 ‘Europa and the Bull’ 1985 bronze with a green patina, on a composite base, numbered ‘7/9’ and stamped with date, 29cm high (including base) (VAT charged on hammer price) Provenance: Private collection, London Exhibition: DiLaurenti Gallery in New York City, 1985: Fundacao Calouste Gulbenkian in Lisbon, Portugal, 1988-89 Note: This particular edition, ‘7/9’, was cast in 1985 at Tallix Foundry in Beacon, NY, from a mold made from the original piece; it was cast specifically for the major Nakian exhibition at the DiLaurenti Gallery in New York City, 1985.

With thanks to the artist’s archive for their assistance cataloguing this work. £500 - 1,000*

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50 Erich Kahn, German/British 1904-1980 Figurative studies, 1959 black ink, five, ea. signed and dated ‘59’, bears artist’s stamp on the reverse, ea. 38.5 x 52cm, (5) (unframed) (ARR) Provenance: John Denham Gallery who acquired the studio of the artist from the artist’s wife in 1989; Private collection London Exhibition: Erich Kahn Studio sale, The John Denham Gallery, London, March 1989 (Professor J P Hodin wrote the introduction to the exhibition catalogue as did Dr K E Hinrichsen for John Denham Gallery.)

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Note: John Denham has confirmed the authenticity of these works. £300 - 500* 51 Erich Kahn, German/British 1904-1980 Figurative studies, c.1955 black ink, four, ea. bears artist’s stamp on the reverse, variously dated, ea. 25.5 x 19cm, (4)(unframed) (ARR) Provenance: John Denham Gallery who acquired the studio of the artist from the artist’s in 1989; Private collection London Exhibition: Erich Kahn Studio sale, The John Denham Gallery, London, March 1989 (Professor J P Hodin wrote the introduction to the exhibition catalogue as did Dr K E Hinrichsen for John Denham Gallery.)

Note: John Denham has confirmed the authenticity of these works. £200 - 400*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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52 52 Emmanuel Mané Katz, Ukrainian 1894-1962 ‘Le Poulain Indocile’ c.1960s oil on canvas, signed lower left, signed and inscribed on the reverse, 89.5 x 116.5cm Provenance: With the Galerie Charpentier, Paris according to the label attached on the reverse; Christie’s, London 22 Jun 2012 lot 239; Private collection, London Note: Although born in Ukraine the artist lived and worked the majority of his life in Paris, becoming affiliated with the School of Paris from the 1920s onwards, and working closely alongside Pablo Picasso. This particular painting was completed later in his career and is typical of his oeuvre of this period. His expressive brushstrokes and interesting use of colour create a bold and dynamic composition. £8,000 - 12,000*

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53 53 Alice Halicka (Alicja Halicka), Polish 1894-1975 ‘Nature morte avec pichet, pomme, bougie’, (Still life with pitcher, apple, candle) c.1912; oil on paper, signed, 39 x 33.5cm (ARR) Provenance: John Denham Gallery, London; Private collection, London Exhibited: ‘Chagall and his Circle’, Ben Uri Gallery, London 5th June-31st July 2005 Note: Around the time of ‘Nature morte avec pichet, pomme, bougie’ was created, Alice Halicka moved to Paris and studied at l’Académie Ranson under Paul Sérusier (1864-1927) and Maurice Denis (1870-1943).

During this time she also met renowned Cubist painter and her husband, Louis Marcoussis (1878-1941).

Halicka exhibited at the Salon des Indépendants and began to work under the influence of art dealer Léopold Zborowski (1889-1932), who was a strong proponent of Cubism. He began to represent her work, though her husband, strongly discouraged it. As a result Halicka destroyed much of her cubist work and, from 1919 focused on collage and fabric design.

With thanks to John Denham for his assistance cataloguing this lot. £6,000 - 8,000* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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54 André Lanskoy, Russian 1902-1976 ‘Terrain précis’ (Precise ground), 1953 oil on canvas, signed, 97 x 130.5cm Provenance: Galerie Louis Carré & Co., Paris; Albert Loeb Gallery, New York; Thomas Gibson Fine Art, London; Sotheby’s, London, 20 October 2008 lot 253; Alon Zakaim Fine Art, London; Acquired from the above by the present owner Note: Lanskoy worked alongside the other artists of the School of Paris, such as Hans Hartung, Wols, Serge Polikaoff, developing the discourse of Tachisme. Tachisme was the non-geometric abstract art that developed in Europe in the 1940s and 1950s characterised by the abstract shapes and splashes of paint similar in aims to the American Abstract Expressionists.

Lanskoy described: “I begin by making a quick sketch in charcoal or pastel: this is the skeleton of the painting, which is always fairly elastic. The first waves of colour change it, but do not make it disappear completely. Then I work on the forms and study their relationships from the angle of technique and colour. Sometimes I introduce a new black or white style, related to the idea which served me as a starting point or following the rhythmic requirements of the forms” (‘Notes sur ma peinture’, Paris, private archives, 1949).

From the 1950’s, when this piece was created, Lanskoy had achieved a high profile internationally, and had developed his abstract depictions, abandoning his earlier figurative pieces.

When ‘Terrain précis’ was offered at Sotheby’s in 2008 the authenticity of this work had been confirmed by André Schoelle. £25,000 - 30,000*

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55 Jankel Adler, Polish 1895-1949 Untitled composition mixed media and gouache on paper, signed, 24 x 34cm (ARR) Provenance: John Denham Gallery, London; Private collection, London Note: with thanks to John Denham for his assistance in cataloguing this work. ÂŁ3,000 - 4,000*

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56 Georges Mathieu, French 1921 -2012 Composition 1958 Chinese ink on Arches paper, signed and dated ‘58’ in black ink, 56 x 76cm, (ARR) Provenance: Sir Clifford Norton; The collection of Lady Norton; Private Collection, London Note: Georges Mathieu was a French painter and theorist credited with launching the Lyrical Abstraction movement and the greater trend of Informalism in post-WWII Paris. Mathieu was known for his distinctive calligraphic and rhythmic pictures, which notably resembles Jackson Pollock’s (1912-1956) drip paintings, which is evident in this work from 1958. His work can be found in the collections of the Solomon R. Guggenheim Museum in New York and the Art Institute of Chicago, amongst others With thanks to Mr. Jean-Marie Cusinberche for the information he has kindly provided on this work. £3,000 - 5,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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57 Paul Shusaku Foujino, Japanese 1925-1982

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Untitled composition, c.1961 Chinese ink and wash on laid paper, signed in pencil, 64.5 x 49.5cm: together with one other Chinese ink and wash on laid paper by the same artist, signed and dated in pencil, 64.5 x 49.5cm, (2) (unframed) Provenance: Private collection, London Literature: For similar examples see ‘Paul Foujino Dessin’ publication, text Jean-Marie Teze and Ivan Toulouse, 2005 Note: Ivan Toulouse, on behalf of the artist’s archive, has confirmed the authenticity of these works. £400 - 600* 58 Eugene Berman, Russian/American 1899-1972Untitled composition of a face brush and black ink and wash on handmade paper, signed with initials, inscribed ‘Rome’, dedicated and dated ‘28 Dec 1964’, 33.9 x 42.2cm Provenance: Property of the late Christopher Gibbs £200 - 300* 59 Francisco Farreras Ricart, Spanish b.1927 ‘Gerineldo’ 1967 mixed media oil on board, signed, inscribed and dated on the reverse, 73 x 60cm (ARR) Provenance: with La Galería Juana Mordó according to the label attached on the reverse. £1,500 - 2,000*

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60 André Minaux, French 1923-1986 Untitled female head, 1968 bronze, signed, bears ‘Susse Freres Fondeur Paris’ mark, and numbered ‘1/8’, 55cm (high), (ARR) Provenance: Bowman Sculpture Gallery, London according to the label in the base: Private collection, London Note: There are only 8 editions of the sculpture. £1,000 - 2,000*

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61 After Diego Giacometti, Swiss, 1902-1985 ‘L’Autruche’ (The Ostrich) bronze with ostrich egg, bears signature, height 46.7cm Provenance: Private collection, London Literature: F. Francisci, Diego Giacometti, Paris, 1986, vol. I, p. 115 (the original cast is illustrated); D. Marchesseu, Diego Giacometti, Paris, 1986, p. 124 (the original cast is illustrated).

Note: The original L’ Autruche (The Ostrich) was created by Giacometti after his friend, Dr. Binet, gave him an ostrich egg. £2,000 - 3,000* 61 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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62 Alicia Perez Penalba, Argentinean 1913-1982 ‘Esquisse du Double’ (Sketch of Double), 1959 bronze, signed and numbered ‘3/6,’ bears Valsuani, Paris foundry mark, 47cm high (including base) Note: In 1948 Alicia Perez Penalba moved to Paris where she enrolled in engravings at the School of Fine Arts. From 1950 she worked in the studio of the prominent, Russian sculptor Ossip Zadkine (1888-1967).

In the late 1950s, She created her ‘Doubles’ series, ‘Esquise du Double’ being one of these creations. The rigidity of these vertical rhythms splits into distinct elements between which allows light to emerge was a typical theme during this series.

Alicia Penalba archive (Alicia-Penalba.com) have confirmed the authenticity of the work. £12,000 - 15,000*

Photograph of Alicia Perez Penalba with ‘Grand Double’, image courtesy of alicia-penalba.com

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63 Yvette Achkar, Brazilian/Lebanese b.1928 ‘Untitled composition VI’, 1969 oil on canvas, signed ‘Y Achkar Hampartzoumian’, signed, dated and titled on the reverse, 59.7 x 89.5cm Provenance: Private collection, London Note: Yvette Achkar was born in Sao Paulo, Brazil, in 1928, and grew up in Lebanon. Achkar graduated from ALBA (Académie Libanaise des Beaux-Arts) in 1957, where she was under the influence of the Italian painter Fernando Manetti and the French painter Georges Cyr, but it was during her stay in Paris, on a scholarship from the French government, that her artistic career took hold.

Most of the artist’s works are signed ‘Y Achkar’ however this work is signed with the addition of ‘Hampartzoumian’ the artist’s second husband’s name. It was only for a short duration during the late 50s and early 60s Ashkar signed her name in this manner, this painting is rare example. £12,000 - 18,000*

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64 64 Gerhard Hoehme, German 1920-1989 Untitled, 1954 oil, acrylic and collage on board, signed and dated, 46 x 59cm (ARR) Note: This work is registered as 54-09 in the artist’s archive being compiled by the Gerhard and Margarethe Hoehme-Stiftung foundation £3,000 - 4,000*

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65 65 Gerhard Hoehme, German 1920-1989 Untitled, 1954 oil, acrylic and collage on board, signed and dated, 46 x 59cm (ARR) Note: This work is registered as 54-08 in the artist’s archive being compiled by the Gerhard and Margarethe Hoehme-Stiftung foundation £3,000 - 4,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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Lots 66-69 by Conrad Marca-Relli are from a private collector in New York, who was friends with the artist. Marca-Relli belonged to an early generation of the New York school of Abstract Expressionists. He first exhibited these works in a 1951 exhibition curated by Leo Castelli (19071999) called Ninth Street Show, which was arguably the most comprehensive show of Abstract Expressionism of its time. During a trip to Mexico in 1953, Marca-Relli began experimenting with collage due to a lack of his typical art materials. Marca-Relli incorporated only the most essential elements to create a painting. While his early collages were rendered in a subdued palette of grays and whites, Marca-Relli later began a series of large-scale collages in the late 1950s, introducing bold colours that would expand outwards to convey intense movement. The oscillation between figuration and abstraction, in this unique medium, was at the principle of Marca-Relli’s practice. Marca-Relli’s works can be found in the following collections; Guggenheim, Whitney Museum, New York and Museum of Modern Art, New York.

66 66 Conrad Marca-Relli, American 1913-2000 Untitled monotype, mixed media and collage on canvas laid down on board, signed, inscribed and dated 71, 65.5 x 51.5cm Provenance: Acquired by the current owner from New York art collector who was friends with the artist £2,000 - 4,000*

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67 67 Conrad Marca-Relli, American 1913-2000 Unititled, c. 1980s mixed media and collage on canvas laid down on board, signed, 61 x 61cm Provenance: Acquired by the current owner from New York art collector who was friends with the artist.

Note: This work is registered with the Archivio Marca-Relli, Parma, as archive number MARE-6222 / Š Archivio Marca-Relli, Parma £7,000 - 9,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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68 68 Conrad Marca-Relli, American 1913-2000 Untitled, late 1970s mixed media and collage, newspaper on card signed, 50 x 65cm Provenance: Acquired by the current owner from New York art collector who was friends with the artist Note: This work is registered with the Archivio Marca-Relli, Parma, as archive number MARE-6223 / Š Archivio Marca-Relli, Parma £5,000 - 8,000*

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69 69 Conrad Marca-Relli, American 1913-2000 Untitled, late 1970s mixed media and collage on canvas laid down on board, signed, 47 x 58.5cm Provenance: Acquired by the current owner from New York art collector who was friends with the artist Note: This work is registered with the Archivio Marca-Relli, Parma, as archive number MARE-6221 / Š Archivio Marca-Relli, Parma £8,000 - 12,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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70 Mathijs Isak (Thijs) Nel, South African b.1943 Untitled abstract composition oil on board, signed, 36 x 48.5cm £200 - 300*

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71 71 Max Wimmer, German 1935 -2015 ‘Espace- Hommage a E Fromm’, 1979 mixed media on canvas laid down reverse glass, signed, dated ‘20.2.79’, titled with inscriptions on the reverse, 40 x 31.5cm; together with another similar work by the artist signed and dated 1975, and inscribed on the reverse, 42 x 18cm, (2) (ARR) Provenance: Private collection, London Note: Wimmer studied at the Academy of Fine Arts in Munich and is the master student of Josef Oberberger (1905-1994). £200 - 300*

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72 Henri Bernard Goetz, French/American 1909 -1989

73 Viktor Pivovarov, Russian b.1937

Composition, c.1980

Untitled, 1984

pastel on canvas, 65 x 92cm (unframed) (ARR)

watercolour and gouache on paper, three, two signed in Cyrillic and dated, ea. 14.6 x 20.6cm, (3)

Provenance: Tessier-Sarrou & Associés, DrouotRichelieu, Paris, France 04 Mar 2015 Lot 45 where it was purchased by the current owner.

Provenance: Acquired directly from the artist; Sotheby’s London, 5 June 2018, lot 182 £1,000 - 1,500*

Note: bears Marc Ottavi Expertise label on the reverse. £500 - 800*

73 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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74 74 Henri Hayden, French 1883-1970 ‘Les Arles’, 1952 watercolour with black and coloured chalks, signed and dated, 33.5 x 48cm (ARR) Provenance: Private collection, London Note: A certificate of authenticity issued by Mr Pierre Célice on behalf of the Friends of Henri Hayen accompanies this lot. £1,000 - 1,500* 75 Olle Von Schewen, Swedish 1908-1974 Banks of the Seine, Paris, 1951 oil on canvas board, signed and inscribed in red paint, inscribed, dated and printed stamps ‘Stockholm’ and ‘T Palmer, AB’ on the reverse, 38 x 45.5cm (ARR) Provenance: Private collection, London who acquired the work in Sweden £200 - 300*

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76 Malte Särlöv, Swedish 1907-1982 Coastal landscape oil on board, signed, 24 x 31cm (ARR) Provenance: with Beckerpanna HSF, Sweden according to the label attached to the reverse; Private collection, London £200 - 300*

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77 Arieh Allweil, Ukrainian 1901-1967 Vineyards in Israel oil on paper, signed, 42.5 x 40cm Provenance: A private collector from Palm Beach Florida purchased this work in Israel around the 1970s; thence by descent. £300 - 600*

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78 Laszlo Neogrady, Hungarian 1896-1962 Winter woodland landscape oil on canvas, signed, 59 x 74cm, (ARR) £1,500 - 2,000*

79 Ludwig Meister, German, 1900-?

Wald im winter (Forest in winter) oil on panel, signed, 67 x 56cm, (ARR) Provenance: Private collection, London £200 - 400* 78

80 80 Anton Jasusch, Hungarian/Slovakian 1882-1965 Tatras Mountain Range in Slovakia, c.1950s oil on canvas, signed, 75.5 x 95cm, (ARR) Provenance: Private collection, Prague; thence by descent Note: Anton Jasusch was a prominent representative of the ‘Košice Modernism’. His early works were founded in this Art Nouveau school, however towards the end of the artist’s life there was a dramatic change in the artist’s aesthetic. This later period was dictated by a large number of paintings featuring countryside and World War II themes such as concentration camps and partisans. It is believed this painting is from this later period. £800 - 1,200*

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81 Christiaan Nice, South African b.1945 District Six oil on board, signed and dated 84, inscribed on the reverse, 20 x 29.5cm Provenance: Bonhams, Oxford 19 May 2013 lot 143 where purchased by the current owner £200 - 300* 82 Vasilis Zenetzis, Greek 1935-2016 Portrait of a woman and child in a street oil on canvas, signed, signed on the reverse, 40 x 30cm; together with another oil on canvas by the same artist depicting a man on a boat in a harbour, signed and signed on the reverse, 40 x 30cm (2) (ARR) £400 - 600* 82

83 V. Popov Russian 20th century

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Houses on a Hill, 1958 oil on card, signed, inscribed and dated on the reverse, 35.5 x 47cm £1,500 - 2,000* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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84 Valery Vasilievich Popov Russian 1908-1991 Field Station, 1955 oil on card, signed, inscribed and dated on the reverse, 39.5 x 51cm Note: With thanks to James Butterwick for his assistance in cataloguing this lot. £1,500 - 2,000*

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85 Ramiro Fernandez Saus, Spanish b.1961 ‘The Couple’, 1989 oil on paper, signed and dated, 74 x 103.5cm: together with one other oil on paper by the same artist, titled ‘The Poet’, 1990, signed and dated, 80.5 x 122cm, (2) (ARR) Provenance: Long and Ryle Art International, according to labels attached verso on both picture frames Note: The artist has confirmed the authenticity of this lot.

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86 86 Ray Austin Crooke, Australian 1922-2015 ‘Storm Beyond Cooktown’ oil on board, signed, 76 x 101cm Note: Ray Austin Crooke was a renowned Australian landscape painter. He is one of the few contemporary artists to capture the sublime nature of the Australian outback. He has exhibited internationally including the Tate in 1963. £7,000 - 10,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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87 Zdzislaw Ruszkowski, Polish 1907-1991 ‘Landscape with Cottage’, 1977 oil on canvas, signed, 50 x 75cm, (ARR) Provenance: New Grafton Gallery; Mr Julius Strauss; Private collection, London Exhibition: New Grafton Gallery, London 1978 no.9 Literature: Michael Simonov,‘Ruszkowski: A Catalogue raisonné of his Paintings’, no.530 p.251 £800 - 1,200* 88 Gabriel Deschamps, French b.1919 Two trees in a landscape oil on board, signed, 30 x 20.5cm (ARR) £400 - 600*

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89 Arnold Von Praag, British, b.1926 ‘Crossing the Red Sea’ 1989 oil on canvas, 34 x 44.5cm (ARR) Note: Initially a student of the Slade School of Fine Art during the 1950s, van Pragg has gone on to have multiple successful exhibitions throughout his career.

This particular painting displays a dramatic Biblical scene, showcasing a vibrant use of colours and expressionist style that is typical of the artist’s oeuvre.

The Redfern Gallery has confirmed the authenticity of this work.

89

£400 - 600*

90 Attributed to Hans Berger, Swiss 1882-1977 Woodland path oil on board, signed, 36.5 x 44cm (ARR) Provenance: Private collection, London £200 - 300*

90 91 Hugh McNeil McIntyre, American b. 1943 ‘Ilha Bela, Linha Verde, Brazil,’ 1995 oil on canvas, signed, titled and dated ‘95’ on the reverse, 56.5 x 61cm Provenance: Purchased in November 1995 from The Contemporary Fine Art Gallery, Eton, according to the label attached on the reverse. £300 - 500*

91 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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92 92 Boris Sveshnikov, Russian 1927-1998 ‘The First Leaf’ oil on canvas, signed with monogram, 75 x 75 cm (VAT charged on hammer price) Provenance: Sotheby’s, London, 1st December 2009, lot 451: Private collection, London Note: Nicholas Baylodon Pritchard, whose gallery represents the artist, has confirmed the authenticity of this work.

Boris Sveshnikov was an artist, graphic artist and book illustrator. In 1945 he was awarded a place at the Moscow Institute of Applied and Decorative Arts. £8,000 - 12,000*

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93 William Weintraub, American b.1926 Girl with basket on her head, Israel, 1958 watercolour, signed, inscribed and dated, 46 x 31.3cm Provenance: Private collection, London £150 - 250*

94 Imre Goth, Hungarian/ British, 1893-1982 Woman’s Face watercolour, 35.5 x 28.5cm: together with one other black ink on paper by the same artist, depicting a Seated nude, signed and dated 24 in pencil, 32 x 23.5cm (2) (ARR) Provenance ( Woman’s Face): Imre Goth Studio sale, Bonhams March, 1993; Abbott and Holder, London, where purchased by the current vendor. £250 - 350*

94

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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95 T. Sangtiago, Spanish mid-20th century Seated Woman, 1964 bronze, signed, dated ‘4-64’ and inscribed ‘2 Mod’, 44cm high £400 - 600*

96 Manuel Felguérez Barra, Mexican, b.1928 Reclining nude painted ceramic sculpture, signature etched, height 16cm Provenance: Private collection, London £200 - 300*

95

96

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97 97 Philip Pearlstein American b.1924 Seated female nude, 1986 watercolour, signed and dated ‘86’ in pencil, 60 x 45cm Provenance: Private collection, London Note: Philip Pearlstein is best known for his Modernist Realism nudes, such as this piece. The artist created this nude as a demonstration while visiting an art program about 25 years ago, he gifted it to the person hosting the event.

The artist has confirmed the authenticity of the work. £6,000 - 8,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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98 Dylan Lewis, South African b. 1964 ‘Emerging Lion’ 1997 bronze, signed, dated and numbered '5/15', signed and bears SCS Foundry stamp, 34cm x 45cm x 20cm Provenance: Private collection, London. Acquired directly from the artist.

Note: The cast date of this sculpture is 02/2001 according to the plaque on the base. Dylan Lewis has extensively studied the feline form throughout his career focusing on the powerful conformation of these wild animals.

This sculpture displays a unique abstract style whilst demonstrating an extensive knowledge of the anatomical form. The title was originally ‘Lion on look-out Marquette‘ however the artist has since changed the title The artist has confirmed the authenticity of this work. £2,500 - 3,500*

98

99 Brighton Sango, Zwimbabwean 1958-1995 ‘Zindoga’ (Hidden Feelings) green serpentine stone, ‘Sango’ carved onto the base of the sculpture, height 94cm, 187cm with plinth Note: Guruve Gallery, experts in Zimbabwean Shona Sculpture and representatives of the artist, have confirmed authenticity of this work. £2,500 - 3,500*

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100 100 Jimoh Akolo, Nigerian b.1934 ‘The God of Thunder’, 1964 oil on canvas, signed and dated, 150 x 99cm Provenance: Private collection, London £2,000 - 4,000* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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101 Alfred Cohen, American 1920-2001 ‘Zanni (clown) with Flute’, 1984 oil on canvas, signed, 30 x 23cm Provenance: Private collection of Grant Fine Art gallery owners.

Exhibition: Arts Council of Northern Ireland, according to the label attached to the reverse; Grant Fine Art, London, 1984 Note: Alfred Cohen won a travelling fellowship to go to Paris where he scored his first real success painting scenes of the Seine. He travelled to London in 1950 and settled in Kent and then Norfolk.

‘Zanni with Flute’ is part of the Commedia Dell’Arte paintings series which Cohen painted during the eighties.

With thanks to Margaret Grant for her assistance cataloguing this lot. £800 - 1,200*

101 102 Ludmilla Tcherina, Russian 1924-2004 ‘Le couple’ oil and pastel on canvas, signed in pastel, signed and titled on the reverse, 66 x 50cm Provenance: Private collection, London £200 - 300*

102

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103 Sükriye Dikmen, Turkish, 1918-2000 Untitled, 1970 oil on board, 125 x 92cm (VAT charged on hammer price) Provenance: Kare Sanat Galerisi, 2004; Sotheby’s, London 02 Dec 2015 lot 53; Private collection, London Exhibition: Sükriye Dikmen, Kare Sanat Galerisi, 2004 Note: Kare Sanat Galerisi has confirmed the authenticity of this work. £1,000 - 2,000*

103 104 Soren Arutyunyan, Russian b.1950 ‘Easter Island’ from the ‘Travel Series’ 1990 oil on canvas, signed in cyrillic, signed, dated and titled on the reverse, 152 x 203cm Provenance: Sotheby’s, 21 Nov 2001 lot 163; Private collection, London £600 - 800*

104

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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105 105 Mikhail Fedorovich Andreenko Ukrainian 1894–1982 Composition with table gouache and pencil, signed, 42x29cm (VAT charged on the hammer price) Provenance: Sotheby's, London, 27 Nov 2007 lot 320 £1,000 - 1,500*

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106 106 Bela Levikova Russian b. 1939 Interaction, 1980 oil on canvas, four panels, framed individually, ea. initialled and dated, ea. signed and inscribed in Cyrilllic and dated on the reverse, 78 x 65cm, 87 x 72cm, 86 x 70cm and 99 x 78cm, overall dimensions 179 x 236cm (4) Provenance: Christie’s, London 15 Oct 1992 lot 99 (title interpreted differently); Private collection, London £6,000 - 8,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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107

107 Manuel Marin, Spanish 1942-2007 Mobile, c. 1990s painted steel, unique piece, impressed name, height 104cm, width 167cm, (ARR) Provenance: Bought by the current owner from Mid Century Home, Derbyshire in 2015 Note: With thanks to Monika Rabassa, the artist's widow, for her assistance in cataloguing this lot. £3,000 - 4,000* 108 Levan Magalashvilli, Georgian b.1940 Dog welded metal, height 34cm Provenance: Sotheby’s , London 01 Jun 2006 lot ; Private collection, London (VAT charged on hammer price)

108

Note: The artist has confirmed the authenticity of this work. £600 - 800*

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109 Armand Pierre Fernandez, French 1928-2005 Untitled (Trophy, FIPA D’Or Cannes), 1990/1991 bronze statuette, incised signature, from the edition of 20 + 10 EA, height 37.5cm (ARR) Note: This work is recorded in the Arman Studio Archives New York under number: APA# 7090.91.002 Television Award - given to Venessa Redgrave for her performance of “Orpheus Descending” £2,000 - 3,000*

109

110 Ernest Trova, American 1927-2009 ‘2 Car Men’ from the ‘Falling Man’ series, 1965 nickel on bronze, 35 x 58 x 6cm Provenance: Purchased from Pace Gallery, New York by the current owner £2,000 - 3,000*

110

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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111

112

111 Monica Sjöö, Swedish 1938-2005

112 Maria Larios, Spanish, late 20th/early 21st century

‘Women Musicians, Women Music, Women Art, ‘1976

Seated nude figures

oil on board, signed verso and dated, 122 x 122cm (ARR)

oil on canvas, 73 x 61cm (ARR) (unframed)

Literature: ‘’The Ancient Religion of The Great Cosmic Mother of All’ publication by Monica Sjoo and Barbara Mor - printed by Rainbow Press, Trondheim Norway 1989 p.73. A copy of this publication signed and inscribed in the front cover by the artist accompanies this lot.

Provenance: Boundary Gallery, London; Private collection, London £400 - 600*

£600 - 800*

113 Nino Longobardi, Italian b.1953

113

114 Sara Rossberg, German b.1952

114

Figures with bull

‘Face Map’, 1992

pencil, acrylic and gouache, 50 x 72cm (ARR)

graphite on paper, initialled and dated, 35.5 x 33.5cm, (ARR)

Provenance: Private Collection, London £200 - 300*

Note: The artist has confirmed the authenticity of this work. £200 - 300*

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115 Harry Bilson, Icelandic b. 1948 Circus Performers oil on board, signed, 30.3 x 45.5cm Provenance: Acquired directly from the artist by the current owner.

Note: A letter signed by Bilson in 1992, and a limited editioned Exhibition Catalogue, numbered 560/1000, signed and numbered in pen, accompanies this lot.

The artist has confirmed the authenticity of this work. £300 - 400*

115

116 Harry Bilson, Icelandic b. 1948 Circus Musicians oil on board, signed, 30 x 45cm Note: The artist has confirmed the authenticity of this work. £300 - 400* 117 Gretty Rubinstein, Romanian/ Israeli 1947-2001 ‘The Magician’ oil on canvas, signed, 60 x 74cm Provenance: Boundary Gallery, London; Private collection, London £400 - 600* 118 Isaac Maimon, Israeli b.1951 Woman seated in an interior oil on unstretchered canvas, signed, 103 x 78.5cm, (rolled) Note: Maimon attended the Avni Institute of Fine Arts in Tel Aviv, Israel’s most prestigious academy for the arts. This is where his initial interest in the Paris School was cultivated; he studied the works of the French painters Henri de Toulouse-Lautrec and Henri Matisse.

His work can be found in international collections around the world.

Provenance: Private Collection, London £500 - 700*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

118

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119 Illyis Isupov, Ukrainian b.1971 ‘Smugglers’ 1987 gouache, black ink, and watercolour over traces of pencil, signed and dated, 83 x 57.5cm Provenance: Private Collection, London £800 - 1,200*

119 120 Mounto Reinhardt, French b. 1972 Untitled, N.197, 2016 oil on canvas, signed lower right, and signed, titled inscribed and dated on the reverse, 60 x 60cm, (unframed) (ARR) Note: The artist has confirmed the authenticity of the work. £1,500 - 2,000*

120

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121 Sylvie Beauvalot, French late 20th/ early 21st century ‘Blue Alone’ oil on canvas, signed, signed on the reverse of the stretcher, 60 x 72cm (ARR) Provenance: Cornette de Saint-Cyr, Paris, 10 February 1994, Lot 91 where purchased by the current owner. £600 - 800*

121

122 Vilmo Gibello, Italian 1916-2013 ‘Blue Horses, Rome, The Circus Ring’ 1954 oil on canvas, signed and dated ‘54’, signed, dated and titled on the reverse, 93 x 93cm (ARR) Provenance: Private collection, London Note: Vilmo Gibello was an Italian SurrealistExpressionist painter born in 1916, who spent time living in England, Germany, and Spain, exhibiting widely throughout Europe. £300 - 500*

122

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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123 Karoly Vilmos, Hungarian, late 20th century/early 21st century Seaside oil on canvas, signed, 71 x 101cm (unframed) Provenance: Boundary Gallery London: Private collection, London £1,000 - 1,500*

123

Lots 124 and 125 are by the artist Elio Vilva, who was born in Trinidad, Cuba and is 61 years old.

He is a self-taught artist and fundamentally very influenced by the Santeria religion, a fusion of Yoruban and Roman Catholic doctrines. His paintings in the main are an exploration of his psychological and religious references to include symbolic imagery, mythological metaphors, Masonic and ritualistic ceremonies to create intricate and complex narratives in bright, flat often primary colours.

124

125

124 Elio Vilva Trujillo, Cuban b.1957

125 Elio Vilva Trujillo, Cuban b.1957

‘Eleggua’

‘Yemaya’

acrylic and Chinese ink on canvas, signed, inscribed and dated 18, 61.5 x 51.2cm (unframed)

acrylic and Chinese ink on canvas, signed and inscribed, 61 x 49.5cm (unframed)

Provenance: Purchased from the studio of the artist by the current owner

Provenance: Purchased from the studio of the artist by the current owner

£300 - 500*

£300 - 500*

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126 126 Ivan Capote, Cuban b.1973 ‘Harmony Between Opposites’, 2001’ metal, wood, glass tube, water, industrial oil, and electric motor, height 209cm, width 116cm Provenance: Purchased from the artist’s studio in Cuba by the current vendor.

Note: The artist has confirmed the authenticity of this work. £3,000 - 5,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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127 127 Chris Carolina, French, b.1972 Woman in the street in New York, 2009 acrylic on digital print laid down on canvas, signed and dated ‘09’ in black marker on the reverse, 129.5 x 129.5cm, (unframed) (ARR) (VAT charged on hammer price) £700 - 1,000* 128 Angel Otero, Puerto Rican b.1981 ‘Macrame Stairs’, 2009 mixed media and tar on paper, signed with initials and dated in pencil, 75 x 55cm Provenance: Kavi Gupta, Chicago/Belrin, according to the label attached to the reverse of the frame Note: The artist has confirmed the authenticity of this work. £1,000 - 2,000* 128

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129 Jon Pylypchuk, Canadian b. 1973 ‘All your ideas are fraudulent... i just forgot you’ 2000 ink on paper, inscribed, 28.6 x 22.5cm Provenance: Purchased by the current owner from Friedrich Petzel Gallery, New York 2003.

Exhibition: ‘Jon Pylypchuk- and now occasionally, and reluctantly, I lift my head from where it usually hangs in shame’, Friedrich Petzel Gallery, New York , January 23 - March 1, 2003 Note: A certificate of authentication issued by Friedrich Petzel Gallery New York accompanies this lot. £600 - 800*

129

130 Jon Pylypchuk, Canadian b.1973

130

‘This is the most protection i will ever have...don’t forget it’ 2002 mixed media on sections of cut paper, inscribed in ink, 53.3 x 69.9cm Provenance: Purchased by the current vendor from Friedrich Petzel Gallery, New York in 2003.

Exhibition: ‘Jon Pylypchuk- and now occasionally, and reluctantly, I lift my head from where it usually hangs in shame’, Friedrich Petzel Gallery, New York , January 23 - March 1, 2003 Note: this work is accompanied by a certificate of authentication issued by Friedrich Petzel Gallery New York and the artist. £800 - 1,200* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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131 131 Caio Fonseca, American b. 1959 ‘Pietrasanta Painting P05.8’, 2005 gouache on handmade paper, signed, signed and dated on the reverse, 23 x 31cm Provenance: Purchased by the current owner from Ben Brown Fine Arts, London Exhibition: ‘Caio Fonseca: New Paintings,’ Ben Brown Fine Art, 17 October- 16 December 2005.

Note: The artist’s studio has confirmed the authenticity of this work £6,000 - 8,000*

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133

133 Daniela Gullotta, Italian b.1974

134

Interior with chairs, 2002 mixed technique on board, signed, inscribed and dated on the reverse, 34x47cm (framed) (ARR) Provenance: Private collection, London Exhibition: ‘Daniela Gullotta: Interiors’ Marlborough Fine Art, London 10 September 2003 - 11 October 2003, Note: The artist has confirmed the authenticity of this work. £200 - 300* 134 Daniela Gullotta, Italian b.1974 Interior, 2002 132 132 José María Sicilia, Spanish b.1954

mixed technique on board, signed, inscribed and dated on the reverse, 34 x 47cm (ARR) Provenance: Private collection, London

smoke etching on wax, 200x40cm (ARR)

Exhibition: ‘Daniela Gullotta: Interiors’ Marlborough Fine Art, London 10 September 2003 - 11 October 2003,

Note: The artist has confirmed the authenticity of this work

Note: The artist has confirmed the authenticity of this work.

£2,000 - 3,000*

£200 - 300*

Untitled, insects

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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135

135 Francis Upritchard, New Zealander b.1976

136 Joe Scanlan, American b.1961

‘Walter’, 2008

Untitled

mixed media, modelling material, painted MDF lid, mass produced plastic bowl, height 26cm height , diameter 26cm

cast and polished aluminium sculpture of elongated cruciform section, length 271cm

Provenance: Kate MacGarry Gallery, London,

£150 - 200*

Note: Francis Upritchard lives and works in London and is represented by Kate Macgarry. She recently had a show ‘Wetwang Slack’ at the Barbican’s Curve Gallery, and has represented New Zealand at the Venice Biennale.

Kate MacGarry Gallery has confirmed the authenticity of this work. £1,000 - 1,500*

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137 137 SeungMo Park, South Korean b.1969 Sculpture of a standing man aluminium wire and fibreglass, on plinth, unique piece, 87 x 27 x 16cm Provenance: Albemarle Gallery, London, where purchased by the current owner.

Note: Seungmo Park is preoccupied by the nature and illusion of existence, our environment and the way we interpret it in relation to his artwork. His fine wire sculptures and mesh installations are instantly recognisable, but on closer inspection show the intricate fabrication and surprising materials which create these painstakingly made artworks. Therefore perhaps it is no surprise he has been caught on camera comparing himself with his metal wire sculptures: “Ultimately then am I really Seungmo Park just because I have a body and existence, or am I an empty shell, or a shadow like them?” £8,000 - 12,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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Han Yajuan like other post-1978 generation Chinese artists, portrays China’s socio-cultural transformations and new materialistic trends in her work. Her works mostly employ a cartoon style based on Japanese anime, and explore the multi-dimensions of women’s lives in the Chinese boom. These works come from the artists 'Selection of Dreams' series. The artist said these works depict “…becoming independent in one’s twenties, the age of choices, faced with all kinds of possibilities, with all sorts of big and small questions to explore one’s inner world, to learn and know oneself. It is the beginning of establishing the idea of the “self”. Many people would spend several years or even their entire life to explore the question of “self”, for instance, “who am I”, “What do I like?”’ ('Selection of Dreams', Willem Kerseboom, Amsterdam pp.34-35) Han Yajuan lives and works in Beijing, and can be found in international collections around the world.

138 138 Han Yajuan, Chinese b.1980 Peach, 2006 oil & glitter on canvas, signed, also signed in Chinese, titled and inscribed, dated on the reverse, 100 x 100cm, (unframed) Provenance: Willem Kerseboom Gallery, Amsterdam 2007; Sotheby’s, London, 2nd July 2008, lot 430 Exhibition: Han Yajuan- selection of Dreams, Willem Kerseboom, Amsterdam 2007 pp.34-35 of catalogue £3,000 - 5,000*

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139 Han Yajuan, Chinese b.1980 ‘Homage to Marilyn Monroe’, 2007 oil & glitter on canvas, signed, also signed in Chinese, titled and inscribed, dated on the reverse, 60 x 50cm, (unframed) £800 - 1,200*

139

140 Han Yajuan, Chinese b.1980 Girl and her reflection in the mirror, 2007 oil & glitter on canvas, signed and dated, also signed in Chinese, titled and inscribed on the reverse of the canvas, 60 x 50cm, (unframed) £800 - 1,200*

140

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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Lots 141-159 are photographs from a deceased estate with a private collection of Magnum photographer's prints, and thence by descent. They have been in a single owner collection for more than fifty years and include: Henri Cartier-Bresson, Sir Donald McCullin, Rene Burri, Bruce Davidson, Elliott Erwitt, Bill Brandt, Ernst Hass, Erich Hartman, Philip Jones Griffiths, Sergio Lorrain, David Seymour and David Hurn.

Magnum Photos was founded in 1947 in Paris by Robert Capa, David "Chim" Seymour, Henri Cartier-Bresson, George Rodger, William Vandivert, Rita Vandivert and Maria Eisner. It was formed as a cooperative to be owned and controlled by its members. The majority of its members are photojournalists from across the world, who have covered significant historical events throughout the 20th century, including themes depicting family life, economic hardship, religion, conflict, poverty, famine, corruption, politics and the cult of celebrity.

141 141 Henri Cartier-Bresson, French 1908-2004 On The Banks of the Marne, France, 1938 gelatin silver print, photographer’s with Magnum Photos stamp in blue ink, and Magnum Photo stamp supplied by J Allan Cash FIBP, FRPS stamp in black ink on the reverse of the print, also pencil and pen inscription by various hands verso, 19.8 x 30cm (ARR) Exhibition: An example of this was shown at ‘Framing a Century: Master Photographers, 1840-1940,’ The Metropolitan Museum of Art, New York June 3, 2008-September 1, 2008.

Literature: Kirstein and Newhall, ‘Photographs by Henri Cartier-Bresson’, Grossman, pl. 17.

Note: See for similar example MoMA’s collection no. 2002.614.1 and The Metropolitan Museum of Art 2002.614.1 £3,000 - 5,000*

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142 Bill Brandt, British 1904-1983 ‘Coal Searchers, East Durham, September 1937’ vintage bromoil gelatin silver print, photographer’s stamp and inscription verso and dated on the reverse, 39 x 34cm (unframed) (ARR) Literature: Bill Brandt, ‘Shadow of Light,’ Gordon Fraser, London, 1977, p. 39.

Note: This photograph is also known as ‘Coal Searcher going home to Jarrow’. £800 - 1,200*

142 143 Hiroshi Hamaya, Japanese 1915-1999 ‘A Woman Planting Rice Toyama, Japan,’ 1957 vintage gelatin silver print, photographer’s stamp in black ink on the reverse, 35.5 x 23.5cm £300 - 500*

143

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144 David Seymour CHIM, Polish 1911-1956 Children of Europe, 1948 vintage gelatin silver prints, Photographer’s Magnum New York stamp in purple ink on the reverse, 25.2 x 20.4cm: together with two further vintage gelatin silver prints by the same artist, depicting a Kindergarten in Budapest, and Child seated with head on desk, both 1948, one with Photographer’s Magnum New York stamp in purple ink on the reverse and inscribed in black ink, 34 x 32.5cm & 25.2 x 20.4cm (3) (part unframed) (ARR) £250 - 450* 144 145 Philip Jones Griffith, British 1936-2008 Orphans from the Vietnamese war in a hospital cot, c.1968 vintage gelatin silver print, signed in pencil on the reverse, 38 x 30.4cm: together with two further gelatin silver prints by the same artist depicting- child victims of war, Vietnam, c.1968, both signed on the reverse in pencil, ea. 38 x 30.5cm (3) (unframed) (ARR) £600 - 800* 145

146 Inge Morath, Austrian/American 1923-2002 Iran. Near Rasht. 1956. Peasant boy and his mother in the snow...; gelatin silver print on card, 38.4 x 27cm (unframed) Note: with thanks to Ruth Hoffmann at Magnum Photos London, in the identification of this work. £600 - 800*

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147 Erich Hartmann, American 19221999 Pemaquid Neck, Maine, USA 1960 gelatin silver print, 28.5 x 38.7cm £200 - 300*

147

148 148 Burk Uzzle, American b.1938 Park Slide, Washington DC, 1967 gelatin silver print, 28 x 36cm Exhibition: An example of this work was shown at ‘Burk Uzzle, American Puzzles’, Steven Kasher Gallery, New York, June-July 2015, £600 - 800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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149

150

149 Sir Don McCullin, British b.1935

150 Bruce Davidson, American b. 1933

Highgate Cemetery, 1966

‘Girl Holding Kitten, London’ 1960

vintage gelatin silver print, signed and dated 1966 in pencil on the reverse, 36.5 x 23.6cm (ARR)

vintage gelatin silver print, photographer’s ‘1966 Magnum’ stamp and inscribed in pencil on the reverse, 25.2 x 20.4cm (unframed)

Note: The artist has confirmed the work is signed and dated by him. With thanks to Hamiltons Gallery, London, the artist’s representatives for their assistance cataloguing this work. £800 - 1,200*

Exhibition:An example of this was shown ‘Another London’, 27 July-16 September 2012 Literature: ‘Another London’, Tate Britain, London, 2012, pl. 67, p. 92 Note: Bruce Davidson discussed the girl in the photograph: “There was a great deal of mystery to her. I didn’t know where she had come from, and I didn’t get her name, but there was something about that face - the hopefulness, positivity and openness to life - it was the new face of Britain… I still feel close to this picture. I wonder what that young girl is doing now. She must be lurking around London someplace, or she may not be alive, you never know.” (‘The Guardian, January 2007) £1,000 - 1,500*

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151 Elliot Erwitt, American b. 1928 Mother and Child, New York City, 1953 vintage gelatin silver print, dedicated ‘For my beloved Christopher’ in blue ink in the margin lower right, 36.7 x 50cm £800 - 1,200*

151 152 René Burri, Swiss 1933-2014 Student Ball, Heidelberg, c.1960 vintage gelatin silver print, ‘René Burri Magnum’ stamp in black ink on the reverse, 18 x 28.5cm (unframed) £400 - 600*

152

153 Sergio Larrain, Chilean 1931-2012 Valparaiso Bar, Chile, 1963 vintage gelatin silver print, photographer’s 1966 Magnum stamp in purple ink, and a Magnum Photo Library, New York stamp in black ink on the reverse, 35.4 x 28cm: together with two further vintage gelatin silver prints by the same photographer depicting a sailor with girl reflected in a mirror, and a girl reflected in a mirror from The Seven Mirrors Cafe, Chile, 1963 both with photographer’s Magnum stamp in blue ink on the reverse, 19.7 x 29.5cm and 29.2 x 19.2cm (3) (part-unframed) £400 - 600*

153

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

91

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154 David Hurn, British b.1934 Artist Dora Holtzlander in her London home, 1968 vintage gelatin silver print, 37.7 x 30.5cm: together with four further vintage gelatin silver prints by the same photographer, depicting Dora Holtzlander and her family in London circa 1968, ea. 37.7 x 30.5cm approx.

(5) (unframed) (ARR) £200 - 300*

154 155 David Hurn, British b.1934 Bingo player, Herne Bay Kent, 1963 vintage gelatin silver print, 19.3 x 26.8cm: together with fifteen vintage gelatin silver prints by the same photographer, depicting various views of British Seaside life in Herne Bay Kent, c.1963, 25.2 x 30.4cm (max) (16) (part-unframed) (ARR) £1,000 - 1,500*

155 156 David Hurn, British b.1934 Italy, Lecce, playtime at the beach, 1964 vintage gelatin silver print, 30.5 x 38cm: together with a quantity of vintage gelatin silver prints by the same photographer, depicting his extensive Mediterranean Tour of Italy, circa 1964, each 30.5 x 38cm approx. (14) (partunframed) (ARR) £800 - 1,200* 156 92

www.roseberys.co.uk

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157 David Hurn, British b.1934 Queen Charlotte’s Ball, 1967 vintage gelatin silver print, 30.2 x 24.2cm: together with four further vintage gelatin silver prints by the same photographer of Queen Charlotte’s Ball and one rehearsal practice for the Royal Caledonian Ball, both c. 1967, 30.2 x 24.2cm (max) (5) (unframed) (ARR) £200 - 400*

157 158 David Hurn, British b.1934 Jean Straker, owner of the Visual Arts Club Soho, c.1960 vintage gelatin silver print, 37.7 x 30.3cm: together with a further three vintage gelatin silver prints by the same photographer, depicting Jean Straker, Harrison Marks and nude models, circa 1960, two with photographer’s Magnum stamp in black ink on the reverse, 38 x 30.4cm (max) (4) (unframed) (ARR) £200 - 300*

158

159 David Hurn, British b.1934 St. Tropez, France 1964 vintage gelatin silver print, 30.2 x 38cm: together with a further three vintage gelatin silver prints by the same photographer, depicting- A woman smoking, a child sunbathing in Cannes, and a travelling circus in St. Tropez, all circa taken 1964, 30.2 x 38cm (max) (4) (part unframed) (ARR) £200 - 400* 159 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

93

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160 160 Edward Weston, American 1886 - 1958 Nude, 1925 gelatin silver print, bears the artist’s blind stamp on the back of the mount, printed later by Cole Weston, 17 x 22cm, (mounted/unframed) £2,000 - 3,000* 161 Leonid Nikolaevich Lazarev, Russian b.1937 Snowy urban landscape, 1961 gelatin silver print on matt paper, signed, titled in Cyrillic and dated in pencil, with photographer’s printed stamp on the reverse, 60.6 x 50.5cm (unframed) Provenance: Purchased from the studio of the artist by the current owner. £500 - 700*

161 94

www.roseberys.co.uk

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162 Leonid Nikolaevich Lazarev, Russian b.1937 City road in winter, 1959 gelatin silver print on matt paper, signed and titled in Cyrillic and dated in pencil, with photographer’s printed stamps on the reverse, 60.5 x 43.6cm (unframed) Provenance: Purchased from the studio of the artist by the current owner. £500 - 700*

163 163 Leonid Nikolaevich Lazarev, Russian b.1937

164 Olga Chernysheva, Russian b.1962

Skiers crossing the tracks, 1959

Untitled, from Project Interchange, 2000

gelatin silver print, signed and titled in Cyrillic and dated in pencil, with photographer’s printed stamps on thereverse, 47.9 x 46.3cm (unframed)

Provenance: Sotheby’s, London, 12 March 2008, lot 133

Provenance: Purchased from the studio of the artist by the current owner.

chromogenic print, 87.5 x 119cm

£2,000 - 3,000*

£400 - 600*

164 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

95

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165 165 Mitra Tabrizian, Iranian, b.1954 Untitled from the ‘Beyond The Limits’ series, 2000 chromogenic print on card, numbered 2 / 5, 127.2 x 167.7 cm Provenance: purchased from Caprice Horn Gallery, Berlin by the current owner. £3,000 - 4,000*

96

www.roseberys.co.uk

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166 166 Steven McCurry, American b.1950 Blue Mosque (Mazar I Sharif, Afghanistan) 1991 chromogenic print, signed, and signed, dated ‘11.01.06’ and numbered ‘1/5’ on the reverse, 101 x 152cm Note: Steve McCurry is best known for his photographic portrait ‘Afghan Girl’ 1984, an image of a girl with green eyes in a red headscarf. It appeared on the June 1985 cover of ‘National Geographic’ and since then this has been known as an iconic image.

From 1979 to 2016, McCurry took photos of Afghan and this one of his images from this period. This photograph was taken in front of Mazar-e Sharif’s famous ‘Blue Mosque,’ the Tomb of Hazrat Ali, the tomb of the son-in-law of the Prophet Mohammed. £5,000 - 7,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

97

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167

167 Massimo Vitali, Italian b.1944 ‘Giens Dog’, 2000 chromogenic print, diasec mounted, signed and numbered ‘4/9’ on the label on the reverse, 150 x 96cm (ARR) Provenance: Galerie Serieuze Zaken, Amsterdam, where purchased by the current owner.

Literature: Massimo Vitali, ‘Landscapes with Figures’ published by Steidl Verlag, 2004 £8,000 - 12,000*

98

www.roseberys.co.uk

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168 Sarah Danays, British/Irish b.1965 Varse, 2003 c-print on board, a suite of four, tondo, ea.100cm diameter, (4) (ARR) Exhibited: touring exhibition, London, Dublin, Harrogate, Knitting and Stitching Show in the same year. (This piece was exhibited under maiden name Sarah Forrester) Note: The artist has confirmed the authenticity of this work. £600 - 800*

169

169 Sarah Danays, British/Irish b.1965 ‘Portrait of the artist Sarah Danays in her Venice, Los Angeles studio, photographed’, 2013 Chromaluxe aluminium panel print, 1 from the edition of 5, 100.3 x 152.4cm (ARR) Exhibited: Harley Gallery, Nottinghamshire, 2016 Note: The artist has confirmed the authenticity of this work. The original photograph was taken by fashion photographer and filmmaker Sinisha Nisevic. £500 - 800* 170 Sarah Danays, British/Irish b.1965 'Sarah Danays' Arms of the Portland Vase - Octavia', 2016 and 'Sarah Danays' Arms of the Portland Vase - Diptych', 2016 Chromaluxe aluminium panel prints, all 1 from the edition of 5, 100.3 x 152.4cm, (3) (ARR) Exhibited: Harley Gallery, Nottinghamshire, 2016 Note: The artist has confirmed the authenticity of this work. £1,500 - 2,000 170

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

99

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INDEX OF ARTISTS A

Achkar, Yvette Adler, Jankel Akolo, Jimoh Allweil, Arieh Andreenko, Mikhail Fedorovich Ardon, Mordecai Arnoul, Paul Arutyunyan, Soren

63 55 100 77 105 44 42 104

B

Baker-Clack, Arthur 14 Barra, Manuel Felguérez 96 Barton, Loren Roberta 43 Beauvalot, Sylvie 121 Berger, (Attributed to) Hans 90 Berman, Eugene 58 Bicat, André 31 Bilson, Harry 115, 116 Bloch, Martin 33, 34 Brandt, Bill 142 Burri, Rene 152 C

Cadel, Eugene Capote, Ivan Carolina, Chris Cartier-Bresson, Henri Cheret, Jules Chernysheva, Olga Cocteau, Jean Cohen, Alfred Crooke, Ray Austin

5 126 127 141 21 164 27 101 86

D

Danays, Sarah 168, 169, 170 Davidson, Bruce 150 Derain, André 30 Deschamps, Gabriel 88 Diener-Denes, Rudolf 13 Dikmen, Sükriye 103 Dunoyer de Segonzac, André 15, 16 E

Eisenschitz, Willy Erwitt, Elliot

18 151

F

Farreras Ricart, Francisco Fernandez, Armand Pierre Fonseca, Caio Foujino, Paul Shusaku

59 109 131 57

G

Giacometti, Diego (After) Gibello, Vilmo Goetz, Henri Bernard Goth, Imre Griffith, Philip Jones Guillaumin, Armand Gullotta, Daniela

61 122 72 94 145 11 133, 134

H

O

Halicka , Alice (Alicja Halicka) 53 Hamaya, Hiroshi 143 Hartmann, Erich 147 Hayden, Henri 74 Hoehme, Gerhard 64, 65 Hurn, David 154, 155, 156, 157, 158 159

Otero, Angel

I

Irving Couse, Eanger Isak, Mathijs (Thijs) Nel Isupov, Illyis

9 70 119

J

Jasusch, Anton

Pantazis, Périclès Park, Seung Mo Pascin, Jules Pearlstein , Philip Penalba, Alicia Perez Pissarro, Paulémile Pivovarov, Viktor Popov, V. Pylypchuk, Jon

6, 7 137 24 97 62 17 73 83 129, 130

R

80

K

Kahn, Erich 50, 51 Kallem, Herbert 49 Kalman Ronay, Marcel 35, 36 Katz, Emmanuel Mané 52 Klein von Diepold, Leo 4 Kobayakawa, Kiyoshi 38 Konstantinovic Korovin, Aleksej 40 L

Kuhnert, Wilhelm 8 Lanskoy, André 54 Larios, Maria 112 Larrain, Sergio 153 Lazarev, Leonid Nikolaevich 161, 162, 163 Lefèvre, Marie 12 Levikova, Bela 106 Lewis, Dylan 98 Longobardi, Nino 113 19, 20 Luce, Maximilien M

Magalashvilli, Levan 108 Magritte, René 28 Maimon, Isaac 118 Marca-Relli, Conrad 66, 67, 68, 69 Marchand, Jean Hippolyte 39 Marin, Manuel 107 Marks, Margarete 32 Marty, André Édouard 26 Mathieu, Georges 56 McCullin, Don 149 McCurry, Steven 166 McIntyre, Hugh McNeil 91 Meidner, Else 22 Meister, Ludwig 79 Michonze, Grégoire 45 Minaux, André 60 Morath, Inge 146 N

Nakian, Reuben Neogrady, Laszlo Nice, Christiaan Nijinsky, Vaslav

128

P

48 78 81 29

Reinhardt, Mounto Réth (Róth), Alfréd Rossberg, Sara Rubinstein, Gretty Ruszkowski, Zdzislaw

120 41 114 117 87

S

Sango, Brighton SangtiagoT. Särlöv, Malte Saus, Ramiro Fernandez Scanlan, Joe Schiele, Egon Seymour David CHIM Sicilia, José María Sjöö, Monica Steinlen, Théophile Alexandre Stern, Fried Sveshnikov, Boris

99 95 76 85 136 10 144 132 111 23 2 92

T

Tabrizian, Mitra Tcherina, Ludmilla Trova, Ernest Trujillo, Elio Vilva Tytgat, Médard

165 102 110 124, 125 25

U

Upritchard, Francis Uzzle, Burk

135 148

V

Vago, Nelly Vasilievich PopovValery Vetter, Charles Vilmos, Karoly Vitali, Massimo Von Praag, Arnold Von Schewen,Olle Vorgang, Paul

46, 47 84 37 123 167 89 75 3

W

Weintraub, William Weston, Edward Wimmer, Max Wucherer, Fritz

93 160 71 1

Y

Yajuan, Han

138, 139, 140

Z

100

Zenetzis, Vasilis

82

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Inviting Consignments MODERN & CONTEMPORARY BRITISH ART 24 SEPTEMBER 2019

Craigie Aitchison CBE RSA RA, British 1926-2009Crucifixion, 1971-1973; oil on canvas Sold for £22,500 February 2019

For further information or a complimentary valuation please contact Helena Anderson | helenaanderson@roseberys.co.uk +44 (0) 20 8761 2522 | www.roseberys.co.uk

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EXPLANATION OF CATALOGUING TERMS Any statement as to authorship, attribution, origin, date, provenance and condition is a statement of opinion and is not to be taken as a statement or representation of fact. Roseberys reserve the right, in forming their opinion, to consult and rely upon an expert or authority considered by them to be reliable.

1.

‘Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by the artist.

2.

‘Attributed to Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, probably a work by the artist.

3.

‘Studio of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work likely to come from the studio of the artist or closely associated with the artist.

4.

‘Circle of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style and during the period of the artist’s life.

5.

‘Follower of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style, contemporary or near contemporary.

6

‘School of Peter Paul Rubens, Flemish 17th century’ * In our opinion, a work executed during this period and in the style associated with that artist.

7.

‘Flemish School, 17th century’ * In our opinion, a work executed during this period and in the style associated with that location.

8.

‘Manner of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style but at a later date, although not of recent execution.

9.

‘Style of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style and of recent execution.

10.

‘After Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a copy by an unidentified artist of a named work by the artist.

11.

A picture catalogued with accompanying dates e.g. 1577-1640 relates to the identification of the particular artist and is not proof of attribution or indicative of authenticity.

12.

The terms ‘signed’, ‘dated’, ‘inscribed’ means that in our opinion these are by the artist’s hand.

13.

The terms ‘bears signature’, ‘bears date’, ‘bears inscription’ means that in our opinion that these have been added by another hand other than the artist.

14.

All references to signature, inscriptions and dates refer to the present state of the work.

15.

Dimensions are given in centimetres, height before width and are measured from the edges of the work if these are visible and if not, from the front.

16.

All pictures are framed, unless otherwise stated in the catalogue.

17.

Catalogue and website images may not be a true representation of an item due to printing or photographing processes.

18.

(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with a hammer value over €1,000 as follows: 0 to €50,000 - 4% €50,001 to €200,000 - 3% €200,001 to €350,000 - 1% €350,001 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500.

Please note ARR is calculated in euros.

Auctioneers will apply current exchange rates.

Lot 67

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SPECIALIST TEAM Ian A. Cadzow Chairman & Joint Managing Director Rugs, Furniture & Works of Art iancadzow@roseberys.co.uk Vicki Wonfor Joint Managing Director Head of Corporate Collections vickiwonfor@roseberys.co.uk Peter Greenway Director Head of Professional Services petergreenway@roseberys.co.uk Marcus Grey Director Head of Paintings & Prints marcusgrey@roseberys.co.uk Helena Anderson Associate Specialist Modern & Contemporary British Art helenaanderson@roseberys.co.uk Luke Axford Junior Cataloguer Paintings, Prints & Frames lukeaxford@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Sam Howard Administrator Asian, Islamic & Indian Arts samhoward@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts helenaanderson@roseberys.co.uk Mark Bowis Head of Department Jewellery & Watches markbowis@roseberys.co.uk Nigel Dawson-Ellis Junior Cataloguer Furniture & 20th Century Design nigeldawsonellis@roseberys.co.uk

Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD Complimentary valuations Monday to Friday: 9.30am to 5.00pm

Anna Evans Consultant Specialist Works of Art annaevans@roseberys.co.uk Bill Forrest Head of Department Asian Arts billforrest@roseberys.co.uk Richard Gibbon Specialist Jewellery, Silver, Fashion, Textiles & Luxury Accessories richardgibbon@roseberys.co.uk Mark Longley Specialist Ceramics & Glass, Works of Art & Collectables marklongley@roseberys.co.uk

+44 (0) 20 8761 2522 clientservices@roseberys.co.uk

Tess O’Brien Impressionist, Modern, Post War and Contemporary Art tessobrien@roseberys.co.uk

Central London Office Valuations by appointment.

Kate Pritchard Cataloguer & Valuer Paintings & Prints, Modern & Contemporary Art katepritchard@roseberys.co.uk

Please call us on +44 (0) 20 8761 2522 or email our Professional Services department at valuations@roseberys.co.uk to book your complimentary valuation.

Alex Tonkinson Consultant Specialist Modern Design alextonkinson@roseberys.co.uk

Lot 149

Shane Xu Head of Department Modern & Contemporary Prints & Multiples shanexu@roseberys.co.uk

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TERMS OF CONSIGNMENT FOR SELLERS These terms apply to Rosebery Fine Art Ltd trading as Roseberys and Roseberys London.

1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract.

Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission and Entry Fee. (a) Entry Fee: A charge of £20 is made to each lot sold in addition to vendor’s commission. This charge covers our specialist research, catalogue description, website illustration, marketing on our website and other third party sites as well as live or timed bidding on various internet platforms. (b) Vendors Commission: Is charged on each lot at 15%.

3. Catalogue Illustration Fee. The cost of any illustration is borne by you. Lots may be illustrated in a catalogue and thus a charge of between £20-60 per illustration is applicable, dependent on size. For example a quarter page illustration £20, half page £40, three quarter/full page £60. The copyright in respect of such illustrations shall be the property of the auctioneers, as is the text of the catalogue; any persons to be found to have reproduced such illustrations or text without prior written approval will be deemed as being in breach of copyright law and appropriate legal action may be taken.

4. Loss and Damage of Goods (a) Roseberys is not authorised by the FSA to provide insurance to its clients, and does not so do. However Roseberys, for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until title passes to the buyer. To justify accepting liability, Roseberys makes a charge of 1.75% of the hammer price plus VAT. The liability assumed by Roseberys shall be limited to the lower pre-sale estimate or to the reserve if the lot was unsold.

Settlement in any claim arising shall be subject to commission as if the lot had sold in the normal manner. (b) If the owner of goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4(a) is inapplicable. (c) Roseberys will not be liable for the loss or damage to frames or glass covering prints, paintings or other works. Old frames are often fragile or subject to deterioration and whilst Roseberys will do their

upmost to ensure the safety and care of frames and glass we will not compensate for loss or damage to property caused by changes in humidity or temperature, normal wear and tear, gradual deterioration, inherent defect or errors in processing.

5. Removal Costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

6. Minimum Bids and our Discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds that you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to approximately 15% below the low estimate and “wide discretion” allows to use accept a bid of up to approximately 30% below the low estimate.

7. Reserves. (a) Prior to the auction you are entitled to place a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. If we are unable to offer goods they may be subject to storage charges if uncollected. (b) A reserve once set cannot be changed except with our consent, and confirmed by you in writing. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical Items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft Furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request

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TERMS OF CONSIGNMENT FOR SELLERS 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery or where we are or ought to have been aware of it.

11. Unsold Items. Unsold lots will be automatically reoffered into the next appropriate live or online auction with the low estimate reduced by 40% and if the revised estimate is £200 or below it will be offered without reserve. Alternatively, we may contact you to request that you collect the items. If you do not wish to re-enter the lots please notify Roseberys in writing with collection instructions. Please note storage charges will be incurred if lots are not collected within one week, storage charges will be applied of £2 + VAT per lot per day. If a lot remains uncollected two months after the date of the auction, Roseberys shall have the right to sell the lot at auction without reserve and to deduct from the ‘hammer price’ any sum owing to Roseberys as well as expenses arising from all auctions in which the lot has been included, plus storage and loss and damage warranty charges.

12. Withdrawn Items. (a) If an item is withdrawn prior to the publication of the catalogue a minimum charge of £20 + VAT per lot is applicable. This fee covers administration, handling, storage and loss & damage of the lot whilst in our care. (b) If an item is withdrawn after the online or offline publication of the lots they will incur charges where applicable comprising the sum of the vendor’s commission, the entry fee, the illustration cost, the loss and damage warranty, the buyer’s premium, the marketing fees and other expenses in relation to the item. VAT is applicable on all charges. These commission and premium charges will be calculated upon Roseberys published mid estimate. (c) In the cases of 12 (a) and (b) Roseberys will store the withdrawn item for a period of five days with no charge, after this a storage charge will be applicable at a daily rate of £2 per item per day plus VAT for items that remain uncollected.

13. Conditions of Sale. You agree that all goods will be sold according to our Conditions of Sale.

In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to Deduct Commission and Expenses and Retain Premium and Interest. (a) You authorise us to deduct commission from the hammer price at the stated rate plus all applicable expenses incurred on your account and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us at our discretion to negotiate a sale by private treaty not later than five working days from the date of the auction in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient written sale instructions, client contact details or without our prior written agreement to take delivery and reserve the right to either refuse to receive such goods or to make a minimum warehousing charge of £2 per item per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within twenty one days we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Settlement of the net sum due to you normally takes place 28 days after the sale (by crossed cheque or bank transfer to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers of Roseberys London particularly those inexperienced or new to our salerooms or online only bidding platform. All sales are conducted according to our printed Conditions of Sale which are readily available for inspection in person, on our website and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot.

The lower estimate may represent the reserve price or may be above the reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. Buyer’s Premium. The Conditions of Sale oblige buyers to pay a buyer’s premium of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.

5. VAT. The addition of (*) or (VAT applied on hammer price) to the lot description indicates that VAT is payable by the purchaser at the standard rate, presently 20%, on the hammer price as well as being payable on the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the premium is not recoverable as input tax.

6. Artist’s Resale Rights/Droit de Suite. Lots as indicated in the catalogue and if sold for the equivalent of 1000 euros or more on the day of the auction will be subject to a further percentage of the hammer price as follows: From 0 to 50,000 euros subject to 4% From 50,001 to 200,000 euros subject to 3% From 200,001 to 350,000 euros subject to 1% From 350,001 to 500,000 euros subject to 0.5% Exceeding 500,000 euros subject to 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to maximum royalty payable of 12,500 euros for any single work each time it is sold. Calculations of the artist’s resale right will be based on the pound sterling/Euro reference exchange rate quoted on the date of sale by the European Central Bank.

7. Agents. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested.

Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. Additionally, in specified circumstances lots mis-described because they are ‘deliberate forgeries’ may be returned and repayment made. There is a three week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

8. Electrical goods. These are sold as ‘antiques’ or ‘decorative’ items only and if bought for use must first be checked for compliance with safety regulations by a qualified electrician.

9. Coloured gems. It is common practice for gemstones to be treated in order to enhance colour and clarity. Unless stated buyers should presume coloured stones may well have been exposed to some sort of treatment.

10. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory.

11. Bidding. Bidders are required to register with us before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

12. Commission bidding (i)

Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding the buyers’ premium.

They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received.

Please enquire in advance about our arrangements for leaving commission bids by telephone, email or fax. Please ensure bids are left at least one hour prior to the start of the auction.

(ii) Commission bids may also be left via the Roseberys website.

These bids are executed via the RoseberysLive software and there is no surcharge.

13. Live Online bidding (a) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites the buyer is agreeing to Roseberys conditions of sale. (b) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (c) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding.

Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price. (d) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (i) any loss of connection to the auction being conducted online; (ii) a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any internet connection, computer, mobile device or system. (e) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our website. Please ensure you familiarise yourself with these prior to accessing our website.

14. Methods of Payment. Payment can be made by cash (maximum 10,000 euros), debit and credit cards (maximum £1,000 online or over the phone) or bank transfer. For international bank transfers an administration fee of £25 is payable. Any cheques tendered will need to allow 10 days to be cleared before removal of lots purchased is permitted. Please note that regulation of money laundering means we are limited to receiving the equivalent of 10,000 euros in cash payment.

15. Collection and storage (a) Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. All lots must be collected within five working days following auction. Storage charges of £2 per lot per day + VAT will be strictly enforced thereafter. (b) Roseberys are unable to pack, post or deliver any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.

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CONDITIONS OF SALE Rosebery Fine Art Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1.

Definitions

In these Conditions: (a) “auctioneer” means the firm of Rosebery Fine Art Ltd or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Rosebery Fine Art Ltd accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2.

Bidding Procedures and Conduct of the Auction

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid. Any bidder who refuses to provide the requested identification may be refused permission to bid. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if they believe there may be error or dispute, and take such action as they reasonably think fit. (c) Subject to condition 2(b) the contract between the buyer and seller is concluded on the striking of the auctioneer’s hammer, whereupon the buyer becomes liable to pay the purchase price. (d) Any post-auction sale of lots offered at auction shall incorporate these conditions as if sold in the auction. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3.

Increments. Bidding increments shall be at the auctioneer’s sole discretion.

4.

The Purchase Price. The buyer shall pay the hammer price together with a premium thereon of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT). The premium price is subject to VAT at the standard rate.

5.

Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged

at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots.

(Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6.

(1) (a) (b) (2)

Payment Immediately a Lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in cash, debit, credit card or bank transfer or in such other way as is agreed by us.

Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7.

Title and Collection of Purchases. The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (a)(i) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction. (ii) Roseberys are unable to pack, post or deliver any items purchased through public or online auction.

A list of suggested companies is supplied upon issuing of invoices, upon request, or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies. (b) No purchase can be claimed or removed until it has been paid for and payment has cleared. (c) Invoices will not be split or title transferred to another person(s). Invoices must be paid in full before any lots can be removed. (d) Purchased lots must be collected within the allocated time as stated in the Information for Buyers section 13, storage charges are applicable thereafter. Purchased lots are at the Buyer’s risk (and therefore their sole responsibility for insurance) from the earliest of the collection or the 21st calendar day after the auction.

Until risk passes Roseberys will compensate the buyer for any loss or damage to the lot up to a maximum of the purchase price paid.

8.

(1)

(a) (b) (c)

(d) (e)

Remedies for Non-Payment or Failure to Collect Purchases If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: to proceed against you for damages for breach of contract; to rescind the sale of that Lot and/or any other Lots sold by us to you; to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

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CONDITIONS OF SALE (f)

to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9.

Third Party Liability. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. Commission, Telephone Bids and Live Online Bidding. Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. (a) Lots will be purchased by the Auctioneer on behalf of the commission bidder for the lowest price allowed by other bids and/or reserves if any, up to and including their maximum bid amount recorded. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute commission bids whether through the auctioneer or through any online bidding software, or where a bidding slip has been completed incorrectly. We urge commission bidders, to ensure that the correct lot number(s) and price(s) are recorded on their bidding forms. (b) Where two or more commission bids at the same level are recorded we reserve the right at our absolute discretion to prefer the first bid so made. (c) Telephone Bids. Any person unable to attend the auction may request to bid on a specific lot by telephone. This facility is only available by prior arrangement with the Auctioneers and not available for online only auctions. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute telephone bids. (d) Live Online bidding. (i) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites, the buyer is agreeing to Roseberys conditions of sale. (ii) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (iii) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price.

(iv)

(v)

Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids, placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (aa) any loss of connection to the auction being conducted online; (bb) a breakdown or problems with the online bidding software or the web site service provider; and/or (cc) a breakdown or problems with any internet connection, computer, mobile device or system.

By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.

11.

Warranty of Title and Availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

No representation or warranties are made by Roseberys or the seller as to whether any lots is subject to copyright or whether they buyer acquires copyright in any lot.

12.

Agency. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13.

Terms of Sale. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot.

14. (a)

Description and Conditions Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description of a lot. Buyers are welcome to make an appointment to view any lots listed on an online only auction. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers�.

Condition Reports. Reports on the condition of any lot are offered by the Auctioneers as a statement of opinion only, and not of fact. Rosebery Fine Art Ltd are not liable for any errors or omissions contained therein. The buyer must satisfy themselves to the condition of any given lot prior to bidding. Roseberys will not be held responsible for any damage or defect that has not been notified to the buyer. Catalogue illustrations are for guidance only and will not convey full information as to the actual condition of lots.

(b)

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CONDITIONS OF SALE (c)

(d)

Where the term (a/f) is used this refers to a lot being ‘as found’, it is used for guidance only and indicates in our opinion there is significant damage or repair to an item, the omission of this term does not indicate there is not significant damage or repair to an item and Roseberys are not liable for the omission of this term.

Private treaty sales made on these premises under these Conditions are deemed to be sales by auction for the purposes of consumer legislation.

15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. Roseberys may require the buyer to obtain at the buyer’s cost the reports of two independent and recognised experts in the field, mutually acceptable to Roseberys and the buyer. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) if you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

16. Online Only Timed Auctions These following terms are applicable only to sales conducted online only and are to be used in addition to the conditions of sale. (a) (i)

Right to Cancel If you are a consumer resident in the European Union you have the right to cancel the contract for the purchase of a lot within 14 calendar days without giving any reason. (ii) The cancellation period will expire after 14 calendar days from the day on which you acquire (or a party nominated by you and is not the shipper) physical possession of the lot. (iii) To exercise the right to cancel, you must inform us of your decision to cancel this contract by a clear written statement (e.g. a letter sent by post, fax or email), or you may use the cancellation form which can be found on our website or by contacting a member of staff. The communication must be received within 14 calendar days from the day on which you acquire the lot. (iv) If you cancel the contract, we will reimburse all payments received from you. As Roseberys are unable to provide a postage or packing service the cost of the initial delivery or collection is not returnable. In addition the cost of returning the item if you choose to cancel the contract is payable by you. (v) We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of damaged caused by unnecessary handling whilst in your possession. We will make the reimbursement without undue delay, and not later than (aa) 14 calendar days after the day we receive back from you any goods supplied, or (bb) (if earlier) 14 calendar days after the day you provide evidence that you have returned the goods.

(vi) We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement.

We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is earliest. (b) Liability Roseberys nor the seller will be responsible to you for errors during or after the online only timed auction or failures to execute bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: any loss of connection to the auction being conducted online; a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any connection, computer, mobile device or system.

General

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

18. Where a member of the public causes damage to a lot (or part thereof) the Auctioneers reserve the right to: (a) sell the aforementioned without reserve and to hold that specific individual liable for the amount of any difference between the hammer price and the reserve or low estimate; (b) hold that specific individual liable for the cost of restoration where appropriate; (c) hold that specific individual liable for the full amount of the reserve price or lower estimate as applicable.

19 (a) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

20. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email if provided in which case it shall be deemed to have been received by the addressee 48 hours after posting.

21. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

22. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

23. English law applies to the interpretation of these Conditions.

These terms and conditions are based upon recommended conditions of sale by SOFAA (the Society of Fine Art Auctioneers) and RICS (the Royal Institute of Chartered Surveyors)

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70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

CATALOGUE SUBSCRIPTION FORM FULL NAME: ADDRESS: TELEPHONE:

EMAIL:

SUBSCRIPTION OPTIONS Auction Title

Number of auctions annually

Cost of annual Subscription including UK postage

Cost of annual Subscription including Europe postage

Cost of annual Subscription including rest of world postage

Design: Decorative Arts 1860 to Present Day

3

£37.50

£45

£52.50

Chinese, Japanese & South East Asian Art

2

£25

£30

£35

Impressionist, Modern, Post-War & Contemporary Art

2

£25

£30

£35

Fine & Decorative

3

£37.50

£45

£52.50

Islamic & Indian Arts/ Art of India

3

£37.50

£45

£52.50

Jewellery & Watches

3

£37.50

£45

£52.50

Modern & Contemporary British Art

2

£25

£30

£35

Modern & Contemporary Prints

2

£25

£30

£35

Print & Multiples

2

£25

£30

£35

Old Master, 18th & 19th Century Pictures

3

£37.50

£45

£52.50

Tick to subscribe

Subscription Offer: Buy 2 or more subscriptions save 20% on prices listed Total cost of subscription: Method of Payment: Payment can be made by credit or debit card over the phone or in person, alternatively by bank transfer or cash in person. Payment is accepted via bank transfer to the following account (International bank transfers are subject to a £25 administration fee.): Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, IBAN GB80NWBK60300636952613.

I would/would not like to receive online catalogues and notifications of the sales that I am interested in as indicated on this form (delete as appropriate).

Signed:

Date:

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70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

ABSENTEE BID FORM PLEASE COMPLETE THE FORM IN FULL IN CAPITAL LETTERS AND PLACE YOUR BIDS AT LEAST ONE HOUR PRIOR TO THE START OF THE RELEVANT SECTION OF THE AUCTION

FULL NAME: ADDRESS: POSTCODE:

EMAIL:

BIDDER NUMBER: TELEPHONE:

Lot number

GBP £ bid price excluding premium

Lot number

GBP £ bid price excluding premium

All bids are entered subject to Roseberys standard terms and conditions of sale and to any special terms stated by the auctioneers to apply to lot(s) which the prospective purchaser hereby acknowledges and accepts.

Please see catalogue or website for important information for buyers and our full conditions of sale or ask a member of staff for a copy.

I authorise Roseberys to bid on my behalf for the above mentioned lot(s) up to the price(s) stated. I confirm I have read and agree to the buyer’s terms of sale with special attention to the buyer’s premium, additional charges and storage.

Signed:

Date:

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AUCTION CALENDAR 2019 June Prints & Multiples in Assocaition with Artsy Online Only Auction Monday 3rd June Tuesday 18th June Modern & Contemporary British Art Tuesday 11th June Arts of India Wednesday 12th June Design: Decorative Arts 1860 to the present day Tuesday 25th June

July Impressionist, Modern, Post War & Contemporary Art Wednesday 3rd July Prints & Multiples Online Only Auction Monday 8th July Jewellery & Watches Tuesday 16th July Old Master, 18th & 19th Century Pictures Wednesday 17th July Fine & Decorative Thursday 18th July

70/76 Knights Hill, London SE27 0JD +44 (0) 20 8761 2522 clientservices@roseberys.co.uk

www.roseberys.co.uk

70/76 Knights Hill London SE27 0JD +44 (0) 20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk