Classic Art Afternoon Sale, 27 April 2017

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WWW.SHEPPARDS.IE PSRA NO. 003183

CLASSIC ART AFTERNOON SALE 27 APRIL 2017 THE SQUARE, DURROW, CO. LAOIS, R32 FN88, IRELAND

VIEWING DATES & TIMES 22-24 APRIL 2017, 10:00 - 17:00 BST EACH DAY

ORDER OF SALE 27 APRIL 2017 - 14:00 BST SHARP - LOTS 2001-2043

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2001

John Austen FitzgerAld (English, 1832-1906) Independence—portraIt of a man leanIng on a fence

Oil On canvas (unlinEd) signEd and datEd ‘J.a. FitzgErald 1846’ 14 x 12 Inches (36 x 31 cm.) signEd and inscribEd with titlE On thE rEvErsE OF thE FramE

ExhibitEd at thE rOyal acadEmy, 1846, nO.104, ‘indEpEndEncE’ EnclOsEd in Original gilt FramE €2,500 - 3,500 John Austen Fitzgerald (English, 1832-1906) was born in London, the son of the poet, William Thomas Fitzgerald (1759-1829). His Irish grandfather was Colonel John Austen Fitzgerald (c.1691-1751).

Fitzgerald began his artistic studies at the maddox Street Sketching Club. His early works were portraits and genre scenes, some painted in the Pre-Raphaelite style. He is best known for his highly imaginative fairy scenes, which earned him the sobriquet, "Fairy Fitzgerald". These subjects were painted in oil and watercolour.

Fitzgerald exhibited thirty-three works at The Royal Academy between 1845 and 1902, twenty-seven at the British Institution, and sixty-two at Suffolk Street.

Works by Fitzgerald can be seen at the Guildhall Art Gallery, London; the National museum of Wales, Cardiff; and the Walker Art Gallery, Liverpool.

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2002

edmund John niemAnn (English, 1813-1876) a vIew of BrIstol Oil On bOard signEd, datEd and inscribEd 'niEmann, bristOl 63 & 70' 13½ x 19¾ Inches (34 x 50 cm.) unFramEd €1,500 - 2,500 Edmund John Niemann (English, 1813-1876), born in London, was a painter of landscapes, topographical views and marines. His father was German. He moved to High Wycombe, Buckinghamshire. He travelled throughout England painting views in London, kent, Lincolnshire, Shropshire, Yorkshire and Nottinghamshire.

Niemann exhibited twenty-nine works at the Royal Academy, forty-five at the British Institution, and forty at Suffolk Street.

Niemann’s works are to be found at the Victoria & Albert museum; the Walker Art Gallery, Liverpool; Laing Art Gallery, Newcastle Upon Tyne; and Leeds City Art Gallery. Two views of Bristol can be seen in the City Art Gallery, Bristol.

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2003

WilliAm mcevoy (irish, Fl. 1858-1880) an extensIve vIew of duBlIn Bay from KIllIney hIll Oil On canvas 24 x 42 Inches (61 x 107 cm.)

EnclOsEd in a gilt FramE €4,000 - 6,000 William mcEvoy (Irish, fl.1858-1891) was a painter of landscapes and coastal scenes, primarily depicting the topography of Dublin and County Wicklow. He also painted in England and Wales.

He exhibited 87 works at The Royal Hibernian Academy, Dublin between 1858 and 1891. His address is listed as Old mountpleasant, Dublin. mcEvoy's extensive view of Dublin Bay is held at The National Gallery of Ireland, No.1866.

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2004

JAmes Arthur o'connor (irish, 1792-1841) a mountaIn landscape, wIth a man In red at rest on a rIverBanK, a BrIdge Beyond

Oil On canvas 11¼ x 16 Inches (28.5 x 40.5 cm.)

EnclOsEd in a gilt FramE €2,500 - 3,500 James Arthur O'Connor (Irish, 1792-1841) was the foremost Irish landscape painter of the early nineteenth-century. He was the son of William O'Connor, a print seller and engraver. Apart from receiving some tuition from the landscape painter, William Sadler II (Irish, 1782-1839), O'Connor was largely self-taught. He commenced exhibiting his works at the Dublin Society in 1809. In 1813 he travelled to England with his friends, Francis Danby, ARA (Irish, 1793-1861) and George Petrie, PRHA (Irish, 1790-1866). They first visited London, but Petrie soon returned to Ireland. Danby and O'Connor travelled to Bristol, but soon after O'Connor returned home for family commitments. Danby remained and became an important member of "the Bristol School" of painters. In 181819 O'Connor worked at Westport House for his client, the marquis of Sligo. Here he painted a series of views of the house and environs. These pictures remain, to this day, at Westport House. In 1821 he returned to England with his wife. During this time he worked in Sussex and views of the coast and Arundel are recorded.I n 1826 he travelled to Belgium and in 1833 to Paris, where he painted for king Louis-Philippe (1773-1850). He then journeyed to Germany and painted views of the Rhine valley. He returned to England and died at his residence in marlborough Street, London on 7 January 1841.

O'Connor exhibited four works at the Royal Hibernian Academy, twenty-one at the Royal Academy, six at the British Institution, and twenty-six at Suffolk Street. Fifteen works by O'Connor can be seen at the National Gallery of Ireland who also hold a collection of his work executed in pencil and pen and ink. Additional works can be seen at the Ulster museum; the Victoria & Albert museum; the Sheffield Art Gallery; and the Laing Art Gallery, Newcastle.

O'Connor's wooded landscape scenes are painted in the Romantic Style and show the influence of the seventeenth-century artist, Jacob van Ruisdael (Dutch, 162882), and the landscape artist, Salvator Rosa (Italian, 1615-73).

SEE ALSO LOT 2005 AND LOT 2010 12

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2005

JAmes Arthur o'connor (irish, 1792-1841) an avenue of trees, wIth a shepherd at rest In the foreground wIth hIs dog and flocK, a woman In red Beyond

Oil On canvas 11¼ x 16 Inches (28.5 x 40.5 cm.)

EnclOsEd in a gilt FramE €2,500 - 3,500 SEE ALSO LOT 2004 AND LOT 2010

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2006

itAliAn school latE sEvEntEEnth-cEntury mars, god of war holdIng a shIeld and spear

rEd chalk 4¾ x 4¾ Inches (12 x 12 cm.)

EnclOsEd in a quality carvEd giltwOOd FramE €500 - 700

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2007

spAnish school sEvEntEEnth-cEntury st. John the BaptIst In a landscape Oil On canvas (unlinEd) signEd Or inscribEd On thE rEvErsE OF thE Original canvas 'lc' 25¼ x 20 Inches (64.5 x 50.5 cm.) €800 - 1,200

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2008

george BArret (irish, 1730-84) the great sugarloaf mountaIn, co. wIcKlow wIth a fIgure on horseBacK alongsIde a dog In foreground

Oil On canvas 11¼ x 13¾ Inches (28.5 x 35 cm.)

EnclOsEd in a gilt FramE €800 - 1,200 George Barret (Irish, 1730-84) was born in Dublin. He began his artistic career as a pupil of Robert West at his drawing school in George's Lane, and was encouraged

by Edmund Burke to take up landscape painting. His early works are views in Co. Wicklow, on the River Dargle and the Powerscourt Estate. Some of these were painted on a large scale. To seek his fortune as an artist, Barret travelled to London in 1762. His landscapes were favourably received and his patrons included the Duke of Buccleuch and the Duke of Portland of Welbeck Abbey.

In 1768, Barret was one of the founders of the Royal Academy.

He exhibited thirteen works at the Society of Artists and thirty-two at the Royal Academy. Works by Barret can be seen at the National Gallery of Ireland, the Ulster museum, the British museum and the Victoria and Albert museum.

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2009

oziAs humphry, rA (English, 1742-1810) portraIt of mary nesBItt seated In a landscape settIng

pEncil, charcOal and watErcOlOur inscribEd On thE rEvErsE 'mrs nEsbitt O.h.

1782 nOrwOOd cOmmOn' 9 x 7½ Inches (23 x 19 cm.)

EnclOsEd in a carvEd giltwOOd ribbOn FramE â‚Ź800 - 1,200 Ozias Humphry, RA (English, 1742-1810) was a portrait painter, firstly working in miniature and later in oil paint, pastel and pencil. He was born in Honiton, Devon. He first studied in Bath before moving to London on the encouragement of Sir Joshua Reynolds, PRA (1723-1792) in 1764. (He first met mary Nesbitt at Reynolds's Studio in Leicester Square, where he lodged for some months.)

In 1773 he travelled to Italy with his friend, George Romney (1734-1802), remaining there until 1777. From 1785 to 1787 he worked in India portraying the rulers. He was elected a member of the Royal Academy in 1787. He was a friend of George Stubbs (1724-1806) and Thomas Gainsborough, (1727-1788). His works can be seen at The National Portrait Gallery, London; The Tate; and The National maritime museum, Greenwich. mary Davis (1743-1825) began her career as a society model to Sir Joshua Reynolds. His portraits of her can be seen at The Wallace Collection, London and the Smith College museum of Art, Northampton, massachusetts.

She married a wealthy merchant banker, Alexander Nesbitt, in 1768. She was a confidante of king George III (1738-1820) and an intimate friend of the 3rd Earl of Bristol. They lived together at Norwood House, Norwood Common. On the Earl's death he bequeathed to her this house and an estate at Lessingham, Lincolnshire. In the 1790s she is rumoured to have been recruited by the Prime minister, William Pitt the Younger (1759-1806), to act as a government spy in Europe, working to re-establish the monarchy in France after the revolution. She remained living in Europe, mostly in Paris. In 1808 she met madame Tussaud (1761-1850) and bought her a house in Crystal Palace, London. mary Nesbitt was a life-long friend of Humphry. She is portrayed in numerous miniatures and drawings by him. See for example Sotheby's sale of 1846, Lot 423: "mrs Nesbitt of Norwood, highly finished by Humphry." Some of their correspondence is held in the Archives of the Royal Academy, London. In one letter Humphry writes, "Do not forget that it was on the day of my arrival in London that Sir Joshua Reynolds first introduced you to me." In another he writes of her "innumerable kindnesses" to him and of "the delight he felt in her society."

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2010

JAmes Arthur o'connor (irish, 1792-1841) a woodland avenue wIth cattle and restIng herdsman

Oil On canvas 27 x 32¾ Inches (69 x 83.5 cm.)

EnclOsEd in a gilt FramE €4,000 - 6,000 SEE ALSO LOT 2004 AND LOT 2005

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2011

attributEd tO nicolAes pieterszoon Berchem (dutch, 1620-83) a wooded landscape wIth a manor house and farm. fIgures and anImals In the foreground.

Oil On canvas signEd 'n.bErgh' 16½ x 21½ Inches (42 x 55 cm.) €800 - 1,200 Nicolaes Pieterszoon Berchem (or Berghem) (Dutch, 1620-83) was a landscape painter of the Dutch Golden Age. Born in Haarlem, he studied under Jan van Goyen (1596-1656) and Jan Baptist Weenix (1621-1660). In 1642 he travelled to Italy with Weenix. This visit had a lasting effect on his work in terms of the landscape content and in his use of colour. In 1661 he is registered as living in Amsterdam. In 1670 he returned to Haarlem where he remained. He taught art and amongst his pupils were karel Dujardin (1622-1678), and Peter de Hooch (1629-1684). His best known works were his Italianate landscapes with people and animals. He also painted works with religious and mythological themes. His work influenced artists of the eighteenth-century, notably Jean Antoine Watteau (1684-1721) and Thomas Gainsborough (1727-1788).

Berchem's work can be seen in most of the world's important museums, notably, The National Gallery, London; The Louvre, Paris; The metropolitan museum, New York; and The Getty museum, Los Angeles.

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2012

BArBArA WArren, rhA (irish, b.1925) study of a female nude Oil On canvas signEd lOwEr-right ‘bwarrEn’ 26 x 15 Inches (66 x 38 cm.)

EnclOsEd in a gilt FramE €800 - 1,200

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2013

attributEd tO FrAncesco Antonio simonini (italian, 1686-1753) Battle scene Battle scene Oil On canvas laid On panEl 6¼ x 7½ Inches (16 x 19 cm.) (2) bOth EnclOsEd in a gilt FramE prOvEnancE: prOpErty OF thE latE ElizabEth O'kElly, FOrmErly OF thE dOwEr hOusE, EmO cOurt €800 - 1200 Born in Parma, Italy, Francesco Antonio Simonini (Italian, 1686-1753) specialised in depicting battle scenes. These paintings were often on a small scale and painted as pairs. He was influenced by the works of Jacques Courtois (French-Italian, 1621-1675). He worked in Venice for his patron, Count Johann matthias Von der Schulenburg (German, 1661-1747) who resided at the Palazzo Loredan on The Grand Canal. Here he painted a series of oil paintings commemorating the Count's famous battles. His paintings and drawings are appreciated for their vigour and spontaneity.

A battle scene by Simonini can be seen at The National Gallery, London.

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2014

FOllOwEr OF JAn FrAns vAn BredAel (FlEmish, 1686-1750) landscape wIth fIgures and horses Oil On panEl 7 x 10 Inches (18 x 25 cm.)

EnclOsEd in a gilt FramE prOvEnancE: prOpErty OF thE latE ElizabEth O'kElly, FOrmErly OF thE dOwEr hOusE, EmO cOurt, cO. laOis €400 - 600 Jan Frans van Bredael (Flemish, 1686-1750) was a painter of landscapes, village scenes and battles. He normally worked on a small scale, painting on panels, copper or wood. He was a member of an artistic family from Antwerp. He began his career working for a dealer in Dutch art, copying the work of Philips Wouverman (16191668) and Jan Brueghel the Elder (1568-1625). He is known to have worked in England, and between 1719 and 1725 was working in Paris. He returned to Antwerp where he became a member of the Guild of St. Luke.

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2015

attributEd tO cornelis troost (dutch, 1696-1750) an artIst seated In hIs study holdIng a drawIng

Oil On canvas 26½ x 19½ Inches (67.5 x 49.5 cm.)

EnclOsEd in a gilt FramE €2,500 - 3,500 Cornelis Troost (Dutch, 1696-1750) was a painter of portraits and interiors. He worked in oils, pastels and watercolour. He commenced his working life as an actor, performing at the Schouwburg Theatre, Amsterdam, but gave this up for a career in art in 1723. He was a pupil of Arnold Boonen (1669-1729). He painted single portraits, including those of his fellow artists and portrait groups.

He lived and worked all his life in Amsterdam.

Works by Troost can be seen at The National Gallery of Ireland, Dublin; The Rijksmuseum, Amsterdam; and The mauritshuis, The Hague.

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2016

attributEd tO edWin plummer (amErica, 1802-1880) the three sIsters Oil On canvas signEd lOwEr-right ‘plummEr’ 13 x 17 Inches (33 x 43 cm.)

EnclOsEd in a cOntEmpOrary giltwOOd FramE €2,000 - 3,000 Edwin Plummer (America, 1802-1880) was born at Haverhill, massachusetts, the eldest son of Daniel Plummer (1780-1857). His father invented a machine that cut teeth for hair combs which might explain why coiffeur is a noticeable element in Edwin's work. He painted mainly profile portraits in oil and watercolour, with members of his family being amongst his early sitters. His early works are painted in a naive and stylized way. His later portraits are more classical and sophisticated. In 1806 Edwin and his family lived in Beverly, massachusetts. Here he attended the Lancaster School. In 1821 he is recorded as living in Boston and by the mid 1820s in Rhode Island. In 1829 he lived in Portland, maine where he established a shoe business. In 1830 he married Anna Penfield (18051876). In 1831 the couple returned to Lancaster. By 1833 they were resident in Portsmouth, New Hampshire. In 1837 he is recorded as practising his art at 34, School St., Boston, and by 1845 he was living at Cover St. where he was involved in real estate. In 1859 he moved to Chelsea, massachusetts where he remained for the rest of his life.

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2017

JeremiAh hodges mulcAhy, ArhA (irish, Fl. c.1830-1889) a wooded rIver landscape wIth a georgIan country house

Oil On canvas (unlinEd) 16¼ x 20¼ Inches (41.5 x 51.5 cm.)

EnclOsEd in cOntEmpOrary gilt FramE €800 - 1,200 Jeremiah Hodges mulcahy, ARHA (Irish, fl. c.1830-1889) was native of Limerick where he commenced his studies.

In 1842, he opened a school of art to encourage local talent. In 1862, he moved to Dublin. He painted landscape views in Ireland, Scotland, and Wales. He exhibited a total of twenty-six paintings at the Royal Hibernian Academy. Amongst these works are views of Dublin, Wicklow, Dunfries, and Bangor.

Two of mulcahy's oil paintings can be seen in the National Gallery of Ireland (inv. nos. 1795 and 4028), together with a collection of pencil drawings of landscape and figure subjects.

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2018

JAcques-lAurent AgAsse (swiss, 1767-1849) the toy Boat—a group of chIldren playIng By a rIver

Oil On canvas 33 x 42 Inches (84 x 107 cm.) prOvEnancE: FrOst & rEEd gallEry, bristOl and lOndOn (labEl On rEvErsE). stOck nO. w38 â‚Ź5,000 - 7,000 Born in Geneva, Switzerland, Jacques-Laurent Agasse (Swiss, 1767-1849) was a painter of landscapes landscapes, animal subjects and genre scenes. In the 1780s he studied in Paris. He was brought to England by his new patron, George Pitt (1751-1828) after 2nd Baron Rivers. He painted a number of equestrian portraits for Lord Rivers. His works soon found great success, noted for their anatomical accuracy. He was widely recognised as being the foremost animal painter of his day. Commissions followed from other members of the aristocracy.

Agasse exhibited twenty-nine works at the Royal Academy, and seven at The British Institution.

Collections of his works can be seen in his native land, at The Oskar Reinhart Foundation, Winterthur, and the musee d'art et d'Histoire, Geneva. Further oil paintings are held by The Royal Collection; The Tate Gallery, London; and The Fitzwilliam museum, Cambridge.

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2019

John george mulvAny, rhA (irish, c.1766-1838) a rIver landscape wIth thatched cottage, a famIly and lIvestocK In the foreground

Oil On canvas signEd lOwEr-lEFt 'Jg mulvany' FurthEr inscribEd vErsO 25 x 30 Inches (63.5 x 76 cm.) €6,000 - 8,000 John George mulvany, RHA (Irish, 1766-1838) was a landscape and genre painter, primarily of domestic interiors. mulvany’s younger brother, Thomas James mulvany, RHA (1777-1845) was also a landscape and figure painter. His nephew, George Francis mulvany, RHA (1809-69) was the first Director of the National Gallery of Ireland. mulvany commenced his artistic studies at the Dublin Society Drawing Schools, winning medals in 1782 and 1786. He first exhibited at the Society of Artists, Hawkins St. in 1810, contributing a landscape, with further work exhibited in 1814, 1819, and 1821. mulvany was an original member of the Royal Hibernian Academy, founded in 1823. Here, he exhibited forty-two works between 1826 and 1840, including ten genre scenes and topographical views of Carlingford, Co. Louth; Dublin; Limerick; and Waterford. He worked in oil paint and watercolour. Two works by mulvany are held in the National Gallery of Ireland, Dublin – A view of kilmallock (inv. no.

991) and A kitchen interior (inv. no. 1277).

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2020

John ritchie (English, Fl. 1857-75) mIdsummer nIght’s dream—a male fIgure KneelIng In the foreground, dIstant fIgures on the horIzon

Oil On panEl signEd lOwEr-right ‘J.ritchiE’ labEl vErsO 10 x 12 Inches (25 x 30.5 cm.) €800 - 1,200 John Ritchie (English, fl. 1857-75) was a painter of imaginary genre scenes of contemporary Victorian life and was most active between the years of 1857 and 1875. As a follower of the Pre-Raphaelite Brotherhood, his works feature bright colouring, clarity of lighting, and an attention to detail present in the Pre-Raphaelite style. His two best-known works, A Summer Day in Hyde Park and A Winter Day in St. James’ Park were both exhibited at the Liverpool Academy in 1858. Works by Ritchie can be seen at the Brighton museum & Art Gallery, Brighton; the Brooke Robinson museum, Dudley; the Cooper Gallery, Barnsley; the Laing Art Gallery, Newcastle upon Tyne; and the museum of London, London.

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2021

pre-rAphAelite school, latE ninEtEEnth-cEntury the annuncIatIon Oil On canvas (unlinEd) 49½ x 59¾ Inches (125 x 151 cm.) prOvEnancE: st. nichOlas's church, ghEnt, bElgium €20,000 - 30,000

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2022

roBert JAmes enrAght moony (irish, 1879-1946) the enchanted wood—a reclInIng male nude, the shepherd daphnIs, wIth goats In a wooded landscape

tEmpEra On panEl signEd lOwEr-lEFt ‘rJ Enraght mOOny’ 18½ x 22½ Inches (47 x 57 cm.)

EnclOsEd in Original laurEl lEaF dEcOratEd FramE

prOvEnancE: prObably ExhibitEd at thE st. ivEs sOciEty OF artists' ExhibitiOn ,1927—thE art gallEry, JamEs lanham ltd., high st., st. ivEs, cOrnwall. labEl vErsO €4,000 - 6,000 Robert James Enraght moony (1879-1946) was a painter and illustrator of landscapes and symbolist works invoking the realism of the Pre-Raphaelite genre and his interest in old Celtic fairy lore and mysticism. He was born at Doon, Athlone, where his family has been resident for nearly one thousand years, and was educated at Galway Grammar School. In the late-1890s he travelled to France where he studied at the Académie Julian, Paris under Jean-Paul Laurens (French, 1838-1921) and JeanJoseph Benjamin-Constant (French, 1845-1902). Later, he embarked on a painting tour of Italy where, according to art researcher, Nicola Gordon Bowe, Enraght moony was heavily influenced by the works of Giovanni Segantini (Italian, 1858-1899), a Neo-Impressionist painter of Symbolist images. He lived and worked in a studio in mount Hawke, Cornwall between 1927 and 1938, and was a member of the Newlyn Society of Artists and the Sheffield Society of Art. He first exhibited at the Royal Hibernian Academy, Dublin in 1903. He also exhibited at Beaux Arts, London (49); the Fine Art Society, London; the Glasgow Institute of the Fine Arts, Glasgow; the manchester City Art Gallery, manchester; the New English Art Club, London (20); the Newlyn Art Gallery, Newlyn; the Royal Academy, London (24); the Royal Institute, London; and the Walker Art Gallery, Liverpool.

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2023

mArkey roBinson (irish, 1918-99) stIll lIfe In a landscape gOuachE On bOard signEd ‘markEy’ 20 x 30¾ Inches (51 x 78 cm.) prOvEnancE: dukE's st. gallEry and hugh charltOn's cOllEctiOn (OwnEr OF apOllO gallEry, dawsOn st.) €4,000 - 6,000 markey Robinson (Irish, 1918-1999) was born in Belfast.

He studied at The Belfast College of Art. He was a painter, sculptor and stained glass designer. He became famous for his numerous one-man shows at The Oriel Gallery in Dublin. His favoured subjects were Irish landscapes, depicting white-washed cottages and women wearing shawls, seascapes, still lifes and circus clowns.

He painted in a distinctive primitive manner, some of his works being almost abstract in composition. His works are in many private collections in Ireland, England and America.

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2024

attributEd tO thomAs hickey (irish, 1741-1824) portraIt of a mother and chIld Oil On canvas 19 x 16½ Inches (48 x 42 cm.)

EnclOsEd in a cOntEmpOrary giltwOOd FramE nOtE: ward Family bOOk platE vErsO with thE mOttO 'sub crucE salus-salvatiOn' undEr thE crOss, pErtains tO thE viscOunts bangOr OF castlE ward, cO. dOwn. â‚Ź1,200 - 1,800 Thomas Hickey (Irish, 1741-1824) was a portrait and genre painter, first working in chalk and pastels before turning to oil paints for most of his work. He trained in Dublin under Robert West. He travelled to Italy, returning to Dublin in 1767. To further his career he then moved to London. He commenced exhibiting at the Royal Academy in 1772. He resided in Bath between 1776 and 1780. He worked for several years in Lisbon. He travelled to India and worked there until 1791 when he returned to Ireland.

He later accompanied Earl macartney on his expedition to Peking as official painter. In 1796 he was working in Ireland. He departed for his second visit to India in 1798 where he remained for the rest of his life. Here he painted the family of the mysore Ruler, Tipu Sultan.

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2025

HugH Douglas Hamilton (IrIsh, 1740-1808) Half profile portrait of an artist OIl On canvas laId On panel 5 x 4½ Inches (12.7 x 11.5 cm.) nOte: paInted In rOme, 1782 €600 - 800 Hugh Douglas Hamilton (Irish, 1740-1808) was one of the leading portrait painters in Ireland in the eighteenthcentury. He commenced his career in Dublin making pastel portraits. These are usually on a small scale and oval in format. Walpole described these works as ‘...very pretty. These drawings are upon a flesh-coloured paper, black and white chalk and here and there a touch of crayons.’ He also executed pastel works on a larger scale. He moved to London in about 1764 and commenced in practice as a artist in pastel and oil paint. He painted members of society from Ireland and England, namely Lord Castlereagh, The Earl of Clare, Lord Edward Fitzgerald and members of the La Touche family. In 1778 Hamilton travelled to Italy and settled in Rome.

Whilst here he painted members of the aristocracy, in the city, as part of The Grand Tour. He returned to Dublin to continue painting. Although primarily a portrait painter, Hamilton also painted historical and mythological subjects.

Works by Hamilton can be seen at The National Gallery of Ireland: The British Museum; The Ulster Museum, and The National Portrait Gallery, London.

SEE ALSO LOT 2026

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2026

HugH Douglas Hamilton (IrIsh, 1740-1808) Half profile portrait of an artist OIl On canvas laId On panel 5 x 4½ Inches (12.7 x 11.5 cm.) nOte: paInted In rOme, 1782 €600 - 800 SEE ALSO LOT 2025

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2027

attrIbuted tO george mullins (IrIsh, fl. 1763-65) a mountainous lake scene witH drover and cattle

OIl On canvas 18 x 24 incHes (46 x 61 cm.) enclOsed In a gIlt frame €1,500 - 2,500

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2028

attrIbuted tO robert Carver (IrIsh, fl. 1750-91) a wooded landscape witH figures.tHe sea in tHe distance.

OIl On canvas (unlIned) 30¾ x 37½ incHes (78 x 95 cm.) paper label On the reverse J.h. flanegan, carver & gIlder €3,000 - 5,000 Robert Carver (Irish, fl. 1750-91) was the son of the landscape and history painter, Richard Carver, with whom he first studied. He also studied under Robert West, RHA (c.

1774-1850). He excelled as a scene painter, working at the Cork Theatre and afterwards at the Smock Alley Theatre, in Exchange St., Dublin and the Theatre in Crow St. His talent was noticed by the great actor and theatre manager, David Garrick (1717-79) who invited him to work as a scene painter at the Drury Lane Theatre. In 1769 he was given the position as principal scenepainter. He worked at Drury Lane until 1775 when he moved to Covent Garden. As well as his work for the theatre he continued his career as a landscape painter.

He exhibited his oil paintings at the Incorporated Society of Artists from 1770 to 1780, a total of twenty works. In 1778 he became President of the Society. He exhibited four landscapes at The Royal Academy, London.

A large wooded landscape, dated 1754 can be seen at The National Gallery of Ireland. His work comprises of landscape compositions rather than topographical views.

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2029

aiDan braDley (IrIsh, b. 1961) untitled (ligHtHouse, co. mayo) OIl On bOard sIgned lOwer-rIght 13¾ x 13¾ incHes (35 x 35 cm.) unframed €500 - 700

66

67

2030

James sant, Cvo, ra (englIsh, 1820–1916) portrait of a girl witH a dove OIl On canvas 25½ x 25½ incHes (65 x 65 cm.) enclOsed In a gIlt frame €3,000 - 5,000 James Sant, CVO, RA (English, 1820-1916) was a portrait and genre painter. He was a pupil of John Varley (1778-1842) and Sir Augustus Wall Callcott, RA (17791844). He was elected the Associate of the Royal Academy in 1861, becoming a Full Member in 1869. He was appointed Official Portrait Painter to Queen Victoria in 1872. He painted portraits of The Royal Family which are today in the Royal Collection at Buckingham Palace and Windsor Castle.

He exhibited 247 works at the Royal Academy and 12 at the British Institution.

Examples of his works can be seen at The Royal Academy, London; the Tate Gallery; the National Portrait Gallery; the Wallace Collection; and the Bristol City Art Gallery.

68

69

2031

fOllOwer Of stanHope alexanDer Forbes, ra (IrIsh, 1857-1947) portrait of a seated worker in an interior OIl On bOard 45¼ x 35¾ incHes (115 x 91 cm.) €1,000 - 1,500

70

71

2032

moDern britisH sCHool early twentIeth-century a street scene at nigHt witH figures at a refresHment kiosk, perHaps london OIl On panel 10 x 13 incHes (26 x 33 cm.) unframed â‚Ź2,500 - 3,500

72

73

2033

george sHeFFielD (englIsh, 1839-1892) twiligHt—a river landscape witH figure and cHurcH tower

OIl On canvas (unlIned) bears a label On the reverse Of the frame wIth detaIls Of prOvenance

11¾ x 10¼ incHes (30 x 26 cm.) enclOsed In the OrIgInal gIlt frame prOvenance: whaIte's fIne art gallery, manchester (fOunded by henry whaIte (1803-1869)). rObert hOlt edmOndsOn (1839-1924) €400 - 600 George Sheffield (English, 1839-1892) was a landscape and marine artist who worked equally in oil paint and watercolour. He was a pupil of Sir Luke Fildes, RA (18441927). He later studied at the Manchester School of Art. For several years he was at sea, sailing across the Atlantic several times. He returned to Manchester and was elected a Member of the Manchester Academy in 1871.

He exhibited six works at the Royal Academy between 1873 and 1878, five at the Walker Art Gallery, Liverpool, and seventeen at the Manchester City Art Gallery.

Sheffield's works can be seen at the British Museum; the City Art Gallery, Manchester; and the Warrington Art Gallery.

"Nearly all [Sheffield's] best pictures are in the collection of Mr. Robert H Edmondson and other Lancashire connoisseurs,"—Dictionary of National Biography.

74

75

2034

fOllOwer Of JoHn Constable, ra (englIsh, 1776-1837) tHe lock—figures working in a river landscape

OIl On canvas (unlIned) 24 x 36 incHes (61 x 92 cm.) €800 - 1,200

76

77

2035

fOllOwer Of Jusepe De ribera (spanIsh, 1591-1652) cHrist among tHe doctors in tHe temple OIl On canvas 20 x 30 incHes (60 x 121 cm.) €8,000 - 12,000

78

79

2036

attrIbuted tO FranCis binDon (IrIsh, c.1690-1765) portrait of a cleric, believed to be JonatHan swift (irisH, 1667-1745) OIl On canvas 22½ x 19½ incHes (56 x 49.5 cm.) €800 - 1,200

80

81

2037

englisH sCHool late eIghteenth-century portrait of tHe rev. nelson braitHwaite OIl On canvas (unlIned) 19 x 15 incHes (48 x 38 cm.)

InscrIbed wIth the sItter's IdentIty On the stretcher raIl

€400 - 600 Rev. Frederick Nelson Braithwaite was born in Garsdale, West Riding of Yorkshire in 1763. In May, 1787 he married Miss Upwood, daughter of Rev. Thorowgood Upwood of Norfolk. The Rev. Braithwaite was the Rector of West Lynn, Norfolk. He died at Terrington St. Clement, Norfolk in 1793.

82

83

2038

samuel Walters (englIsh, 1811-82) yacHts racing OIl On canvas sIgned and dated ‘walters 1832’ 32 x 48½ incHes (81.3 x 123.2 cm.) €8,000 - 12,000 Samuel Walters (English, 1811-82) was the son of the marine painter, Miles Walters (1774-1849). He commenced working in a studio in his father's picture framing premises in Liverpool. In 1845 he travelled with his family to London but did not remain there long and returned to Liverpool. Owing to the great increase in maritime business in his native city, there was great demand from ship owners for his paintings. Besides painting ship portraits he also painted coastal views.

He exhibited fourteen works at the Royal Academy, three at the British Institution, and thirty-nine at Suffolk Street.

Examples of his works can be seen at the National Maritime Museum, Greenwich; the Walker Art Gallery, Liverpool; the New Bedford Whaling Museum, and the Peabody Museum of Salem.

84

85

2039

viCtoria Fantin-latour nee Dubourg (french, 1840-1926) pink roses in a glass bowl watercOlOr sIgned ‘v.dubOurg’ 13 x 19¾ incHes (33 x 50 cm.) €2,000 - 3,000 Victoria Fantin-Latour nee Dubourg (French, 1840-1926) was born in Paris. She started her career by copying the works of the old masters in the Louvre. It was here that she met the renowned flower painter, Henri Fantin-Latour (1836-1904). They were married in 1876. She painted flower pieces in oils and watercolour.

She exhibited at the Salons of Paris, Lyon and Pau. Her portrait, painted by Edgar Degas (1834-1917), can be seen at the Toledo Museum of Art, Ohio. Her works can be seen at the Louvre, Paris and the museums of Reims and Pau. She compiled a catalogue of her husband's work.

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87

2040

tHomas barker oF batH (brItIsh, 1769-1847) italianate riverscape witH figures in a boat and cows in tHe foreground

OIl On canvas 17 x 26 incHes (38 x 48.5 cm.) enclOsed In a cOntempOrary gIlt frame €600 - 800 Thomas Barker of Bath (British, 1769-1847) was a painter of landscapes and rural life. Although born in Pontypool, Wales, he is known as 'Barker of Bath' as Bath, Somerset was his main place of work. Barker was a child prodigy and entirely self-taught. He was strongly influenced by the works of Thomas Gainsborough (English, 1727-88). His brother, Benjamin Barker of Bath (British, 1776-1838) was also a painter of landscapes.

Works by Barker can be seen at the National Gallery of Art, Washington; the National Gallery of Australia, Canberra; the National Gallery of Ireland, Dublin; the Philadelphia Museum of Art, Philadelphia; the Royal Academy of Arts Collection, London; the Tate Gallery, London; and the Victoria Art Gallery, Bath.

SEE ALSO LOT 2041

88

89

2041

tHomas barker oF batH (brItIsh, 1769-1847) italianate mountain and river landscape, witH a figure and cows in tHe foreground

OIl On canvas sIgned and dated lOwer-rIght 't.barker 1826' 17 x 26 incHes (38 x 48.5 cm.) enclOsed In a cOntempOrary gIlt frame €600 - 800 SEE ALSO LOT 2040

90

91

2042

attrIbuted tO FranCois niColas martinet (french, 1725-1804) paIr Of watercOlOurs bOth numbered and tItled 7½ x 10½ incHes (18.8 x 27 cm.) (2) €1,500 - 2,500

2043

after FranCois niColas martinet (french, 1725-1804) set Of sIx eIghteenth-century hand cOlOured engravIngs

each sIgned In Ink 9¾ x 7¾ incHes (25 x 20 cm.) (6) €600 - 800

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ARTIST INDEX

AGASSE, Jacques-Laurent

2018

BARKER OF BATH, Thomas

2040, 2041

BARRET, George

2008

BERCHEM, Nicolaes Pieterszoon

2011

BINDON, Francis

2036

BRADLEY, Aidan

2029

CARVER, Robert

2028

CONSTABLE, John

2034

ENRAGHT MOONY, Robert James

2022

FANTIN-LATOUR, Victoria Dubourg

2039

FITZGERALD, John Austen

2001

FORBES, Stanhope Alexander

2031

HAMILTON, Hugh Douglas

2025, 2026

HICKEY, Thomas

2024

HUMPHRY, Ozias

2009

MARTINET, Francois Nicolas

2042, 2043

MCEVOY, William

2003

MULCAHY, Jeremiah Hodges

2017

MULLINS, George

2027

MULVANY, John George

2019

NIEMANN, Edmund John

2002

O'CONNOR, James Arthur

2004, 2005, 2010

PLUMMER, Edwin

2016

RIBERA, Jusepe de

2035

RITCHIE, John

2020

ROBINSON, Markey

2023

SANT, James

2030

SHEFFIELD, George

2033

SIMONINI, Francesco Antonio

2013

TROOST, Cornelis

2015

VAN BREDAEL, Jan Frans

2014

WALTERS, Samuel

2038

WARREN, Barbara

2012

ENGLISH SCHOOL

2037

ITALIAN SCHOOL

2006

MODERN BRITISH SCHOOL

2032

PRE-RAPHAELITE SCHOOL

2021

SPANISH SCHOOL

2007 95

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CONDITIONS OF SALE 1. DEFINITIONS IN THESE CONDITIONS, SHEPPARD’S, WHO ACT ONLY AS AUCTIONEERS AND AGENTS FOR THE VENDOR, ARE CALLED ‘THE AUCTIONEERS’ AND THE REPRESENTATIVES OF SHEPPARD’S CONDUCTING THE AUCTION IS CALLED ‘THE AUCTIONEER’.

2. GENERAL: WHILST SHEPPARD’S MAkE EVERY EFFORT TO ENSURE THE ACCURACY OF THEIR CATALOGUE AND THE DESCRIPTON OF ANY LOT. (A) EACH LOT AS SET OUT IN THE CATALOGUE OR AS DIVIDED OR COMBINED WITH ANY OTHER LOT OR LOTS IS SOLD BY THE VENDOR WITH ALL FAULTS, IMPERFECTIONS AND ERRORS OF DESCRIPTIONS. (B) SHEPPARD’S DO NOT ACCEPT RESPONSIBILITY FOR THE AUTHENTICITY, ATTRIBUTION, GENUINENESS, ORIGIN, AUTHORSHIP, DATE, AGE, PERIOD, CONDITION OR QUALITY OF ANY LOT, UNLESS THEY HAVE BEEN INSTRUCTED IN WRITING BY THE VENDOR SO TO CERTIFY, AND IN SUCH CASE THE AUCTIONEERS DO SO AS AGENTS OF THE VENDOR ARE NOT THEMSELVES RESPONSIBLE FOR SUCH CLAIMS. (C) ALL STATEMENTS, WHETHER PRINTED IN THE CATALOGUE OR MADE ORALLY, AS TO ANY OF THE MATTERS SET OUT IN (B) ABOVE ARE STATEMENTS OF OPINION ONLY AND ARE NOT TO BE SHEPPARD’S, UNLESS THEY HAVE BEEN INSTRUCTED IN WRITING BY THE VENDOR SO TO CERTIFY AND IN AUCTIONEERS DO SO AS AGENTS OF THE VENDOR AND ARE NOT THEMSELVES RESPONSIBLE FOR SUCH CLAIMS.

TAkEN AS BEING OR IMPLYING ANY WARRANTIES OR REPRESENTATIONS OF FACT BY SUCH CASE THE

3. THE AUCTION: (A) THE AUCTIONEER HAS ABSOLUTE DISCRETION TO DIVIDE ANY LOT, TO COMBINE ANY TWO OR MORE LOTS OR TO WITHDRAW ANY LOT OR LOTS FROM THE SALE, TO REFUSE BIDS, REGULAR BIDDING OR CANCEL THE SALE WITHOUT IN ANY CASE GIVING ANY REASON OR WITHOUT PREVIOUS NOTICE. HE MAY BID ON BEHALF OF THE VENDOR FOR ALL GOODS WHICH ARE BEING OFFERED SUBJECT TO RESERVE OR AT THE AUCTIONEER’S DISCRETION. (B) THE HIGHEST BIDDER SHALL BE THE BUYER EXCEPT IN THE CASE OF A DISPUTE. IF DURING THE AUCTION THE AUCTIONEER CONSIDERS THAT A DISPUTE HAS ARISEN, HE HAS ABSOLUTE DISCRETION TO SETTLE IT OR RE-OFFER THE LOT. THE AUCTIONEER MAY AT HIS SOLE DISCRETION DETERMINE THE ADVANCE OF BIDDING OR REFUSE A BID. (C) ALL CONDITIONS, NOTICES, DESCRIPTIONS, STATEMENTS AND OTHER MATTERS IN THE CATALOGUE AND ELSEWHERE CONCERNING ANY LOT ARE SUBJECT TO ANY STATEMENTS MODIFYING OR AFFECTING THE SAME MADE BY THE AUCTIONEER FROM THE ROSTRUM PRIOR TO ANY BID BEING ACCEPTED FOR THE LOT. 4. RECISSION: NOTWITHSTANDING ANY OTHER FORMS OF THESE CONDITIONS. IF WITHIN FOURTEEN DAYS AFTER THE SALE SHEPPARD’S HAVE RECEIVED FROM THE BUYER OF ANY LOT NOTICE IN WRITING THAT IN HIS VIEW THE LOT IS A DELIBERATE FORGERY AND WITHIN TWENTY-ONE DAYS AFTER SUCH NOTIFICATION THE BUYER RETURNS THE SAME TO SHEPPARD’S IN THE SAME CONDITION AS AT THE TIME OF SALE AND BY PRODUCING EVIDENCE, THE BURDEN OF PROOF TO BE UPON THE BUYER, SATISFIES SHEPPARD’S THAT CONSIDERED IN THE LIGHT OF THE ENTRY IN THE CATALOGUE THE LOT IS A DELIBERATE FORGERY THEN THE SALE OF THE LOT WILL BE RESCINDED AND THE PURCHASE PRICE OF THE SAME REFUNDED. 5. DEFAULT: SHEPPARD’S DISCLAIM RESPONSIBILITY FOR DEFAULT BY EITHER THE BUYER OR THE VENDOR BECAUSE THEY ACT AS AGENTS FOR THE VENDOR ONLY AND THEREFORE DO NOT PAY OUT TO THE VENDOR UNTIL PAYMENT IS RECEIVED FROM THE BUYER. INSTRUCTIONS GIVEN BY TELEPHONE ARE ACCEPTED AT THE SENDER’S RISk AND MUST BE CONFIRMED IN WRITING FORTHWITH. 6. IN THE EVENT OF A SALE BY PRIVATE TREATY BOTH THE VENDOR AND THE BUYER AGREE TO BE BOUND BY THE GENERAL AND ANY SPECIAL CONDITIONS OF SALE. 7. INSPECTION: EACH BUYER BY MAkING A BID FOR A LOT ACkNOWLEDGES THAT HE HAS SATISFIED HIMSELLF FULLY BEFORE BIDDING BY INSPECTION OR OTHERWISE AS TO ALL THE SALE CONDITIONS THE PHYSICAL CONDITION OF AND DESCRIPTION OF THE LOT INCLUDING BUT NOT RESTRICTED TO WHETHER THE LOT IS DAMAGED OR HAS BEEN REPAIRED OR RESTORED. 8. PROPERTY AND RISk LEGAL TITLE WILL NOT PASS TO THE BUYER UNTIL THE LOT(S) HAS BEEN PAID FOR IN FULL AND THE AUCTIONEERS SHALL HE ENTITLED TO A LIEN ON ANY LOT SOLD UNTIL THE PURCHASE PRICE (AS DEFINED IN 11 BELOW) IS PAID IN FULL BUT EACH LOT IS AT THE SOLE RISk OF THE BUYER FROM THE FALL OF THE HAMMER. EACH BUYER SHALL FORTHWITH GIVE HIS FULL NAMES AND PERMANENT ADDRESS AND IF CALLED UPON TO DO SO BY THE AUCTIONEER SHALL FORTHWITH PAY TO SHEPPARD’S SUCH PROPORTION OF THE PURCHASE PRICE AS THE AUCTIONEER MAY REQUIRE. IF THE BUYER FAILS TO DO SO, THE LOT MAY AT THE AUCTIONEER’S SOLE DISCRETION BE PUT UP AGAIN AND RE-SOLD. 9. EVERY BIDDER SHALL BE DEEMED TO ACT AS PRINCIPAL UNLESS THERE IS IN FORCE A WRITTEN ACkNOWLEDGMENT BY SHEPPARD’S THAT HE ACTS AS AGENT ON BEHALF OF A NAMED PRINCIPAL. 10. REMOVAL OF GOODS. (A) NO PURCHASE SHALL BE CLAIMED UNTIL IT HAS BEEN PAID FOR AND THE SALE HAS BEEN CONCLUDED. ALL PURCHASES SHALL BE PAID FOR AND REMOVED AT THE BUYER’S RISK AND AUCTIONEER SHALL NOT BE RESPONSIBLE IF THE SAME ARE LOST, STOLEN, DAMAGED, OR DESTROYED AND ALL LOTS NOT SO REMOVED SHALL REMAIN AT €5 PER ITEM PER DAY. IF THEY ARE NOT PAID FOR AND REMOVED WITHIN SEVEN DAYS OF THE SALE THE AUCTIONEER MAY RE-SELL THEM BY AUCTION OR PRIVATELY WITHOUT NOTICE TO THE BUYER. ANY LIABILITY WHICH THERE MAY BE ON THE PART OF THE AUCTIONEER IN RESPECT OF ANY LOSS SHALL BE RESTRICTED TO A MAXIMUM OF THE PRICE PAID BY THE BUYER OF THE LOT. ExPENSE, FAILING WHICH THE

THE RISk OF THE BUYER AND SUBJECT TO A MINIMUM WAREHOUSING CHARGE OF

(B) IN THE EVENT OF ANY FAILURE OF THE BUYERS TO COMPLY WITH ANY OF THE CONDITIONS THE DAMAGES RECOVERABLE BY THE SELLER OR THE AUCTIONEERS FROM THE DEFAULTER SHALL INCLUDE ANY LOSS ARISING ON ANY RE-SALE OF THE LOT, TOGETHER WITH THE CHARGES AND EXPENSES IN RESPECT OF BOTH SALES, AND ANY MONEY DEPOSITED IN PART PAYMENT SHALL BE HELD BY THE

AUCTIONEERS ON ACCOUNT OF ANY LIABILITY OF THE DEFAULTER TO THEM OR TO THE SELLER. THE AUCTIONEERS ARE UNABLE TO ACCEPT PAYMENT FROM CHEQUES DRAWN BY THIRD PARTIES WHETHER IN THE AUCTIONEER’S FAVOUR OR REQUIRING

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every effort is mAde to report dAmAge And restorAtion to lots in this cAtAlogue, Absence of condition does not imply A lot is free from dAmAge, And prospective purchAsers must in All cAses be responsible for determining condition themselves.

COMMISSION BIDS: IF

INSTRUCTED WE WILL ExECUTE BIDS AND ADVISE INTENDING

AS IS ALLOWED BY OTHER BIDS AND RESERVES.

BIDS,

PURCHASERS. THE

SERVICE IS FREE.

LOTS

WILL ALWAYS BE BOUGHT AS CHEAPLY

WHEN PLACED BY TELEPHONE, ARE ACCEPTED ONLY AT THE SENDER’S RISK, AND MUST BE CONFIRMED BY LETTER.

IMPERFECTIONS NOT STATED SPECIAL CONDITION: ALL PURCHASES TO BE PAID FOR THE EVENING ExPLANATION OF CATALOGUING PRACTICE: A WORK

OF SALE.

CATALOGUED WITH THE NAME(S) OR RECOGNISED DESIGNATION OF AN ARTIST, WITHOUT ANY qUALIFICATION, IS, IN OUR OPINION, A WORK BY THE ARTIST IN

OTHER CASES, THE FOLLOWING ExPRESSIONS, WITH THE FOLLOWING MEANINGS ARE USED:

“ATTRIBUTED TO . . .’’ IN OUR OPINION PROBABLY WORk BY THE ARTIST IN WHOLE OR IN PART. “STUDIO OF . . .” IN OUR OPINION A WORk EXECUTED IN THE STUDION OR WORkSHOP OF THE ARTIST, POSSIBLY UNDER HIS “CIRCLE OF . . .’’ IN OUR OPINION A WORk OF THE PERIOD OF THE ARTIST AND SHOWING HIS INFLUENCE. “FOLLOWER OF . . . ” IN OUR OPINION A WORk EXECUTED IN THE ARTIST’S STYLE BUT NOT NECESSARILY BY A PUPIL. “MANNER OF . . . ’’ IN OUR OPINION A WORk EXECUTED IN THE ARTIST’S STYLE BUT OF A LATER DATE. “AFTER . . .’’ IN OUR OPINION A COPY (OF ANY DATE) OF A WORk OF THE ARTIST. “SIGNED . . .’’ IN OUR OPINION THE WORk HAS BEEN SIGNED/DATED/INSCRIBED BY THE ARTIST. “WITH SIGNATURE . . ’’ IN OUR OPINION THE SIGNATURE/DATE/INSCRIPTION IS BY A HAND OTHER THAN THAT OF THE ARTIST. “WITH DATE . . .’’

“WITH INSCRIPTION . . .’’

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irish auction house

sheppards ABSENTEE BID FORM clAssic Art Afternoon sAle 27 April 2017, 14:00 BST start Fax: 057 873 6546 Email: bids@sheppards.ie Telephone Bids: +353 (0)57 874 0000 Please bid on my behalf for the undermentioned lots up to the prices shown which do not include the buyer’s premium. These bids are to be executed as cheaply as is permitted by other bids, or reserves, if any, and subject to the conditions of Sale printed in the catalogue.

NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ADDRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........................................................................

EMAIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TELEPHONE/MOBILE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lot

Description

Maximum Bid

Please bid early. Telephone bids should be confirmed in writing, preferably on this bid form. Buy-bids are not accepted. Your limit should be the amount at which you would stop if you were bidding in the room. 20% Buyer’s Premium + V.A.T. @ 23% will be added to your successful bid.

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