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SLOANE STREET AUCTIONS

1st July 2022 Photographs 20th Century Paintings & Sculpture Old Masters

SL OANE E SSTREET AUCTIONS Summer Auction 1st July 2022 - 2pm

Auction Viewing 69 Lower Sloane Street, London, SW1W 8DA Live Auction Location Wren Building, Royal Hospital Chelsea, Royal Hospital Road, London, SW3 4SR At 2pm, 1st July 2022

Front cover: SIR JOSHUA REYNOLDS, PRA FRS FRSA, Mrs Lloyd in Turquerie, Lot 70 Inside Front page: William Klein, Anouk Aimée, Paris (Vogue), 1961. (detail) Lot 14 Back inside cover: Herb Ritts, Man with Chain, Los Angeles 1985. (detail) Lot 41 Copyright Herb Ritts Foundation Back page: Picasso, Pablo (1881-1973) A very large, double-handled vessel in white clay Lot 131

SLOANE STREET AUCTION GALLERIES LTD. 69 LOWER SLOANE STREET, LONDON, SW1W 8DA INFO@SLOANESTREETAUCTIONS.COM - +44 (0)2072590304 - WWW.SLOANESTREETAUCTIONS.COM Sloane Street Auction Galleries Ltd. Registered in England and Wales, no.5032333,VAT GB 395 5555 49

WILLIAM 1934 - 2014

For Harpe Estate stam William Silano 1934 - 2014 For Harper's Bazaar , 1967 Estate stamped Dye transfer 50,8 x 40,6 cm (WS001)

m m

Jeanloup Sie 1933 - 2000 Corset, 1962 Signed, dated and titled on verso Silver Gelatin Print 21 x 14 cm (image) (JLS006)

Dye transfe 50,8 x 40,6 (WS001)

Lot 26 William Silano (1934-2014) For Harper’s Bazaar, 1967.

SL OANE E SSTREET AUCTIONS

Sloane Street Auctions is delighted to introduce our July 1st Sale which includes what can only be described as iconic masterpieces. Following our two successful sales earlier in 2022, the July 1st summer sale selection includes masterpieces throughout the ages; from antiquity to present day. We welcome Louise Proud to Sloane Street auctions. formerly head of Philips auctioneers photographs department for many years. Loulou is heading our photographs department and had found some truly great photographs for our summer sale. Foremost, we are incredibly grateful for our wonderful sellers who have consigned these often unseen treasures to us. Although coming from far and wide, many of our star lots in this sale have been living just a stones throw away in our neighbourhood of Chelsea and Belgravia. The captivating Cedric Morris (Lot 127) and the breathtaking Sir Joshua Reynolds portraits (Lot 70) have lived in Chelsea for decades. Incredibly, the pendant pair of portraits is the last pair of Turquerie portraits in private hands by Reynolds and are a groundbreaking addition to our auction. They were purchased by Sir Austin Harris in the 1930’s and have stayed in the family since/ Similarly, the early 17th century Mona Lisa on panel (Lot 86) has come to us by family descent from one of our local friends, bought by his father, the great Somerset de Chair, a former Member of Parliament and art collector with a discerning eye. Such early copies of the Mona Lisa have been explosive on the auction market in recent years and are a testament to the immovable aura of the image in both today’s society and 17th century Europe. Stephanie Hoppen is another London and Chelsea based consigner that we are incredibly grateful to. Her astounding eye for the unusual and special led her to collect iconic pieces from many cultures and places in her travels. Stephanie’s wonderful collection plays a key part in our auction and we draw our bidder’s eyes to Lots1, 2, 102 and 123. Sculpture plays a key role in our auction - with ties to both the classical and the contemporary. Our Maillol statuette, sold for 5000 guinneas in the 70’s, at Sotheby’s has a timeless beauty. Gauguin’s Oviri is archetypal in the explanation of both himself and his art. The Oviri sculpture is Gauguin’s interpretation of the Tahitian goddess of death and mourning. Acknowledged as a masterpiece, in 1987 the original entered the collection of the Musée d’Orsay. Our cast is from the beautiful Valsuani foundry and follows Gauguin’s written wish to have Oviri cast. His savage and artistic soul laid bare in this piece and following his instructions another cast of Oviri adorns his grave in Tahiti. Ours is number 12 of 12. Coming from another private collection brought directly from Marina Picasso in 2008, the three Picasso ceramics are very special. 8MQIPIWW ]IX KVSYRHFVIEOMRK WMQYPXERISYWP] %PP XLVII EVI YRMUYI [SVOW F] 4MGEWWS RS HSYFX SRI SJ XLI QSWX MR¾YIRXMEP EVXMWXW SJ all time - two of which are shown with Picasso in the photograph (page 98 and 99)The doubled headed incised white terracotta vessel is not only one of Picasso’s largest unique terracottas but also one of his most important to come to auction. There has been a [LMWTIV XLEX XLI JIQEPI ½KYVI MRGMWIH MW .EUYIPEMRI 6SGLI EX E XMQI [LIR 4MGEWWS QMKLX LEZI NYWX QIX LIV [MXL SV [MXLSYX XLMW WMXXIV MX VIQEMRW SRI SJ LMW ½RIWX YRMUYI GIVEQMGW ;I [IVI I\GMXIH XS ½RH LMW XLYQF TVMRXW [LIVI LI LEW QERMTYPEXIH XLI EVQW MRXS EVQ like anthropomorphic forms. The momumental Panini’s ode to the classical sings its song perfectly and sized at 103 x 85.8 inches. It is no doubt the most colossal and important painting by the Italian master famed for his vedutisti to come to auction in many years. Many thanks to the Violante family for entrusting us with it.

SALE NUMBER #A010722

PLEASE NOTE: All live bidders must visit our showroom at 69 Lower Sloane Street to collect their paddle and register before going to the Wren Rooms at the Royal Hospital to bid live. AUCTION FORMAT: LIVE ONLINE

BUYER'S PREMIUM

This is a live online auction with an auctioneer. Bidding is available online, by telephone or commission (absentee) bids. If not bidding online, please contact Sloane Street Auctions to register all absentee bids or telephone bids by 4pm (GMT) on Thursday 30th June 2022. Auction address:

All purchases are subject to a buyer's premium, which is charged per lot at 25% of the hammer price (30% including VAT) up to and including £450,000, 20% (24% including VAT) of the hammer price from £450,001 up to and including £4,000,000 and 15% of the hammer price (16.4% including VAT) from £4,000,001.

Wren Building

IMPORTANT INFORMATION

Royal Hospital Chelsea

Please note that there is no reference in this catalogue to the physical condition of any lot. All lots are viewable in person, for viewing times please see opposite page. Intending bidders must satisfy themselves as to the condition of any lot.

Royal Hospital Road London

CONDITIONS OF SALE SW3 4SR ENQUIRIES

This auction is subject to our Auction Terms and Conditions (see back of catalogue or our website for further details).

info@sloanestreetauctions.com www.sloanestreetauctions.com FREE ONLINE BIDDING IS AVAILABLE AT VIEWING IN LONDON 69 Lower Sloane Street, London | 1st July 2022 VIEWING Friday 24th June - 10am - 6pm Saturday 25th June - 10-am - 6pm Sunday 26th June - 12am - 5pm Monday 27th June - 10am - 6pm Tuesday 28th June - 10am - 6pm Wednesday 29th June - 10am - 6pm Thursday 30th June - 10am - 6pm Friday 1st July - 10am - 12pm REGISTRATION We advise clients to register at least 48 hours in advance of the auction as you may be asked to provide documents to verify your identity. Registration for new clients will close at 4pm (GMT) on Thursday 30th June 2022.

www.sloanestreetauctions.com: Sloane Street Auctions’ bidding platform allows you to watch, listen and bid with no additional online bidding fees applicable. BIDS To organise a telephone bid please call +44 (0)2072590304 or email info@sloanestreetauctions.com Telephone bidding on this sale will only be accepted on lots with lower estimate of £500 or above. Please note that bids should be submitted no later than 4pm on the day prior to the sale. To bid via our online auction portal please visit: www.sloanestreetauctions.com New bidders must also provide proof of identity when submitting bids. Failure to do this may result in your bid not being processed.

Lot 128 Giovanni Paolo Panini (1691-1765) St. Paul shaking off the Viper in the Island of Malta, with the Temple of Saturn and St Peter's Colonnade

PHOTOGR A PHS

Lot 1 Property of Stephanie Hoppen Hendrik Kerstens Dutch (b. 1956) Ruff, c.2007. 'LVSQSKIRMG TVMRX ¾YWL QSYRXIH 100 x 80 cm (39 3/8 x 31 1/2 in.) From an edition of 6. Exhibited Stephanie Hoppen Gallery, London Literature Hendrik Kerstens: Paula - Silent Conversations, Abrams, New York, 2013 THIS PRINT IS FROM A SOLD OUT EDITION OF 6

£6,000-8,000

Lot 2 Property of Stephanie Hoppen Hendrik Kerstens Dutch (b. 1956) Paper Roll, c.2007. 'LVSQSKIRMG TVMRX ¾YWL QSYRXIH 100 x 80 cm (39 3/8 x 31 1/2 in.) From an edition of 6. Exhibited Stephanie Hoppen Gallery, London Literature Hendrik Kerstens: Paula - Silent Conversations, Abrams, New York, 2013 THIS PRINT IS FROM A SOLD OUT EDITION OF 6 £4,000-6,000

Lot 3 Horst P. Horst (1906 - 1999) Houdon Still Life, Paris 1937. Gelatin silver print, printed later. 29 x 23.1 cm (11 3/8 x 9 1/8 in.) Signature blind-stamp in the margin; signed, titled and dated in pencil on the verso. Provenance Private Collection USA Literature Kazmaier, Horst: Sixty Years of Photography, London: Thames & Hudson, 1991, pl. 1

£5,000-7,000 λ

SLOANE AUCTIONS

Nick Knight 1958 Saturday 8th August,2015, 2015 Edition of 5 with 3 Artists proofs '1:0 ) 91/5-, +-8:1A+):- 6. );:0-5:1+1:? Hand-coated pigment print, 2019 Image size 60 x 60 in / 152.4 x 152.4 cm Paper size 62 x 62 in / 157.48 x 157.48 cm (KNO007)

William Silano 1934 - 2014 For Harper's Bazaar , 1967 Estate stamped Dye transfer 50,8 x 40,6 cm (WS001)

Lot 4 Nick Knight (b. 1958-) Saturday 8th August, 2015. Hand-coated pigment print, printed 2019. 157.5 x 157.5 cm (62 x 62 in.) 7MKRIH SR E GIVXM½GEXI SJ EYXLIRXMGMX] From an edition of 5 plus 3 Artists proofs. Provenance Michael Hue-Williams, London Literature Nick Knight, Bobby Gillespie, Michael Hue-Williams: Roses, Little Milton, Oxford: Albion Barn Publishing, 2019, n.p. £20,000 -30,000 λ

Lot 5 Irving Penn (1917 - 2009) Ballet Theatre, New York, November 21, 1974.

Lot 6 Horst P. Horst (1906 - 1999) Round the Clock I, New York 1987.

Gelatin silver print. 20 x 25.1 cm (7 7/8 x 9 7/8 in.) Signed, titled, dated and annotated ‘Photographed in New York Nov. 21, 1974, print made near to date of photograph’ and ‘maximum of signed silver prints: 60’ in pencil with Penn Condé Nast copyright credit reproduction limitation stamp on the verso.

Gelatin silver print, printed later. 29 x 23.1 cm (11 3/8 x 9 1/8 in.) Signature blind-stamp in the margin; signed, titled and dated in pencil on the verso.

Provenance Private Collection, USA Literature I. Penn, Passage: A Work Record, New York: Knopf, 1991, p. 36 Penn, Moments Preserved, Simon and Schuster, p. 146 J. Szarkowski, Irving Penn, Boston: Little, Brown, pl.15 Irving Penn: A Career in Photography, The Art Institute of Chicago p. 177 Vogue, June 1948, n.p. £10,000-15,000

Provenance Private Collection, USA Literature Form/ Horst, Santa Fe: Twin Palms, 1992, p. 46 M. Kazmaier, Horst: Sixty Years of Photography, London: Thames & Hudson, 1991, pl. 195 there titled Advertisement for stockings, New York Jeffries Cowan, Horst: Platinum, 2006, pl. 28 American Vogue, 1 November 1987 £7,000-9,000 λ

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

Constantin Brancusi 1876-1957 Endless Column in Voulangis PH 551, 19261927 Vintage silver gelatin print 29.7 x 39.7 cm (CB062)

Lot 7 ANDRÉ KERTÉSZ (1894-1985) Distortion #165, Distortion #20, 1933. Two gelatin silver prints, printed 1970s. 24.5 x 18 cm (9 4/5 x 7 1/5 in.) 25.2 x 20.3 cm (10 x 8 1/10 in.) Each print numbered in pencil with photographer’s stamp in ink on the verso. Provenance The Collection of Nicolas Ducrot Literature Ducrot: Distortions, André Kertész, Thames and Hudson, London, 1977 n.p.

16 £5,000 -7,000

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

Sam Haskins November Girl Clutching Scarf, 1966 signed vintage silver gelatin Only Signed copy. Printe 38.5 X 30.5 CM (SH091)

Constantin Brancusi 1876-1957 Endless Column in Voulangis PH 551, 19261927 Vintage silver gelatin print 29.7 x 39.7 cm (CB062)

Marc Quinn 1964 Untitled, 2009 Signed and dated on ve Unique Polaroid triptych, oil and 11 x 26,5 cm (MQP30)

Sam Haskins November Girl Clutching Scarf, 1966 signed vintage silver gelatin Only Signed copy. Printe 38.5 X 30.5 CM (SH091)

Marc Quinn 1964 Untitled, 2009 Signed and dated on ve Unique Polaroid triptych, oil and 11 x 26,5 cm (MQP30)

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

Constantin Brancusi 1876-1957

Endless Column in Voulangis PH 551, 19261927 Vintage silver gelatin print 29.7 x 39.7 cm (CB062)

Sam Haskins

November Girl Clutching Ra Scarf, 1966 signed vintage silver gelatin Only Signed copy. Printed 1 38.5 X 30.5 CM (SH091)

Marc Quinn 1964 Untitled, 2009 Signed and dated on verso Unique Polaroid triptych, oil and gli 11 x 26,5 cm (MQP30)

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

Sam Haskins November Girl Clutching Raincoat w Scarf, 1966 signed vintage silver gelatin Only Signed copy. Printed 1966 38.5 X 30.5 CM (SH091)

Constantin Brancusi 1876-1957 Endless Column in Voulangis PH 551, 19261927 Vintage silver gelatin print 29.7 x 39.7 cm (CB062)

Marc Quinn 1964 Untitled, 2009 Signed and dated on verso Unique Polaroid triptych, oil and glitter 11 x 26,5 cm (MQP30)

Lot 8 ANDRÉ KERTÉSZ (1894-1985) Distortion, Distortion #7, 1933. Two gelatin silver prints, printed 1970s. 24.5 x 19 cm (9 4/5 x 7 3/5 in.) 25.7 x 17.8 cm (10 3/10 x 7 1/10 in.) One print numbered #7 in pencil. Each print stamped with photographer’s stamp in ink on the verso. Provenance The Collection of Nicolas Ducrot Literature Ducrot: Distortions, André Kertész, Thames and Hudson, London, 1977 n.p. £5,000 -7,000 λ

Nick Knight 1958 Saturday 8th August,2015, 2015 Edition of 5 with 3 Artists proofs +5@4 - ?53:10 /1>@5K/-@1 ;2 -A@41:@5/5@E Hand-coated pigment print, 2019 Image size 60 x 60 in / 152.4 x 152.4 cm Paper size 62 x 62 in / 157.48 x 157.48 cm (KNO007)

William Silano 1934 - 2014 For Harper's Bazaar , 1967 Estate stamped Dye transfer 50,8 x 40,6 cm (WS001)

Helmut Newton 1920 - 2004 Playing with Doll, Paris (Feeling Naked

Helmut Newton 1920 - 2004 Waiting for the Earthquake (Dom

Lot 9 Helmut Newton (1920-2004) Playing with Doll, Paris (Feeling Naked Blue), 1980. Colour Polaroid. 11 x 8.5 cm (4 2/5 x 3 2/5 in.) Signed and annotated on the verso: ‘Playing with w.d. Paris 1980’. Provenance Directly from the artist £12,000-18,000 λ

Henri Cartier-Bresson 1908-2004 Alicante, 1933 Signed and stamped Early Silver Gelatin Print 21 x 32 cm (HCB004)

Henri Cartier-Bresson 1908-2004 Bonnard 21 x 32 cm (HCB003)

Henri Cartier-Bresson 1908-2004 Alicante, 1933 Signed and stamped Early Silver Gelatin Print 21 x 32 cm (HCB004)

Henri Cartier-Bresson 1908-2004 Bonnard 21 x 32 cm (HCB003)

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

Sam Haskins November Girl Clutching Rain Scarf, 1966 signed vintage silver gelatin Only Signed copy. Printed 19 38.5 X 30.5 CM (SH091)

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

Sam Haskins November Girl Clutching Scarf, 1966 signed vintage silver gelatin Only Signed copy. Printe 38.5 X 30.5 CM (SH091)

Lot 10 William Klein (b. 1928-) Hat and Five Roses, Paris (Vogue), 1956.

Lot 11 William Klein (b. 1928-) Smoke + Veil, Paris (Vogue), 1958.

Gelatin silver print, printed later. 40 x 30 cm (16 x 12 in.) Signed, titled, dated in pencil on the verso.

Gelatin silver print, printed later. 45.5 x 32.5 cm (18 1/5 x 13 in.) Signed, titled, dated in pencil on the verso.

Provenance Directly from the artist

Literature William Klein: In & Out of Fashion, London: Random House, 1994, pp. 8-9

Literature William Klein: In & Out of Fashion, New York: Random House, 1994, cover, titled Evelyn Tripp, Paris William Klein, Paris: Centre Georges-Pompidou, 2005, p. 83

£3,000-5,000

Lot 12 Property of Stephanie Hoppen Vee Speers (b. 1962) Untitled (From the Bordello Series), 2005. Fresson charcoal print. 53 x 36 cm (21 x 14 1/5 in.) Signed, dated and numbered 4/20 in pencil in the margin. £2,000-3,000

Lot 13 Property of Stephanie Hoppen Vee Speers (b. 1962) Woman and crocodile (From Parisians), 2005. Fresson charcoal print. 54 x 36 cm (21 x 14 1/5 in.) Signed, dated and numbered 3/10 in pencil in the margin. £2,000-3,000

Lot 14 William Klein (b. 1928-) Anouk Aimée (Vogue), 1961. +IPEXMR WMPZIV TVMRX TVMRXIH PEXIV ERH ¾YWL QSYRXIH 105 x 80 cm (42 x 32 in.) From an edition of 30. Provenance Directly from the artist Literature William Klein: In & Out of Fashion, New York: Random House, 1994, pp. 12-13 £8,000 -12,000

The fashion magazine Vogue didn't want the way in which I was thinking; we can't divide fashion from the way we live, we don't just have teenage girls leaning over pianos...we all dress, we are all good people and I thought why can't I merge everything I feel socially and about the way we live in to a fashion story. RICHARD AVEDON

Lot 15 Richard Avedon (1923 - 2004) Elise Daniels with Street Performers, Suit by Balenciaga, Le Marie, Paris, August 1948. Gelatin silver print from Avedon/Paris, printed 1978. 35.8 x 45.7 cm (14 1/8 x 17 7/8 in.) Signed, numbered from 75 in pencil, copyright credit reproduction limitation, title, date, portfolio and edition stamps on the verso. Provenance Private Collection, USA Literature Avedon Fashion: 1944-2000, New York: Abrams, 2009 £15,000-20,000

Lot 16 Francesca Woodman (1958-1981) Self-Portrait (N3017.1/New York), 1979-80/1999. Gelatin silver print, printed 1999. 12.7 x 12.7 cm (5 x 5 in.) Image 20.3 x 25.4 cm (8 1/10 x 8 1/10 in.) Sheet With George and Betty Woodman’s signature, their numeric notation, and numbered 13/40 in pencil and stamped PE/FW in black ink on the verso.

Nick Knight 1958 Saturday 8th August,2015, 2015 Edition of 5 with 3 Artists proofs +5?4 - >53910 /1=?5F/-?1 :2 -@?419?5/5?D Hand-coated pigment print, 2019 Image size 60 x 60 in / 152.4 x 152.4 cm Paper size 62 x 62 in / 157.48 x 157.48 cm (KNO007)

William Silano 1934 - 2014 For Harper's Bazaar , 1967 Estate stamped Dye transfer 50,8 x 40,6 cm (WS001)

Helmut Newton

Helmut Newton 1920 - 2004 Waiting for the Earthquake (Domestic

G R1920 O B- 2004 GALLERY

Playing with Doll Paris (Feeling Naked

Provenance 7SXLIF]´W 4EVMW 1EKRM½GIRX 2YHIW -GSRMG 4LSXSKVETLW from Distinguished Private Collections, Thursday 16 July, 2020, Lot 00037 £3,000 -5,000

Lot 17 Guy Bourdin (1920-2004) Nude Story in Dark Room (Asleep), 1971. Gelatin silver print. 26.2 x 27 cm (10 1/2 x 10 4/5 in.)

Helmut Newton 1920 - 2004 Playing with Doll, Paris (Feeling Naked Blue), 1980 Signed and inscribed on the verso: Playing with w.d Paris 1980 Polaroid 11 x 8,5 cm (HN002)

Helmut Newton 1920 - 2004 Waiting for the Earthquake (Domestic Nudes), 1992 Signed ,titled and inscribed on verso Vintage Silver Gelatin Print 32,4 x 26 cm (HN015)

Henri Cartier-Bresson 1908-2004 Alicante, 1933 Signed and stamped Early Silver Gelatin Print 21 x 32 cm (HCB004)

Henri Cartier-Bresson 1908-2004 Bonnard 21 x 32 cm (HCB003)

Provenance Private Collection Germany £3,000-5,000

SLOANE AUCTIONS

William Silano 1934 - 2014 For Harper's Bazaa Estate stamped Dye transfer 50,8 x 40,6 cm (WS001)

Lot 18 Jeanloup Sieff (1933-2000) Corset, 1962. Gelatin silver print, printed later. 21 x 14 cm (8 2/5 x 5 3/5 in.) Signed and dated in ink in the margin. Literature Sieff: Jeanloup Sieff: 40 Years of Photography, Evergreen, Cologne, 1996, p.131 £6,000 -8,000

Lot 19 Heinz Hajek-Halke (1898-1983) Black & White Nude, Preliminary Study, c.1930-1936. Gelatin silver print. 23.6 x 17.2 cm (9 1/4 x 6 3/4 in.) Signed in ink, photographer’s ‘HHH INVENTAR’ stamp with annotations ‘B/50/3’, ‘F 227706’ in pencil on the verso. Provenance Sotheby’s Paris, Friday 19 November, 2010, lot 71 Christie’s New York, Thursday 18 February, 2016, Lot 00100 Heinz Hajek-Halke (1898-1983), Paris, Centre Georges Pompidou, 2002 Heinz Hajek-Halke: Form aus Licht und Schatten, Staatlichen Museen zu Berlin, 2007 Literature Klaus Honnef and Michael Ruetz: Heinz Hajek-Halke, Artist, Anarchist, Steidl, Göttingen, 2006, p.117 Klaus Honnef and Rainer Stamm:Vol. 1 Photography by Heinz HajekHalke/ Vo. 2 Essays and Documents with an essay by Alain Sayag, Steidl Verlag, Göttingen, 2006, n.p. £12,000 -18,000

Heinz Hajek-Halke was a German photographer known predominantly for his ground-breaking experimental techniques and his exquisite manipulation of photomontage. His work has been heralded in Europe; namely France and Germany since almost the beginning of his photographic career when his innovative use of light and his dedication to the photogram became synonymous with the term ‘Subjektive Photographie’. Although he gained initial success and his work was widely published he kept himself exclusive and VIGPYWMZI ,I VIQEMRIH WSQI[LEX SJ ER SYXWMHIV EW ER EVXMWXMG ½KYVI TVIJIVVMRK XLI GSQTER] SJ XLI aerial photographer Willy Ruge (from whom he learned many photographic tricks) to the colourful personalities of his peers such as the Hungarian photographer Martin Munkàcsi or the German news reporter Erich Salomon. Despite avoiding the limelight Hajek-Halke’s work remained very much a part of the avant-garde movement in Berlin. Like an alchemist he chemically cooked, layered and laboured to produce his images combing a complex dark room practice with easily obtainable objects such as shards of glass, glue, wire, varnish, soot and ½WLFSRIW GSRNYVMRK MQEKIW [LMGL EVI QEKMGEPP] HVIEQ PMOI FYX WXVERKIP] JEQMPMEV -R EPP LMW HIGEHIW SJ work however it seems that it is the nude montages which have really become the icons of his oeuvre. &PEGO ;LMXI 2YHI 4VIPMQMREV] 7XYH] G WLS[W SRI FPEGO ERH SRI [LMXI ½KYVI QMVVSVMRK each other, their bodies almost fused together. The study is one of a series of images where the nudes are placed variously together and apart with their arms in different positions often in expressive poses which are typical of expressive art of the time. Hajek-Halke has used the same body to create hard and soft parts of the image with the black nude becoming shiny, smooth and marble-like providing a polar STTSWMXI ½KYVMRI XS XLI IXLIVIEP [LMXI FSH] EPQSWX XVERWPYGIRX FIWMHI At the time of his death in 1983 he was a little know German artist who had faded into obscurity, long forgotten as a Vanguard of German 20TH Century photography. His tantalizing work, which made countless contributions to the world of photography and to promoting the camera as a malleable artist’s tool was only afforded a retrospective posthumously in 2002 at The Centre George Pompidou, Paris.

Nick Knight 1958 Saturday 8th August,2015, 2015 Edition of 5 with 3 Artists proofs ,6A5 . @64;21 02?A6M0.A2 <3 .BA52;A606AF Hand-coated pigment print, 2019 Image size 60 x 60 in / 152.4 x 152.4 cm Paper size 62 x 62 in / 157.48 x 157.48 cm (KNO007)

Willia 1934 For H Estate Dye t 50,8 (WS0

Lot 20 Constantin Brancusi 1875-1957 La Table du Silence à Târgu Jiu, Romania 1938. Gelatin silver print. 24 x 29.8 cm (9 3/5 x 11 9/10 in.) Provenance Private Collection Literature Carola Giedion-Welker, Constantin Brancusi, Editions du griffon, Neuchatel, 1958, p.168 Jurgen Partenheimer,”Constantin Brancusi : Der Kunstler als Fotograf seiner Skulptur”, Kunsthaus Zurich, 1976, n.57 Erika Billeter, Brancusi Als Fotograf, Benteli Verlag, Bern 1997, n.80 Ion Pogorilovschi, “Comentarea Capodoperei, Ansamlul Sculptural Brancusi de la Tirgu-Jiu”, Junimea, Romania, 1976, pl.41 Doina Lemny, Brancusi Au-delà de toutes les Frontières, Fage Editions, Lyon, 2012, p. 93

Outside of the current lot, four other prints by Constantin Brancusi of La Table du Silence à Târgu Jiu, Romania 1938 are known to exist: three prints are held in the collection of the Centre George Pompidou, Paris and one print is owned privately. £60,000 -80,000

The Table of Silence, Târgu Jiu is one element of a three-part commissioned ensemble which together with the Gate of the Kiss and the Endless Column formed a poignant homage to local fallen heroes. The monument, commissioned by the Women’s League of Gorj, whose president was Aretia Tă t ărescu, the Prime Minister’s wife, was to be a memorial to those who had lost their lives in 1916 defending the town against a German force. The commission had originally been offered to the sculptor Milita P ătra ș cu, who was familiar with designing monuments but Pă tra ș cu, she had studied with Brancusi in Paris from 1919–23 and suggested that her friend and former teacher would be the person to undertake this honour. Brancusi accepted the commission and seems to have begun work in 1935.

In the Autumn of 1937, he began to carve the Table of Silence composed of a large plate superimposed on a smaller TPEXI 8LI XEFPI MW QEHI SJ E TSVSYW PMQIWXSRI [MXL XLI WXSSPW FIMRK QEHI SJ E WMQMPEV FYX ½RIV WXSRI -R RSX LETT] [MXL XLI VIWYPX LI FIKER E PEVKIV ZIVWMSR SJ XLI ½VWX EXXIQTX ¯ &VERGYWM [EW WXMPP HMWTPIEWIH ERH GSQTSWIH XLI ½REP XEFPI [LMGL RS[ WXERHW MR XLI TEVO SJ XLI YTTIV TPEXI SJ XLI ½VWX EXXIQTX [MXL XLI YTTIV TPEXI SJ XLI WIGSRH EXXIQTX ¯ XLI discarded parts form another table placed elsewhere.The table is surrounded by 12 stools which are now situated about three feet from the table. The importance of the photograph as seen in the current lot cannot be underestimated as it shows a different placement and the working process of the artist – we can see that there has been a change of mind ERH VI¾IGXMSR EJJSVHIH HYI XS XLI STTSVXYRMX] XS WII LMW [SVO ZME E TLSXSKVETLMG MQEKI XLMW JSPPS[W &VERGYWM´W YWYEP reliance on the camera as an intrinsic tool to hone his sculptures.The photograph shows the stools were originally much GPSWIV XS XLI XEFPI ERH QSVI GPSWIP] TEMVIH XLER MR XLI ½REP [SVO ;I GERRSX WE] JSV WYVI [L] [LIXLIV JSV TVEGXMGEP reasons or a wish to emulate the pairings of the lovers in the Gate of the Kiss we do not know. The table is however very much a stone version of the large plaster table in Brancusi’s studio, similarly versions of his studio table also served as the base for Leda, the Fish and the Seal. Brancusi’s attitude to the purpose of photography was in many ways contemporary – he recognised it as immediate, ¾I\MFPI ZIVWEXMPI ERH EFSZI EPP LI IQFVEGIH MXW EFMPMX] XS TVSHYGI QYPXMTPIW YWMRK XLMW TVEGXMGI XS VITPEGI XLI XVEHMXMSREP drawing. He could satisfy his incessant need to make portraits of his works, using whatever camera he could lay his hands on. Not technically trained as a photographer, the prints Brancusi ‘crafted’ contain an indelible rawness and energy which is particular and individual.The proportion of negatives shot to the amount that were printed was far far greater making the prints extremely rare, with many now being held in museums rather than private collections. For Brancusi the portal of photography meant he could see his works in the making and if necessary, could then amend them no matter how large the subject as proven here.

For Constantin Brancusi the camera was a versatile means to an end, a way of preservation, allowing him to fix his sculptures in time through a lightweight two-dimensional reproduction, creating another type of ‘life’ and audience for his works.

CONSTAN Constantin Brancusi 1876-1957 Maquette for the Gate of the Kiss, 1935-37 Inscribed in Romanian with blue ballpoint pen on the reverse. Vintage Silver Gelatin Print 29,6 x 39,7 cm PH225 i

1876-1957 Constantin Brancusi La Table de S 1876-1957 Maquette for the Gate of the Kiss, 1935-37 Vintage Silver G Vintage Silver Gelatin Print 24,1 x 29,5 cm 39,6 x 29,6 cm PH588 e PH226 m $ 150,000.00

$ 150,000.00

Lot 21 Erwin Blumenfeld (1897 - 1969) Distorted Nude, New York 1950s. Dye transfer print from the portfolio entitled Color, Galerie F.C. Gundlach, printed 1984. 45.6 x 32.2 cm (17 7/8 x 12 5/8 in.) Copyright credit estate stamp, numbered 6/50 and initialled by F. C. Gundlach in pencil on the verso. Provenance Private Collection, USA Literature Erwin Blumenfeld, Hamburg: Museum für Kunsthandwerk und Gewerbe, 1989 Blumenfeld: A Fetish for Beauty, London: Thames & Hudson, 1996 £2,000-3,000

Lot 22 Erwin Blumenfeld (1897 - 1969) Study for an Advertising Photograph, Helena Rubenstein, New York 1948. Dye transfer print from the portfolio entitled Color, Galerie F.C. Gundlach, printed 1984. 45.6 x 32.2 cm (17 7/8 x 12 5/8 in.) Copyright credit estate stamp, numbered 22/50 and initialled by F. C. Gundlach in pencil on the verso. Provenance Private Collection, USA Literature Erwin Blumenfeld, Hamburg: Museum für Kunsthandwerk und Gewerbe, 1989 Blumenfeld: A Fetish for Beauty, London: Thames & Hudson, 1996 £2,000-3,000

Lot 23 Erwin Blumenfeld (1897 - 1969) Three Times Petersen Study for a Fashion Page, New York, c. 1943. Dye transfer print from the portfolio entitled Color, Galerie F.C. Gundlach, printed 1984. 45.6 x 32.2 cm (17 7/8 x 12 5/8 in.) Copyright credit estate stamp, numbered 22/50 and initialled by F. C. Gundlach in pencil on the verso. Provenance Private Collection, USA Literature Erwin Blumenfeld, Hamburg: Museum für Kunsthandwerk und Gewerbe, 1989 Blumenfeld: A Fetish for Beauty, London: Thames & Hudson, 1996 Louis Berrick £2,000-3,000

Lot 24 Property of Stephanie Hoppen James Ostrer (b.1979) Ribbons 4 (Maria Kochetkova) 2012. Chromogenic print. 30 x 20 cm (11 4/5 x 8 in.) Signed, dated and numbered 1/5 in on the reverse of the frame. £1,000-1,500

Lot 25 Nadav Kander (b. 1944) Isley Standing, 2010 'LVSQSKIRMG TVMRX ¾YWL QSYRXIH 120 x 90 cm (48 x 36 in.) 7MKRIH XMXPIH HEXIH ERH RYQFIVIH MR MRO SR E PEFIP EJ½\IH XS XLI VIZIVWI SJ XLI ¾YWL QSYRX Provenance Private Collection, London Literature Nadav Kandar: Bodies 6 Women. 1 Man, Hatje Cantz 2013 n.p. £4,000-6,000

WILLIAM S 1934 - 2014

For Harper's B Estate stamped William Silano 1934 - 2014 For Harper's Bazaar , 1967 Estate stamped Dye transfer 50,8 x 40,6 cm (WS001)

Jeanloup Sie 1933 - 2000 Corset, 1962 Signed, dated and titled on verso Silver Gelatin Print 21 x 14 cm (image) (JLS006)

Dye transfer Fran 50,8 x 40,6 cm 1958 (WS001) Self80/1 With sign editi Han vers Gela 12,7 20,3 Ed. o (FW0

Lot 27 Morley, Lewis (1925-2013) Christine Keeler, Lewis Morley’s studio. Soho, London 1963. Gelatin silver print, printed 1960s. 21 x 19 cm (8 3/8 x 7 6/8 in.) Printed title, photographer’s name and HEXI SR PEFIP EJ½\IH XS XLI ZIVWS [MXL various agency ink stamps. Provenance Private Collection, London £1,000-2,000 λ

Lot 26 William Silano (1934-2014) For Harper’s Bazaar, 1967. Dye transfer print. 50.8 x 40.6 cm (20 3/10 x 16 1/4 in.) Estate stamp on verso with initials of George Silano, Executor, in ink. Provenance Deborah Bell Photographs, New York £7,000 -9,000

Lot 28 Albert Watson (b. 1942) Lisa Cooper, 1977. Gelatin silver print from the portfolio entitled Twelve printed 1977. 45.1 x 29.8 cm (18 x 12 in.) Signed, dated and numbered 2/12 in pencil on the verso. Provenance: Private Collection, USA λ £1,500-2,000

Henri Cartier-Bresson 1908-2004 Alicante, 1933 Signed and stamped Early Silver Gelatin Print 21 x 32 cm (HCB004)

Henri CLot 29 1908-20 Sam Haskins (1929-2009) Bonnar 21 x 32 November Girl Clutching Raincoat, 1966. (HCB00

Gelatin silver print. 38.5 x 30.5 cm (15 4/5 x 12 in.) Signed in pencil with Estate stamp on the verso. Provenance Estate of Sam Haskins £3,000-5,000

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

Sam Ha Novem Scarf, 19 signed vintage Only Si 38.5 X (SH091)

Nick Knight 1958 Saturday 8th August,2015, 2015 Edition of 5 with 3 Artists proofs ,6A5 . @64;21 02?A6H 0.A2 <3 .BA52;A606AF Hand-coated pigment print, 2019 Image size 60 x 60 in / 152.4 x 152.4 cm Paper size 62 x 62 in / 157.48 x 157.48 cm (KNO007)

William Silano 1934 - 2014 For Harper's B Estate stamped Dye transfer 50,8 x 40,6 cm (WS001)

Lot 30 Helmut Newton (1920-2004) Waiting for the Earthquake (Domestic Nudes), 1992. Gelatin silver print. 32.4 x 26 cm (13 x 10 2/5 in.) Signed and titled with personal annotation from Helmut Newton on the verso. Provenance Directly from the artist £12,000-18,000

Property from the collection of John Swannell Lot 31 - 43

'I’ve collected photographs now for over 40 years as long as I’ve been taking pictures, mostly my heroes Penn, Avedon, Bailey Horst & Robert Mapplethorpe. )TT \PM[M XPW\W\WOPMZ[ PI^M QVÆ]MVKML Ua _WZS WVM way or another'. JOHN SWANNELL

Lot 31 Irving Penn Cecil Beaton, London 1950. Selenium toned gelatin silver print, printed 1984. 50.8 x 40.7 cm (20 x 16 in.) Signed, titled, dated and annotated in ink, credit, copyright, reproduction limitation, and edition stamps on the reverse of the mount. One from an edition of 15. Literature Penn: Moments Preserved, Simon and Schuster, p. 85 Szarkowski: Irving Penn, Museum of Modern Art, 1987, pl. 21 Foresta & Stamp: Irving Penn Master Images, Smithsonian Institution Press, 1990, pl. 26

£12,000-18,000

‡

Lot 32 Jeanloup Sieff (1933 - 2000) Jill Kennington for Queen Magazine, England, 1964

Lot 33 Jeanloup Sieff (1933 - 2000) Train, 1978.

Gelatin silver print. 40.5 x 30.4 cm (15 9/10 x 12 in.) Signed and dated in ink in the margin

Gelatin silver print. 41 x 30.4 cm (16 x 12 in.) Signed and dated in ink in the margin.

Provenance Sotheby’s London, Photographic Images and Related Material: Friday, 7 May 1993, Lot 00345

Provenance Sotheby’s London, Photographic Images and Related Material: Friday, 13 May 1994, Lot 00286

£4,000-6,000 λ

£4,000-6,000 λ ‡

‡

Lot 34 Lillian Bassman (1917 - 2012) It’s A Cinch, Carmen, Lingerie by Warner’s, 1951.

Lot 35 Lillian Bassman (1917 - 2012) Tunic Suit, Sunny Harnett, suit by Charles James, 1955

Gelatin silver print printed later 30 x 37.5 cm (12 x 15 in.) Signed and numbered from 25 in pencil on the verso.

Gelatin silver print printed later. 50 x 40 cm (20 x 16 in.) Signed and numbered from 25 in pencil on the verso.

Literature D. Solomon, Lillian Bassman: Women, New York: Abrams, 2009, n.p.

Literature D. Solomon, Lillian Bassman: Women, New York: Abrams, 2009, p.22

£3,000-5,000

‡

£3,000-5,000

‡

Lot 36 Sarah Moon (b. 1941) Kassia pour Comme des Garcons, 1997. Toned gelatin silver print. 50 x 40 cm (20 x 16 in.) Signed, titled, dated and numbered from 20 in pencil on the verso. Provenance Michael Hoppen Gallery, London £5,500-6,500

λ ‡

Lot 37 Norman Parkinson (1913 - 1990) +SP½RK EX 0I 8SYUYIX Toned gelatin silver print, printed later. 39.9 x 39.9 cm (141/2 x 141/2 in.) Signed in ink on the verso. Literature T. Pepper, Photographs by Norman Parkinson: Fifty Years of Portraits and Fashion, London: Gordon Fraser, 1981, p. 24 Norman Parkinson: Lifework, London: Weidenfeld & Nicolson, 1983, p. 36 £4,000-6,000

‡

Lot 38 Louise Dahl-Wolfe (1895 -1989) Harper’s Bazaar, May 1948. Gelatin silver print, printed later. 35 x 27.5 cm (14 x 11 in.) Signed in pencil on the verso. £2,000-3,000

‡

Lot 39 Horst P. Horst (1906-1999) Kerry Harper modelling a dress by Missoni for Saks Fifth Avenue, 1980s. Gelatin silver print. 45 x 45 cm (46 x 31 in.) Signature blindstamp in the margin; signed, titled and dated in pencil on the verso.

†

£7,000-9,000 λ ‡

Lot 40 Fernand Fonssagrives (1910-2003) Lisa Diapositive, 1949. Gelatin silver print, printed later. 35 x 27.5 cm (14 x 11 in.) Signed and numbered from 14 in pencil on the verso. Provenance Michael Hoppen Gallery, London £3,000-5,000 λ ‡

Lot 41 Herb Ritts (1952 – 2002) Man with Chain, Los Angeles 1985. Gelatin silver print, printed later. 50 x 40 cm (20 x 16 in.) Signed, titled and numbered 11/25 in pencil on the verso. Provenance Hamiltons Gallery, London Literature Herb Ritts, Trevor J Fairbrother, Richard Martin, Steven Meisel, Ingrid Sischy, Herb Ritts: Work. Little, Brown and Co: Museum of Fine Arts, Boston, 1996, n.p. £6,000-8,000

‡

Lot 42 Terry O’Neill (1938 – 2019) The Beatles During the Recording of ‘Please Please Me’, in the Backyard of Abbey Road Studios, London 1963. Gelatin silver print, printed later. 50 x 60 cm (20 x 24 in.) Signed and numbered from 16/50 in ink in the margin. £3,000-5,000 λ ‡

Lot 43 Bill Brandt (1904–1983) Francis Bacon walking on Primrose Hill, London 1963. Gelatin silver print, printed 1970s. 34 x 28.9 cm (13 3/8 x 11 3/8 in.) Signed in ink on the mount recto. Literature Bill Brandt: Shadow of Light, New York: Da Capo Press, 1977, pl. 86 Bill Brandt: Behind the Camera. Photographs 19281983, Philadelphia Museum of Art, 1985, p. 51 Bill Brandt: Photographs 1928-1983, London: Barbican Art Gallery, 1993, p. 159 Photo Poche: Bill Brandt, Evreux: Centre national de la photographie, 1994, pl. 50 B. Jay, Brandt: The Photography of Bill Brandt, New York: Harry and Abrams, 1999, pl. 202 £4,000-6,000 λ ‡

End of Property from the collection of John Swannell

Lot 44 Sergio Larrain (1931 - 2012) Limon Soda,Valparaiso, Chile 1963. Gelatin silver print. 20 x 30 cm (8 x 12 in.) Stamped on the verso. Provenance Magnum Photos, Paris Private Collection, London Literature Agnes Sire, Gonzalo Leiva Quijada: Sergio Larrain Vagabond Photographer, Thames & Hudson, 2013 p. 287

£6,000-8,000

Lot 45 Eve Arnold (1912 - 2012) Marilyn Shooting Pool, on the set of ‘The 1MW½XW´ 2IZEHE Gelatin silver print, printed later. 27.9 x 35.6 cm (11 x 1 1/10 in.) Signed, titled and dated in pencil on the verso. Provenance Michael Hoppen Gallery, London

£3,000-5,000 ‡

Lot 46 4LMPMT .SRIW +VMJ½XL Boy breaking Piano in South Wales Village, 1961. Gelatin silver print, printed 1960s. 25 x 20.3 cm (10 x 8 in.) Copyright limitation and photographer’s credit stamp ‘Copyright/ 4LMPMT .SRIW +VMJ½XLW 4LSXSKVETLIV´ ERH MRWGVMFIH ³4PIEWI EGGIRX the strings so they can be seen’, with further annotations in in and pencil on the verso. Provenance Christies, South Kensington, Friday 21 May 2010, Lot 00017 Private Collection, London Literature 4LMPMT .SRIW +VMJ½XLW 6IGSPPIGXMSRW 8VSPPI] &SSOW 'SZIV £3,000-5,000 λ

Lot 47 Roger Mayne (1929 - 2014) Conkers, Addison Place, W11, 1957. Gelatin silver print. 14.2 x 18.8 cm (5 5/8 x 7 3/8 in.) Signed, titled, dated, numbered 14945 and annotated ‘vintage proof print’ on the verso. Provenance Bernard Quaritch Ltd Private Collection, London £3,000-5,000 λ

Lot 48 John Davies (b. 1949) Agecroft Power Station, Salford 1983. Gelatin silver print, printed before July 1989. 61 x 50.8 cm (24 1/3 x 20 1/3 in.) Signed, titled and date in pencil in the margin. Provenance Graham Smith 1989-2011 Private Collection, London Exhibited The Barbican Art Gallery: Through the Looking Glass, 27 July-1 October 1989 Literature J. Davies: A Green & Pleasant Land, Cornerhouse, 1987, p. 38 J. Davies: The British Landscape, Chris Boot, 2006, cover and pl. 35

£3,500-4,500 λ

We are animals, born from the land with the other species. Since we've been living in cities, we've become more and more stupid, not smarter. What made us survive all these hundreds of thousands of years is our spirituality; the link to our land. SEBASTIÃO SALGADO Lot 49 Sebastião Salgado (b. 1944) Iceberg between Paulet Island and the South Shetland Islands on the Weddell Sea, Antarctica 2005. +IPEXMR WMPZIV TVMRX ¾YWL QSYRXIH ERH TVMRXIH PEXIV 90 x 125 cm (36 x 50 in.) Signed in ink and titled ‘Antarctica’ on the verso. Provenance NB Pictures Literature Sebastião Salgado: Genesis, Taschen, 2013 pp. 20-21 £25,000-30,000 λ

‡

Lot 50 Jessica Fulford-Dobson (b. 1969-) Skate Girl, Kabul, June 2014. 'LVSQSKIRMG TVMRX ¾YWL QSYRXIH 160 x 45 cm (46 x 77.5 in.) Signed, titled, dated with ‘AP’ on an artist’s label. Exhibited National Portrait Gallery, London 2014 Saatchi Gallery, London 2015 Qatar Museums Katara Gallery, Doha 2017 Aga Khan Museum, Toronto 2017

£6,000-8,000

Lot 51 Emile Otto Hoppé and J. A. Johnson A Collection of Photographs of American Indian Chiefs All mounted. Inscribed on reverse

[a] (Mount Size) 15.25 in (H) x 13 in (W) (Image Size) 9 in (H) x 7.5 in (W) ‘Catchum Bear’

[b] (Mount Size) 15.25 in (H) x 13 in (W) (Image Size) 9 in (H) x 7.5 in (W) ‘Blue Horse’

£500-800 Lot 52 Emile Otto Hoppé (1878 - 1972) A Collection of 12 Photographs of Great Topographical Interest. Including: A captive elephant bull;

Nigerian Ibos girls with their legs encased in brass wire; One of the Emir’s horseman in heavy medieval armour, Kano, Nigeria; Foulbe Shepherds of North Cameroon; Salzburg; £800-1,200 A Massai youth, Kenya; Lot 53 Indonesian interest (Bali); Emile Otto Hoppé (1878 - 1972) Benares, India; A collection of 13 unframed photographs of great A Massai warrior; topographical interest One of the Emir’s bodyguards on horseback Including photographs of: in Kano, Nigeria; New Guinea, Murray; £800-1,200 Jamaica;

Hawaii, with men climbing a tall tree; Young Cameroon children with sugarcane; Shepherds, Merida State,Venezuela; Javanese dancers; Charlie Chaplin (?) with an accordion player; A Massai warrior dancing.

Lot 54 A collection of 63 photographs of New Zealand and topographical interest. 19th century. Including: A portrait of two Maori girls in a formal setting (x3); Five photographs of Oceanic interest, including: a formal photograph of a Tahitian (?) family; A portrait of a lady outside of her house; Plantagen Bahn, Erima, Neu Guinea (by Arthur Koppel) (x2); Wairakei, New Zealand (x4) / Taupo, New Zealand (x4) (mounted); Rotomahana, New Zealand; Pipriki;

A shot over gorge and river, New Zealand; Picton; Three trees (Rotorua, NZ); The Duke and Duchess of York watching the geysers at Whakaiewarewa; A Kiwi (Apteryx) and its egg; Lyttelton; Tiki Tere; Boiling cauldron at Whakarewarewa; and fours others of Whakarewarewa; Dunedin; Lake Wakatijiu; Sydney bay; Bowling Green, Rotorua; New Zealand, Akoroa; Native bullock cart (1860s); Ernest Vos's house, 'The Pines' at Jaupaki, NZ; Three Oceanic warriors;

Three views near Auckland, NZ; Bandong, Java (1860s); Weipo Valley, Honolulu (1889); The Pali, Honolulu (1887); Two South Sea (?) Coastal views; A road with palm trees; Hawkes Craig, Buller River; Mount Abbot Glacier, Rocky America; Rotomahana (x3); Kawarwana; Lake Wakatipu; Wellington from Mount Victoria; Bush; Dunedin; Pigeon Island, Lake Wakatipu; Milford Sound; Queenstown.

Manly (x3); St Patrick's College; Botanic Gardens, Sydney; Circular quay; St Andrew's Cathedral; Paramatta River (x2); a Kangaroo and an Emu (both signed jp); Cape Raoul (with 'H. H. Bailey Hobart' stamp);

Banjarmasin; A portrait of four Ainu men (historically called Ezo) (19th century); Four Polynesian (?) men; Ships off a tropical coast; A portrait of a Burmese couple with a child; an interesting photograph (x 4).

A Congo beauty; Grenada, Windward Isles; Rock Temple, Bali; A girl from New Guinea in full regalia; A girl carrying a water-jar near Luxor, Egypt; Kampong, Indonesia; Malaya.

£300-500 Lot 55 A collection of oversized albumen prints, some mounted to original board; some late 19th century. Including photographs of: Honolulu, Emma Square, Magepa 1889; Australia, including: Bondi; £200-300

with w.d Paris 1980 Polaroid 11 x 8,5 cm (HN002)

Vintage Silver Gelatin Print 32,4 x 26 cm (HN015)

Henri Cartier-Bresson 1908-2004 Alicante, 1933 Signed and stamped

Henri Cartier-Bresson 1908-2004 Bonnard 21 x 32 cm

Lot 56 Henri Cartier-Bresson(1908-2004) Bonnard in his studio, Le Cannet, France 1944.

Lot 57 Henri Cartier-Bresson(1908-2004) Alicante, Spain 1933.

Gelatin silver print, printed 1970s. 21 x 32 cm (8 2/5 x 12 4/5 in.) Stamped on theverso.

Gelatin silver print, printed 1970s. 30 x 40 cm (12 x 16 in.) Signed and stamped on the verso.

£2,000 -3,000 λ

£6,000 -8,000 λ

Helmut Newton 1920 - 2004 Playing with Doll, Paris (Feeling Naked Blue), 1980 Signed and inscribed on the verso: Playing with w.d Paris 1980 Polaroid 11 x 8,5 cm (HN002)

Helmut Newton 1920 - 2004 Waiting for the Earthquake (Domestic Nudes), 1992 Signed ,titled and inscribed on verso Vintage Silver Gelatin Print 32,4 x 26 cm (HN015)

Heinz Hajek-H 1898-1983 Black & White Signed in ink, INVENTAR' sta 'F 227706' in p Silver Gelatin 23,6 x 17,2 cm (HHA001)

Henri Cartier-Bresson 1908-2004 Alicante, 1933 Signed and stamped Early Silver Gelatin Print 21 x 32 cm (HCB004)

Henri Cartier-Bresson 1908-2004 Bonnard 21 x 32 cm (HCB003)

Guy Bourdin 1928 - 1991 Nude Story in Vintage Silver 26,2 x 27 cm (GB007)

Helmut Newton 1920 - 2004 Playing with Doll, Paris (Feeling Naked Blue), 1980 Signed and inscribed on the verso: Playing with w.d Paris 1980 Polaroid 11 x 8,5 cm (HN002)

Helmut Newton 1920 - 2004 Waiting for the Earthquake (Domestic Nudes), 1992 Signed ,titled and inscribed on verso Vintage Silver Gelatin Print 32,4 x 26 cm (HN015)

Lot 58 Robert Doisneau 1912-1994 Un Regard Obilque, 1948. Gelatin silver print. 17.7 x 17.5 cm (7 1/10 x 7 in.) Rapho Agency and Photographer’s address stamps on the verso. Provenance Hulton Press, London

Henri Cartier-Bresson 1908-2004 Alicante, 1933 Signed and stamped Early Silver Gelatin Print 21 x 32 cm (HCB004)

Henri Cartier-Bresson 1908-2004 Bonnard 21 x 32 cm (HCB003)

Literature The Bedside Lilliput, Hulton Press, London, 1950, p. 401 Robert Doisneau: 3 seconds to Eternity, New York Graphic Society, Boston, 1979, cover Robert Doisneau: Trois seconds d’eternites, Contrjour, Paris, 1979, p. 67 Peter Hamilton: A Photographers life, Abbeville press, 1995, p.187 Robert Doisneau: Paris, Flammarion, 2005, p. 82

£6,000 -8,000

Lot 59 Property of Stephanie Hoppen André Villers (1930-2016) Picasso’s studio,Victorine, Nice 1955. Gelatin silver print. 28 x 37 cm (11 x 14 6/10 in.) Provenance Michael Hoppen Gallery, London Private Collection, London £2,000-3,000 λ

Lot 60 Cecil Beaton (1904 - 1980) Audrey Hepburn, 1954. Gelatin silver print, printed later. 51 x 61 cm (20 3/8 x 24 3/8 in.) Sotheby’s ‘Beaton’ stamp on the verso. Provenance Michael Hoppen Gallery, London

£3,000-5,000

λ ‡

Lot 61 Sid Avery (1918 - 2002) Audrey Hepburn on bike with her dog ‘Famous’ at Paramount Studios, 1957. Gelatin silver print, printed later. 40.6 x 50.8 cm (15 9/10 x 20 in.) Signed in pencil with photographer’s stamp on the verso. Provenance Michael Hoppen Gallery, London £4,000-6,000 ‡

Lot 62 Ernst Haas (1904 - 1980) Guggenheim Museum (Sailor) New York, 1961. Gelatin silver print, printed later. 40.6 x 50.8 cm (15 9/10 x 20 in.) Photographer’s stamp and signature of Alex Haas; the photographer’s son on the verso. Provenance Michael Hoppen Gallery, London

£1,000-2,000

λ ‡

Lot 63 William Wegman (b. 1943-) From ‘Man Ray’ 1982. Dye transfer print from the portfolio entitled Man Ray, Holly Solomon Editions, 1982. 9.8 x 9.8 cm (3 7/8 x 3 7/8 in.) Signed, dated and numbered 1/20 in pencil in the margin Provenance Holly Solomon Gallery, New York Janet Borden, Inc., New York Phillips, Photographs, New York, 19 April 2018, Lot 227 Literature William Wegman: Fondation Regional D’Art Contemporain, pp. 199-200 William Wegman created this portfolio in tribute to his Weimaraner, Man Ray, who died at the age of twelve on March 27, 1982

£1,000-2,000

Lot 64 William Wegman (b. 1943-) From ‘Man Ray’ 1982. Gelatin silver print from the portfolio entitled Man Ray,Holly Solomon Editions, 1982. 18.4 x 17.8 cm (7 1/4 x 7 7/8 in.) Signed, dated and numbered 1/20 in pencil in the margin. Provenance Holly Solomon Gallery, New York Janet Borden, Inc., New York Phillips, Photographs, New York, 19 April 2018, Lot 227 Literature William Wegman: Fondation Regional D’Art Contemporain, pp. 199-200 William Wegman created this portfolio in tribute to his Weimaraner, Man Ray, who died at the age of twelve on March 27, 1982

£1,000-2,000

(HN002)

(HHA001)

GROB GALLERY

Henri Cartier-Bresson 1908-2004 Alicante, 1933 Signed and stamped Early Silver Gelatin Print 21 x 32 cm (HCB004)

Henri Cartier-Bresson 1908-2004 Bonnard 21 x 32 cm (HCB003)

Guy Bourdin 1928 - 1991 Nude Story in Da Vintage Silver G 26,2 x 27 cm (GB007)

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

Sam Haskins November Girl Clutching Raincoat wearingScarf, 1966 signed vintage silver gelatin Only Signed copy. Printed 1966 38.5 X 30.5 CM (SH091)

William Klein 1928 Smoke + Veil, Pa Signed, titled an Silver Gelatin Pr 45.5 x 32.5 can (WK096)

Lot 65 Sam Haskins (1929-2009) 1984/1986. Chromogenic print. 30 x 40 cm (12 x 16 in.) Signed and dated in pencil on the mount with signature in pencil on the verso.

£3,000-5,000

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

Sam Haskins November Girl Clutching Raincoat wearingScarf, 1966 signed vintage silver gelatin Only Signed copy. Printed 1966 38.5 X 30.5 CM (SH091)

Above Lot 66 Marc Quinn (b. 1964-) Untitled, 2009.

Below Lot 67 Marc Quinn (b. 1964-) Untitled, 2008.

Polaroid triptych with oil paint and glitter. 11 x 26.5 cm (4 4/10 x 10 6/10 in.) Signed and dated on the verso.

Polaroid triptych with oil paint. 10.2 x 27 cm (4 1/10 x 10 4/5 in.) Signed and dated on the verso.

Provenance Directly from the artist

£2,000 -3,000 λ

£2,000 -3,000

Sam Haskins 1926-2009 1984/1986 Signed on verso and mount C Print Image size 30 x 40 cm (SH026)

William Klein 1928 Smoke + Veil, Paris Signed, titled and Silver Gelatin Print 45.5 x 32.5 can (WK096)

Sam Haskins November Girl Clutching Raincoat wearingScarf, 1966 signed vintage silver gelatin Only Signed copy. Printed 1966 38.5 X 30.5 CM (SH091)

William Klein 1928 Smoke + Veil, Pa Signed, titled and Silver Gelatin Pri 45.5 x 32.5 can (WK096)

Nick Knight 1958 Saturday 8th August,2015, 2015 Edition of 5 with 3 Artists proofs ,6@5 . ?64:21 02>@6G0.@2 ;3 .A@52:@606@E Hand-coated pigment print, 2019 Image size 60 x 60 in / 152.4 x 152.4 cm Paper size 62 x 62 in / 157.48 x 157.48 cm (KNO007)

William Silano 1934 - 2014 For Harper's Bazaar , 1967 Estate stamped Dye transfer 50,8 x 40,6 cm (WS001)

Helmut Newton 1920 - 2004 Playing with Doll, Paris (Feeling Naked

Helmut Newton 1920 - 2004 Waiting for the Earthquake (Dome

Lot 68 Marc Quinn (b. 1964-) Kate Moss, 2008. Polaroid. 8.8 x 10.6 cm (3 1/2 x 4 1/4 in.) Signed and dated in pen on the recto with additional ink drawing. Provenance Directly from the artist £800 -1,200 λ

Lot 69 Album of Photographs of New South Wales Presented to Prince Bismarck Oblong folio. (365 x 460 mm). [36 unnumbered leaves]. Leaf with title ‘Photographs. £5,000-8,000 New South Wales.' recto and 35 leaves of thick card, each with large albumen print photograph to recto and verso within printed green decorative border and with captions, the 70 photographs printed from glass negatives in sepia, several with additional captions in white in the image, each leaf mounted on canvas tab; sheet size: 348 x 418 mm, image size: 226 x 278 mm. Contemporary full red morocco, front and rear boards with elaborate decorative gilt borders, front board with additional gilt title: 'Photographs / New South Wales' and presentation: 'His Excellency Prince Bismarck / from / The Government of New South Wales', banded spine with elaborate gilt tooling in six compartments, turn-ins with decorative roll tool borders, marbled endpapers, a.e.g. [PROVENANCE: Presentation to front board to the 'Iron Chancellor', Otto Eduard Leopold von Bismarck-Schönhausen 4VMRGI SJ &MWQEVGO ERH (YOI SJ 0EYIRFIVKA %R I\GITXMSREP EPFYQ SJ %YWXVEPMER TLSXSKVETLW TVIWIRXIH XS XLI YRM½IV SJ +IVQER] ERH -VSR 'LERGIPPSV 3XXS ZSR &MWQEVGO 8LMW ZIV] ½RI EPFYQ FSYRH MR VIH QSVSGGS ERH [MXL E KMPX TVIWIRXEXMSR WXEQTIH XS XLI JVSRX FSEVH WII FIPS[ MRGPYHIW ½RI EPFYQIR TVMRX TLSXSKVETLW JVSQ KPEWW RIKEXMZIW VITVIWIRXEXMZI SJ IEVP] %YWXVEPMER WYFNIGXW 8LI TLSXSKVETLW MRGPYHI MQEKIW SJ MQTSVXERX FYMPHMRKW MR 7]HRI] +SZIVRQIRX ,SYWI 'SPSRMEP 7IGVIXEV] W 3J½GI 0ERHW 3J½GI 8S[R ,EPP IXG EW [IPP EW RSXEFPI PERHQEVOW 4VMRGI Albert Statue', 'Captain Cook's Statue', 'Picton Viaduct', the 'Argyle Cutting', 'Saddle Cutting' etc.), particular events (the visit of the 'Detached Squadron' ERH E 2EZEP 7LEQ *MKLX EW [IPP EW WIZIVEP HMWGVIXI WIVMIW 8LI ½VWX SJ XLIWI MW ER I\XIRWMZI HITMGXMSR MR TLSXSKVETLW SJ 7]HRI] W &SXERMG +EVHIRW ERH XLI WIGSRH MPPYWXVEXIW XLI .IRSPER 'EZIW MR XLI &PYI 1SYRXEMRW 8LI XLMVH ERH QSWX I\XIRWMZI WIVMIW SGGYT]MRK XLI ½REP XLMVH SJ XLI EPFYQ GSRXEMRW a number of panoramic views - some of breathtaking accomplishment - of the Blue Mountains, the Southern Highlands, the Nepean River and other striking areas. None of the photographs in the album are credited - it is most likely that the album was issued under the auspices of the New South ;EPIW +SZIVRQIRX 4VMRXMRK 3J½GI FYX XLI EPFYQ HSIW MRGPYHI MQEKIW F] 'LEVPIW 4MGOIVMRK .SWITL &MWGLSJJ 2MGSPEW 'EMVI ERH TSWWMFP] 'LEVPIW &E]PMWW 8LI +SZIVRQIRX 4VMRXMRK 3J½GI SJ 2I[ 7SYXL ;EPIW IQTPS]IH E RYQFIV SJ TLSXSKVETLIVW MR XLI PEXI RMRIXIIRXL GIRXYV] XS HSGYQIRX ERH promote Australia and today holds an archive of over 200,000 negatives; the majority of the negatives are uncredited, noted only as having been taken 'by the staff of the Photographic Branch'. The album is not dated, but the majority of the photographs appear to date from the 1870s with the latest likely to be the four photographs of the 'Naval Sham-Fight' which occurred on April 12th, 1881, while the visit of the 'Detached Squadron' (probably the MQTIXYW JSV XLI WLEQ ½KLX [EW EPWS MR % HEXI MR XLI W EPWS WIIQW TPEYWMFPI MR XLI PMKLX SJ XLI TVIWIRXEXMSR XS &MWQEVGO E ½VQ STTSRIRX SJ German colonialism, Bismarck had a change of heart in 1883 - 1884 and the colonisation of German New Guinea with the annexation of the Bismarck Archipelago in 1884 are representative. Whether the Government of New South Wales sought by the presentation of the album - presumably not an isolated gift - to promote a sense of personal goodwill or as fan indirect indication that no further encroachments on a sphere that must have seemed its own would be tolerated, is a matter for speculation and further research. '[Photographs] . were mostly promotional images for publications, exhibitions and presentation albums. The collection also incorporated . the work of other photographers, such as Joseph Bischoff's 1875 'Grose Valley'. %W XLI +SZIVRQIRX 4VMRXIV IQTPS]IH QER] TLSXSKVETLIVW XLI EXXVMFYXMSR SJ XLI TLSXSKVETLW XS ER] SRI TLSXSKVETLIV MW HMJ½GYPX 1SWX SJ XLI RIKEXMZIW XLEX GSRWXMXYXI XLI GSPPIGXMSR WXMPP LSYWIH F] XLI 27; +SZIVRQIRX 4VMRXIV EVI SRP] MHIRXM½IH EW FIMRK F] WXEJJ SJ XLI 4LSXSKVETLMG Branch. Contemporary prints from the negatives are rare, and very few are held by the Government Printer today. Most images were presented in EPFYQW MX MW VEVI XS ½RH MRHMZMHYEP MQEKIW SJ LMKL UYEPMX] %PER (EZMIW [VMXMRK MR 1EWXIVTMIGIW SJ %YWXVEPMER 4LSXSKVETL]

PA I N TI NG A N D SCU LP T U R E

Lot 70 Property of a lady SIR JOSHUA REYNOLDS, PRA FRS FRSA (Plympton, Devon 1723 - 1792 London) The Rev and Mrs Lloyd in Turquerie (1757) A pendant pair of portraits Oil on canvas (Canvas) 30 in (H) x 25 in (W) Literature D. Mannings, Sir Joshua Reynolds: A complete catalogue of his paintings, New Haven and London, 2000, no. 1138 & 1139, Figs 272 & 273. A Ribeiro, The dress worn at masquerades in England, 1730 to 1790, and its relation to fancy dress in portraiture, London, 229; cf. ch. IV, pl. 23. G&C volume II, 589. Provenance Rev William Lloyd: Aston Hall sale, 1923 Christie’s, 29 June 1928 (Lot 157), bt Rothschild Anonymous sale, 17 April, 1931 (Lot 97), ‘From the coll. of General Lloyd’, bt Parker Sir Austin Harris and thence by descent Mrs William Lloyd (née Snyed): D H Sneyd sale, Puttick & Simpson’s 1913 (bought Huggins, 720 guineas) Sold 16th April 1929 by the Dowager Victoria Sackville to Sir Austin Harris for 1000 guineas. Thence by descent

Turquerie was the Orientalist fashion in Western Europe from the 16th to 19th centuries for emulating aspects of Turkish art and culture. This phenomenon became more popular through trading routes with the West and increased diplomatic relationships between the Ottomans and European nations. The ‘Oriental’ Turkish costume was quickly adopted by elegant European sitters as a reference to their worldliness and internationalism. British historian and anecdotalist Joseph Spence, for instance, spoke with great admiration of John Montagu, fourth Earl of Sandwich, who extended his grand tour in the late 1730s to the Ottoman Empire: ‘A man that has been all over Greece, at Constantinople, Troy, the pyramids of Egypt, and the deserts of Arabia, talks and looks with a greater air than we little people can do that have only crawled about France and Italy’. As such, the 18th century marked the apex of ‘turquerie’, with Sir Joshua Reynolds too engaging in painting a few of his sitters in the sought after turquerie dress (see Reynolds’ portrait of Mrs Baldwin, 1782). The present pendant portraits depict the Rev William Lloyd and Mrs Elizabeth Lloyd (née Snyed) of Aston Hall, Oswestry and are probably one of, if not the, marital portrait of the couple as they were painted the same year of their marriage. The Reverend and Mrs Lloyd married in February and there is documentation of appointments with 'Mr Loyd' in 1757 on Mar. 24 (2 0'clock), 28 (midday); 30 (either at eleven or at three, cf. Mrs Lloyd) and Apr. 2 (at 10). There is a cancelled appointment with either Mr or Mrs Lloyd on Apr. 1 (at two). Both the Reverend Lloyd and Mrs Elizabeth Lloyd can be seen dressed in detailed, PY\YVMSYW 8YVOMWL HVIWW %MPIIR 6MFIMVS HI½RIW XLMW EW ±ER SVMIRXEP QEWUYIVEHI HVIWW with the Rev Lloyd's turban pinned on top with a jewel and his fur-lined, short-sleeved KEVQIRX NEGOIX SV PSRK KS[R ¯ HIPMGEXIP] ERH ½RIP] TEMRXIH [MXL XLI HIGSVEXMSR SJ embroidery and tassels” (Masquerades 1984, 221). Mrs Lloyd can be seen in a heavily embroidered and tasselled gown. Her hand on her hip draws striking attention to the detail of a small Ottoman-style dagger slipped into her metal-worked belt.

£300,000-500,000

The paintings have been in the family of the vendor since the 1930s, with letters existing from the Dowager Sackville (April 16, 1929) regarding the sale to Sir Austin Harris (family of the vendor) regarding the purchase of Elizabeth Lloyd. The pair of portraits were separated and then reunited by Sir Austin. The Reverend Lloyd was sold by Rothschild, 1931 and purchased by Parker - then to Sir Austin Harris.

Lot 71 Attributed to Sir Godfrey Kneller (1646 - 1723) Portrait of Ochius, also called The Passia Ahmed. Oil on canvas. 44 ¼ x 34 inches 54 x 43 in. inc. frame Painted circa 1689 following the siege of Belgrade and during the period Ochius was held hostage by the %YWXVMERW ,I FIGEQI E VIRS[RIH ERH GSPSYVJYP ½KYVI MR European courts during his extensive captivity. Eventually his son paid the required 1000 gold coins for his return to Constantinople. Provenance Hanovarian Royal Collection Schloss Georgengarten; Fürstenhaus Anlage 1893; Herrenhausen Anlage 1893, Old Inv. Nr. 929, New Inv. Nr. 1 Prince Ernst von Hanover’s sale, Sotheby’s October 5th 2005 Lot 409 £30,000-50,000

J. Molthan, Verzeichniss der Bildhauerwerke und Gemälde welche sich in den Königlich Hannoverschen Schlössern und Gebäuden, Hanover 1844, p.73, no. 58 The painting has traditionally been attributed to Sir Godfrey Kneller whilst in the Hanover Collection. During lining the following original inscription was found on the rear of the original canvas: ‘Ochius ol Druen ahmet pascia cosi octio che vuol dire l’ ahmet pasola che amazzo il &SZI UYIWXS J] TMIWS RIP KIRIVEP EWWEPXS HI FIKVEHS P´ERRS I½ XVSYE hogidi In narstati.’ Translated as: “Ochius also known as The Passia Ahmed, called Ahmed Passia, killer of the beast who was General, in charge of the Garrison of Belgrade in 1688 and is now found in Narstat This inscription illuminated the sitter"s identity as the same Okuzolduren Ahmed Pascha, the writter of several letters rediscovered by Professor 9VWMRYW HYVMRK XLI 4EWLME W GSR½RIQIRX YRHIV XLI %YWXVMERW [VMXXIR MR 1690. We have translations of the letters to hand.” Lot 72 Property of a Lady Edo Period (17th Century) A Standing Figure Of Jizo Bosatsu. 41.5cm (H) Provenance Yamanaka & Co., Kyoto, Japan Sold to the vendor’s father in the 1960s

£4,000-6,000 8LI GEVZIH [SSH ½KYVI [MXL WITEVEXI HM^E ?WXERHA OSLEM ?LEPSA ERH shakujo [staff], the face, chest and hands with ochre pigment, the byakugo [whirl of hair in the centre of the forehead] of crystal, the lips with red pigment, the reliquary with gold lacquer, the robes with extensive decoration of gold lacquer and colour, the stand with an elaborately carved rock formation and a conventional lotus pedestal in stages. Note: 8LMW PSX MW EGGSQTERMIH [MXL E GIVXM½GEXI SJ EYXLIRXMGMX] ERH ´W FS\ from Yamanaka & Co., Kyoto, Japan.

Lot 73 Property of Stephanie Hoppen c. 1880 Portrait of a Rajput. Watercolour on paper. (Frame) 17 in (H) x 15 in (W) (Paper) 9.5 in (H) x 7 in (W) £600-800

Lot 74 Property of Stephanie Hoppen 17th Century German A Portrait of a Bürgermeister Oil on canvas In a gilded frame Inscribed, upper left and with a coat of arms, upper right. The inscription upper left tells us that the sitter was born in 1612 and died in 1682 at the age of 69. He was a mayor (Bürgermeister) (Frame) 38.75 in (H) x 30.5 in (W) (Canvas) 33 in (H) x 25 in (W)

£3,000-5,000

Lot 75 Property of Stephanie Hoppen Attributed to Maurice Quentin de La Tour (1704 - 1788) Portrait of a Gentleman. Pastel on paper. In a gilded frame. (Framed) 28 in (W) x 24.5 in (W) (Paper) 60 cm (H) x 50 cm (W) £2,000-3,000

To be sold without reserve Lot 76 Property of a Gentleman Circle of Sir Anthony van Dyck Portrait of a lady (?)Henrietta Maria 17th Century Oil on panel Inscribed top left: ‘Marie’ £800-1,200

To be sold without reserve Lot 77 Property of a Gentleman Circle of Jan Gossaert (‘Mabuse’) (1478 – 1532) 16th Century Oil on panel In an early frame (Panel) 19 in (H) x 14 in (W) £1,000-1,5000

Lot 78 Property of Stephanie Hoppen Circle of John Michael Wright (17th Century) Portrait of a Lady in a feigned cartouche. Oil on canvas In a gilded frame. 28 in (H) x 24 in (W) £3,000-5,000

Lot 79 From a Private Collection Studio of Sir Joshua Reynolds RA (1723 - 1729) ‘Mrs Richard Bennett Lloyd’ (c. 1776). 7OIXGL JSV XLI ½REP ZIVWMSR EX Waddeston Manor. Oil on canvas. (Canvas) 47 in (H) x 29 in (W) £3,000-5,000

Lot 80 Ledoux, Jeanne-Philiberte (1767-1840) A Girl in a Straw Hat Oil on canvas 18 x 14.75 in £8,000-12,000

Lot 81 Property of a Gentleman Salisbury, Frank (1874 - 1962). Portrait of his wife entitled ‘Lady in Brown’. Oil on canvas. In a carved Sunderland frame. (Frame) 65 in (H) x 47.5 in (W) (Canvas) 54 in (H) x 39 in (W) £5,000-10,000

Lot 82 Property of a Gentleman French, 16th Century (c. 1580). Marriage Portrait of an Elizabethan Lady. Oil on panel. Provenance Christie’s Paris, 21st of June 2011, lot 54 (Frame) 21 in (H) x 16.75 in (W) (Panel) 16 in (H) x 11.5 in (W) £15,000-25,000

Lot 83 Property of a Gentleman (Anglo-Flemish School, Bruges, c. 1585) Portrait of a Merchant with an Earring ing C. 1585 Oil on oak panel 15 x 9 in. (31.8 x 23 cm) Provenance Private collection,York, United Kingdom, gdom, since at least 1867; Private collection, United Kingdom, since 2017. £10,000-15,000

This striking and exceptionally rare portrait of an English merchant was painted by an artist from Bruges around 1585. The format with the arched top is Netherlandish and not found within British portraiture. The ruff would appear to date the portrait to the mid 1580s and the IEVVMRK MHIRXM½IW XLI WMXXIV EW E QIQFIV SJ XLI QIVGLERX GPEWW 8LI KVIIR FEGOKVSYRH ERH KIRIVEP GSQTSWMXMSR MW ½VQP] VSSXIH MR ER IEVPMIV tradition adopted by the portrait painters of Bruges who were made widely popular by the artist Joos van Cleve (1485-1541) and his workshop. At the end of the 15th century, trade in the port of Bruges turned Flanders into the wealthiest region of Northern Europe. The city of Bruges itself became one of the seats of the Burgundian court and the nobles and rich traders were able to commission artists, creating a class of highly-skilled painters and musicians who were sought after around the continent.. A good number of examples of this type of portraiture commissioned by the aristocracy have survived, having been cared for in the safe GSR½RIW SJ VS]EP TEPEGIW ERH PEVKI GSYRXV] LSYWIW -R GSRXVEWX SRP] ZIV] JI[ TSVXVEMXW SJ XLI EWTMVMRK QIVGLERX GPEWW LEZI [MXLWXSSH XLI ravages of time.

4SVXVEMX SJ E 1IVGLERX [MXL ER )EVVMRK MW E TEVXMGYPEVP] ½RI I\EQTPI SJ XLI X]TI SJ TSVXVEMXYVI SVMKMREXMRK JVSQ XLI PEXI XL GIRXYV] 8LI jewel-like richness of its execution stands in comparison even with the few known earlier royal portraits, most notably the portrait of Arthur Prince of Wales, dating to c.1500. Both portraits are attributed to an unknown Anglo-Flemish painter and share the meticulous and realistic treatment of dress, especially the collar. The portrait of Prince Arthur, however, is still rooted in the earlier native medieval tradition whereas that of the merchant betrays a more developed, sophisticated approach of a highly trained artist active in the last quarter of the 16th century. This is particularly evident in the highly nuanced treatment of the facial tones and the three dimensional qualities of the portrait as a whole. As an example of portraiture in England in the late 16th century, Portrait of a Merchant with an Earring is an invaluable document.

Lot 84 Property of a Lady Flemish, 16th Century A Portrait of a Gentleman Oil on panel. In a gilded frame. Provenance With labels on the reverse ‘Madame Wilkinson 13’ who had a good collection of early portraits in Paris in the 20c. (Frame) 18.8 in (H) x 10.6 in (W (Panel) 17.5 in (H) x 9 in (W) £20,000-30,000

Lot 85 Flipart, Charles-Joseph (1721-1797) A Pair of Portraits of A Harpsichordist; and A Violinist Oil on canvas 20.75 (H) x 15 in (W) £10,000-15,000 Provenance Mary Berenson, née Smith (1864-1945), and her second husband Bernard Berenson (1865-1959), the art historian (‘Mrs Berenson’ inscribed on a label on the reverse of the frame of the second). Given by them to her daughter Rachel Pearson Conn (Ray) Costelloe (1887-1940), the feminist politician, and her husband Oliver Strachey (1874-1960), the cryptographer, elder brother of Lytton Strachey and music enthusiast, on the occasion of their marriage at Cambridge in 1911; thence by descent to the last owner.

Lot 86 Property of a Gentleman

The Mona Lisa Foundation, Mona Lisa: Leonardo's Earlier Version, Zurich, 2017, P. 115 under No. 2 (illustrated in colour)

After Leonardo Da Vinci (1452-1519) Mona Lisa Early 17th century Oil on oak panel 31.75 (H) x 21.75 (W) inches

This early copy of the ‘Mona Lisa’ considered by some to be 16th century (see Leonardo Da Vinci’s Earlier Mona Lisa, illustrated P. 115, No. 2) is of a rare quality and in an exceptional state of preservation. Painted on oak panels, the paint surface has survived mostly intact and maintains a clarity sadly absent in the original and various other copies. The LERH SJ XLI EVXMWX ETTIEVW XS FI XLI *PIQMWL XVEHMXMSR EW I\TIQTPM½IH F] 6YFIRW MR XLI IEVP] XL GIRXYV]

Provenance Somerset de Chair By descent. £200,000-400,000

8LI MQEKI SJ XLI 1SRE 0MWE MW TIVLETW SRI SJ XLI QSWX [IPP ORS[R EVX LMWXSVMGEP MQEKIW SJ EPP XMQI ERH ½RHW MXW WSYVGI in Leonardo da Vinci's iconic portrait in the Louvre; thought to depict Lisa Gherardini, the wife of the Florentine silk merchant Francesco del Giocondo. Renowned during its contemporary time, examples, such as our present one from the early 17th century, attest to the TEMRXMRK W KVIEX EYVE ERH MQQSZEFPI MR¾YIRGI SR EVX LMWXSV]

Lot 87 Property of a Gentleman Maillol, Aristide (1861 - 1944) &EMKRIYWI HIFSYX ½VWX ZIVWMSR ‘Statue femme debout le bras derrière le dos’, 1898 / 1901 Bronze, 66.5 cm (H) Monogram AM, cast by Florentin Godard between 1909 and 1938 without foundry mark. Provenance Sotheby’s London c. 1976 [5000 guineas] 7SPH [MXL XLI GIVXM½GEXI JVSQ (V 9VWIP &IVKIV JSV GSR½VQEXMSR SJ XLI EXXVMFYXMSR (M 7/2016).

£80,000-120,000

1EMPPSP W ½VWX ½KYVEXMZI WGYPTXYVIW [IVI [IVI GEVZIH JVSQ [SSH see for example the Standing Bather in tthe Stedelijk Museum in Amsterdam, originally in the collection of Prince Antoine Bibesco. -X [EW XLI HIEPIV %QFVSMWI :SPPEVH [LS ½VWX WYKKIWXIH XS 1EMPPSP -X [EW XLI HIEPIV %QFVSMWI :SPPEVH [LS ½ that bronze casts could be made from hi his woodcarvings. Maillol subsequently produced two versions in pplaster from the wood carving of the Standing Bather: this pre present model is almost identical to the wood carving (the second the sculptor reworked, removing the drapery over the right arm aand remodeling the right hand in a more outstretched position). On September 10th, 1902, Maillol sold a group of sculptures to Ambroise Vollard, including these two mod models, listed as follows: Statue femme debout le bras derriere le do dos. (the present cast) derriere le dos aussi Autre statue femme debout le bras derrier According to their 1902 agreement Vollard bought all the rights of reproduction of these sculptures - 'en toute tou propriété et avec le droit d'édition' and therefore, the casts that Vollard produced of the &EMKRIYWI HIFSYX ½VWX ZIVWMSR EVI JVSQ EVI JVSQ XLI SRP] PIKEP IHMXMSR -R X signing this contract with Vollard, Maillol re relinquished his rights to reproduce these works himself. of bronzes which The contract of 1902 gave no limit to the number nu period. The number of casts could be cast - this was usual for this perio Vollard edited is unknown and whilst some som of the small models such as 'Baigneuse sé coiffant' were rather ppopular, examples of the present work are rare. In 1907 Ambroise Vollard began using the Fl Florentin Godard foundry to cast these Maillol models and from 1909 to 1939 he used them exclusively, as the papers in the Vollard estate prove. Florentin Godard was a sand cast foundry, they ra rarely marked their casts with their name and never numbered them them.

This 'Baigneuse debout' is a good and typical typic bronze of the Vollard edition, cast by Florentin Godard, and carefully chiseled and patinated."

Lot 88 Property of a Gentleman Spanish School (c. 1700) Christ on the Cross C. 1700 Oil on canvas 22 in (H) x 15 in (W) 55.88 cm (H) x 38.1 cm (W) £2,000-4,000

Lot 89 Property of Stephanie Hoppen Spanish Colonial School, 18th Century (?) Our lady of Guadalope In an ornate gilded frame. Oil and applied gold on copper. On the reverse, a painting of a nun with reliquary and crown of thorns. (Image) 5 in (H) x 4 in (W) £2,000-3,000

Lot 90 Property of Stephanie Hoppen French School, 17th Century A youthful portrait of Louis XIV. Oil on panel. In a gilded 19th c. frame. Provenance Ex Sir Clive Milnes-Coates Bt. (Frame) 12 in (H) x 11 in (W) (Panel) 8.25 in (H) x 7.5 in (W) £1,000-2,000

Lot 91 Property of a Gentleman de László, Philip (1869 - 1937) Half-Length Portrait of William Aiken. Signed and dated 1932 Oil 32 in (H) x 26 in (W) 81 cm (H) x 66 cm (W) £4,000-6,000

Philip de László was born in Budapest in 1869 and is considered one of Europe's most successful and respected portrait painters. He painted portraits for numerous heads of state (including four American presidents) and members of European royal families. William Aiken, the sitter, was deeply involved with the city of Dundee and was a keen patron of the arts. He became City Chamberlain and served during World War Two as Divisional *SSH 3J½GIV ,I [EW ETTSMRXIH .YWXMGI SJ XLI 4IEGI ERH MR 1949 received the Order of the British Empire. His portrait is recorded in the artist's archive, and was executed in a single morning on the 26th July 1932. The swift, expressive brushwork of this portrait concisely captures the personality of its subject, with whom the artist LEH HIZIPSTIH E JVMIRHWLMT EJXIV ½VWX QIIXMRK LMQ MR -X is typical, too, of the artist's portraits of male sitters (such as that of Sir Luke Fildes, held in the National Portrait Gallery, London), in its warm brown and black background, enlivened by the vivid midnight blue of his suit and tie.

Lot 92 Property of a Gentleman Bonnard, Pierre (1867 - 1947) Portrait de Femme a l’embrasure d’une porte Pen and Indian ink on paper (framed) 17 in (H) x 21 in (W) (unframed) 8 in (H) x 10 in (W) £5,000-8,000

Lot 93 17th / 18th Century. % 4EMV SJ 4SVXVEMXW SJ 7Y½W Oil on paper laid on panel. The reverse of one panel branded with ‘R’. (Framed) 9 in (H) x 7 in (W) (Panel) 6 in (H) x 4 in (W) £3,000-5,000

Lot 94 Property of Stephanie Hoppen Maria M. La Fargue, 1770 Woman with baby in an interior with a young child and a cat. Original wash drawing. Signed and dated below the window sill. Maria La Fargue was a Dutch painter of the eighteenth century. She was the sister of the painter and engraver Paulus Constantin La Fargue. (Framed) 14 in (H) x 14.75 in (W) (Unframed) 7.5 in (H) x 7.5 in (W) £600-800 Lot 95 Property of Stephanie Hoppen Wilhelm Emile Charles Adolphe de Specht (French, b. 1843) ‘Dr. Wolfe in his Study’. Watercolour. Signed and dated Paris, 1885. (Framed) 22.5 in (H) x 26.75 in (W) (Unframed) 15 in (H) x 19 in (W) £700-1,000

Lot 96 Property of Stephanie Hoppen Swedish School, 18th Century Interior with Playful Family. Oil on canvas. In a gilded frame. (Frame, including pediment) 37 in (H) x 39.5 in (W) (Unframed) 25.5 in (H) x 32 in (W) £2000-3000

Lot 97 Property of Stephanie Hoppen Somm, Henri (1844 - 1907) A Japanese Vignette (Frame) 14 in (H) x 17 in (W) (Paper) 9.25 in (H) x 11.5 in (W) £400-600

Lot 98 Property of Stephanie Hoppen Somm, Henri (1844 - 1907) and Rops, Félicien (1833 - 1898). A collection of 6 watercolours, drawings and engraving (Framed, overall) 27 in (H) x 24 in (W) £1,000-2,000

Lot 99 Fedden, Mary (RA, 1915 - 2012) ‘The Black Lemon’. Gouache on paper. Signed and dated, 1977. Provenance New Grafton Gallery Collection of Lady Verney (Paper) 26.5 in (H) x 18.6 in (W) £3,000-5,000

Lot 100 Property of Stephanie Hoppen Erté (1892 - 1990) London Palladium 1938 Costume: ‘Symphony in White’ Gouache on paper Provenance Grosvenor Gallery (cat 166 1938) 14.5 in (H) x 10.5 in (W) £3,000-5,000

Lot 101 Property of Stephanie Hoppen 18th / 19th Century (?) 'EVZIH ;SSHIR +VMJ½R SJ WX]PMWIH form on a later plinth 35 cm (H) x 18 cm (W) x 7.5 cm (D) £800-1,200

Lot 102 Property of Stephanie Hoppen A Roman Marble Statuary Fragment ;MXL X[S ½KYVIW ERH E XLIEXVMGEP QEWO GEVZIH in high relief. 20 cm (H) x 18 cm (W) £800-1,200

L t 103 Lot Elliot, Emma (b. 1983) Spin-Head Bronze on iron base, 157 x 27 x 27cm 2015 £8,000-12,000 Passion For Freedom Festival: Freedom Ambassador Award 2015 Spin-Head pays homage to Italian futurist Renato Bertilli’s famous sculpture of Italian fascist dictator Benito Mussolini. The work symbolises the precarious nature of free speech and I\TVIWWMSR FYX EPWS XLI ½VWX ZMGXMQW SJ JEWGMWX MHISPSKMIW [SQIR The work questions if our fear of insulting others causes society to ‘zip up’ and shut down, thus distorting and restricting our ability to communicate. Exhibitions: 2021/22 Political Art | U-jazdowski Museum of Contemporary Art | Warsaw 2015 Passion For Freedom | Festival and Gala | Mall Galleries | London

Awards: 2015 Passion For Freedom Festival, Spin-head - 1st prize Freedom Ambassador Award 2016

Lot 104 Property of Stephanie Hoppen Mughal India, 17th / 18th Century (?) An Indian Miniature of the Madonna and Child with angels. On paper. (Paper) 12 in (H) x 9 in (W) £2,000-3,000 This image is an example of an iconography resulting from the assimilation of Catholic ideologies into the Mughal court style within India. The Jesuits have had a presence in India since the sixteenth century and generally treated their mission encounters as a dialogue instead of a harangue. As such, the Jesuits earned a reputation as skilled debaters and were welcomed into the royal Mughal courts. The resulting encounters yielded syncretic images in which Mughal artists deftly and selectively integrated European subjects as well as stylistic conventions and pictorial realism. MughalTVSHYGIH EVX MR¾YIRGIH F] 'EXLSPMG EVX VERKIH JVSQ MGSRMG VITVIWIRXEXMSRW SJ .IWYW ERH 1EV] to a panoply of Christian saints and angels.

Lot 105 An Indo-Persian Illuminated Miniature Mounted on marbled board Depicting a mendicant with a tethered monkey, a leopard over his shoulder, a snake around his neck, and various other accoutrement of his trade. Intricately decorated border depicting big cats, game, and foliage; and using applied gold. 14 in (H) x 9.25 in (W) £3,000-5,000

Lot 106 Property of Stephanie Hoppen 17th / 18th Century (?) A Falconer. Safavid (?). Watercolour on paper. Framed. (Paper size) 10 in (H) x 7 in (W) £800-1,200

Lot 107 Property of a Gentleman Ward, Stephen (1912 - 1963) Portrait of Monica Dickens, a student Ink on buff paper With inscriptions verso (Frame) 24 in (H) x 21 in (W) (Paper) 16 in (H) x 14.5 in (W) £2,000-3,000

Lot 108 Property of a Gentleman Attributed to Sir John Lavery (1856 - 1941) A full length portrait of a Lady Watercolour on paper With signature inscribed on back (Framed) 23.25 in (H) X (17.75 in) (W) (Unframed) 15.5 in (H) X 11 in (W) £2,000-4,000

Lot 109 Gill, Eric (1882 - 1940) ‘The Dancer’. 1925. Wood engraving on paper. Edition of 12. Signed and framed. This work is part of Gill’s suite of illustrations for the Song of Songs and is a very rare signed example Catlogue number: Physick 328 (Frame) 11 in (H) x 8.75 in (W) (Paper) 6.5 in (H) x 4.5 in (W) £800-1,200

Lot 110 Property of a Lady Willmann, Edouard (1820 - 1877) A still life of a tortoise and a crab. Oil on panel Signed and dated ‘Willmann / Paris 44’ Provenance Private Property of His Majesty the King Ludwig III of Bavaria, inventory no. 3 Sotheby’s Hanover sale, 2005; lot no 1105 (Frame) 57 cm (H) x 49.5 cm (W) (Panel) 41 cm (H) x 23.5 cm (W) £1,000-2,000 This still life is a continuation of the symbolic potency of the Dutch pronkstilleven genre; it demonstrates both the ‘luxurious’ and ‘exotic’ consumption in 19th century Paris, while also displaying the artists skill of capturing different WYVJEGI XI\XYVIW ERH XLI VI¾IGXMSR SJ PMKLX

Lot 111 Property of a Gentleman Circle of Francesco Guardi (1712 - 1793) A Coastal Landscape Oil on canvas In a carved and gilded 18th century frame (Frame) 13 in (H) x 16 in (W) (Canvas) 7 in (H) x 10.5 in (W) £400-600 Lot 112 Property of a lady Late 19th / Early 20th Century Impressionist Signed indistinctly lower left. Oil on artist board. In a gilded frame. (Frame) 9 in (H) x 10.5 in (W) (Board) 4.5 in (H) x 6 in (W) £200-400

Lot 113 Property of Stephanie Hoppen Kalnai Knappne, c. 1880 A Lady in an Interior. Danish (?) Oil on artist’s board In a gilded frame (Unframed) 7 in (H) x 8.5 in (W) £300-500

Sold without reserve Lot 114 Property of a Gentleman Gear, William (RA, 1915 - 1997) Blue Forms. Signed, 1994. Gouache on paper. (Frame) 16 in (H) x 18 in (W) (Paper) 9.5 in (H) x 11.5 in (W) £200-300

Lot 115 Property of a Gentleman Circle of Jean-Antoine Watteau (1684 - 1721) Portrait of Youthful Lady White chalk and pencil on paper Mounted and framed Inscribed verso (Frame) 18 in (H) x 14 in (W) (Paper) 7 in (H) x 5.5 in (W) £50-100

Sold without reserve Lot 116 Property of a Gentleman %VQ½IPH (MERE F ‘Vineyard Near Limoux’. Pencil and chalk on paper. Signed and framed. (Paper) 7 in (H) x 8.5 in (W) £200-300 λ

Lot 117 Property of Stephanie Hoppen Daniell, William RA (1769 - 1837) Three Studies of Eastern Gentleman Pencil on paper In one frame (Frame) 15 in (H) x 13 in (W) [Each image] 3.5 (H) x 3 in (W) £200-300

Lot 118 Property of Stephanie Hoppen Circle of Émile Jean-Horace Vernet (1789 - 1863) [a] Napoleon I, Emperor of France, in exile on Elba (c. 1815) Watercolour on card Framed (Image size) 7.5 in (H) x 6 in (W) (and three others) [b] J. Longhi after Legros Engraving of Napoleon Bonaparte (1798) Framed and Glazed (Image) 20 in (H) x 13.5 in (W) (Framed) 28 in (H) x 21.5 in (W) [c] A Print of Napoleon with Sequins (Frame) 7.5 in (H) x 6.5 in (W) (Paper) 4.5 in (H) x 3.75 in (W) [d] A Stylised Portrait of Napoleon, German Campaign of 1813. (Frame) 7.25 in (H) x 6 in (W) (Paper) 5.5 in (H) x 4 in (W) £1,000-1,500

To be sold without reserve Lot 119 Property of a Gentleman Late 16th Century The Virgin Mary. Oil on panel. Unframed. (Panel) 12 in (H) x 8.75 in (W) £500-700

Lot 120 Property of Stephanie Hoppen 18th Century (circa 1758) A portrait of Maria Theresa of Savoy (1756-1805) as a child. Watercolour on paper. In an oval gilded frame. With extensive inscriptions attached to the back-board. (Frame) 16 in (H) x 12.5 in (W) (Paper) 11 in (H) x 8.5 in (W) £600-800

Lot 121 Paul Gauguin (1848 - 1903) Noa Noa, 1893-4 Signed PGO in the woodblock Color woodcut, from the edition of approximately 25-30, printed by Louis Roy, Paris, with full margins, under Gauguin’s supervision. Image 14 x 8 1/8 inches; 356 x 206 mm. Sheet 15 3/4 x 9 13/16 inches; 400 x 249 mm. PROVENANCE Ismar Littmann Family Collection £30,000-40,000

Ever seized by wanderlust, Paul Gauguin sought to abandon the European life LI ZMI[IH EW GSRZIRXMSREP ERH EVXM½GMEP MR JEZSV SJ SRI MR XYRI [MXL REXYVI and free of the constraints of Western social mores. In search of a more vital ERH EYXLIRXMG [E] SJ PMJI LI QEHI LMW ½VWX WSNSYVR XS 8ELMXM MR %PXLSYKL the island was not the untouched Eden he had hoped for, he was still greatly MRWTMVIH F] XLI TISTPI GYPXYVI ERH PMJIWX]PI XLIVI ERH XLIWI RI[ MR¾YIRGIW [IVI VI¾IGXIH MR LMW TEMRXMRKW WGYPTXYVIW ERH HVE[MRKW %JXIV LI VIXYVRIH to Europe in 1893, he began working on Noa Noa (Tahitian for "fragrance"), a book project based on his Tahitian experience and illustrated with woodcuts that were meant to make his new art more understandable to his contemporaries. Although never realized in their intended form, both the text and the ten woodcuts for Noa Noa survive among Gauguin's seventy-eight printed compositions in woodcut, etching, and lithography. The Noa Noa woodcuts illustrate everything that drew Gauguin to printmaking. Although the woodcut had seen a modest revival in the nineteenth century, no example matched the audacity of Gauguin's approach to the medium, which allowed him to work on a natural, "primitive" matrix, creating works that combined the sculptural gouging of his carved wood low reliefs with the evocative color of his paintings. It also provided seemingly endless opportunity for experimentation. Gauguin printed Noa Noa blocks with various inkings and color combinations, on different papers, and sometimes slightly off-register to create a blurred, dreamlike image, as in The Gods. In addition to the Noa Noa woodcuts printed by the artist, impressions were also pulled by the professional printer Louis Roy during the artist's lifetime; others were produced posthumously by Gauguin's son, Pola, and by others. Publication excerpt from an essay by Sarah Suzuki, in Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 42. Collections: Atlanta, High Museum of Art Chicago, The Art Institute of Chicago, ec Charles Morice Chicago, The Art Institute of Chicago,ex Paco Durrio Paris, Musee National des Arts Africaines et Oceaniens, 4 copies Chicago, The Art Institute of Chicago Boston, Museum of Fine Arts Stockholm, National Museum Bern, Kunstmuseum Washington, DC, National Gallery of Art New York, Museum of Modern Art London, British Museum PUBLICATIONS E. Mongan, E.W. Kornfeld and H. Joachim, Paul Gauguin: Catalogue Raisonné of His Prints, Bern, 1988, pp. 150-55, no. 13 (another example illustrated).

Lot 122 Property of a Lady Early Teotihuacano Culture, 0-200 AD. % 6EVI %RXLVSTSQSVTLMG )J½K] Wearing a Headdress of Quetzal Feathers, Kneeling on one Knee with Necklace and Oblong Earspools. Central Mexico Grey-green diorite with brown patina Provenance: Given as a gift to M. Julien Dalbin, Paris, France during his travels in Mexico in the 1940’s; By descent, M. Pierre Dalton, Paris, France; By descent. 30 cm (H) x 15 cm (W) x 13 cm (D) £10,000-20,000 We are grateful to Professor Michael Coe, Yale University, and Dr José Contel, Toulouse University, for their help with the attribution and origins SJ XLI IJ½K] The beginnings of Teotihuacan are still very much unknown and are still shrouded in mystery. What we do know is that in the Late Formative era a number of urban centres arose in central Mexico. The most prominent of these appears to have been Cuicuilco on the southern shore of Lake Texcoco. Scholars have speculated that the eruption of the Xitle volcano may have prompted a mass emigration out of the central valley and into the Teotihuacan valley. These settlers may have founded or accelerated the growth of Teotihuacan. Other scholars have put forth the Totonac people as the founders of Teotihuacan. There is evidence that at least some of the TISTPI PMZMRK MR 8ISXMLYEGER MQQMKVEXIH JVSQ XLSWI EVIEW MR¾YIRGIH F] XLI Teotihuacano civilization, including the Zapotec, Mixtec, and Maya peoples. The earliest buildings at Teotihuacan date to about 200 BC. The largest pyramid, the Pyramid of the Sun, was completed by AD 100. 8LI [MHI ¾EX LIEHHVIWW SJ XLMW ½KYVI MHIRXM½IW MX EW LEZMRK FIIR QEHI F] early cultures of the Teotihuacano cultural region, before the Classic period GMX] SJ 8ISXMLYEGER [EW JYPP] IWXEFPMWLIH -R XLMW VEVI TMIGI [I ½RH MR¾YIRGIW ERH SXLIV GSQTEVEFPI JIEXYVIW MR PEXIV 8ISXMLYEGERS ½KYVMRIW WYGL EW JEGMEP features, necklaces, and headdresses. The feathered headdress of Mesoamerican cultures was made from quetzal feathers. The resplendent quetzal was considered divine, associated with the “snake god”, Quetzalcoatl, by Pre-Columbian Mesoamerican civilisations. Its iridescent green tail-feathers, symbols for spring plant growth, were venerated by the ancient Aztecs and Maya who viewed the quetzal as the “god of the air” and as a symbol of goodness and light. The Maya also viewed the quetzal as symbolising freedom and wealth; this was due to their understanding that quetzals died in captivity, as well as the value which the Maya assigned to their feathers. Mesoamerican rulers and some nobility of other ranks wore headdresses made from quetzal feathers, symbolically connecting them to Quetzalcoatl. Since it was a crime to kill a quetzal, the bird was simply captured; its long tail feathers were plucked and it was set free. In several Mesoamerican languages, the term for quetzal can also mean precious, sacred, or erected.

Lot 123 Property of Stephanie Hoppen (18th Century) ‘Sailor’s delight’ (18th Century). A watercolour of a bustling port, a fort, a shipyard, crowds of jolly people, and amorous scenes between men. We have failed to identify the location of the port and lighthouse. (Paper) 10 in (H) x 36 in (W) £2,000-4,000

Lot 124 Property of a Gentleman Circle of Gainsborough Circle of Gainsborough. Landscape with Animals and Figures. Oil on canvas. In a gilded frame. (Frame) 34 in (H) x 41 in (W) (Canvas) 28 in (H) x 35 in (W) £3,000-5,000

Lot 125 Property of a lady Pissarro, Camille (1830-1903) La Roche Guyon Signed, dated and inscribed ‘après midi C Pissarro 1859 La roche Guyon’ (lower left), titled and dated again ‘La Roche Guyon 1859’ (lower right) Pen and ink and grey wash on paper Executed in 1859 11.75 × 18.5 in. Provenance Collection Mme Rodo Pissarro, Paris Christie’s 3rd Dec,1996, Lot 121, 7-9k Condylis collection £6,000-8,000

Pissarro spent the summers of 1856, 1857 and 1859 with his family between La Roche-Guyon and Montmorency where he captured the surrounding landscapes.

Lot 126 Property of a lady Vieira da Silva, Maria Helena (1908-1992) Untitled Signed and dated 71 (lower right) Gouache on paper Executed in 1971. Unframed 11 x 6 inches Provenance Redfern Gallery Condylis collection £12,000-18,000

Lot 127 Property of a Lady Morris, Sir Cedric (1889-1982) Landscape with a cottage. Purbeck Hills. Signed and dated lower right Oil on canvas (Framed) 34.5 in x 31 in (Canvas) 25 in x 29 in Provenance Arthur Tooth & Sons, where acquired by the late owner in 1920s, thence by family descent to the current owner £50,000-80,000 Interestingly, on the reverse of the canvas, appears to be another painting which has been ‘whited out’ which is potentially recoverable.

Lot 128 Property of a distinguished family Giovanni Paolo Panini (1691-1765) St. Paul shaking off the Viper in the Island of Malta, with the Temple of Saturn and St Peter's Colonnade Oil on canvas C. 1735 262 x 218 cm. Literature Catalogue of Paintings in the Wellington Museum Apsley House by C.M. Kauffman, revised by Susan Jenkins, English Heritage in association with Paul Holberton publishing, London 2009, p. 223-4, cat. no.123. £100,000-150,000 This large and impressive canvas is an important addition to Panini's oeuvre and according to Professor Arisi should be dated circa 1735 on comparison with the small version (73 x61cm) signed and dated that year at the Wellington Museum, London (Arisi 1986, p.348, no.234). The picture illustrates The Acts of the Apostles, chapter 28; 1-6. Paul, on his way to stand trial in Rome, is shipwrecked on Malta with other prisoners. 8LI] EVI [IPGSQIH F] XLI MWPERHIVW [LS PMKLX E ½VI XS [EVQ XLIMV KYIWXW ,IPTMRK XS GSPPIGX WXMGOW JSV ½VI[SSH 4EYP MW FMXXIR F] E ZMTIV [LMGL JEWXIRW MXWIPJ XS LMW LERH FYX LI WLEOIW MX SJJ MRXS XLI ½VI ERH MW YRLEVQIH 8LI islanders take this to be a miracle and proof of divine protection.

Catalogue of Paintings in the Wellington Museum Apsley House by C.M. Kauffmann, revised by Susan Jenkins, English Heritage in association with Paul Holberton publishing, London 2009, p. 223-4, cat. no.123. This large and impressive canvas is an important addition to Panini's oeuvre and, according to Professor Arisi, should be dated circa 1735 on comparison with the small version (73 x61 cm) signed and dated that year at the Wellington Museum, London (Arisi 1986, p.348, no.234). The picture illustrates The Acts of the Apostles, chapter 28; 1-6. Paul, on his way to stand trial in Rome, is shipwrecked on Malta with other prisoners. They are welcomed F] XLI MWPERHIVW [LS PMKLX E ½VI XS [EVQ XLIMV KYIWXW ,IPTMRK XS GSPPIGX WXMGOW JSV ½VI[SSH 4EYP MW FMXXIR F] ZMTIV [LMGL JEWXIRW MXWIPJ XS LMW LERH FYX LI WLEOIW MX SJJ MRXS XLI ½VI ERH MW YRLEVQIH 8LI MWPERHIVW XEOI XLMW XS be a miracle and proof of divine protection. Panini seems to have had a particular regard for this subject which he had already painted in 1731 as part a pair with a Preaching of St Paul (Arisi 1986, no.214). In this early composition there are a number of differences, RSXEFP] MR XLI ½KYVIW 8LI GERZEW MW QSVI GPSWIP] XLI TVSXSX]TI JSV XLMW PEVKIV ZIVWMSR -X [EW EKEMR XVIEXIH as a pair with the same subject as before, its companion also being in the Wellington Museum (Arisi 1986, p.348, no.325). &SXL WQEPP TMGXYVIW [IVI EGUYMVIH F] XLI ½VWX (YOI SJ ;IPPMRKXSR MR 4EVMW MR -R XLMW PEXIV XVIEXQIRX SJ 4EYP SR 1EPXE XLI EVGLMXIGXYVEP WIXXMRK MW GSR½VQIH EW E GETVMGGMS SJ ERGMIRX ERH QSHIVR FYMPHMRKW ERH WXEXYEV] on the left is a Corinthian peristyle based on the Temple of Saturn and behind it an arcade of columns imagined as a ruined version of the colonnade of St Peter’s. On the right is a sculpture which bears resemblance to the *EVRIWI ,IVGYPIW WIX SR E LMKL TIHIWXEP 8LI ½KYVIW WXERH EQSRK ER EWWIQFPEKI SJ JEPPIR WXSRIW GSPYQRW ERH entablatures. ;MXL SRP] QMRSV ZEVMEXMSRW XLI HIWMKR ERH ½KYVIW EVI VITIEXIH MR SYV PEVKIV TMGXYVI XLI MQTSVXERGI ERH scale of which prompt Arisi to suggest that it might have been commissioned by a Roman institution such as the Basilica di San Paolo fuori le mura. There are preparatory drawings in the Kupferstichkabinett, Berlin, for the ]SYRK QER WIIR MR TVS½PI PIERMRK SR XLI [EPP MRZ RS ERH XLI WSPHMIV WIIR JVSQ FILMRH PIERMRK SR XLI base of the sculpture (inv.no.17556).

Lot 129 Property of a Lady

Lot 129

Picasso, Pablo (1881-1973) Marmite haute, homme et femme allonge, 1950 Stamped Société Stella/ n° 12 / Vallauris A-M Dated under the base 10.8.50 I Vallauris Unique piece Fired clay, painted 18.5 x 27 cm (7 ¼ in x 10 ½ in) £50,000-80,000

Provenance Estate of the artist Marina Picasso (the artist’s granddaughter; acquired from the above) Present owner (acquired form the above) February 2008 Exhibited Valencia, Fundación Bancaja; Alicante, Fundación Bancaja & Tacoma, Tacoma Art Museum, Picasso, A Dialogue with Ceramics, Ceramics from the Marina Picasso Collection, 1998-99, no. 18, illustrated in colour in the catalogue

Lot 130 Property of a lady

Lot 130

Picasso, Pablo (1881-1973) Marmite Ronde, Frise De Femmes, 1950 Stamped VALLAURIS AM on the side (indistinctly) Date painted on the side Vallauris 11.8.50 Painted II on the base Unique piece Fired clay, painted 19 x 27 cm (7 ½ in x 10 ¼ in) £50,000-80,000

Provenance Estate of the artist Marina Picasso (the artist’s granddaughter; acquired from the above) Present owner (acquired from the above) February 2008 Exhibited Valencia, Fundación Bancaja; Alicante, Fundación Bancaja & Tacoma, Tacoma Art Museum, Picasso, A Dialogue with Ceramics, Ceramics from the Marina Picasso Collection, 1998-99, no. 17, illustrated in colour in the catalogue

Lot 131 Property of a lady Picasso, Pablo (1881-1973) Grand pichet deux visages, 1952. Incised 23.8.52 Unique piece White terracotta, incised. A very large, double-handled vessel in white clay with a portrait on either side: one of a bearded and moustachioed man, the†other of a woman, possibly Jacqueline Roque. 31x 35 cm (12 ¼ in x 13 ¾ in)

£200,000-300,000

Provenance Estate of the artist Marina Picasso (the artist’s granddaughter; acquired from the above) Present owner (acquired from the above) 2008 Exhibited Galerie Jan Kruger, Ditesheim & Cie, Le feu et la Terrie, 7 December 2004 – 25 February 2005

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Lot 132 Gauguin, Paul (1848 - 1903) Oviri, 1893 - 94 Bronze, Height: 74.3cm, 29.2 in Edition 12/12 Conceived circa 1893 - 1894 This work was fully authorised by Gauguin in a letter to Ambroise Vollard (see accompanying letter). The bronze versions were cast c. 1955 in an edition of 12. One of the bronzes is placed on his grave in Tahiti. Another of the bronzes was sold in 2006 by Christie’s New York for $251,200. Gauguin wished to have Oviri on his grave, suggesting its importance. Oviri itself communicates Gauguin’s anarchic and uncompromising beauty; a very personal totem. £80,000-120,000 Oviri is the name of the goddess of mourning in Tahitian mythology. It is also the title of a traditional Tahitian song that tells of the love and longing between two women whose restless hearts grow cold and silent to each other. Before it was embodied as Gauguin’s last sculpture and masterpiece, Oviri was one of the inner images in the artist’s “little world of friends” that spiritually invited and eventually took him to Tahiti. 8LMW YRGPEWWM½EFPI TMIGI 3ZMVM PMXIVEPP] XVERWPEXIW EW ±WEZEKI² MW PIERMRK SR LIV mysteriously long and thick hair that curiously leaves the back of the head open. She is depicted as indifferently killing a fox while dispassionately caressing its cub thus communicating “life in death”. With its disturbing physical features as well as its unusual posture, Oviri appears as a strange amalgamation between a wild human being and some unknown creature. Gauguin hints at his empathic connection to the remarkable and unique rigidity of Oviri as if it is part of his inner self: “I am a savage in spite of myself. That's also why my work is inimitable.” Exhibitions Rome, Complesso del Vittoriano, Paul Gauguin: Artist of Myth and Dream, October 2007-February 2008, p. 322, no. 94 (illustrated in color, p. 323). Literature H. Castets, "Gauguin," Revue universelle, no. III:xcvi, 15 October 1903, p. 536. C. Morice, Paul Gauguin, Paris, 1919, p. 158 (ceramic version illustrated, p. 159). A.Vollard, Souvenirs d'un marchand de tableaux, Paris, 1937, p. 197. R. Goldwater, Paul Gauguin, New York, 1957, p. 27. C. Gray, Sculpture and Ceramics of Paul Gauguin, Baltimore, 1963, pp. 245-247, no. 113 (partially glazed stoneware version illustrated). M. Bodelsen, Gauguin's Ceramics, A Study in the Development of his Art, 0SRHSR TT ½K TEMRXIH WXSRI[EVI ZIVWMSR MPPYWXVEXIH T dated 1893-1895). G.M. Sugana, L'opera completa di Gauguin, Milan, 1972, p. 111, no. 394-1 (terracotta version illustrated, p. 110). J. Richardson, A Life of Picasso, New York, 1991, vol. I, pp. 459 and 461 (partially glazed stoneware version illustrated, p. 458; dated 1894). C. Andréani, Les Céramiques de Gauguin, Paris, 2003, pp. 46 and 140 (ceramic version illustrated in color on the cover, pp. 47-49 and 140-141). Belinda Thomson (ed.), Gauguin by himself, London, 1993, no. 212, illustration in colour of the stone version p. 269 Gauguin in New York Collections: The Lure of the Exotic (exhibition catalogue), 8LI 1IXVSTSPMXER 1YWIYQ SJ %VX 2I[ =SVO ½K MPPYWXVEXMSR SJ XLI GEWX mounted on the artist's grave site p. 138 Gauguin, Tahiti, L'Atelier des tropiques (exhibition catalogue), Galeries 2EXMSREPIW HY +VERH 4EPEMW 4EVMW 1YWIYQ SJ *MRI %VXW &SWXSR ½KW & 129, illustration in colour of the stone version pp. 190 & 193 Gauguin, Maker of myth (exhibition catalogue),Tate Modern, London & National Gallery of Art, Washington, 2011, no. 112, illustration in colour of the stone version p. 173

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103 1 10 03

Lot 133 Attributed to Venetian-Cretan Painter Ioannis Permeniates (1480-1550) c. 1520 A monumental icon of the Virgin & Child with St. Sebastian and St. Roch. Framed 110 cm (H) x 85 cm (W) £70,000-100,000

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8LMW I\EQTPI SJ 4IVQIRMEXIW [SVO VI¾IGXMRK XLI TVSJSYRH MR¾YIRGI SJ Carpaccio on the Cretan's iconographic style, gives us a window into the [SVPH SJ IEVP] XL GIRXYV] EVXMWXMG MR¾YIRGIW MR :IRMGI -SERRMW 4IVQIRMEXIW was inscribed as a member of the Greek Confraternity in Venice in 1523. Another important member of the Cretan-Venetian artistic community was, of course, El Greco. [Constantoudaki-Kitromilides, “Le icone e l’arte dei pittori greci a Venezia,” 573-77, Marisa Bianco Fiorin, “Giovanni Permeniate pittore Greco a Venezia e una tavola del Museo Nazionale di Ravenna,” Bollelino d ’Arte 66 (1981): 85-88, Marisa Bianco Fiorin, “Pittori cretesi-veneziani e ‘madonneri,’ nuove indagini ed attribuizioni,” Bolletino d ’Arte 47 (1988): 74-75.]

Lot 134 From a Distinguished Private Collection

This work is a very early example of the Cretan School style of iconography circa 1460-1480.

Early Cretan School, c. 1460 - 1480. A monumentally large & very early icon of St. George and the dragon.

Here, we see a monumental depiction of the story of St George and the dragon as it was written by Jacobus de Voragine in Legenda Aurea in the 1260s. In this icon we see St George, lance in hand, poised upon his horse over a threeheaded dragon which he has just struck and wounded having made the Sign of the Cross. In the lower right stands the diminutively sized princess dressed as E FVMHI WLI LEW FIIR GLSWIR F] PSX EW SRI MR E WYGGIWWMSR SJ ]SYXL WEGVM½GIW made to the beast in order to prevent it from attacking the city, Silene (thought to be in Libya). The princess leads the beast with her girdle tied around its neck like a leash.

70 cm (H) x 56 cm (W) £150,000-200,000

8LI HIXEMP IWTIGMEPP] MR XLI ½KYVIW XST PIJX SR WYGL E PEVKI WGEPI MR EHHMXMSR to the high state of preservation and the early date make this icon a rare and exceptional example of a popular iconographic motif.

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Lot 135 Property of Stephanie Hoppen Russian Icon (17th Century) Virgin’s Nativity with Joseph 17th Century Description to label verso (Panel) 12 in (H) x 11.5 in (W) Provenance Maria Andipa Gallery Collection of Stephanie Hoppen 37 cm (H) x 29 cm (W) £2,000-3,000

Lot 136 Property of a Gentleman Central Russian circa 1650. The Appearance of the Virgin to Saint Sergius Central Russian, Moscow (?), Tempera and gold on panel. 12 in (H) x 9.5 in (W) £4,000-6,000

Lot 137 From a Distinguished Collection Attributed to Emmanuel Tzanes, also known as Bounialis (Mid-17th Century) An Icon of St. Eustasius 37 cm (H) x 29 cm (W) £8,000-12,000

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Lot 138 From a Distinguished Collection Signed by Philitheos Scoufos, c. 1665 The Forty Martyrs of Sabaste c. 1665 54 cm (H) x 44 cm (H) £30,000-50,000

Here, we see recounted the martyrdom of forty Roman soldiers of the Legio XII Fulminata. The soldiers are thought to have been martyred in 320 near the city of Sebaste (modern day Turkey). They were victims of the persecutions of the Emperor Licinius. Bishop Basil of Caesarea (370 - 379) provides the earliest extant account of their martyrdom. The forty soldiers who had openly confessed themselves Christians were condemned by the prefect to be exposed naked upon a frozen pond near Sebaste on a bitterly cold night. Among the confessors, one yielded and, leaving his companions, sought the warm baths near the lake which had been prepared for any who might prove inconstant. Upon immersion into the cauldron, the one who yielded went into shock and immediately died. One of the guards, Aglaius, was set to keep watch over the martyrs and beheld at this moment a supernatural brilliancy overshadowing them. He at once proclaimed himself a Christian, threw off his garments, and joined the remaining thirty-nine. Thus the number of forty remained complete. At daybreak, the stiffened bodies of the confessors, which still showed signs of life, were burned and the ashes cast into a river. Christians, however, collected the precious remains, and the relics were distributed throughout many cities; in this way, veneration of the Forty Martyrs became widespread, and numerous churches were erected in their honour. ["Martyr Acacius of the Holy 40 Martyrs of Sebaste". oca.org.]

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Lot 139 Property of a Gentleman Attributed to Theodore Poulakis, 17th Century Greek The Apocalypse,Vision of St John the Divine on Patmos writing the Book of Revelation. 41 x 32 cm £40,000-80,000

Lot 140 From a Distinguished Collection Cretan School. 16th Century. A Large Icon of Christ as High Priest. 60 cm (H) x 51 cm (W) £20,000-30,000

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Terms & Conditions These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully FIJSVI HSMRK WS =SY [MPP ½RH E KPSWWEV] EX XLI IRH I\TPEMRMRK XLI QIERMRK SJ XLI [SVHW ERH expressions coloured in bold. Unless we own a lot (Δsymbol), Sloane Street Auction Galleries acts as agent for the seller. This means that we are providing services to the seller to help them sell their lot and that Sloane Street Auction Galleries is concluding the contract for the sale of the lot on behalf of the seller. When Sloane Street Auction Galleries is the agent of the seller, the contract of sale which is created by any successful bid by you for a lot will be directly between you and the seller, and not between you and Sloane Street Auction Galleries.

Section 1: Important Notices

CONDITION Bidders must satisfy themselves as to the condition of each lot. Condition reports are available on request – see the Conditions of Business at the back of this catalogue forming part of these Auction Terms and Conditions for more information regarding condition reports. Requests for condition reports must be submitted by 4pm on the day prior to the auction; condition reports may be available alongside the lot description on the online catalogue at: www.sloanestreetauctions.com.

BUYING AT SLOANE STREET AUCTIONS There are several ways you can bid at an SSA auction; in person, by leaving a commission or absentee bid, on the telephone where available and live via the internet – please make arrangements before the sale. THIS NOTICE APPLIES ONLY TO A PERSON WHO WISHES TO BID IN PERSON, OR BY LEAVING A COMMISSION OR ABSENTEE BID, AT AN SSA PUBLIC AUCTION. For more information about bidding services, please see our Online Terms and Conditions COMMISSION CHARGES published on our website: www.sloanestreetauctions.com. All purchases are subject to a buyer’s premium, which is charged per lot at 25% of the hammer price (30% including BIDDING IN PERSON If intending to buy you are required to register your name VAT) up to and including £450,000, 20% (24% including VAT) and details at reception prior to the commencement of the of the hammer price from £450,001 up to and including auction. You will be required to provide a proof of identity £4,000,000 and 15% of the hammer price (16.4% including and address to register for bidding.You will then be allocated VAT) from £4,000,001. In the event the lot has a double a bidding number, which you use when bidding for an item. dagger (‡) beside the lot number in the catalogue, this For more information about bidder registration, please see indicates that the lot is owned by an entity or company our Online Terms and Conditions published on our website: required to pay VAT (generally not an Antique Dealer, as they operate under a dealers margin scheme). VAT is payable at www.sloanestreetauctions.com. 20% on the Hammer Price. Lots marked with * (presently a reduced rate of 5%) or a theta ( Θ) (presently at standard COMMISSION BIDS SSA will execute bids on your behalf if you are unable to rate of 20%) have been imported from outside the United attend the sale. Commission or absentee bids are accepted Kingdom to be sold at auction and therefore the buyer must either directly at reception, or can be sent by post, email, pay the import VAT at the appropriate rate on the hammer telephone or via the website: www.sloanestreetauctions.com. price. SSA will add these bids to the auctioneer’s sale book and will undertake to purchase the lots on your behalf as cheaply as allowed by other bids and reserves. If two buyers submit MHIRXMGEP GSQQMWWMSR FMHW 77% QE] TVIJIV XLI ½VWX FMH received. SSA does not accept liability for failing to execute commission bids, or for any errors or omissions. For more information about the procedure of auctions, please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com.

IBAN: GB52 LOYD 3098 9754 1403 62. The name of the bank account holder should match the name of the buyer. First time buyers who are not present at the saleroom are requested to pay by bank transfer. For more important information about payments please see our Online Terms and Conditions published on our website www. sloanestreetauctions.com. Y CITES REGULATIONS Please note that lots marked with the symbol ( γ) in this catalogue may be subject to CITES Regulations when exported Relevant CITES Regulations may be found at www. gov.uk/guidance/cites-imports-and-exports. COLLECTION OR DELIVERY Before being able to collect your purchases you are required to pay the hammer price, plus the applicable commissions and taxes, and to obtain a receipt acknowledging payment. Collection of the purchased lots is at the purchaser’s risk and expense and whilst Sloane Street Auctions do not provide packing and despatch service we can suggest some carriers. Sloane Street Auctions also require that all TYVGLEWIH MXIQW EVI GSPPIGXIH [MXLMR ½ZI [SVOMRK HE]W SJ the sale to avoid a storage charge being applied. For more information about Collection and Delivery please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com. STORAGE CHARGES %PP MXIQW RSX GSPPIGXIH F] TQ [MXLMR ½ZI [SVOMRK HE]W SJ the sale, will be automatically removed to commercial storage and subject to a minimum storage charge of £20 (plus VAT) per lot and to a further storage charge of £5 (plus VAT) per lot per part or full day thereafter. These charges will be the sole liability of the purchaser. For more information about Storage Charges please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com.

PAYMENT Payment will be accepted, if you are a successful bidder, by debit card issued in the name of the Buyer by a UK bank and registered to a UK billing address; by all major UK issued credit cards issued in the name of the Buyer and registered to a UK billing address with the exception of American Express and Diners Club; by bank transfer direct into our bank account, Bank Details: Lloyd’s Bank, 98 Victoria Street, London, United Kingdom, SW1E 5JL. Account Name: Sloane FURTHER INFORMATION Street Auction Galleries Limited. A/C: 54140362, Sort Code: The colours printed in this catalogue are not necessarily a XVYI VI¾IGXMSR SJ XLI EGXYEP MXIQ %PP [IMKLXW ERH QIEWYVIW 30-98-97, BIC: LOYDGB21031,

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given in the catalogue should be regarded as approximate. VALUATION SERVICES 7PSERI 7XVIIX %YGXMSRW TVSZMHIW E VERKI SJ GSR½HIRXMEP valuation services to private clients, solicitors, executors, estate managers, trustees and other professional partners. These services include auction valuations, insurance valuations, probate valuations, private treaty valuations, valuations for family division or for tax purposes.

Section 2: Information for Buyers at Auctions INTRODUCTION The following notes are intended to assist Bidders and Buyers, particularly those inexperienced or new to salerooms. All of our auctions and sales are conducted on our printed Auction Terms and Conditions, including these Conditions of Sale and Business, which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. Any particular auction and/or any particular lot in an auction may be subject to different or additional terms which will be published in our auction catalogue. All auctions and sales of jewellery, watches and clocks are subject to the special terms set out in the relevant Notices in relation to those items published in our auction catalogue and, in the event of any GSR¾MGX SV MRGSRWMWXIRG] XLSWI WTIGMEP XIVQW TVIZEMP SZIV ER] other terms in our Auction Terms and Conditions. By bidding at the auction, you agree to be bound by these terms. AGENCY As auctioneers we usually act as agents for the seller [LSWI MHIRXMX] JSV VIEWSRW SJ GSR½HIRXMEPMX] MW RSX RSVQEPP] disclosed. Accordingly, if you buy at auction your contract for the item or items purchased is with the seller and not with us as the auctioneer. ESTIMATES Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. Estimates may change and should not be thought of as the sale price. The lower estimate may represent the reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable) or other associated taxes. Estimates are prepared some time before the sale and may be altered by ERRSYRGIQIRX FIJSVI XLI WEPI 8LI] EVI MR RS WIRWI HI½RMXMZI The auctioneer may make a “saleroom announcement” either before or during the auction which may alter descriptions, estimates or material facts. For more information about Estimates please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com. BUYER’S PREMIUM The Conditions of Sale forming part of our Auction Terms and Conditions require the buyer to pay a buyer’s premium on the hammer price of each lot purchased. The buyer’s premium is 25% of the hammer price up to and including £450,000, 20% of the hammer price from £450,001 up to and including £4,000,000, and 15% of the hammer price in excess of £4,000,000. VAT at the prevailing rate of 20% is added to FY]IV´W TVIQMYQ ERH EHHMXMSREP GLEVKIW EW HI½RIH FIPS[ For more information about the Buyer’s Premium please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com. VAT A theta symbol (Θ) indicates that the lot is a zero rated item and therefore not subject to VAT on the buyer’s premium. This applies to bound books (manuscripts and printed), unframed maps and albums. A dagger symbol (†) indicates that VAT is payable by the purchaser at the standard rate (presently 20%) on the hammer price as well as being and element in the buyers’ 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 import into the UK. A double dagger ( † ) indicates that the lot has been imported from outside the UK and the present position is

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that these lots are liable to a reduced rate of Import VAT currently 5% on the hammer price. (1) indicates that the lot has been imported from outside the UK and these lots are liable to the standard rate of Import VAT currently 20% on the hammer price. Lots which appear without 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 buyers’ premium is not recoverable as input tax. For more information VAT please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com.

BIDDING Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the sale registration form. Bidders are required to provide a government issued identity document and a proof of address. Please enquire in advance about our arrangements for telephone bidding. For certain high-valued goods where a bidder is unknown to us a deposit may be required. For more information please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com. COMMISSION BIDDING Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. Sloane Street Auctions will add these bids to the auctioneers’ sale book and 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 QE] TVIJIV XLI ½VWX FMH VIGIMZIH 4PIEWI IRUYMVI MR EHZERGI about our arrangements for the leaving of commission bids by telephone. Sloane Street Auctions does not accept liability for failing to execute commission bids, or for any errors or omissions. For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com.

DESCRIPTION AND CONDITION Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is [MXLSYX MQTIVJIGXMSRW 8LI HIXEMP MR E VITSVX [MPP VI¾IGX XLI estimated value of the lot. Large numbers of such requests received shortly before the sale may mean that reports cannot be provided for all lots. Members of staff are not trained restorers or conservators and, particularly for higher value lots, you should obtain an opinion from an independent professional as our condition reports are solely an opinion ERH RSX E VI¾IGXMSR SJ JEGX 7PSERI 7XVIIX %YGXMSRW MW RSX PMEFPI for damage to gilded picture frames, plaster picture frames or picture frame glass; if a Lot is or becomes dangerous, we may dispose of it without notice to bidders in advance in any METHODS OF PAYMENT QERRIV [I WII ½X ERH [MPP FI YRHIV RS PMEFMPMX] JSV HSMRK WS Payment will be accepted, if you are a successful bidder, by We recommend that you always view a lot in person. debit card issued in the name of the Buyer by a UK bank and registered to a UK billing address; by all major UK We are dependent on information provided by the seller issued credit cards issued in the name of the Buyer and about a lot and whilst we may inspect lots and act reasonably registered to a UK billing address with the exception of in taking a general view about them we are normally unable American Express and Diners Club; by bank transfer direct to carry out a detailed examination and frequently no into our bank account, Bank Details: Lloyd’s Bank, 98 Victoria examination of lots in order to ascertain their condition Street, London, United Kingdom, SW1E 5JL. Account Name: in the way in which it would be wise for a buyer to do. Sloane Street Auction Galleries Limited. A/C: 54140362, Sort Intending buyers have ample opportunity for inspection of Code: 30-98-97, BIC: LOYDGB21031, IBAN: GB52 LOYD goods and, therefore, accept responsibility for inspecting 3098 9754 1403 62. The name of the bank account holder and investigating lots in which they may be interested and should match the name of the buyer. First time buyers who the corresponding risk should they not do so. Please note are not present at the saleroom are requested to pay by carefully the exclusion of liability for the condition of lots bank transfer. For more information please see our Online contained in the Online Terms and Conditions published on Terms and Conditions published on our website: www. our website: www.sloanestreetauctions.com. Neither the sloanestreetauctions.com. seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any COLLECTION AND STORAGE age are not guaranteed to be in working order. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid However, in so far as we have examined the goods and make a for and collected promptly. Any delay may involve the buyer representation about their condition in the auction catalogue, in paying storage charges. For more information please see [I WLEPP FI PMEFPI JSV ER] HIJIGX [LMGL MW RSX VI¾IGXIH MR XLEX our Online Terms and Conditions published on our website: representation and which that examination ought to have www.sloanestreetauctions.com. revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. A DROIT DE SUITE ROYALTY CHARGES %HHMXMSREPP] MR WTIGM½IH GMVGYQWXERGIW PSXW QMWHIWGVMFIH From 1st January 2012 all UK art market professionals (which because they are ‘deliberate forgeries’ may be returned and includes but is not limited to; auctioneers, dealers, galleries, repayment made. There is a 3 week time limit. For more agents and other intermediaries) are required to collect a information please see our Online Terms and Conditions royalty payment for all works of art that have been produced published on our website: www.sloanestreetauctions.com. by qualifying artists each time a work is re-sold during the artist’s lifetime and for a period up to 70 years following the EXPORT OF GOODS artists death. This payment is only calculated on qualifying Buyers intending to export goods should ascertain (a) works of art which are sold for a hammer price more than whether an export licence is required and (b) whether the UK sterling equivalent of EURO 1,000 – the UK sterling XLIVI MW ER] WTIGM½G TVSLMFMXMSR SR MQTSVXMRK KSSHW SJ XLEX IUYMZEPIRX [MPP ¾YGXYEXI MR PMRI [MXL TVIZEMPMRK I\GLERKI character because, e.g. they may contain prohibited materials rates. It is entirely the responsibility of the buyer to acquaint such as ivory. Following the UK’s exit from the European himself with the precise EURO to UK Sterling exchange Union, private overseas buyers can only receive goods free of rate on the day of the sale in this regard, and the auctioneer VAT/have the VAT amount refunded if Sloane Street Auctions accepts no responsibility whatsoever if the qualifying rate is acts as exporter in relation to the sale and arranges for the different to the rate indicated. All items in this catalogue that transport of the goods. If you would like us to arrange for the are marked with λ are potentially qualifying items, and the export and delivery of the goods there will be an admin fee royalty charge will be applied if the hammer price achieved of £100 plus the shipping cost. If you arrange for the goods is more than the UK sterling equivalent of EURO 1,000. The to be picked up/delivered to you directly we will charge UK royalty charge will be added to all relevant buyers’ invoices, VAT at the appropriate rate and no refund will be available. and must be paid before items can be cleared. All royalty Please note that if we export the goods to you, you will charges are passed on to the Design and Artists Copyright be responsible for completing the importation procedures Society (‘DACS’), no handling costs or additional fees with as well the payment of any relevant duty/VAT payable on respect to these charges will be retained by the auctioneers. importation into your country. For more information please The royalty charge that will be applied to qualifying items see our Online Terms and Conditions published on our which achieve a hammer price website: www.sloanestreetauctions.com.

of more than the UK sterling equivalent of EURO 1,000, but less than the UK sterling equivalent of EURO 50,000 is 4%. For qualifying items that sell for more than the UK sterling equivalent of EURO 50,000 a sliding scale of royalty charges will apply – for a complete list of the royalty charges and threshold levels, please see www.dacs.org.uk.There is no VAT payable on this royalty charge.

minimum charge of £1.50, or if unsold 1.5% of our lower estimate.The liability assumed by Sloane Street Auctions shall be limited to the lower pre-sale estimate or the hammer price if the lot is sold. Sloane Street Auctions is not liable for damage to gilded picture frames, plaster picture frames or picture frame glass; if the Lot is or becomes dangerous, we may dispose of it without notice to you in advance in any QERRIV [I WII ½X ERH [MPP FI YRHIV RS PMEFMPMX] JSV HSMRK WS

Section 3: Terms of Consignment for Sellers in Auctions

(b) If the owner of the goods consigned instructs us in writing not to take such action, the goods then remain entirely at the The sale of goods at our public auctions and a seller’s owner’s risk unless and until the property in them passes to relationship with us are governed by our Terms and the Buyer or they are collected by or on behalf of the owner, Condition. Any particular auction and/or any particular and clause 6 (a) is inapplicable. lot in an auction may be subject to different or additional terms which will be published in our auction catalogue or For more information please see our Online Terms separately announced prior to the auction. All auctions and Conditions published on our website: www. and sales of jewellery and clocks are subject to the special sloanestreetauctions.com. terms set out in the relevant Notices in relation to those items published in our auction catalogue and, in the event SJ ER] GSR¾MGX SV MRGSRWMWXIRG] XLSWI WTIGMEP XIVQW TVIZEMP over any other terms in our Terms and Conditions. Please note that our Terms and Conditions including these Terms of Consignment for Sellers in Auctions and our Conditions of Sale for Auctions relate to auctions held in our salerooms.

ILLUSTRATIONS AND PHOTOGRAPHS The copyright in respect of such illustrations and photographs shall be the property of us, the auctioneers, as is the text of the catalogue. For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com.

UNSOLD If an item is unsold, it may at our discretion be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. For more information please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com. WITHDRAWN AND BOUGHT IN ITEMS These are liable to incur a charge of 15% commission, 1.5 % Loss and Damage Warranty and any other costs incurred including but not limited to illustration and restoration fees, all of these charges being subject to VAT on being bought in or withdrawn after being catalogued. For more information please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com. CONDITIONS OF SALE You agree that all goods will be sold on our Conditions of Sale for Public Auctions. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner with good and marketable title and free and clear of any third party rights or claims. You undertake to compensate us and any buyer or third party for all losses liabilities, costs and expenses suffered or incurred arising out of or in connection with any breach of this undertaking. We [MPP EPWS EX SYV HMWGVIXMSR ERH EW JEV EW TVEGXMGEFPI GSR½VQ that an item consigned for sale does not appear on the Art Loss register, which is administered by an independent third party. For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com.

MINIMUM BIDS AND OUR DISCRETION Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 9. We may sell Lots below the reserve provided we account to you for the same sale proceeds as you would have received had XLI VIWIVZI FIIR XLI LEQQIV TVMGI -J ]SY WTIGM½GEPP] KMZI YW a “discretion” we may accept a bid of up to 10% below the formal reserve. For more information please see our Online INTERPRETATION In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller Terms and Conditions published on our website: www. DUE DILIGENCE CHECKS AND ANTI-MONEY and if the consignment of goods to us is made by an agent sloanestreetauctions.com. LAUNDERING PROCEDURES or otherwise on the Seller’s behalf we assume that the Seller Under the money laundering regulations in force we are has authorised the consignment and that the consignor has RESERVES the Seller’s authority to contract. All obligations that apply (a) You are entitled to place prior to the auction a reserve on required to carry out relevant due diligence checks. This to the Seller under these Terms of Consignment for Sellers any lot consigned, being the minimum hammer price at which includes verifying the identity of all customers we transact in Auctions shall apply to the owner of the goods and their that lot may be sold. Reserves must be reasonable and we [MXL EW [IPP EW ER] FIRI½GMEP S[RIVW SR FILEPJ SJ [LSQ agent jointly and separately. Similarly the words ‘we’, ‘us’, etc. may decline to offer goods which in our opinion would be they may transact. Vendors who are unable to or refuse subject to an unreasonably high reserve (in which case goods XS WYTTP] VIUYMVIH MHIRXM½GEXMSR HSGYQIRXW ERH TVSSJ SJ refer to the Auctioneers. carry the storage and loss and damage warranty charges address will not be able to consign to Sloane Street Auctions. Copies of customer due diligence checks will be stored for stipulated in these Terms of Consignment). WARRANTY The Seller warrants that possession in the lots can be (b) A reserve once set cannot be changed except with our as long as it is necessary to satisfy legal requirements in an appropriate storage facility, which for the avoidance of doubt transferred to the Buyer with good and marketable title, consent. free from any third party right and encumbrances, claims (c) Where a reserve has been set which we consider may include storage solely in electronic form. We reserve or potential claims. The Seller has provided all information unreasonably high, an unsold charge will be payable in the the right to withhold the monies owed until the vendor concerning the item’s ownership, condition and provenance, event that the lots fails to sell, being the agreed selling terms provides the information necessary to complete the antimoney laundering checks. For more information please see attribution, authenticity, import or export history and calculated on the reserve. of any concerns expressed by third parties concerning (d) Where a reserve has been placed only we may bid on our Online Terms and Conditions published on our website: the same. For more information please see our Online your behalf and only up to the reserve (if any) and you may in www.sloanestreetauctions.com. Terms and Conditions published on our website: www. no circumstances bid personally. AUTHORITY TO DEDUCT COMMISSION AND sloanestreetauctions.com. For more information please see our Online Terms EXPENSES AND RETAIN PREMIUM AND ALL COMMISSIONS and fees are subject to VAT at the and Conditions published on our website: www. INTEREST (a) You authorise us to deduct commission at the stated prevailing rate. For more information please see our Online sloanestreetauctions.com. rate and all expenses incurred for your account from the Terms and Conditions published on our website: www. LEQQIV TVMGI ERH GSRWIRX XS SYV VMKLX XS VIXEMR FIRI½GMEPP] DESCRIPTION sloanestreetauctions.com. Our description of any lot in the catalogue, any condition the premium paid by the buyer in accordance with our COMMISSION is charged to sellers and all selling terms report and any other statement made by us (whether orally Conditions of Sale for Public Auctions and any interest are available from our salerooms. For more information or in writing) about any lot, including about its nature or earned on the sale proceeds until the date of settlement. please see our Online Terms and Conditions published on condition, artist, period, materials, approximate dimensions (b) In case of lots unsold at auction you authorise us at our or provenance are our opinion and not to be relied upon as discretion to re-offer such lots and negotiate a sale within our website: www.sloanestreetauctions.com. a statement of fact.We do not carry out in-depth research of seven days of the auction date, in which case the same the sort carried out by professional historians and scholars. charges will be payable as if such lots had been sold at auction REMOVAL COSTS Items for sale must be consigned to the saleroom by any All dimensions and weights are approximate only. Where we and so far as appropriate these Terms apply. stated deadline and at your expense. For more information are obliged to return the price to the buyer when the lot is please see our Online Terms and Conditions published on a deliberate forgery under Condition 15 of the Conditions For more information please see our Online Terms of Sale and we have accounted to you for the proceeds of and Conditions published on our website: www. our website: www.sloanestreetauctions.com. sale, you agree to reimburse us the sale proceeds and in any sloanestreetauctions.com. event within 7 days of our written notice to do so. For more LOSS AND DAMAGE OF GOODS (a) Loss and Damage Warranty - Sloane Street Auctions is important information about descriptions, please refer to WAREHOUSING not authorised by the FCA to provide insurance to its clients, Sections A1-3a, E2 of our Conditions of Sale on our website: We disclaim all liability for goods delivered to our saleroom [MXLSYX WYJ½GMIRX WEPI MRWXVYGXMSRW %PP MXIQW RSX GSPPIGXIH F] and does not do so. However Sloane Street Auctions for its www.sloanestreetauctions.com. TQ [MXLMR ½ZI [SVOMRK HE]W SJ XLI WEPI [MPP FI EYXSQEXMGEPP] own protection assumes liability for property consigned to it at the lower pre-sale estimate until the hammer falls. For more information please see our Online Terms removed to commercial storage and subject to a minimum To justify accepting liability, Sloane Street Auctions makes a and Conditions published on our website: www. storage charge of £20 (plus VAT) per lot and to a further storage charge of £5 (plus VAT) per lot per part or full day sloanestreetauctions.com. charge of 1.5% of the hammer price plus VAT, subject to a If you, or another person acting on your behalf, provide goods to us to sell on your behalf at one of our auctions XLMW WMKRM½IW XLEX ]SY EKVII XS ERH [MPP GSQTP] [MXL SYV Auction Terms and Conditions including these Terms of Consignment for Sellers in Auctions and our Conditions of Sale for Auctions.

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thereafter. These charges will be the sole liability of the purchaser. Unsold lots are subject to the same charges if you HS RSX VIQSZI XLIQ [MXLMR E VIEWSREFPI XMQI SJ RSXM½GEXMSR If not removed within three weeks 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. For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com. SETTLEMENT After sale settlement of the net sum due to you normally takes place within 28 days of the sale unless the buyer has not paid for the goods or the checks necessary under the current Money Laundering Regulations have not been completed. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale for Public Auctions. 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 12 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. For more information please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com.

(b) Under the money laundering regulations in force we are required to verify the identity of all customers we transact [MXL EW [IPP EW ER] FIRI½GMEVMIW SR FILEPJ SJ [LSQ XLI] QE] transact. Customers who are unable to or refuse to supply VIUYMVIH MHIRXM½GEXMSR HSGYQIRXW ERH TVSSJ SJ EHHVIWW [MPP not be able to bid in an auction at Sloane Street Auctions. Copies of customer due diligence checks will be stored for as long as it is necessary to satisfy legal requirements in an appropriate storage facility which for the avoidance of doubt may include storage solely in electronic form; (c) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by re-offering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (d) Bidders shall be deemed to act as principals. (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. For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com.

3. INCREMENTS. Bidding increments shall be at the auctioneer’s sole Section 4: Conditions of Sale for Auctions discretion. For more information please see our Online Terms and Conditions published on our website: www. Sloane Street Auctions carries on business with bidders, sloanestreetauctions.com. buyers and all those present in the auction room prior to or in connection with a sale by auction at our salerooms on our 4. THE PURCHASE PRICE. Auction Terms and Conditions including these Conditions of The buyer shall pay the purchase price together with a Sale for Auctions. All bidders, buyers and others participating premium thereon of 30% which shall include VAT on the in an auction accept that these terms apply to the exclusion premium at the rate imposed by law. The buyer will also be of any terms and conditions contained in any of those liable for any royalties payable under Droit de Suite as set person’s own documents even if the same purport to provide out under Information for Buyers. For more information that that person’s own or some other terms prevail. please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com. 1. DEFINITIONS -R XLIWI 'SRHMXMSRW E ±EYGXMSRIIV² QIERW XLI ½VQ SJ 5. VALUE ADDED TAX. Sloane Street Auctions or its authorised auctioneer, as Value Added Tax on the hammer price is imposed by law on appropriate; ‡ :EPYI EPP MXIQW EJ½\IH [MXL E HEKKIV SV HSYFPI HEKKIV (b) “deliberate forgery” means an imitation made with the Added Tax is charged at the appropriate rate prevailing by intention of deceiving as to authorship, origin, date, age, law at the date of sale and is payable by buyers of relevant period, culture or source but which is unequivocally described Lots. (Please refer to “Information for Buyers” for a brief in the catalogue as being the work of a particular creator explanation of the VAT position). For more information and which at the date of the sale had a value materially less please see our Online Terms and Conditions published on than it would have had if it had been in accordance with the our website: www.sloanestreetauctions.com. description; (c) “hammer price” means the level of bidding reached (at 6. PAYMENT or above any reserve) when the auctioneer brings down the (a) Immediately a Lot is sold you will: (i) give to us, if hammer; requested, proof of identity, and (ii) pay to us the total (d) “terms of consignment” means the stipulated terms amount due or in such other way as is agreed by us. and rates of commission on which Sloane Street Auctions (b) Any payments by you to us may be applied by us towards accepts instructions from sellers or their agents; any sums owing from you to us on any account whatever (e) “total amount due” means the hammer price in respect without regard to any directions of you or your agent, of the lot sold together with any premium, Value Added Tax whether expressed or implied. chargeable and any additional charges payable by a defaulting (c) In order to comply with money laundering regulations buyer under these Conditions; we reserve the right to require proof of source of funds and/ (f) “sale proceeds” means the net amount due to the seller, SV GSR½VQEXMSR SJ XLI REXYVI ERH WSYVGI SJ [IEPXL JSV EPP being the hammer price of the lot sold less commission at receipts of monies from clients directly or from third parties the stated rate, Value Added Tax chargeable and any other for payments on behalf of clients. Lots will only be released amounts due to us by the seller in whatever capacity and once we have completed necessary checks under the current however arising; Money Laundering Regulations. K ±=SY² ±=SYV² IXG VIJIV XS XLI FY]IV EW MHIRXM½IH MR Condition 2. For more information please see our Online Terms (h) The singular includes the plural and vice versa as and Conditions published on our website: www. appropriate. sloanestreetauctions.com. For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com. 2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding by completing a sale registration form and to satisfy any security arrangements before entering the auction room to view or bid;

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paid for and we have completed necessary checks under the current Money Laundering Regulations. For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) 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: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that Lot and/or any other Lots sold by us to you; (iii) to resell the Lot (by auction or private treaty) in which GEWI ]SY WLEPP FI VIWTSRWMFPI JSV ER] VIWYPXMRK HI½GMIRG] MR the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) 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; (vi) to retain that or any other Lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) 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 JSV ER] TYVTSWI YRXMP XLI HIFX HYI MW WEXMW½IH (b) 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. For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com. 9. THIRD PARTY LIABILITY. All bidders, buyers and other 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 or for the safety of the property of persons visiting prior to or at a sale (except in each case as may be required by law by reason of our negligence). For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com.

10. COMMISSION BIDS. 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 MRWTIGXIH ERH WEXMW½IH XLIQWIPZIW EW XS MXW GSRHMXMSR [I [MPP if so instructed clearly and in writing, execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we 7. TITLE AND COLLECTION OF PURCHASES reserve the right in our absolute discretion to prefer the (a) The ownership of any Lots purchased shall not pass to ½VWX FMH WS QEHI you until you have made payment in full to us of the total For more information please see our Online Terms amount due. and Conditions published on our website: www. (b) You shall at your own risk and expense take away any sloanestreetauctions.com. lots that you have purchased and paid for not later than 3 working days following the day of the auction after which you shall be responsible for any removal, storage and insurance charges. (c) No purchase can be claimed or removed until it has been

11. WARRANTY OF TITLE AND AVAILABILITY. The seller warrants to the auctioneer and to you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign for sale and is able to transfer good and marketable title to the property free from any third party claims. Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statute, common law or otherwise are excluded to the fullest extent permitted by law. For more information please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com. 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 8IVQW SJ 'SRWMKRQIRX JSV 4YFPMG %YGXMSRW EW RSXM½IH XS the consignor at the time of the entry of the Lot. For more information please see our Online Terms and Conditions published on our website: www.sloanestreetauctions.com. 14. DESCRIPTIONS AND CONDITION (a) 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 applied to a lot. 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. Sloane Street Auctions is not liable for damage to gilded picture frames, plaster picture frames or picture frame glass. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

website: www.sloanestreetauctions.com. 16. PRIVACY NOTICE. We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our website http://www.Sloane Street Auctions.com/privacy-security/. 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. (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 XS FI JSV XLI FIRI½X SJ IQTPS]IIW ERH EKIRXW SJ XLI WIPPIV and/or the auctioneer who may themselves enforce them. 19. Any notice to any buyer, seller, bidder or viewer may be KMZIR F] ½VWX GPEWW QEMP SV IQEMP MR [LMGL GEWI MX WLEPP FI deemed to have been received by the addressee 48 hours after posting. 20. 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. 21. 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. 22. These Conditions shall be governed by and construed in accordance with English law and the parties irrevocably submit to the exclusive jurisdiction of the English courts.

For more information please see our Online Terms and Conditions published on our website: www. sloanestreetauctions.com. 15. FORGERIES. Notwithstanding the preceding Condition, any Lot which TVSZIW XS FI E HIPMFIVEXI JSVKIV] EW HI½RIH QE] FI 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. If [I EVI WEXMW½IH JVSQ XLI IZMHIRGI TVIWIRXIH XLEX XLI 0SX MW E deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the GEXEPSKYI HIWGVMTXMSR VI¾IGXIH XLI EGGITXIH ZMI[ SJ WGLSPEVW and experts as at the date of sale or (2) 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. For more information please see our Online Terms and Conditions published on our

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SLOANE STREET AUCTION GALLERIES LTD. 69 LOWER SLOANE STREET, LONDON, SW1W 8DA INFO@SLOANESTREETAUCTIONS.COM - WWW.SLOANESTREETAUCTIONS.COM Sloane Street Auction Galleries Ltd. Registered in England and Wales, no.5032333, VAT GB 395 5555 49

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Viewing & Registration: 69 Lower Sloane Street London SW1W 8DA

Picasso (1881-1973)

Auction:

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2pm, 1st July 2022 The Wren Rooms The Royal Hospital London SW3 4SR