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SOUTH KENSINGTON

VICTORIAN, PRE-RAPHAELITE & BRITISH IMPRESSIONIST ART THURSDAY12 MARCH 2015 AT 2.00 PM

international Victorian, Pre-raPhaelite & British imPressionist art DePartment CO-CHAIRMAN

Nicholas H. J. Hall (Auction) Tel: +1 212 636 2122 CO-CHAIRMAN

Richard Knight (Private Sales) Tel: +44 (0)20 7389 2159 INTERNATIONAL MANAGING DIRECTOR

Karl Hermanns Tel: +44 (0)20 7389 2425

WORLDWIDE SPECIALISTS INTERNATIONAL DIRECTORS

BUSINESS DIRECTORS PRIVATE SALES

Peter Brown (Victorian Art) Tel: +44 20 7389 2435 Harriet Drummond (British Drawings & Watercolours) Tel: +44 (0)20 7389 2278 Martin Beisly (Private Sales) Tel: +44 20 7385 2468

Alexandra Baker Tel: +44 (0)20 77389 2521 LONDON KING STREET

Anthea Peers Tel: +44 (0)20 77389 2124 LONDON SOUTH KENSINGTON

Giulia Archetti Tel: +44 (0)20 77389 2317

LONDON KING STREET

Brandon Lindberg Rosie Jarvie Sarah Hobrough Rosie Henniker-Major Rosy Temple Tel: +44 (0)20 7389 2709 LONDON SOUTH KENSINGTON

Tom Rooth Jane Turner (Maritime Art) Sarah Reynolds Tel: +44 (0)20 7752 3125 NEW YORK

James Hastie Clare McKeon Tel: +1 212 636 2084

Victorian art auctions AUCTION CALENDAR 2015 TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE. CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION. 12 MARCH VICTORIAN, PRE-RAPHAELITE & BRITISH IMPRESSIONIST ART LONDON, SOUTH KENSINGTON 16 JUNE VICTORIAN, PRE-RAPHAELITE & BRITISH IMPRESSIONIST ART LONDON, KING STREET

8 JULY VICTORIAN, PRE-RAPHAELITE & BRITISH IMPRESSIONIST ART; MARITIME, SPORTING & WILDLIFE ART LONDON, SOUTH KENSINGTON

16 DECEMBER VICTORIAN, PRE-RAPHAELITE & BRITISH IMPRESSIONIST ART LONDON, KING STREET

26 NOVEMBER VICTORIAN, PRE-RAPHAELITE & BRITISH IMPRESSIONIST ART; MARITIME, SPORTING & WILDLIFE ART LONDON, SOUTH KENSINGTON

28/01/15

Subject to change

Victorian, Pre-Raphaelite & British Impressionist Art Thursday 12 March 2015 Tom Rooth

Sarah Reynolds

AUCTION

STORAGE AND COLLECTION

Thursday 12 March 2015 at 2.00 pm Lots 1-105 85 Old Brompton Road London SW7 3LD

Please refer to the important notice on page 74. Please note that Cadogan Tate’s opening hours are Monday to Friday 9am to 5pm, and purchases transferred to their warehouse are not available for collection at weekends.

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as VICTORIA-10452 Victoria Koehn VIEWING

Saturday Sunday Monday Tuesday Wednesday

7 March 8 March 9 March 10 March 11 March

11.00 11.00 9.00 9.00 9.00

am am am am am

-

5.00 5.00 7.30 5.00 5.00

pm pm pm pm pm

AUCTIONEER

James Hastie SPECIALISTS

SERVICES

Tom Rooth Tel:+44 (0)20 7752 3125 [email protected] Sarah Reynolds Tel:+44 (0)20 7752 3284 [email protected]

ABSENTEE BIDS

SALE ADMINISTRATOR

TELEPHONE BIDS

Victoria Koehn [email protected] Tel:+44 (0)20 7752 3055 Fax:+44 (0)20 7752 3149

Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7591 0987

EMAIL

First initial followed by last name @ christies.com (eg. Tom Rooth = [email protected]) For general enquiries about this auction, email should be addressed to the auction administrator Front cover: Lot 49 (detail) Inside front cover: Lot 55 (detail) Inside back cover: Lot 62 (detail) Back cover: Lot 84 (detail)

Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 AUCTION RESULTS

Tel: +44 (0)20 7839 9060 christies.com

CLIENT LIAISON

Aina Truyols Tel: +44 (0)20 7752 3179 CLIENT SERVICES

Tel: +44 (0)20 7839 9060 Fax: +44 (0)20 7389 2869 Email : [email protected]

PAYMENT BUYERS

Tel: +44 (0)20 7839 9060 Fax: +44 (0)20 7389 2869 VENDORS

Tel: +44 (0)20 7389 2915 Fax: +44 (0)20 7581 5295 SHIPPING

Tel: +44 (0)20 7389 2712 Fax: +44 (0)20 7389 2869 STORAGE AND COLLECTION

Tel: +44 (0)20 7839 9060 Fax: +44 (0)20 7389 2869 CONDITIONS OF SALE

This auction is subject to Important Notices, Conditions of Sale and to Reserves BUYING AT CHRISTIE’S

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1

2 1 GEORGE HYDE POWNALL (1876-1932)

2 GEORGE HYDE POWNALL (1876-1932)

Westminster, London

The Old Curiosity Shop

signed ‘Geo. Hyde. P-’ (lower right) oil on board 7Ω x 11 in. (19 x 28 cm.)

£1,500-2,500

4

$2,300-3,800 €2,100-3,300

signed ‘Geo. Hyde. P-’ (lower right) and inscribed ‘The/Old CuriOsiTy shOp/ immOrTalized by Charles diCkens’ (centre) oil on board 7 x 12 in. (7.8 x 30.5 cm.)

£1,500-2,500

$2,300-3,800 €2,100-3,300

FROM THE COLLECTION OF THE LATE LORD MATTHEWS 3 WILLIAM LOGSDAIL (1859-1944)

Trafalgar Day signed and dated ‘W Logsdail, 09’ (lower left) oil on canvas 25Ω x 19Ω in. (64.7 x 49.5 cm.)

£10,000-15,000

$16,000-23,000 €14,000-20,000

In his memoirs Logsdail noted: ‘I had always thought that London, of all places in the world, ought to be painted, but it appeared too formidable, too unassailable.... However, I did take courage to try and leave a few records of it.’ The present picture is a larger version of one that Logsdail exhibited at the Royal Academy in 1906 (sold in these rooms, 11 June 1993, lot 268, 15æ x 12 in., dated ‘21.10.05’). Erected in Trafalgar Square between 1839 and 1843, Nelson’s Column was traditionally decorated on Trafalgar Day every year, in commemoration of the victory won by Vice-Admiral Horatio Nelson’s British feet over the combined French and Spanish feets at the Battle of Trafalgar on 21st October 1805.

5

4

5 l5 EDWARD SEAGO, R.B.A., R.W.S. (1910-1974)

VARIOUS PROPERTIES 4 GEORGE HYDE POWNALL (1876-1932)

Misty Morning, Rotterdam Quayside

Westminster at sunset signed ‘Geo. Hyde. P-’ (lower left) and with inscription ‘Joyeuse No:l F tous les trois/Madeleine’ (on the reverse) oil on board 5Ω x 9 in. (14 x 22.8 cm.)

£1,500-2,500

$2,300-3,800 €2,100-3,300

signed ‘Edward Seago’ (lower left) and with inscription ‘MISTY MORNING -/ ROTTERDAM QUAYSIDE’ (on the reverse) oil on board 11 x 16¿ in. (28 x 41 cm.)

£5,000-8,000 PROVENANCE:

with P. & D. Colnaghi & Co. Ltd, London. with Marlborough Fine Art, London.

6

$7,600-12,000 €6,700-11,000

THE PROPERTY OF A GENTLEMAN l6 EDWARD SEAGO, R.B.A., R.W.S. (1910-1974)

H;tel de Crillon, Paris signed ‘Edward Seago’ (lower left) oil on board 12 x 16¿ in . (30.5 x 41 cm.)

£8,000-12,000

$13,000-18,000 €11,000-16,000

PROVENANCE:

with P. & D. Colnaghi & Co. Ltd, London.

7

VARIOUS PROPERTIES 7 EDWARD PRITCHETT (FL. 1828-1864)

Santa Maria della Salute, Venice oil on canvas 10º x 14º in. (26 x 36.2 cm.)

£2,000-4,000

$3,100-6,000 €2,700-5,400

PROVENANCE:

with P. & D. Colnaghi & Co. Ltd, London.

7

8 EDWARD PRITCHETT (FL. 1828-1864)

Santa Maria della Salute and the Dogana da Mar, Venice signed ‘E Pritchett’ (on the gondola, lower right) oil on canvas 9æ x 14 in. (24.7 x 35.6 cm.)

£6,000-8,000

$9,100-12,000 €8,100-11,000

PROVENANCE:

with The Leger Galleries Ltd., October 1964.

8

9 ALFRED POLLENTINE (1836-1890)

The Grand Canal, Venice signed ‘A Pollentine’ (lower right) oil on canvas 20 x 30 in. (50.8 x 76.2 cm.)

£2,000-3,000

9

$3,100-4,500 €2,700-4,000

10

11

10 EDITH HOLMAN HUNT (1846-1931) AFTER WILLIAM HOLMAN HUNT

nl11 HERBERT DAVIS RICHTER, R.I., R.S.W., R.O.I. (1874-1955)

The Ponte Vecchio, Florence

The Tower of London

indistinctly signed, inscribed and dated ‘**y ***** Holman Hunt/A parting Gift/Oct 7-1923/Ponte Vecchio Flo**/by W Holman-***/1867/In S Kensing***/Museum’ (on the backboard) watercolour with touches of bodycolour 10 x 21º in. (54 x 25.4 cm.)

£1,200-1,800

$1,900-2,700 €1,700-2,400

signed ‘H. DAVIS RICHTER’ (lower right) oil on canvas laid down on board 42Ω x 109 in. (107.9 x 276.8 cm.)

£2,500-3,500

$3,800-5,300 €3,400-4,700

This picture was a decoration for the Cunard White Star Liner The Mauritania. A preliminary drawing for the painting was sold in these rooms on 23 June 1994, lot 76.

PROVENANCE:

Given by the artist to her son Hilary Holman Hunt (1879-1949) on 7 October 1923. This watercolour was copied by Holman Hunt’s second wife Edith in 1922 at the age of 74 and given by her to her son Hilary on her 75th Birthday before they both travelled to Jerusalem for the dedication ceremony of a public seat in honour of William Holman Hunt. Her son then travelled on to Burma to act as Chief Engineer.

9

l12 HERBERT DAVIS RICHTER, R.I., R.S.W., R.O.I. (1874-1955)

A Georgian mirror signed ‘H. Davis Richter’ (lower left) oil on canvas 40 x 30º in. (101.7 x 76.8 cm.)

£1,200-1,800

$1,900-2,700 €1,700-2,400

EXHIBITED:

Edinburgh, Royal Scottish Academy, 1939, no. 236.

12

13 EDWARD LADELL (1821-1886)

Grapes and peaches in a wicker basket, with plums, acorns and a roemer to the side signed with monogram (lower right) oil on canvas 14 x 12 in. (35.6 x 30.5 cm.)

£5,000-8,000 PROVENANCE:

with W.H. Patterson, London.

13

10

$7,600-12,000 €6,700-11,000

l14 GERALD A. COOPER (1898-1975)

Fuchsia, geraniums and pelargoniums signed ‘Gerald Cooper’ (lower right) oil on canvasboard 20 x 16 in. (50.8 x 40.7 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

14

l15 CECIL KENNEDY (1905-1997)

Still life with roses signed ‘CECIL KENNEDY’ (lower right) oil on canvas 20 x 16 in. (50.8 x 40.7 cm.)

£4,000-6,000

$6,100-9,000 €5,400-8,000

PROVENANCE:

with The Fine Art Society Ltd., London, 1949. Anonymous sale; Christie’s, London, 5 November 1999, lot 197 (where purchased by the present owner).

15

11

16

17 FROM THE COLLECTION OF THE LATE LORD MATTHEWS l16 FREDERICK HALL (1860-1948)

17 HARRY BROOKER (1848-1940)

The young performers

Playing at school

signed with initials and dated ‘F.H./ 91.’ (lower left) oil on canvas 18 x 24 in. (45.7 x 60.9 cm.)

signed and dated ‘Harry Brooker/1900’ (lower right) oil on canvas 28 x 36 in. (71 x 91.5 cm.)

£5,000-7,000

$7,600-11,000 €6,700-9,400

£5,000-7,000

$7,600-11,000 €6,700-9,400

PROVENANCE:

Anonymous sale; Sotheby’s, New York, 27 October 1988, lot 347.

12

18 GEORGE BERNARD O’NEILL (1828-1917)

The Quaker and the Tax-Gatherer signed and dated ‘G B O’Neill /61’ (lower right) oil on canvas 29º x 45º in. (74.3 x 115 cm.)

£10,000-15,000

$16,000-23,000 €14,000-20,000

PROVENANCE:

Robert Frank Esq. Anonymous sale; Christie’s, London, 2 July 1971, lot 128. EXHIBITED:

London, Royal Academy, 1862, no. 293. LITERATURE:

G. Reynolds, Painters of the Victorian Scene, London, 1953, p. 67, pl. 34. The enforcement of Church Rates (see the bill in the Tax Gatherer’s hand), was hotly disputed in the midnineteenth-century, with Quakers objecting to making a contribution to the established Church on grounds of conscience. The Compulsory Church Rates Abolition Act was fnally passed in 1868. A member of the so-called Cranbrook colony of artists who specialised in painting ‘genre’ scenes of everyday life, O’Neill chose to depict a lively contemporary topic which would have roused those viewing the picture at the Royal Academy in 1862. For that reason it was included in Graham Reynolds’ pioneering study of Painters of the Victorian Scene, and was owned by Robert Frank who did much to revive interest in Victorian Paintings in the 1960s.

13

19

21 21 WILLIAM KAY BLACKLOCK (1872-1924)

VARIOUS PROPERTIES l19 CARLTON ALFRED SMITH, R.I., R.B.A., R.O.I. (1853-1946)

Feeding time

Mother’s little helper

signed ‘W. KAY BLACKLOCK’ (lower right) oil on canvas 20 x 30 in. (50.8 x 76.2 cm.)

signed and dated ‘Carlton A Smith \80-’ (lower right) oil on canvas 12 x 16 in. (30.5 x 40.7 cm.)

£1,500-2,000 20 No Lot

14

£4,000-6,000 $2,300-3,000 €2,100-2,700

$6,100-9,000 €5,400-8,000

22 JAMES CHARLES (1851-1906)

The secret admirer signed ‘JCharles’ (lower right) oil on canvas 29Ω x 24 in. (74.9 x 60.9 cm.)

£3,000-5,000

$4,600-7,500 €4,100-6,700

22

23 RICHARD CATON WOODVILLE, R.I., R.O.I. (1856-1927)

The sergeant’s story: “I was at Marango” signed ‘R. Caton Woodville’ (lower right) oil on canvas 32 x 24 in. (81.3 x 60.9 cm.)

£4,000-6,000

$6,100-9,000 €5,400-8,000

23

15

24 JULES BASTIEN-LEPAGE (1848-1884)

A shepherdess signed ‘J. BASTIEN-LEPAGE’ bronze, dark brown patina 13 in. (33 cm.), high

£2,500-3,500

$3,800-5,300 €3,400-4,700

PROVENANCE:

Sir James Jebusa Shannon, and thence by descent. The subject has previously been identifed as Joan of Arc Listening to the Voices, and it is conceivable that although the robed fgure here differs considerably from Bastian-Lepage’s depiction of Joan on canvas, that he made the present model in preparation for his painting of the same title exhibited at the Paris Salon in 1880, and now in the collection of the Metropolitan Museum of Art, New York (89.21.1). This premise is supported by the work being executed towards the end of the artist’s life. One of the few sculptures undertaken by him, the plaster is in the possession of descendants of the artist. The bronze is believed to be one of twelve cast from it. Another cast is in the Fitzwilliam Museum, Cambridge (M.3-19).

16

n25 WRIGHT BARKER, R.B.A. (1864-1941)

An afternoon ride signed ‘Wright Barker’ (lower left) oil on canvas 63Ω x 94º in. (161.3 x 239.4 cm.)

£8,000-12,000

$13,000-18,000 €11,000-16,000

17

26 DAVID SCOTT, R.S.A. (1806-1849)

Study on ‘The Descent from the Cross’ signed ‘David Scott P’ (lower left) oil on paper over a printed base, laid down on board, painted arch 19º x 16º in. (49 x 41.2 cm.)

£3,000-5,000

$4,600-7,500 €4,100-6,700

PROVENANCE:

James McIntosh Patrick(†); Christie’s, Scotland, 26 September 1998, lot 260. with The Fine Art Society, London. The Forbes Collection; Christie’s, London, 19 February 2003, lot 302. EXHIBITED:

London, The Fine Art Society, 100 Years of Scottish Painting, August 1974, no. 133.

18

Few British artists represent the Romantic movement more completely than David Scott. Born in Edinburgh, the oldest surviving child of Robert Scott, an engraver of stern Calvinistic faith, he was an exact contemporary and friend of his fellow Scot William Dyce. But whereas Dyce was to enjoy a relatively long career, receive the patronage of Prince Albert, and play a major role in the decoration of the new Palace of Westminster, David Scott died at the age of forty-three, racked by ill health, religious doubt, and an overwhelming sense of being misunderstood as an artist. In 1835, shortly after his return from Italy, Scott was commissioned to paint an altarpiece for St Patrick’s chapel in Lothian Street, Edinburgh, although unfortunately the location of the original altarpiece cannot now be traced. The composition owes an obvious debt to Rubens’ altarpiece of the same subject in Antwerp Cathedral. It made a deep impression on the artistic community in Scotland when it was revealed, with J.B. Williams commenting to David Roberts in a letter dated 8 December 1835 that ‘Scott [...] has painted a splendid altarpiece for the new Catholic Chapel with the taking down from the Cross - a work of excellent drawing...’ Such was the acclaim surrounding the picture, it was engraved in mezzotint by R.M. Hodgetts in 1836 for the Association for the Promotion of the Fine Arts in Scotland, and using that print as a basis, Scott painted two, perhaps three, small versions, one of which is in the National Gallery of Scotland, Edinburgh, no. 1676. Another is the work presented here which was painted by Scott over a mezzotint base.

n27 ROBERT BRYDALL (FL. 1874-1906)

The frst crusader signed ‘R. BRYDALL’ (lower right) oil on canvas 36 x 48 in. (91.4 x 121.9 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

19

28 ARTHUR HUGHES (1832-1915)

Gypsies indistinctly signed (lower right) oil on canvas, feigned oval 14 x 18Ω in. (35.5 x 47 cm.)

£4,000-6,000

$6,100-9,000 €5,400-8,000

PROVENANCE:

28

Gifted to John Hamilton Trist in 1871 by the artist. His sale; Christie’s, London, 9 April 1892, lot 63A, as ‘A Landscape’ (5Ω gns to Leggatt). James Leathart. His sale; Christie’s, London, 19 June 1897, lot 34 (7 gns to John Hingston). John Hingston, and by descent in 1916 to his son John Hingston, Jun., until circa 1919 when sold to Ernest Brown & Phillips, London. Anonymous sale; Christie’s, London, 17 February 1928, lot 118 (5 gns to Ford). Anonymous sale; Christie’s, London, 21 January 1966, lot 139, as ‘Gipsy Children’ (45 gns to Leadbeater). Anonymous sale; Christie’s, London, 11 July 1969, lot 59, as ‘The Halt’ (150 gns to Tillman). Anonymous sale; Christie’s, London, 16 October 1970, lot 186, as ‘The Halt’, where purchased by the present owner. EXHIBITED:

London, Goupil Gallery, 1896, no. 37. LITERATURE:

J.H. Trist’s manuscript catalogue, 1876, revised 1886, no. 48 (Tate Gallery archives). L. Roberts, Arthur Hughes: His Life and Works, Aberdeen, 1997, p. 179, no. 112.

29 CIRCLE OF PAUL FALCONER POOLE (1807-1879)

The mischievous farmhands oil on canvas 39Ω x 32Ω in. (100.4 x 82.5 cm.)

£1,500-2,500

29

20

$2,300-3,800 €2,100-3,300

*30 CIRCLE OF WILLIAM HENRY MIDWOOD (FL.1867-1871)

Collecting water with signature ‘T Faed’ (lower right) oil on canvas 36 x 28º in. (91.4 x 71.8 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

30

n31 HORACE FISHER (1861-1928)

The orange sellers signed ‘Horace Fisher./ 1891.’ (lower left) oil on canvas 49 x 29Ω in. (121.9 x 74.9 cm.)

£4,000-6,000

$6,100-9,000 €5,400-8,000

31

21

32 n32 JAMES HAMILTON, A.R.S.A. (1853-1894)

l33 FRANK MOSS BENNETT (1874-1953)

Travelling minstrels entertaining the court

To the king; and The Last hand

signed and dated ‘J Hamilton 1881’ (lower left) oil on canvas 32 x 50 in. (81.3 x 127 cm.)

the frst signed and dated ‘F M Bennett 1924’ (lower left); the second signed ‘F M Bennett’ (lower left) oil on canvas, the second laid down on board 14 x 20 in. (35.6 x 50.8 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

£2,500-3,500 PROVENANCE:

Anonymous sale; Christie’s, London, 26 May 2005, lot 207.

33

22

33

two in the lot (2)

$3,800-5,300 €3,400-4,700

34 DANIEL MACLISE, R.A. (1806-1870)

Getting ready signed and dated ‘D. MACLISE + RA’ (lower left) oil on panel 22Ω x 14Ω in. (57.2 x 36.8 cm.)

£3,000-5,000

$4,600-7,500 €4,100-6,700

34

35 HAYNES KING, R.B.A. (1831-1904)

Afternoon tea oil on canvas 14 x 18 in. (35.6 x 45.7 cm.)

£1,500-2,000

$2,300-3,000 €2,100-2,700

35

23

l36 ROWLAND WHEELWRIGHT, R.B.A. (1870-1955)

The new lamb signed ‘R. Wheelwright’ (lower left) oil on canvas 35Ω x 27æ in. (90.2 x 70.5 cm.)

£1,500-2,500

36

$2,300-3,800 €2,100-3,300

n37 HENRY GARLAND (FL. 1854-1890)

Highland drove resting near Ballachulish, Argyllshire signed and dated ‘H. GARLAND/1887’ (lower left) and further signed and inscribed ‘“HIGHLAND DROVE RESTING”/NEAR/BALLACHULISH/ ARGYLESHIRE [sic.] /NB/H. GARLAND’ (on the reverse) oil on canvas 36 x 28 in. (91.5 x 71.2 cm.)

£1,500-2,500

$2,300-3,800 €2,100-3,300

n38 THOMAS SIDNEY COOPER, R.A. (1803-1902)

Cattle and sheep near a river signed and dated ‘T. Sidney Cooper. A.R.A./ 1855’ (lower right) oil on canvas 24 x 48 in. (60.9 x 121.9 cm.)

£8,000-12,000

$13,000-18,000 €11,000-16,000

PROVENANCE:

Mrs. Mackie; Christie’s, London, 24 November, 1906, lot 42 (120gns to Mitchall). LITERATURE:

Kenneth J. Westwood, Thomas Sidney Cooper, C.V.O., R.A., David Leathers Publishing, Somerset, 2011, p.276. 37

24

We are grateful to Kenneth Westwood for his assistance in preparing this catalogue entry.

38

39

40 FROM THE COLLECTION OF THE LATE LORD MATTHEWS

VARIOUS PROPERTIES

39 JAMES HARDY, JNR. (1832-1889)

n40 JOHN LEWIS REILLY (B. 1880) AFTER SIR EDWIN HENRY LANDSEER

A young gamekeeper with a pony and dogs

Alexander and Diogenes

signed and dated ‘J.HARDY.84’ (lower left) oil on canvas 23Ω x 31Ω in. (59.7 x 80 cm.)

£5,000-7,000

$7,600-11,000 €6,700-9,400

signed, inscribed and dated ‘John L. Reilly 1900/after/Sir Edwin Landseer’ (on the reverse) oil on canvas 44 x 56º in. (111.8 x 142.8 cm.)

£3,000-5,000

PROVENANCE:

with Mandell’s Gallery, Norwich. PROVENANCE:

26

Anonymous sale; Christie’s, London, 21 July 2009, lot 347.

$4,600-7,500 €4,100-6,700

41

n41 CIRCLE OF EDMUND JOHN NIEMANN (1813-1876)

Travellers on a beaten track, an extensive landscape beyond oil on canvas 22º x 54 in. (56.5 x 137.2 cm.)

£1,500-2,000

$2,300-3,000 €2,100-2,700

n42 JOHN BARKER (1811-1886)

Guarding the sheep signed ‘John Barker’ (lower left) oil on canvas 50 x 40 in. (127 x 101.6 cm.)

£1,500-2,500

$2,300-3,800 €2,100-3,300

42

27

43

l43 DOROTHEA SHARP, R.B.A., R.O.I., V.P.S.W.A. (1874-1955)

September in Dorset signed with initials ‘DS’ (lower left) and further signed and inscribed ‘SEPTEMBER IN DORSET/BY/DOROTHEA SHARP R.B.A.,/R.O.I/£10.10.0’ (on a label attached to the reverse) oil on board 12Ω x 16 in. (31.7 x 40.7 cm.)

£3,000-5,000

$4,600-7,500 €4,100-6,700

l*44 DOROTHEA SHARP, R.B.A., R.O.I., V.P.S.W.A. (1874-1955)

A rest on the rocks signed with initials ‘DS’ (lower left) oil on panel 13æ x 11√ in. (34.7 x 29.8 cm.)

£5,000-8,000 PROVENANCE:

with Alex Fraser Galleries, Vancouver.

44

28

$7,600-12,000 €6,700-11,000

PROPERTY OF A GENTLEMAN l45 DOROTHEA SHARP, R.B.A., R.O.I, V.P.S.W.A. (1874-1955)

Summer holidays signed ‘D SHARP’ (lower left) oil on board 12º x 16Ω in. (31 x 42 cm.)

£7,000-10,000

$11,000-15,000 €9,400-13,000

PROVENANCE:

with John Magee, Belfast, 1944. Anonymous sale; Christie’s, London, 9 June 1988, lot 94, where purchased by the present owner.

29

VARIOUS PROPERTIES 46 SIR GEORGE CLAUSEN, R.A., R.W.S. (1852-1944)

Head of a girl signed ‘G. CLAUSEN.’ (lower right) oil on canvas laid on board 10 x 8√ in. (25.4 x 22.5 cm.)

£25,000-35,000

$38,000-53,000 €34,000-47,000

PROVENANCE:

Given by the artist to Harry Parr, and thence by descent to the present owner. After his move to Widdington in Essex in the summer of 1891, George Clausen had a new terrain to explore. Living on the edge of the village he was surrounded by rolling hills and cornfelds, and while he had work to complete for the forthcoming spring, he also faced the challenge of fnding new models. One of these was a local girl, Emily Wright, known as ‘Emmy’, the daughter of a bricklayer, and she replaced Rose Grimsdale, his favourite model at Cookham Dean. At this point, Clausen’s work was changing in a dramatic way as he increasingly rejected plein air naturalism in favour of a more impressionistic style. The square brush handling and tonal painting of his years at Childwick Green and Cookham Dean disappears and he favours strong colour, dramatic contrasts and a more consciously sculpted surface texture. This has been read as an obvious rapprochement with Impressionism, even though he remained acutely aware of the importance of Bastien-Lepage to his generation. This continuing admiration became apparent when around 1895 he began to contemplate a picture of two

country girls resting in the felds. One would be sleeping while the other would face the sun, perhaps awoken by the sound of birds or the fresh summer breeze. The ensemble – resting feldworkers, one of whom is asleep – had been famously treated by Bastien-Lepage in Les Foins, 1878 (Musée d’Orsay, Paris). Before it was fnally abandoned, Summer in the Fields (c. 1895-7, private collection, sold in these rooms, 19 November 2004) became one of Clausen’s most studied paintings. Drawings for it are contained in the Victoria & Albert Museum, the Royal Academy of Arts and the Holbourne Museum, Bath, and a small oil painting of the sleeping girl passed through The Fine Art Society in the 1980s. Until the appearance of the present oil, there were however, no independent oil paintings of the principal fgure. This, more than the canvas itself, demonstrates Clausen’s struggle. While the related drawings give clear delineation of the form, A Girl’s Head provides an insistent reading of her ruddy complexion. Here is no china-doll smoothness, but a fresh, windblown face that turns towards the light (see Study for ‘Summer in the Fields, c. 1895-6, Holbourne Museum, Bath). Indeed the dense working of the fesh tones in this case produces a vibrant expressionism. Few pictures by Clausen contain this sense of urgency – as though the colour relationships he sought to capture were so feeting that he must seize them with little regard for the polite conventions of fnish. With what emphasis he shapes the right contour of Emmy’s forehead, while not neglecting the subtle modelling across the bridge of the nose. Look too at the brilliant ficks of paint that describe her hair and the subdued bluish fesh colour that takes the eye off into the feld beyond. Parr claimed to have rescued this picture when the artist had cast it aside – what a service he did for posterity! KMc.

47 *47 SIR GEORGE CLAUSEN, R.A., R.W.S. (1852-1944)

PROVENANCE:

Old Essex in November signed ‘G. CLAUSEN’ (lower right) and inscribed ‘OLD ESSEX/IN NOVEMBER./G. CLAUSEN. 1928-33.’ (on the reverse) oil on canvas 24 x 29Ω in. (61 x 75 cm.)

£6,000-8,000

$9,100-12,000 €8,100-11,000

Lady Cromer; her sale, Robinson and Foster, October 1933 (to Lockett Thomson). Acquired by the present owners at Binghampton, New York, in 1987. For further information on this lot, please visit www.christies.com.

48 SIR GEORGE CLAUSEN, R.A., R.W.S. (1852-1944)

The Orchard signed ‘G. CLAUSEN’ (lower right) pencil and watercolour 8Ω x 11√ in. (21.6 x 30.2 cm.)

£1,200-1,800

$1,900-2,700 €1,700-2,400

48

31

l49 SIR ALFRED JAMES MUNNINGS, P.R.A., R.W.S. (1878-1959)

Withypool looking towards Winsford Hill, Exmoor signed ‘A. J. MUNNINGS’ (lower right) oil on canvas 21 x 30 in. (53.3 x 76.2 cm.)

£15,000-25,000

$23,000-38,000 €21,000-33,000

PROVENANCE:

F. Willoughby Hancock Esq, Wiveliscombe, Somerset, and thence by descent. EXHIBITED:

London, Royal Academy, 1956, no. 96, as Exmoor. Sir Alfred Munnings revelled in the sublime beauty of the English countryside, and it could be said that his paintings of such scenery were expressions of his soul. Viewing the present lot, it is easy to feel what the artist must have enjoyed whilst standing at his easel that day: a cool breeze, complimented by the warmth of the late summer sun, its brilliance setting alight the pre-autumnal reds, oranges and golds of the leaves, in anticipation of the sunset to come; the silence of the landscape is broken only by the bleat of a sheep, a snort from his hunter, and occasional unscrewing of the top from his fask. The lowering sun casts light across the undulating hills, and long shadows – particularly those of the sheep – punctuate the landscape, rolling down the slopes towards the woodlands below. The juxtaposition between the lush, bushy foliage – tired by the heat of the summer - and the smoother surface of the grasses, are captured by the masterful speed of Munnings’ brush, and bold sweeps of impasto give depth to the landscape and trees. Notably the artist used both ends of the brush, unconventionally drawing into the oil with the top end, to add texture to the foliage in the foreground. One of the foremost British Impressionists, Exmoor indisputably shows the artist at his best. We are grateful to Lorian Peralta Ramos for her assistance in preparing this catalogue entry. The painting will be included in her forthcoming catalogue raisonné of the work of Sir Alfred Munnings.

32

l50 SIR ALFRED JAMES MUNNINGS, P.R.A., R.W.S. (1878-1959)

Looking across the river Barle, Withypool, Devon signed ‘A.J. MUNNINGS.’ (lower right) oil on panel 19√ x 24 in. (50.5 x 60.9 cm.)

£5,000-8,000

$7,600-12,000 €6,700-11,000

PROVENANCE:

F. Willoughby Hancock Esq., Wiveliscombe, Somerset, and thence by descent. We are grateful to Lorian Peralta Ramos for her assistance in preparing this catalogue entry. The painting will be included in her forthcoming catalogue raisonné of the work of Sir Alfred Munnings.

33

51 ALFRED DE BRÉANSKI, SNR., R.B.A. (1852-1928)

Cattle watering on a river signed ‘Alfred. de BrCanski’ (lower left) oil on canvas 24 x 36 in. (61 x 91.5 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

51

l52 ALFRED FONTVILLE DE BRÉANSKI (1877-1957)

Llyn Ogwen, North Wales signed ‘A. FONTVILLE’ (lower left) and further signed and inscribed ‘Llyn Ogwen, N. Wales/A. FONTVILLE’ (on the reverse) oil on canvas 20 x 30 in. (50.8 x 76.2 cm.)

£1,500-2,500

$2,300-3,800 €2,100-3,300

52

53 GEORGE TURNER (1843-1910)

The Trent near Ingleby signed ‘Geo Turner’ (lower right) and further signed, inscribed and dated ‘The Trent near Ingleby/Geo. Turner/Barrow-on-Trent/Derby. 1898’ (on the reverse) oil on canvas 24 x 36º in. (61 x 92.1 cm.)

£1,500-2,000

53

34

$2,300-3,000 €2,100-2,700

54 ALFRED DE BRÉANSKI, SNR., R.B.A. (1852-1928)

The Valley of Borrowdale signed ‘Alfred. de BrCanski’ (lower right) and further signed and inscribed ‘“The Valley of Borrowdale”/ Alfred. de BrCanski R.B.A. P.C. Lon’ (on the reverse) oil on canvas 24 x 36 in. (61 x 91.5 cm.)

£10,000-15,000

$16,000-23,000 €14,000-20,000

PROVENANCE:

with The Boydell Galleries, Liverpool.

35

55 JOHN BRETT, A.R.A. (1831-1902)

Housel Bay, the Lizard Peninsula, Cornwall signed and dated ‘John Brett 1877’ (lower left) oil on canvas 20 x 36 in. (50.8 x 91.5 cm.)

£20,000-30,000

$31,000-45,000 €27,000-40,000

PROVENANCE:

purchased from the artist by David Price £200. His sale; Christie’s, London, 4 April 1892, lot 197 (bought by Tidey for 110 gns). Miss de Quincey; Hampton & Sons, London, 24 June 1931, lot 691. M. Newman; F. Johnston-Smith; Christie’s, London, 3 May 1935, lot 153 (bought by Boot for 26 gns). Coulter Galleries; Christie’s, London, 8 May 1959, lot 110 (bought by Agnew for 100 gns). with Wilton Gallery, 24 August 1959. with J.S. Maas & Co. Ltd., London. Francis Watson, 14 November 1961, and thence by descent. EXHIBITED:

Huddersfeld, 1883, no 196. London, J.S. Maas & Co. Ltd., Pre-Raphaelites and Contemporaries, 1961, no 127. Sheffeld, Sheffeld City Art Galleries, Victorian Painting, September-November 1968, no. 166. LITERATURE:

The Huddersfeld Daily Chronicle, 27 July 1883, p.3. Payne and Brett, John Brett Pre-Raphaelite Landscape Painter, Yale, 2010, p.220 (cat. no. 799). Brett spent the summers of 1876 and 1877 on the Lizard Peninsula in Cornwall, which he found a particularly fruitful sketching ground. In 1876 he rented Penolver Cottage at Bass Point, superbly situated high on the cliffs near the Lloyd’s Signal Station. Close to the cottage was the little sandy inlet of Housel Cove, and there on 29th July he painted a 7 x 14 in. sketch from the beach, featuring the grandly piled headland of Pen Olver, which protects the cove on its eastern side (Private Collection). During the following winter the present important work was painted in his studio from the sketch, and while keeping its basic form unchanged, Brett typically refned and enriched the detail. The dramatic effects of light and shade in the hornblende schist cliffs in the left foreground were exaggerated, and great care was taken to convey the texture of the barnacle-covered rocks; additional craft were added beyond the bay, including a steamer on the horizon, and the delightful feature of the gig with two men aboard about to be beached in the cove was introduced; while the majestic headland was bathed in glorious sunshine, in a manner reminiscent of Brett’s earlier Massa, Bay of Naples (1863-4, now in the Indianapolis Museum of Art). Housel Bay entered the important collection of the wool merchant David Price, who paid £200 for it. He was evidently pleased with his acquisition, as he later added four other works by the artist to his collection. We are grateful to Charles Brett for his assistance in preparing this catalogue entry.

36

*56 SIDNEY RICHARD PERCY (1821-1886)

Grange-over-Sands; and The Lancaster Sands the frst inscribed ‘Grange-over-Sands’ (on an old label attached to the reverse) oil on paper 4æ x 8 in. (12.1 x 20.3 cm.) a pair (2)

£1,500-2,500

$2,300-3,800 €2,100-3,300

PROVENANCE:

Hugh Tregarstirs Esq. Swift Newton Esq., and thence by descent to Mrs Josephine Newton Carothers.

56 (a pair) 57 THOMAS ROSE MILES (1868-1906)

A pleasure party signed ‘T.R. Miles’ (lower left) and further inscribed ‘“A Pleasure party”/ Connemara’ (on the reverse) oil on canvas 22 x 36 in. (55.8 x 91.4 cm.)

£2,000-3,000

57

38

$3,100-4,500 €2,700-4,000

58 FROM THE ESTATE OF HAROLD SHAW

VARIOUS PROPERTIES

n*58 ROBERT McGOWN COVENTRY, A.R.S.A., R.S.W. (1855-1914)

l59 JOHN ANTHONY PARK, R.O.I., R.B.A. (1880-1962)

Mending the lobster creels

In Torbay, Brixham, Devon

signed ‘RMG. Coventry’ (lower left) oil on canvas 44 x 60 in. (101.7 x 152.5 cm.)

signed ‘J A PARK’ (lower left) and further signed and inscribed ‘In Torbay/ Brixham/Devon./Price £5-0-0/J A Park/10 Hooley Range,/Heaton Moor/ Stockport’ (on the reverse) oil on canvasboard 10º x 14º in. (26 x 36.2 cm.)

£8,000-12,000

$13,000-18,000 €11,000-16,000

PROVENANCE:

£1,500-2,000

$2,300-3,000 €2,100-2,700

with The Fine Art Society Ltd., London, November 1976.

59

39

l60 DOROTHEA SHARP, R.B.A., R.O.I., V.P.S.W.A. (1874-1955)

A summer’s stroll oil on board 13 x 16 in. (33 x 40.7 cm.)

£5,000-8,000

40

$7,600-12,000 €6,700-11,000

nl*61 DOROTHEA SHARP, R.B.A., R.O.I., V.P.S.W.A. (1874-1955)

‘My New Sister’ signed ‘DOROTHEA SHARP’ (lower left) oil on canvas 35 x 32 in. (89 x 81.3 cm.)

£8,000-12,000

$13,000-18,000 €11,000-16,000

41

62 l62 SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (1880-1969)

Two on a derelict signed ‘W. RUSSELL FLINT-’ (lower left) and inscribed ‘Two on a Derelict./ William Flint.’ (on the reverse) watercolour heightened with bodycolour 13¿ x 21Ω in. (33.4 x 54.5 cm.)

£4,000-6,000

$6,100-9,000 €5,400-8,000

63 HENRY SCOTT TUKE, R.A., R.W.S. (1858-1929)

The Bather (Study for Gleaming Waters) signed and dated ‘H.S. TUKE. 1910’ (lower left) further signed and indistinctly inscribed ‘A nude on the Beach’ / H.S. Tuke, R.A. R.W.S. (on the artist’s label attached to the reverse) pencil and watercolour 10 x 6æ in. (25.4 x 17.2 cm.)

£5,000-8,000

$7,600-12,000 €6,700-11,000

PROVENANCE:

with John A. Cooling, London.

63

42

This plein air watercolour painted by Henry Scott Tuke on the beach near his home in Swanpool, Falmouth, features a male model (probably Charlie Mitchell) in a pose which is identical to the main fgure on the left of his Royal Academy oil painting of 1911 Gleaming Waters (R684). It would suggest this watercolour is a study for that particular fgure in the fnal painting. This picture, along with Gleaming Waters, was painted in the summer of 1910. The Cooling Galleries, 92 New Bond Street, London held a retrospective exhibition of Paintings and watercolours by the late H.S. Tuke, R.A., R.W.S. from 31st October – 20th November 1929. This watercolour is probably one of three that were listed as Nude or possibly another called Beach study. Tuke died in Falmouth on 13th March 1929. We are grateful to Catherine Wallace for her assistance in preparing this catalogue entry.

64

65 l*64 SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (1880-1969)

l65 SIR WILLIAM RUSSELL FLINT , R.A., P.R.W.S., R.S.W. (1880-1969)

A September picnic

The Temple of Juno, Agrigento, Sicily

signed ‘W. RUSSELL FLINT’ (lower right) pencil and watercolour 15 x 21Ω in. (38.1 x 54.6 cm.)

signed ‘W. RUSSELL FLINT’ (lower left) and inscribed and dated ‘GIRGENTI - MCMXIII -’ (lower right) watercolour 9º x 13æ in. (23.5 x 35 cm.)

£3,500-4,500

$5,300-6,800 €4,700-6,000

£2,000-4,000

$3,100-6,000 €2,700-5,400

PROVENANCE:

with The Fine Art Society Ltd., London.

43

66

67 l66 EDWARD SEAGO, R.B.A., R.W.S. (1910-1974)

l67 SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (1880-1969)

Beach fshing

On the Drôme, near Saillans

signed ‘Edward Seago’ (lower right) pencil and watercolour 10 x 14Ω in. (25.4 x 36.8 cm.)

signed ‘W. RUSSELL FLINT_’ (lower right) and further inscribed ‘On the DrIme near Saillans/ WRussell Flint.’ (on the reverse) watercolour 10º x 13Ω in. (26 x 26.8 cm.)

£2,500-3,500

$3,800-5,300 €3,400-4,700

£3,000-5,000 PROVENANCE:

$4,600-7,500 €4,100-6,700

with The Fine Art Society, Ltd., London. EXHIBITED:

London, Royal Academy, Sir William Russell Flint Exhibition, 1962, no. 57.

44

68

69 l68 SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (1880-1969)

l69 EDWARD SEAGO, R.B.A., R.W.S. (1910-1974)

Clouds over a Spinney, Goodwood

A Venetian palazzo

signed ‘W. RUSSELL FLINT -’ (lower right) and further signed, inscribed and dated ‘Clouds over a Spinney, Goodwood/ WRussell Flint/ July 1953’ (on card, attached to the reverse) watercolour 10Ω x 15º in. (26.8 x 38.8 cm.)

signed ‘Edward Seago’ (lower left) pencil and watercolour 10Ω x 15 in. (26.8 x 38.2 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

£3,000-5,000

$4,600-7,500 €4,100-6,700

PROVENANCE:

with Agnew’s, London.

45

70

46

71

70 GEORGE GOODWIN KILBURNE, R.I. (1839-1924)

*71 HENRY RYLAND, R.I. (1856-1924)

A sumptous feast; The elves couches; Mighty men; Clearing the forest; The allotment dispute; The elves’ playground; A circular dance; and A message for the Queen

Summer month that brings the rose - The Rubciyct of Omar Khayycm

the frst three indistinctly signed with initials (lower right) pencil and watercolour 4¡ x 6æ in. (11.1 x 17.2 cm.) and smaller

£7,000-10,000

a set of eight (8)

$11,000-15,000 €9,400-13,000

signed ‘HENRY RYLAND’ (lower right) pencil and watercolour 14æ x 21æ in. (37.4 x 55.3 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

47

We are grateful to Katherine Field for her assistance in preparing the catalogue entries for lots 72 to 75, which will be included in the Philip de László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com The Hon. Mrs de Laszlo and a team of editors are compiling the catalogue raisonné of the artist’s entire oeuvre. Katherine Field is the British and North American Editor. Please see www.delaszloarchivetrust.com or contact [email protected] for more information or to offer any contribution.

72 PHILIP ALEXIUS DE LÁSZLÓ (1869-1937)

William Howard Taft, Esq., a study signed and indistinctly inscribed ‘Taft/ 908/ III.19. William/White H****/ P.A. László’ (lower right) and with inscription ‘A sketch of Taft completed without his knowledge / in March 1908 when Secretary of State to President/Theodore Roosevelt while PA de L was staying at The / White House to paint the President/ John de Laszlo’ (in the hand of John de Laszlo, the artist’s ffth son) pencil 9º x 7Ω in. (23.5 x 19.1 cm.)

£500-700

$760-1,100 €670-940

PROVENANCE:

In the possession of the artist on his death, and thence by descent. LITERATURE:

Rutter, Owen, Portrait of a Painter, London, 1939, pp. 253-4. 72

In March 1908 de László and his wife Lucy sailed to New York and travelled directly to Washington D.C. to paint portraits of President Theodore Roosevelt and his wife Edith, née Carow. Sittings took place at the White House and during one of these Howard Taft, then Secretary of State, brought some urgent papers for the President to read. The moment was recorded by the artist: “Having read the despatch [sic.] the President asked Mr Taft to wait a few minutes, saying that I had some very particular work to do. Mr Taft sat down in a corner and busied himself with his papers. ‘Now is your chance,’ whispered the President, and accordingly I promptly made a sketch of that massive head, catching Mr. Taft’s attitude as he read.” The artist kept this sketch and is was recorded in the inventory of his studio after his death. William Howard Taft (1857-1930) ran successfully for the Presidency the year this sketch was made and took offce in March 1909.

73 PHILIP ALEXIUS DE LÁSZLÓ (1869-1937)

Princess Charlotte of Prussia (1860-1919), Duchess of Saxe-Meiningen pencil 12 x 7Ω in. (30.5 x 19.1 cm.)

£500-700

$760-1,100 €670-940

PROVENANCE:

In the possession of the artist on his death, and thence by descent. This sketch was executed as a preparatory drawing for one of the four portraits de László painted of Princess Charlotte of Saxe-Meiningen at the family estate of Schloss Erdmannsdorf in Silesia in the summer of 1899. The portraits of Princess Charlotte were the frst in a long series of commissions by members of the German Imperial Family, culminating in the full-length equestrian portrait of Kaiser Wilhelm II in 1911 (Stiftung Preussische Schlösser und Gärten, Berlin-Brandenburg, Potsdam, Germany). Princess Charlotte (1860-1919) was the eldest daughter of Crown Prince Friedrich of Prussia and Victoria, Princess Royal of Great Britain, granddaughter of Queen Victoria.

73

48

74 PHILIP ALEXIUS DE LÁSZLÓ (1869-1937)

Portrait of the artist’s son, Patrick de Laszlo (1909-1980) signed and dated ‘1919 III / P.A. de L.’ (lower right) and further signed and inscribed ‘P. A. de L6szl/ / Paty (on the reverse) oil on board 10 x 8 in. (25.4 x 20 cm.)

£4,000-6,000

$6,100-9,000 €5,400-8,000

PROVENANCE:

In the possession of the artist on his death, and thence by descent. 75 PHILIP ALEXIUS DE LÁSZLÓ (1869-1937)

Evening on the edge of the desert, Africa oil on canvasboard 13 x 16 in. (33.1 x 40.7 cm.)

£2,000-4,000

$3,100-6,000 €2,700-5,400

PROVENANCE:

In the possession of the artist on his death, and thence by descent. LITERATURE:

Studio Inventory, p. 116 (687) Study. Unfnished sketch De László regularly painted for his own pleasure during his annual vacations away from the English winter. On at least one occasion he was rebuked by his wife for packing too many canvasboards to take away with him. The present study is not dated but is similar to other landscape studies completed during the artist’s visits to Algeria in 1923, Egypt in 1929, and Morocco in 1934.

74

75

49

76 JAMES FERRIER PRYDE, H.R.O.I. (1866-1941)

The meeting signed ‘Pryde’ (lower left) oil on canvas 17º x 12º in. (43.8 x 31.1 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

nl77 WILLIAM OTWAY McCANNELL (1883–1969)

The Throne of the Gods signed McCANNELL’ (lower right) and with inscription ‘Otway McCannell/THE THRONE OF THE GODS’ (on a label on the reverse) ‘ oil on board 44Ω x 50 in. (113 x 127 cm.)

£2,000-4,000

$3,100-6,000 €2,700-5,400

76

nl78 MADELINE RACHEL WELLS, R.B.A. (EXH. 1909-1940)

Labours of the vine signed ‘M WELLS’ (lower right) oil on canvas 69 x 96æ in. (175.2 x 245.7 cm.)

£15,000-20,000

$23,000-30,000 €21,000-27,000

Born in India, Madeline Wells studied at Westminster Art School under William Mouat Loudan, and at the London School of Art under Sir Frank Brangwyn. She married the artist Robert Douglas Wells, who specialised in landscape and still life painting. They lived in London at St. Albans Studios in Kensington. Madeline Wells became a member of the Royal Society of British Artists in 1915 and was elected a member of the Society of Women Artists in 1923. She exhibited widely over a period of more than thirty years at these and other galleries, including the Grosvenor Gallery, the Royal Academy and the Walker Art Gallery in Liverpool.

77

50

78

l79 GERALD LESLIE BROCKHURST, R.A. (1890-1978)

Portrait of a lady, in a black waistcoat and red shirt, in an extensive landscape signed ‘G L BROCKHURST. RA.’ (lower right) oil on canvas 25 x 20æ in. (63.5 x 52.7 cm.)

£3,000-5,000

$4,600-7,500 €4,100-6,700

79

nl80 PHILIP CONNARD, R.A. (1875-1958)

The Young Dancers signed ‘CONNARD’ (on the stretcher) and further signed and inscribed ‘CONNARD CHELSEA’ (on the frame) oil on canvas 56º x 44º in. (143 x 102.4 cm.)

£5,000-7,000

$7,600-11,000 €6,700-9,400

PROVENANCE:

with Goupil Gallery, London. Anonymous sale; Christie’s, London, 28 November 1996, lot 135, where purchased by the present owner. EXHIBITED:

Venice, Biennale, International Exhibition, 1912, no. 15. Bradford, Cartwright Hall Museum and Art Gallery (on loan). The present lot depicts the artist’s daughters Jane and Helen with their cat James. Another painting of 1913, also featuring Connard’s daughters, their nurse, and James, is at Tate Britain. The children appear on the same chaise in The Guitar Player in the Art Gallery of South Australia, Adelaide.

80

52

l81 DAME LAURA KNIGHT, R.A., R.W.S. (1877-1970)

PROVENANCE:

Portrait of Edith Broster, seated three-quarter length, in a pink dress

By family descent, from the sitter.

signed ‘Laura Knight’ (lower right) and further signed, inscribed and dated ‘Laura/Knight/fecit/1934/Edith Broster’ (on a scroll, lower left) oil on canvas 36 x 28 in. (91.4 x 71.1 cm.)

This painting will be included in the forthcoming catalogue raisonné of the work of Dame Laura Knight currently being prepared by R John Croft FCA, the artist’s great-nephew.

£10,000-15,000

$16,000-23,000 €14,000-20,000

53

l82 FRANCIS OWEN SALISBURY, R.I., R.O.I. (1874-1962)

Portrait of Mrs Florence Cox, n’e Lane, half-length, in a white dress with a black sash signed and dated ‘Frank O Salisbury 1912’ (lower left) oil on canvas 30 x 35 in. (76.2 x 88.9 cm.)

£1,500-2,000

$2,300-3,000 €2,100-2,700

83 No Lot

82

n84 WILLIAM LOGSDAIL (1859-1944)

Zelia, daughter of Sir Eric Hambro signed and dated ‘W. Logsdail. 1920.’ (lower left) and further signed and inscribed ‘William Logsdail/5 St Paul’s Studios./West Kensington, W14/ 1. Zelia, daughter of Sir Eric Hambro.’ (twice on 2 old labels attached to the stretcher) oil on canvas 78º x 32√ in. (198.8 x 83.5 cm.)

£40,000-60,000

$61,000-90,000 €54,000-80,000

PROVENANCE:

Anonymous sale; Sotheby’s, London, 18 March 1987, lot 157. with Walker Bagshawe Fine Art, London, where purchased by the present vendor. EXHIBITED:

London, Royal Society of Portrait Painters, no. 1. The eldest daughter of Sir Charles Eric Hambro, K.B.E. (1872-1947) and his frst wife Sybil Mary Ridley-Smith (d. 1942), Zelia Mary Hambro was born in 1909. Depicted here at the age of 11, Logsdail has conveyed a sense of the spirited young girl, perhaps more used to climbing trees than standing still for hours in her best clothes. The coral buttons, complimented by the matching necklace, and the emerald green coat casually folded over Zelia’s arm lend a sense of style and swagger to the painting and set off the black velvet dress perfectly. Using the classical style and backdrop of a ‘grand manner’ portrait, Logsdail’s square brush technique, thick impasto and freshness of palette modernise the picture and add a sense of vitality and immediacy appropriate to the age and character of his sitter. Zelia went on to marry Patrick Humphreys in January 1930, only a few months after her parents’ divorce and less than a month after her father’s subsequent remarriage to Edith Estelle Whyte on 11 December 1929. The Humphreys had three daughters Anne, Patricia and Susan. In 1941 Zelia married for a second time to John H. Osborne, and the couple went on to have two further children, Angela and Anthony. Logsdail also painted a slightly smaller portrait of Zelia’s younger sister Juliet in the same year which came up at auction at Sotheby’s in London on 14 June 1989 (lot 202), and again at Christie’s in New York on 1 May 2000 (lot 67).

54

84

A PRIVATE COLLECTION FROM BELGRAVIA 85 CIRCLE OF RICHARD BANKES HARRADEN (1778-1862)

Warwick Castle viewed from four perspectives oil on panel 13 x 19º in. (33 x 48.9 cm.)

£8,000-12,000

56

a set of four (4)

$13,000-18,000 €11,000-16,000

86

87 87 ALFRED AUGUSTUS GLENDENING, SNR. (1840-1910)

VARIOUS PROPERTIES n86 CHARLES EDWARD JOHNSON, R.I. (1832-1913)

Near Dorking, Surrey

A Highland Clachan signed and dated ‘C.E. Johnson/1876’ (lower right) and further signed and inscribed ‘A Highland Clachan/ CE Johnson/ 34 Gloucester Rd/ Regents Park/ RM’ (on the reverse) oil on canvas 31 x 48Ω in. (78.7 x 123.2 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

signed and dated ‘A. A. GLENDENING. 06’ (lower right) and inscribed ‘NEAR DORKING SURREY’ (on the reverse) oil on canvas 12 x 20 in. (30.5 x 50.8 cm.)

£1,500-2,000

$2,300-3,000 €2,100-2,700

PROVENANCE:

Mr Thomas Richardson; Christie’s, London, 27 April 1908, lot 264 (sold for 6 gns. to Howard).

57

88 BENJAMIN WILLIAMS LEADER, R.A. (1831-1923)

Summertime signed and dated ‘B.W. LEADER. 1909.’ (lower left) and with inscription ‘A Bye Path Burrows Cross B.W. Leader’ (on the stretcher) oil on canvas 18 x 14 in. (45.7 x 35.5 cm.)

£3,000-5,000 PROVENANCE:

$4,600-7,500 €4,100-6,700

purchased direct from the artist by Wallis in 1909. from whom purchased by William Rodman & Co, Belfast. We are grateful to Ruth Woods for her assistance in preparing this catalogue entry. 89 JOHN MULCASTER CARRICK (FL. 1854-1888)

Breil-sur-Roya in the Alps signed and dated ‘J.M. Carrick/1888’ (lower left) and further signed, inscribed and dated ‘Breglio -/Between Nice and Tenda/Maritime Alps -/ JMCarrick 1888./A frontier town of Italy-on the Roya.-’ (on the reverse) oil on board 12º x 10 in. (31.1 x 25.4 cm.)

£1,200-1,800

$1,900-2,700 €1,700-2,400

Breil-sur-Roya, or Breglio in Italian, is a small alpine town close to the French-Italian border. l90 ALFRED FONTVILLE DE BRÉANSKI (1877-1957)

Polperro, Cornwall signed ‘A DE BRWANSKI JNR’ (lower left) oil on canvas 24 x 18 in. (61 x 45.7 cm.)

£1,200-1,800 PROVENANCE:

88

89

58

with Frost & Reed, London, 12 September 1947.

90

$1,900-2,700 €1,700-2,400

nl91 ALFRED FONTVILLE DE BRÉANSKI (1877-1957)

Between the showers - Brother’s Water, Cumbria signed ‘F. de BrCanski’ (lower right) and further signed and inscribed ‘Between the Showers Brother’s Water./ A.F. de BrCanski’ (on the reverse) oil on canvas 30 x 40 in. (76.2 x 101.6 cm.)

£3,000-5,000

$4,600-7,500 €4,100-6,700

91

92 *92 BENJAMIN WILLIAMS LEADER, R.A. (1831-1923)

His sale; Christie’s, London, 26 May 1900, lot 18 (75 gns to Tooth). Major-General E.H. Goulburn (†); Christie’s, London, 6 March 1981, lot 46.

Tintern Abbey by moonlight signed and dated ‘B.W. LEADER. 1872. 1900.’ (lower left) and signed and dated again ‘1872/B.W. Leader.’ (lower right) oil on canvas 19æ x 29√ in. (50.1 x 76 cm.)

£5,000-7,000

$7,600-11,000 €6,700-9,400

PROVENANCE:

Sold by the artist to Agnew’s in 1872 (£50). with Agnew’s, London, until 1872, when sold to Benjamin Armitage.

LITERATURE:

Artist’s ‘Records of Paintings Sold’ 1872 and 1900. R. Wood, Benjamin Williams Leader, RA 1831-1923: His Life and Paintings, Suffolk, 1988, p. 44-45, illustrated. Leader’s inscription of two dates on the painting indicate the date at which the painting was painted (1872), and also the date that he reworked certain areas, probably for the art dealer Arthur Tooth, about whom he wrote in his Records of paintings sold in May 1900: ‘Working on an early picture for Tooth £5.00’. We are grateful to Ruth Wood for her assistance in preparing this catalogue entry.

59

l93 SIR FRANK BRANGWYN, R.A., R.W.S. (1867-1956)

Saint-Cirq-Lapopie, on the river Lot, France signed with initials ‘FB’ (lower left) and further signed and inscribed ‘La Popie/Frank Brangwyn’ (on a fragment of an exhibition label attached to the backboard) pencil and watercolour 20º x 28Ω in. (51.5 x 72.4 cm.)

£1,000-1,500

$1,600-2,300 €1,400-2,000

PROVENANCE:

with Barbizon House, London. EXHIBITED:

Bradford, Corporation Art Gallery, Cartwright Memorial Hall, 1934, no.131.

94 PERCY WILLIAM GIBBS (FL. 1895-1925)

93

Punts on the Thames before Hampton Court Bridge signed ‘P.W. GIBBS.’ (lower right) oil on canvas 25 x 30 in. (60.5 x 76.2 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

95 HILDA FEARON, R.O.I. (1878-1917)

Springtime signed and dated ‘Hilda Fearon/1914’ (lower right) oil on canvas 30 x 25 in. (76.2 x 63.5 cm.)

£15,000-25,000

$23,000-38,000 €21,000-33,000

Like her exact contemporary, Dorothea Sharp, Hilda Fearon was one of a number of female artists who were drawn to paint in Cornwall, where she worked under Algernon Talmage at St. Ives. Born in Banstead, Surrey, she studied in Dresden from 1897-99, and then at the Slade School from 1899-1904. She exhibited several works at the Royal Academy from 1908 until her early death in 1917, and was also a member of the Royal Institute of Painters in Oil Colours. Costumes in black and white stripes and a limited, muted palette characterise her work.

94

60

95

nl96 SIR GERALD FESTUS KELLY, P.R.A. (1879-1972)

La Sevillana oil on canvas 55 x 38æ in. (139.7 x 98.5 cm.)

£10,000-15,000

$16,000-23,000 €14,000-20,000

PROVENANCE:

The Contents of the Studio of the Late Sir Gerald Kelly (†); Christie’s, London, 8 February 1980, lot 99. with The Weston Gallery, Norwich. EXHIBITED:

London, Royal Academy, Diploma Gallery, Sir Gerald Kelly KCVO PPRA, 1957, no. 20. Plymouth, City Art Gallery and Museum, Paintings by Sir Gerald Kelly KCVO PPRA, June 1958, number untraced. Bournemouth, Russell Cotes Art Gallery, The Art of Dancing, 1958, number untraced.

96

97 ARTHUR HACKER (1858-1919)

Daisies oil on panel 9º x 13æin. (23.5 x 35 cm.)

£2,500-3,500

$3,800-5,300 €3,400-4,700

PROVENANCE:

with The Fine Art Society, London, by February 1969, no. 5159. Anonymous sale; Christies, London, 26 September 2007, lot 204.

97

62

l98 DAME LAURA KNIGHT, R.A., R.W.S. (1877-1970)

Comedy Riders signed ‘Laura Knight’ (lower left) and further signed and inscribed ‘Dame Laura Knight/16 Longford Place, St Johns Wood/London. N. W.8./No. 5 on Form’ (on the artist’s label attached to the stretcher) oil on canvas 25º x 30 in. (61.1 x 76.2 cm.)

£12,000-18,000 PROVENANCE:

with Pawsey & Payne, London. Anonymous sale; Sotheby’s, London, 19 July 1967, lot 169. Anonymous sale; Phillips, London, 4 June 1996, lot 104. EXHIBITED:

London, Royal Academy, 1953, no. 191. London, Royal Academy, Dame Laura Knight Exhibition, 1965.

$19,000-27,000 €17,000-24,000

Knight’s interest in circuses began with her childhood memories of the Nottingham Goose Fair and later at Bertram Mills’ Circus at Olympia, London. In the early 1930s she undertook a regional tour of the Midlands with Carmo’s Circus and fell in love ‘with circus life ... for years (three months at a stretch), she lived with a troupe of performers, touring the country with them, until she actually became one of them ... flling sketchbook upon sketchbook ... till she could discard the sketchbook for canvas and paint, the well-known results of which have become world-famous’ (Adrian Hill, ‘Famous Artists: No. 1 Dame Laura Knight, ARA’, The Artist, vol. 2, no. 5, January 1932, p. 208). She wrote of her admiration for the acrobats: ‘I have often tried to analyse the circus appeal. It is the display of indomitable courage that one sees and admires, an admiration inherent in the human race. Gravitation is defed - the impossible is possible. I heard an acrobat say once, “No matter what we come to, we have lived. I was the King of the Earth when I was young, the laws that governed other people did not govern me, I could do anything”’ (Laura Knight, Oil Paint and Grease Paint, 1936). This painting will be included in the forthcoming catalogue raisonné of the work of Dame Laura Knight currently being prepared by R John Croft FCA, the artist’s great-nephew.

63

99

100

l99 FREDERICK WILLIAM LEIST, R.O.I., R.B.A. (1878-1945)

Early Editions signed and dated ‘FRED/LEIST/10’ (lower left) oil on canvas 36 x 28 in. (91.5 x 71.1 cm.)

£7,000-10,000

$11,000-15,000 €9,400-13,000

100 WILLIAM OLIVER (1823-1901)

Reclining beauty signed ‘W. Oliver’ (lower left) oil on canvas 16 x 40 in. (40.7 x 101.7 cm.)

£3,000-5,000

$4,600-7,500 €4,100-6,700

101 WILLIAM A. BREAKSPEARE (1855-1914)

Lost in thought signed ‘W. Breakspeare’ (lower right) oil on canvas 16 x 12 in. (40.7 x 30.5 cm.)

£1,500-2,000

$2,300-3,000 €2,100-2,700

101

65

l102 CECIL KENNEDY (1905-1997)

Summer fowers in a glass vase signed and dated ‘CECIL KENNEDY/1928’ (lower right) oil on canvas 22 x 17 in. (55.9 x 43.2 cm.)

£3,000-5,000

$4,600-7,500 €4,100-6,700

102

l103 CECIL KENNEDY (1905-1997)

Lilies, roses, stocks and other summer fowers signed ‘CECIL KENNEDY’ (lower right) oil on canvas 21 x 24 in. (53.3 x 61 cm.)

£2,000-3,000

$3,100-4,500 €2,700-4,000

PROVENANCE:

with The Fine Art Society Ltd., London, August 1948.

103

66

104 EDWIN HARRIS, R.B.S.A. (1855-1906)

A quiet moment signed ‘Edwin Harris.’ (lower right) oil on canvas 16 x 20 in. (40.6 x 50.8 cm.)

£3,500-4,500

$5,300-6,800 €4,700-6,000

PROVENANCE:

Anonymous sale; Christie’s, London, 26 September 2007, lot 20.

104

PROPERTY OF A NOBLEMAN l105 JAMES McINTOSH PATRICK, R.S.A. (1907-1998)

Summer Haze signed ‘MCINTOSH/PATRICK’ (lower right) and further signed and inscribed ‘J. MCINTOSH PATRICK/THE WHITE COTTAGE, NEAR/ POWLIS, PERTHSHIRE/”SUMMER HAZE”’ (on the reverse) oil on canvas 20 x 24 in. (50.8 x 61 cm.)

£3,000-5,000

$4,600-7,500 €4,100-6,700

EXHIBITED:

London, The Fine Art Society Ltd., May 1950.

105

END OF SALE The next South Kensington sale of Victorian, Pre-Raphaelite & British Impressionist Art will be held on 8 July 2015 67

Index

B Barker, J., 42 Barker, W., 25 Bastien-Lepage, J., 24 Bennett, F.M., 33 Blacklock, W.K., 21 Brangwyn, Sir F., 93 Breakspeare, W.A., 101 Brett, J., 55 Brockhurst, G.L., 79 Brooker, H., 17 Brydall, R., 27 C Carrick, J.M., 89 Charles, J., 22 Clausen, Sir G., 46-48 Connard, P., 80 Cooper, G., 14 Cooper, T.S., 38 Coventry, R.M., 58 D de Bréanski, A.F., 52, 90-91 de Bréanski, Snr., A., 51, 54 de László, P.A., 72-75 F Fearon, H., 95 Fisher, H., 31 Flint, Sir W.R., 62, 64-65, 67-68 68

G Garland, H., 37 Gibbs, P.W., 94 Glendening, Snr., A.A., 87 H Hacker, A., 97 Hall, F., 16 Hamilton, J., 32 Hardy, Jnr., J., 39 Harraden, R.B. (Circle of), 85 Hughes, A., 28 Hunt, E.H., 10 J Johnson, C.E., 86 K Kelly, Sir G.F., 96 Kennedy, C., 15, 102-103 Kilburne, G.G., 70 King, H., 35 Knight, Dame L., 81, 98 L Ladell, E., 13 Leader, B.W., 88, 92 Leist, F.W., 99 Logsdail, W., 3, 84

M Maclise, D., 34 McCannell, W.O., 77 Midwood, W.H. (Circle of), 30 Miles, T.R., 57 Munnings, Sir A.J., 49-50 N Niemann, E.J. (Circle of), 41 O O’Neill, G.B., 18 Oliver, W., 100 P Park, J.A., 59 Patrick, J.M., 105 Percy, S.R., 56 Pollentine, A., 9 Poole, P.F. (Circle of), 29 Pownall, G.H., 1-2, 4 Pritchett, E., 7-8 Pryde, J.F., 76 R Reilly, J.L., 40 Richter, H.D., 11-12 Ryland, H., 71

S Salisbury, F.O., 82 Scott, D., 26 Seago, E., 5-6, 66, 69 Sharp, D., 43-45, 60-61 Smith, C.A., 19 T Tuke, H.S., 63 Turner, G., 53 W Wells, M.R., 78 Wheelwright, R., 36 Woodville, R.C., 23

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C AT THE SALE 1 WHO CAN ENTER THE AUCTION We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid. 2 RESERVES Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without reserve with the symbol : next to the lot number. The reserve cannot be more than the lot’s low estimate. 3 AUCTIONEER’S DISCRETION The auctioneer can at his sole option: (a) refuse any bid; (b) move the bidding backwards or forwards in any way he or she may decide, or change the order of the lots; (c) withdraw any lot; (d) divide any lot or combine any two or more lots; (e) reopen or continue the bidding even after the hammer has fallen; and (f) in the case of error or dispute and whether during or after the auction, to continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If any dispute relating to bidding arises during or after the auction, the auctioneer’s decision in exercise of this option is final. 4 BIDDING The auctioneer accepts bids from: (a) bidders in the saleroom; (b) telephone bidders, and internet bidders through ‘Christie’s LIVE% (as shown above in Section B6); and (c) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction. 5 BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his or her sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve, the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold. 6 BID INCREMENTS Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at his or her sole option where the bidding should start and the bid increments. The usual bid increments are shown for guidance only on the Written Bid Form at the back of this catalogue. 7 CURRENCY CONVERTER The saleroom video screens (and Christies LIVETM) may show bids in some other major currencies as well as sterling. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services. 8 SUCCESSFUL BIDS Unless the auctioneer decides to use his or her discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by post and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

9 LOCAL BIDDING LAWS You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site. D

THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1 THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 25% of the hammer price up to and including q50,000, 20% on that part of the hammer price over q50,000 and up to and including q1,000,000, and 12% of that part of the hammer price above q1,000,000. 2 TAXES The successful bidder is responsible for any applicable tax including any VAT, sales or compensating use tax or equivalent tax wherever they arise on the hammer price and the buyer’s premium. It is the buyer’s responsibility to ascertain and pay all taxes due. You can find details of how VAT and VAT reclaims are dealt with in the section of the catalogue headed ‘VAT Symbols and Explanation’. VAT charges and refunds depend on the particular circumstances of the buyer so this section, which is not exhaustive, should be used only as a general guide. In all circumstances EU and UK law takes precedence. If you have any questions about VAT, please contact Christie’s VAT Department on +44 (0)20 7389 9060 (email: VAT_london@christies. com, fax: +44 (0)20 3219 6076). 3 ARTIST’S RESALE ROYALTY In certain countries, local laws entitle the artist or the artist’s estate to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with the symbol λ next to the lot number. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will pay the royalty to the appropriate authority on the seller’s behalf. The artist’s resale royalty applies if the hammer price of the lot is 1,000 euro or more. The total royalty for any lot cannot be more than 12,500 euro. We work out the amount owed as follows: Royalty for the portion of the hammer price (in euros) 4% up to 50,000 3% between 50,000.01 and 200,000 1% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 over 500,000, the lower of 0.25% and 12,500 euro. We will work out the artist’s resale royalty using the euro to sterling rate of exchange of the European Central Bank on the day of the auction. E WARRANTIES 1 SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller: (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded. 2 OUR AUTHENTICITY WARRANTY We warrant, subject to the terms below, that the lots in our sales are authentic (our ‘authenticity warranty’). If, within five years of the date of the auction, you satisfy us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The

terms of the authenticity warranty are as follows: (a) It will be honoured for a period of five years from the date of the auction. After such time, we will not be obligated to honour the authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the ‘Heading’). It does not apply to any information other than in the Heading even if shown in UPPERCASE type. (c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified. Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. For example, use of the term ‘ATTRIBUTED TO…’ in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding. (d) The authenticity warranty applies to the Heading as amended by any Saleroom Notice. (e) The authenticity warranty does not apply where scholarship has developed leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the sale or drew attention to any conflict of opinion. (f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot. (g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if the original buyer has owned the lot continuously between the date of the auction and the date of claim. It may not be transferred to anyone else. (h) In order to claim under the authenticity warranty you must: (i) give us written details, including full supporting evidence, of any claim within five years of the date of the auction; (ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, in any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses. (j) Books. Where the lot is a book, we give an additional warranty for 14 days from the date of the sale that if on collation any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms: (a) This additional warranty does not apply to: (i) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration; (ii) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; (iii) books not identified by title; (iv) lots sold without a printed estimate; (v) books which are described in the catalogue as sold not subject to return; or (vi) defects stated in any condition report or announced at the time of sale. (b) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 14 days of the date of the sale.

F PAYMENT 1 HOW TO PAY (a) Immediately following the auction, you must pay the purchase price being: (i) the hammer price; and (ii) the buyer’s premium; and (iii) any amounts due under section D3 above; and (iv) any duties, goods, sales, use, compensating or service tax or VAT. Payment is due no later than by the end of the seventh calendar day following the date of the auction (the ‘due date’). (b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence. (c) You must pay for lots bought at Christie’s in the United Kingdom in the currency stated on the invoice in one of the following ways: (i) Wire transfer You must make payments to: Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, London EC3P 3BT. Account number: 00172710, sort code: 30-00-02 Swift code: LOYDGB2LCTY. IBAN (international bank account number): GB81 LOYD 3000 0200 1727 10. (ii) Credit Card. We accept most major credit cards subject to certain conditions. To make a ‘cardholder not present’ (CNP) payment, you must complete a CNP authorisation form which you can get from our Cashiers Department. You must send a completed CNP authorisation form by fax to +44 (0)20 7389 2869 or by post to the address set out in paragraph (d) below. If you want to make a CNP payment over the telephone, you must call +44 (0)20 7839 9060. CNP payments cannot be accepted by all salerooms and are subject to certain restrictions. Details of the conditions and restrictions applicable to credit card payments are available from our Cashiers Department, whose details are set out in paragraph (d) below. (iii) Cash We accept cash subject to a maximum of q5,000 per buyer per year at our Cashier’s Department only (subject to conditions). (iv) Banker’s draft You must make these payable to Christie’s and there may be conditions. (v) Cheque You must make cheques payable to Christie’s. Cheques must be from accounts in pounds sterling from a United Kingdom bank. (d) You must quote the sale number, your invoice number and client number when making a payment. All payments sent by post must be sent to: Christie’s, Cashiers Department, 8 King Street, St James’s, London, SW1Y 6QT. (e) For more information please contact our Cashiers Department by phone on +44 (0)20 7839 9060 or fax on +44 (0)20 7389 2869. 2. TRANSFERRING OWNERSHIP TO YOU You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to the buyer. 3 TRANSFERRING RISK TO YOU The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) When you collect the lot; or (b) At the end of the seventh day following the date of the auction or, if earlier, the date the lot is taken into care by a third party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you. 4 WHAT HAPPENS IF YOU DO NOT PAY (a) If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights we have by law): (i) to charge interest from the due date at a rate of 5% a year above the UK Lloyds Bank base rate from time to time on the unpaid amount due;

(ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale; (iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts; (iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law; (v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other partpayment which you have paid to us); (vi) we can, at our option, reveal your identity and contact details to the seller; (vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (viii) to exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and (ix) we can take any other action we see necessary or appropriate. (b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction. 5 KEEPING YOUR PROPERTY If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us. G COLLECTION AND STORAGE 1 COLLECTION Once you have made full and clear payment, you must collect the lot within seven days from the date of the auction. (a) You may not collect the lot until you have made full and clear payment of all amounts due to us. (b) If you have paid for the lot in full but you do not collect the lot within 90 calendar days after the sale, we may sell it, unless otherwise agreed in writing. If we do this, we will pay you the proceeds of the sale after taking our storage charges and any other amounts you owe us and any Christie’s Group company. (c) Information on collecting lots is set out on an information sheet which you can get from the bidder registration staff or Christie’s Cashiers +44 (0)20 7839 9060. 2 STORAGE (a) If you have not collected the lot within seven days from the date of the auction, we or our appointed agents can: (i) charge you storage fees while the lot is still at our saleroom; or (ii) remove the lot at our option to a warehouse and charge you all transport and storage costs (b) Details of the removal of the lot to a warehouse, fees and costs are set out at the back of the catalogue on the page headed ‘Storage and Collection’. You may be liable to our agent directly for these costs.

H TRANSPORT AND SHIPPING 1 TRANSPORT AND SHIPPING We will enclose a transport and shipping form with each invoice sent to you. You must make all transport and shipping arrangements. However, we can arrange to pack, transport and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing. We may also suggest other handlers, packers, transporters or experts if you ask us to do so. For more information, please contact Christie’s Art Transport on +44 (0)20 7389 9060. See the information set out at www.christies.com/shipping or contact us at [email protected]. We will take reasonable care when we are handling, packing, transporting and shipping a lot. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act or neglect. 2 EXPORT AND IMPORT Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into. (a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Art Transport Department on +44 (0)20 7389 9060. See the information set out at www.christies.com/ shipping or contact us at arttransport_london@ christies.com. (b) Lots made of protected species Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to import the lot into another country. Several countries refuse to allow you to import property containing these materials, and some other countries require a licence from the relevant regulatory agencies in the countries of exportation as well as importation. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age and you will need to obtain these at your own cost. If a lot contains elephant ivory, or any other wildlife material that could be confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory), please see further important information in paragraph (c) if you are proposing to import the lot into the USA. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material. (c) US import ban on African elephant ivory The USA prohibits the import of ivory from the African elephant. Any lot containing elephant ivory or other wildlife material that could be easily confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory) can only be imported into the US with results of a rigorous scientific test acceptable to the US Fish & Wildlife Service, which confirms that the material is not African elephant ivory. Where we have conducted such rigorous scientific testing on a lot prior to sale, we will make this clear in the lot description. In all other cases, we cannot confirm whether a lot contains African elephant ivory, and you will buy that lot at your own risk and be responsible for any scientific test or other reports required for import into the USA at your own cost. If such scientific test is inconclusive or confirms the

material is from the African elephant, we will not be obliged to cancel your purchase and refund the purchase price. (d) Lots containing material that originates from Burma (Myanmar) Lots which contain rubies or jadeite originating in Burma (Myanmar) may not generally be imported into the United States. As a convenience to US buyers, lots which contain rubies or jadeite of Burmese or indeterminate origin have been marked with the symbol ψ in the catalogue. In relation to items that contain any other types of gemstones originating in Burma (e.g. sapphires) such items may be imported into the United States provided that the gemstones have been mounted or incorporated into jewellery outside of Burma and provided that the setting is not of a temporary nature (e.g. a string). (e) Lots of Iranian origin Some countries prohibit or restrict the purchase and/ or import of Iranian-origin ‘works of conventional craftsmanship’ (works that are not by a recognised artist and/or that have a function, for example: carpets, bowls, ewers, tiles, ornamental boxes). For example, the USA prohibits the import of this type of property and its purchase by US persons (wherever located). Other countries, such as Canada, only permit the import of this property in certain circumstances. As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). It is your responsibility to ensure you do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to you. (f) Gold Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’. (g) Jewellery over 50 years old Under current laws, jewellery over 50 years old which is worth q34,300 or more will require an export licence which we can apply for on your behalf. It may take up to eight weeks to obtain the export jewellery licence. (h) Watches (i) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol ~ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its sole option, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within one year of the date of the sale. Please check with the department for details on a particular lot. (ii) The importation of luxury watches such as Rolex into the United States is highly restricted. Such watches may not be shipped to the United States and can only be imported personally. Generally, a buyer may import only one watch into the United States at a time. In this catalogue, these watches have been marked with a Φ. This will not affect your responsibility to pay for the lot. For further information please contact our specialists in charge of the sale. For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots. I OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties. (b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these Conditions of Sale; or (ii) give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE%, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services. (d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

to those proceedings), we agree we will each try to settle the dispute by mediation following the Centre for Effective Dispute Resolution (CEDR) Model Mediation Procedure. We will use a mediator affiliated with CEDR who we and you agree to. If the dispute is not settled by mediation, you agree for our benefit that the dispute will be referred to and dealt with exclusively in the courts of England and Wales. However, we will have the right to bring proceedings against you in any other court.

10 REPORTING ON WWW.CHRISTIES.COM Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect J OTHER TERMS costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree 1 OUR ABILITY TO CANCEL In addition to the other rights of cancellation to requests to remove these details from www. contained in this agreement, we can cancel a sale of christies.com. a lot if we reasonably believe that completing the GLOSSARY transaction is, or may be, unlawful or that the sale J places us or the seller under any liability to anyone authentic: a genuine example, rather than a copy else or may damage our reputation. or forgery of: (i) the work of a particular artist, author or 2 RECORDINGS manufacturer, if the lot is described in the We may videotape and record proceedings at any Heading as the work of that artist, author or auction. We will keep any personal information manufacturer; confidential, except to the extent disclosure is (ii) a work created within a particular period or required by law. However, we may, through this culture, if the lot is described in the Heading as a process, use or share these recordings with another work created during that period or culture; Christie’s Group company and marketing partners (iii) a work for a particular origin source if the lot to analyse our customers and to help us to tailor is described in the Heading as being of that origin our services for buyers. If you do not want to be or source; or videotaped, you may make arrangements to make (iv) in the case of gems, a work which is made of a telephone or written bid or bid on Christie’s a particular material, if the lot is described in the LIVE% instead. Unless we agree otherwise Heading as being made of that material. in writing, you may not videotape or record authenticity warranty: the guarantee we give in proceedings at any auction. this agreement that a lot is authentic as set out in section E2 of this agreement. 3 COPYRIGHT buyer’s premium: the charge the buyer pays us We own the copyright in all images, illustrations and along with the hammer price. written material produced by or for us relating to a catalogue description: the description of a lot lot (including the contents of our catalogues unless in the catalogue for the auction, as amended by any otherwise noted in the catalogue). You cannot use saleroom notice. them without our prior written permission. We Christie’s Group: Christie’s International Plc, do not offer any guarantee that you will gain any its subsidiaries and other companies within its copyright or other reproduction rights to the lot. corporate group. condition: the physical condition of a lot. 4 ENFORCING THIS AGREEMENT due date: has the meaning given to it in paragraph If a court finds that any part of this agreement is not F1(a). valid or is illegal or impossible to enforce, that part estimate: the price range included in the catalogue of the agreement will be treated as being deleted or any saleroom notice within which we believe and the rest of this agreement will not be affected. a lot may sell. Low estimate means the lower figure in the range and high estimate means the 5 TRANSFERRING YOUR RIGHTS higher figure. The mid estimate is the midpoint AND RESPONSIBILITIES between the two. You may not grant a security over or transfer your hammer price: the amount of the highest bid the rights or responsibilities under these terms on the auctioneer accepts for the sale of a lot. contract of sale with the buyer unless we have Heading: has the meaning given to it in paragraph given our written permission. This agreement will E2. be binding on your successors or estate and anyone lot: an item to be offered at auction (or two or who takes over your rights and responsibilities. more items to be offered at auction as a group). other damages: any special, consequential, 6 TRANSLATIONS incidental or indirect damages of any kind or any If we have provided a translation of this agreement, damages which fall within the meaning of ‘special’, we will use this original version in deciding any ‘incidental’ or ‘consequential’ under local law. issues or disputes which arise under this agreement. purchase price: has the meaning given to it in paragraph F1(a). 7 PERSONAL INFORMATION provenance: the ownership history of a lot. We will hold and process your personal information qualified: has the meaning given to it in paragraph and may pass it to another Christie’s Group E2 and Qualified Headings means the section company for use as described in, and in line with, headed Qualified Headings on the page of our privacy policy at www.christies.com. the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. reserve: the confidential amount below which we 8 WAIVER No failure or delay to exercise any right or remedy will not sell a lot. provided under these Conditions of Sale shall saleroom notice: a written notice posted next to constitute a waiver of that or any other right or the lot in the saleroom and on www.christies. remedy, nor shall it prevent or restrict the further com, which is also read to prospective telephone exercise of that or any other right or remedy. No bidders and notified to clients who have left single or partial exercise of such right or remedy commission bids, or an announcement made by the shall prevent or restrict the further exercise of that auctioneer either at the beginning of the sale, or before a particular lot is auctioned. or any other right or remedy. UPPER CASE type: means having all capital letters. 9 LAW AND DISPUTES This agreement, and any non-contractual obligations warranty: a statement or representation in which arising out of or in connection with this agreement, or the person making it guarantees that the facts set any other rights you may have relating to the purchase out in it are correct. of a lot will be governed by the laws of England and Wales. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy or claim is related to proceedings brought by someone else and this dispute could be joined

71

Vat Symbols and Explanation You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of the catalogue headed ‘Conditions of Sale’ VAT payable Symbol No Symbol

We will use the VAT Margin Scheme. No VAT will be charged on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

†

We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium and shown separately on our invoice. For qualifying books only, no VAT is payable on the hammer price or the buyer’s premium.

θ *

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

Ω

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime. Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

α

The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address: : If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above). : If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see † symbol above)

‡

For wine offered ‘in bond’ only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer. If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the buyer’s premium and shown on the invoice.

VAT refunds: what can I reclaim? If you are: A non VAT registered UK or EU buyer UK VAT registered buyer

No refund is possible No symbol and α

* and Ω

EU VAT registered buyer

No Symbol, α and #

Subject to HMRC’s rules, you can reclaim the Import VAT charged on the hammer price through your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT amount in the buyer’s premium is invoiced under Margin Scheme rules so cannot normally be claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under standard VAT rules (as if the lot had been sold with a † symbol) then, subject to HMRC’s rules, you can reclaim the VAT charged through your own VAT return. The VAT amount in the buyer’s premium cannot be refunded. However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules (as if the lot had been sold with a † symbol). See below for the rules that would then apply.

†

If you provide us with your EU VAT number we will not charge VAT on the buyer’s premium. We will also refund the VAT on the hammer price if you ship the lot from the UK and provide us with proof of shipping, within three months of collection.

* and Ω

The VAT amount on the hammer and in the buyer’s premium cannot be refunded. However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules (as if the lot had been sold with a † symbol). See above for the rules that would then apply. If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

Non EU buyer No Symbol

1. We CANNOT offer refunds of VAT amounts or Import VAT to buyers who do not meet all applicable conditions in full. If you are unsure whether you will be entitled to a refund, please contact Client Services at the address below before you bid. 2. No VAT amounts or Import VAT will be refunded where the total refund is under q100. 3. In order to receive a refund of VAT amounts/Import VAT (as applicable) nonEU buyers must:

The VAT amount in the buyer’s premium cannot be refunded. However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules (as if the lot had been sold with a † symbol). Subject to HMRC’s rules, you can then reclaim the VAT charged through your own VAT return.

We will refund the VAT amount in the buyer’s premium.

† and α

We will refund the VAT charged on the hammer price. VAT on the buyer’s premium can only be refunded if you are an overseas business. The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

‡ (wine only)

No Excise Duty or Clearance VAT will be charged on the hammer price providing you export the wine while ‘in bond’ directly outside the EU using an Excise authorised shipper. VAT on the buyer’s premium can only be refunded if you are an overseas business. The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

* and Ω

We will refund the Import VAT charged on the hammer price and the VAT amount in the buyer’s premium.

(a) have registered to bid with an address outside of the EU; and (b) provide immediate proof of correct export out of the EU within the required time frames of: 30 days via a ‘controlled export’ for * and Ω lots. All other lots must be exported within three months of collection. 4. Details of the documents which you must provide to us to show satisfactory proof of export/shipping are available from our VAT team at the address below.

We charge a processing fee of q35.00 per invoice to check shipping/export documents. We will waive this processing fee if you appoint Christie’s Shipping Department to arrange your export/ shipping. 5. If you appoint Christie’s Art Transport or one of our authorised shippers to arrange your export/shipping we will issue you with an export invoice with the applicable VAT or duties cancelled as outlined above. If you later cancel or change the shipment

in a manner that infringes the rules outlined above we will issue a revised invoice charging you all applicable taxes/charges. 6. If you ask us to re-invoice you under normal UK VAT rules (as if the lot had been sold with a † symbol) instead of under the Margin Scheme the lot may become ineligible to be resold using the Margin Schemes. You should take professional advice if you are unsure how this may affect you.

7. All reinvoicing requests must be received within four years from the date of sale. If you have any questions about VAT refunds please contact Christie’s Client Services on [email protected] Tel: +44 (0)20 7389 2886. Fax: +44 (0)20 7839 1611.

Symbols used in this catalogue The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed ‘Conditions of Sale’ º Christie’s has a direct financial interest in the lot. See Important Notices and Explanation of Cataloguing Practice. ∆ Owned by Christie’s or another Christie’s Group company in whole or part. See Important Notices and Explanation of Cataloguing Practice. ♦ Christie’s has a direct financial interest in the lot and has funded all or part of our interest with the help of someone else. See Important Notices and Explanation of Cataloguing Practice.

λ Artist’s Resale Right. See Section D3 of the Conditions of Sale. • Lot offered without reserve which will be sold to the highest bidder regardless of the presale estimate in the catalogue. ~ Lot incorporates material from endangered species which could result in export restrictions. See Section H2(b) of the Conditions of Sale.

Φ Lot which may not be able to be shipped to the US. See Section H2(h)of the Conditions of Sale. ψ Lot containing jadeite and rubies from Burma or of indeterminate origin. See Section H2(d) of the Conditions of Sale. ?, *, Ω, α, #, ‡ See VAT Symbols and Explanation. ■ See Storage and Collection Pages on South Kensington sales only.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot

Important Notices and Explanation of Cataloguing Practice IMPORTANT NOTICES CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION From time to time, Christie’s may offer a lot which it owns in whole or in part. Such property is identified in the catalogue with the symbol ∆ next to its lot number. On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Where Christie’s holds such financial interest on its own we identify such lots with the symbol º next to the lot number. Where Christie’s has financed all or part of such interest through a third party the lots are identified in the catalogue with the symbol º♦. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold and will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Please see http://www.christies.com/ financial-interest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest at the front of the catalogue.

FOR PICTURES, DRAWINGS, PRINTS AND MINIATURES Terms used in this catalogue have the meanings ascribed to them below. Please note that all statements in this catalogue as to authorship are made subject to the provisions of the Conditions of Sale and authenticity warranty. Buyers are advised to inspect the property themselves. Written condition reports are usually available on request. Qualified Headings In Christie’s opinion a work by the artist. *‘Attributed to …’ In Christie’s qualified opinion probably a work by the artist in whole or in part. *‘Studio of …’/ ‘Workshop of …’ In Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision. *‘Circle of …’ In Christie’s qualified opinion a work of the period of the artist and showing his influence. *‘Follower of …’ In Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil. *‘Manner of …’ In Christie’s qualified opinion a work executed in the artist’s style but of a later date. *‘After …’ In Christie’s qualified opinion a copy (of any date) of a work of the artist. ‘Signed …’/‘Dated …’/‘Inscribed …’ In Christie’s qualified opinion the work has been signed/dated/inscribed by the artist.

‘With signature …’/ ‘With date …’/ ‘With inscription …’ In Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist. The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published. *This term and its definition in this Explanation of Cataloguing Practice are a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term. POST 1950 FURNITURE All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the ‘Regulations’). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

73

Storage and Collection STORAGE AND COLLECTION

EXTENDED LIABILITY CHARGE

POST-WAR & CONTEMPORARY ART

All furniture and carpet lots (sold and unsold) not collected from Christie’s by 9.00 am on the day following the auction will be removed by Cadogan Tate Ltd to their warehouse at: 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected]. While at King Street lots are available for collection on any working day, 9.00 am to 4.30 pm. Once transferred to Cadogan Tate lots will be available for collection from the first working day following the day of their removal from King Street, 9.00 am to 5.00 pm Monday to Friday. To avoid waiting times on collection at Cadogan Tate, we advise that you contact Cadogan Tate directly, 24 hours in advance, prior to collection on +44 (0)800 988 6100.

From the day of transfer of sold items to Cadogan Tate Ltd, all such lots are automatically insured by Cadogan Tate Ltd at the sum of the hammer price plus buyer’s premium. The Extended Liability Charge in this respect by Cadogan Tate Ltd is 0.6% of the sum of the hammer price plus buyer’s premium or 100% of the handling and storage charges, whichever is smaller.

To avoid waiting times on collection, we kindly advise you to contact our Post-War & Contemporary Art dept 24 hours in advance on +44 (0)20 7389 2958

PAYMENT

TRANSFER, STORAGE & RELATED CHARGES

Cadogan Tate Ltd’s storage charges may be paid in advance or at the time of collection. Lots may only be released from Cadogan Tate Ltd’s warehouse on production of the ‘Collection Order’ from Christie’s, 8 King Street, London SW1Y 6QT. The removal and/or storage by Cadogan Tate of any lots will be subject to their standard Conditions of Business, copies of which are available from Christie’s, 8 King Street, London SW1Y 6QT. Lots will not be released until all outstanding charges due to Christie’s and Cadogan Tate Ltd are settled.

CHARGES PER LOT

FURNITURE / LARGE OBJECTS

PICTURES / SMALL OBJECTS

1-28 days after the auction

Free of Charge

Free of Charge

29th day onwards: Transfer Storage per day

q70.00 q5.25

q35.00 q2.65

BOOKS

Please note that all lots from book department sales will be stored at Christie’s King Street for collection and not transferred to Cadogan Tate.

Christie’s Fine Art Storage Services (CFASS) also offers storage solutions for fine art, antiques and collectibles in New York and Singapore FreePort. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.

Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the auction. Thereafter the charges set out above will be payable. These charges do not include: a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges b) VAT which will be applied at the current rate

Cadogan TaTe LTd’s Warehouse 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] 28/10/14

74

Worldwide Salerooms and European Offices AUSTRIA VIENNA

INDIA • MUMBAI

RUSSIA MOSCOW

UNITED KINGDOM • LONDON LONDON, • SOUTH KENSINGTON

+43 (0)1 533 8812 Angela Baillou

+91 (22) 2280 7905 Sonal Singh

BELGIUM BRUSSELS

DELHI

+7 495 937 6364 +44 20 7389 2318 Katya Vinokurova

+91 (98) 1032 2399 Sanjay Sharma

SPAIN BARCELONA

NORTH

ISRAEL TEL AVIV

+34 (0)93 487 8259 Carmen Schjaer

+44 (0)20 7752 3004 Thomas Scott

+972 (0)3 695 0695 Roni Gilat-Baharaff

MADRID

SOUTH

+34 (0)91 532 6626 Juan Varez Dalia Padilla

+44 (0)1730 814 300 Mark Wrey EAST

SWEDEN STOCKHOLM

+44 (0)20 7752 3004 Thomas Scott

+46 (0)70 5368 166 Marie Boettiger Kleman (Consultant) +46 (0)70 9369 201 Louise Dyhlén (Consultant)

NORTHWEST AND WALES

+32 (0)2 512 88 30 Roland de Lathuy DENMARK COPENHAGEN

+45 3962 2377 Birgitta Hillingso (Consultant) + 45 2612 0092 Rikke Juel Brandt (Consultant) FINLAND AND THE BALTIC STATES HELSINKI

+358 40 5837945 Barbro Schauman (Consultant) FRANCE • PARIS

ITALY • MILAN

+39 02 303 2831 ROME

+39 06 686 3333 Marina Cicogna Business Development Director MONACO

+377 97 97 11 00 Nancy Dotta THE NETHERLANDS • AMSTERDAM

+33 (0)1 40 76 85 85

+31 (0)20 57 55 255

GERMANY DÜSSELDORF

PEOPLES REPUBLIC OF CHINA BEIJING

+49 (0)21 14 91 59 30 Arno Verkade

+86 (0)10 8572 7900

FRANKFURT

• HONG KONG

+49 (0)173 317 3975 Anja Schaller (Consultant)

• SHANGHAI

HAMBURG

+49 (0)40 27 94 073 Christiane Gräfin zu Rantzau MUNICH

+49 (0)89 24 20 96 80 Marie Christine Gräfin Huyn

+852 2760 1766 +86 86 (0)21 6355 1766 Jinqing Cai PORTUGAL LISBON

SWITZERLAND • GENEVA

+41 (0)22 319 1766 Eveline de Proyart • ZURICH

+41 (0)44 268 1010 Dr. Bertold Mueller TURKEY ISTANBUL

+90 (532) 558 7514 Eda Kehale Argün (Consultant) UNITED ARAB EMIRATES • DUBAI

+971 (0)4 425 5647

+44 (0)20 7839 9060

+44 (0)20 7930 6074

+44 (0)20 7752 3004 Jane Blood SCOTLAND

+44 (0)131 225 4756 Bernard Williams Robert Lagneau David Bowes-Lyon (Consultant) ISLE OF MAN

+44 (0)20 7389 2032 CHANNEL ISLANDS

+44 (0)1534 485 988 Melissa Bonn IRELAND

+353 (0)59 86 24996 Christine Ryall UNITED STATES • NEW YORK

+1 212 636 2000

+351 919 317 233 Mafalda Pereira Coutinho (Independent Consultant)

STUTTGART

+49 (0)71 12 26 96 99 Eva Susanne Schweizer

• DENOTES SALEROOM

E NQ U I RI ES — Call the Saleroom or Office For a complete salerooms & offices listing go to christies.com

E MA I L — [email protected] 23/01/15

75

Christie’s Specialist Departments and Services DEPARTMENTS AMERICAN FURNITURE

NY: +1 212 636 2230 AMERICAN INDIAN ART

NY: +1 212 606 0536 AMERICAN PICTURES

NY: +1 212 636 2140 ANGLO-INDIAN ART

KS: +44 (0)20 7389 2570 ANTIQUITIES

INDIAN CONTEMPORARY ART

KS: +44 (0)20 7389 2700 NY: +1 212 636 2189 INTERIORS

SK: +44 (0)20 7389 2236 NY: +1 212 636 2032 ISLAMIC WORKS OF ART

POSTERS PRINTS

KS: +44 (0)20 7389 2328 SK: +44 (0)20 7752 3109 PRIVATE COLLECTIONS AND COUNTRY HOUSE SALES

KS: +44 (0)20 7389 2700 SK: +44 (0)20 7752 3239

KS: +44 (0)20 7389 2343

JAPANESE WORKS OF ART

KS: +44 (0)20 7389 2057

RUSSIAN WORKS OF ART TRAVEL, SCIENCE AND NATURAL HISTORY

ARMS AND ARMOUR

KS: +44 (0)20 7389 2591 SK: +44 (0)20 7752 3239

SK: +44 (0)20 7752 3119

JEWELLERY

ASIAN 20TH CENTURY AND CONTEMPORARY ART

KS: +44 (0)20 7389 2383 SK: +44 (0)20 7752 3265

NY: +1 212 468 7133

LATIN AMERICAN ART

AUSTRALIAN PICTURES

NY: +1 212 636 2150

KS: +44 (0)20 7389 2040

MARITIME PICTURES

BOOKS AND MANUSCRIPTS

SK: +44 (0)20 7752 3284 NY: +1 212 707 5949

SWISS ART

KS: +44 (0)20 7389 2674 SK: +44 (0)20 7752 3203

MINIATURES

KS: +44 (0)20 7389 2650

TOPOGRAPHICAL PICTURES

BRITISH & IRISH ART

MODERN DESIGN

KS: +44 (0)20 7389 2682 NY: +1 212 636 2084 SK: +44 (0)20 7752 3257

SK: +44 (0)20 7389 2142

KS: +44 (0)20 7389 2040 SK: +44 (0)20 7752 3291

SK: +44 (0)20 7752 3219

BRITISH ART ON PAPER

KS: +44 (0)20 7389 2278 SK: +44 (0)20 7752 3293 NY: +1 212 636 2085 BRITISH PICTURES 1500-1850

KS: +44 (0)20 7389 2945 CARPETS

KS: +44 (0)20 7389 2370 SK: +44 (0)20 7389 2776 CHINESE WORKS OF ART

KS: +44 (0)20 7389 2577 SK: +44 (0)20 7752 3239 CLOCKS

KS: +44 (0)20 7389 2357

KS: +44 (0)20 7389 2699 NINETEENTH CENTURY EUROPEAN PICTURES

KS: +44 (0)20 7389 2443 SK: +44 (0)20 7752 3309 OBJECTS OF VERTU

KS: +44 (0)20 7389 2347 SK: +44 (0)20 7752 3001 OLD MASTER DRAWINGS

KS: +44 (0)20 7389 2251 OLD MASTER PICTURES

ORIENTAL CERAMICS AND WORKS OF ART

SK: +44 (0)20 7752 3026 FURNITURE

KS: +44 (0)20 7389 2482 SK: +44 (0)20 7389 2791 IMPRESSIONIST PICTURES

KS: +44 (0)20 7389 2638 SK: +44 (0)20 7752 3218

SILVER

KS: +44 (0)20 7389 2666 SK: +44 (0)20 7752 3262 ZUR: +41 (0) 44 268 1012

TWENTIETH CENTURY BRITISH ART

KS: +44 (0)20 7389 2446 SK: +44 (0)20 7389 2502

EUROPEAN CERAMICS AND GLASS

KS: +44 (0)20 7389 2331 SK: +44 (0)20 7389 2794

NINETEENTH CENTURY FURNITURE AND SCULPTURE

KS: +44 (0)20 7389 2531 SK: +44 (0)20 7752 3250

SK: +44 (0)20 7752 3215

SCULPTURE

TRIBAL AND PRE-COLUMBIAN ART

CONTEMPORARY ART

COSTUME, TEXTILES AND FANS

SK: +44 (0)20 7752 3291

SK: +44 (0)20 7752 3365

MUSICAL INSTRUMENTS

PAR: +33 (0)140 768 386

KS: +44 (0)20 7389 2684 SK: +44 (0)20 7752 3311 TWENTIETH CENTURY DECORATIVE ART & DESIGN

KS: +44 (0)20 7389 2140 SK: +44 (0)20 7752 3236 TWENTIETH CENTURY PICTURES

KS: +44 (0)20 7389 2446 SK: +44 (0)20 7389 2502

London Tel: +44 (0)20 7665 4350 Fax: +44 (0)20 7665 4351 Email: education@ christies.com

Tel: +44 (0)20 7389 2548 Email: norchard@ christies.com FINANCIAL SERVICES

Tel: +44 (0)20 7389 2624 Fax: +44 (0)20 7389 2204 HERITAGE AND TAXATION

New York Tel: +1 212 355 1501 Fax: +1 212 355 7370 Email: christieseducation@ christies.edu

Tel: +44 (0)20 7389 2101 Fax: +44 (0)20 7389 2300 Email:rcornett@christies. com PRIVATE COLLECTIONS AND COUNTRY HOUSE SALES

Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: hkcourse@ christies.com CHRISTIE’S FINE ART STORAGE SERVICES

Tel: +44 (0)20 7389 2343 Fax: +44 (0)20 7389 2225 Email: awaters@christies. com MUSEUM SERVICES, UK

Tel: +44 (0)20 7389 2570 Email: llindsay@christies. com

New York +1 212 974 4570 [email protected] Singapore Tel: +65 6543 5252 Email: singapore@cfass. com CHRISTIE’S INTERNATIONAL REAL ESTATE

PRIVATE SALES

US: +1 212 636 2034 Fax: +1 212 636 2035

New York Tel +1 212 468 7182 Fax +1 212 468 7141

VALUATIONS

Tel: +44 (0)20 7389 2464 Fax: +44 (0)20 7389 2038 Email: mwrey@christies. com

[email protected]

London Tel +44 20 7389 2551 Fax +44 20 7389 2168 [email protected]

[email protected]

KS: +44 (0)20 7389 2468 SK: +44 (0)20 7752 3257 WATERCOLOURS AND DRAWINGS

WINE

POST-WAR ART

CHRISTIE’S EDUCATION

VICTORIAN PICTURES

PHOTOGRAPHS

SK: +44 (0)20 7752 3275

CORPORATE COLLECTIONS

Hong Kong Tel +852 2978 6788 Fax +852 2845 2646

KS: +44 (0)20 7389 2257 SK: +44 (0)20 7752 3293

POPULAR CULTURE AND ENTERTAINMENT

OTHER SERVICES

SK: +44 (0)20 7752 3218

SK: +44 (0)20 7752 3235 KS: +44 (0)20 7389 2292

AUCTION SERVICES

SK: +44 (0)20 7752 3208

KS: +44 (0)20 7752 3366

KEY TO ABBREVIATIONS

KS: London, King Street NY: New York, Rockefeller Plaza PAR: Paris SK: London, South Kensington 06/11/14

76

EUGENE GALIEN-LALOUE (FRENCH, 1854–1941) L’ancien Trocadero, Paris signed ‘E.Galien-Laloue’ (lower right) · pencil, watercolour and bodycolour, on paper 7Ω x 12 in. (19 x 30 cm.) · £4,000–6,000

19th Century European Art London, South Kensington • 16 April 2015 Viewing

Contact

11–15 April 2015 85 Old Brompton Road London SW7 3LD

Alastair Plumb [email protected] +44 (0)20 7752 3298

christies.com

HENDRICK MARTENSZ. SORGH (ROTTERDAM 1609–1670) A man smoking and drinking in a tavern signed and dated ‘Sorgh / 1669(?)’ (lower left) · oil on panel · 10√ x 8√ in. (27.5 x 22.5 cm.) £7,000–10,000

Old Master and British Paintings London, South Kensington • 30 April 2015 Viewing

Contact

25–29 April 2015 85 Old Brompton Road London SW7 3LD

Melissa van Vliet [email protected] +44 (0)20 7752 3256

christies.com

EDWARD SEAGO, R.W.S., R.B.A. (1910–1974) Towards Westminster signed ‘Edward Seago’ (lower left), signed again, dedicated and dated ‘For Noel/from/Ted/1972’ (on the reverse) oil on board · 16 x 12 in. (40.8 x 30 cm.) £15,000– 25,000

Modern British and Irish Art London, South Kensington • 19 March 2015 Viewing

Contact

14–18 March 2015 85 Old Brompton Road London SW7 3LD

Angus Granlund [email protected] +44 (0)20 7752 3240

christies.com

The Collection of Robert Hatfeld Ellsworth Christie’s is honoured to present the collection of this distinguished American scholar, dealer, and collector whose groundbreaking work transformed the study and appreciation of Asian art. Featuring ancient bronzes, Ming furniture, fne jade, modern Chinese paintings, and Himalayan, Indian and Southeast Asian works of art — in addition to important English furniture, fne art, silver, and decorative arts — this exceptional selection of works is recognised as one of the world’s greatest collections.

Auctions in New York

Online Auctions

Viewing

Contact

17–21 March 2015

Beginning 18 March

11–18 March 20 Rockefeller Plaza New York, NY 10020

Gemma Sudlow [email protected] +1 212 636 2000

christies.com/ellsworth

Victorian & British Impressionist Art THURSDAY 12 MARCH 2015 AT 2.00 PM

85 Old Brompton Road, London SW7 3LD CODE NAME: VICTORIA SALE NUMBER: 10452

(Dealers billing name and address must agree with tax exemption certificate. Invoices cannot be changed after they have been printed.)

BID ONLINE FOR THIS SALE AT CHRISTIES.COM

Written Bids Form Christie’s South Kensington Written bids must be received at least 24 hours before the auction begins. Christie’s will confirm all bids received by fax by return fax. If you have not received confirmation within one business day, please contact the Bid Department. Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com

10452 Client Number (if applicable)

Sale Number

Billing Name (please print)

BIDDING INCREMENTS Bidding generally starts below the low estimate and increases in steps (bid increments) of up to 10 per cent. The auctioneer will decide where the bidding should start and the bid increments. Written bids that do not conform to the increments set below may be lowered to the next bidding interval. UK£50 to UK £1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000 UK£5,000 to UK£10,000 UK£10,000 to UK£20,000 UK£20,000 to UK£30,000 UK£30,000 to UK£50,000

UK£50,000 to UK£100,000 UK£100,000 to UK£120,000 Above UK£200,000

by UK£50s by UK£100s by UK£200s by UK£200, 500, 800 (eg UK£4,200, 4,500, 4,800) by UK£500s by UK£1,000s by UK£2,000s by UK£2,000, 5,000, 8,000 (eg UK£32,200, 35,000, 38,000) by UK£5,000s by UK£10,000s at auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion. 1. I request Christie’s to bid on the stated lots up to the maximum bid I have indicated for each lot. 2. I understand that if my bid is successful, the amount payable will be the sum of the hammer price and the buyer’s premium (together with any taxes chargeable on the hammer price and buyer’s premium and any applicable Artist’s Resale Royalty in accordance with the Conditions of Sale). The buyer’s premium rate shall be an amount equal to 25% of the hammer price of each lot up to and including q50,000, 20% on any amount over q50,000 up to and including q1,000,000 and 12% of the amount above q1,000,000. For wine and cigars there is a flat rate of 17.5% of the hammer price of each lot sold. 3. I agree to be bound by the Conditions of Sale printed in the catalogue. 4. I understand that if Christie’s receive written bids on a lot for identical amounts and at the auction these are the highest bids on the lot, Christie’s will sell the lot to the bidder whose written bid it received and accepted first. 5. Written bids submitted on ‘no reserve’ lots will, in the absence of a higher bid, be executed at approximately 50% of the low estimate or at the amount of the bid if it is less than 50% of the low estimate. I understand that Christie’s written bid service is a free service provided for clients and that, while Christie’s will be as careful as it reasonably can be, Christie’s will not be liable for any problems with this service or loss or damage arising from circumstances beyond Christie’s reasonable control.

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If you have not previously bid or consigned with Christie’s, please attach copies of the following documents. Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on the information you should supply. If you are registering to bid on behalf of someone who has not previously bid or consigned with Christie’s, please attach identification documents for yourself as well as the party on whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients, clients who have not made a purchase from any Christie’s office within the last two years, and those wishing to spend more than on previous occasions will be asked to supply a bank reference.

PLEASE PRINT CLEARLY Lot number (in numerical order)

Maximum Bid UK£ (excluding buyer’s premium)

Lot number (in numerical order)

Maximum Bid UK£ (excluding buyer’s premium)

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Auction Results: +44 (0)20 7839 9060

03.03.10

81

OMP & 19TH CENTURY PAINTINGS

expert knowledge beautifully presented

Continental European and British paintings from the early Renaissance to the early 19th century. British and Irish Art from Tudor period to 1970, including pictures, works on paper, Sporting Art,Victorian and Scottish pictures. Continental European drawings from the early Renaissance to the early 19th century. Paintings, drawings and watercolors from the 19th century, including Romanticism, Genre, Realist, Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and nautical items, ship models and maritime instruments.

Code

Subscription Title

Location

A1 L193 L1 L195 L98 N193 N1 P1 K193 K9 K1 K2 K97 W9

OMP & C19th Paintings Old Master and 19th Century Art 19th Century European Art including Orientalist Art Old Master and British Paintings Victorian and British Impressionist Pictures Topographical Pictures 19th Century European Art Old Master Paintings Old Master & 19th Century European Paintings 19th Century Paintings Old Master & Early British Drawings & Watercolours Old Master Paintings Victorian, Traditionalist & Sporting Pictures Australian Art Old Master & Early British Drawings & Watercolours

Amsterdam King Street King Street King Street King Street New York New York Paris South Kensington South Kensington South Kensington South Kensington South Kensington Worldwide

www.christies.com/shop Photographs, Posters and Prints · Impressionist and Modern Art Jewellery, Watches and Wine · Antiquities and Tribal Art Asian and Islamic Art · Russian Art Furniture, Decorative Arts and Collectables · American Art and Furniture Books, Travel and Science · Design, Costume and Memorabilia Post-War and Contemporary Art Old Master Paintings and 19th Century Paintings

Issues 2 2 5 2 1 2 3 1 2 1 4 5 1 4

UK£Price

US$Price

EURPrice

27 48 119 48 20 48 71 38 43 14 57 71 14 95

44 72 181 76 32 76 108 61 71 24 95 119 24 152

40 76 190 72 30 72 114 57 66 22 87 109 22 144

Christie’s CHRISTIE’S INTERNATIONAL PLC Patricia Barbizet, Chairwoman and Chief Executive Officer Stephen Brooks, Global Chief Operating Officer Loïc Brivezac, Gilles Erulin, Gilles Pagniez, François-Henri Pinault, Jussi Pylkkänen, Global President

Sophie Carter, Company Secretary CHRISTIE’S EXECUTIVE Patricia Barbizet, Chairwoman and Chief Executive Officer Jussi Pylkkänen, Global President Stephen Brooks, Global Chief Operating Officer François Curiel, Marc Porter

Charles Cator, Deputy Chairman, Christie’s International CHRISTIE’S EUROPE CHAIRMAN’S OFFICE Jussi Pylkkänen, Chairman Orlando Rock, Deputy Chairman SENIOR DIRECTORS Mariolina Bassetti, Giovanna Bertazzoni, Olivier Camu, Philippe Garner, Richard Knight, Francis Outred, Andreas Rumbler, François de Ricqles DIRECTORS Prof. Dr. Dirk Boll, Roland de Lathuy, Eveline de Proyart, Roni Gilat-Baharaff, Paul Hewitt, Clarice Pecori Giraldi, Christiane Rantzau, Jop Ubbens, Juan Varez CHRISTIE’S EUROPEAN ADVISORY BOARD Pedro Girao, Chairman, Patricia Barbizet, Arpad Busson, Loula Chandris, Kemal Has Cingillioglu, Ginevra Elkann, I. D. Fürstin zu Fürstenberg, Laurence Graff, H.R.H. Prince Pavlos of Greece, Alicia Koplowitz, Viscount Linley, Robert Manoukian, Rosita, Duchess of Marlborough, Dimitri Mavrommatis, Countess Daniela Memmo d’Amelio, Usha Mittal, Leopoldo Rodés, Çig˘dem Simavi

CHRISTIE’S UK CHAIRMAN’S OFFICE Viscount Linley, Chairman Noël Annesley, Honorary Chairman; Richard Roundell, Vice Chairman; Robert Copley, Deputy Chairman; The Earl of Halifax, Deputy Chairman; Francis Russell, Deputy Chairman; Julia Delves Broughton, James Hervey-Bathurst, Amin Jaffer, Orlando Rock, Nicholas White, Mark Wrey SENIOR DIRECTORS Dina Amin, Daniel Baade, Philip Belcher, Jeremy Bentley, Ellen Berkeley, Jill Berry, Giovanna Bertazzoni, Prof. Dr. Dirk Boll, Peter Brown, James Bruce-Gardyne, Olivier Camu, Sophie Carter, Benjamin Clark, Christopher Clayton-Jones, Karen Cole, Isabelle de La Bruyere, Leila de Vos, Nicole Dembinska, Paul Dickinson, Harriet Drummond, Julie Edelson, Hugh Edmeades, David Elswood, David Findlay, Margaret Ford, Daniel Gallen, Philippe Garner, Jane Griffiths, Karen Harkness, Philip Harley, James Hastie, Paul Hewitt, Rachel Hidderley, Mark Hinton, Nick Hough, Michael Jeha, Hugues Joffre, Donald Johnston, Erem Kassim-Lakha, William Lorimer, Catherine Manson, John McDonald, Nic McElhatton (Chairman, South Kensington), Alexandra McMorrow, Jeremy Morrison, Nicholas Orchard, Francis Outred, Clarice Pecori-Giraldi, Benjamin Peronnet, Henry Pettifer, Steve Phipps, Will Porter, Paul Raison, Tara Rastrick, William Robinson, John Stainton, Alexis de Tiesenhausen, Lynne Turner, Jay Vincze, Andrew Ward, David Warren, Andrew Waters, Harry Williams-Bulkeley, Martin Wilson, André Zlattinger DIRECTORS Richard Addington, Zoe Ainscough, Georgiana Aitken, Marco Almeida, Maddie Amos, Simon Andrews, Helen Baker, Karl Barry, Rachel Beattie, Sven Becker, Jane Blood, Piers Boothman, David Bowes-Lyon, Anthony Brown, Lucy Brown, Robert Brown, Grace Campbell, Lucy Campbell, Jason Carey, Romilly Collins, Ruth Cornett, Sigrun Danielsson, Armelle de Laubier-Rhally, Sophie DuCret, Anna Evans, Arne Everwijn, Adele Falconer, Nick Finch, Peter Flory, Elizabeth Floyd, Christopher Forrest, Giles Forster, Patricia Frost, Sarah Ghinn, Zita Gibson, Alexandra Gill, Sebastian Goetz, John Green, Simon Green, David Gregory, Mathilde Heaton, Annabel Hesketh, Sydney Hornsby, Peter Horwood, Simon James, Sabine Kegel, Hans-Peter Keller, Tjabel Klok, Quincy Kresler, Robert Lagneau, Nicholas Lambourn, Joanna Langston, Tina Law, Darren Leak, Adriana Leese, Brandon Lindberg, Laura Lindsay,

© Christie, Manson & Woods Ltd. (2015)

David Llewellyn, Murray Macaulay, Sarah Mansfield, Nicolas Martineau, Roger Massey, Joy McCall, Neil McCutcheon, Daniel McPherson, Neil Millen, Edward Monagle, Jeremy Morgan, Leonie Moschner, Giles Mountain, Chris Munro, Rupert Neelands, Liberte Nuti, Beatriz Ordovás, Rosalind Patient, Keith Penton, Romain Pingannaud, Sara Plumbly, Caroline Porter, Michael Prevezer, Anne Qaimmaqami, Marcus Rädecke, Pedram Rasti, Amjad Rauf, Sandra Romito, Tom Rooth, Alice de Roquemaurel, Francois Rothlisberger, Patrick Saich, Tim Schmelcher, Rosemary Scott, Tom Scott, Nigel Shorthouse, Dominic Simpson, Nick Sims, Katie Siveyer, Nicola Steel, Robin Stephenson, Kay Sutton, Rakhi Talwar, Nicolette Tomkinson, Jane Turner, Thomas Venning, Sophie Wiles, Mark Wilkinson, Bernard Williams, Georgina Wilsenach, Toby Woolley, Geoff Young ASSOCIATE DIRECTORS Guy Agazarian, Cristian Albu, Jennie Amos, Ksenia Apukhtina, Katharine Arnold, Alexis Ashot, Alexandra Baker, Fiona Baker, Virginie Barocas-Hagelauer, Carin Baur, Sarah Boswell, Mark Bowis, Clare Bramwell, John Caudle, Dana Chahine, Marie-Louise Chaldecott, Sophie Churcher, Marion Clermont, Helen Culver Smith, Laetitia Delaloye, Charlotte Delaney, Cristiano De Lorenzo, Freddie De Rougemont, Grant Deudney, Claudia Dilley, Eva-Maria Dimitriadis, Howard Dixon, Virginie Dulucq, Joe Dunning, Antonia Essex, Kate Flitcroft, Nina Foote, Eva French, Pat Galligan, Keith Gill, Andrew Grainger, Leonie Grainger, Julia Grant, Pippa Green, Angus Granlund, Christine Haines, Coral Hall, Charlotte Hart, Evelyn Heathcoat Amory, Anke Held, Valerie Hess, Carolyn Holmes, Amy Huitson, Adrian Hume-Sayer, James Hyslop, Helena Ingham, Pippa Jacomb, Guady Kelly, Clementine Kerr, Hala Khayat, Alexandra Kindermann, Mark Henry Lampé, Tom Legh, Timothy Lloyd, Graeme Maddison, Stephanie Manstein, Astrid Mascher, Michelle McMullan, Kateryna Merkalenko, Toby Monk, Sarah O’Brien, Samuel Pedder-Smith, Suzanne Pennings, Louise Phelps, Sarah Rancans, Lisa Redpath, David Rees, Alexandra Reid, Sumiko Roberts, Sangeeta Sachidanantham, Pat Savage, Catherine Scantlebury, Julie Schutz, Hannah Schweiger, Mark Silver, James Smith, Graham Smithson, Mark Stephen, Annelies Stevens, Charlotte Stewart, Dean Stimpson, Gemma Sudlow, Dominique Suiveng, Cornelia Svedman, Nicola Swain, Iain Tarling, Sarah Tennant, Timothy Triptree, Flora Turnbull, Lisa Varsani, Julie Vial, Anastasia von Seibold, Amelia Walker, Tony Walshe, Chris White, Rosanna Widen, Ben Wiggins, Annette Wilson, Julian Wilson, Elissa Wood

13/01/15

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