Fine Paintings, Works on Paper & Sculpture | Wednesday 14th June 2023

FINE PAINTINGS, WORKS ON PAPER & SCULPTURE

WEDNESDAY 14TH JUNE 2023

AUCTION ENQUIRIES AND INFORMATION

Sale Number: 031

Enquiries:

Adrian Biddell – Head of Sale adrian.biddell@olympiaauctions.com

Maryam Daoudi – Administrator and Junior Cataloguer maryam.daoudi@olympiaauctions.com

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25 Blythe Road, London W14 0PD

Tel:+44 (0) 20 7806 5545

Fax:+44 (0) 20 7806 5546

Email: pictures@olympiaauctions.com

Front Cover: Lot 36

Back Cover: Lot 10

Page i: Lot 4

FINE PAINTINGS, WORKS ON PAPER & SCULPTURE

TO BE SOLD BY AUCTION AT

25 Blythe Road

London W14 0PD

PUBLIC EXHIBITION

Sunday 11th June 12.00pm to 4.00pm

Monday 12th June 10.00am to 7.00pm

Tuesday 13th June

10.00am to 5.00pm

DAY OF SALE

Wednesday 14th June at 12pm, precisely

IMPORTANT INFORMATION FOR BUYERS

Definition “Auctioneers” Olympia Auctions. All lots are offered subject to the Conditions of Business reproduced on the website www.OlympiaAuctions.com, and printed at the end of the auction catalogue.

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Unless otherwise stated all lots are subject to a reserve set at the low estimate or below. Estimates are published as a guide only and are subject to review. The actual Hammer Price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”.

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Cataloguing Practice

PLEASE NOTE THAT ALL MEASUREMENTS ARE APPROXIMATE

A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used:

“Attributed to……” In our opinion probably a work by the artist in whole or in part.

“Studio of….” “Workshop of….” In our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

“Circle of….” In our opinion a work of the period of the artist and showing his influence.

“Follower of…” In our opinion a work executed in the artist’s style but not necessarily by a pupil.

“Manner of….” In our opinion a work executed in the artist’s style but of a later date.

“After….” In our opinion a copy (of any date) of a work of the artist.

“Signed….”, “Dated….”, “Inscribed….” In our opinion the work has been signed/dated/inscribed by the artist. The addition of a question mark (?) adds an element of doubt.

“Bears signature…”, “Bears date….”, “Bears inscription….” In our opinion the signature/date/inscription/stamp is by a hand other than that of the artist.

Picture Frames

Once the Lot(s) is in our possession, we will not be responsible for damage if it was affected at the time of Sale by woodworm, damage to picture frames or picture frame glass; and if the Lot is or becomes dangerous, we may dispose of it without prior notice and we will be under no liability to the buyer for doing so.

Condition is not normally recorded and all lots are sold as viewed. Condition reports can be requested prior to sale. Whilst the Auctioneers are pleased to provide a general report of condition, the Auctioneers are not professional conservators or restorers and any statements made are merely subjective, qualified opinion. Prospective Buyers should satisfy themselves in person wherever possible as to the condition of a lot, or ask an agent to inspect it for them.

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Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. Cash and UK registered debit card payments above £6,000 and “card holder not present” payments above £2,000 cannot be accepted. Payment can be made online at www.OlympiaAuctions.com/payments.

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Collection and Storage

Account Name: Olympia Auctions

On receipt of cleared funds, lots can be collected from the premises at 25 Blythe Road, London, W14 0PD. The Buyer or Buyer’s agent must bring photographic ID for collection. We require written confirmation from the Buyer if collection is made by a third party. Please note that collection may be made during working hours only, usually Monday to Friday 9.30 to 17.00. All lots should be cleared within 10 working days of the auction date, after which they will be transferred to a third party for storage. A transfer fee of £25 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release.

Wednesday 14th June 2023

Starting at 12pm

FINE PAINTINGS, WORKS ON PAPER & SCULPTURE

Property from a Private Collection

1

AFTER HANS ROTTENHAMMER (GERMAN 1564-1625)

VIRGIN AND CHILD WITH ST. JOHN THE BAPTIST

sanguine

11.7 x 10.5cm; 4 1/2 x 4 1/4in

31 x 23cm; 12 1/4 x 9in (framed)

Provenance:

Pulitzer Gallery, London

Purchased from the above in 1970 by the father of the present owner

£200-300

Property of a Lady, Hampshire 2

AFTER PETER-PAUL RUBENS (FLEMISH 1577-1640)

THE FALL OF THE DAMNED - recto; TWO WRESTLERS - verso

pen and brown ink and grey wash - recto; pencil - verso

22.5 x 17cm; 8 3/4 x 6 3/4in

38 x 29.5cm; 15 x 11 1/2in (framed)

Provenance:

Purchased by the mother of the present owner in the 1960s

£300-500

ATTRIBUTED TO DOMENICO PARODI (ITALIAN 1668-1742)

JACOB AND RACHEL AT THE WELL

bears signature Anibal / Carachi / fec. lower left pen and brown ink and wash with traces of sanguine

20.9 x 30.6cm; 8 x 12in

45.8 x 61cm; 18 x 24in (framed)

Provenance:

Sale, Sotheby’s London, 5 July 1976, lot 3

Purchased at the above sale by the present owner

£500-700

Property of a Lady, London

Property from a Private Collection, London 4

GUERCINO (GIOVANNI FRANCESCO BARBIERI) (ITALIAN 1591-1666)

THE VIRGIN AND CHILD WITH AN OWL

pen and brown ink, possibly bister

23.2 x 18.5cm; 9 1/2 x 7 1/4in

43.5 x 38cm; 17 1/4 x 15in (framed)

Provenance:

John Bouverie (d.1750)

Anne Bouverie (d.1757; wife of the above)

John Hervey (d.1764; brother of the above)

Christopher Hervey (d.1786; son of the above)

Elizabeth Bouverie (d.1798; aunt of the above)

Sir Charles Middleton, later 1st Baron Barham (d.1813; by bequest from the above)

Charles Noel, later 1st Earl of Gainsborough (d.1866; grandson of the above)

Charles Noel, 3rd Earl of Gainsborough (d.1926; grandson of the above)

Hon. Charles and May Noel (a wedding present from the above prior to the First World War)

Colonel Archibald Noel (inherited from the above, his mother)

Thence by descent to the present owner (son of the above)

Guercino’s drawings are widely celebrated for the virtuosity of their line and the sensitivity in which subject melds with graphic touch. Whether in caricatures, sacred groups, or mythological figures, Guercino imbued them with a remarkable freedom of expression, often concentrating on moments of heightened emotion and drama. Simultaneously, through the agility and unobstructed movement of their line, Guercino’s drawings permit his viewers to trace the artist’s mind at work. A diversity of graphic passages can be recognised in the present sheet - from careful parallel hatching to quick outlines and spontaneous squiggles. While the figure of the Virgin can be compared to that of Salome in Guercino’s painting, Salome receiving the Head of St John the Baptist of 1637 (Musée des Beaux-Arts, Rennes) and its associated red-chalk study (Royal Collection 902789, verso), the present sheet bears greater resemblance, in subject, style, and medium, to the pen and ink drawings of the 1620s, and in particular, The Virgin and Child with St Anne, circa 1620-25 (British Museum, inv. no. Pp,4.62).

The finished nature of the present sheet further suggests that it was either intended as an end in itself or, perhaps, a preparatory study for an unexecuted print. In any case, the inclusion of an owl on the right-hand side of the composition is a curious addition. Owls, and bird imagery more generally, began appearing in Guercino’s oeuvre in the early 1620s (see the painting, Memento Mori, ca. 1622-23, in a private collection, as well as the drawings, Group of Figures, with Owl on a Pole, Art Institute, Chicago, 1922.493; A Young Man with an Owl on a Stick, ca. 1630, RISD Museum, Rhode Island, 2015.85; and The Bird-Catcher, ca. 1625-1632, Morgan Library, New York, 1979.8). In the seventeenth century, owls attracted a wide variety of interpretations, from enlightenment to salacious pursuit, all of which Guercino seems to have conveyed across several of his works. In this Virgin and Child, the owl’s presence would certainly bend the interpretation towards the clarity of spiritual vision, particularly considering the animal’s placement on the same level as the Virgin’s sightline. The sharp-eyed creature is, furthermore, an apt, if humorous, inclusion for an artist known to have been cross-eyed (il guercino being the Italian diminutive for guercio, the squinter). Adding to the fascination of this sheet is its exceptional, unbroken provenance traceable to the prestigious Bouverie Collection in the eighteenth century. John Bouverie (ca. 1723–1750) was an intrepid British art collector who amassed an array of important drawings by, among others, Michelangelo, Raphael, Rembrandt and an extensive group by Guercino. The latter may even have been acquired directly from Guercino’s descendants (see, Nicholas Turner, “John Bouverie as a Collector of Drawings” in The Burlington Magazine vol. 136, no. 109, p.91).

£8,000-12,000

FOLLOWER OF CAREL DE HOOCH (DUTCH c.1600-1638)

GROTTO WITH STATUE, COLUMN FRAGMENTS, AND FIGURES

oil on panel in a carved and gilt wood frame, with an unidentified red waxed collector’s seal affixed to the reverse

16 x 18cm; 6 1/4 x 7in

22.5 x 25cm; 8 3/4 x 9 3/4in (framed)

£600-800

HENDRIK GOLTZIUS (DUTCH 1558-1617)

HERCULES VICTOR (FARNESE HERCULES)

copper engraving on laid paper 42 x 30cm; 16 1/2 x 12 1/2in

63.5 x 49.5; 25 x 19 1/2in (framed)

Engraving, a good though somewhat later impression, with a proprietary watermark dated 1747 and collector signatures on the reverse, with margins, creasing and small defects.

Property of a European Collector 6

Property of a European Collector 5

The marble carving of Hercules which inspired the present etching by Goltzius was carved by Glykon for the massive Baths of Caracalla in Rome in the 3rd century AD based on the now lost Greek original from the fourth century BC by Lyssipos. Glykon’s copy was recovered from the Baths’ site and a quantity of other Roman remains during excavations ordered by Pope Paul III in the mid-16th century. Moved to the Pope’s family home, the majestic Palazzo Farnese, it was there, in 1590-91, that Goltzius, then at the height of his fame, captured Hercules’ imposing form. The sketches in both red and black and white chalk of the sculpture are in the collection of the Teylers Museum, Haarlem, including a frontal view of Glykon’s carving. Goltzius’s subsequent engraving of Hercules seen from behind into which he has added two inquisitive Dutch onlookers is one of his most striking images, and remains enduringly popular.

£2,000-3,000

GEORG FREDERIK ZIESEL (DUTCH 1756-1809)

A PAIR OF STILL LIFE PAINTINGS EACH DEPICTING SUMMER FLOWERS IN A GLASS VASE ON A MARBLE LEDGE, ONE WITH A BIRD’S NEST

both signed G. F. Ziesel F lower left

both: oil on panel

each: 43 x 34cm; 17 x 13 1/2in

each: 54.5 x 47cm; 21 1/2 x 18 1/2in (framed) (2)

Property of a Lady, Sussex

Provenance:

W.H. Patterson Fine Arts, London (no. 302)

Thomas Hillary Rutter (purchased from the above)

John Shiel Rutter, Guernsey (son of the above)

Thence by descent to the present owner (niece of the above)

Georg Frederik Ziesel was born in Hoogstraeten in Flanders in 1756 and spent much of his life in Antwerp. He became an established still life painter and miniaturist. During his career he lived and worked in Paris for several years and exhibited at the Salons of 1802, 1805 and 1809.

£8,000-12,000

AFTER CARLO DOLCI (ITALIAN 1616-1686) THE INFANT CHRIST WITH A FLORAL WREATH in a painted oval oil on panel

Provenance: William Douglas Dick, London

Hon. Charles and Mrs May Noel (son-in-law and daughter of the above)

Colonel Archibald Noel (son of the above)

Thence by descent to the present owner (son of the above)

The present work is a free copy of the original in the Thyssen-Bornemisza Collection, Madrid.

£600-800

Property from a Private Collection, London 8

32 x 24.5cm; 12 1/2 x 9 3/4in

39 x 31.5cm; 15 1/4 x 12 1/2in (framed)

DUTCH SCHOOL (18TH CENTURY)

INTAGLIO OF THE GODDESS FLORA WITH TWO PUTTI SURROUNDED BY A GARLAND OF FRUIT AND FLOWERS oil on canvas

67 x 49cm; 26 1/4 x 19 1/4in

83 x 65cm; 32 1/2 x 25 1/2in (framed)

Provenance:

The Hon. Charles and Mrs May Noel

Colonel Archibald Noel (son of the above)

Thence by descent to the present owner (son of the above)

£3,000-4,000

Property from a Private Collection, London

Property of a Gentleman, London 10

FRENCH SCHOOL (17TH CENTURY) THE FINDING OF MOSES oil on canvas

95.6 x 138cm; 38 x 54 1/2in

126 x 157cm; 49 1/2 x 61 3/4in (framed)

Provenance:

Frederick Willis Farrer, London (d.1909; F.W. Farrer worked for the family legal firm, Farrer & Co. in Lincoln’s Inn Fields, and was the son-in-law of the painter George Richmond)

Sale, Christie’s London, 23 June 1916, lot 108 (as Claude Lorraine; sold by order of the trustees of the estate of the above together with another painting: A hilly landscape with peasants, cattle and sheep by a stream)

Arthur Richmond Farrer, London (son of the above; purchased at the above sale)

Sale, Phillips London, 28 April 1987, lot 65 (as Circle of Gaspard Poussin, called Gaspard Dughet) Purchased at the above sale by the present owner

Exhibited:

Ottawa, National Gallery of Canada, Egyptomania: Egypt in Western Art, 1730-1930, 1994, p. 33, fig. 2 (as by Charles-Alphonse Dufresnoy; illustrated in the catalogue)

The present work has been the subject of much scholarly debate. When first recorded at auction in 1916 it was considered to be by Claude Lorrain (1600-1682), when offered for sale in 1987 it was attributed to Circle of Gaspard Poussin, called Gaspard Dughet (1615-1675). Since 1987 a range of attributions have been proffered, mostly to French hands of the 17th century. In 1994, when it was a feature of the Egyptomania exhibition in Ottawa it was catalogued as by Charles-Alphonse Dufresnoy (1611-1668), an attribution put forward by Pierre Rosenberg; another suggestion is that it could be by Francisque Millet III (1697-1777). More recently the name of Dutch painter Johannes Glauber (1656-c.1703) has been proposed.

Iconographically the figures in the composition bear striking similarities to the work of Francisque Millet I (1642-79). The woman kneeling with arms outstretched to the left of the baby Moses compares with the corresponding figure in the etching by Theodore after the painting by Millet I (Alte Nationalgalerie, Berlin). The female figure standing behind Moses who gestures towards the child also adopts the pose of the woman standing almost in the river in Theodore’s etching.

Concerning references to the Antique, the obelisk on the left of the composition derives from the the obelisk in front of the church of St John Lateran, Rome - one of the nineteen obelisks brought back from Egypt by Hadrian. Its ornamentation shows the cartouches of King Tuthmosis III of the Eighteenth Dynasty. The inscriptions in the roundel are taken, in part at least, from the obelisk in the Piazza del Popolo, Rome. The two statues are the Antinous now in the Museo Gregorio in the Vatican. The pyramid shown on the right is the tomb of Caius Cestius, which stands in what is now the English cemetery in Rome. The brass trumpet-like object on the ground is the rattle of Osiris, the Egyptian mother-god. The winged creatures in the sky appear to reference the flying serpents sent by God on the grumbling Israelites and the ibis Moses used to put down the birds.

£8,000-12,000

ENGLISH SCHOOL (LATE 17TH CENTURY)

PORTRAIT OF THE HON. MARTHA PENELOPE NOEL (1666-1692)

bears the inscription Hon.ble Martha Penelope Noel / da. of Bapt 3 Visct. Campden / m._Dormer Esqr. lower left; bears inventory number No.105 on the reverse oil on canvas

126 x 101cm; 50 x 40in

149 x 122.5cm; 58 3/4 x 48 1/4in (framed)

Provenance:

Charles Noel, 3rd Earl of Gainsborough (1850-1926)

The Hon. Charles and Mrs May Noel (son and daughter-in-law of the above)

Colonel Archibald Noel (son of the above)

Thence by descent to the present owner (son of the above)

The Hon. Martha Penelope Noel (1666-1692), was one of nine offspring of Baptist Noel (1611-1682) 3rd Viscount Campden and his last wife Elizabeth (née Lady Elizabeth Bertie, 1640-1683). Baptist Noel, who was married four times and sired nineteen children, was appointed Lord Lieutenant of Rutland and became a Member of Parliament. He was succeeded by his eldest surviving son Edward Noel (1641-1689). Progeny of his marriage to his third wife Hester Wotton, Edward became 1st Earl of Gainsborough. Martha Penelope was baptised in 1666 and married a certain Mr Dormer in 1687.

£800-1,200

Property from a Private Collection, London

FOLLOWER OF SIR ANTHONY VAN DYCK (FLEMISH 1599-1641)

PORTRAIT OF LADY ANN NOEL

bears the inscription Ann da of Sir Robert Lovet / Dowager Countess of Bath / 2nd wife of Baptist 3 Viscount Campden lower left; with the inventory number No.20 on the reverse oil on canvas

76 x 63.5cm; 30 x 25in

97.5 x 83cm; 38 1/2 x 32 3/4in (framed)

Provenance:

Charles Noel, 3rd Earl of Gainsborough (1850-1926)

The Hon. Charles and Mrs May Noel (son and daughter-in-law of the above)

Colonel Archibald Noel (son of the above)

Thence by descent to the present owner (son of the above)

Lady Ann Noel (d.1639), was the daughter of Sir Robert and Lady Anne Lovett of Liscombe, Buckinghamshire. On her marriage to Edward Bourchier, 4th Earl of Bath (1590-1636) in 1633 she became Dowager Duchess of Bath. Widowed three years later, she married again in 1638 to Baptist Noel (1611-1682), 3rd Viscount Campden. She died the following year without issue.

£1,500-2,500

Property from a Private Collection, London

FOLLOWER OF SIR PETER LELY (BRITISH 1618-1680)

PORTRAIT OF THE HON. MARTHA PENELOPE NOEL (1666-1692)

oil on canvas, oval

71 x 61cm; 28 x 24in

86 x 73cm; 34 x 28 3/4in (framed)

Provenance:

Charles Noel, 3rd Earl of Gainsborough (1850-1926)

The Hon. and Mrs Charles Noel (son and daughter-in-law of the above)

Colonel Archibald Noel (son of the above)

Thence by descent to the present owner (son of the above)

See note to lot 11

£800-1,200

Property from a Private Collection, London

Property from a Private Collection, London

ATTRIBUTED TO JOHN HAYLS (1600-1679)

PORTRAIT OF LADY ELIZABETH BERTIE (1640-1683)

bears inscription Lady Elizabeth Bertie daughter of Montague Earl of Lindsey 4th Wife of Baptist 3rd Viscount Cmpden [sic] oil on canvas

122 x 98cm; 48 x 38 1/2in

147 x 124cm; 58 x 49in (framed)

Provenance:

Charles Noel, 3rd Earl of Gainsborough (1850-1926)

The Hon. Charles and Mrs May Noel (son and daughter-in-law of the above)

Colonel Archibald Noel (son of the above)

Thence by descent to the present owner (son of the above)

Lady Elizabeth Bertie (1640-1683), was the daughter of Montagu Bertie, 2nd Earl of Lindsay and his first wife Martha Ramsay (née Cockayne), Dowager Countess of Holderness. She married Baptist Noel, 3rd Viscount Campden when she was just 15 and bore him nine children, including Martha Penelope (1666-1692), (see lots 11 & 13) Sir Peter Lely also painted her portrait. She died a year after her husband and is buried with him near the Noel family seat Exton Park in the church of St Peter and St Paul, Rutland.

£1,000-1,500

Property of a Gentleman, London

15

FOLLOWER OF ADAM ELSHEIMER (GERMAN 1574/78-1610/20)

ST ROCH COMFORTED BY THE ANGEL inscribed Tobias and the Angel. Elsheimer Pt on the reverse by a later hand oil on walnut panel with extensions of approx 2cm to the top and bottom edges

26.6 x 19.5cm; 10 1/2 x 7 3/4in

38.5 x 33.5cm; 15 1/4 x 13 1/4in (framed)

Provenance:

Purchased by the present owner in the early 1980s

£600-800

FLEMISH SCHOOL (16TH

Provenance:

CENTURY)

THE RECONCILIATION OF JACOB AND ESAU oil on panel

98 x 125cm; 38 x 49 1/4in

114 x 142cm; 45 x 56in (framed)

Purchased by the present owner in Sweden in 2017 £4,000-6,000

17

17

ITALIAN SCHOOL (CIRCA 1700)

THE HOLY FAMILY WITH AN ANGEL oil on canvas

58 x 42cm; 22 3/4 x 16 1/2in

80 x 63cm; 31 1/2 x 24 3/4in (framed)

Provenance:

William Douglas Dick, London

The Hon. Charles and Mrs May Noel (son-in-law and daughter of the above)

Colonel Archibald Noel (son of the above)

Thence by descent to the present owner (son of the above)

£800-1,200

Property from a Private Collection, London

18

ATTRIBUTED TO JACOMO VICTORS (DUTCH 1640-1705)

FOWL WITH A RABBIT, A DUCK, GOOSE AND TURKEY IN A LANDSCAPE oil on canvas 102 x 122cm; 40 x 48in (unframed)

Provenance: Charles Noel, 3rd Earl of Gainsborough (1850-1926)

The Hon. and Mrs Charles Noel (son and daughter-in-law of the above)

Colonel Archibald Noel (son of the above)

Thence by descent to the present owner (son of the above)

Jacomo (or Jacobus) Victors was the step-brother of Jan Victors (1619-1679), painter of genre and biblical scenes. Jacomo travelled widely, including through Italy, hence the Italianising of his name. A direct contemporary of leading animalier and fellow Dutchman Melchior d’Hondecoeter (1636-1695), he focused on painting poultry, game and related animal subjects at a time when the genre was enjoying its own particular Golden Age. Whether depicting the dramatic plumage of a turkey or the soft down of a swan, Jacomo became a master at describing the very quick of the being in front of him: their individual beauty, their particular character traits, their alert and beady eyes and the rich textures of their feathers, beaks, pelts and claws, creating elaborate compositions featuring multiple fowl and game. His carefully crafted and detailed visual celebrations of such familiar furry and feathered farmyard friends was in marked contrast to their likely fate: the cooking pot. In the process, the subject became a stark reminder of the transience of life, and the genre its very own form of momento mori.

£6,000-8,000

Property from a Private Collection, London

Provenance:

Inherited by the present

£600-800

1970s

Property of a Lady, London 19

AFTER ANDREA LOCATELLI (ITALIAN 1695-1741) ARCADIAN LANDSCAPE WITH FIGURES oil on canvas

74 x 99cm; 29 x 39in

89.5 x 115cm; 35.5 x 45 1/4in (framed)

owner in the

Provenance: Acquired by the present owner in the 1970s

£500-700

Property of a Lady, London 20

WILLIAM WILLIAMS OF NORWICH (BRITISH 1727-1791) HORSE AND RIDER IN A STORMY LANDSCAPE oil on canvas

81 x 104cm; 32 x 41in

95.5 x 118cm; 37 1/2 x 46 1/2in (framed)

Property from a Private Collection

21

GEORGE CHINNERY (BRITISH 1774-1852)

NEAR THE BARRIER

titled and dated near the Barrier / febry 24/1836 upper right; annotated indistinctly upper left pencil, pen and brown ink

19 x 27.5cm; 7 1/2 x 10 3/4in

38.5 x 46.5cm; 15 1/4 x 18 1/4in (framed)

Provenance:

Thomas Agnew & Sons, London

Gerald Palmer, Newbury (purchased from the above; Gerald Palmer was a Captain in the Royal Artillery, MP for Winchester, Commissioner for the Forestry Commission, writer and translator; he established the Eling rural estate near Newbury, which he left in trust on his death in 1984)

Bequeathed from the above to the late husband of the present owner

Constructed in 1573, the Barrier was the border wall on the isthmus that separated Macau peninsula from mainland China. In August 1840, four years after Chinnery sketched the present work, the Battle of the Barrier between the Chinese and the British broke out. It was sparked by the kidnap of Reverend Vincent Stanton while swimming at Casilha Bay in Macau which caused an uproar in the British community. The ensuing rout of the Chinese by the British was a defining moment during the first Opium Wars (1839-1842).

£1,000-1,500

22

GEORGE CHINNERY (BRITISH 1774-1852)

A BLACKSMITH AND OTHER STUDIES

pencil, pen and brown ink

dated December 7.1850 lower centre; variously inscribed with annotations throughout the sheet; numbered 52

upper right

29.5 x 21cm; 11 1/2 x 8 1/4in

49.5 x 40cm; 19 1/2 x 15 3/4in (framed)

Provenance:

Thomas Agnew and Sons, London Gerald Palmer, Newbury

Bequeathed from the above to the late husband of the present owner in 1984

(For full provenance see previous lot)

Born in London where he was a student at the Royal Academy Schools, Chinnery spent five years in Ireland before departing for Asia in 1802 where he journeyed to Serampore in West Bengal via Madras, Calcutta and Dacca. Dodging his debts, some twenty years later he arrived in Macau and made the island his home until his death in 1852. Fascinated by the artistic possibilities of Macau’s shoreline and the local tradespeople he was an inveterate recorder of everyday life, as evident in the present very full page of annotated sketches.

£1,500-2,500

23

PAUL SANDBY RA (BRITISH CIRCA 1725-1809)

WINDSOR FROM SNOW HILL

pen and grey ink and watercolour on laid paper watermarked with the Strasburg Lily; a pencil drawing of a landscape – verso

11.5 x 24.7cm; 4 1/2 x 9 3/4in

30.5 x 43cm; 12 x 16 7/8in (framed)

(2)

Provenance:

Private collection, U.S.A. (until 1993)

Thomas Agnew & Sons, London

Nigel Jacques (purchased from the above circa 1993)

Windsor Castle and the surrounding area was a favourite subject for Sandby throughout his career. In 1765

his brother Thomas was appointed Deputy Ranger of Windsor Great Park and took up residence in the Deputy Ranger’s House (now Royal Lodge) in about 1770. Paul Sandby regularly visited his brother and his family at Windsor, especially after 1782, when Paul’s son Thomas Paul married his cousin, Thomas’s daughter Harriot. Offered together with a view of Tivoli by Richard Cooper Junior (British 1740-1820), signed R Cooper del lower right, pencil, pen and brown ink and grey wash over pencil on laid paper, oval 29.5 x 24cm; 11 5/8 x 9 1/2in;

44.5 x 51.5cm (framed); 17 1/2 x 20 1/4in;

Provenance:

Guy Peppiatt Fine Art Ltd

£800-1,200

Property from a Private Collection

Property from an Estate

JAMES BAKER-PYNE (BRITISH 1800-1870)

PAPERMILL IN BERKSHIRE

signed and numbered J B PYNE No. 245 lower right

63.5 x 76.5cm; 25 x 30in

83.5 x 96.5cm; 32 3/4 x 38in (framed)

Provenance:

Sale, Bonhams Bury St Edmunds, 14 September 2005, lot 413

Thomas Coulborn & Sons, Sutton Coldfield (purchased at the above sale)

Purchased from the above by the present owner

£1,200-1,800

Property from a Monsignor, Warwickshire 24

VILHELM MELBY (DANISH 1824-1882)

VIEW FROM THE HARDANGERFJORD LOOKING TOWARDS THE

St Johns Wood, London.

oil on canvas

51 x 91.5cm; 20 x 36in

67.5 x 108cm; 26 1/2 x 42 1/2in (framed)

Provenance:

Private Collection, Sweden (until 2005)

Exhibited:

British Institution, 1861, no 551, recorded as View looking towards the Folgefjord in the Hardanger Fjord, Norway

The late Regine Gerhardt confirmed the authenticity of this work.

£2,000-3,000

FOLGEFONNA, NORWAY signed and dated W Melby 59 lower left; signed and inscribed on the stretcher No. 2 Wilhelm Melby 20 Circus Rd

26

FRENCH SCHOOL (19TH CENTURY)

A GREEK FREEDOM FIGHTER oil on canvas

97 x 129cm; 38 1/4 x 50 3/4in

120 x 150cm; 47 1/4 x 59in (framed)

Provenance:

Purchased by the previous owner in Paris in the late 1990s

Purchased from the above by the present owner circa 2008

£1,500-2,500

27

FRENCH SCHOOL (19TH CENTURY)

A VIEW OF TOULON oil on canvas indistinctly signed and dated 1848 lower right

35 x 92.5cm; 13 3/4 x 36 1/2in

44 x 101.5cm; 17 1/4 x 40in (framed)

£2,000-4,000

28

EMILE PRANGEY (FRENCH B. 1832) AN ARAB HORSEMAN signed Prangey lower left oil on panel

32 x 24cm; 12 1/2 x 9 1/2in

41 x 33cm; 16 x 13in (framed)

£400-600

Property from a Private Collector

Property of a European Collector

Property of a European Collector

30

MORTIMER MENPES (1855-1938)

SHOEING THE PONY signed M.L. Menpes. lower right watercolour

15.5 x 21.5cm; 6 x 8 1/2in

36.5 x 41.5cm; 14 1/4 x 16 1/4in (framed)

Provenance:

Purchased by the present owner in the 1980s

£500-700

HERCULES BRABAZON BRABAZON (BRITISH 1821-1906)

LAKE COMO, TREMEZZO pastel on grey paper

signed with initials HBB lower right

18 x 28cm; 7 x 11in

43.5 x 53.5cm; 17 x 21in (framed)

Provenance:

Sale, Christie’s London, 18 July 1989, lot 152

£400-600

31

MORTIMER MENPES (BRITISH 1855-1938) A SIDE CANAL, VENICE signed Mortimer Menpes lower left watercolour over pencil

19.5 x 24cm; 7 3/4 x 9 1/2in

42.5 x 45.7cm; 16 3/4 x 18in (framed)

Provenance:

Purchased by the present owner prior to 2000

£600-800

Property of a Lady 29

Property from a Gentleman

Property from a Monsignor, Warwickshire

TERRICK JOHN WILLIAMS RA (BRITISH 1860-1936)

PONT AVEN, BRITTANY

signed and dated Terrick Williams / 98 lower right; inscribed Pont Aven, Brittany. / Terrick Williams. / Art Club Studios / Blackheath / London S.E. on the reverse oil on canvas

30.5 x 46.5cm; 12 x 18 1/4in

47.5 x 63cm; 18 3/4 x 24 3/4in (framed)

Provenance:

Whitford and Hughes, London

Purchased from the above by the present owner in the mid-1980s.

Exhibited:

London, Whitford and Hughes, Mist and Morning Sunshine, the Art and Life of Terrick Williams, 1984, no. 7 (illustrated in the catalogue)

£1,000-1,500

Property of a Lady

EVERT MOLL (DUTCH 1878-1955)

LEUVEHAVEN ROTTERDAM

signed and dated Evert Moll 1914 lower left; signed and inscribed Evert Moll Avenue Concordia 124 Rotterdam on the stretcher

oil on canvas

70 x 111cm; 27 1/2 x 43 3/4in

89 x 130cm; 35 x 51 1/4in (framed)

Provenance:

Simonis & Buunk, Ede

Purchased from the above by the present owners in 1988

Moll, a self-taught artist, and a follower of the Hague School had a keen interest in early 20th-century maritime development. He painted a series of views of the harbour town, Leuvehaven, which is located close to the centre of Rotterdam. In this glorious panoramic painting, one of his largest works, Moll’s loose impressionistic brush strokes capture the bustle of the port. Workers and passers-by wander along the quays, and several moored tugboats flank the Nieuwe Maas. We see tradesmen moving goods on horse-drawn freight wagons. The Ophaalbrug-type bridge opens to allow cargo boats to pass. The Sint-Laurenskerk church and Twee Leeuwen brewery are visible in the distance. Moll was born in Voorbug, Netherlands, close to Rotterdam, where he kept a studio until 1930. He also worked in London, Paris, and the Hague.

£3,000-5,000

ARR may apply

Property from a Private Collection

SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)

WOMAN IN A BLACK BONNET

signed Will Rothenstein / Paris lower left; dedicated and dated For Alice Aug. 95 upper left oil on canvas

58 x 36cm; 23 x 14 1/4in

73 x 51cm; 29 x 20in (framed)

Provenance:

Alice Rothenstein (a gift from the artist; Rothenstein married the actress Alice Knewstub, who took the stage name Kingsley, in 1899. They had four children, including John who became Director of the Tate Gallery from 1938 to 1964, and Michael who became a talented print maker).

Lucy Rothenstein (the artist’s grand-daughter, by descent from the above)

Sale, Sotheby’s London, 26 February 2003, lot 27

Purchased at the above sale by the present owner

Exhibited:

London, Tate Gallery, William Rothenstein Memorial Exhibition, 1950, no. 2 (as An old lady) Bradford, City Art Gallery & Museums, 1972, no. 2 (illustrated in the catalogue)

It has been suggested that inspiration for the present painting was a character in a Balzac novel, and may have been painted in Moret-Sur-Loing, where Rothenstein spent time in the summer of 1893. Rothenstein describes how ‘a model came down to sit for him. He had bought some old dresses of an earlier period... and made her deck out in these for some paintings’ (Robert Speaight, William Rothenstein: The Portrait of an Artist in his Time, London, 1962, p. 52). The dark tonality of the painting reflects his interest in Spanish painting and Goya in particular, an artist on whom he published a monograph in 1899; the poster, top right in the canvas, appears either to be a playbill or a contemporary fashion plate.

£1,000-1,500

Property from the Artist’s Family

Property from the Artist’s Family

WILLIAM ROTHENSTEIN (BRITISH 1872-1945)

THE CHURCH OF SAINT-SEINE-L’ABBAYE AT NIGHT

initialled and dated W.R. 1906 lower right oil on canvas

75 x 54cm; 29 1/2 x 21 1/4in

99 x 79cm; 39 x 31 1/4in (framed)

Provenance:

(probably) Betty Holliday, the artist’s daughter

Victor Hugo-esque in its towering, empty, brooding form, Rothenstein’s theatrical moonlit depiction of the west front of the church at Saint-Seine-L’Abbaye, a former Benedictine monastery, is wonderfully evocative of the pre-War era and reminiscent of the style of some of his closest friends and contemporaries, including the richly laden imagery of Walter Sickert, William Nicholson and James Pryde.

Rothenstein first visited France aged 17, and returned regularly thereafter, including studying for four years in Paris at the Académie Julian. His frequent painting holidays there were often in the company of his younger brother Albert (lot 40), when they explored the French countryside, often by bicycle.

£4,000-6,000

Property from a Deceased Estate 36

HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)

THE MADONNA OF ‘THE MIRACLE’ WITH SELF-PORTRAIT oil on canvas

55 x 43cm; 21 3/4 x 17in

74 x 61cm; 29 x 24in (framed)

Provenance:

Mr & Mrs Thomas Leman Hare (commissioned from the artist. Thomas Leman Hare was a publisher and collector and in the 1920s became editor of Apollo magazine)

Mrs Genevieve Shillingford (god-daughter of Mrs Leman Hare)

Miss Joia Shillingford (daughter of the above)

Sale, Sotheby’s London, 11th November 1981, lot 242 (sold by the above)

A. Leslie (probably purchased at the above sale)

Alton Gallery, Barnes

Purchased by the late owner from the above prior to 1990

Painted in 1912, this is a unique example in Gaudier-Brzeska’s oeuvre both in being painted on canvas rather than paper, and in the silhouette self-portrait holding a brush. The statuette in the foreground of the composition is a plaster Gaudier had recently completed of Madame Carmi in the leading role of the Madonna in The Miracle performed at the London Olympia. The plaster is now in the collection of Kettle’s Yard, Cambridge (fig. 1).

The present painting was almost certainly executed in the Thameside home of his patrons, Mr and Mrs Leman Hare, on Chiswick Mall. Thomas Leman Hare (1872-1935) was a painter, collector and writer on art, who subsequently became editor of Apollo magazine. Friends of the Leman Hares included fellow art writer Haldane Macfall, painter and illustrator Claud Lovat Fraser and the aspiring young writer Enid Bagnold, who later achieved fame as the author of National Velvet

Gaudier-Brzeska had arrived from his native France with his companion Sophie Brzeska early in 1911 and had entered the orbit of this group in January 1912 after writing to Haldane Macfall in response to an article he had published in the English Review. Gaudier modelled portraits of several of them and contacts with more advanced artists and writers followed notably with the sculptor Jacob Epstein, some of the Camden Town painters and with Roger Fry’s Omega Workshop. In 1914 he was elected to the London Group and emerged as one of the leaders of the short-lived, radical Vorticist Group before his tragically premature death in France aged only 23.

fig. 1, Archival photograph of Gaudier-Brzeska, Mme Carmi as the Madonna in ‘The Miracle’, plaster, 1912 (courtesy of Kettle’s Yard, University of Cambridge).

Performed from 21 December 1911 to 10 February 1912, The Miracle, produced by the German impressario Max Reinhardt was an extravaganza - part medieval miracle play, part wordless musical pageant involving around 1,700 performers including orchestra and chorus, horses, actors and a set evoking the interior of a medieval church which is probably that sketched on the verso of Gaudier’s canvas (fig. 2). It was a hit which subsequently toured in Europe and the US, was revived in the 1920s and filmed in three versions. It also launched the career of Maria Carmi who incarnated the central figure, a sculpture of the Madonna and the redemptive figure of the nun at the core of the plot.

The statuette of Maria Carmi (1880-1957) was one of Gaudier’s earliest commissions. He was paid £5. The commission and the process of its making were described both by Sophie Brzeska in the ‘Journal’ of her life with Gaudier (Cambridge University Library) and by Gaudier himself in a letter, dated 12 February 1912, to Haldane Macfall (National Art Library).

In Sophie Brzeska’s account Mrs Leman Hare arrived at their Chelsea lodgings, just as they were packing up to move, to offer Gaudier the commission and to insist that he and Sophie Brzeska accompany the Hares to the final performance who had already seen it eight times; ‘There is a large number of people who admire Maria Carmi as much as we do. So my husband had the idea to ask Lord Northcliffe and a few other gentlemen whether they might not like to contribute to having a bust made of this divine Madonna. Lord Northcliffe was enchanted by the idea. . . We are going to have a copy cast in bronze to offer to Madame Carmi and then fifty or so in plaster which will sell easily.’

Two days later Gaudier gave a down-to-earth account in a letter to Macfall, describing the sculpture as a statuette rather than a bust. ‘Off we went as tired as could be, made about sixty sketches of the subject, came back home… at 1 o’clock yesterday, and spent the whole morning putting up the clay for the thing.’ He added ‘Mr Hare gave me a very good idea. He suggested that I should indicate on the plaster cast the different colours gold, red and blue and this I will do.’

On 26 February Gaudier was able to report to Macfall that the mould was finished and he expected to be able to cast the piece that evening. A second plain white cast was made, later probably destroyed, but the projected edition never came to fruition.

The archive image of the statuette (fig. 2) shows short brush strokes of colour applied in an Impressionist technique although all the colour has now deteriorated to dark brown in this sculpture (Kettle’s Yard, Cambridge). A pastel of The Madonna alone (Private Collection) is more densely pigmented in red, blue, green and ochre (H Brodzky, Gaudier-Brzeska Drawings, 1946, colour frontispiece). One may surmise that Gaudier included the mirrored image of himself as a painter rather than sculptor in his canvas in acknowledgement of Leman Hare’s colour suggestion. We are grateful to Dr Evelyn Silber for her assistance in preparing this catalogue entry.

£15,000-20,000

fig. 2, The reverse of the present lot, almost certainly showing the stage set of ‘The Miracle’ performed at Olympia Exhibition Halls 1911-12

Property from Deceased Estate

37

CHRISTOPHER RICHARD WYNNE NEVINSON ARA (BRITISH 1889-1946)

PUSSYWILLOW

signed and dated C.R.W. NEVINSON / 1936 lower right oil on canvas

46 x 35cm; 18 x 13 3/4in

57 x 46.5cm; 22 1/2 x 18 1/4in (framed)

Exhibited:

London, Barbizon House, Flower Paintings by C.R.W Nevinson, 1936

Rare amongst Nevinson’s oeuvre, flower studies such as this began to appear in the artist’s exhibitions from 1926 onwards. The present painting appeared among 20 other such works in a 1936 solo exhibition at Barbizon House, London titled Flower Paintings by C. R. W. Nevinson. According to notes from a previous owner, the exhibition featured in a write-up in The Times, which highlighted two works Catkins and Pussywillows (the present work) as of ‘exceptional quality.’ Much of Nevinson’s inspiration was from his wife, Kathleen, who was a professional gardener and Fellow of the Royal Horticultural Society. In fact, she was the author of the preface to the 1936 exhibition catalogue and stated that ‘many of the arrangements in nature were designed with my co-operation.’

£3,000-5,000

AUGUSTUS JOHN (BRITISH 1878-1961)

STUDY OF IDA - recto; SKETCH OF SEATED FIGURE - verso black crayon - recto; brush and inkverso

25.5 x 17.5cm; 10 x 6 3/4in (sheet) (unframed)

Provenance: William Rothenstein, London (a gift from the artist)

By descent from the above to the present owner

Ida Nettleship (1877-1907), a fellow student at the Slade School of Art, married Augustus John, against her parent’s wishes, on 12th January 1901. Ida sacrificed her own artistic career to become a wife and mother. But domestic life soon lost its shine, and Augustus John moved Ida to the countryside while he spent time in London where he fell in love with Dorelia McNeill. Gwen John (1876-1939), Augustus’s sister, fellow artist and friend of Ida, took Dorelia off around Europe in an attempt to diffuse the situation. However, Augustus was so besotted by Dorelia that Ida eventually invited Dorelia to move to the countryside to live with her and Augustus in an attempt to improve her husband’s temperament. Dorelia soon fell pregnant and the three moved with the children to live in a caravan on Dartmoor. There the children were brought up together - Ida had 5 sons in 6 years and Dorelia had two children while Ida was still alive. But once again the boredom of domesticity set in, although this time

it was Ida and Dorelia who relocated to Paris leaving Augustus to follow thereafter. Ida tragically died in Paris at the age of 30 soon after the birth of her fifth son. Dorelia and Augustus went on to spend the rest of their lives together having another two children.

We are grateful to Rebecca John for confirming the authenticity of this work, who dates it to circa 1898, prior to Ida’s marriage to Augustus John.

£1,500-2,000

ARR may apply

AUGUSTUS

TWO STUDIES OF IDA - recto; STUDY OF A CHURCH - verso black crayon with pen and ink - recto; wash and ink - verso

25.2 x 17.5cm; 10 x 6 3/4in (sheet)

(unframed)

Provenance:

William Rothenstein, London (a gift from the artist)

By descent from the above to the present owner

We are grateful to Rebecca John for confirming the authenticity of this work, who dates it to circa 1898, prior to Ida’s marriage to Augustus John. See note to previous lot

£2,500-3,500

ARR may apply

JOHN (BRITISH 1878-1961)

40

ALBERT RUTHERSTON (BRITISH 1881-1953)

BILLY-SUR-ALLIER

signed Albert Rutherston 05 lower right oil on canvas

54.5 x 74cm; 21 1/2 x 29 1/4in

74 x 92cm; 29 1/4 x 36 1/4in (framed)

Provenance:

Capt. R. Gordon-Canning (purchased at the Leicster Galleries in 1953)

Exhibited:

London, Leicester Galleries (Ernest Brown & Phillips), Albert Rothenstein, 1953, no. 17

Albert Rutherston (born Rothenstein), was the younger brother of better known painter William Rothenstein (see lots 34 & 35). He joined the Slade School of Art in its late 19th century heyday, when Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. Aged just sixteen, he was the youngest student by far, but he soon fell in with a gilded set of artists, befriending Augustus John (see lots 38 & 39) and William Orpen. His elder brother kept a watchful eye over his considerably younger sibling, and dubbed the trio the ‘Three Musketeers’.

John, Orpen and Albert first holidayed together in France in the summer of 1899, staying in Vattetot, along the Normandy coast from Etretat, where they were joined by William and the older painter Charles Conder. The following summer Albert was in Dieppe where he met Walter Sickert with Max Beerbohm. In 1904 he visited Billy-sur-Allier near Clermont-Ferrand on a painting trip with Spencer Gore, returning with Gore the following year when he completed the present oil. Rothenstein painted the town from the east beneath a threatening sky, its defensive fortress dominating the surrounding landscape.

Property from the Artist’s Family

In the years that followed Albert thrived at the very heart of the London avantgarde. Living at 8 Fitzroy Street in Bloomsbury, he shared a space at 19 Fitzroy Street with Sickert, brother William, Spencer Gore, Harold Gilman and Walter Russell. There they held open days to show their work on Saturday afternoons. The combined aim, as Sickert recounted, was ‘to create a Salon d’automne milieu in London’. Other artists soon joined, among them Augustus John, Wyndham Lewis and J.D. Innes, and their Saturday afternoons attracted the interest of a wide range of cultural luminaries, among them Hugh Lane, Ottoline Morrell and Jacques Emile-Blanche.

£1,000-1,500

ARR may apply

41

BERNARD MENINSKY (BRITISH 1891-1950)

‘NELLI’

signed Meninsky lower right; inscribed Nelli on the stretcher oil on canvas 61 x 51cm; 24 x 51in (unframed)

Provenance: Hans Feibusch, London (acquired from the artist) Thence by descent to the present owner Works by Feibusch will be a feature of our Artist’s Studio sale on 11 October.

£1,000-1,500

Property from the Estate of Hans Feibusch

42

ENRIQUE SERRA Y AUQUÉ (SPANISH 1859-1918)

RUINS IN THE PONTINE MARSHES

signed ENRIQUE SERRA / ROMA lower right oil on canvas

82.5 x 57.5cm; 32 1/2 x 22 3/4in

108 x 83cm; 42 1/2 x 32 3/4in (framed)

Provenance:

Acquired by the present owner circa 2000

£1,000-2,000

Property from a Monsignor, Warwickshire

Property of a Gentleman, London 43

ATTRIBUTED TO JOHN MINTON (BRITISH 1917-1957)

CORN FIELD

pen and brush and brown ink over watercolour on paper

27 x 36.5cm; 10 1/2 x 14 1/4in

40 x 48cm; 15 3/4 x 18 3/4in (framed)

Provenance:

Brian Sewell, London (journalist and art critic), acquired from the artist

Acquired from the above by the present owner circa 1990

Commenting recently on the present work Frances Spalding notes that ‘Minton’s regular visits to Marshalls in Chart Sutton, to stay with Edie Lamont in the late 1940s, in a most beautiful part of Kent; his meeting with her nearby neighbour H.E.Bates, in connection with his rural illustrations for two of his books; as well as an awareness of an inherent conflict in himself between a desire to create ‘painter’s’ as well as make ‘illustrators’ drawings, makes this a possible work by him, albeit in an unfamiliar vein.’ Edie was a friend from Minton’s St Johns Wood Art School days; twenty years Minton’s senior she was married to Newton Lamont, a coal merchant. Her diaries from 1945 to 1954 record that Minton visited ‘Marshalls’ several times a year, returning to London from his trips with sheaves of drawings. ‘He drew the nut grove in the Lamonts’ garden and the surrounding countryside, especially the view over the Weald found within two minutes’ walk from their house. With Edie, he made drawing expeditions to Little Chart Forstal, Frittenden and Tenterden. His Kent landscapes had contributed significantly to the success of his 1945 Roland, Browse and Delbanco exhibition...’ (see: Frances Spalding, Dance Till the Stars Come Down, a Biography of John Minton, London, 1991, p. 127).

£1,000-1,500

ARR may apply

Property of a European Collector 44

DAVID JONES (BRITISH 1895-1974) CRUCIFIXION - ‘TYWYSOG CARIAD’

inscribed BRENHNV CARIAD on the cross pencil and coloured crayon

31.1 x 24.2cm; 11 1/2 x 9 1/2in

47 x 40cm; 18 1/2 x 15 3/4in (framed)

Provenance:

Anthony d’Offay, London

Christopher Gibbs, Clifton Hampden

Sale, Christie’s, London,The Manor House at Clifton Hampden, Home of Christopher Gibbs, 25 September 2000, lot 328

Purchased at the above sale by present owner

Exhibited:

London, The Tate Gallery, David Jones, 1981, no. 62, illustrated in the catalogue

Literature:

Agenda, ‘David Jones Special Issue’, 1967, illustrated

Executed circa 1929, Twysog Cariad and Brenhynu Cariad are Welsh for Prince of Love and King of Love. Jones developed the theme of the Crucifixion in the 1920s in all his favoured media, including as a woodcut, in pencil and crayon, in watercolour and as a free standing wood carving. Of all these iterations, the present example is one of the largest. The last comparable work to be offered at auction was in the David Bowie sale at Sotheby’s on 11th November 2016, lot 101, which sold for £93,750.

Described by Kenneth Clark as ‘a remarkable genius’, as a writer he was praised by both T.S. Eliot and W.H. Auden, in particular for his epic modernist poem In Parenthesis. Begun in 1928 and published ten years later, his verse captures the harrowing time he spent in the trenches in the First World War. During his encounter with ‘the wasteland of the Western Front’ he drew strength from his strong Christian faith which also informed his subject matter, especially in the decade that followed. Another deep rooted source of inspiration was his Welsh heritage. Already, when in his ‘teens at Camberwell School of Art he was committed to becoming an illustrator of Welsh history. After the War he studied at Westminster School of Art under Bernard Meninsky (see lot 41). He converted to Catholicism in 1921 and moved out of London to Ditchling to join Eric Gill and his family in Sussex. There he studied wood engraving and became postulant in the Guild of St Joseph and St Dominic, the community founded by Gill dedicated to work, faith and domestic life. When Gill left the guild in 1924 to move with some of the community to a former monastery at Capel-y-ffin north of Abergavenny in Wales Jones followed, spending the next few years working in the Black Mountains and at the Benedictine Monastery on Caldy island, off the Pembrokshire coast. Jones was naturally drawn to working on paper, finding pencil and watercolour far more sympathetic to his purpose than oil paint. His sensitivity to his media is especially acute in the present work. Describing the drawing technique that characterised Jones’ work during the 1920s, Paul Hills comments: ‘The individual marks of pencil and brush share a distinctive character, irregular yet rhythmic, tremulous yet bold. He has rediscovered the handwriting of sharp jabs... which will become the unmistakable signature of his visual art. Individually these marks may appear graceless, undisciplined, even messy; yet at the right distance they signal across the paper in vibrant patterns. The matrix of white paper is crucial to this essential linear art; the character of each touch must tell.’ (exh. cat. David Jones, 1981, p. 25).

Throughout his life his deeply held religious conviction determined much of what he drew and painted; there was invariably a spiritual element underlying even the most anodyne subject. Biblical themes that he drew on for inspiration ranged from the Madonna and Child to the Mocking of Jesus and the Paschal Lamb as well as the present theme. But in each he reflected his own very personal, often folkloric and typically Welsh character. As Gill said of Jones’ aesthetic: ‘What concerns him is the universal thing showing through the particular thing... The eye sees particular things, but the man’s delight in the physical vision is checked by the mind’s apprehension informing it’ (exh. cat. David Jones, 1981, p. 19).

In the Agenda special issue of 1967 dedicated to David Jones’ work published by William Cookson, it was noted that the present work is an ‘Unfinished study for the proposed work illustrating the Oblation and Immolation of the Cross and of the Altar in a Welsh hill-setting’. In the catalogue accompanying the 1981 Tate Gallery retrospective on David Jones, curator Paul Hills comments that the drawing is ‘one of Jones’s first statements of the inseparable nature of the Crucifixion and the Eucharist’, a theme later taken up in his poem The Fatigue.’ (exh. cat. David Jones, 1981, p. 91).

£8,000-12,000

ARR may apply

KENNETH ARMITAGE RA (BRITISH 1916-2002) MODEL FOR A LARGE WORK (VERSION B) patinated and painted bronze

34.5cm x 84 x 15cm; 13 x 33 x 6in

Conceived in 1963, the present work is number 0 from the edition of 6.

Provenance:

Studio of the artist

Marlborough Fine Art, London

Acquired from the above by the present owner in 2017

Literature:

James Scott, The Sculpture of Kenneth Armitage, London, 2016, p. 132, no. 124, (illustration of another cast)

Exhibited:

London, Marlborough New London Gallery, Kenneth Armitage, 1965, no. 4, illustrated in the catalogue

London, Marlborough Fine Art, Carved Cast Constructed: British Sculpture 1951-1991, 2017

£15,000-20,000 ARR may apply

Property from a Gentleman

46

KEITH VAUGHAN (BRITISH 1912-1977)

TWO FIGURES

gouache, watercolour, pen and ink and pencil

36 x 24cm; 14 1/8 x 9 1/2in

Provenance:

Estate of the artist

Thomas Agnew and Sons, London, John Constable (purchased from the above in 1999)

£1,500-2,500

ARR may apply

Property of a European Collector

47

JAMES BENJAMIN WEBSTER (BRITISH B.1978)

TIGER FROM THE TROPHIES SERIES

parcel-gilt porcelain, concrete and steel

53 x 20 x 16cm; 21 x 8 x 6 1/4in

The trophy series is an exploration of the past and the future through skulls. Inspired by Victorian archaeologists, Webster has worked from animal skeletons and used porcelain to achieve a sense of bone. The sculptures are reminiscent of ancient temple and relic ruins. Attempting to create new monuments, which bridge our past and future, the tiger skull is ceremoniously placed upon a concrete pedestal, on a steel base. The use of gold denotes the sun, a symbol used to evoke an ancient past. Webster grew up in the Norfolk countryside and spent his childhood listening to mythological stories told by his grandfather. He went on to read Art at Norwich before training in Florence.

£2,000-3,000

ARR may apply

Property of a European Collector

48

BEN NICHOLSON (BRITISH 1894-1982)

AQUILEIA, FROM ARCHITECTURAL SUITE

signed and dated Ben Nicholson/1966 lower right; numbered VIII lower left coloured etching

32.2 x 27.7cm; 12 3/4 x 10 3/4in (plate)

39.5 x 33cm; 15 1/2 x 13in (sheet)

58 x 50.5cm; 22 3/4 x 18 3/4in (framed)

Provenance:

Galleria La Bussola, Turin

£1,500-2,500

ARR may apply

Property from a Lady

49

LAURENCE STEPHEN LOWRY (BRITISH 1887-1976)

CRIME LAKE

offset lithograph printed in colours, 1971, on wove, signed and numbered L.S. Lowry 134 lower margin, from the edition of 500, printed by Max Jaffe, Vienna, published by the Adam Collection Ltd., with the Fine Art Trade Guild blindstamp

46 x 60.5cm; 18 x 23 3/4in (image)

58 x 70.5cm; 23 x 27 3/4in (sheet) (unframed)

Provenance:

Purchased by the father of the present owner in the late 1970s

£800-1,200

ARR may apply

50

PHILIP SUTTON (BRITISH B.1928)

BIZET’S FLOWERS

signed, titled and dated Philip Sutton / 1978/79 / BIZETSFLOWERS on the reverse oil on canvas

100 x 100cm; 39 1/4 x 39 1/4in

116.5 x 116.5cm; 46 x 46in (framed)

Provenance:

Acquired by the parents of the present owner in the early 1980s

£1,500-2,500

ARR may apply

Property of a Collector, London

MARY FEDDEN RA (BRITISH 1915-2012)

FRED BY MOONLIGHT

signed and dated Fedden ‘01 lower left gouache and watercolour

18.5 x 16.5cm; 7 1/4 x 6 1/2in

28 x 26cm; 11 x 10 1/4in (framed)

Provenance:

David Messum Fine Art, London

Purchased from the above by the father of the present owner

Chiswick resident Mary Fedden was a regular visitor to Suffolk, where she enjoyed painting the coastline and attending the Aldeburgh Festival. The present subject was one of the most photographed boats on the Suffolk coast: a traditional wooden fishing smack. On its stern are the words (abbreviated with artistic licence) Fred’s Dunwich, Lowestoft. Contemporary photos show that the full name was Fred’s Last, Dunwich, Lowestoft, and was, according to Jane Hamilton, manager of Dunwich Museum, ‘a longstanding feature on Dunwich beach’, describing the boats as ‘good examples of post-war inshore boats used at Dunwich.’ Last is a common name in Suffolk.

Property of a Lady

According to Elizabeth Walne, a qualified genealogist based in East Anglia ‘You can’t go far in Suffolk without bumping into one’. Although Jane Hamilton quips that ‘...as it’s Fred’s Last, more likely it was ‘Fred’s last boat’.’ Either way, under the serenity of a full moon, Mary Fedden captured the hulking form of a rapidly vanishing way of life in which you can almost smell the fresh seabreeze.

£800-1,200

ARTHUR WARDLE (BRITISH 1860-1949) ASLEEP AT THE BEACH oil on card

26 x 36.5cm; 10 1/4 x 14 1/4in

38.5 x 48.8cm; 15 1/4 x 19in (framed)

Provenance: Sale, Sotheby’s London, The Studio of Arthur Wardle, 23 November 1994 (part lot)

£700-900

HORATIO COULDERY (BRITISH 1832-1893) ON GUARD!

signed and dated Horatio. H. Couldery. / 1872. lower right; signed, titled and inscribed with the artist’s address On Guard / Horatio

Couldery / Rose Cottage / Lower Sydenham / London S.E. on a label attached to the reverse oil on canvas

35.5 x 46cm; 14 x 18in

46 x 56cm; 18 x 22in (framed)

Provenance:

Arthur Ackermann, London

Acquired from the above by the present owner in 1987

£1,000-1,500

JOHN SKEAPING (BRITISH 1901-1980) A BIT IN HAND

signed and dated JOHN SKEAPING 68 lower right

gouache

54 x 74cm; 21 1/4 x 28in

76 x 96cm; 30 x 37 3/4in (framed)

Provenance:

Arthur Ackermann & Son Ltd, London

Acquired from the above by the present owner circa 1981

Exhibited:

London, Arthur Ackermann, John Skeaping, 1981, no. 5

£500-700

ARR may apply

JOHN SKEAPING (BRITISH 1901-1980)

MORNING WORK

watercolour on paper

53 x 74.5cm; 20 3/4 x 29 1/4in

76 x 96cm; 30 x 37 3/4in (framed)

Provenance:

Arthur Ackermann & Son Ltd, London

Purchased from the above by the present owner in 1986

£500-700

ARR may apply

Property of a Lady 53

Property of a Lady 54

Property of a Lady 55

Conditions of Business for Buyers

1. Introduction

(a) The contractual relationship of the Auctioneers and Sellers with prospective Buyers is governed by:-

(i) these Conditions of Business for Buyers;

(ii) the Conditions of Business for Sellers displayed in the saleroom and available from the Auctioneers;

(iii) The Auctioneers Authenticity Guarantee;

(iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any Saleroom Notice or Auctioneers Announcement.

(b) As Auctioneers, the Ltd Company hosting the auction acts as agent for the Seller. Occasionally, the Auctioneers may own or have a financial interest in a lot.

2. Definitions

“Bidder” is any person making, attempting or considering making a bid, including Buyers;

“Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent;

“Seller” is the person offering a lot for sale, including their agent, or executors;

“Auctioneers” Olympia Auctions.

“Buyer’s Expenses” are any costs or expenses due to the Auctioneers from the Buyer;

“Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers;

“Hammer Price” is the highest bid for the Property accepted by the Auctioneers at the auction or the post auction sale price;

“Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses;

“Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.

3. Examination of Lots

(a) The Auctioneers knowledge of lots is partly dependent on information provided by the Seller and the Auctioneers are unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions.

(b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of the Auctioneers opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revisedfrom time to time at the Auctioneers absolute discretion.

4.Exclusions and limitations of liability to Buyers

(a) The Auctioneers shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of the Auctioneers Authenticity Guarantee.

(b) Subject to Condition 4(a), neither the Auctioneers nor the Seller:-

(i) is liable for any errors or omissions in any oral or written information provided to Bidders by the Auctioneers, whether negligent or otherwise;

(ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Sellerto the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers;

(iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by the Auctioneers in connection

with the conduct of auctions or for any matter relating to the sale of any lot.

(c) Without prejudice to Condition 4(b), any claim against the Auctioneers and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither the Auctioneers nor the Seller shall be liable for any indirect or consequential losses.

(d) Nothing in Condition 4 shall exclude or limit the liability of the Auctioneers or the Seller for death or personal injury caused by thenegligent acts or omissions of the Auctioneers or the Seller.

5. Bidding at Auction

(a) The Auctioneers has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as the Auctioneers requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case the Auctioneers prior and express consent must be obtained).

(b) The Auctioneers advises Bidders to attend the auction, but the Auctioneers will endeavour to execute absentee written bids provided that they are, in the Auctioneers opinion, received in sufficient time and in legible form.

(c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to the Auctioneers other commitments; the Auctioneers is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

6. Import, Export and Copyright Restrictions

a) The Auctioneers and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES).

(b) Ivory and Restricted Materials (CITES)

‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertakes to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of Bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accepts no liability for any lots which may be subject to CITES but have not be identified as such.

7. Conduct of the Auction

(a) The auctioneer has discretion to refuse bids, withdraw or reoffer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary.

(b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable.

(c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer.

(d) Any post-auction sale of lots shall incorporate these Conditions of Business.

8. Payment and Collection

(a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”).

(b) Title in a lot will not pass to the Buyer until the Auctioneers has received the Purchase Price in cleared funds. The Auctioneers will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price, as above.

(c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a).

(d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer’s risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers.

(e) All packing and handling of lots is at the Buyer’s risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers.

9. Remedies for non-payment

Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, the Auctioneers may in its sole discretion exercise one or more of the following remedies:-

(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense;

(b) cancel the sale of the lot;

(c) set off any amounts owed to the Buyer by the Auctioneers against any amounts owed to the Auctioneers by the Buyer for the lot;

(d) reject future bids from the Buyer;

(e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds;

(f) re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale;

(g) Exercise a lien over any Buyer’s Property in the Auctioneers possession, applying the sale proceeds to any amounts owed by the Buyer to the Auctioneers. The Auctioneers shall give the Buyer 14 days’ written notice before exercising such lien;

(h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs;

(i) disclose the Buyer’s details to the Seller to enable the Seller tocommence legal proceedings

10.

Failure to collect purchases

(a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer’s expense and risk at the Auctioneers premises or in independent storage

(b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, the Auctioneers will re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion. The sale proceeds, less all the Auctioneers costs, will be forfeited unless funds or the unsold items collected by the Buyer within 2 years of the original auction.

11. Data Protection Privacy Policy

(a) What is the legal basis on which the Auctioneers rely to process your data?

On some occasions, the Auctioneers processes your data with your consent (e.g., when you agree that the Auctioneers may place cookies, or if you ask, the Auctioneers, to send you information about upcoming events).

On other occasions, the Auctioneers processes your data when the Auctioneers need to do this to fulfil a contract with you (e.g., for billing purposes) or where the Auctioneers are required to do this by law (e.g., where we have to fulfil anti-money laundering requirements). If it is mandatory for you to provide data for these purposes, the Auctioneers will make this clear at the time and will also explain what will happen if you do not provide the data (e.g., that the Auctioneers will not be able to process a bid at auction). The Auctioneers also processes your data when it is the Auctioneers legitimate interests to do this and when these interests are not overridden by your data protection rights. For example, the Auctioneers has a legitimate interest in ensuring the security and integrity of the auctions, in learning about the interests and preferences of current and prospective clients, in developing new business opportunities, in maintaining accurate business and provenance records, and in ensuring that the Auctioneers websites and apps operate effectively. When the Auctioneers process personal information to meet the Auctioneers legitimate interests, the Auctioneers put in place robust safeguards to ensure that your privacy is protected and to ensure that the Auctioneers legitimate interests are not overridden by your interests or fundamental rights and freedoms.

(i) The Auctioneers will use information supplied by Bidders or otherwise obtained lawfully by the Auctioneers for the provision of auction related services, client administration, marketing and as otherwise required by law.

(ii) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the purposes outlined in Condition 11 (a) (i)

(b) Who gets to see your personal data?

The Auctioneers and other auctioneer’s at Olympia Auctions, such as Charles Miller Ltd. The Ltd company that initially receives your data will process it. Your data may also be transferred to and processed by other companies within the group of Auctioneers. The Auctioneers uses EU Commission approved standard contractual clauses to regulate the transfer and processing of data between the Auctioneers.

Outside the Auctioneers

The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services. Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct anti-money laundering and trade sanction checks and to assist with fraud and crime prevention and detection.

When the Auctioneers receive a request for information from a government or law enforcement agency the Auctioneers will disclose information which is the subject matter of that request, if the Auctioneers are satisfied that the government or law enforcement agency has the right to seek disclosure and the correct procedure has been followed. In all other circumstances such information will only be disclosed if the Auctioneers are ordered to do so by a court of law.

(c) How long will the Auctioneers keep your personal data?

The Auctioneers will retain your personal data for as long as is necessary to provide the relevant services, maintain business records to satisfy tax, legal and other regulatory requirements, and protect and defend against potential legal claims.

In the context of our research and records on ownership of art objects to assist with checks on authenticity provenance and title, we will keep this data for as long as the record is relevant to our legitimate business interest and the public interest.

What steps do the Auctioneers take to keep your personal data secure?

The Auctioneers will take all reasonable and appropriate steps to protect the security and integrity of all personal information provided via our website, or by any other means electronic or otherwise.

The Auctioneers use a variety of security technologies and procedures to help protect your personal details from unauthorised physical and electronic access.

As effective as modern security practices are, we cannot guarantee the complete security of personal data held in our systems, nor that information you supply through the internet or any computer related network is entirely safe from unauthorised intrusion, access or manipulation during transmission. Any transmission is at your own risk. We will not be liable for any resulting misuse of your personal data.

(d) Third party websites

The Auctioneers website may contain links to other websites not operated by us, the Auctioneers. The information you provide to us

will not be transmitted to other websites, but these other websites may collect personal information about you in accordance with their own privacy notice. We as the Auctioneers cannot accept any responsibility for the privacy practices or content of those websites.

(e) Your data

You have the right to request deletion of your personal data. The Auctioneers will comply with this request, subject to our legitimate interests as noted above.

How can I access the information you hold about me?

You have the right to request a copy of the information we hold about you. If you would like a copy of some or all of your personal information then please write to the Auctioneers or email the Auctioneers.

The Auctioneers have an obligation to ensure that your personal information is accurate and up to date. Please write to the Auctioneers or email the Auctioneers to correct or remove any information that you think is incorrect.

(f)

Complaints

If you have any queries or complaints in relation to the Auctioneers processing your personal data please contact the Auctioneers.

12.

Miscellaneous

(a) All images of lots, catalogue descriptions and all other materials produced by the Auctioneers are the copyright of the Auctioneers.

(b) These Conditions of Business are not assignable by any Buyer or Seller without the Auctioneers prior written consent, but are binding on Bidders’ successors, assigns and representatives.

(c) The materials listed in Condition 1(a) set out the entire agreement between the parties.

(d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect.

(e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of the Auctioneers.

Authenticity Guarantee

If the Auctioneers sell an item of Property which is later shown to be a “Counterfeit”, subject to the terms below the Auctioneers will rescind the sale and refund the Buyer the total amount paid by the Buyer to the Auctioneers for that Property, up to a maximum of the Purchase Price.

The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in the Auctioneers reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property.

Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating).

Please note that this Guarantee does not apply if either:-

(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or

(ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive

or impractical; or likely to have caused damage to or loss in value to the Property (in the Auctioneers reasonable opinion); or

(iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

To claim under this Guarantee, the Buyer must:-

(i) notify the Auctioneers in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and

(ii) return the Property to the Auctioneers in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

The Auctioneers have discretion to waive any of the above requirements. The Auctioneers may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and that are acceptable to the Auctioneers. The Auctioneers shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event the Auctioneers decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by the Auctioneers.

Olympia Auctions Ltd

Sale Title: Fine Paintings, Works on Paper & Sculpture

Date: 14th June 2023

Code: MADONNA

Please mail, fax or scan and email to:

Olympia Auctions

25 Blythe Road

London

W14 0PD

Fax +44 (0) 20 7806 5546

Email: pictures@olympiaauctions.com

Important

Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.

I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.

Methods of Payment

Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Online: www.OlympiaAuctions.com/payments

Wire Transfer to our Bank

Electronic transfers may be sent directly to our Bank:

HSBC Bank

38 High Street

Dartford

Kent

DA1 1DG

IBAN No: GB39HBUK40190422033119

BIC: HBUKGB4B

Sort Code: 40-19-04

Account No: 22033119

Account Name: Olympia Auctions

Debit Card

We are pleased to accept UK debit cards. Please note that we do not accept credit cards.

Sterling Bankers Draft

Drawn on a recognised UK bank.

Sterling Cash or Cheque

Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from your bank. For Office Use Only: date and time received staff initials

ABSENTEE BID FORM (pleaseprintortype)

Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address. Lot