Chiswick-Auction-British-European-Fine-Art-June-2019 by Chiswick Auctions

British & European Fine Art including Portrait Miniatures Wednesday 19th June 2019

SPECIALISTS

Suzanne Zack

Adrian Biddell

Head of Sale British & European Fine Art suzanne.zack@chiswickauctions.co.uk

Head of Department Paintings & Fine Art adrian.biddell@chiswickauctions.co.uk

Natasha Broad

Luke Price

Krassi Kuneva

Acting Head of Sale Old Master Paintings natasha.broad@chiswickauctions.co.uk

Specialist Paintings & Fine Art luke.price@chiswickauctions.co.uk

Head of Sale Modern & Post-War British Art krassi@chiswickauctions.co.uk

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British & European Fine Art including Portrait Miniatures

Wednesday 19th June 2019, 2pm

VIEWING AT SOUTH KENSINGTON selected highlights only

Friday 7th June - Wednesday 11th June

VIEWING AT CHISWICK full sale Saturday Sunday Monday Tuesday Wednesday

GENERAL ENQUIRIES +44(0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk SOUTH KENSINGTON 127 Fulham Road, London SW3 6RT CHISWICK 1 Colville Road, London W8 3BL EDINBURGH 93 George Street, Edinburgh EH2 3ES

15th June 16th June 17th June 18th June 19th June

11am - 5pm 10am - 6pm 10am - 6pm 10am - 6pm 10am - 2pm

PHOTOGRAPHERS Steven McCauley Jordan Salzmann Darrell Russell Basak Ulukose Front cover: Lot 159 Back cover: Lot 87 Sale Calendar: Lot 165

Portrait Miniatures Lots 1-53

1 ENGLISH SCHOOL (CIRCA 1660) Portrait miniature of a Gentleman, wearing an ochre cloak, his natural hair curled and worn long Watercolour on vellum Gilt-metal frame Oval, 44mm high

2 ATTRIBUTED TO DAVID MYERS (BRITISH fl.1663-1676) Portrait of a Gentleman, wearing dark robe and white lawn collar, with natural light brown curled hair worn long Watercolour on vellum Silver-gilt frame with pierced spiral cresting Oval, 63mm high

£200-£300

3 CIRCLE OF CORNELIUS JOHNSON (DUTCH CIRCA 1660) Portrait of a Gentleman, wearing black doublet slashed to reveal a white chemise with white lawn collar tied at the front with tasselled cords, his natural light brown hair curled and worn long Oil on copper Silver frame with pierced spiral cresting Oval, 75mm high

£800-£1,200 £400-£600

4 ENGLISH SCHOOL (CIRCA 1700) Portrait miniature of a Gentleman, wearing blue coat and rolled white cravat, long powdered wig Oil on copper Silver frame with pierced spiral cresting Oval, 80mm high

6 ENGLISH SCHOOL (CIRCA 1705) Portrait miniature of a Gentleman, wearing a blue coat with a red cloak and white jabot Oil on copper Gilt-metal mount within a chased gilt-metal fausse-montre frame Oval, 42mm high

£300-£500

£100-£150

5 DUTCH SCHOOL (CIRCA 1690) Portrait miniature of a Gentleman, wearing black doublet, white lawn collar and black cap Oil on card Original gilt-metal frame surmounted with a scrolling loop Oval, 44mm high

7 FRENCH SCHOOL (CIRCA 1680) Portrait miniature of a Gentleman, wearing black cloak, white lace jabot tied with a red bow, his natural brown hair worn long Oil on copper Gilt-metal frame with pierced spiral cresting Oval, 55mm high

£200-£300

*See inside front cover for information regarding fees

9 10

8 ATTRIBUTED TO JEAN ANDRÉ ROUQUET (SWISS 1701-1758) Portrait miniature of a Gentleman, wearing a cerise-coloured cloak and turban, brown waistcoat and white jabot Enamel Oval, 55mm high Unframed £300-£500 9 ATTRIBUTED TO NOAH SEAMAN (BRITISH fl.1721-1731) Portrait miniature of a Gentleman, wearing grey coat and waistcoat, tied white cravat and powdered wig Enamel Gold frame Oval, 45mm high £300-£500

10 HENRY SPICER (BRITISH 1742/3-1804) Portrait miniature of a Gentleman holding an eye glass, wearing blue double breasted coat with gold buttons, yellow waistcoat, frilled white chemise and tied cravat Enamel (cracked) Gold frame, the reverse glazed to reveal plaited hair Oval, 81mm high £300-£500 11 MANNER OF NATHANIEL HONE (CIRCA 1760) Portrait miniature of a Lady, wearing embroidered dress with cerise-coloured bodice trimmed with ermine, a pearl choker and pearls and an emerald brooch attached to her bodice Enamel (cracked) Gold frame Oval, 42mm high £150-£250 5

15 16

12 λ PETER PAUL LENS (BRITISH 1714-1750) Portrait miniature of Matthew Kentrick, wearing a collarless brown coat and waistcoat, white stock and powdered wig Watercolour on ivory Gilt-metal frame, the reverse engraved with the sitter’s name Oval, 34mm high

15 λ THE ARTIST SIGNING V (BRITISH fl. CIRCA 1775-CIRCA 1795) Portrait miniature of a Lady, wearing a pale violet dress with lace underslip, her powdered hair upswept and curled Watercolour on ivory Gold frame, the reverse with elaborate hairwork monogram ESS within a shield and floral wreath also in hairwork Oval, 34mm high

£150-£250 £200-£300 13 λ PETER PAUL LENS (BRITISH 1714-1750) Portrait miniature of a Gentleman wearing a collarless blue coat, red waistcoat, white chemise and stock, his powdered full wig tied with a bow Signed with initials PL Watercolour on ivory Gold frame Oval, 33mm high £200-£300 14 λ ATTRIBUTED TO JOHN STORDY (IRISH CIRCA 1738-1799) Portrait miniature of a Gentleman, wearing a green coat with trimmed with silver braid, lace cravat and powdered wig worn en queue Watercolour on ivory Gold frame Oval, 38mm high

16 λ IRISH SCHOOL (CIRCA 1775) Portrait miniature of an Officer, wearing a red coat with white facings, silver epaulettes, white waistcoat, frilled chemise and stock. Wearing a white Maltese Cross on a blue ground from a black ribbon around his neck Watercolour on ivory Rose gold mount, the reverse glazed to reveal an elaborate hairwork scene of a crouching lamb beneath a tree in a landscape Oval, 42mm high £200-£300

£200-£300 6

*See inside front cover for information regarding fees

17 18

19 17 λ ENGLISH SCHOOL (CIRCA 1780) Portrait miniature of a Lady, wearing a blue dress with a lace edge slashed at the shoulders to reveal white underslip, a white bandeau in her brown curled hair Watercolour on ivory Gilt-metal frame, the reverse glazed to reveal woven hair Oval, 43mm high together with a portrait miniature of a Gentleman circa 1740, in gold frame engraved verso, Belov’d till life can charm no more and a portrait miniature of a Lady, circa 1780 in gold bracelet clasp frame (3)

19 λ IRISH SCHOOL (CIRCA 1760) A pair of portrait miniatures of a Husband and Wife. She wearing blue dress with black ribbon choker tied at the nape of her neck with a blue bow, her brown hair upswept. He wearing brown coat, blue waistcoat frilled chemise and white stock, and powdered wig worn en queue. Watercolour on ivory Set into a fitted green leather travelling case 41mm high, each (2) £200-£300

£300-£500 18 ENGLISH SCHOOL (CIRCA 1783) A wax bas-relief portrait of Dr Black, in pofile facing left, wearing coat and frilled cravat his hair worn en queue Inscribed and dated, - BLACK M.D. 1783 Hand coloured wax Mounted within an oval and framed in a rectangular carved wood frame Oval, 10cm high £200-£300

20 λ N. FREESE (BRITISH fl. 1794-1814) Portrait miniature of a Gentleman, wearing blue coat, white waistcoat, frilled chemise, stock and cravat, his hair powdered and worn en queue Watercolour on ivory Gilt-metal frame, the reverse with silk grosgrain Oval, 62mm high

22 λ N. FREESE (BRITISH fl. 1794-1814) Portrait miniature of a Gentleman, wearing dark blue double breasted coat with black collar and gold buttons, white stock, cravat and frilled chemise Watercolour on ivory Gilt-metal frame, the reverse glazed to reveal plaited hair Oval, 75mm high

£300-£500

£800-£1,200

21 λ WILLIAM THICK(E) (BRITISH fl.1779-1814) Portrait miniature of a Lady, wearing white dress with blue ribbon sash and white fichu, a white bandeau tied in her long powdered curled hair Watercolour on ivory Gilt-metal frame, the reverse glazed to reveal plaited hair Oval, 75mm high

23 λ ATTRIBUTED TO WILLIAM THICK(E) (BRITISH 1779-1814) Portrait of a Gentleman wearing black coat, white waistcoat, frilled chemise and tied stock Watercolour on ivory Gilt-mounted rectangular papier-mâché frame Oval, 62mm high

£500-£700

£200-£300

*See inside front cover for information regarding fees

24 λ ATTRIBUTED TO ADAM BUCK (IRISH 1759-1833) Portrait miniature of a Gentleman, wearing black coat, white waistcoat, frilled chemise and tied cravat Watercolour on ivory Gilt-metal frame, the reverse glazed to reveal cream silk grosgrain Oval, 45mm high

25 λ THOMAS HAZLEHURST (BRITISH CIRCA 1740-CIRCA 1821) Portrait miniature of a Gentleman, wearing a grey coat with black collar, white waistcoat and tied cravat Signed on the obverse with initials T.H. Watercolour on ivory Gold frame, the reverse glazed to reveal gold monogram SC on white glass Oval, 67mm high

£400-£600

26 λ SAMUEL SHELLEY (BRITISH 1750-1808) Portrait miniature of a Yeomanry Officer, circa 1805 quarter length, wearing red coat with silver lace and yellow standing collar, white frilled chemise and black stock Watercolour on ivory Gold frame, the reverse with central guilloche glass panel Oval, 78mm high £800-£1,200

£400-£600

27 λ GEORGE ENGLEHEART (BRITISH 1752-1829) Portrait miniature of a Lady, probably Miss Judith Parsons, wearing a blue dress with white fichu and a bonnet with blue bow Watercolour on ivory Gold frame set into an rectangular ebonised frame with gold slip and gilt-metal border Oval, 52mm high

28 λ JAMES NIXON (BRITISH 1741-1812) Portrait of a Lady, wearing white dress with lace trimmed collar and fichu, white cap on her powdered and curled hair and a black ribbon choker Watercolour on ivory Gold frame, the reverse glazed to reveal brown velvet Oval, 55mm high £250-£350

Provenance: By descent in the family of the sitter Literature: G.C. Williamson George Engleheart, publ. George Bell and Sons, 1942, p. 109, records that a Miss Parsons sat to Engleheart in 1778 £800-£1,200

29 λ ATTRIBUTED TO THOMAS RICHMOND (BRITISH 1777-1837) Portrait miniature of a Lady, wearing white dress with frilled collar, red ribbon trim and red buttons, a red ribbon in her powdered hair Watercolour on ivory Gold brooch mounted frame, the reverse glazed to reveal plaited hair Oval, 55mm high The present lot is an early example of Richmond’s work and shows the influence of his cousin and mentor George Engleheart. £300-£500

*See inside front cover for information regarding fees

30 31 32

30 λ CONTINENTAL SCHOOL (CIRCA 1815) Portrait miniature of a Gentleman, wearing a black coat, white waistcoat, white chemise and tied white stock Watercolour on ivory Rectangular silver frame Rectangular, 50mm high

32 λ AMERICAN SCHOOL (CIRCA 1805) Portrait miniature of a Gentleman, wearing a black coat and white stock Watercolour on ivory Gold frame, the reverse glazed to reveal woven hair, set into a square velvet frame Oval, 66mm high

£200-£300

£400-£600

31 λ FRENCH SCHOOL (CIRCA 1790) Portrait miniature of a Lady wearing a blue and white striped dress with a white cap and blue ribbon, holding a ball of string Indistinctly signed, B Ghauy Watercolour on ivory Circular gilt-metal frame 65mm diam. £300-£400

33 λ CONTINENTAL SCHOOL (CIRCA 1830) A pair of portrait miniatures of a Lady and Gentleman by the same hand: she wearing black dress with puff sleeves and buckled belt, a pearl necklace and hoop earrings with jewel drops, her brown hair upswept and curled; he wearing blue coat with gold buttons, yellow waistcoat, white chemise and tied white cravat a black ribbon around his neck Watercolour on ivory Gilt-metal mounted within later gilt-metal frames Ovals, 75mm and 65mm high respectively (2) £300-£500

34 λ AUSTRIAN SCHOOL (CIRCA 1840) Portrait miniature of a an Officer, wearing blue coat with standing red collar and silver lace, a red and white striped cross-belt Watercolour on ivory Chased foliate gilt-metal frame, the reverse glazed to reveal lock of hair Oval, 49mm high £200-£300 35 λ CONTINENTAL SCHOOL (CIRCA 1830) Portrait miniature of a Lady wearing a white dress with puff sleeves and a white lace cap with frilled edge tied in a bow under her chin Watercolour on ivory Later gilt-metal frame Oval, 93mm high £150-£250

*See inside front cover for information regarding fees

39 36 λ WILLIAM GRIMALDI (BRITISH 1751-1830) Portrait miniature of Stacey Beaufort Grimaldi, aged 8 months, 1827, wearing a white dress with frilled edge and blue ribbon sash and a frilled white cap Signed with initials and dated 1827 on the obverse, inscribed verso, Stacey Beaufort Grimaldi / aged 8 months 1827 / painted by his Grandfather / William Grimaldi Esq. / M.B.G. Watercolour on ivory Gilt-metal mounted rectangular papier-mâché frame Oval, 65mm high

38 λ ENGLISH SCHOOL (CIRCA 1830) Portrait miniature of a Boy, seated at a table, wearing blue coat and white chemise, his curled auburn hair worn long Watercolour on ivory Circular gilt-metal frame Circular, 65mm diam together with a portrait miniature of a baby, watercolour on ivory (cracked), in a fitted shagreen case (2) £200-£300

£300-£500 37 λ IRISH SCHOOL (CIRCA 1808) Portrait miniature of Lady Elizabeth Bligh, circa 1808, head and shoulders, wearing a coral necklace With original inscription set into the lid of the case with sitter's details, Lady/ Elizabeth Bligh/ b. May 7th 1800/ m. Rev. J. Brownlow/ July 10th 1833/ d.Nov 13th/ 1872 Watercolour on ivory Set into a gilt-metal circular locket case with engine turned design with hand written inscription in pen and ink set into the lid Circular, 34mm diam.

39 λ ENGLISH SCHOOL (EARLY 19TH CENTURY) Portrait miniature of a Child with blonde hair, wearing a white dress trimmed with lace and blue ribbons at the shoulders Watercolour on ivory Gilt-metal frame the reverse glazed to reveal black silk Oval, 45mm high £150-£250

Elizabeth Brownlow née Bligh (7th May 1800 – 13th November 1872) was the daughter of John Bligh, Fourth Earl of Darnley (1767-1831). £300-£400 13

40 λ ALFRED WEIGALL (BRITISH fl. 1855-1866) A fine pair of portrait miniatures of a Lady and Gentleman, probably husband and wife. She wearing a silk damask dress with blue and white pattern, lace trim and a blue and white bow and her corsage, a white lace cap trimmed in lace and a gold necklace signed and dated 1854, he wearing a black coat, grey waistcoat and tied black stock Signed Both watercolour on ivory Oval gilt mounts within gilt moulded frames Both 105mm high (2) £400-£600

41 λ ATTRIBUTED TO THOMAS HARGREAVES (BRITISH 1774-1846/7) Portrait miniature of a Lady, wearing red velvet dress trimmed with lace, a jewelled brooch and gold necklaces, wearing a lace cap adorned with a blue and pearl brooch Watercolour on ivory Gilt-metal black lacquer frame Rectangular, 10.5 x 8cm (4 1/2 x 3 1/4in) £300-£500 42 λ ANDREW ROBERTSON (SCOTTISH 1772-1845) Portrait miniature of a young Lady, wearing a green dress with lace collar and cuffs and a lace cap on her fair hair, seated in an armchair with a red shawl around her holding a portrait miniature in a fitted red leather carrying case Watercolour on ivory Rectangular gilt-metal mount set within a fitted carrying case 11.5 x 8.3cm (4 1/2 x 3 1/4in) £500-£700

*See inside front cover for information regarding fees

43 43 λ ENGLISH SCHOOL (19TH CENTURY) A set of four portrait miniatures of the Badcock family: Thomas Stanhope Badcock, his wife Ann Badcock née Buckle, youngest daughter Sophia Susannah Coleridge and Mrs Richard Badcock. Each inscribed verso with original pen and ink inscription of the name and date of the sitter Watercolour on ivory Gilt-metal frames the reverse backed with green velvet set into a bespoke velvet lined case with carved gilt-wood frame Three measuring 62mm high and one measuring 51mm high Thomas Stanhope Badcock (1749–1821) became High Sheriff of Buckinghamshire in 1809 and was a descendant of Sir Salathiel Lovell. In 1797 he inherited the estates of Little Missenden Abbey in Buckinghamshire and Maplethorpe Hall in Lincolnshire following the premature death of his brother, Lovell Badcock, who died unmarried. On 17th February 1780 he married Anne, daughter of William Buckle, of the Mythe House Tewkesbury. They had two sons and two daughters. His sons, Lovell Benjamin Badcock and William Stanhope Badcock had distinguished military and naval careers, becoming a lieutenant-general and vice-admiral respectively, whilst his eldest daughter, Anne Badcock was married in 1809 to MajorGeneral Sir Jasper Nicolls KCB. His youngest daughter, Sophia Badcock, was married in 1814 to the Reverend James Duke Coleridge, a nephew of the poet, Samuel Taylor Coleridge. He died on 13 April 1821 and is buried in the Abbey Church at Bath £1,000-£1,500 15

44 λ RICHARD WESTALL RA (BRITISH 1765-1836) An allegorical scene of Venus and Cupid Watercolour on ivory Rectangular wood frame 11.8 x 15.2cm (4 3/4 x 6in) £400-£600

45 λ CHEVALIER (FRENCH CIRCA 1900) Leda and the Swan Signed, Chevalier (lower right) Watercolour on ivory Rectangular fruit wood frame with foliate moulded slip and gilt-metal mount 12 x 8.5cm (4 3/4 x 3 1/4in) £300-£500

45 16

*See inside front cover for information regarding fees

46 λ B. TAYLOR (CIRCA 1828) Portrait miniature of a Gentleman, wearing black coat, white waistcoat, white chemise and black stock Watercolour on ivory Gold frame, set into fitted red leather carrying case Oval, 55mm high £150-£250 47 λ ATTRIBUTED TO ALFRED EDWARD CHALON RA (1780-1860) Portrait miniature of an Officer of the 33rd Regiment, wearing scarlet uniform with gold epaulettes, buttons and collar and a white cross-belt with gold belt plate of the 33rd Regiment Watercolour on ivory Gold frame, the reverse with glazed aperture to reveal brown silk Oval, 63mm high £300-£500

48 λ ATTRIBUTED TO THOMAS PEAT (BRITISH fl. CIRCA 1790-1805) Portrait miniature of an Officer wearing a blue uniform with gold buttons and gold embroidered button-holes, white frilled cravat Watercolour on ivory (hairline crack) Gold frame, the reverse with verre eglomisé border surrounding a central glazed aperture to reveal plaited hair Oval, 73mm high £200-£300 49 λ ENGLISH SCHOOL (CIRCA 1820) Portrait miniature of a Gentleman, wearing a brown coat, white waistcoat, chemise and white stock Watercolour on ivory Circular gold frame, the reverse with hairwork monogram ARD in cursive script with painted flourishes reserved in a painted circular laurel leaf cartouche on an ivory ground Circular, 50mm diam. together with a portrait miniature of a Gentleman, circa 1860 in chased gilt-metal frame (2) £150-£250

50 JOHN TORMEAU (BRITISH 1777–1846) Portrait miniature of Thomas Kendall, 1826 Signed and dated 1826 (lower right) and inscribed with sitter’s details on original note attached to the backboard Watercolour on paper 18 x 14.5cm (7 1/4 x 5 3/4in) £200-£300 51 ATTRIBUTED TO SIR GEORGE HAYTER (BRITISH 1792-1871) Portrait of a young lady wearing a décolleté dress and long necklace with a cross around her neck Signed with initials and dated 1814 (lower left) Pencil heightened with watercolour on paper 22 x 18cm (8 3/4 x 7in) £300-£500 52 RUSSIAN SCHOOL (MID 19TH CENTURY) Portrait of a Russian noblewoman Signed indistinctly and dated 1846 Watercolour on paper Oval, 26cm (10in) high £150-£250 53 Three bespoke portrait miniature display cabinets Gilt wood frames with glass fronted doors, 2 of them measure 69 long x 59 wide x 12cm deep and one measuring 69.5 long x 59.5 wide x 11.5cm deep (3) 52 18

£300-£500 *See inside front cover for information regarding fees

Drawings & Watercolours Lots 54-125

54 REV. WILLIAM GILPIN (BRITISH 1724-1804) Landscape composition Inscribed verso with extensive notes relating to the sketch, This is meant to illustrate [the] effect, wth strong light & shade will give to landscape, when even box of objects. - Of course [the] light & shade must here be strong, & when the print is tinged it may have a deeper ornage cast than [the] rest. Pen and brown ink and grey wash on laid paper Oval 9.7 x 16.5cm (3 3/4 x 6 1/2in) Together with three further works: attributed to John LaPorte (17611839), A pair of river landscapes, bodycolour and Nicholas Pocock (1740-1821), Shipwreck off a rocky coast, near Ilfracombe Devon, signed and dated 1793 All unframed (4) £300-£400 55 ELIAS MARTIN (SWEDISH 1739-1818) A cottage and ruins in a rocky landscape, mountains in the distance Signed and dated (lower left) E. Martin 1773 Grey wash over pencil on laid paper 20 x 29cm (8 x 11 1/2in)

56 DR THOMAS MONRO (BRITISH 1759-1833) A charming hand painted visiting card depicting a house in a garden with a lady and gentleman seated on a bench with a dog running across the lawn Inscribed and dated 1827 / September / Cottage Orné of Dr. Monro’s Bushy / Herts on verso Sepia wash 5.6 x 8.6cm (2 1/4 x 3 3/8in) £200-£300 57 REV. JAMES BOURNE (BRITISH 1773-1854) Chepstow Castle, Monmouthshire Signed J. Bourne and inscribed Chepstow Castle on original mount and further inscribed in artist’s hand verso, Chepstow Castle/Monmouthshire/ J. Bourne / 41 Margt Street Cavendish Sq Watercolour laid down to original artist’s wash line mount 29.6 x 36.8cm (11 3/4 x 14 1/2in) Unframed £400-£600

£400-£600

*See inside front cover for information regarding fees

58 ATTRIBUTED TO EDWARD PUGH (BRITISH 1760-1830) Westminster from Lambeth Pen and ink and watercolour 19 x 26.5cm (7 1/2 x 10 1/2in)

60 JOHN NIXON (BRITISH 1759-1818) Tadcaster Bridge, from the churchyard gate, Yorkshire Pen and ink and watercolour over pencil 16 x 30cm (6 1/4 x 12in)

The present view is very close to the composition View across the Thames of Westminster by Pugh, engraved by Samuel Rawle and published in Richard Phillip’s guidebook Modern London of 1804.

£200-£400

£300-£500 59 SAMUEL HIERONYMUS GRIMM (SWISS 1733-1794) View of a part of Dieppe Signed and dated S. H. Grimm fecit 1770 (lower right) Pen and ink and watercolour on laid paper 28 x 36cm (11 x 14in)

61 HENRY BRYAN ZIEGLER (BRITISH 1793-1874) Hampton Court Signed and dated 1830 (lower left) Pencil and watercolour 15.5 x 22.2cm (6 x 8 3/4in) Provenance: Spink, St. James’s, London £300-£400

£300-£500

62 WILLIAM TURNER OF OXFORD (BRITISH 1789-1862) Hailes Abbey, Gloucestershire Signed with initials, inscribed and dated 1837 Pencil on wove paper 20.5 x 34.8cm (8 x 13 3/4in)

64 WILLIAM ALFRED DELAMOTTE (BRITISH 1775-1863) A View on the River Wye near Chepstow Inscribed verso, Llandogo, looking up the river Pencil and wash on laid paper 20 x 30cm (8 x 12 1/2in)

Hailes Abbey was a 13th Century Cistercian Abbey founded in 1246 by Richard of Cornwall and dissolved in 1539. After the Dissolution, the west range consisting of the Abbot’s own apartments was converted into a house and was home to the Tracy family in the seventeenth century, but these buildings were later demolished. The estate was slowly downgraded and only the ruins of a few low arches of the cloisters were left by 1794. William Turner of Oxford depicted these ruined arches in the tranquil and picturesque setting on the edge of the Cotswolds surrounded by ancient trees.

Provenance: The Collection of G.D. Locket Esq. The Collection of Sir Benjamin West P.R.A. With Richard McDougall Fine Art With Appleby Bros. Ltd., Spring Exhibition 1961

£200-£300 63 EDWARD WILLIAM COOKE (BRITISH 1811-1880) Fishing vessels Signed EWC (lower right) and inscribed Eel Schuit Pencil 13 x 17cm (5 x 7in)

£300-£500 65 ENGLISH SCHOOL (CIRCA 1848) At Eastbourne Inscribed and dated At Eastbourne, 1848 on the margin Watercolour and point of brush within ink drawn lines 13 x 21cm (5 1/8 x 8 1/4in) £400-£600

£300-£500

*See inside front cover for information regarding fees

66 SAMUEL PROUT (BRITISH 1783-1852) Church Interior Pen and brown ink and watercolour heightened with white 34 x 24.5cm (13 1/2 x 9 1/2in) Unframed £500-£800 67 THOMAS SHOTTER BOYS (BRITISH 1803-1874) Interior of a French cathedral Watercolour 32 x 22.5cm (12 1/2 x 8 7/8in) Provenance: Sotheby’s, 1980 £250-£350 67

68 THOMAS HARTLEY CROMEK (BRITISH 1809-1873) Santa Maria in Cosmedian, Rome Watercolour over pencil 35 x 49cm (13 3/4 x 19 1/4in) Provenance: Acquired from the artist by W. Burkinshaw, Art teacher at Wakefield College of Art 18601890; thence by descent to the present owner Literature: Thomas Hartley Cromek: A Classical Vision, Harewood House Trust, 1999, with biographical essay by Suzanne Zack based on her unpublished catalogue raisonée The Life & Work of Thomas Hartley Cromek. W. Burkinshaw was a friend of T.H. Cromek. and taught at Wakefield College of Art during the latter years of Cromek’s life when he returned to Wakefield before his death in 1873. £800-£1,200

69 PETER DE WINT (BRITISH 1784-1849) Figure on a path in a woodland Inscribed Peter De Wint verso Watercolour 32.5 x 45cm (12 3/4 x 17 3/4in) £1,000-£1,500

69 70 WILLIAM LEIGHTON LEITCH (BRITISH 1804-1883) Figures and cattle on a path through a village in Scotland, hills beyond Signed Watercolour 11 x 17.5cm (4 3/8 x 6 7/8in) £150-£250

71 DAVID COX RWS (BRITISH 1783-1859) Two landscape sketches Oil on card 8 x 13.5cm (3 x 5 1/4in) & 5 x 9.5cm (2 x 3 3/4in) Provenance: Ex Coll. L. J. Lloyd Esq. Together with David Cox Jnr. (1809-1859) River landscape, watercolour; Thomas Barker (1769-1847) Figures in a boat on a river in a wooded landscape, oil on paper All unframed (4) £300-£400

70 24

71 *See inside front cover for information regarding fees

72 72 THOMAS UWINS (BRITISH 1782–1857) The young harvest gatherers Pencil 15 x 10cm (6 x 4in) £150-£250 73 EDWARD DUNCAN (BRITISH 1803-1882) Study of a well head Signed and dated E. Duncan 1844 (lower right) and bearing artist’s studio stamp Watercolour over pencil 17 x 26cm (6 3/4 x 10 1/2in)

£300-£500 74 JOHN LEECH (BRITISH 1817-1864) The End of Law, The Advocates get the Oysters V The Clients the Shells Inscribed with title beneath the drawing Pen and brown ink and watercolour 21.5 x 27.5cm (8 1/2 x 10 3/4in) Provenance: Given by Mrs Leech to Mr H. Donald Clark £200-£300 75 GEORGE HENRY ANDREWS (BRITISH 1816-1898) Harwich, 1854 Watercolour over pencil 14.5 x 22.5cm (5 3/4 x 8 3/4in) Together with three further watercolours by various hands All unframed (4)

£200-£300 25

76 WILLIAM DANIELL RA (BRITISH 1769-1837) On the Ganges, 1832 Watercolour over pencil 10.5 x 8cm (4 1/4 x 3 1/4in) Provenance: With Spink, St James’s London, No. K3/4977 £400-£600

77 GEORGE CHINNERY (BRITISH 1774-1852) Figures at a market stall, Macau Pencil on laid paper 13.3 x 12.5cm (5 1/4 x 5in) George Chinnery left England in 1802 at the age of 28 and spent 23 years in India and 27 years in China. He moved to Macau in 1825 and specialized in views of daily life. His style had a great influence on Chinese artists who depicted the Canton trade system for the foreign export market. £500-£700

77 26

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78 WILLIAM HOLMAN HUNT OM, RWS (BRITISH 1827-1910) Descent to the Tomb of David, The Coenculum, Jerusalem Inscribed and dated, Over the descent to the tomb of David in the church built by the Empress Helena to / commemorate [sic] the place of the Last Supper. Jerusalem June. 1854 (lower centre) Pencil 22.3 x 14cm (8 3/4 x 5 1/2in) Provenance: The artist’s family and by descent to Mrs Elisabeth Burt Sotheby’s, London, 10 October 1975, lot 28, 27 (part) and lot 17 respectively Christie’s, London, 20 November 2003 Private collection UK £600-£800

79 WILLIAM HOLMAN HUNT OM, RWS (BRITISH 1827-1910) A house built on the water at Damietta, Egypt Inscribed Water (lower left) Pencil 22 x 14cm (8 3/4 x 5 1/2in) Provenance: The artist’s family and by descent to Mrs Elisabeth Burt Sotheby’s, London, 10 October 1975, lot 28, 27 (part) and lot 17 respectively Christie’s, London, 20 November 2003, lot 115 (part) Purchased at the above sale by the present owner £800-£1,200

79 27

80 EDWARD LEAR (BRITISH 1812-1888) Study of an Albanian man from Cimara Indistinctly inscribed - Pacert Cimara (lower left) and dated Oct 25 / 1848 (lower right) Pencil 14.5 x 9.8cm (5 3/4 x 3 7/8in) Edward Lear made the first of two journeys to the European territories of the Ottoman Empire from September-November 1848. He travelled from Thessaloniki to Albania and then to the coast of Epirus. In his extensive journals and sketches from around the date of the present work we know that Lear was on the southern Albanian coast in the region known today as Himara and which Lear referred to as Cimara in October 1848. He notes in his journal, After drawing some of the innumerable cousins of the house of Kasnétzi – each of them a picture (though from their sense of mourning I could not get sketches of any of the females) – I went out, and drew Vunó from the north, until sunset, surrounded by groups of Khimáriotes, a naturally well-behaved set of people, whose conversation was intelligent and various, and whose interest in my drawing reminded me of Abruzzi and Calabria. £400-£600

81 (part)

81 EDWARD LEAR (BRITISH 1812-1888) Mountainous landscape with distant castle Pencil and pen and brown ink 4.8 x 17.4cm (1 3/4 x 6 3/4in) Unframed Together with three further watercolours: Sir William Boxall (18001879) Italian lake view; English School (circa 1882) On the banks of the Red Sea; English School (Early 19th Century) An estuary scene (4) £300-£400

81 (part) 28

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82 GRAHAM REDGRAVE-RUST (BRITISH b.1942) The Old City of Jerusalem looking towards the Western Wall and Temple Mount Signed Watercolour 21.3 x 36.7cm (8 1/2 x 14 1/2in) Provenance: Spink, St. James’s, London, Exhibition The Holy Land, 1982 £400-£600

83 GRAHAM REDGRAVE-RUST (BRITISH b.1942) Ruined Temple, Greece Signed Watercolour over pencil 17 x 37cm (6 3/4 x 14 1/2in) Together with another watercolour, View of domed churches on a hill overlooking a town, Greece, by the same hand (2) Provenance: Spink, St. James’s, London, Exhibition: Rust in Greece, 1976 nos. 30, 31 £300-£500

84 FRENCH SCHOOL (19TH CENTURY) Portrait of a man’s head Charcoal 43.5 x 33cm (17 x 13in) £400-£600

85 ENGLISH SCHOOL (CIRCA 1848) A sheet of studies of heads of a sleeping woman and child Inscribed and dated, 14 April 1848 Rch (lower right) and numbered 2 top right hand corner Pencil 12 x 17.5cm (4 3/4 x 7in) £200-£300

85 30

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86 86 SIR EDWARD COLEY BURNE-JONES Bt ARA RWS (BRITISH 1833-1998) Study of a sleeping woman Pencil 31.5 x 20cm (12 1/2 x 8in) Provenance: The Maas Gallery, London; The Reitlinger Collection Exhibited: JS Maas & Co Ltd. Pre-Raphaelites & Contemporaries, November 1962, no.14 £3,000-£4,000 31

TWO WORKS BY JOHN CONSTABLE R.A. (BRITISH 1776-1837) From the collection of R.B. BECKETT (1891-1970)

Ronald Brymer Beckett (1891-1970) Civil Servant and Art Historian Ronald Brymer (R.B.) Beckett (1891-1970) was born in Yorkshire, and studied at Lincoln College, Oxford. After leaving university he joined the Civil Service where he was posted to India, returning in 1917 to study at Middle Temple. He returned again to India the following year, where he served as city magistrate of Amritsar before being transferred to other government positions, eventually retiring and returning to England for good in 1946. Settling in London, Beckett attended University College, where he studied psychology and philosophy and pursued his interest in art, using his Civil Service pension to collect drawings and paintings by English artists. He published catalogues of the works of William Hogarth (1949) and Peter Lely (1951) and curated an exhibition of the work of William Blake and William Hogarth at the Tate Gallery. In 1956 he was instrumental in mounting and curating the exhibition John Constable 1776-1837, held at Manchester City Art Gallery. He loaned works from his own collection, including present lot 88, thought to be of Abram Constable, and researched and wrote the catalogue. It was his extensive research into the life and work of John Constable from the hundreds of surviving letters, which he devoted many years to, that was his most significant contribution to scholarship on the painter. Between 1962 and his death in 1970 he edited seven volumes of the Correspondence of John Constable published by the Suffolk Records Society, as well as Constable and the Fishers: the Record of a Friendship (1952). The Times Literary Supplement wrote that, No one, after reading a single volume, will come without a fresher and stronger vision to Constableâ&#x20AC;&#x2122;s painting. Beckett died on December 1, 1970. His daughter Elisabeth described him as, Six feet tall, fair-skinned with red hair, Beckett was always an elegant figure with a quietly charming manner.

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87 JOHN CONSTABLE RA (BRITISH 1776-1837) Portrait study, thought to be Maria Constable née Bicknell (1788-1828) Pencil on unwatermarked part sheet of writing paper circa early-mid 1820s 17.5 x 10.8cm (6 7/8 x 4 1/4in) Provenance: R.B. Beckett (1891-1970); thence by descent to the present owner The present drawing is thought to be a portrait of Maria Elizabeth Bicknell (1788-1828) who was the love of Constable’s life. She was the daughter of Charles Bicknell, Solicitor to the Admiralty, and his second wife, Maria Elizabeth (née Rhudde). According to Constable’s biographer C.R. Leslie, the artist met his future wife in 1800 when she was staying with her maternal grandfather Dr Rhudde at East Bergholt rectory (Leslie, ed. J. Mayne, Memoirs of the Life of John Constable, London 1951, p.25). In 1809 Constable wrote in a letter of his love for Maria and certainly by this date a close attachment existed, at least on Constable’s side; however, their marriage was delayed until 1816, largely because Maria’s family, and especially Dr Rhudde, disapproved of their association. In February 1816 Constable wrote to Maria: How unfortunate that I should have [been the] cause of bringing all into [the] situation I did with the wretched Doctor - but let us for ever dismiss the grievous side of the subject ... I am happy in love - an affection exceeding a thousand times my deserts, which has continued so many years, and is yet undiminished ... Never will I marry in this world if I marry not you. Truly can I say that for the seven years since I avowed my love for you, I have never done anything that I have considered could have made you any way uncomfortable... (R.B. Beckett, ed., John Constable’s Correspondence, vol. II, Ipswich, 1964, p.179). Portraiture, like letter writing, played an important part in the romance between Constable and Maria as they were often parted for long periods. They were finally married on 2 October 1816 at St Martin-in-the-Fields, London. They had seven children. Maria, who suffered from poor health, died of tuberculosis in 1828. In a letter to his brother Golding of 19 December 1828, Constable wrote, I shall never feel again as I have felt, the face of the World is totally changed to me (Leslie, ed. A. Shirley, Memoirs of the Life of John Constable, R.A., London, 1937, p. 234). It is not certain when this sensitive pencil drawing was executed. The unwatermarked writing paper probably dates from the early-mid 1820’s, and it has been suggested that this is a portrait of Maria drawn late in her life when she was unwell. Tate Britain has another pencil drawing thought to be a portrait of Maria which may have been drawn at the time of Constable’s declaration of his love to her in 1809. Also in Tate Britain are two oils: a portrait of Maria made shortly after the couple were engaged, and the group portrait of Maria Constable with two of her children, painted circa 1820. An unfinished oil of Maria with three of her children is still in the Constable family collection, as is a drawing thought to show her in the last years of her life.

We are grateful to Peter Bower and Anne Lyles for their assistance in researching this catalogue entry. £8,000-£12,000 33

88 JOHN CONSTABLE RA (BRITISH 1776-1837) Portrait of a Gentleman, traditionally believed to be Abram Constable of Wormingford Oil on canvas 75 x 63.5cm (29 1/2 x 25in) Provenance: R.B. Beckett (1891-1970), by 1956; thence by descent to the present owner Exhibited: Manchester, City Art Gallery, John Constable 1776-1837, 1956, no. 11 (loaned by R.B. Beckett) Literature: Robert Hoozee, L'opera completa di Constable, Milano, 1979, cat. no. 49 Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale, 1996, no. 09.83, pl. 814, illustrated Painted circa 1809, the sitter in the present portrait has traditionally been identified as Constable’s uncle, Abram Constable (1742-1812), who lived at Wormingford, some ten miles from East Bergholt on the far side of Dedham Vale. R.B. Beckett, identified the sitter as Abram Constable in his catalogue entry for the 1956 exhibition at Manchester City Art Gallery. However, a photograph of the painting in the R.B. Beckett archive in the The Huntington Library Art Collections, California is annotated on the reverse with both the name of his uncle Abram and that of his cousin Abram Garrad (1766-1801). In his 1979 catalogue Robert Hoozee titled the work (?)Abram Constable. But Graham Reynolds concurred with Beckett in his scholarly catalogue raisonné of Constable’s early paintings and drawings published in 1996 titling the work Abram Constable of Wormingford. Constable was a naturally private person with a small but intimate social circle of friends and kept a very close relationship with his family. Although Constable is best known for his landscapes he painted almost one hundred portraits during his life. He preferred to paint members of his family or close friends whom he chose to paint, the likenesses of which are the most successful. If he painted a portrait he put a great deal of significance and feeling into the character of the sitter. This comes through very much in his most intimate portraits where the relationship between artist and sitter can be felt. This especially fine portrait of his uncle Abram exudes enormous character. Not at all contrived or formal, there is an honesty and directness that gives the sitter great immediacy and presence. It is believed to date from circa 1809 before his marriage to Maria Bicknell. At this time there was not the financial pressure to support his family and he had time to explore and develop his character as an artist. We are grateful to Peter Bower for his assistance in researching this catalogue entry. We would also like to thank Anne Blecksmith, Reader Services, The Huntington Library, Art Collections and Botanical Gardens, San Marino, California, for her help with researching the documents in the R.B. Beckett archive. £30,000-£50,000

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PROPERTY OF A GENTLEMAN 89 JOHN CONSTABLE RA (BRITISH 1776-1837) A River Landscape: A group of tall trees on the left, a bend of the river with willows on the far bank on the right, in the background a hill with a castle Pencil on laid writing paper bearing the watermark of a crown above the letters JC in a double diamond, of paper maker Joseph Coles c 18051815. 17.7 x 30cm (7 1/2 x 12 1/2in) Provenance: Gregory sale, Sotheby’s, 20 July 1949, lot 61; private collection UK This drawing was sold by Sotheby’s as part of their important sale of Dr H.A.C. Gregory Collection of John Constable July 1949. Gregory was renowned for his discernment, only having the best of Constable in his collection: the Preface to the Sotheby’s sale describes The Collection catalogued in the following pages forms probably the most important sale of Constable’s works that has ever taken place, including not only one of Constable’s great masterpieces but some twenty portraits and oil-sketches and some sixty watercolours and drawings. Reynolds records 28 works by Constable with an H.A.C. Gregory provenance, but these were only the works he had access to in the 1970s and onwards, some thirty or more years after the Gregory Sale. One suggestion for the subject matter of this drawing is that it is Framlingham Castle from slightly north of west, seen from across the Mere. Certainly the silhouette of the castle in the drawing shows great similarity to that of Framlingham Castle, is only thirty miles north of East Bergholt. Framlingham Castle was drawn by Constable on more than one occasion, but generally from closer to the castle, the first time being in 1800 and then again later in 1815. The paper was made by Joseph Coles at Lower Wookey Mill, Somerset. Coles ran the mill between 1788-1833. This watermark was in use from c.1805-1815. Watermarks from over 100 paper makers have been recorded amongst his drawings and letters as well as watermarks from 13 different stationers and paper merchants. Amongst these there are many examples of Constable working on a single example of a paper from a particular mill. John Constable used another paper from Joseph Coles for a drawing in 1806, A Figure on a Roadway, watermarked JOSEPH COLES / 1804. We are grateful to Peter Bower for his assistance in researching this catalogue entry. £6,000-£8,000

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90 AGOSTINO AGLIO (ITALIAN 1777-1857) Hillfield from Caldicott Hill, 1824 Inscribed in pen and ink below the drawing in Aglio’s hand, Hillfield from Caldicott Hill 1824 and with a double pencil line separating the drawing from the inscription Pencil with sepia and grey wash on unwatermarked hand made cream wove writing paper 12.8 x 20.8cm (5 x 8 3/16in) The double pencil line beneath the drawing and the inscription can be seen in other examples of Aglio’s work: see Leslie Parris, Constable: A New York Private Collection, New York, 1994, p. 99 Near Beaumaris. Two other examples of Aglio’s work that relate to the location depicted in the present drawing are illustrated in Ian Flemming Williams and Leslie Parris The Discovery of Constable, London, Hillfield House, 1984, figs 68 and 69, page 146. Hillfield House was designed by Wyatt in 1798-9. At the time of the drawing the house was occupied by John Timins who had served in the East India Company as captain of several East Indiamen. £300-£400 91 ATTRIBUTED TO AGOSTINO AGLIO (ITALIAN 1777-1857) Italian view Watercolour and bodycolour on laid paper 29.5 x 16.5cm (11 1/2 x 6 1/2in) £200-£300

91 37

92 92 SIR FREDERIC WILLIAM BURTON RHA (IRISH 1816-1900) The widow of Wöhlm Signed and dated FW Burton / MDCCCLIX upper left; signed, titled and dated on a label on the backboard Watercolour 46 x 58.5cm (18 x 23in) Painted in 1859 Provenance: J. Robinson Esq by 1862 Exhibited: London, Old Watercolour Society, 1859 London, International Exhibition, 1862, no. 1211 The present work was greatly praised when it was first exhibited at the Old Watercolour Society in London in 1959. One reviewer commended it as the highlight of the exhibition. He described it glowingly as: The picture of highest intent noted Burton’s technical dexterity, and concluded: ...there is not another picture of the year which can assert stronger claim to the high dignity of art (Blackwood Magazine, December 1959, p. 141). The Times wrote: No early master, not Memling or Van Eyck, not Martin Schon, Cranach, or Holbein, ever painted an individual physiognomy more conscientiously than Mr Burton has painted his widow. The work’s origin and success stemmed from Burton’s regular travels through Europe, and in particular the time he spent in Germany. Whilst staying in Munich in 1844 he was engaged by Maximilien II, King of Bavaria to restore and make copies of works in the Royal Collections. Burton returned to Munich in 1851, living and working for Maximilien for the next seven years. He produced detailed watercolours inspired by the local people and the surrounding architecture, returning annually to exhibit in London. As well as the present work, German subjects included Peasantry in Franconia waiting for Confession and The Procession in Bamberg Cathedral. £6,000-£8,000 38

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93 SIR FRANK DICKSEE PRA (BRITISH 1853-1928) Caesar and Calphurnia, Do not go forth to-day Signed and dated Frank Dicksee Ju 1875 (lower right) Watercolour and bodycolour over pencil 19.5 x 14.5cm (7 3/4 x 5 3/4in) Provenance: The Collection of W.T. Johnston-Smith his sale Christie’s London, February 24th 1936 M. Newman, Duke Street, St. James’s London Thos Agnew & Sons Ltd. £4,000-£6,000

94 ALLESANDRO RONTINI (ITALIAN b.1854) A quiet afternoon Signed indistinctly (lower left) Watercolour 27.3 x 21.8cm (10 3/4 x 8 1/2in) Provenance: Christie’s East, New York, 30th April 2001, lot 120 £2,000-£3,000

94 39

95 ALBERT GOODWIN (BRITISH 1845-1932) On the Lyd, Devon Signed and dated Goodwin / 72 (lower left) Watercolour 36.5 x 57.5cm (14 1/4 x 22 3/4in.) £400-£600

96 HARRY GOODWIN (BRITISH 1840-1925) Near Arundale Watercolour 17.7 x 25cm (7 x 9 3/4in) Together with George Pyne (1800-1884) Oxford Castle signed and dated 1879, watercolour Both unframed (2) £200-£300

97 EDWARD HENRY FAHEY (BRITISH 1844–1907) A ferry & inn on the Thames Signed and inscribed with title on original label attached to the backboard Watercolour and bodycolour 23 x 36cm (9 x 14in) £200-£300

97 40

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98 ALFRED WILLIAM RICH (BRITISH 1856-1921) Lincoln Cathedral from the river Signed Alfred W. Rich (lower left) Watercolour 22.5 x 29cm (8 3/4 x 11 3/8in) Provenance: Marshall Spink, London £200-£300

99 SIR HUBERT JAMES MEDLYCOTT (BRITISH 1841-1920) The Thames looking towards Westminster Signed and dated H Medlycott 1892 Watercolour 21 x 36cm (8 1/4 by 14 1/8in) Provenance: Vicars Brothers, London (purchased by the parents of the present owner in the 1960s) £300-£500

100 CHARLES FREDERICK BUCKLEY (BRITISH 1812-1869) The Royal Barge on the Thames at Richmond Bridge Signed and dated 1850 (lower left) Watercolour and bodycolour heightened with white 28 x 46cm (11 x 18in) Provenance: Frank T. Sabin Gallery London £400-£600

100 41

101 PAUL LUCIEN MAZE (FRENCH 1887-1979) Saint-Malo Signed Paul L Maze (lower left) Watercolour pen and black ink Paper blind stamped A L (lower left) 45 x 60cm (17 3/4 x 23 3/4in) Provenance: Christie’s South Kensington, 18th June 1986, lot 62 £150-£250

101

102 WILLIAM LEE-HANKEY (BRITISH 1869-1952) A continental market square Signed W. Lee Hankey (lower left); squared for transfer Pencil 21.5 x 28cm (8 1/4 x 11in) £200-£300

102

103 FRANCIS VIVIAN JAGO ARUNDALE (BRITISH 1807-1853) Covent Garden, the market from the east looking towards St Paul’s church Watercolour over pencil 16 x 24cm (6 1/2 x 9 5/8in) £300-£500

103 42

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104 GEORGE STRATTON FERRIER (SCOTTISH 1852-1912) St. Mark’s Square Signed and dated 1896 Watercolour 52 x 35.5cm (20 1/2 x 14in) £300-£500

105 EDWARD PRITCHETT (BRITISH 1808-1894) Venice, a view of the Bacino di San Marco, looking along the Molo, with the Church of Santa Maria della Salute beyond Watercolour over pencil 27 x 35cm (10 1/2 x 14in) £300-£500

106 HERCULES BRABAZON BRABAZON N.E.A.C. (BRITISH 1821-1906) Santa Maria Della Salute, Venice Signed with initials (lower right) Watercolour heightened with white 12.3 x 18.3cm (4 7/8 x 7 1/4in) £500-£700

104

105

106

107

107 ARCHIBALD THORBURN (SCOTTISH 1860-1935) Flying grouse Signed A. Thorburn (lower right) Watercolour and bodycolour 46 x 65cm (18 x 25 1/2in) £2,000-£3,000

108

108 ARCHIBALD THORBURN (SCOTTISH 1860-1935) Ptarmigan at dusk Pencil 10.5 x 15cm (4 1/4 x 6in)

109 ARCHIBALD THORBURN (SCOTTISH 1860-1935) Covey of partridge Pencil 10.7 x 15cm (4 1/4 x 6in)

Provenance: Holland & Holland, London

£300-£500

109

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110 ARCHIBALD THORBURN (SCOTTISH 1860-1935) Brent goose study Signed with initials and dated (lower left) March 27 1918 Pencil 8.5 x 10cm (3 1/2 x 3 3/4in) Together with two further pencil sketches, Partridge prior to roost and Covey of partridge with stocks (3) Provenance: Holland & Holland, London £500-£800

110 (part)

111 ARCHIBALD THORBURN (SCOTTISH 1860-1935) Fox and hinds Pencil 11 x 15cm (4 1/2 x 6in) Together with another pencil sketch Stags fighting by the same hand (2) Provenance: Holland & Holland, London £400-£600

111 (part)

112 ARCHIBALD THORBURN (SCOTTISH 1860-1935) A grouse drive Pencil 11 x 15cm (4 1/4 x 6in) Together with two further pencil sketches, Driven partridge and Grouse in flight, by the same hand (3) Provenance: Holland & Holland, London £600-£800

112 45

113 ARCHIBALD THORBURN (SCOTTISH 1860-1935) Sketches of a female capercaillie Signed with initials A.T. (lower right) Watercolour and bodycolour over pencil on buff paper 36.8 x 26.5cm (14 1/2 x 10 1/2in) Provenance: Holland & Holland, London £500-£700

113

114 ARCHIBALD THORBURN (SCOTTISH 1860-1935) Short eared owl Watercolour heightened with white on buff paper Circular 10.5cm (4 1/4in) diam. Provenance: Holland & Holland, London £300-£500

114

115 ARCHIBALD THORBURN (SCOTTISH 1860-1935) A short eared owl Watercolour and bodycolour over pencil on buff paper 8 x 11cm (3 1/4 x 4 1/2in) Provenance: Holland & Holland, London £400-£600

115 46

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116 116 WILLIAM HUGGINS (ENGLISH 1820-1884) In his den Signed Wm Huggins (lower left) Watercolour heightened with bodycolour 31.5cm x 50cm (12 x 19 3/4in) £800-£1,200

117

119 117 LOUISA ANNE (BRITISH 1818-1891) A young girl carrying lilies Watercolour 25 x 14cm (10 x 5 1/2in) £200-£300

118 ATTRIBUTED TO THOMAS WEBSTER RA (BRITISH 1800-1886) Rustic interior with little girl Signed with monogram, (lower left) Watercolour 27 x 23.5cm (10 1/2 x 9in) Thomas Webster achieved great success as a genre painter, producing small-scale paintings in both oil and watercolour throughout his long career. His most famous and popular work, The Village Choir, is in the Victoria and Albert Museum. Charles Dickens thought Webster such a good painter of children that he commissioned him to paint Squeers School-Dotheboys Hall, an illustration to his novel Nicholas Nickelby. £300-£500

118

119 JAMES DRUMMOND (BRITISH 1816-1877) Fisher girl Signed and dated 1848 Watercolour 47.5 x 32cm (18 3/4 x 12 3/4in) £300-£500

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120 HAROLD SPEED (BRITISH 1872-1957) Study of Robert Baden Powell, 1st Baron Baden-Powell (1857-1941) Signed and dated, HAROLD SPEED 1904, (lower right) Red chalk 37.8 x 26cm (14 3/4 x 10 1/4in) The present study relates to a portrait of Baden-Powell as the commanding officer of the South African Constabulary reproduced in Baden-Powell - The Two Lives of a Hero, 1964, by William Hilcourt with Olave Baden-Powell, and also in The Art of Mr Harold Speed, by Austin Chester Windsor Magazine, February 1907. The original painting is held at the British Army Base at Catterick. £400-£600

120

121 HERBERT JAMES DRAPER (BRITISH 1864-1920) Siblings Coloured chalks 31 x 18.5cm (12 1/4 x 7 1/4in) Provenance: Estate of Herbert Draper; by descent to Draper archive Julian Hartnoll Bloomsbury Auctions, 26th May 2005, lot 51 Christie’s South Kensington, 14th December 2005, lot 138 Literature: Simon Toll, Herbert Draper 1863-1920, A Life Study, p 198 cat. HJD194 (listed as Unidentified group portrait - Composition study). £200-£300

121 49

122

122 DELPHIN ENJOLRAS (FRENCH 1857-1945) His Portrait Signed D Enjolras (lower right) Pastel on paper 73 x 54cm (28 3/4 x 21 1/4in) £4,000-£6,000

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123 LOUIS WALDEN HAWKINS (1849-1910) Les Liseuses (The readers) Signed Louis Walden Hawkins lower left and dated 1918 lower right Watercolour heightened with bodycolour over traces of pencil 43.5 x 36cm (17 1/8 x 14 3/16in) A lithographic print of the present lot was published by L’Estampe Moderne, F. Champenios, vol. I in Paris. £2,500-£3,500

123

124 EVELINE DE LA BELINAY LANCE (BRITISH 1866-1937) In the garden Signed E Lance (lower left) Watercolour 21.5 x 17.7cm (8 1/2 x 7in) together with two further works by the same hand, Christmas Time and Gee-Up (3) Eveline Lance was known as a watercolour, landscape painter and book illustrator. She has works in the Victoria and Albert Museum and a painting named Blue solitudes in the National Gallery of Victoria Melbourne Australia. Eveline lived and worked at Outlook, Thursley, Godalming, Surrey. £600-£800

124 (part)

125

125 IGNACIO ZULOAGA (SPANISH 1870-1945) Head of a Woman Signed I Zuloaga (lower right) Charcoal and black crayon heightened with white on buff paper 38.7 x 90.2cm (15 1/4 x 35 1/2in) £1,500-£2,500

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Paintings Lots 126-191

126

126 JAMES BAKER PYNE (BRITISH 1800-1870) Skiddaw Signed and dated J B Pyne/1849 numbered 207 (lower left) Oil on canvas 82 x 129cm (32 1/2 x 50 3/4in) Fig.1: Skiddaw (lithograph by W. Gauci) in The English Lake District by James Baker Pyne published by Thomas Agnew & Sons, Manchester, 1853 A great lover of the Lake District, second only to Turner in his recording of the region’s natural beauty, Pyne selected the present work to be reproduced as one of 25 large hand-coloured lithographic plates for his book The English Lake District (fig.1). The lavish tome was the outcome of a series of paintings Agnews had commissioned from him in the late 1840s of which the present work is one. Grasmere from Loughrigg of 1848 was the first in the series. Other subjects included The Derwent River and Borrowdale, Bassenthwaite Lake and Coniston Water. The number 207 on the canvas is probably Pyne's own form of numbering of his works.

fig. 1

Originally from Bristol Pyne moved to London in the mid-1830s. He exhibited at the Royal Academy, the British Institution and the Society of British Artists, where he served as Vice-President. £1,800-£2,500

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127

127 JAMES BAKER PYNE (BRITISH 1800-1870) Hauling in the catch, a rainbow beyond Signed and dated Baker Pyne 1854 (lower left) Oil on canvas 41.5 x 59.3cm (14 1/2 x 23 1/2in) £600-£800

128 FREDERICK WATTS (BRITISH 1800-1862) Shepherd on a rural track by a cottage with figures, sheep and cattle Oil on canvas 40.5 x 54.5cm (16 x 21 1/2in) Provenance: Charles Walker and Co, The Rembrandt Gallery, Liverpool £400-£600

128

129 E. SMITH (BRITISH fl.1821) Copcut lane, Worcestershire Titled, signed and dated Copcut lane, Worcestershire/E Smith 1821 inscribed verso Oil on canvas 25 x 29.5cm (10 x 11 1/2in) £600-£800

129

130 SAMUEL E. SCOTT (BRITISH act.1849) A view of York Waterworks Signed and dated Samuel E. Scott, 1849 Oil on canvas 60 x 92cm (23 1/2 x 36 1/4in) £2,000-£3,000

130 56

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131

PROPERTY FROM AN ENGLISH PRIVATE COLLECTION 131 BENJAMIN WILLIAMS LEADER RA (BRITISH 1831-1923) The village church Signed and dated B W LEADER 1918 (lower left) Oil on canvas 45 x 76cm (18 x 30in) Provenance: Sotheby’s London, 1st April, 1980, lot 136 Leader was living in Surrey in 1918 although often returning to his former home county of Worcestershire where he painted the familiar churches with their ancient towers and yew trees in the churchyards. The present work can be compared on stylistic and compositional grounds to a larger (36 x 60in.) oil by Leader sold at Sotheby's, London, Victorian and Edwardian Sale, 17th December 2009, lot 16, titled The close of day, Worcestershire meadows £3,000-£5,000

132 132 FREDERICK JOHN MEYER (BRITISH, d.1844) The children of Roger Staples Horman-Fisher, of Bentworth, Hampshire Oil on canvas 181 x 133.5cm (71 1/4 x 52 1/2in) Provenance: Roger Staples Horman-Fisher, Esq., Bentworth Hall, Hampshire Mabel Zoe Watson (d. 1972) Sotheby's, London, 10th July 1991, lot 132 Julian Simon Fine Art, London, 1991 From whom acquired by the present owner Exhibited: London, Royal Academy, The Sixty-Sixth Exhibition of the Royal Academy, 1834, no. 250 £3,000-£5,000 58

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133

134

133 CHARLES SILLEM LIDDERDALE RBA (1831-1895) A country beauty Signed with monogram and dated 85 (lower left) Oil on canvas 45.7 x 30.5cm (18 x 12in) Provenance: Christie’s, London, 14th September 1995, lot 235 £1,200-£1,800 134 RALPH PEACOCK (BRITISH 1868-1946) Portrait of Gladys Cooper, head and shoulders, in a white dress Signed Ralph Peacock (lower right) Oil on canvas laid on board 48.2 x 34.3cm (19 x 13 1/2in) Provenance: Hilda Downton, sister of John Downton (artist b.1939) The Maas Gallery Ltd, London £3,000-£4,000 135 FREDERICK MORGAN (BRITISH 1847-1927) Flowers for mother Signed Fred Morgan (lower right) Oil on board in a painted oval 25.4 x 20.3cm (10 x 8in) Provenance: Sotheby’s London, 2nd December 2002, lot 27

135

£1,500-£2,000 59

136 GERMAN SCHOOL (MID 19TH CENTURY) A young woman seated by a stream in an exotic wooded landscape Oil on board 40.5 x 30.5cm (16 x 12in) The present work is in the Stobwasser, Brunswick porcelain style

137 FERDINAND VICTOR LÉON ROYBET (FRENCH 1840-1920) Cavalier drinking in an interior Signed F. Roybet (lower left) Oil on board 59 x 43cm (23 1/2 x 17in) £2,000-£3,000

£300-£500

138 ENGLISH SCHOOL (MID 19TH CENTURY) Portrait of Rev. Robert Parr Oil on canvas 76 x 64cm (30 x 25 1/4in) £400-£500

139 CIRCLE OF VALENTINE CAMERON PRINSEP RA (BRITISH 1838-1904) Portrait of a young boy seated half length wearing a green smock, white lace collar and cuffs with blonde curled hair Oil on canvas 46 x 36cm (18 x 14in) £200-£300

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140 140 AUGUST WILHELM MARE (GERMAN LATE 19TH CENTURY) A musical interlude Signed and dated Aug Mare/1892 (lower left) Oil on panel 33.5 x 27.5cm (13 x 10 3/4in) Provenance: Baumkotter Gallery, Kensington Church Street, London, c.1980s £800-£1,200

141 141 ERNST SCHMITZ (1859-1917) German Maiden with rosary beads Signed Ernst Schmitz/München upper left Oil on panel 30 x 21cm (12 x 8 1/4in) £800-£1,200

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142 142 OLIVER RHYS (act.1876-1895) Courting Signed and dated Oliver Rhys 1887 (lower right) Oil on canvas 76.5 x 50.5cm (28 x 20in) Provenance: Purchased by the parents of the present owner circa 1970 £2,500-£3,500 63

143

144

143 ALPHONSE NEUVILLE (FRENCH 1835-1885) A soldier of the French engineers Signed A Neuville (lower right) Oil on canvas 33 x 23.5cm (13 x 9 1/4in)

144 FRANK COPNALL (BRITISH 1870-1949) Gentleman smoking a pipe Signed with initials F.T.C lower right Oil painting on canvas 61 x 50.8cm (24 x 20in)

£800-£1,000

£1,000-£2,000

145 145 CHARLES HUNT RI (BRITISH 1803-1877) Fiddler smoking a clay pipe Signed Charles Hunt (lower left) Oil on canvas 44 x 37cm (17 1/4 x 14 1/2in)

146 146 ALFRED ARTHUR BRUNEL DE NEUVILLE (FRENCH 1852-1941) Two young cooks feeding kittens in a kitchen interior Signed Neuville Brunel (lower right) Oil on canvas 45 x 37cm (17 3/4 x 14 1/2in)

£300-£500 £1,200-£1,500 64

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147 147 JOSE VILLEGAS CORDERO (SPANISH 1844-1921) Le Guerrier (The Warrior) Signed Villegas (lower left) Oil on canvas 55 x 32.5cm (21 3/4 x 13in) £4,000-£6,000

148 LEOPOLD DE CAUWER (c.1830-c.1891) Ruling the roost Signed Leop.d Cauwer (lower left) Oil on canvas 25 x 40cm (10 x 15in) £400-£600

148

149 CHARLES STUART (BRITISH 1854-1904) Still life of grapes and raspberry’s in a wicker basket amongst foliage Signed Charles Stuart (lower left) Oil on canvas 44 x 54cm (17 1/4 x 21 1/4in) £400-£600

149

150 SAM BOUGH (BRITISH 1822-1878) Butter Burr and Willow Oil on canvas 29.5 x 39.5cm (11 1/2 x 15 1/2in) £1,000-£1,500

150 66

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151 AFTER CHARLES DAUBIGNY (FRENCH 1817-1878) Landscape by the river Bears signature and dated Daubigny 1859 (lower left) Oil on canvas 25 x 33cm (10 x 13in) £250-£350

151

152 BARTHOLOMEUS JOHANNES VAN HOVE (DUTCH 1790-1880) Dutch town scene Signed B J VAN HOVE (lower right) Oil on panel 17 x 23cm (9 1/4 x 6 3/4in) Provenance: Chiswick Auctions, London, 8th July 2014, lot 32 Purchased at the above sale by the present owner £700-£900

152

153 DUTCH SCHOOL (LATE 19TH CENTURY) Winter landscape Oil on panel 35 x 50cm (13 3/4 x 19 3/4in) £400-£600

153 67

154 FRANS SODAR (BELGIAN 1827-1900) The Church of the Holy Sepulchre, Jerusalem; 12 interior views each: Oil on canvas, unframed each: 50 x 37cm (19 3/4 x 14 1/2in) (12) Provenance: Sothebyâ&#x20AC;&#x2122;s, London, The Travel Sale, October 12th 2000, lot 525 Born and raised in Dinant in Wallonia, Belgium, Sodar became an avid traveller. He spent nine months in the Madrid in 1858-59, travelled to Rome in 1862, and to Morocco and Algeria in 1865. Never resting long in one place, in 1884 he embarked on what would be a four year journey with his wife to the Holy Land. In Jerusalem he painted the sanctuaries of the Church of the Holy Sepulchre, combining them into 12 views of mass in progress. As well as the set being of great artistic merit, they are also fascinating documents of the religious ritual and architecture of the Holy Sepulchre in the late nineteenth century. The present set includes the Chapel of Christ's Tomb in the west end of the Church of the Holy Sepulchre, the Chapel of St Helena, and the Chapel of the Finding of the Cross. Sodar also painted the fourteen Stations of the Cross, a series that proved extremely popular and found its way into many Italian churches and convents. A group of Sodar's works, presented to Pope Leo XIII (1810-1903) earned him the gold medal of Christian artists, with the congratulations and blessing of the pontiff. The Church of the Holy Sepulchre lies in the Christian Quarter in the Old City of Jerusalem. Emperor Constantine approved its construction in 326 A.D., ordering that the temple of Venus be demolished to make way for the its building. The first Church was approached by a flight of steps from the Cardo, the main street of Jerusalem. In the 12th century the Crusaders carried out general rebuilding, and since then the structure has frequently undergone repair, restoration, and remodelling. Most recently a Crusaders era high alter has been rediscovered. The present Church of the Holy Sepulchre dates mainly from 1810, and remains an important focus of pilgrimage to this day. ÂŁ12,000-ÂŁ18,000

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154 69

155 155 LÉONARD SARLUIS (FRENCH 1874-1949) On the Cross Oil on board 28 x 21cm (11 x 8 1/4in) Accompanied by a label taped to the backboard signed and inscribed by Sarluis: Le Cercle qui environne l'Éternel figure la séparation de l'Absolu du monde extérieur. Abraham ayant reçu la révélation est admis dans le cercle divin et reçoit, la Loi d'alliance qui élève le peuple d'Israël au rang de peuple élu. Salomon-Léon Sarluis, known as Léonard Sarluis, was born in the Hague where he studied at the Royal Academy of Arts before moving to Paris in 1894. He was the protégé of the French novelist Élémir Bourges and the French Symbolist painter Armand Point. In Paris he exhibited at the Salon de la Rose+Croix and the Salon des Artistes Français. He went on to exhibit in London where his work was much admired by Oscar Wilde. In 1919 he had a one man show at the Galerie Bernheim. In 1923 he illustrated Gaston Pavloski’s Voyage to the Land of the Fourth Dimension. Sarluis worked for a number of years on work which he called l’Interprétation Mystique de la Bible which were shown at the Grafton Galleries, London in 1928. £500-£700

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156 156 LEONARD SARLUIS (FRENCH 1874-1949) Before Pilate Signed SARLUIS (lower right) Oil on board 28 x 21cm (11 x 8 1/4in)

157 157 LEONARD SARLUIS (FRENCH 1874-1949) Agony in the garden Oil on board 28 x 21cm (11 x 8 1/4in) Painted in 1939

Accompanied by a label signed and dated 1946 taped to the backboard and inscribed by Sarluis: Dans l'adversité on reconnaît les véritables amis. Parmi ceux qui me sont les plus chers je compte Madame et le président Debrassier auxquels je dedie cette oeuvre de ma main

Accompanied by an inscription in another hand taped to the back board dating the work to 1939. £500-£700

£500-£700

158 158 GERMAN SCHOOL (19TH CENTURY) Salammbô and Matho Oil on canvas 108 x 106.5cm (42 1/2 x 42in.) The subject of the present work is thought to be taken from the story of Salammbô, the historical novel by Gustave Flaubert set in Carthage in the 3rd century BC. The present scene appears to depict the love making of Salammbô and the chief mercenary Matho that takes place in chapter 11. A scandalous success when the novel was published in 1862, the titillating story-line offered history painters a rich seem of new subject matter, with Salammbô's various exploits depicted by artists ranging from Auguste Rodin to Alfons Mucha. £1,500-£2,500 72

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159 159 DAVID FORRESTER WILSON RSA (BRITISH 1873-1950) Vanity Signed and dated D Forrester Wilson/1918 (lower right); indistinctly signed and dated (lower left) Oil on canvas Inscribed Forrester Wilson School of Art, 167 Renfrew St, Glasgow, and preliminary oil study verso 115 x 130cm (43 1/4 x 51 1/4in) Provenance: Private collection, acquired in the 1920s; thence by descent to the present owner David Forrester Wilson studied at the Glasgow School of Art from 1892-93 and again from 1899, when he worked under the influential Belgian Symbolist painter Jean Delville (1867-1953). His senior by just 6 years, Delville taught at the School from 18991906. Appointed to the staff in 1903 as studio assistant under Delville’s tenure, Wilson went on to become Assistant Professor of Drawing and Painting, and then from 1932-1938 Head of Department. As well as the influence of Delville, who retained a life-long fascination with the Occult and expounded the importance of the aesthetic of the ideal, the work of his direct contemporaries also proved formative. His peers included The Four: James Herbert McNair, Frances and Margaret Macdonald and Charles Rennie Mackintosh who were instrumental in creating the now distinctive Glasgow Style. Other artists who shaped Wilson’s style included the so-called Glasgow Boys of a generation earlier led by James Guthrie (1859-1930) and John Lavery (1856-1941), and who via the naturalist landscapes of Jules Bastien-Lepage and the exoticism of James McNeil Whistler’s Japonism sowed the seeds of Modernism in and around the city. £2,000-£3,000 73

160 160 FREDERICK CHARLES UNDERHILL (fl.1851-1875) The Temptation of Saint Anthony Oil on canvas 89 x 114.3cm (35 x 45in) Underhill was a painter of genre, coastal scenes and biblical subjects. He exhibited from 1851-75 at the Royal Academy. His submissions to the RA included Sea Coast, 1852; The Gypsy Mother, 1855 and Hagar and Ishmael, 1863. The Dinner Hour is in the Birmingham Art Gallery. St Anthony faced a series of supernatural temptations during his time in the desert. His plight has been explored by artists over the centuries with ever greater imagination, as in the present work. Provenance: Purchased by the present owner circa 1990 ÂŁ1,500-ÂŁ2,500

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PROPERTY FROM AN ENGLISH PRIVATE COLLECTION 161 JEAN-FRANCOIS MILLET (FRENCH 1814-1875) Les bêcheurs (Delteil 13) Etching printed in bistre with surface tone, c.1855, a very good impression of the fourth (final) state, with Eugene Delâtre’s address, on laid paper with an Armorial watermark Plate 23.6 x 33.8cm (9 1/4 x 13 1/4in), Sheet 26.6 x 37.6cm (10 1/2 x 14 3/4in) £800-£1,200

161

PROPERTY FROM AN ENGLISH PRIVATE COLLECTION 162 OSKAR KOKOSCHKA (AUSTRIAN 1886-1980) The Crucifixion (Der Gekreuzigte) 1916 (WW.80) Signed in pencil O Kokoschka (lower right) Lithograph 26.7 x 32.5cm (10 1/2 x 12 3/4in) £200-£300

162

163 PABLO PICASSO (SPANISH 1881-1973) Le Pigeonneau, 1957 (Bloch 326; Baer 1028) Signed in red crayon Picasso (lower centre) and epreuve d’artiste (artists proof) in pencil (lower left) Linocut in brown 24 x 25cm (9 1/2 x 10in) Provenance: Sims Reed Gallery, London, were acquired by the present owner in 2002 £3,000-£5,000

163 75

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PROPERTY FROM A LONDON COLLECTION 164 OSKAR KOKOSCHKA (AUSTRIAN 1886-1980) Variation on a theme, 1921 Signed Collotype Variation on a Theme: Seven plates, Collotypes, 1921, from the set of ten on wove paper, from the edition of 350, published by Richard Lanyl, framed Each: 71 x 50cm (28 x 20in) (7) £1,000-£2,000

SEVEN WORKS BY WALTER LANGHAMMER FROM A LONDON COLLECTION (LOTS 165-170) Born in Graz, Austria, Langhammer studied at the Vienna Academy of Fine Arts where he was influenced by the vibrant palette and Expressionist technique of Oskar Kokoschka. With Hitler’s annexation of Austria he and his wife Käthe (née Urbach) travelled to Bombay. A former Indian pupil of Langhammer’s, Shirin Vimadala, had encouraged the painter to make the trip. But on their arrival the couple were arrested as enemy aliens and detained separately until 1941 when the British authorities concluded that neither posed a security threat. On their release Langhammer established a studio where he kept open house for promising young Indian painters including many who formed the Bombay Progressive Art Movement such as Ara, Raza, Husain, Souza and Raiba. Langhammer also encouraged the patronage of wealthy professionals to support such talents – doctors, lawyers and industrialists. Sayed Haider Raza recalled how Langhammer lent him his Bombay studio, and on his departure for Paris provided him with shoes and offered him his overcoat. Captivated by the bright Indian light, Langhammer travelled throughout the country to record the diversity of its people and its landscape. In the late 1940s he was commissioned by the Tata family to paint the Jamshedpur steel plant. During the three months he spent in the city he established the Jamshedpur School of Art, and the ground-breaking series of paintings that he produced of the plant celebrates the power of Indian industrial achievement following the country’s independence in 1947. Returning to Europe in the early 1960s, Langhammer settled in North London, where he met the Allens, who acquired the present works from him (lots 165 to 170)

165 165 WALTER LANGHAMMER (AUSTRIAN 1905-1977) Extensive view of a town by a river Signed W Langhammer (lower left) Oil on canvas 52 x 75cm (20 1/2 x 29 1/2in) £2,000-£3,000

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166 WALTER LANGHAMMER (AUSTRIAN 1905-1977) Wooded path Signed W Langhammer (lower right) Oil on canvas 42 x 65cm (16 1/2 x 25 1/2in) £1,200-£1,800

166

167 WALTER LANGHAMMER (AUSTRIAN 1905-1977) A Mediterranean village Signed W Langhammer (lower left) Oil on canvas 49 x 63.5cm (19 1/4 x 25in) £1,200-£1,800

167

168 ARR WALTER LANGHAMMER (AUSTRIAN 1905-1977) Wooded winter landscape with cottages Oil on board 37 x 75cm (14 1/2 x 29 1/2in) £600-£800

168 79

169 WALTER LANGHAMMER (AUSTRIAN 1905-1977) Portraits of Geoffrey and Anna Allen each signed W Langhammer (lower right) Oil on canvas, a pair 54.5 x 41cm (21 1/2 x 16 1/4in) (2) £100-£150

169 Geoffrey and Anna Allen (1896-1965 & 1900-1977 respectively) experienced both hardship and success in their eventful lives. Born in Vienna, Geoffrey was commended for his exploits in the First World War, one of which included taking two Italian soldiers prisoner while he himself was severely wounded. He met Anna in the late 1920s and the couple married in 1931. Both Jewish (Anna was from a Polish speaking part of the Austro-Hungarian empire), in 1938 Geoffrey was sent to Dachau concentration camp, but was released as part of a goodwill gesture, and managed to reach England. First interned, he subsequently joined the Pioneer Corps, and saw service in Rennes, France before returning to Britain to be an army clerk and translator. Anna, meanwhile went in search of Geoffrey in Dachau, where she succeeded in entering the camp undetected to look for her husband, but unaware that he was no longer there. Through tenacity and good fortune she subsequently reached Britain, learnt English and held down a variety of jobs including as a van driver, in a grocery, as a nanny and as an accounts clerk. After the couple were reunited, and Geoffrey was demobbed in 1948 he became a successful businessman, travelling throughout Europe. Settling in North London among the Austrian-Jewish exiled community there, the Langhammers became family friends. Geoffrey and Anna commissioned portraits of themselves from Walter and acquired the present range of landscapes from him too.

170 WALTER LANGHAMMER (AUSTRIAN 1905-1977) Smaller houses by the coast Oil on board 45.5 x 22cm (18 x 8 3/4in.) £150-£250

170

171 ANTONIS KANAS (GREEK 1915-1995) Port scene - Paras Signed A Kanas (lower right) Oil on canvas board 25 x 35cm (10 x 14in) £300-£500

171 80

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172

173

172 ALEXANDER SWIESZEWSKI (POLISH 1839-1895) Boating in the Alps Indistinctly signed (lower right) Oil on board 28.5 x 39.5cm (11 1/4 x 15 3/4in)

173 ALFRED PARTIKEL (GERMAN 1888-1945) Winter landscape Signed A Partikel (lower right) Oil on canvas 50 x 65cm (20 x 25in)

Provenance: Norton Park, Bredons Norton (acquired by the present owner in 2003)

Alfred Partikel became a Professor of landscape painting at the Königsberg academy of arts in 1929 and was a guest of the Villa Massimo in Rome in 1930-31. He was a member of Max Pechstein's artist's Colony of Nidden. His works were classified as Entartete Kunst Degenerate art in 1937.

£800-£1,200

£600-£800 81

174

177 174 FRENCH SCHOOL EARLY 20TH CENTURY A lady in a punt with a parasol Indistinctly signed (upper left) Oil on canvas 27 x 41cm (10 3/4 x 16 1/4in) £1,000-£2,000 175 ANTOINE FERRARI (ITALIAN 1910-1995) Still life of playing cards and cigarettes Signed upper right Oil on canvas 35 x 46cm (14 x 18in) £400-£600

175

176 VICTOR TARDIEU (FRENCH 1870-1937) Robe rose et ombrelle blanche Signed and titled V Tardieu / Robe rose et ombrelle blanche to label attached on the reverse Oil on board 21.5 x 26.5cm (8 1/4 x 10 1/4in) Tardieu was a student at the École Nationale des Beaux-Arts, Lyon before moving to Paris in 1889. In October 1890, he enrolled at the École Nationale Supérieure des Beaux-Arts, as well as studying in the studios of Léon Bonnat and Albert Maignan. He exhibited at the Salon of the Société des Artistes Françaises £600-£800 177 REGINALD GRENVILLE EVES RA (1876-1941) Portrait of a Lady, bust-length in a blue dress Signed R G Eves top right Oil on canvas 61 x 50.8cm (24 x 20in) Known primarily for his portraits of prominent military, political and cultural figures between the two world wars, Eves was among the first artists offered a full-time, salaried contract by the War Artists’ Advisory Committee, along with Barnett Freedman, Edward Ardizzone and Edward Bawden.

176 82

£500-£700 *See inside front cover for information regarding fees

178

178 EDOUARD LÉON CORTÈS (FRENCH 1882-1969) St Denis Signed EDOUARD CORTÈS (lower right) Gouache on board 42 x 34cm (16 1/2 x 13 1/2in) Provenance: Acquired by the present owner in 1987 £3,000-£5,000

FIVE WORKS BY HARALD MAHRENHOLZ (LOTS 179-183)

Harald Mahrenholz was from a cultured Jewish family. His maternal grandfather had been a cellist, his mother was a concert pianist, and his brother was a highly regarded portrait and fashion photographer. In his home city of Berlin Mahrenholz studied in the studio of the Expressionist painter Ludwig Meidner, and subsequently worked for the stage and film director Max Reinhardt. From Berlin he moved to Paris, where he came under the influence of the Fauve painter and society portraitist Kees Van Dongen, was introduced to Matisse and Picasso, and met Christian Dior. Dior, then a young co-director of the newly established Galerie Jacques Bonjean on rue de la Boétie, took up Mahrenholz’s work, exhibiting his paintings alongside others that he championed, from Leonor Fini, Salvador Dali and Joan Miró to neo-Romantics Eugène and Léonide Berman and Pavel Tchelitchew. Through Dior the painter was introduced to the Parisian intelligentsia and beau-monde amongst them Gertrude Stein and Coco Chanel. Mahrenholz moved to London in the late 1930s where he continued to paint, but also set up a haute couture salon on Curzon Street in Mayfair. His clients included Princess Margaret, Margot Fonteyn, Barbara Hutton, the Duchess of Argyll and Vivien Leigh. He was introduced to Daniel Wildenstein by fellow designers Elizabeth Arden and Coco Chanel. Wildenstein held a one-man show of Mahrenholz’s paintings at his New Bond Street gallery in 1947.

179

179 HARALD MAHRENHOLZ (GERMAN 1904-1994) The artist’s mother Oil on board 41 x 24cm (16 x 9 1/2in) £600-£800

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180

180 HARALD MAHRENHOLZ (GERMAN 1904-1994) The Artist’s Mother in Red Oil on board 75 x 50cm (29 1/2 x 19 3/4in) £800-£1,200

181 HARALD MAHRENHOLZ (GERMAN 1904-1994) Interior with an easel Oil on canvas 40 x 55cm (15.75 x 21 3/4in) £300-£500

181

182 HARALD MARENHOLZ (GERMAN 1904-1994) Hyde Park Corner 1958 Oil on board 48 x 73cm (19 x 28 3/4in) £500-£700

182

183 HARALD MARENHOLZ (GERMAN 1904-1994) Off the Cornish coast Signed, dated and inscribed HARALD 66 CORNWALL (lower right) Oil on board 52 x 75.5cm (20.5 x 29 3/4in) £300-£500

183 86

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184 184 ARTHUR HUGHES (BRITISH 1832-1915) Summer pasture Signed Arthur Hughes (lower right) Oil on canvas laid on board 25 x 20cm (9 3/4 x 8in) Provenance: Sotheby’s London, 12th May 1999, lot 98, purchased by the present owner £1,500-£2,500 87

185

186 185 ARR PHILIP WILSON STEER OM (BRITISH 1860-1942) Dover Docks Signed and dated P W Steer/1918 (lower right) 53 x 76cm (21 x 30in)

186 ARR ALFRED HITCHENS (BRITISH 1861-1942) Landscape with trees Signed A Hitchens (lower right) Oil on canvas 44 x 53cm (17 1/4 x 21in)

£1,500-£2,500 £300-£500

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187

188 187 ARR EDWARD SEAGO RWS (BRITISH 1910-1974) Paris outskirts signed Edward Seago (lower left) 51 x 76cm (20 x 30in) Provenance: P&D Colnaghi, London, label attached verso

188 ARR ROY PETLEY (BRITISH b.1951) Picnic in the shade Signed Roy Petley (lower left) Oil on board 61 x 91.5cm (24 x 36in) £1,000-£1,500

£4,000-£6,000

189

PROPERTY FROM A FINNISH COLLECTION 189 ALFREDO ROLDAN (SPANISH b.1965) Slice of orange: cocktail hour Signed Alfredo Roldan (lower right) Oil on canvas 130 x 130cm (51 x 51in) £600-£800

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PROPERTY FROM A FINNISH COLLECTION 190 ALFREDO ROLDAN (SPANISH b.1965) The coquette Signed and dated Alfredo Roldan 1999 top left Oil on canvas 36.5 x 45cm (14 1/4 x 18 3/4in) £250-£350

190

PROPERTY FROM A FINNISH COLLECTION 191 ALFREDO ROLDAN (SPANISH b.1965) Still life by window Signed Alfredo Roldan (lower right) Oil on canvas 64 x 80cm (25 1/4 x 31 1/2in) £150-£200

191

Glossary of Picture Cataloguing Terms Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 1.

JMW Turner: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category.

Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction.

Circle of JMW <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja IV I[ aM\ ]VQLMV\QÅML J]\ LQ[\QVK\ PIVL KTW[MTa I[[WKQI\ML with the named artist and of the period, but not necessarily his pupil.

Style of…; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil.

Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date.

After JMW Turner: In our opinion a copy (of any date) of a known work of the artist.

The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist.

10. Dimensions are given height before width. 11. Pictures are framed unless otherwise stated.

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Index To Artists A Aglio, Agostino American School Andrews, George Henry Anne, Louisa Arundale, Francis Vivian Jago Austrian School B Bough, Sam Bourne, Rev. James Boys, Thomas Shotter Brabazon, Hercules Brabazon Buck, Adam, Attributed to Buckley, Charles Frederick Burne-Jones, Sir Edward Coley Burton, Sir Frederic William

90, 91 32 75 117 103 34 150 57 67 106 24 100 86 92

C Chalon, Alfred Edward, Attributed to 47 Chevalier 45 Chinnery, George 77 Constable, John 87, 88, 89 Continental School 30, 33, 35 Cooke, Edward William 63 Copnall, Frank 144 Cordero, Jose Villegas 147 Cortès, Edouard Léon 178 Cox, David 71 Cromek, Thomas Hartley 68 D Daniell, William 76 Daubigny, Charles, After 151 de Cauwer, Leopold 148 de Neuville, Alfred Arthur Brunel 146 de Wint, Peter 69 Delamotte, William Alfred 64 Dicksee, Sir Frank P. 93 Draper, Herbert James 121 Drummond, James 119 Duncan, Edward 73 Dutch School 5, 153 E Engleheart, George 27 English School 1, 4, 6, 17, 18, 38, 39, 43, 49, 65, 85, 138 Enjolras, Delphin 122 Eves, Reginald Grenville 177 F Fahey, Edward Henry Ferrari, Antoine Ferrier, George Stratton Freese, N. French School G German School Gilpin, Rev. William Goodwin, Albert Goodwin, Harry

97 175 104 20, 22 7, 31, 84, 174 136, 158 54 95 96

Grimaldi, William Grimm, Samuel Hieronymus

36 59

H Hargreaves, Thomas, Attributed to 41 Hawkins, Louis Walden 123 Hayter, Sir George, Attributed to 51 Hazlehurst, Thomas 25 Hitchens, Alfred 186 Hone, Nathaniel, Manner of 11 Huggins, William 116 Hughes, Arthur 184 Hunt, Charles 145 Hunt, William Holman 78, 79 I Irish School J Johnson, Cornelius, Circle of K Kanas, Antonis Kokoschka, Oskar

3 171 162, 164

M Mahrenholz, Harald

179, 180, 181, 182, 183 Mare, August Wilhelm 140 Martin, Elias 55 Maze, Paul Lucien 101 Medlycott, Sir Hubert James 99 Meyer, Frederick John 132 Millet, Jean-Francois 161 Monro, Dr Thomas 56 Morgan, Frederick 135 Myers, David, Attributed to 2

P Partikel, Alfred Peacock, Ralph Peat, Thomas, Attributed to Petley, Roy Picasso, Pablo Prinsep, Valentine Cameron, Circle of

105 66 58 126, 127

R Redgrave-Rust, Graham 82, 83 Rhys, Oliver 142 Rich, Alfred William 98 Richmond, Thomas, Attributed to 29 Robertson, Andrew 42 Roldan, Alfredo 189, 190, 191 Rontini, Allesandro 94 Rouquet, Jean André, Attributed to 8 Roybet, Ferdinand Victor Léon 137 Russian School 52

16, 19, 37

L Lance, Eveline de la Belinay 124 Langhammer, Walter 165, 166, 167, 168, 169, 170 Leader, Benjamin Williams 131 Lear, Edward 80, 81 Lee-Hankey, William 102 Leech, John 74 Leitch, William Leighton 70 Lens, Peter Paul 12, 13 Lidderdale, Charles Sillem 133

N Neuville, Alphonse Nixon, James Nixon, John

Pritchett, Edward Prout, Samuel Pugh, Edward, Attributed to Pyne, James Baker

143 28 60 173 134 48 188 163

S Sarluis, Léonard 155, 156, 157 Schmitz, Ernst 141 Scott, Samuel E. 130 Seago, Edward 187 Seaman, Noah, Attributed to 9 Shelley, Samuel 26 Smith 129 Sodar, Frans 154 Speed, Harold 120 Spicer, Henry 10 Steer, Philip Wilson 185 Stordy, John, Attributed to 14 Stuart, Charles 149 Swieszewski, Alexander 172 T Tardieu, Victor 176 Taylor, B. 46 Thick(E), William 21 Thick(E), William, Attributed to 23 Thorburn, Archibald 107, 108, 109, 110, 111, 112, 113, 114, 115 Tormeau, John 50 Turner, William, of Oxford 62 U Underhill, Frederick Charles Uwins, Thomas

160 72

V ‘V’ 15 van Hove, Bartholomeus Johannes 152 W Watts, Frederick Webster, Thomas, Attributed to Weigall, Alfred Westall, Richard Wilson, David Forrester

128 118 40 44 159

Z Ziegler, Henry Bryan Zuloaga, Ignacio

61 125

139 93

Paintings & Fine Art AN INVITATION TO CONSIGN

Entries are invited for our Autumn sales of paintings & works on paper 18th October | British & European Fine Art including Portrait Miniatures suzanne.zack@chiswickauctions.co.uk 6th November | An Oriental Journey luke.price@chiswickauctions.co.uk 27th November | Old Master Paintings & Drawings natasha.broad@chiswickauctions.co.uk 3rd December | Modern & Post-War British Art krassi.kuneva@chiswickauctions.co.uk

Modern & Post-War British Art Thursday 4th July, 2pm

FRANK DOBSON, R.A. (1886-1963) Jeanne de Casalis signed Dobson (on the reverse) bronze with green patina 19½ in. (50 cm.), high Conceived in 1934 £7,000-10,000

ENQUIRIES Krassi Kuneva, Head of Modern & Post-War British Art krassi.kuneva@chiswickauctions.co.uk

An Oriental Journey 6th November 2019

ROBERT TALBOT KELLY (BRITISH 1861-1934) Coffee shop, Cairo Signed, dated and inscribed R. Talbot Kelly 1889/Cairo lower right watercolour 33 x 48cm (13 x 19in) Â£800-1,200

ENQUIRIES Luke Price, Specialist, Paintings & Fine Art luke.price@chiswickauctions.co.uk

Old Master Paintings & Drawings Tuesday 25th June, 2pm

STUDIO OF GIOVANNI PAOLO PANINI (ITALY 1691-1765) A Capriccio of Classical Ruins oil on canvas 72.5 x 93.5cm (28½ x 37in) £18,000-25,000

ENQUIRIES Natasha Broad, Acting Head of Old Master Paintings natasha.broad@chiswickauctions.co.uk

Silver & Objects of Vertu Tuesday 18th June 2019

A rare and important mid-19th century Burmese unmarked silver bowl, Thayetmyo circa 1844-65 Bearing the arms of William Willoughbly Cole, 3rd Earl of Enniskillen (1807-1886) who married Jane Casamajor (1815-1855) on 16th Jan 1844 ÂŁ600-800

ENQUIRIES John Rogers, Head of Silver & Objects of Vertu john.rogers@chiswickauctions.co.uk

Terms and Conditions for Buyers at Chiswick Auctions 1. BEFORE THE SALE 1.1 Agent for the seller Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer. ,MĂ&#x2026;VQ\QWV[ For the purposes of the current Terms and Conditions, the Seller shall JM LMĂ&#x2026;VML I[ \PM W_VMZ WN \PM /WWL[ 1\ Q[ QUXTQML \PI\ \PM ;MTTMZ Q[ \PM legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot. The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply. +I\ITWO]M LM[KZQX\QWV[ Any representation in any catalogue or otherwise as to the origin, date, age, attribution, genuineness or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the Catalogue descriptions does not imply that the good is exempt thereof. Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representa-tion of the said Lot. The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good. 1V[XMK\QWV Prior to auction, prospective purchasers are strongly advised to personally examine personally any property in which they are interested to satisfy themselves in relation to matters which may concern them. +WVLQ\QWV ZMXWZ\ CA Ltd may issue a Condition Report on request prior to the sale. <PQ[ +WVLQ\QWV :MXWZ\ Q[ NWZ QLMV\QĂ&#x2026;KI\QWV X]ZXW[M[ WVTa IVL KIVVW\ JM considered as giving a precise account of the Lotâ&#x20AC;&#x2122;s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report. As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyerâ&#x20AC;&#x2122;s sole duty to inspect in person the Lot in order be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto. -TMK\ZQKIT[ )TT MTMK\ZQKIT Q\MU[ IZM [WTL I[ [MMV IVL +) 4\L Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZ[ VW O]IZIV\MM I[ \W the working condition of such items or their safety. It is the Buyerâ&#x20AC;&#x2122;s duty to take necessary steps to be assured that the Lot is safe for normal use. -[\QUI\M[ Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the condition, rarity, or quality of the item etc. Estimates are only indicative

and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates. 1.8 Reserves 5IVa 4W\[ IZM Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZML []JRMK\ \W I ZM[MZ^M _PQKP Q[ \PM KWVĂ&#x2026;LMV\QIT minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids. ! :MOQ[\ZI\QWV \W \PM [ITM New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneerâ&#x20AC;&#x2122;s entire discretion. International bidders may be required to register 48 hours before the sale and to submit bank details. A deposit may be requested prior to each sale. Failure to register shall result in the impossibility for the bidder to purchase a Lot. 8ZWWN WN QLMV\Q\a Bidders not previously known to CA Ltd will be required to provide: Â&#x152; 7â&#x20AC;ŤŮťâ&#x20AC;ŹKQIT XZWWN WN QLMV\Q\a QV \PM NWZU WN I XI[[XWZ\ WZ XPW\WKIZL driving licence. No other forms of ID are acceptable. Â&#x152; 8ZWWN WN ILLZM[[ WN UIQV ZM[QLMVKM 7VTa Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKQIT LWK]UMV\[ showing name and address will be accepted. â&#x20AC;˘ Both landline and mobile telephone numbers â&#x20AC;˘ A bank reference for foreign bidders may be requested Â&#x152; +WZXWZI\M KTQMV\[ _QTT PI^M \W XZW^QLM I KMZ\QĂ&#x2026;KI\M WN QVKWZXWZI\QWV prior to the auction, along with the representativeâ&#x20AC;&#x2122;s ID in accordance with the abovementioned requirements for proof of identity. Any Bidder that does not match the provided identity for registration may not purchase during the sale. 2. DURING THE SALE )\\MVLIVKM I\ I]K\QWV Attending the auction in person is recommended. CA Ltd has the right in their absolute discretion to refuse participation QV IVa I]K\QWV \W ZMRMK\ IVa JQL IVL \W ZMN][M ILUQ[[QWV \W \PM XZMUQ[M[ Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale. 8MZ[WVIT JQLLQVO Bidders attending the auction in person shall be required to collect a number plate prior to the sale. +WUUQ[[QWV JQL[ +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;ŤŮşâ&#x20AC;ŹWZ\[ \W KIZZa W]\ +WUUQ[[QWV JQL[

received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it. +WUUQ[[QWV JQL[ [PITT JM M`MK]\ML I\ \PM TW_M[\ XW[[QJTM XZQKM []JRMK\ to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyerâ&#x20AC;&#x2122;s responsibility to check if they have been successful in purchasing a Lot. In the event of multiple commissions at the same price, the commission set at the older date shall be taken into account. <MTMXPWVM JQL[ If a bidder is not able to attend in person an auction, CA Ltd will use ZMI[WVIJTM Mâ&#x20AC;ŤŮşâ&#x20AC;ŹWZ\[ \W KWV\IK\ XZW[XMK\Q^M *]aMZ[ _PW UISM IZZIVOMUMV\[ prior to commencement of the sale to bid by telephone. +) 4\L KIVVW\ JM PMTL ZM[XWV[QJTM QV \PM M^MV\ WN Q[[]M[ Iâ&#x20AC;ŤŮşâ&#x20AC;ŹMK\QVO KWVVMK\Q^Q\a resulting in the loss of a chance of purchasing the Lot for the Bidder. 1V\MZVM\ JQL[ Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues Iâ&#x20AC;ŤŮşâ&#x20AC;ŹMK\QVO KWVVMK\QWV *QLLQVO WV JMPITN WN [WUMWVM A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required. *QLLQVO WV IV Q\MU Bid incrementing is at the auctioneerâ&#x20AC;&#x2122;s entire discretion. >QLMW \ZIV[UQ[[QWV For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome. ! 7VTQVM WVTa I]K\QWV[ Some auctions may be available to bidders only through an online platform. In this event, Buyers have a 14 day period at reception of the Lot to withdraw from the sale, in accordance with EU Consumer Law. ,Q[X]\M ZM[WT]\QWV L]ZQVO \PM I]K\QWV Any dispute shall be settled at the auctioneerâ&#x20AC;&#x2122;s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneerâ&#x20AC;&#x2122;s entire discretion. 3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. ?PMV I *]aMZ X]ZKPI[M[ U]T\QXTM 4W\[ MIKP 4W\ Q[ \PM []JRMK\ WN I separate contract of sale. <ZIV[NMZ WN XZWXMZ\a Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyerâ&#x20AC;&#x2122;s premium, relevant taxes, and costs in relation to shipping. <ZIV[NMZ WN ZQ[S[

Purchased Lots shall be at the Buyerâ&#x20AC;&#x2122;s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise. +IVKMTTI\QWV WN \PM [ITM At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter. Under no circumstances can the Buyer cancel the sale. CA Ltd may at its entire discretion, during or after the auction, cancel \PM [ITM WN \PM 4W\ WZ ZMWâ&#x20AC;ŤŮşâ&#x20AC;ŹMZ IVL ZM[MTT \PM 4W\ QN Q\ JMKWUM[ I_IZM WN any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale. Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences WZ KMZ\QĂ&#x2026;KI\M[ IVa []J[MY]MV\ KPIVOM[ QV LWUM[\QK WZ QV\MZVI\QWVIT legislations restricting the sale of export of goods etc. In the event of internet-only auctions, the Buyer shall have a 14 day right to retract, after reception of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract. 4. AFTER THE SALE 8IaUMV\ All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be in cash, debit, credit card or bank transfer. Cheques are not accepted. Cash payments shall not be receivable for amounts over â&#x201A;Ź10,000, regardless of the payment being for one or multiple Lots. Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. *]aMZÂź[ 8ZMUQ]U The Buyer will pay CA Ltd a premium of 25% on the hammer price XT][ >)< WV \PI\ KWUUQ[[QWV WV \PM Ă&#x2026;Z[\ Â&#x160; IVL XT][ >)< on the balance thereafter. A Buyerâ&#x20AC;&#x2122;s Premium of 19.5% plus VAT is charged on Wine & Spirits Lots. The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyersâ&#x20AC;&#x2122; premium and invoiced on an inclusive basis. â&#x20AC; : Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *: 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 buyerâ&#x20AC;&#x2122;s premium but will not be shown separately on the invoice. In order to receive a refund of VAT amounts/Import VAT (as applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and (b) export the lot from the EU within 30 days of collection for * lots and 3 months of collection for all other lots and immediately afterwards provide us with satisfactory proof of export. (c) Details of the documents which you must provide to us to show satisfactory proof of export/shipping are available from our Finance \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS shipping/export documents. (d) No VAT amounts or Import VAT will be refunded where the total

ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

collection on Saturday at CA Ltdâ&#x20AC;&#x2122;s discretion.

4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyerâ&#x20AC;&#x2122;s premium. The rate applicable shall be the legal rate at the date of the sale. Goods such as books and antique books, music, maps and charts etc. are []JRMK\ \W bMZW ZI\ML >)< In addition, any import taxes that may be incurred shall be paid by the Buyer above hammer price, VAT and Buyerâ&#x20AC;&#x2122;s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale.

4.7 Storage +) 4\L Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZ[ I LQ[KZM\QWVIZa LIa[ NZMM [\WZIOM WV X]ZKPI[ML 4W\[ from the date of the sale. Thereafter Lots not collected shall incur [\WZIOM KPIZOM[ WN Â&#x160; XMZ TW\ XMZ LIa WZ XIZ\ \PMZMWN +) 4\L [PITT be entitled to retain purchased Lots sold until all sums due have been paid to CA Ltd. If any purchased lot remains uncollected 21 days after \PM [ITM [\WZIOM KPIZOM[ [PITT \PMZMIN\MZ JM Â&#x160; XMZ LIa IVL +) 4\L shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

)Z\Q[\ :M[ITM :QOP\[ ,ZWQ\ LM ;]Q\M 4W\[ UIZSML _Q\P Âť)::Âź UIa JM []JRMK\ \W I TM^a Droit de Suite is a royalty payable to a qualifying artist or to the artistâ&#x20AC;&#x2122;s heir each time a work is resold during the artistâ&#x20AC;&#x2122;s lifetime and up to a period of 70 years after the artistâ&#x20AC;&#x2122;s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyerâ&#x20AC;&#x2122;s premium. The royalty does not apply to Lots selling below the sterling equivalent of â&#x201A;Ź1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of â&#x201A;Ź12,500. Royalties for Droit de Suite are as follows: â&#x20AC;˘ From 0 to â&#x201A;Ź50,000 4% â&#x20AC;˘ From â&#x201A;Ź50,000.01 to â&#x201A;Ź200,000 3% â&#x20AC;˘ From â&#x201A;Ź200,000.01 to â&#x201A;Ź350,000 1% â&#x20AC;˘ From â&#x201A;Ź350,000.01 to â&#x201A;Ź500,000 0.5% â&#x20AC;˘ Exceeding â&#x201A;Ź500,000 0.25% :MUMLQM[ NWZ VWV XIaUMV\ If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: â&#x20AC;˘ To cancel the sale â&#x20AC;˘ To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. â&#x20AC;˘ To resell the Lot on such terms by auction or otherwise entirely at CA Ltdâ&#x20AC;&#x2122;s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. Â&#x152; <W Wâ&#x20AC;Ť[Ůşâ&#x20AC;ŹM\ IOIQV[\ IVa []U[ _PQKP +) 4\L UIa W_M \PM *]aMZ \PM outstanding sums unpaid by the said Buyer Â&#x152; ?PMZM \PM *]aMZ W_M[ []U[ \W +) 4\L QV ZM[XMK\ WN LQâ&#x20AC;ŤŮşâ&#x20AC;ŹMZMV\ transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. Â&#x152; <W ZMN][M MV\Za \W \PM *]aMZ I\ IVa N]\]ZM I]K\QWV IVL WZ ZMRMK\ any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. â&#x20AC;˘ To exercise a lien over the Buyerâ&#x20AC;&#x2122;s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. â&#x20AC;˘ To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. â&#x20AC;˘ To take such other action as is permissible by Law and in the discretion of CA Ltd. +WTTMK\QWV Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for

;PQXXQVO Any shipping costs that may arise subsequently to the sale shall be at the Buyerâ&#x20AC;&#x2122;s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. +) 4\L LWM[ VW\ Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZ QV[]ZIVKM NWZ [PQXXQVO 0W_M^MZ +) 4\L UIa arrange insurance upon the Buyerâ&#x20AC;&#x2122;s request and at the Buyerâ&#x20AC;&#x2122;s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer. ! 4W[[ WZ ,IUIOM CA Ltd does not accept liability for loss or damage occurring to Lots after \PM [ITM +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;ŤŮşâ&#x20AC;ŹWZ\[ _PMV PIVLTQVO XIKSQVO IVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]ZIT /WWL[ QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +]T\]ZIT OWWL[ UIa JM []JRMK\ \W QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ =VLMZ EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the itemâ&#x20AC;&#x2122;s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyerâ&#x20AC;&#x2122;s duty to WJ\IQV \PMU ;WUM KW]V\ZQM[ ZM[\ZQK\ \PM QUXWZ\ WN [XMKQĂ&#x2026;K K]T\]ZIT OWWL[ For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural OWWL[ QV XZW^MVIVKM NZWU [WUM KW]V\ZQM[ []JRMK\ \W IZUML KWVĂ&#x2020;QK\[ The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. +1<-; QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ Certain endangered species are listed in the CITES Convention. Listed [XMKQUMV[ IVL IVa XIZ\[ WZ XZWL]K\[ \PMZMWN IZM []JRMK\ \W Q[[]IVKM WN IV export permit when leaving the European Union. )XXMVLQ` 1 [XMKQM[ IZM IT[W []JRMK\ \W Q[[]IVKM WN I XZQWZ QUXWZ\ XMZUQ\ from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyerâ&#x20AC;&#x2122;s duty to initiate the proceedings with the relevant authority. The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol Ć&#x20AC; IZM []JRMK\ to CITES regulations. 4QUQ\I\QWV WN TQIJQTQ\a ZMOIZLQVO +1<-; M`XWZ\ TQKMV[M[ Where licences are required for importing or exporting outside of the European Union, it is the Buyerâ&#x20AC;&#x2122;s duty to obtain them.

CA Ltd cannot be held responsible if the Buyerâ&#x20AC;&#x2122;s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. ?IZZIV\QM[ CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. )]\PMV\QKQ\a _IZZIV\a In the event of a Lot being sold as authentic under the catalogue description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not, CA Ltd will refund the purchase price. The Buyer shall give notice to CA Ltd within 28 days from knowledge or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall JM LMÃ&#x2026;VML I[ \PM [\I\M WN I 4W\ \PI\ Q[ OMV]QVM IVL VW\ I NWZOMZa WZ I KWXa 5. ANTIQUITIES AND TRIBAL ART 1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ IVL ZMO]TI\QWV[ Archaeological goods over 100 years of age, unless covered by exemption WN TQUQ\ML [KQMV\QÃ&#x2026;K QV\MZM[\ _QTT ZMY]QZM IV -= 4QKMVKM NWZ M`XWZ\ \W I third country, regardless of their value. It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of TQUQ\ML IZKPIMWTWOQKIT WZ [KQMV\QÃ&#x2026;K QV\MZM[\ Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. 7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV Individual Licence or OGEL depending on their value. Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyerâ&#x20AC;&#x2122;s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences. 6. JEWELLERY /MU[\WVM \ZMI\UMV\ IVL M[\QUI\M[ Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: â&#x20AC;¢ Heat treatment to enhance sapphires and rubiesâ&#x20AC;&#x2122; clarity and colour Â&#x152; 7QT IVL ZM[QV \ZMI\UMV\[ NWZ MUMZITL[ IXXTQML QV LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ _Ia[ \W enhance clarity of the stone â&#x20AC;¢ Staining â&#x20AC;¢ Irradiation â&#x20AC;¢ Coating Estimates provided by CA Ltd are deemed to be based on the fact that the OMU[\WVM UIa PI^M JMMV []JRMK\ \W IVa \aXM WN \ZMI\UMV\ QV \PM XI[\ +) Ltd shall not be responsible in the absence of mention thereof. ) KMZ\QÃ&#x2026;KI\M UIa JM Q[[]ML Ja I TIJWZI\WZa XZW^QLQVO _Q\P LM\IQTML information on the condition of the gemstone and any treatment applied \PMZM\W <PM *]aMZ U][\ JM I_IZM \PI\ LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ TIJWZI\WZQM[ PI^M LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ approaches as to the degree or type of treatment for a particular gemstone. 1N I KMZ\QÃ&#x2026;KI\M IKKWUXIVQM[ \PM 4W\ \PM *]aMZ U][\ JM I_IZM \PI\ Q\ Q[ merely a statement of the laboratoryâ&#x20AC;&#x2122;s opinion and in no way can CA Ltd JM PMTL ZM[XWV[QJTM NWZ IVa UMV\QWV[ \PMZMQV ;]KP KMZ\QÃ&#x2026;KI\M[ IZM LMMUML to be delivered with the Lot for informative purposes only.

-[\QUI\ML _MQOP\[ If a stoneâ&#x20AC;&#x2122;s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA 4\L _Q\PQV Q\[ [M\\QVO IVL \PM LMÃ&#x2026;VML _MQOP\ Q[ I [\I\MUMV\ WN WXQVQWV only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. ;QOVI\]ZM[ â&#x20AC;&#x2DC;) LQIUWVL ZQVO Ja @â&#x20AC;&#x2122;: When the makerâ&#x20AC;&#x2122;s name appears in the title, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion the piece is by that maker. â&#x20AC;&#x2DC;) LQIUWVL ZQVO [QOVML @â&#x20AC;&#x2122;: Has a signature that, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. â&#x20AC;&#x2DC;) LQIUWVL ZQVO UW]V\ML Ja @â&#x20AC;&#x2122;: Has been created by the RM_MTTMZ QV +PQ[_QKS )]K\QWV[Â¼ WXQVQWV J]\ ][QVO [\WVM[ WZ LM[QOV[ supplied by the client. â&#x20AC;&#x2DC;5ISMZÂ¼[ UIZS NWZ @â&#x20AC;&#x2122;: Has a makerâ&#x20AC;&#x2122;s mark which in Chiswick Auctionsâ&#x20AC;&#x2122; opinion is authentic. Some items may include parts or products derived from endangered [XMKQM[ []KP I[ Q^WZa WZ KWZIT ;]KP Q\MU[ UIa JM []JRMK\ \W QUXWZ\ WZ export restrictions. See section on CITES regulations for more details. 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and _Q\PW]\ LMNMK\[ WZ PI[ JMMV []JRMK\ \W ZMXIQZ WZ ZM[\WZI\QWV CA Ltd makes no representation or warranty that any clock or watch Q[ QV _WZSQVO WZLMZ )[ KTWKS[ IVL _I\KPM[ WN\MV KWV\IQV Ã&#x2026;VM IVL complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto. The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof. Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for import or export purposes in accordance with CITES regulations. CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps. 8. FURNITURE =XPWT[\MZML N]ZVQ\]ZM IN\MZ ! According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is []JRMK\ \W ZM[\ZQK\QWV[ QV \PM =VQ\ML 3QVOLWU Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be ZM[XWV[QJTM NWZ TI\MZ IT\MZI\QWV[ \W \PM N]ZVQ\]ZM UISQVO Q\ ]VÃ&#x2026;\ NWZ [ITM 9. GLOSSARY OF PICTURE CATALOGUING TERMS Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

1 JMW Turner: In our opinion a work by the artist. When the artistâ&#x20AC;&#x2122;s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. )\\ZQJ]\ML \W 25? <]ZVMZ" In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category. ;\]LQW WN 25? <]ZVMZ" In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artistâ&#x20AC;&#x2122;s direction. +QZKTM WN 25? <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja IV I[ aM\ ]VQLMV\QĂ&#x2026;ML but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. ;\aTM WNÂ°# .WTTW_MZ WN 25? <]ZVMZ" In our opinion a work by a painter working in the artistâ&#x20AC;&#x2122;s style, but not necessarily his pupil. 6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date. 7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist. 8 The term â&#x20AC;&#x2DC;signedâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;datedâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;inscribedâ&#x20AC;&#x2122; means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. 9 The term â&#x20AC;&#x2DC;with signatureâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;with dateâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;with inscriptionâ&#x20AC;&#x2122; means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist. 10 Pictures are framed unless otherwise stated.

bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of IV ÂťIKKMX\IJTMÂź Ă&#x2026;TT TM^MT NZWU +) 4\L CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc.

10. ASIAN ARTS

15. SEVERABILITY

1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ ?PMV LMITQVO _Q\P )[QIV )Z\[ IVL UWZM [XMKQĂ&#x2026;KITTa _Q\P Q\MU[ UILM WN exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, QUXWZ\ IVL M`XWZ\ XMZUQ\[ WZ ZM M`XWZ\ KMZ\QĂ&#x2026;KI\M[ UIa JM ZMY]QZML >MZQĂ&#x2026;KI\QWV TM\\MZ[ _QTT JM ZMY]QZML NWZ ZM M`XWZ\ WN _WZSML ZPQVWKMZW[ Q\MU[

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, []KP XZW^Q[QWV Q[ \W \ISM Mâ&#x20AC;ŤŮşâ&#x20AC;ŹMK\ WVTa QV [W NIZ I[ Q\ UIa LW [W _Q\PW]\ contravening such legislation and the legality, validity and enforceability WN IVa WN \PM ZMUIQVQVO XZW^Q[QWV[ IZM VW\ QV IVa _Ia \W JM Iâ&#x20AC;ŤŮşâ&#x20AC;ŹMK\ML or impaired as a result.

.QVM +PQVM[M 8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM Ă&#x2026;MTL WN +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[ VW\ XMZUQ\ ]VY]ITQĂ&#x2026;ML [\I\MUMV\[ I[ \W \PM I]\PWZ[PQX WZ LI\M WN execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, I ÂťNWZOMZaÂź Q[ LMĂ&#x2026;VML I[ I _WZS KZMI\ML _Q\P \PM QV\MV\ \W LMKMQ^M 11. BOOKS AND MANUSCRIPTS *WWS[ IVL UIV][KZQX\[ [WTL I[ QVKWUXTM\M IZM VW\ []JRMK\ \W ZM\]ZV[ Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of â&#x20AC;&#x2DC;bindingâ&#x20AC;&#x2122; or â&#x20AC;&#x2DC;bindingsâ&#x20AC;&#x2122;.

13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the above mentioned materials without the prior written consent of CA Ltd. ;WUM 4W\[ UIa JM []JRMK\ \W KWXaZQOP\ XZW\MK\QWV +) 4\L LWM[ VW\ guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyerâ&#x20AC;&#x2122;s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder.

16. AMENDMENTS The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. .WZ \PM JMVMĂ&#x2026;\ WN +) 4\L ITT JQLLMZ[ IVL [MTTMZ[ IOZMM \PI\ \PM +W]Z\[ WN -VOTIVL IZM \W PI^M M`KT][Q^M R]ZQ[LQK\QWV \W [M\\TM ITT LQ[X]\M[ IZQ[QVO QV connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

12. WINES AND SPIRITS In accordance with agreed standards in the trade, estimates shall be LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM Ă&#x2026;TT TM^MT For the purposes of the present Terms and Conditions, the â&#x20AC;&#x2DC;Fill Levelâ&#x20AC;&#x2122; refers to the space between the base of the cork and the liquid in the

SPECIALISTS

ANTIQUITIES & TRIBAL ART Alice King, Head of Department antiquities@chiswickauctions.co.uk

JEWELLERY Sarah Duncan, Head of Department jewellery@chiswickauctions.co.uk

ARMS, ARMOUR & MILITARIA Matthew Easton, Head of Department armsandarmour@chiswickauctions.co.uk

MODERN DESIGN Bruce Addison, Head of Department bruce.addison@chiswickauctions.co.uk

ASIAN ART Lazarus Halstead, Head of Department asian@chiswickauctions.co.uk

PHOTOGRAPHICA Austin Farahar, Head of Department photographica@chiswickauctions.co.uk

CERAMICS & GLASS Dr. Jim Peake, Head of Department ceramics@chiswickauctions.co.uk

RARE BOOKS & WORKS ON PAPER Clive Moss, Head of Department books@chiswickauctions.co.uk

DESIGN & INTERIORS Liz Winnicott, Head of Department design@chiswickauctions.co.uk

Valentina Borghi, Head of Sales – Autographs & Memorabilia autographs@chiswickauctions.co.uk

DESIGNER HANDBAGS & FASHION Meg Randell, Head of Department fashion@chiswickauctions.co.uk EUROPEAN WORKS OF ART & CLOCKS Rachael Osborn-Howard, Head of Department worksofart@chiswickauctions.co.uk FINE ART Adrian Biddell, Head of Department adrian.biddell@chiswickauctions.co.uk Suzanne Zack, Head of Sale, British and European Fine Art suzanne.zack@chiswickauctions.co.uk Krassi Kuneva, Head of Sale, Modern & Post-War British Art krassi.kuneva@chiswickauctions.co.uk Natasha Broad, Acting Head of Sale, Old Masters natasha.broad@chiswickauctions.co.uk Luke Price, Specialist, Paintings & Fine Art luke.price@chiswickauctions.co.uk ISLAMIC & INDIAN ART Beatrice Campi, Head of Department islamic@chiswickauctions.co.uk

RUGS & CARPETS Mark Henry Lampé, Head of Department rugs@chiswickauctions.co.uk SILVER & OBJECTS OF VERTU John Rogers, Head of Department silver@chiswickauctions.co.uk URBAN ART Penelope Sonder, Head of Department urbanart@chiswickauctions.co.uk WATCHES Tomas Aznar, Head of Department watches@chiswickauctions.co.uk WINE & SPIRITS Sam Hellyer, Head of Department wine@chiswickauctions.co.uk

SALE CALENDAR

JUNE

TUESDAY Old Master Paintings

WEDNESDAY

Books & Works on Paper

THURSDAY

Antiquities & Tribal Art

JULY

THURSDAY Modern & Post-War British Art

THURSDAY

Jewellery Designer Handbags & Fashion

WEDNESDAY Design & Interiors

TUESDAY Islamic & Indian Art including Fine Rugs & Carpets

AUGUST

13-15

TUESDAY - THURSDAY Design & Interiors Books & Works on Paper )‫ٺ‬WZLIJTM 4]`]Za Rugs & Carpets

*Please note that auction dates are subject to change.

1 Colville Road, London W3 8BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk