CA - OMP - December 2020 by Chiswick Auctions

Old Master Paintings & Drawings 4 December 2020

An Update on our ServicesÂ Our Chiswick Saleroom is now open to for collections by appointment only. We continue to implement social distancing to ensure the health and safety of our clients and staff in line with the UK Governmentâ&#x20AC;&#x2122;s guidelines. Can I still view the sale? Selected highlights will be on view in our saleroom from Wednesday 2 December until Friday 4 December. The lots will be viewable on these dates by appointment. All our sales are fully illustrated online and have been expertly catalogued by our specialists. We recommend you request a condition report via our website prior to the sale. Our specialists are more than happy to assist with any additional questions via email, phone and Zoom Call. If you would like to view any of the lots in person, please contact the Head of Sale, Laetitia Masson to set up an appointment at our Chiswick Saleroom. During these viewings, we will ask you to follow social distancing guidelines and other measures to reduce risks, including wearing a face covering. T: 020 8992 4442 E: laetitia.masson@chiswickauctions.co.uk The good news is we are fully functional online and continue to run sales in a live-stream format. Bidding is welcome through our online platform, on the telephone and via absentee bids. These details are subject to change but we will continue to keep you updated via our newsletter, website and social media channels.

Paintings & Fine Art Department

Laetitia Masson Head of Sale Old Master Paintings & Drawings laetitia.masson@chiswickauctions.co.uk

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

Ishbel Gray Head of Sale British & European Fine Art ishbel.gray@chiswickauctions.co.uk

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

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

Madeleine White Department Cataloguer & Coordinator Paintings & Fine Art madeleine.white@chiswickauctions.co.uk

Suzanne Zack Consultant British & European Fine Art & Portrait Miniatures suzanne.zack@chiswickauctions.co.uk

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Old Master Paintings & Drawings Friday 4 December 2020, 12 noon Buyer’s Premium The buyer shall pay Chiswick Auctions Ltd. a premium on the hammer price of 25% +VAT on that commission. Collection of Lots Buyers are asked to collect their lots on the day of the sale or between 10am – 6pm up until close of business on Friday following the sale. Cites Please be aware that all lots marked with the symbol λ are subject to CITES regulations. Please see our Terms & Conditions for more information. Artist’s Resale Right/Droit De Suite Lots marked with ARR indicates that an additional levy may apply for this lot. Please see our Terms & Conditions for more information. Photography Steven McCauley Basak Ulukose

Front Cover Lot 609 Back Cover Lot 608 Index Lot 623 Inner spreads Lots 625, 615, 607

601

ATTRIBUTED TO ANDREA BOSCOLI (FLORENCE 1560 – NAPLES AFTER 1631) Study of a figure seen from behind carrying a child; Figure studies in a pendentive pen and brown ink and brown wash over black chalk; pen and brown ink over black chalk 290 x 223 mm (11 1/2 x 8 3/4 in) £3,000 - 5,000

602

LEONARDO COCCORANTE (NAPOLI 1680 - 1750) Animated cappriccio with figures among ruins - a pair oil on canvas 27.9 x 46.5 cm (11 x 18 3/8 in) (2) PROVENANCE: Private Collection, USA. The present work features a composition typical of the work of Leonardo Coccorante, known for his architectural capricci depicting classical ruins populated with animated figures. Coccorante studied in Naples with Angelo Maria Costa, who encouraged him to produce scenic views, in the style of stage sets, a very popular local genre at the time. Coccorante was one of the most successful painters in the genre, and between 1737 and 1739, he went on to work in the court of Charles VII of Naples. His projects included the decoration of the Palazzo Reale on the occasion of the betrothal of Charles III of Spain, King of the Two Sicilies, and Marie-Amelia of Saxony. Among the most talented of the circle of Luca Giordano, Coccorante was called Il Giordano di Prospettiva. £2,500 - 3,500

Verso

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603

NEAPOLITAN SCHOOL (MID-17TH CENTURY) Three studies of a fisherman pen and brown ink and black chalk; black chalk; black chalk 95 x 65 mm; 78 x 67 mm; 75 x 76 mm (3 3/4 x 2 1/2 in; 3 x 2 1/2 in; 3 x 3 in) (3) £200 - 300

604

FALSARIO DI GUERCINO (ACTIVE MID18TH CENTURY) Hilly landscape with figures in the foreground pen and ink over black chalk within black drawn line 152 x 246 mm (6 x 3/4 in)

605

No lot

PROVENANCE: Giuseppe Vallardi, his mark (Lugt 1223) and his red chalk numbering on the reverse £600 - 800

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Fig.1

606

ADRIAEN VAN DIEST (THE HAGUE 1655/56 - LONDON 1704) Mediterranean landscape with fishermen raising a net in the foreground, a port beyond Monogrammed “AVD...s.” lower right oil on canvas 40,9 x 149,2 cm (18 1/3 x 60 1/2 in PROVENANCE: Sale, Sothebys, London, 19 September 2019, Lot 163; Property of Sir Peter Moores, CBE, DL, Removed from Parbold Hall; Sale Christie’s, London, 1 March 1991, lot 111, where acquired; Sale, Sotheby’s, London, 20 April 1988, lot. 111, (ill.) £4,000 - 6,000

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607

PIETRO ANTONIANI (MILANO 1740/50 – 1805) Eruption of Vesuvius in 1767 oil on canvas, unframed 52.5 x 101.5 cm (20 3/4 x 40 in) The present work is an especially fine example by landscape painter Pietro Antoniani of a genre inspired by Pierre-Jacques Volaire and Joseph Wright of Derby, who both excelled in depicting both the drama and the sublime of the Vesuvius erupting in 1767. The tranquillity of the sea stands in stark contrast to the violence of the volcano. The white hot jet of molten liquid hurled from the heart of the volcano is framed by dense black clouds, and a further wreath of smoke streams out across the bay, not quite obscuring a brilliant full moon. Figures, scarcely visible in the sombre foreground, add a human element to the composition and stress man’s insignificance before the sublime grandeur of nature. £6,000 - 8,000

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608

SCHOOL OF CREMONA (EARLY 17TH CENTURY) The dream of Parrashius monogrammed L.S.E oil on copper 18.6 x 14.2 cm (7 1/3 x 5 1/2 in PROVENANCE: Private Collection, Switzerland

The present work is likely to represent the Greek painter Parrhasius of Ephesus in his studio, flanked by a terracotta sculpture of a satyr on his right and a monumental head of Hercules on his left. Carving tools lying on the table suggest that Parrhasius himself completed the sculpture of the satyr, a reference almost certainly to Pliny the Elder. In his Historia Naturalis, vol. XXXV Pliny recounts that Parrhasius’ paintings technique compared to that of a sculptor, and that he relied on outline to articulate the shapes and volumes within his paintings (1). Parrhasius’ ability to achieve such three dimensional realism in his compositions won him a contest with the other great painter, Zeuxis of Heraclea.

The closed eyes of Hercules - asleep - allude to Parrhasius’ dream. Although none of Parrhasius’ works survived, Pliny does record a painting of Hercules that Parrhasius completed for the Temple of Athena Lindia on the island of Rhodes which was destroyed by fire in the 4th century BC. The painting reportedly bore the epigram Quale nelle tenebre della notte apparve a Parrasio nel sogno, tale qui lo si vede (transl.: The Hercules who appeared in Parrhasius’s dream at night, is the same one seen here). The present oil on copper is by an artist from the School of Cremona, the city of which Hercules was the mythical founder. In the 16th century Antonio Campi (1524-1587) founded, together with his family, the Cremonese School of painting. (1) Sculpt also denotes delineavit in Latin, further emphasising the close relationship between sculpture and painting. £10,000 - 15,000

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609

ATTRIBUTED TO VITTORIO MARIA BIGARI (BOLOGNA 1692 - 1776) Samson destroying the pillars of the temple; Delilah cutting Samson’s hair - a pair oil on canvas 35 x 35 cm (13 3/4 x 13 3/4 in) (2) £3,000- 4,000

610

CIRCLE OF GIULIO CESARE PROCACCINI (BOLOGNA 1574 - MILANO 1625 ) Study for a Narcissus red chalk on paper 205 x 297 mm (8 x 11 1/2 in) watermark reads ‘Bergamo’ £1,000 - 1,200

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611

ATTRIBUTED TO NICOLA BERTUZZI (ANCONA 1710 - BOLOGNA 1777) Charon transporting the souls on the river Styx oil on paper laid down on board 41 x 60.5 cm (16 x 24 in) Â£1,500 - 2,000

612

ANDREA DE LEONE (NAPLES 1610 - 1685) Battle between the Hebrews and the Philistines with David & Goliath oil on octagonal canvas 48.5 x 62 cm (19 x 24 1/2 in) Painted circa 1650-1660 Bears inscription on the reverse David che uccide il Gigante Golia / Dipinto di Andrea da Leone The present work, recently rediscovered, can be dated from the mature period of Andrea di Leone’s career as a painter of battles, when he asserted his stylistic independence from his master Aniello Falcone (Naples 1660 1665). Both Goliath’s size and distortion in the foreground are typical of De Leone’s style in his more mature works, as also shown in a signed painting of the same subject dating circa 1645 in the collection of the Capodimonte Museum in Naples (inv. 8315), (fig. 1). De Leone’s sophisticated use of lapis lazuli in David’s cloak and in the sky adds drama to the composition. Divided into two parts, the foreground remains in the shadows leaving the protagonists in the dark while the light shed on the turbulent background reveals a mass of soldiers on the battle field. The Neapolitan

practice of life drawing was key to the depiction of such battle scenes, as illustrated by the several red chalk male nudes in movement. The biblical scene of David fighting Goliath in the foreground emphasises the violent backdrop inspired by the war of the time. Andrea di Leone built his fame and a commercial success on his battle paintings, stimulated by important commissions, and strong market demand thereafter. The genre of landscapes with battles had become a topic of the time in aristocratic European circles, and in Naples most particularly, due to the Thirty Years’ War, which had seen the young Neapolitans sent to the front across Europe. The genre of battle paintings was developed in Naples in Aniello’s Falcone workshop, which Andrea de Leone himself and Salvatore Rosa in particular went on to explore further. We are grateful to Miriam di Penta for her help in cataloguing this present lot. (1) see Andrea di Leone, Andrea De Leone (Napoli 1610-1685), Dipinti e disegni, Rome, 2016, cat. entry Q.7 £10,000 - 15,000

Fig.1

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613

FRENCH SCHOOL (EARLY 18TH CENTURY) Juno commanding Aeolos to release the winds black chalk with white heightening on blue paper 220 x 277 mm (8 5/8 x 11 in) Bears numbering in pen and brown ink on the reverse. £600 - 800

614

CIRCLE OF DOMENICO FETTI (ROME 1589 - VENICE 1629) Jacob’s dream brush and red wash on paper, heigtened with pen and black ink, indented 345 x 411 mm (13 1/2 x 16 1/8 in) Bears inscription in pen and brown ink on the reverse Miradoro orig The present work records in reverse the Dream of Jacob painting by Domenico Fetti. Safarik lists nine known versions of this composition by Fetti and his followers (1). The prime version is in the Kunsthistorisches Museum, Vienna (inv. no. 3819) and shows the angels ascending on a golden staircase. There is no print of the painting. (1) E. Safarik, Domenico Fetti: 1588/89 - 1623, exh. cat. Palazzo Te, Mantua, Milan 1996, pp. 198 £200 - 300

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615

DANIEL VERTANGEN (THE HAGUE C.1598 - AMSTERDAM C.1684) Diana and her nymphs bathing signed D. Vertangen. fecit (lower centre) oil on panel 33 x 42 cm (13 x 16 1/2 in) PROVENANCE: Sotheby’s, London, 31st October 2002, lot 69 £4,000 - 5,000

616

GIOVANNI MAURA DELLA ROVERE, CALLED IL FIAMINGHINO (MILAN 1575 - 1640) Pietà pen and brown ink over black chalk, with blue wash and oxydise white heightening on paper, laid down 300 x 155 mm (11 3/4 x 6 in) PROVENANCE: Sale, Karl & Faber, Munich, 7 November 2014, lot 23 £2,300 - 2,400

617

BERNARDINO BARBARELLI CALLED IL POCCETTI (FLORENCE 1548 - 1612) The Stoning of Saint Stephen pen and brown ink over red chalk, grey wash on paper 127 x 185 mm (5 x 7 1/3 in) PROVENANCE: Sale, Karl & Faber, Munich, 29 April 2016, Lot 103 Bernardino Poccetti together Cosimo Daddi explored the present subject in the Chapel’s frescoes of the Villa Medicea della Petraia between 1575 and 1630. Another drawing of this subject was exhibited by Kate de Rothschild, London (Exhibition of Old Master Drawings, 1987, no. 15) (fig. 1). The pen and brown ink over red chalk technique can be found on other lunette shaped working studies by Poccetti such as the one preparatory for the Santa Maria degli Angeli cloister and formerly attributed to Federico Zuccaro. £1,000 - 1,500

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Fig.1

618

SCHOOL OF GIOVANNI LANFRANCO (PARMA 1582 - ROME 1647) Study of a male figure on a cloud red chalk with white heightnening on paper 207 x 367 mm (8 1/4 x 14 1/2 in) PROVENANCE: Private Collection, Switzerland; Alessandro Maggiori, his handwritten note ‘Alessandro compro in Bologna il di 15 Agosto del 1792’, his mark (L.3005b) Bears inscription ‘Il Giorgione f.’ £5,000 - 6,000

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619

JOSEPH WRIGHT OF DERBY (DERBY 1734 - 1797) Portrait of a young lady in a feather hat and a blue dress, bust length oil on canvas 77 x 64 cm (30 1/4 x 25 1/4 in) PROVENANCE: Private Collection, Germany; Sydney Seymour-Lucas, Suffolk, UK Dating from the early 1750s, and newly attributed to Joseph Wright of Derby, the present work is a particularly fine example of the artist’s early portrait style. Portrayed in a feigned oval, the commanding pose and graceful air of the sitter reflects the influence of the London painter Thomas Hudson, in whose studio Wright worked from 1751-153, while the subtle use of light and shade that model the young lady’s features announces the style of Wright’s later works. Lit from the right, Wright defines the format of the composition with the theatrical plumes

of the sitter’s hat at the top of the canvas and the tulle-like fabric of her sleeves to left and right to create a triangular focus. Within these confines he decorates the young girl with a string of pearls that fall languorously around her face and neck to her bosom, and the semi-precious stones that descend from her shoulders to provocatively trace the décolletage of her dress. Although the sitter is yet to be identified, the dress, pearls and jewels compare to those worn in the Lady of the Chomley family’s portrait painted by Wright in 1755, suggesting that the clothes may be studio clothing, and the sitter possibly a model, in which case the present work may have been used by the young Wright to show his abilities and tout for portrait commissions from prospective clients. We are grateful to Brian Allen for confirming the attribution of the present work to Joseph Wright of Derby. £15,000 - 20,000

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620

FRENCH SCHOOL (LATE 17TH/EARLY 18TH CENTURY) Architectural Project for a facade with Mercurio, Apollo and orther gods statues in niches pen and brown ink, grey wash, and watercolour on paper 165 x 280 mm (6 1/2 x 11 in) PROVENANCE: Private Collection, London; Colnaghi Gallery, London £600 - 800

621

AFTER ANNIBALE CARRACCI (BOLOGNA 1555 - 1619) The Rape of Europa pen and brown ink over black chalk on paper 260 x 330 mm (10 1/4 x 13 in.) The present work is a 17th-century copy after a detail of the Triumph of Bacchus & Ariadne fresco executed between 1597 and 1600 by Annibale Carraci in the Palazzo Farnese, Rome. £300 - 400

622

CIRCLE OF NICOLAS POUSSIN (LES ANDELYS 1594 - ROME 1665) Studies after trophies; Female head study, bozzetto bears inscription Molto il Sig. et Pro (padrone) Osservandissimo..../ Per la Cardinale.. il quadro del ... ben condironato pen and brown ink and brown wash on paper; pen and brown ink and red chalk 190 x 267 mm (7 1/2 x 10 1/2 in.) £1,500 - 2,500

Verso 33

623

WORKSHOP OF FRANCESCO DEL CAIRO (MILAN 1607 - 1665) The Death of Lucretia oil on canvas 130 x 96.5 cm (51 1/4 x 38 in) PROVENANCE: Sale, France, 1989 The present work relates to a painting with variants by Francesco del Cairo in the Prado Museum, Madrid, (fig. 1). Â£4,000 - 5,000

Fig.1

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624

625

FLEMISH SCHOOL (MID-17TH CENTURY) Adoration of the Magi pen and brown ink and brown wash within drawn line 161 x 214 mm (6 1/4 x 8 1/2 in)

ATTRIBUTED TO CORNELIS SCHUT (ANTWERP 1597 - 1655) The Lamentation black chalk with pen and brown ink heightening on paper, indented 85 x 245 mm (3 1/3 x 9 1/2 in) Bears inscription in pen and ink d’Ant Vandyck on the verso The present work derives from Van Dyck’s Pietà and is most likely in preparation for a print.

PROVENANCE: Edmond Calando, his mark (Lugt 837) Bears an illegible inscription running across the sheet (possibly in Flemish). £700 - 900

Schut was primarily a painter and an etcher. He trained in Rubens’s school and was

considered one of his master’s best pupils. Van Dyck painted his portrait and kept it in his private collection of the artists he considered most celebrated. PROVENANCE: Private Collection, London; Kate Ganz Ltd., London EXHIBITED: Kate Ganz Limited, Old Master Drawings, Summer 1984, London, vol. 4, no 28 (ill.) £500 - 700

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626

627

ATTRIBUTED TO GIUSEPPE MARCHESI CALLED IL SANSONE (BOLOGNA 1699 1771) Saint Theresa visiting a prison pen and brown ink with brown wash on paper, squarred up in black chalk 194 x 152 mm (7 4/5 x 6 in.)

NEOCLASSICAL FRENCH SCHOOL The Death of Seneca black chalk over watercolour on paper 267 x 330 mm (10 1/2 x 13 in)

The style of the present work is close in style to that of Aureliano Milani then Marcantonio Franceschini, both his teachers. The figures in Marchesi’s drawings have a lilt and a sway, a rythmic interaction with each other and the setting unlike Milani. Comparable drawings are in the North Carolina Museum of Art, Raleigh and in the Museum of Fine Arts, Boston.

£300 - 400

Bears inscription on the reverse in pen and ink signé G. E. Mareno (?) f.t 1809

£800 - 1,000

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628

629

AFTER MARCO RICCI (MID/ LATE-18TH CENTURY) Capriccio with figures among ancient ruins with a circular temple in the background oil on canvas 87 x 70 cm (34 1/4 x 27 1/2 in)

ETIENNE ALLEGRAIN (PARIS 1664 - 1736) Classical landscape oil on canvas, in fine carved gilt frame 54 x 73 cm (21 1/4 x 28 3/4 in)

The present work is a variant after a known engraving by Marco Ricci an example of which is at the British Museum (inv. 1871,0812.5577). £2,000 - 3,000

PROVENANCE: Sale, Sotheby’s, London, 8 July 1999, lot 230 (as Etienne Allegrain) The present work can be ascribed to Etienne Allegrain, a landscape painter highly inspired by Nicolas Poussin (1594-1665). £4,000 - 6,000

630

FRENCH SCHOOL (EARLY 19TH CENTURY Salvatore Mundi oil on canvas 49.5 x 41 cm (19 1/2 x 16 1/4 in) Â£500 - 700

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631

LOMBARD SCHOOL (MID-17TH CENTURY) Virgin Mary oil on canvas 41.2 x 31.5 cm (15 3/4 x 12 1/2 in) Â£1,000 - 1,200

632

JACQUES-LAURENT AGASSE (GENEVA 1767- LONDON 1849) Portrait of a Horse oil on canvas laid on board 89 x 76 cm (35 x 30 in) PROVENANCE: Private Collection, France Â£1,500 - 2,500

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633

HENRY CURZON ALLPORT (ALDRIDGE 1788 - PARAMATTA 1854) Lakeland landscape oil on canvas 85 x 125 cm (33 1/2 X 49 1/4 in) PROVENANCE: Private Collection, Switzerland Â£3,000-5,000

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634

ATTRIBUTED TO GIUSEPPE CADES (ROME 1750 - 1799) The Farewell pastel on paper, joined upper section 470 x 350 mm (18 2/4 x 13 3/4 in) The subject and style of the present work relate to the frescoes executed by Cades in the late 1780s in the Ariosto Room of the Chigi Palace, Ariccia. Cades uses flamboyant colours to depict the costume of his characters. He had visited Bologna and Venice around the time of the Ariccia decorations where he admired the works by Paolo Veronese and Luca Giordano. Anthony M Clark describes Cades as a notable exponent of the fashion in the 1780s and ‘90s

for costume pieces, which is a notable feature of the present pastel, not dissimilar to the style of Fragonard. He admired Rubens, and the use of sumptuous costumes to enrich and give vigour to a careful and dramatic composition. The beauty of tone and the wealth of texture are to Cades’ purpose. (see A. M. Clark, ‘An Introduction to the Drawings of Giuseppe Cades’, Master Drawings, vol. 2, no. 1, spring 1964, pp.18-26 & 68-75). Giuseppe Cades benefited from the British patronage early in his career and by the later 1770’s his studio was a must for visiting ‘grandees’ and shared the patrons of such artists as Gavin Hamilton and Canova.

635

FOLLOWER OF JEAN RAOUX (MONTPELLIER 1677 - PARIS 1734) The thief oil on canvas 76 x 94 cm (30 x 37 in) £3,000-4,000

£2,000-3,000

Verso 636

ROMAN SCHOOL (MID-18TH CENTURY) Study of a baby and hands studies; Another study of a baby child black and red chalks on blue paper; black and red chalks with white heightening 235 x 230 mm (9 1/4 x 9 in) watermark Bears numbering in pen and brown ink 36 PROVENANCE: Private Collection, London; John Manning, London late 1950s ÂŁ500 - 600

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637

638

CHARLES JOSHUA CHAPLIN (LES ANDELYS 1825 - PARIS 1891) Composition study for the new ceiling of the Empress’s ‘Salon Rose’ signed in brown watercolour Ch. Chaplin (lower right) red chalk on paper, laid down 305 x 245 mm (12 x 9 2/3 in)

ATTRIBUTED TO JOHN KEYSE SHERWIN (EAST DEAN 1751 - LONDON 1790) Study of a couple in movement, bust length, the woman in three-quarters, the man in profile black and red chalk, blue on paper 262 x 345 mm (10 1/3 x 13 1/2 in)

The present work is a preparatory sketch for the decoration of the Empress Eugenie’s new appartments’ recorded through an engraving by Paul and Henri Sellier and published in the Monde Illustré in 1867. There is another drawing by Charles Chaplin similar in style to the present work representing the Allegory of the Arts in the collection of the Musée Magnin, Dijon (1938 DF 143).

The present work is possibly one of the very few drawings by John Kayse Sherwin, engraver to King George III. His drawing technique however is recorded as ‘in black and red chalk, and a mixture of colour with crayon, similar to those of Bartolozzi’ when his drawing entitled The joys of life was exhibited at the Royal Academy (see Neil Jeffares, The Dictionary of pastellists before 1800, entry Sherwin).

£700 - 900

Bears inscription in pen and brown ink J. K. Sherwin / 1780

£800 - 1,200 49

639

KLAES MOLENAER (HAARLEM c. 1630 - c. 1676) Landscape with figures before a village signed k . Molenaer / F (lower left) oil on panel 31 x 41.5 cm (12 1/4 x 16 1/4 in) £1,000 - 1,500

640

641

DUTCH SCHOOL (MID-18TH CENTURY) Village by the river oil canvas 34 x 46 cm (13 1/3 x 18 1/5 in)

FLEMISH SCHOOL (EARLY 17TH CENTURY) A mountainous wooded landscape with travellers on a track oil on panel 22.8 x 30.2 cm (9 x 11 7/8 in.)

£800 - 1,200

£2,000 - 3,000

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642

FOLLOWER OF ARTEMISIA GENTILESCHI, LATE 17TH CENTURY Lucretia oil on canvas 63 x 51 cm (25 3/4 x 20 in) Â£3,000-5,000

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643

CIRCLE OF GIUSEPPE BARTOLOMEO CHIARI (ROME 1654 - 1727) Diane and Adonis oil on canvas 41.3 x 32 cm (16 1/4 x 12 1/2 in) Â£1,000 - 1,500

644

645

AFTER ANTONIO ALLEGRINI DA CORREGGIO (CORREGGIO 1494 - 1534) The Mystic Marriage of Saint Catherine oil on copper 51.7 x 42.5 cm (20 1/2 x 16 3/4 in)

AFTER RAFFAELLO SANZIO (URBINO 1483 - ROME 1520) The Holy Family of Francis I oil on canvas laid down on board 55.5 x 40.5 cm (21 2/3 x 16 in)

The present work is after the painting in the Musée du Louvre, Paris.

The present work is an 18th-century copy after a painting commissioned by Pope Leo X from Raphael and executed by his workshop now in the Musée du Louvre, Paris.

£1,000 - 1,200

£1,500 - 2,500

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646

647

CIRCLE OF GIOVANNI BATTISTA PIAZZETTA (VENICE 1682 - 1754) Jesus with the Cross oil on canvas 57 x 45.7cm (22 1/2 x 18 in)

AFTER GIOVANNI BATTISTA PIAZZETTA, MID/LATE 18TH CENTURY Saint Bartholomew oil on canvas, laid down on board 21 x 16.5 cm (8 1/3 x 6 1/2 in.)

£1,000 - 1,500

The present work is after a known engraving by Piazzetta of one example is in the British Museum, London (inv. 1856,0614.16). £1,500 - 2,500

648

FOLLOWER OF JACOPO LIGOZZI (VERONA 1547 - FLORENCE 1627) Ecce Homo oil on copper 29.2 x 22.5 cm (11½ x 9 in) PROVENANCE: Sale, Christie’s, London, 9 July 2004, lot 10 (as Circle of Ambrosius Francken II) The present work is after a print by Jacopo Ligozzi, one example of which is in the British Museum, London (1949,1008.147). £2,000 - 3,000 56

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649

SCHOOL OF FEDERICO BAROCCI (URBINO 1535 - 1612) Saint Francis of Assisi adoring the Christ Child oil on paper 229 x 181 mm (9 x 7 1/5 in) PROVENANCE: Sale, Christie’s, London, 9 December 2015, lot 16 £500 - 700

650

MANNER OF JAN LIEVENS (LEIDEN 1607 - AMSTERDAM 1674) Portrait of a bearded man with a red turban oil on canvas 46.3 x 36 cm (18 1/4 x 14 1/4 in) Â£800 - 1,200

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651

AFTER PETER PAUL RUBENS (SIEGEN 1577 - ANTWERP 1640) The Mystic Marriage of Saint Catherine oil on panel 51.3 x 37 cm (20 1/3 x 14 1/2 in) The present work is after the painting by Peter Paul Rubens in the Victoria & Albert Museum, London. Â£2,000 - 3,000

652

653

FLEMISH SCHOOL (LATE 17TH CENTURY) Vanitas oil on panel 32.5 x 25 cm (12 3/4 x 10 in)

JAKOB HEINRICH HELBIK (HAMBURG 1640 - 1746) Trompe-l’oeil with an engraving, a comb and an almanac dated 1724 signed Monsieur Helbik/peint on the letter oil on canvas 75 x 61 cm (30 x 24 in)

£1,000 - 1,500

£2,000 - 3,000

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654

655

SPANISH SCHOOL (LATE 18/EARLY 19TH CENTURY) Portrait of a duke oil on canvas 57 x 45 cm (22 1/2 x 17 3/4 in)

FOLLOWER OF FRANS HALS (ANTWERP 1582 - HAARLEM 1666) Portrait of a nobleman with a white collar, halflength oil on canvas 61 x 49.5 cm (24 x 19 1/2 in)

£800 - 1,200

£800 - 1,000

656

AFTER THEODOOR ROMBOUTS (ANTWERP 1579 – 1637) The card players oil on canvas 100 x 135 cm (39 x 53 in) The present work is a 19th-century copy after a painting by Theodoor Rombouts in the Koninklijke Musea voor Schone Kunsten, Antwerp. £1,500 - 2,000

657

CIRCLE OF EGBERT LIEVENSZ VAN DER POEL (DELFT 1621 - ROTTERDAM 1664) A fire in the night oil on canvas 24.5 x 27.5 cm (9 1/2 x 10 3/4 in) £800 - 1,200

See page 5 for more information regarding fees

658

ITALIAN SCHOOL (LATE 18TH CENTURY) Potiphar’s wife oil on slate 27.2 x 19 cm (10 3/4 x 7 1/2 in) £300 - 500

659

MANNER OF GERARD SEGHERS (ANTWERP 1591 - 1651) Night scene oil on panel 57.5 x 32.5 cm (22 1/2 x 12 1/2 in) £1,000 - 2,000

660

AFTER JAN GOYEN (LEIDEN 1596 - THE HAGUE 1656) Conversation outside the cottage oil over black chalk underdrawing on panel 23 x 33.5 cm (9 x 13 1/4 in) EXHIBITED: Brian Koetser Gallery, London, 1972, no 22 PROVENANCE: Brian Koetser, London The present work is a later copy after the painting in the Rijksmuseum, Amsterdam. £600 - 800

661

FLEMISH SCHOOL (LATE 17TH CENTURY) Winter landscape with workers oil on canvas 57.6 x 91 cm (22 3/4 x 35 3/4 in) £600 - 800

662

ATTRIBUTED TO JOHANN PHILIPP LEMKE (NUREMBERG 1631 - STOCKHOLM 1711) Figures preparing to embark in a busy winter port scene oil on canvas 34 x 50 cm (13 1/3 x 19 2/3 in) PROVENANCE: Sale, Hampel Fine Art Auctions, Munich, 19 June 2012, lot 344 The present work can be attributed to Johann Philipp Lemke, a prolific German-Swedish draughstman. His drawings are in museums in Darmstadt, Hamburg and Berlin. As a battle painter he was influenced by Jacques Courtois and Pieter Van Laer and his compositions are characterised by low horizons. The crossing of the Little Belt is in the National Museum, Stockholm. His portrait was engraved by Sandrart and his miniature self-portrait is in the Rijksmuseum, Amsterdam (A3443). £1,000 - 2,000

See page 5 for more information regarding fees

663

JOHN DOWNMAN (RUABON 1750 â&#x20AC;&#x201C; WREXHAM 1824) Portrait of a Lady in a white dress, bust-length, wearing a turban oil on copper 23.5 x 20 cm (9 1/4 x 8 in.) The painting relates to a monochrome chalk study on paper of the present sitter sold at Bonhams, London, 8 April 2010, lot 44. ÂŁ1,500 - 2,500

Index A AGASSE, JACQUES-LAURENT 632 ALLEGRAIN , ETIENNE 629 ALLPORT, HENRY CURZON 633 ANTONIANI , PIETRO 607 B BAROCCI, FEDERICO 649 BERTUZZI, NICOLA 611 BIGARI, VITTORIO MARIA 609 BOSCOLI, ANDREA 601 C CADES, GIUSEPPE 634 CARRACCI, ANNIBALE 621 CHAPLIN, CHARLES JOSHUA 637 CHIARI, CIRCLE OF GIUSEPPE BARTOLOMEO 643 COCCORANTE, LEONARDO 602 CORREGGIO, ANTONIO ALLEGRINI DA 644 CREMONA SCHOOL 608 D DE LEONE, ANDREA 612 DEL CAIRO, WORKSHOP OF FRANCESCO 623 DELLA ROVERE, GIOVANNI MAURA 616 DI GUERCINO, FALSARIO 604 DOWNMAN, JOHN 663 DUTCH SCHOOL 640 F FETTI, CIRCLE OF DOMENICO 614 FLEMISH SCHOOL 624, 641, 652, 661 FRENCH SCHOOL 613, 620, 630 G GENTILESCHI, ARTEMISIA 642 H HALS, FRANS 655 HELBIK, JAKOB HEINRICH 653 I ITALIAN SCHOOL 658 L LANFRANCO, GIOVANNI 618 LEMKE, JOHANN PHILIPP 662 LIEVENS, JAN 650 LIGOZZI, JACOPO 648 LOMBARD SCHOOL 631

M MARCHESI, GIUSEPPE 626 MOLENAER, KLAES 639 N NEAPOLITAN SCHOOL 603 NEOCLASSICAL FRENCH SCHOOL 627 NOLPE, PETER 660 P PIAZZETTA, GIOVANNI BATTISTA 647 PIAZZETTA, GIOVANNI BATTISTA 646 POCCETTI, BERNARDINO 617 POUSSIN, NICOLAS 622 PROCACCINI, GIULIO 610 R RAOUX, JEAN 635 RICCI, MARCO 628 ROMAN SCHOOL 636 ROMBOUTS, THEODOOR 656 ROSA, SALVATORE 605 RUBENS, PETER PAUL 651 S SANZIO, RAFFAELLO 645 SCHUT, CORNELIS 625 SEGHERS, GERARD 659 SHERWIN, JOHN KEYSE 638 SPANISH SCHOOL 654 V VAN DER POEL, EGBERT LIEVENSZ 657 VAN DIEST, ADRIAEN 606 VERTANGEN, DANIEL 615 W WRIGHT OF DERBY, JOSEPH 619

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. 1.2 Definitions For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the 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. 1.3 Catalogue descriptions Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity 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 representation 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. 1.4 Inspection Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them. 1.5 Condition report CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’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 Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto. 1.6 Electricals All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety. It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use. 1.7 Estimates 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 Many Lots are offered subject to a reserve, which is the confidential 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. 1.9 Registration to the sale 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 auctioneer’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. 1.10 Proof of identity Bidders not previously known to CA Ltd will be required to provide: • Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable. • Proof of address of main residence. Only official documents showing name and address will be accepted. • Both landline and mobile telephone numbers • A bank reference for foreign bidders may be requested • Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the above-mentioned 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 2.1 Attendance at auction Attending the auction in person is recommended. CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises. 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. 2.2 Personal bidding Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale. 2.3 Commission bids CA Ltd will use reasonable efforts to carry out Commission bids 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. Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot. In the event of multiple commission bids set at the same price, the first registered commission bid will take priority. 2.4 Telephone bids If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone. CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder. 2.5 Internet bids 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 affecting connection. In addition to having our own in-house online bidding platform, some sales are also offered with online live bidding by third party platforms, CA Ltd is not responsible for any issues that may arise during registration or utilising said platforms. CA ltd encourages prospective bidders to bid directly with Chiswick Live or via traditional direct in-house means wherever possible. 2.6 Bidding on behalf of someone 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.

2.7 Bidding on an item Bid incrementation is at the auctioneer’s entire discretion. 2.8 Video transmission 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. 2.9 Online-only auctions Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd. 2.10 Dispute resolution during the auction Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’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. When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale. 3.2 Transfer of property 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 Buyer’s premium, relevant taxes, and costs in relation to shipping. 3.3 Transfer of risks Purchased Lots shall be at the Buyer’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. 3.4 Cancellation of the sale 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 the sale of the Lot or reoffer and resell the Lot if it becomes aware of 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 or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc. In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract. 4. AFTER THE SALE 4.1 Payment 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 made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express. CA ltd adheres strictly to current anti-money laundering regulations and reserves the right to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance. Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers. Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional.

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. 4.2 Buyer’s Premium The Buyer will pay CA Ltd a premium of 25% on the hammer price plus VAT on that commission on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% 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 buyers’ premium and invoiced on an inclusive basis. †: 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 buyer’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 team. A processing fee of £35.00 per invoice is charged to check shipping/export documents. (d) No VAT amounts or Import VAT will be refunded where the total refund (after deducting the processing fee) is under £35. (e) If you are re-exporting a * lot outside of the EU, you must either use Chiswick Auctions Ltd TA Shipper or arrange for us to transfer the TA from our shipper to your own TA or bond account. 4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyer’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 subject to zerorated VAT. In addition, any import taxes that may be incurred shall be paid by the Buyer above hammer price, VAT and Buyer’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. 4.4 Artist Resale Rights / Droit de Suite Lots marked with ‘ARR’ may be subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500. Royalties for Droit de Suite are as follows: • From 0 to €50,000 4% • From €50,000.01 to €200,000 3% • From €200,000.01 to €350,000 1% • From €350,000.01 to €500,000 0.5% • Exceeding €500,000 0.25% 4.5 Remedies for non-payment 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: • To cancel the sale • To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. • To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’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. • To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer

• Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. • To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. • To exercise a lien over the Buyer’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. • To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. • To take such other action as is permissible by Law and in the discretion of CA Ltd. 4.6 Collection 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 collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7). 4.7 Storage CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd 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. 4.8 Shipping Any shipping costs that may arise subsequent to the sale shall be at the Buyer’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. CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer. 4.9 Loss or Damage CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care. 4.10 Cultural Goods import and export restrictions Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’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 Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts. The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. 4.11 CITES Import and export restrictions Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’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 λ are subject to CITES regulations.

4.12 Limitation of liability regarding CITES export licenses Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them. CA Ltd cannot be held responsible if the Buyer’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. 4.13 Warranties CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. 4.14 Authenticity warranty 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 authentic, 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 be defined as the state of a Lot that is genuine and not a forgery or a copy. 5. ANTIQUITIES AND TRIBAL ART 5.1 Import and export restrictions and regulations Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a 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 limited archaeological or scientific interest. 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. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value. Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’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 6.1 Gemstone treatment and estimates 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: • Heat treatment to enhance sapphires and rubies’ clarity and colour • Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone • Staining • Irradiation • Coating Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof. A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone. If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only. 6.2 Estimated weights If a stone’s exact weight appears within the body of the description, the stone has been unmounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. 6.3 Signatures ‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker.

‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. ‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client. ‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic. Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or 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 without defects, or has been subject to repair or restoration. CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and 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 8.1 Upholstered furniture after 1950 According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale. 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 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. 2 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. 3 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. 4 Circle of JMW Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. 5 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. 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 ‘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. 9 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 Pictures are framed unless otherwise stated. 10. ASIAN ARTS 10.1 Import and export restrictions When dealing with Asian Arts and more specifically with items made of 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, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items. 10.2 Fine Chinese Paintings Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of 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, a ‘forgery’ is defined as a work created with the intent to deceive. 11. BOOKS AND MANUSCRIPTS Books and manuscripts sold as incomplete are not subject to returns. 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 unnamed books or to books sold under the heading of ‘binding’ or ‘bindings’. 12. WINES AND SPIRITS In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level. For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the 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 an ‘acceptable’ fill level from CA Ltd. 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. 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 abovementioned materials without the prior written consent of CA Ltd. Some Lots may be subject to copyright protection, CA Ltd does not 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 Buyer’s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder. 15. SEVERABILITY Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result. 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. For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in 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.