Chiswick Auctions Old Masters Catalogue May 2018

Old Master Paintings 16 May 2018

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

Old Master Paintings followed by Old Master Drawings London 16th May 2018

SPECIALISTS

SALE CALENDAR

MAY

22

TUESDAY

Interior & Design

24 Melissa van Vliet

Suzanne Zack

Head of Sales Old Masters melissa.vanvliet@chiswickauctions.co.uk

Head of Department Fine Art suzanne@chiswickauctions.co.uk Contact for Old Master Drawings enquiries

THURSDAY

Fine Chinese Paintings Chinese Bronzes: Song to Qing

25

FRIDAY

Asian Art

29

TUESDAY

Printed Books & Manuscripts to include Modern First & Limited Editions

JUNE

05

Julian Laurence Samuels

TUESDAY

Interiors & Design to include a selection of Fine Rugs & Carpets

Department Coordinator Fine Art

06

WEDNESDAY

European Works of Art & Clocks

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12

TUESDAY

British & European Fine Artwith Portrait Miniatures Wine & Spirits

19

TUESDAY

Interiors & Design

Old Master Paintings followed by Old Master Drawings

Wednesday 16th May 2018, 11.00 Old Master Drawings will start at 12.00

VIEWING AT CHISWICK full sale Saturday Sunday Monday Tuesday Wednesday

GENERAL ENQUIRIES +44(0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk 1 Colville Road, London W3 8BL 127 Fulham Road, London SW3 6RT

12 May 13 May 14 May 15 May 16 May

11.00 - 17.00 11.00 - 17.00 10.00 - 18.00 10.00 - 18.00 10.00 - 11.00

PHOTOGRAPHERS Steven McCauley Jordan Salzmann Darrell Russell Monika Olek

Front cover: Lot 52 Back cover: Lot 103

Old Master Paintings

1 ANTWERP SCHOOL, 16TH CENTURY Christ as the man of sorrows oil on panel, unframed 15 x 111⁄2 in. (38.1 x 29.2 cm.)

The present lot is possibly a fragment of a larger devotional piece with The Mater Dolorosa to Christ’s left, with a small part of her white veil showing by the right edge of the panel. To Christ’s right is presumably St John the Baptist. It can be compared to a work by the Master of the Holy Blood (active c.1530) recorded by the RKD, no.

33693. £3,000-£5,000

1

2 FOLLOWER OF JOOS VAN CLEVE The Christ Child eating grapes oil on panel 163⁄4 x 111⁄2 in. (42.6 x 29.2 cm.)

The present lot appears to derive from a lost original by van Cleve, which can possibly be dated to c.1520/25. The composition was popular and other versions can be found in the Louvre, Paris and Wiesbaden, Gemäldegalerie amongst others (J.O. Hand, Joos van Cleve, The Complete Paintings, New Haven and London, 2004, p. 183) £2,000-£3,000

2 3

3 3 GOTHIC REVIVAL Triptych; Three Bishop Saints oil and gold paint on panel, engaged frames 70 x 231⁄2 in. (177.8 x 59.7 cm.); 70 x 23 in. (177.8 x 58.4 cm.); 70 x 231⁄2 in. (177.8 x 59.7 cm.) (3) £3,000-£5,000

4 FOLLOWER OF GILLIS MOSTAERT I The Crucifixion oil on panel 133⁄4 x 101⁄4 in. (34.9 x 26.1 cm.)

Provenance: Count Leopold van der Steen de Jehay, by whom gifted to, his godson Claude Lanksweert (according to an inscription on the reverse of the frame).

4 4

£1,000-£1,500

*See inside front cover for information regarding fees

5 GERMAN SCHOOL, CIRCA 1600 Portrait of Johann Hermann, Count and Elector Palatine inscribed ‘V. G. G. / Johann Hermann Pfalz / graf und kurfurst’ (upper right) oil on panel, unframed 81⁄8 x 6 in. (20.6 x 15.2 cm.)

The inscription ‘V.G.G.’ on lots 5 and 6 stands for V[on] G[ottes] G[naden], which means by Grace of God. Comparable portraits with the same inscription can be found in Gotischen Haus, Wörlitz, Germany and Jagdschloss, Letzlingen, Germany. The portraits are by different hands and include sitters from smaller aristocratic families and European Royalty. It appears that it was popular in Germany around 1600 to commission a series of small portraits of members of the family amongst important rulers, some of which are copies after the great artists of the time such as Lucas Cranach the younger and Francois Clouet. £1,500-£2,000

5

6 GERMAN SCHOOL, CIRCA 1600 Portrait of Johannes, Prince Elector of Trier inscribed ‘V. G. G. / Johannes Chur / fürst zu Trier’. (upper right) oil on panel, unframed 81⁄8 x 6 in. (20.6 x 15.2 cm.) inscribed with an inventory number ‘446’ (upper left) The sitter can be identified as Johannes von Schönenberg (1525-1599) Prince Elector and Archbishop of Trier.

Please see the note for lot 5 for further information. £1,500-£2,000

6 5

7

8 7 CIRCLE OF HERMAN SAFTLEVEN (ROTTERDAM 1609-1685 UTRECHT) A Rhenish river landscape with barges by the shore oil on panel 9 x 133⁄4 in. (22.8 x 34.9 cm.) £400-£600

6

8 NEAPOLITAN SCHOOL, 17TH CENTURY Roman soldiers and supplicants in an interior oil on canvas, unframed 357⁄8 x 52 in. (91 x 132.1 cm.) £800-£1,200

*See inside front cover for information regarding fees

9

9 AFTER SIR PETER PAUL RUBENS The Lamentation oil on canvas 361⁄8 x 471⁄4 in. (92 x 120 cm.)

After the picture of c.1614-15 in Kunsthistorisches Museum, Vienna. £3,000-£5,000

10 MANNER OF SIR PETER PAUL RUBENS Saint Bartholomew oil on paper laid down on board 161⁄8 x 127⁄8 in. (41 x 32.7 cm.) £500-£700

10 7

11 ENGLISH SCHOOL, EARLY 17TH CENTURY Portrait of a lady, bust-length, in a fur-lined and bejewelled dress oil on panel 143⁄8 x 111⁄2 in. (36.5 x 29.2 cm.) £3,000-£5,000

12 ENGLISH SCHOOL, 17TH CENTURY Portrait of a gentleman, traditionally identified as Edward Talbot (1561-1617), 8th Earl of Shrewsbury, half-length, in a brown embroidered doublet and lace ruff inscribed ‘Edward Earle of / Shrewsbury’ (upper left) oil on panel 241⁄4 x 171⁄4 in. (61.6 x 43.8 cm.)

Provenance: By descent to the 3rd Lord Savile, Rufford Abbey, Nottinghamshire; Christie’s, London, 18 November 1938, Rufford Abbey Sale, lot 154, as by Zuccaro (11 gns. to the father of a former owner, by whom sold).

Anonymous sale; Christie’s, London, 22 November 2006, lot 11.

Edward Talbot was the son of George, 6th Earl of Shrewsbury and Gertrude, daughter of Thomas Manners, Earl of Rutland. One of the estates owned by his father was Rufford Abbey, a former Cistercian monastery. This portrait was bought as part of the house’s contents by the Savile family of Yorkshire. When the house was later sold, its contents, including this portrait, were auctioned at Christie’s in 1938.

11

Talbot married Jane, daughter of Cuthbert, 1st Baron Ogle in 1583.

He was educated at Magdalen College, Oxford University and was Member of Parliament for Northumberland between 1586 and 1587.

In 1616 he succeeded his brother as the 8th Earl of Shrewsbury and died without issue shortly after. £2,000-£3,000

13 ANGLO DUTCH SCHOOL, 17TH CENTURY Portrait of King Charles I (1600-1649), bust-length, in gilded cuirassier armour with inscription ‘This portrait of King Charles 1st painted by / Vandyke was cut out of old guilt leather / ..... found in a garret, on which had been / painted the Family of the King. The .... has / probably been given as a present to some / family of distinction’ (on the stretcher) oil on silver gilt leather laid down on canvas, unframed 127⁄8 x 101⁄2 in. (32.8 x 26.8 cm.)

It is of particular interest that Charles did in fact own a fully gilded cuirassier armour, which is now on display in the Tower of London (Royal Armouries II.91.). It had originally been made for his brother Henry (1594-1612). There is a possibility that the King is wearing this armour here.

The present lot appears to be the only known 17th century portrait of Charles I on silver gilt leather. The purpose of painting on this medium is that the armour and face shine beautifully in candle light.

This portrait is thought to have been painted by a Flemish or Dutch artist working in England. An interesting reference to the potential artist can be found in correspondence between Basil, Viscount Feilding and James, Third Marquis of Hamilton, where Basil mentions a new artist painting on ‘leather hangings’, whose work might interest the King.

12 8

*See inside front cover for information regarding fees

Feilding to Hamilton, Turin, 12th/22nd September 1638: “……I have heere a Painter in my house a Flemming who hath spent his time most at Rome, and follow’d there Rafaells schoole. The Car. Richelieu by one Gaffarelli sought to gamne him to his service as one for these times esteem’d for designe. Hee hath a new way, never practis’d but att Rome, of makeing great designs and representing histories upon leather hangings in chiaro scuro, wch would be though done upon bare walls, of great ornament to a house, and are much us’d in the borders of chambers and upon seelings. I have often heard of his Ma.ties designe of building a Royal Pallace; for the adorning whereof this man being verie proper…..” (see P. Shakeshaft, ‘To Much Bewiched with Thoes Intysing Things’: The Letters of James, Third Marquis of Hamilton and Basil, Viscount Feilding, concerning Collecting in Venice 1635-1639, The Burlington Magazine, vol. 128, no. 995, February 1986, p. 131.) £8,000-£12,000

9

14 CIRCLE OF SIR PETER LELY (WESTPHALIA 1618-1680 LONDON) Portrait of a lady, bust-length, in a yellow dress oil on canvas 217⁄8 x 18 in. (55.6 x 45.7 cm.) £2,000-£3,000

14

15 ENGLISH SCHOOL, 18TH CENTURY Head study oil on canvas, unlined 12 x 10 in. (30.5 x 25.4 cm.) £400-£600

15 10

*See inside front cover for information regarding fees

16 JOHN CLOSTERMAN (OSNABRÜCK 1660-1711 LONDON) Portrait of a gentleman, believed to be a self-portrait oil on canvas 271⁄2 x 23 in. (69.8 x 58.4 cm.)

Provenance: Anonymous sale; Sotheby’s, London, 21 March 1956, lot 82, as Dobson. (£15 to Easton) Anonymous sale; Christie’s, London, 24 July 1981, lot 128, as John Baptist Closterman (£850).

Literature: (possibly) G. Vertue, Notebook, i.22 George Vertue (1684-1756) was an engraver and antiquarian who produced an invaluable series of notebooks with information concerning English artists. He noted ‘Mr John Closterman his picture painted by himself in the hands of Mr Cope. Another in the possession of Mr Tiburin.’ These self-portraits have been presumed lost, perhaps until now.

The present lot is dated in Closterman’s oeuvre to c.1690, when the artist would have been thirty years old. The self-confidence of the sitter and sense of immediacy combined with the composition make a compelling argument for a self-portrait. The broad and spontaneous handling suggest that this portrait was not a commission, but rather for personal use or for someone close to the painter.

It can also be compared to Sir Godfrey Kneller’s (1646-1723) selfportrait, in his own hair, of c.1685 in the National Portrait Gallery, London. Kneller was London’s most successful portrait painter of the time, it is therefore likely that Closterman was familiar with his selfportrait. The position of the left hand echoes a further Kneller self-portrait, in a wig, of c.1688-90 (engraved Pieter Schenk, National Portrait Gallery, London), which in turn may derive from a selfportrait by Sir Anthony Van Dyck (Private Collection on loan to the Rubenshuis) ‘with his left hand at his breast’, which was last recorded in the Royal Collection in 1688 (Sir Oliver Millar in Barnes, De Poorter, Millar and Vey, Van Dyck a Complete Catalogue of the Paintings, 2004 IV A2). £8,000-£12,000

11

17

18 17 ENGLISH SCHOOL, 18TH CENTURY A Royal Navy 4th rate arriving at the anchorage, with the fleet announcing her arrival beyond oil on canvas 40 x 495⁄8 in. (101.6 x 126.1 cm.) £3,000-£5,000

12

18 FOLLOWER OF CHARLES BROOKING Ship emerging from a storm oil on canvas 131⁄8 x 181⁄8 in. (33.3 x 46.1 cm.) £500-£700

*See inside front cover for information regarding fees

19

20 19 CIRCLE OF WILLEM VAN DE VELDE II (LEIDEN 1633-1707 LONDON) Shipping in choppy waters oil on canvas 411⁄2 x 401⁄2 in. (105.4 x 102.9 cm.)

20 FOLLOWER OF OF WILLEM VAN DE VELDE II The English ship Resolution in a gale with another ship ahead, and a small fishing boat in the foreground oil on paper laid down on canvas, unframed 151⁄4 x 221⁄4 in. (38.7 x 56.5 cm.)

Provenance: Lefory Family, Carrigglas Manor, Longford, Ireland

The two men-o’war are copied from The ‘Resolution’ in a Gale by Willem van de Velde II in the National Maritime Museum, Greenwich (BHC3582). The artist of the present lot added the small fishing boat to the left and rocks in the foreground, and chose a horizontal format.

£4,000-£6,000

£800-£1,200 13

21

23 21 AFTER POMPEO GIROLAMO BATONI Portrait of Sir John Armytage, 2nd baronet (1732-1758), half-length, in a blue coat oil on panel, oval 10 x 83⁄8 in. (25.4 x 21.3 cm.)

After the picture of 1758 in a Private Collection. £300-£500

22 CIRCLE OF THOMAS GAINSBOROUGH, R.A. (SUDBURY, SUFFOLK 1727-1788 LONDON) Portrait of a gentleman, half-length, in a blue coat with a book in his right hand oil on canvas 341⁄8 x 271⁄8 in. (86.7 x 68.9 cm.) £800-£1,200

23 FRENCH SCHOOL, 18TH CENTURY Portrait of a gentleman, bust-length, in a brown coat oil on canvas 211⁄2 x 181⁄4 in. (54.6 x 46.4 cm.)

22

14

£800-£1,200

*See inside front cover for information regarding fees

24 ENGLISH SCHOOL, 18TH CENTURY Portrait of a lady, three-quarter-length, standing in a landscape oil on canvas 177⁄8 x 141⁄2 in. (45.4 x 36.8 cm.) with additions of varying measurements along all edges ca.1⁄2 -11⁄2 in.

(1.3-3.8 cm.) £400-£600

25 CIRCLE OF SIR GODFREY KNELLER (LÜBECK 1646-1723 LONDON) Portrait of a young child, with a lamb, in a landscape oil on canvas, unframed 331⁄4 x 371⁄8 in. (84.5 x 94.3 cm.) £2,000-£3,000 24

25 15

26

27 26 FOLLOWER OF RICHARD WILSON A wooded landscape with figures and a villa, a bay beyond with indistinct signature (lower left) oil on canvas 131⁄2 x 187⁄8 in. (34.3 x 48 cm.)

27 CIRCLE OF ALEXANDER NASMYTH (EDINBURGH 1758-1840) A wooded river landscape with a ruined abbey beyond oil on paper laid down on card, laid down on panel 111⁄2 x 161⁄8 in. (29.2 x 41 cm.) £600-£800

Provenance: Anonymous sale; Christie’s, London, 21 July 1989, lot 226. £600-£800 16

*See inside front cover for information regarding fees

28

29 28 ENGLISH SCHOOL, 18TH CENTURY View of Lake Nemi oil on canvas, unlined 101⁄8 x 12 in. (25.7 x 30.4 cm.) £3,000-£5,000

29 CIRCLE OF GEORGE BARRET (DUBLIN 1728/32-1784 LONDON) Lions and leopards in a wooded landscape oil on canvas 30 x 41 in. (76.2 x 104.1 cm.) £4,000-£6,000 17

30 JAN ANTHONISZ. VAN RAVESTEYN (THE HAGUE C.1572-1657) Portrait of a gentleman, three-quarter-length, with a sword in his left hand, standing in an interior indistinctly signed ‘JVR[linked].....fc’ (upper right); inscribed and dated ‘Aetatis.... / 1626’ (upper right) oil on canvas 411⁄4 x 33 in. (104.8 x 83.8 cm.) £3,000-£5,000

30

31 CIRCLE OF JUSTUS SUSTERMANS (ANTWERP 1597-1681 FLORENCE) Portrait of Ferdinand II, Holy Roman Emperor (1578-1632), bust-length, in a black doublet with white ruff oil on canvas 223⁄4 x 171⁄8 in. (57.8 x 43.5 cm.) £800-£1,200

31 18

*See inside front cover for information regarding fees

32 CIRCLE OF GERRIT VAN HONTHORST (UTRECHT 1592-1656) Portrait of a lady, bust-length, in a yellow embroidered dress and pearl necklace oil on panel 253⁄8 x 197⁄8 in. (64.5 x 50.5 cm.) £3,000-£5,000

32

33 DUTCH SCHOOL, 18TH CENTURY Portrait of a lady, half-length, in a black dress and white lace collar oil on canvas, unframed 36 x 283⁄8 in. (91.4 x 72.1 cm.) £800-£1,200

33 19

34 DUTCH SCHOOL, 17TH CENTURY Head of a woman, possibly a fragment oil on canvas, unframed 181⁄2 x 131⁄2 in. (47 x 34.3 cm.) £1,000-£1,500

34

35 FOLLOWER OF JAN LIEVENS Portrait of a young man, in profile, in a fur-trimmed coat inscribed ‘IOSEF IVSTVS[?]’ (along the top edge) oil on canvas, unframed 25 x 211⁄2 in. (63.5 x 54.6 cm.) £2,000-£3,000

35 20

*See inside front cover for information regarding fees

36 ATTRIBUTED TO QUIRINGH VAN BREKELENKAM (?ZWAMMERDAM, NEAR LEIDEN AFTER 1622-?1669 LEIDEN) St. Jerome at prayer signed with initials and dated ‘Q B 1661’ (lower left) oil on panel, unframed 103⁄4 x 73⁄4 in. (27.3 x 19.7 cm.)

Provenance: (possibly) Mrs. Salomon van Berg and Mr. Bart von Berg, New York; Sotheby’s, London, 25 June 1969, lot 85.

Literature: (possibly) A. Lasius, Quiringh van Brekelenkam, Doornspijk, 1992, no.

D3, under ‘’Rejected attributions in private collections or whose whereabouts are unknown’’, as ‘Present location unknown’. £2,000-£3,000

36

37 MANNER OF SALOMON KONINCK The money changer oil on panel, unframed 19 x 155⁄8 in. (48.2 x 39.7 cm.) £400-£600

37 21

38 MANNER OF JAN BRUEGHEL II Lilies, roses, tulips and other flowers in a sculpted vase decorated with the figures Amphitrite and Ceres oil on panel 271⁄8 x 231⁄2 in. (68.9 x 59.7 cm.) £2,000-£3,000

38

39 FOLLOWER OF THE PSEUDO-ROESTRATEN A vanitas still life with a pocket watch, books and teapot on a draped table oil on panel 261⁄2 x 205⁄8 in. (67.3 x 52.4 cm.) £800-£1,200

39

22

*See inside front cover for information regarding fees

40 ATTRIBUTED TO SIMON DE VOS (ANTWERP 1603-1676) Merry company oil on panel 187⁄8 x 251⁄4 in. (48 x 64 cm.) £5,000-£7,000

23

41

43

41 SPANISH SCHOOL, 18TH CENTURY Trinity with two Saints, probably St Bernard and St Benedict oil on canvas 31 x 221⁄8 in. (78.8 x 56.2 cm.) £500-£700

42 FOLLOWER OF GIROLAMO MUZIANO St Francis receiving the stigmata oil on copper 93⁄8 x 71⁄4 in. (23.8 x 18.4 cm.) £800-£1,200

43 MANNER OF CIMABUE A Crucifix oil on wood, unframed 201⁄4 x 13 in. (51.5 x 33 cm.) £400-£600 42 24

*See inside front cover for information regarding fees

44 TUSCAN SCHOOL, CIRCA 1500 Virgin and Child fresco, transferred to canvas, mounted on board 511⁄4 x 311⁄2 in. (130.2 x 80 cm.) £5,000-£7,000

25

45 CIRCLE OF ANNIBALE CARRACCI (BOLOGNA 1560-1609) Pieta oil on copper 83⁄4 x 103⁄4 in. (22.2 x 27.3 cm.) £400-£600

45

46 FERRARESE SCHOOL, CIRCA 1600 Flight into Egypt oil on canvas 143⁄4 x 203⁄4 in. (37.5 x 52.7 cm.) £400-£600

46

47 ITALIAN SCHOOL, 17TH CENTURY St John the Baptist; and The Virgin oil on copper 43⁄8 x 31⁄4 in. (11 x 8.3 cm.) a pair together with a Continental School, 17th Century, Madonna, oil on copper, 63⁄4 x 51⁄4 in. (16.2 x 13.3 cm.)

(3) £400-£600

47 (part) 26

*See inside front cover for information regarding fees

48 FOLLOWER OF PHILIPPE DE CHAMPAIGNE The Crucifixion with a serpent and apple oil on canvas, unlined 321⁄4 x 221⁄2 in. (81.9 x 57.2 cm.) in a hand-carved 17th century frame £1,500-£2,000

48

49 LOMBARD SCHOOL, 17TH CENTURY Christ healing the blind with inscription ‘1646 / Fato dal. st Jeromno. chignialo.’ (on the reverse) oil on canvas 485⁄8 x 421⁄2 in. (123.5 x 107.9 cm.)

The inscription on the reverse may be a transcription from the back of the original canvas, which possibly refers to the artist Gerolamo Chignoli (Milan, active c.1630). £2,000-£3,000

49 27

50

51 50 FOLLOWER OF JOHANN HEINRICH ROOS An Italianate landscape with shepherds and their flock oil on canvas 201⁄2 x 247⁄8 in. (52.1 x 63.2 cm.) £1,500-£2,000

51 CIRCLE OF GASPARD DUGHET, CALLED GASPARD POUSSAIN (ROME 1615-1675) Washerwomen and other figures on the river bank by a village oil on canvas, presented in a mirror canvas: 273⁄8 x 325⁄8 in. (69.6 x 82.9 cm.); mirror: 333⁄8 x 603⁄4 in.

(84.8 x 154.3 cm.) £400-£600

28

*See inside front cover for information regarding fees

52

52 PRIVATE COLLECTION (LOT 52) AFTER TIZIANO VECELLIO, CALLED TITIAN Venus, Ceres, Bacchus oil on canvas 39 x 511⁄2 in. (99.1 x 130.8 cm.)

The present lot derives from Titian’s masterpiece of c.1530-35 in the Louvre, Paris. Free adaptations of Titian’s composition emerged in the 17th century and are possibly by Alessandro Varotari, called il Padaovanino (Padua 1588-1649 Venice) and his workshop. This lot is a later version, that appears to be closest to an adaptation in Palazzo Durazzo-Pallavicini in Genoa.

The subject of Titian’s work is much debated and is now mostly referred to as Allegory of Marriage. It was previously known as Allegory of Alfonso d’Avalos. The subject of the adaptations is in turn also open to interpretation. The woman holding a glass urn could be Venus, with Cupid leaning against her back. This idea in fact is borrowed from another famous composition by Titian; Cupid Blindfolded, in Villa Borghese, Rome. The young man holding grapes must be Bacchus. The woman to the right is seen with a satyr holding a basket of fruit over her head, which suggests that she is Ceres. £10,000-£15,000

29

53 53 ATTRIBUTED TO PHILIP PETER ROOS, CALLED ROSA DA TIVOLI (ST GOAR, LOWER RHINE 1657-1706 ROME) A shepherd resting with his sheep and goats; and Goats, sheep and a shepherd with his dog oil on canvas 25 x 293⁄4 in. (63.5 x 75.6 cm.) a pair (2) Provenance: Anonymous sale; Christie’s, London, 28 April 1972, lot 33, as ‘Johann Heinrich Roos’. £5,000-£7,000

30

*See inside front cover for information regarding fees

54 CIRCLE OF POMPEO GIROLAMO BATONI (LUCCA 1708-1787 ROME) The Madonna oil on canvas 191⁄4 x 141⁄4 in. (48.9 x 36.2 cm.) £7,000-£10,000

31

55 FOLLOWER OF JEAN-BAPTISTE GREUZE Bacchante oil on canvas 183⁄8 x 151⁄4 in. (46.7 x 38.7 cm.)

Provenance: (possibly) The Late Right Hon. George, Last Earl of Egremont; Christie’s, London, 26 November 1892, lot 36 £1,500-£2,000

56 AFTER LOUIS-JEAN-FRANÇOIS LEGRANÉE Melancholy oil on canvas 211⁄2 x 251⁄2 in. (55 x 65 cm.)

After the picture in Musée du Louvre, Paris, with minor variations.

The present lot appears to date to c.1800-10. £2,000-£3,000 55

56 32

*See inside front cover for information regarding fees

57 CIRCLE OF JEAN-BAPTISTE VANMOUR (VALENCIENNES 1671-1737 CONSTANTINOPLE) A lady playing a lute in an interior oil on canvas 13 x 101⁄8 in. (33 x 25.8 cm.) £1,000-£1,500

57

58 CIRCLE OF PHILIP MERCIER (BERLIN 1689-1760 LONDON) A young boy holding a tartine oil on canvas 213⁄4 x 18 in. (55.3 x 45.7 cm.) £800-£1,200

58 33

59 THOMAS HUDSON (DEVON 1701-1779) Portrait of a gentleman, three-quarter-length, wearing Van Dyck costume, standing in a landscape oil on canvas, laid down on panel 48 x 373⁄4 in. (121.9 x 95.9 cm.)

The sitter depicted here may be Thomas Osborne, 4th Duke of Leeds (1713-1789). £6,000-£8,000

60 THOMAS HUDSON (DEVON 1701-1779 TWICKENHAM) AND STUDIO Portrait of a lady, three-quarter-length, in a pink and black dress holding ostrich feathers signed and dated ‘Hudson Pinxit. / 1749.’ (lower right) oil on canvas 497⁄8 x 395⁄8 in. (126.8 x 100.7 cm.) £2,000-£3,000

59

61 JOSEPH WRIGHT OF DERBY (DERBY 1734-1797) Portrait of a lady, traditionally identified as Susannah Fenton, in a blue and pink dress with a feathered hat, feigned oval with inscription ‘Miss Fenton Granddaughter to / John Wedgwood Esq of Harracles / Drawn in Yr Year 1755.’ (on an old label on the stretcher) oil on canvas 297⁄8 x 247⁄8 in. (75.9 x 63.2 cm.)

We are grateful to Brian Allen for confirming the attribution on the basis of a photograph.

Literature: (probably) B. Nicolson, Joseph Wright of Derby: Painter of Light, London and New York, 1968, I, p. 196.

The sitter can be identified as Susannah Fenton, only daughter of Susannah Wedgwood (b.1699) and John Fenton (1693-1743). Miss Fenton was the granddaughter of John Wedgwood of Harracles (1669-1757), Harracles Hall, Longsdon, Staffordshire. According to the London Chronicle of 16-22 February 1763, Miss Fenton married Captain John Daniell in Litchfield. Daniell was a captain in Colonel Burton’s regiment, an infantry rifle regiment of the British army who fought successfully against the Cherokees in the Anglo-Cherokee war (1758-1761).

The present lot is an excellent example of Wright of Derby’s early portraits. A Miss Fenton is recorded three times in the artist’s account book. Nicholson noted it amongst the early portraits of c.1760.

However, the more recent discovery of the portrait of Anne Bateman, which is signed and dated 1755, shed a new light on dating the artist’s early works.

Wright of Derby commenced his training in Thomas Hudson’s studio in 1751 and returned to Derby in 1753, where he settled for a while and painted family and friends. The present lot can be dated to this period. In 1756 he returned to Hudson’s studio to finalise his training. Wright of Derby had close ties with local community and was associated with members of the illustrious Lunar Society, a group of Midlands intellectuals, industrialists and scientists that challenged established beliefs and pioneered in research and innovation. The likes of Erasmus Darwin (grandfather of Charles) and Josiah Wedgwood were members of the society and the latter was one of the artist’s most important patrons. Furthermore, Josiah was a distant relative of the sitter’s grandfather.

60 34

£8,000-£12,000 *See inside front cover for information regarding fees

The sitter is probably Susannah Fenton, only daughter of Susannah Wedgwood (b.1699) and John Fenton (1693-1743). Miss Fenton was the granddaughter of John Wedgwood of Harracles (1669-1757), Harracles Hall, Longsdon, Staffordshire. According to the London Chronicle of 16-22 February 1763, Miss Fenton married Captain John Daniell in Litchfield. Daniell was a captain in Colonel Burton’s regiment, an infantry rifle regiment of the British army who fought successfully against the Cherokees in the Anglo-Cherokee war (1758-1761). Joseph Wright of Derby was a member of the Lunar Society, a group of Midlands intellectuals, industrialists and natural philosophers. Josiah Wedgwood (1730-95) was also a member and one of the artist’s most important patrons.

35

62 DUTCH SCHOOL, 18TH CENTURY Rocky landscape with figures and cattle oil on panel 7 x 10 in. (17.8 x 25.4 cm.) £400-£600

62

63 ENGLISH SCHOOL, 18TH CENTURY A mountainous river landscape with figures and cattle oil on copper 101⁄2 x 131⁄4 in. (26.8 x 33.7 cm.) £400-£600

63

64 FOLLOWER OF ALEXANDER NASMYTH View on the River Almond, near Edinburgh, with Almondell Bridge oil on canvas 27 x 381⁄8 in. (68.6 x 96.8 cm.)

Provenance: J.A.L. Petit, Leamington Spa, 1982.

Hawthorne Family (according to an inscription on the reverse) After the picture of 1811 in a Private Collection.

Almondell Bridge was in fact designed by Alexander Nasmyth himself. The Hon. Henry Erskine (17461817), a Whig lawyer and politician, commissioned him to design the bridge in 1810. £800-£1,200 64 36

*See inside front cover for information regarding fees

65

66 65 ATTRIBUTED TO MARIA SPILSBURY (LONDON 1777-C.1823?)

Children singing in a wooded clearing oil on canvas 341⁄8 x 44 in. (86.7 x 111.8 cm.)

Provenance: Anonymous sale [L.G.H. Freeman]; Christie’s, London, 16 July 1954, lot 89.

66 ENGLISH SCHOOL, CIRCA 1800 A view of Tynemouth Priory and Castle, overlooking bathers on the shore of King Edward’s Bay oil on canvas, unframed 341⁄4 x 423⁄4 in. (87 x 108.6 cm.) £2,000-£3,000

Exhibited: (Possibly) London, Royal Academy, 1804, no. 64, ‘Sunday evening; a young lady teaching village children to sing’. £4,000-£6,000 37

67 CIRCLE OF JOSEPH WRIGHT OF DERBY, A.R.A. (DERBY 1734-1797) Portrait of a lady, half-length, in a blue dress with a yellow bow oil on canvas, unframed 293⁄4 x 247⁄8 in. (75.6 x 63.2 cm.) £2,000-£3,000

68 CIRCLE OF SIR WILLIAM BEECHEY, R.A. (BURFORD, OXFORDSHIRE 1753-1839 LONDON) Portrait of a gentleman, bust-length, in a blue coat and white cravat oil on canvas, unlined 233⁄4 x 193⁄4 in. (60.3 x 50.2 cm.) £600-£800

38

*See inside front cover for information regarding fees

69 FOLLOWER OF SIR JOSHUA REYNOLDS Head study oil on canvas 16 x 14 in. (40.6 x 35.6 cm.)

The present lot relates to Reynolds’ Ugolino and His Children in the Dungeon, at Knole, Kent. It is a study of one of Count Ugolino’s sons. £800-£1,200

69

70 CIRCLE OF THOMAS HICKEY (DUBLIN 1741-1824 MADRAS, INDIA) Portrait of a lady, bust-length, in a green dress and lace bonnet, painted oval oil on paper, laid down on panel, unframed 15 x 101⁄2 in. (38 x 26.8 cm.) £800-£1,200

70 39

71

72 71 FOLLOWER OF JULIUS CAESAR IBBETSON View of Hawthornden Castle with figures by the River North Esk oil on panel 101⁄8 x 141⁄2 in. (25.7 x 36.8 cm.) £600-£800

72 AFTER JOHN FREDERICK HERRING, SEN. “The Flying Dutchman” and “Voltigeur” at York, 1851 with signature and date ‘J.F. Herring Sen 1851’ (lower right) oil on canvas 30 x 48 in. (76.2 x 122 cm.)

After the picture at Brodick Castle, Scotland £3,000-£5,000

40

*See inside front cover for information regarding fees

73

74

73 ENGLISH SCHOOL, EARLY 19TH CENTURY An extensive landscape with a wheat field in the foreground oil on canvas, unlined 281⁄8 x 401⁄4 in. (71.5 x 102.2 cm.) £1,500-£2,000 74 ATTRIBUTED TO SIR AUGUSTUS WALL CALLCOTT, R.A. (LONDON 1779-1844) Fishing boats off the coast with added signature and date ‘JMW Turner 1805’ (lower centre) oil on milled board 97⁄8 x 135⁄8 in. (25.3 x 34.5 cm.)

We are grateful to Dr Martin Butlin for proposing the attribution.

When this dramatic and atmospheric marine-scape first emerged it was argued that the present lot may be a missing work by Joseph Mallord William Turner (1775-1851) – Fishing Boats in a Stiff Breeze – a painting gifted by Turner to his friend and executor Rev Henry Scott Trimmer, and later sold at Christie’s in 1860.

Sir Augustus Callcott produced a number of compositions in the manner of Turner at the beginning of the 19th century. For example, he was commissioned to copy Turner’s Sheerness and the Isle of Sheppey by a former owner, now in the Tate Collection of c.1807/8. The present lot is thought to date to this period. £2,000-£3,000

41

Old Master Drawings including the Property of a Gentleman

42

*See inside front cover for information regarding fees

The Property of a Gentleman

100 FOLLOWER OF REMBRANDT Judith returning in triumph with the head of Holofernes, after Willem Droost reed pen, pen and ink framing lines 256 x 198 mm.

Provenance: Jonathan Richardson Junior (1694-1771) (Frits Lugt 2170), and possibly with his mount and attribution ‘Koning’ in pen and brown ink; and Robert Udny (1722- 1802) (Frits Lugt 2248); Anonymous sale, Christie’s, London, 19 April, 1988, lot 266.

After the original in the British Museum, BM 1900,1221.2 £400-£600

100

101 DUTCH SCHOOL, CIRCA 1700 Christ in the Garden of Gethsemane; Flagellation; Crucifixion; Ecce Homo, after Hendrik Goltzius black chalk, grey wash, heightened with white on paper, numbered ‘8’ 148 x 100 mm.

Provenance: Anonymous sale, Sotheby’s London, 18 April 1996, part lot 20.

[4 framed as one] £250-£350

101 43

102

102 DUTCH SCHOOL, 18TH CENTURY A Village Kermesse grey wash, heightened with white, additions, on blue paper 212 x 426 mm. and two Dutch drawings of: A Man with a Bag of Money; Figures by a Church [3] £250-£350

103 ATTRIBUTED TO LUDOVICO CARDI, CALLED IL CIGOLI (CIGOLI 1559-1613 ROME) The Sacrifice of Abraham by Isaac black chalk, pen and brown ink and grey wash on paper, pen and brown ink framing lines 195 x 222 mm.

Provenance: William Esdaile (1758-1837) (Frits Lugt 2617) [as Rembrandt]. £500-£700

103 44

*See inside front cover for information regarding fees

104 ITALIAN SCHOOL, 17TH CENTURY A Mother and Child in a Cot black chalk, pen and brown ink heightened with white, on blue paper, inscribed ‘Pellegrini’, grey wash, some losses 380 x 205 mm. and four Italian drawings of Christ in the Tomb with one of the Three Maries; Saint Roch (?) and Three other Figures; Madonna and Child and Saint John the Baptist and Kneeling Monk; Christ and the Woman from Samaria, after Veronese, and a French School 18th Century drawing of Susanna and the Elders [6] £850-£1,000

45

105 ITALIAN SCHOOL, LATE 17TH CENTURY God the Father and Angels black chalk, pen and brown ink, brown wash, heightened with white, squared for transfer in black chalk 200 x 390 mm. and five other Italian drawings of The Damned Souls; Christ and the Woman from Samaria and Soldiers; A Saint and Four Figures; Last Supper; Jonah and the Whale [6] ÂŁ800-ÂŁ1,000

46

*See inside front cover for information regarding fees

106 ITALIAN SCHOOL, 17TH CENTURY Two Male Figures Fighting black chalk, pen and brown ink on paper 177 x 122 mm. and five drawings from the Italian and Dutch Schools of A standing Male Figure, arm outstretched; Figures around a Forge; A Figure Grouping, a Seated Figure and Five Figures; A Figure Holding an Architectural Motif; Three Male Figures [6] ÂŁ600-ÂŁ800

47

107 DUTCH SCHOOL, 18TH CENTURY A Seated Lion red chalk on paper 125 x 135 mm.

Provenance: Carlo Prayer (1826-1900) (Frits Lugt 2044) And five drawings from the Dutch Schools of of A Tavern Scene and Boar Hunt; Man on Horseback, and other Horsemen and Infantry; Figures and Cattle; Head of a Goat; A Stag [6] £700-£1,000

48

*See inside front cover for information regarding fees

108 ITALIAN SCHOOL, LATE 16TH CENTURY A Myriad and a Female Figure pen and brown ink on paper 185 x 158 mm. and five drawings from Italian and French Schools of Juno and Mythological Figures; Diana and her Nymphs Bathing; Mythological Scene; Three Graces and Apollo; Juno and accompanying Figures [6] £900-£1,000

49

109 ITALIAN SCHOOL, LATE 16TH CENTURY Design for an Urn pen and brown ink and wash on paper 312 x 148 mm.

Provenance: Henry de Triqueti (1803-1874) (Frits Lugt 1304).

And two drawings from the Italian School, and one by Edmund Paris, of: An Urn and Architectural Plinth in a Landscape; Landscape with Two Figures; Figures in a Garden [4] £750-£850

50

*See inside front cover for information regarding fees

110 ITALIAN SCHOOL, 18TH CENTURY An architectural Interior with Columns black chalk, pen and brown ink and wash on paper 260 x 200 mm.

Provenance: R. Lamponi (Frits Lugt1760); Luigi Grassi (1858-1937) (Frits Lugt 1171b).

And two French 18th Century drawings of A Rotunda and Sculptured Figures; Architectural Ruins and Figures [3] £500-£700

51

111 ITALIAN SCHOOL, 18TH CENTURY Ecce Homo red chalk on paper 240 x 178 mm.

Provenance: Carlo Prayer (1826-1900) (Frits Lugt 2044).

And three Italian drawings of A Religious Scene at a Table; Angels and Damned Souls; Christ driving the Money Changers from the Temple, and a French School, 19th Century of A Female Martyr [5] £600-£800

52

*See inside front cover for information regarding fees

112 FOLLOWER OF POLIDORO DA CARAVAGGIO Madonna and Child and Figures in Adoration black chalk, pen and brown ink and wash on faded green paper, inscribed in pen and ink ‘Originale di Polidoro da Caravaggio’ 255 x 328 mm. and four Italian drawings of Christ on the Road to Calvary; Moses and other Figures, after Veronese; Martyrdom of Saint Sebastian; A Bishop Writing [5] £500-£700

53

113 DUTCH SCHOOL, 18TH CENTURY Artisans in a Street red chalk on paper 180 x 268 mm. and four drawings from the Italian and French Schools of: Three Male Figures; Two Dead Soldiers; A Seated Beggar Woman; Two Figures [5] ÂŁ500-ÂŁ700

54

*See inside front cover for information regarding fees

114 ITALIAN SCHOOL, 18TH CENTURY A Standing Female Figure, half-length red chalk, heightened with white on paper 228 x 178 mm. and four drawings from the Italian Schools of: Standing Male Nude, resting against a Tree; Two Heads in Profile; Masons cutting and moving stones; Study of a Male Torso [5] ÂŁ650-ÂŁ750

55

115 ITALIAN SCHOOL, 18TH CENTURY Temple di Velta, Italy black chalk and red chalk on paper, inscribed in red chalk ‘il tempo di Velta, odi/ …, con la fontana della Lacba (?) della verita’ 289 x 420 mm. and four drawings from the Dutch and French Schools of: A Garden with Tree and Statues; Figures beneath a Statue in a Garden; A Coastal Scene at Night; A Garden Elevation of a Domed Building [5] £600-£800

56

*See inside front cover for information regarding fees

116 ITALIAN SCHOOL, 18TH CENTURY A Putto Holding a Cymbal black chalk heightened with white on brown paper 200 x 148 mm. and three Italian 18th Century drawings of Cupid and Psyche, A Monk with Angels and Putti and A Male Head, and a French 18th Century drawing of Two Putti playing by a Fountain [5] £350-£450

57

117 MANNER OF CHARDIN A Female Figure wearing a Ruff red chalk on paper 237 x 170 mm. and four drawings from the Dutch, Italian and French Schools of A Gentleman in Armour; Grieving Figures and Soldiers; A Standing Beggar; Figures Adoring a Coat of Arms [5] ÂŁ400-ÂŁ500

58

*See inside front cover for information regarding fees

118 DUTCH SCHOOL, 17TH CENTURY Burial of Christ grey wash, heightened with white, on paper prepared with a wash 160 x 110 mm. and four drawings from the Dutch and Italian Schools of Figures seated in Attendance; The Sacrifice of Isaac; A Woman at Prayer and Angels; Adoration of the Shepherds [5] £500-£700

59

119 ITALIAN SCHOOL, LATE 16TH CENTURY A Standing Woman praying black chalk, pen and brown ink and wash on paper, losses 233 x 82 mm.

Provenance: Giuseppe Vallardi (1784-1863) (Frits Lugt 1223) And three Italian drawings of St. Mark and Eagle; Joseph, Mary and Christ Child; Angel visiting a Sleeping Figure [4] ÂŁ400-ÂŁ500

60

*See inside front cover for information regarding fees

120 ITALIAN SCHOOL, 18TH CENTURY Assumption of the Virgin red chalk and wash, on paper, cut out 221 x 246 mm. and two Italian drawings of The Holy Family with Angels; The Mocking of Christ and a French 18th Century drawing of Jael and Sisera [4] £350-£450

61

121 ITALIAN SCHOOL, 17TH CENTURY Mythological Scene: Diana and Acteon and a Satyrs (?) grey wash, heightened with white on paper prepared with a grey wash 295 x 422 mm. and two drawings from the French and Italian Schools of Mythological Scene: Diana and Acteon and a Satyrs (?); A Satyr and Two Female Figures [3] £800-£1,200

122

122 CIRCLE OF LUCA CAMBIASO (GENOA 1527-1585 MADRID) Madonna and Child and Joseph black chalk, pen and brown ink and wash on paper 318 x 245 mm.

Provenance: Anonymous sale, Sotheby’s London, 18 April 1996, lot 207. £400-£600

122 62

*See inside front cover for information regarding fees

123 CIRCLE OF CARLO MARATTA (CAMERANO 1625-1713 ROME) Drapery Studies red and white chalk on faded blue paper, attached inscription [2]’C.Maratti’ in pencil 130 x 150 mm. (2) and a further drawing from the Italian School of A Drapery.

Provenance: Anonymous sale, Sotheby’s London, 18 April 1996, lot 204 [1].

[3] £200-£300

124 ATTRIBUTED TO POMPEO BATONI (LUCCA 1708-1787 ROME) A Seated Child and Head of a Lion red and black chalk on faded paper inscribed in pen and brown ink ‘Batoni Pompeo/Scuola’ (lower right) 213 x 148 mm. £400-£600

125 FOLLOWER OF GIULIO ROMANO Head of a Bearded Satyr brown wash and brush 123 x 112 mm.

Provenance: Unidentified collectors mark (Frits Lugt 474); Jonathan Richardson Senior (1667-1745) (Frits Lugt 2184) £300-£500

63

Various Properties

126 CIRCLE OF THEODORUS VERRIJK (HAARLEM 1734-1786 THE HAGUE) Landscape with Travellers and another similar by the same hand both inscribed ‘T:Verrijk INV: et. Fec’ pen and black ink and grey wash over traces of pencil on laid paper, one with touches of brown on laid paper 357 x 475 mm. unframed a pair (2) £400-£600

127 CIRCLE OF PHILIP VAN DIJK (AMSTERDAM 1683-1753 THE HAGUE) A family conversation piece, circa 1700 black and white chalk on blue paper 335 x 284 mm. unframed £300-£500

64

128 DUTCH SCHOOL, 18TH/19TH CENTURY Travellers by a stream with signature ‘Philipp Hackert’ (lower left) watercolour and bodycolour on card 309 x 258 mm. £200-£300

*See inside front cover for information regarding fees

129 FRANCESCO BARTOLOZZI R.A. (FLORENCE 1727-1815 LISBON) Putti with an urn signed on mount, ‘Bartolozzi del’ (lower left) red and black chalk 225 x 320 mm. engraved by the artist

130 ITALIAN SCHOOL, 18TH CENTURY Six Figures, including a Woman and Child Crying pencil 200 x 200 mm. £80-£100

Provenance: Anonymous sale; Christie’s 22nd April 1969, lot 140 £400-£600

131 JEAN MAXIME CLAUDE (PARIS 1824-1904) Chien d’Arret signed and inscribed with title and ‘...dessins d’apre nature’, ....no 18 fiche’ pencil heightened with white on buff paper 270 x 405 mm. and another similar by the same hand 310 x 400 mm.

(2) £300-£500

65

132 132 ATTRIBUTED TO MICHEL VINCENT BRANDOIN (VEVEY 1733-1807) Travellers and horses pulling a cart on a country road through a village watercolour 245 x 355 mm.

Provenance: The Squire Gallery, London Footnote: Born in Switzerland, Brandoin was sent to Amsterdam in 1748 to work as an apprentice in his uncle’s textile firm. in 1762, his uncle died and he moved to London, living in Church Street, Chelsea, until he returned to Switzerland in 1772. In London, he took lessons from Paul Sandby and devoted himself to painting in watercolour. He took on pupils and worked on commissions for both English and Swiss patrons, as well as exhibiting at the Royal Academy and elsewhere. The present watercolour shows the influence of Sandby. £400-£600

133 133 ENGLISH SCHOOL, 18TH CENTURY Landscape with Barns and a Figure pencil 200 x 320 mm. £80-£100 134 ENGLISH SCHOOL, 18TH CENTURY Figures Resting Under a Tree with a Dog pencil 200 x 320 mm. £80-£100 135 ENGLISH SCHOOL, 18TH CENTURY Five Female Figures black chalk 185 x 270 mm. £80-£100

134

66

135

*See inside front cover for information regarding fees

136

139 137

137 FROM THE ESTATE OF IVOR & JOAN WEISS, COLCHESTER JEAN-BAPTISTE MARIE HUET (PARIS 1745-1811) Goats grazing signed, ‘J. B. Huet’ (lower right) pen and brown ink over traces of pencil on paper 125 x 170 mm. £500-£700 138 FROM THE ESTATE OF IVOR & JOAN WEISS, COLCHESTER SAWREY GILPIN R.A. (CARLISLE 1733-1807 LONDON) Study of a cow in a landscape watercolour over pencil on paper 153 x 220 mm. £400-£600

138 136 FOLLOWER OF FRANS SNYDERS, 18TH CENTURY Study of a dog chewing a bone black, white and red chalk on buff paper 240 x 285 mm.

139 ENGLISH SCHOOL, 19TH CENTURY Portrait of a Cavalier black chalk on buff paper 315 x 210 mm. £80-£100

£150-£250

67

140 GUSTAVE FOUCAULT (FRENCH 19TH CENTURY) A Rocky Woodland Cove charcoal 285 x 430 mm. and Passing Storm over a Still Lake charcoal 245 x 400 mm. by the same hand (2) £300-£500

141 GUSTAVE FOUCAULT (FRENCH 19TH CENTURY) ‘A dappled sunlit path through a woodland glade’ charcoal 450 x 315 mm. and ‘A woodland scene’ by the same hand charcoal 370 x 280 mm.

(2) £300-£500

68

*See inside front cover for information regarding fees

142 EDMUND THOMAS PARRIS (LONDON 1793-1873) Marguerite Gardiner, Countess of Blessington inscribed, ‘Countess Blessington’, signed with initials and dated 1823 (upper left) pencil and watercolour 190 x 145 mm. and another, similar, by the same hand (2) Countess Blessington was an Irish novelist, journalist, and literary hostess. She became acquainted with Lord Byron in Genoa and wrote a book about him. £200-£300

143 ENGLISH SCHOOL, LATE 18TH CENTURY An Interior Design for a marbled fireplace, with Robert Adam style stucco work around a cartouche with portrait of George III pencil and watercolour 360 x 505 mm. £400-£600

69

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 <]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.

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. Dimensions are given height before width.

11. Pictures are framed unless otherwise stated.

70

*See inside front cover for information regarding fees

Index to Artists

A Anglo-Dutch School Antwerp School B Barret Batoni Beechey Brekelenkam, van Brooking Brueghel II C Callcott Carracci Champaigne, de Cimabue Cleve, van Closterman D Dughet Dutch School E English School F Ferrarese School French School G Gainsborough German School Gothic Revival Greuze

13 1

29 21, 54 68 36 18 38

74 45 48 43 2 16

51 33, 34, 62

11, 12, 15, 17, 24, 28, 63, 66, 73

46 23

22 5, 6 3 55

H Herring Hickey Honthorst Hudson

72 70 32 59, 60

I Italian School

47

K Kneller Koninck

25 37

L LegranĂŠe Lely Lievens Lombard School

56 14 35 49

M Mercier Mostaert I Muziano

58 4 42

N Nasmyth Neapolitan School

27, 64 8

P Pseudo-Roestraten

39

R Ravesteyn, van Reynolds Roos, J.H. Roos, P.P. Rubens

30 69 50 53 9, 10

S Saftleven Spanish School Spilsbury Sustermans

7 41 65 31

T Titian Tuscan School

52 44

V Vanmour Velde, van de II Vos, de

57 19, 20 40

W Wilson Wright of Derby

26 61, 67

Index to Artists

B Bartolozzi Batoni Brandoin

129 124 132

C Cambioso Caravaggio, da Cardi Chardin Claude

122 112 103 117 131

D Dijk, van Dutch School E English School F Foucault

127 101, 102, 107, 113, 118, 128

133, 134, 135, 139, 143

140, 141

G Gilpin

138

H Huet

137

I Italian School

105, 106, 108, 109, 110, 111, 114, 115, 116, 119, 120, 121, 130

M Maratta

123

P Parris

142

R Rembrandt Romano

100 125

S Snyders

136

V Verrijk

126

<MZU[ IVL +WVLQ\QWV[ NWZ *]aMZ[ I\ +PQ[_QKS )]K\QWV[

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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.

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-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.

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1V\MZVI\QWVIT JQLLMZ[ UIa JM ZMY]QZML \W ZMOQ[\MZ PW]Z[ JMNWZM \PM 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 LZQ^QVO TQKMVKM 6W W\PMZ NWZU[ WN 1, IZM IKKMX\IJTM 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 XZQWZ \W \PM I]K\QWV ITWVO _Q\P \PM ZMXZM[MV\I\Q^MÂź[ 1, QV IKKWZLIVKM 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;«Ùºâ&#x20AC;¬WZ\[ \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. 1V \PM M^MV\ WN U]T\QXTM KWUUQ[[QWV[ I\ \PM [IUM XZQKM \PM KWUUQ[[QWV set at the older date shall be taken into account.

<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.

<MTMXPWVM JQL[ 1N I JQLLMZ Q[ VW\ IJTM \W I\\MVL QV XMZ[WV IV I]K\QWV +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ \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;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\Q^Q\a resulting in the loss of a chance of purchasing the Lot for the Bidder.

/ZW]VL[ NWZ KIVKMTTI\QWV ]VLMZ \PM XZM[MV\ [MK\QWV [PITT QVKT]LM J]\ VW\ 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\QÃ&#x2026;KI\M[ IVa []J[MY]MV\ KPIVOM[ QV LWUM[\QK WZ QV\MZVI\QWVIT legislations restricting the sale of export of goods etc.

1V \PM M^MV\ WN QV\MZVM\ WVTa I]K\QWV[ \PM *]aMZ [PITT PI^M I LIa right to retract, after reception of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

1V\MZVM\ JQL[ Some sales may be available to internet bidding, as well as personal I\\MVLIVKM 1V \PQ[ M^MV\ +) 4\L [PITT VW\ JM PMTL ZM[XWV[QJTM NWZ Q[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\QWV *QLLQVO WV JMPITN WN [WUMWVM ) *]aMZ UIa JQL Ja XZW`a 1V \PQ[ M^MV\ XZWWN WN QLMV\Q\a WN JW\P \PM 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 I]K\QWV 1V \PM M^MV\ WN \ZIV[UQ[[QWV Q[[]M[ +) 4\L [PITT VW\ JM PMTL responsible for any subsequent outcome. ! 7VTQVM WVTa I]K\QWV[ Some auctions may be available to bidders only through an online XTI\NWZU 1V \PQ[ M^MV\ *]aMZ[ PI^M I LIa XMZQWL I\ ZMKMX\QWV WN \PM 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.

+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;«Ùºâ&#x20AC;¬MZ 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.

3.5 Returns and refunds CA Ltd will only issue a refund using the same method of payment originally used by the Buyer to pay for the purchase, or by bank transfer.

The Buyerâ&#x20AC;&#x2122;s refund will be processed without undue delay and in any M^MV\ _Q\PQV VW UWZM \PIV LIa[ WN \PM LIa \PM *]aMZ OI^M +) 4\L notice of cancellation.

1N \PM *]aMZ M`MZKQ[M[ \PMQZ ZQOP\ WN ZM\ZIK\QWV _PMV I]\PWZQ[ML \W LW [W

by Law, CA Ltd shall proceed to issue a complete refund, comprising the hammer price of the Lot, buyerâ&#x20AC;&#x2122;s premium and shipping fees. However return fees shall remain at the expense of the Buyer.

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. +I[P XIaUMV\[ [PITT VW\ JM ZMKMQ^IJTM NWZ IUW]V\[ W^MZ Ã&#x201A; ZMOIZLTM[[ 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. *]aMZ¼[ 8ZMUQ]U The Buyer will pay CA Ltd a premium of 25% on the hammer price XT][ >)< WV \PI\ KWUUQ[[QWV WV \PM Ã&#x2026;Z[\ Â&#x160; IVL XT][ >)< WV \PM JITIVKM \PMZMIN\MZ ) *]aMZ¼[ 8ZMUQ]U WN ! XT][ >)< Q[ charged on Wine & Spirits Lots.

The standard rate of VAT is charged on the premium except on Lots marked â&#x20AC;&#x2DC;â&#x20AC; â&#x20AC;&#x2122; where normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium.

1V WZLMZ \W ZMKMQ^M I ZMN]VL WN >)< IUW]V\[ 1UXWZ\ >)< I[ applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and J M`XWZ\ \PM TW\ NZWU \PM -= _Q\PQV LIa[ WN KWTTMK\QWV NWZ TW\[ IVL 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

[I\Q[NIK\WZa XZWWN WN M`XWZ\ [PQXXQVO IZM I^IQTIJTM NZWU W]Z .QVIVKM \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS [PQXXQVO M`XWZ\ LWK] UMV\[ L 6W >)< IUW]V\[ WZ 1UXWZ\ >)< _QTT JM ZMN]VLML _PMZM \PM \W\IT ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

+WTTMK\QWV Purchased Lots can be collected from the auction room after the sale PI[ MVLML WZ JM\_MMV IU IVL XU ]X ]V\QT KTW[M WN J][QVM[[ WV the Friday following the sale. Special arrangements may be made for 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. /WWL[ []KP I[ JWWS[ IVL IV\QY]M JWWS[ U][QK UIX[ IVL KPIZ\[ M\K IZM []JRMK\ \W bMZW ZI\ML >)< 1V ILLQ\QWV IVa QUXWZ\ \I`M[ \PI\ UIa JM QVK]ZZML [PITT JM XIQL Ja \PM 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 Purchased Lots not collected before 6pm on the day after the sale shall QVK]Z [\WZIOM KPIZOM[ WN Â&#x160; XMZ 4W\ XMZ LIa WZ XIZ\ \PMZMWN +) 4\L shall be entitled to retain purchased Lots sold until all sums due have been XIQL \W +) 4\L 1N IVa X]ZKPI[ML TW\ ZMUIQV[ ]VKWTTMK\ML LIa[ IN\MZ \PM [ITM [\WZIOM KPIZOM[ [PITT \PMZMIN\MZ JM Â&#x160; XMZ LIa IVL +) 4\L [PITT 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 »)::¼ 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 I XMZQWL WN aMIZ[ IN\MZ \PM IZ\Q[\¼[ LMI\P :WaIT\QM[ IZM KITK]TI\ML 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 [MTTQVO JMTW_ \PM [\MZTQVO MY]Q^ITMV\ WN Ã&#x201A; IVL \PM UI`QU]U ZWaIT\a XIaIJTM WV IVa [QVOTM 4W\ Q[ \PM [\MZTQVO MY]Q^ITMV\ WN Ã&#x201A; Royalties for Droit de Suite are as follows:

;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;«Ùºâ&#x20AC;¬MZ 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.

Â&#x152; .ZWU \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; -`KMMLQVO Ã&#x201A; :MUMLQM[ NWZ VWV XIaUMV\ 1N \PM *]aMZ NIQT[ \W UISM N]TT XIaUMV\ QV KTMIZML N]VL[ _Q\PQV \PM \QUM 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;«[Ùºâ&#x20AC;¬M\ 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;«Ùºâ&#x20AC;¬MZMV\ 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\ IVa N]\]ZM JQL[ Ja \PM *]aMZ IVL WZ [MMS I LMXW[Q\ NZWU \PM *]aMZ 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.

! 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;«Ùºâ&#x20AC;¬WZ\[ _PMV PIVLTQVO XIKSQVO IVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]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 [XMKQÃ&#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 KWVÃ&#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[ +MZ\IQV MVLIVOMZML [XMKQM[ IZM TQ[\ML QV \PM +1<-; +WV^MV\QWV 4Q[\ML [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. ?WZSML Q\MU[ \PI\ IZM LI\ML JMNWZM ! IZM M`MUX\ NZWU QUXWZ\ restrictions for intra-EU trade and shall not require export licences.

Please be aware that all Lots marked with the symbol Æ&#x20AC; IZM []JRMK\ \W +1<-; ZMO]TI\QWV[

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 1V \PM M^MV\ WN I 4W\ JMQVO [WTL I[ I]\PMV\QK ]VLMZ \PM KI\ITWO]M 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. <PM *]aMZ [PITT OQ^M VW\QKM \W +) 4\L _Q\PQV LIa[ NZWU SVW_TMLOM 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[ )ZKPIMWTWOQKIT OWWL[ W^MZ aMIZ[ WN IOM ]VTM[[ KW^MZML Ja M`MUX\QWV 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.

1\ Q[ ZMKWUUMVLML \PI\ \PM *]aMZ KWV\IK\ \PM -`XWZ\ 4QKMV[QVO =VQ\ 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 \MZZQ\WZQIT _I\MZ[ W^MZ aMIZ[ WN IOM [PITT ZMY]QZM I =3 4QKMVKM regardless of their value and regardless of the export destination.

7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV 1VLQ^QL]IT 4QKMVKM WZ 7/-4 LMXMVLQVO WV \PMQZ ^IT]M Both European-Union and UK Licences may be required simultaneously NWZ [WUM Q\MU[ 1\ Q[ \PM *]aMZ¼[ L]\a \W ]VLMZ\ISM \PM VMKM[[IZa [\MX[ 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&#x152; 1ZZILQI\QWV 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\[ 1N I [\WVM¼[ M`IK\ _MQOP\ IXXMIZ[ _Q\PQV \PM JWLa WN \PM LM[KZQX\QWV \PM [\WVM PI[ JMMV ]V UW]V\ML IVL _MQOPML Ja +) 4\L 1N \PM _MQOP\ WN 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[¼ WXQVQWV J]\ ][QVO [\WVM[ WZ LM[QOV[ supplied by the client. â&#x20AC;&#x2DC;5ISMZ¼[ 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 M`XWZ\ ZM[\ZQK\QWV[ ;MM [MK\QWV WV +1<-; ZMO]TI\QWV[ NWZ UWZM LM\IQT[ 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 QUXWZ\ WZ M`XWZ\ X]ZXW[M[ QV IKKWZLIVKM _Q\P +1<-; ZMO]TI\QWV[ 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 ! N]ZVQ\]ZM \PI\ _I[ ]XPWT[\MZML IN\MZ \PM [\ WN 2IV]IZa ! Q[ []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. FINE ART .QVM )Z\ XIQV\QVO[ I[ QVKT]LML QV \PM KI\ITWO]M LM[KZQX\QWV »@ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ IV I]\PMV\QK work by the artist.

»)\\ZQJ]\ML \W @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ probably a work by the artist. »+QZKTM WN @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM IVL L]ZQVO \PM period of the artist’s life. ».WTTW_MZ WN @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM KWV\MUXWZIZa or near contemporary. »;KPWWT WN @ \P KMV\]Za¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS executed in that period and in the style associated with that artist. ».ZMVKP ;KPWWT \P KMV\]Za¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS executed in that period and in the style associated with a particular location. »5IVVMZ WN @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM J]\ I\ I TI\MZ LI\M IT\PW]OP not of recent execution. »;\aTM WN @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM IVL WN ZMKMV\ M`MK]\QWV »)N\MZ @ " 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I KWXa Ja IV ]VQLMV\QÅML IZ\Q[\ WN I VIUML _WZS Ja \PM IZ\Q[\ Lots sold ‘as seen’ or ‘as found’ are deemed to be sold in their present condition, with their faults and defects. The Bidder must be aware that purchase of such Lots is at there own risk.

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 [XMKQÅKITTa _Q\P Q\MU[ UILM WN exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must JM I_IZM WN QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ QV IKKWZLIVKM _Q\P +1<-; Regulations. As aforementioned in the Section relating to such matters, QUXWZ\ IVL M`XWZ\ XMZUQ\[ WZ ZM M`XWZ\ KMZ\QÅKI\M[ UIa JM ZMY]QZML >MZQÅKI\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 M‫ٺ‬MK\ WVTa QV [W NIZ I[ Q\ UIa LW [W without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way \W JM I‫ٺ‬MK\ML WZ QUXIQZML I[ I ZM[]T\

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. ;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 Buyer’s prior consent.

CA Ltd never sell, lend or trade in personal data provided by any Bidder.

16. AMENDMENTS .QVM +PQVM[M 8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM ÅMTL WN +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[ VW\ XMZUQ\ ]VY]ITQÅML [\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.

6W\_Q\P[\IVLQVO QN _Q\PQV LIa[ WN \PM [ITM WN IVa []KP 4W\ \PM 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 »NWZOMZa¼ Q[ LMÅVML 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 ‘binding’ or ‘bindings’.

12. WINES AND SPIRITS 1V IKKWZLIVKM _Q\P IOZMML [\IVLIZL[ QV \PM \ZILM M[\QUI\M[ [PITT JM LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM ÅTT TM^MT 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 IV »IKKMX\IJTM¼ ÅTT TM^MT NZWU +) 4\L

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 JMVMÅ\ 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 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.

Jewellery

A nephrite and pearl ‘Japanese’ necklace, by René Boivin, 1911 £2,000 - £3,000 A rare example by the founder of one of the 20th century’s most esteemed jewellery houses.

From a private London collection since the late 1950s.

FOR ENQUIRIES CONTACT Head of Department, Sarah Duncan sarah@chiswickauctions.co.uk

15 MAY 2018

Watches

Rolex. A 10K gold automatic chronometer wristwatch Estimate: £1,600 - £2,000

15 MAY 2018 FOR ENQUIRIES CONTACT Head of Department, Matthew Caddick matt@chiswickauctions.co.uk

SPECIALISTS

20th CENTURY DESIGN James Nurse, Head of Department james@chiswickauctions.co.uk

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

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

Charlotte Peel, Specialist charlotte.peel@chiswickauctions.co.uk

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

Clive Moss, Head of Department

Yasuko Kido, Japanese Art Specialist yasuko@chiswickauctions.co.uk CERAMICS & GLASS Dr. Jim Peake, Head of Department jim@chiswickauctions.co.uk CONTEMPORARY & URBAN ART Harry Parkinson, Sales Coordinator harry@chiswickauctions.co.uk DESIGNER HANDBAGS & FASHION Meg Randell, Head of Department meg@chiswickauctions.co.uk EUROPEAN WORKS OF ART & CLOCKS Rachael Osborn-Howard , Head of Department rachael@chiswickauctions.co.uk FINE ART Suzanne Zack, Head of Department suzanne@chiswickaucions.co.uk Jan Leman, Specialist jan@chiswickauctions.co.uk Rohan McCulloch, Specialist rohan@chiswickauctions.co.uk Krassi Kuneva, Head of Sales - Modern & Post-War British Art kkuneva@chiswickauctions.co.uk Melissa Van Vliet, Head of Sales - Old Masters melissa.vanvliet@chiswickauctions.co.uk GUITARS & MUSICAL INSTRUMENTS Dr. David MacGregor, Specialist david@chiswickauctions.co.uk ISLAMIC & INDIAN ART Beatrice Campi, Head of Sales beatrice.campi@chiswickaucions.co.uk

PRINTED BOOKS & MANUSCRIPTS clive.moss@chiswickauctions.co.uk

Dr. Carmen Donia, Specialist carmen.donia@chiswickauctions.co.uk

Nicholas Worskett, Specialist nicholas@chiswickauctions.co.uk

Valentina Borghi, Head of Sales - Autographs & Memorabilia valentina.borghi@chiswickauctions.co.uk RUGS & CARPETS Mark Henry Lampé, Head of Department mark.lampe@chiswickauctions.co.uk Chris Vin, Specialist chris@chiswickauctions.co.uk SILVER & OBJECTS OF VERTU John Rogers , Head of Department john.rogers@chiswickauctions.co.uk Amicie de Villenfagne, Specialist amicie@chiswickauctions.co.uk WATCHES Matthew Caddick, Head of Department matt@chiswickauctions.co.uk WINE & SPIRITS Peter Mansell, Head of Department peter.mansell@chiswickauctions.co.uk

SPECIALISTS

SALE CALENDAR

MAY

22

TUESDAY

Interior & Design

24 Melissa van Vliet

Suzanne Zack

Head of Sales Old Masters melissa.vanvliet@chiswickauctions.co.uk

Head of Department Fine Art suzanne@chiswickauctions.co.uk Contact for Old Master Drawings enquiries

THURSDAY

Fine Chinese Paintings Chinese Bronzes: Song to Qing

25

FRIDAY

Asian Art

29

TUESDAY

Printed Books & Manuscripts to include Modern First & Limited Editions

JUNE

05

Julian Laurence Samuels

TUESDAY

Interiors & Design to include a selection of Fine Rugs & Carpets

Department Coordinator Fine Art

06

WEDNESDAY

European Works of Art & Clocks

BUYER’S PREMIUM The buyer shall pay Chiswick Auctions Ltd a premium on the hammer price of 25% plus VAT on that commission.

TELEPHONE BIDDING Please note that requests for telephone bids should be submitted no later than 5pm on the day prior to the sale.

LIVE BIDDING

the-saleroom.com Please note there is a 3% +VAT surcharge for using this service.

COLLECTION OF LOTS Buyers are asked to collect their lots on the day of the sale or between 10.00 and 18.00 up until close of business on Friday following the sale.

IMPORTANT INFORMATION

invaluable.co.uk Please note there is a 5% +VAT surcharge for using this service.

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.

12

TUESDAY

British & European Fine Artwith Portrait Miniatures Wine & Spirits

19

TUESDAY

Interiors & Design

Old Master Paintings 16 May 2018

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

Old Master Paintings followed by Old Master Drawings London 16th May 2018