Chiswick Auctions - British & European Fine Art - 27 August 2020 - Updated by Chiswick Auctions

British & European Fine Art 27 August 2020

An Update on our Services Our Chiswick Saleroom is now open to the public for valuations, viewings and 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 19 August until Wednesday 26 August. 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 Luke Price 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: luke.price@chiswickauctions.co.uk The good news is we are fully functional online and continue to run sales in a livestream 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

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

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

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

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

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

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

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British & European Fine Art Thursday 27 August 2020, 2pm 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 157 Back Cover Lot 124 Title pages: Lots 104, 183 Inner Bleeds: Lots 118, 132, 109, 116, 130 Index: Lot 102 5

European Paintings and Works on Paper Lots 101 - 156

101

JULES JOSEPH LEFEBVRE (FRENCH 1836 1911) Diana signed Jules LeFebvre (upper left) oil on panel 29.5 x 15.5 cm (11 1/2 x 6 in) Â£4,000-6,000

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102 ALFRED PIERRE AGACHE (FRENCH 1843 1915) Muse with a summer garland signed alf agache (lower right) oil on canvas 36 x 27.5 cm (14 1/4 x 11 in) EXHIBITED: New York, Shepherd Gallery, Nineteeth Century French and Other Continental Drawings, Watercolours and Oil sketches, Winter 1979, no. 1 Â£1,000-1,500

103 ALBERT MARQUET (FRENCH 1875 - 1947) Village au bord du Danube signed with initials (lower left) pen and ink 10.5 x 10.5 cm (4 x 4 in) PROVENANCE: with Wolseley Fine Arts, London Â£300-500

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104 Property of a Gentleman, London STANISLAS LEPINE (FRENCH 1835 - 1892) La Seine au Pont Marie signed S. Lépine (lower right) oil on canvas 28.5 x 47.5 cm (11 1/4 x 18 3/4 in) The distinctive five span Pont Marie across the River Seine in Paris links the charm of the Île Saint-Louis on the left with the hustle and bustle of the quai de l’Hôtel de Ville on the right. Painted looking up stream, Lépine captures the distinctive roof line of the Hôpital Hôtel-Dieu in the far distance. PROVENANCE: Estate of Lady Greene, Wickham House, Wickham, Berkshire (puchased on her behalf in 1967) Thence by descent to the present owner EXHIBITED: London, Marlborough Fine Art Ltd, French Landscapes, 1961, no. 23 £2,000-3,000

105

106

107

Property from an English Estate

KARL HEFFNER (GERMAN 1849 - 1925) River landscape signed K Heffner (lower left) oil on board 42.5 x 52 cm (16 3/4 x 20 1/2 in)

EDMOND MARIE PETITJEAN (FRENCH 1844 - 1925) River landscape signed E Petitjean (lower right) oil on canvas 46 x 78.5 cm (18 x 31 in)

ADOLF HEINRICH LIER (GERMAN 1826 - 1882) Cattle watering signed A Lier (lower right) oil on board 42.5 x 52 cm (16 3/4 x 20 1/2 in)

PROVENANCE: In the family of the late owners since the early 1970s

£600-800

£300-500

PROVENANCE: In the family of the late owners since the early 1970s £300-500

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108 ARR Property from an English Private Collection PAUL LUCIEN MAZE (FRENCH 1887 - 1979) Still life of fruit in a basket signed P Maze (lower right) pastel on paper 32 x 32 cm (12 1/2 x 12 1/2 in) ÂŁ400-600

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109 Property from an Estate, London LEOPOLD FRANZ KOWALSKI (FRENCH 1856 1931) Femme à sa toilette signed L. KOWALSKY (lower right) pastel on buff paper 54 x 68 cm (21 x 26 1/2 in) PROVENANCE: Digby Neave John Adams Fine Art, London Acquired from the above on 4th December 1992 £1,200-1,800

110 ARR OTTO THIELE (GERMAN 1870 - 1955) Landscape with two cottages in the valley; Riverbank both signed Otto Thiele (lower right) both oil on board 27 x 34 cm (10 1/2 x 12 1/2 in); 23 x 31.5 cm (9 x 12 1/2 in) (2) ÂŁ150-250

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111 ARR OTTO THIELE (GERMAN 1870 - 1955) Flower market, Berlin signed Otto Thiele (lower right) oil on canvas 81 x 101 cm (32 x 39 3/4 in) Â£300-500

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112 Property of a Private Collector WILLIAM DEGOUVE DE NUNCQUES (BELGIAN 1867 - 1935) Trees in autumn pastel 25 x 39.5cm (9 3/4 x 15 1/2 in) PROVENANCE: Suzanne Degouve de Nuncques (née Poulet; the artist’s widow. Suzanne was Degouve de Nuncque’s second wife, who was previously married to the polar explorer Adrien de Gerlache) By descent from the above to the present owner, grandson of Adrien de Gerlache LITERATURE: Hans Wijgergangs, Ronald Feltkamp and Théo Galle, William Degouve de Nuncques online catalogue raisonné, no. 8.1922.003, illustrated £500-700

113 Property of a Collector WILLIAM DEGOUVE DE NUNCQUES (BELGIAN 1867 - 1935) Winter landscape signed with initials and dated W.D. / N. 27 pastel 27 x 44 cm (10 5/8 x 17 1/4 in) PROVENANCE: Suzanne Degouve de Nuncques (née Poulet; the artist’s widow. Suzanne was Degouve de Nuncque’s second wife, who was previously married to the polar explorer Adrien de Gerlache 1866-1934) By descent from the above to the present owner, grandson of Adrien de Gerlache LITERATURE: Hans Wijgergangs, Ronald Feltkamp and Théo Galle, William Degouve de Nuncques online catalogue raisonné, no. 8.1927.002, illustrated £600-800

114 ARR Property of a Private Collector JULIETTE CAMBIER (BELGIAN 1879 - 1963) Garden flowers in an Etruscan vase signed and dated Juliette Cambier / 1918 oil on canvas 45 x 34.5cm (17 3/4 x 13 1/2 in) PROVENANCE: Purchased by the grandparents of the present owner before 1939 £400-600

115 Property of a Private Collector THEO VAN RYSSELBERGHE (BELGIAN 1862 - 1926) Les Alpes à Peïra-Cava (apres-midi) signed with the monogramme and dated 1918; titled on the reverse oil on canvas board 32.5 x 40.5cm (12 3/4 x 16 in) PROVENANCE: Baron Adrien Victor Joseph de Gerlache de Gomery (acquired from the artist in 1920. A keen sailor and seaman from his teenage years, de Gerlache made his reputation as an explorer of Antarctica, leading the Belgian expedition to the South Pole of 1897-99. He set sale in August 1897 for Antarctica in the Belgica, a converted Norwegian whaling ship. He and his crew passed by Graham Land in January 1898, naming the waters between the Island and an archipelago to the west Belgica Strait later renamed Gerlache Strait in the captain’s honour, and crossed the Antarctic Circle on 15th February 1898. By the end of the month, however, the boat had become trapped in the ice off Peter Island, forcing de Gerlache and his companions to spend the winter there. From mid-May to late July they experienced total darkness, and there followed another 7 months of intense hardship as they attempted to free the ship from their frozen surrounds. Finally, a full year later, in mid-February 1899 they cleared a channel, and by mid-March were ice free. The expedition returned to Antwerp on 5 November 1899. In 1901 de Gerlache published a book on the expedition: Quinze Mois dans l’Antarctique. Thence by descent to the present owner, grandson of the above LITERATURE: Ronald Feltkamp, Théo Van Rysselberghe, Catalogue raisonné, Brussels, 2003, no. 1918.008, illustrated Painted in Peïra-Cava in the Alpes Maritimes, Provence. Peïra-Cava was the region’s first and most fashionable ski resort in the early 1900s. The village is dominated by the eponymous peak (altitude 1,582m), which offers panoramic

views stretching across the Mediterranean, as far as Corsica on a clear day. After the First World War, when Van Rysselberghe was attracted to the site, the resort was at its apogee and boasted at least three hotels. There were even ambitious plans to link it by cable car to Nice. Van Rysselberghe had been a colourist ever since his first trip to Morocco in 1882 aged 20. Two more trips to North Africa that decade followed, and the results are evident in the gradual opening up of his palette and the light that began to suffuse his compositions. But his truly damascene moment came in the the spring of 1886, when he was transfixed by Georges Seurat’s largest and most audacious work La Grande Jatte at the 8th and last Impressionist exhibition in Paris (collection of the Art Institute of Chicago). He convinced the Frenchman to show the painting the following year in Brussels with Les XX, the avantgarde group of artists and designers he had cofounded three years earlier. Although the painting met with scepticism and derision from the Belgian press and public, Van Rysselberghe became one of Seurat’s several acolytes and a chief exponent of Neo-Impressionism, developing his own version of the style over the years to come. Another such admirer of Seurat was the painter Henri Edmond Cross. Van Rysselberghe and Cross became close friends, and it was Cross who persuaded Van Rysselberghe whilst on a bicycling trip together to relocate to live in St Clair, near Le Lavandou on the Côte d’Azur where Cross was already a resident. With the move, Van Rysselberghe’s close adherence to a pure pointillist technique mellowed, and his palette absorbed the distinctive, warm and sublimely variegated hues of the Mediterranean. His brother, the architect Octave Van Rysselberghe designed and built him a house and studio there, into which Van Rysselberghe moved in 1911, and where he lived for the next fifteen years. Out of season Peïra-Cava, north of Nice and Monaco provided a welcome retreat for Van Rysselberghe, lying some two to three hours drive by car east of St Clair. £10,000-15,000

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116 ARR ANNA ALEKSANDROVNA KOGAN (RUSSIAN 1902 - 1974) Supremacist composition signed A. Kogan (lower right) collage, ink and watercolour 19 x 14 cm (7 1/2 x 5 1/2 in) Kogan studied under Kazimir Malevich at the Higher School of Art, Vitebsk from 1919-22. £600-800

117 ARR PAVEL TCHELITCHEV (RUSSIAN 1898 - 1957) Portrait - Nature Morte signed P. Tchelitchew (lower right) pen, brush, sepia ink and wash image size: 31 x 18 cm (12 1/4 x 7 in) Executed circa 1930 PROVENANCE: Zosya Kochanski (Zosya Kochanski was wife of the virtuoso Polish violinist Paul Kochanski, 1887-1934. In 1901, when just 14 years old, the precocious Kochanski had been appointed to be concert master of the nascent Warsaw Philharmonic by the orchestra’s founder, Emil Mlynarski. Among the many accolades that he went on to receive, Kochanski was awarded first prize, with the greatest distinction, by the Brussels Conservatoire in 1903. After the war he and Zosya lived briefly in London, where he gave recitals at the Wigmore Hall, before moving to New York, where he made a sensational debut at Carnegie Hall. From 1924 he taught at the Juilliard School, heading the violin faculty until his death from cancer at the age of 46. The couple had been friends with Tchelitchev since the end of the First World War. Tchelitchev painted Zosya’s portrait in 1919, his first large scale canvas. with Whitford Fine Art, London £600-800

118 GUSTAV KLIMT (AUSTRIAN 1862 - 1918) Kneeling female nude from the front signed with initials G.K. (lower right), inscribed R (lower right corner) black chalk on buff paper with the water mark VIDALON - LES - ANNONAY (near top edge) sheet size: 48.5 x 31.5 cm (19 x 12 1/2 in) There is a sketch of an arm and breast on the reverse. PROVENANCE: Carl Reininghaus (1857-1929), Vienna (Klimt’s annotation of the present work with the initial R in the lower right corner confirms that this was one of a number of studies for the Beethoven Frieze owned by Reininghaus. A successful industrialist, Reninghaus was one of the most significant collectors of contemporary art in Austria at the end of the 19th century. A patron of both Egon Schiele and Klimt, he acquired Klimt’s finished Beethoven Frieze together with related sketches for the project to save it from destruction following its exhibition at the Vienna Secession in 1902.) August and Serena Lederer, Vienna Erich Lederer, Vienna (son of the above) Sale, Sotheby Parke Bernett, New York, 16th May 1979, lot 61 Purchased at the above sale by the parent’s of the present owner EXHIBITED: London, Piccadilly Gallery, 1973 & New York, Spencer A. Samuels & Co, no. 29 (illustrated in the catalogue)

Max Klinger whose sculpture of Beethoven was positioned in the centre of the hall. Intended just for the duration of the show, Klimt painted his vast mural - 7 ft in height by 112 ft in length - (2 x 34 metres) directly onto the walls of the first room the public entered. Attracting nearly 60,000 visitors, the exhibition was one of the most successful mounted by the Secession, and it proved to be a turning point in Klimt’s fortunes. After the show ended the mural was preserved and is now on permanent display in the basement of the Secession building in Vienna. Klimt conceived his frieze as a celebration of mankind’s search for happiness in a suffering world in which the individual is forced to contend both with the external forces of evil and personal self-doubt. Strobl catalogues the present work as being one of the studies for Nagender Kummer (Gnawing grief) in the frieze. But according to Dr Marian Bisanz-Prakken, the figure originally belonged to the first group of figures in the frieze called Die Leiden der schwachen Menschheit (The suffering of weak humanity) which Klimt developed into a working sketch of a kneeling male, but eventually chose to omit from the finished composition. For the kneeling male see: Gustav Klimt, Painting, Design and Modern Life, Exh. cat., Liverpool 2008, pp. 80-81. We are grateful to Dr Marian Bisanz-Prakken for her assistance in cataloguing the present lot. £15,000-25,000

LITERATURE: Alice Strobl, Gustav Klimt: Die Zeichnungen, vol. I, 1878-1903, Salzburg, 1980, no. 822, pp. 242 & 243, catalogued & illustrated Executed in 1901, the present work is one of the series of sketches from which Klimt worked up his epic Beethoven Frieze shown to great acclaim at the 14th Viennese Secessionist exhibition from April - June 1902. Conceived as a tribute to the composer on the 75th anniversary of his death, the exhibition was overseen by Joseph Hoffman, and featured the work of 22 different artists, including that of

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119 ARR MIKULAS MEDEK (CZECH 1926 - 1971) Abstract figure signed, dated and dedicated For Mrs and Mr Eli Wallitt / with many / greetings / M. Medek ‘69 (lower right) pen and ink wash and gouache 56 x 37 cm (22 x 14 1/2 in) PROVENANCE: Acquired from the artist by Mr and Mrs Eli Wallitt in 1969 The mysterious spectral presence of the present composition confirms Medek’s position as one of the most original voices within the Czech visual arts to emerge since the Second World War. Undeterred by the strictures of the Communist government of the day, the artist was persistent in his quest for creative freedom. And the unique character of Medek’s work remains as sinister and startling to us now as it was when the artist was alive. In style and composition the work bears some comparison with the paintings and sculptures of Max Ernst: the worked surface, the forms and symbols, the abstraction of figural elements, the essential flatness of the motif. But unlike Ernst, whose work always retained an underlying sense of decoration, this work incorporates no such distraction. Rather it exhibits an unremitting sense of anonymity and dislocation, the mouth and beak emerging from the darkness with an aggressive impersonality. That Surrealism informed Medek’s style is not surprising. Prague had been a hot-bed of Surrealist activity since the 1920s. Up until the Second World War and well into the 1950s there were many and diverse exchanges between Surrealists in Paris and their counter parts in Prague. But as divisions and dissensions grew among the group in the post-War years, so Medek retreated from an overtly figurative style, to create a wholly new more inscrutable aesthetic during the 1960s. The tenor of his work reflected the political climate, Medek’s anxious imagery suggesting the repression of the country during Communist rule, and the hectoring of the Soviet Union in particular. £800-1,200

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120 ARR WILLIAM KENTRIDGE (SOUTH AFRICAN B.1955) Halley’s comet lands in the East river signed and dated KENTRIDGE 1986 (lower right) numbered 1/20 (lower left) drypoint, etching plate: 19.5 x 19.5 cm (7.7 x 7.7 in) PROVENANCE: Vanessa Devereux Gallery Ltd, London £1,500-2,500

121 ARR RAYMOND HAN (AMERICAN B. 1931) Festive table oil on canvas 130 x 130 cm (51 1/2 x 51 1/2 in) PROVENANCE: with Meredith Long & Company, Houston with Robert Schoelkopf Gallery, New York Â£800-1,200

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122 ARR MICHAEL BYRON (AMERICAN B. 1954) Procession I; Procession II; Procession III; Procession IV all lithographic monoprints each 25.5 x 38 cm (10 x 15 in) (4) PROVENANCE: all with Obelisk Gallery, Boston Â£200-300

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123 MARSDEN HARTLEY (AMERICAN 1877 1943) Two Shells bears signature Marsden Hartley (lower right) in pencil pen and black ink over traces of pencil inscribed Estate 447-A (verso) 34 x 25cm (13 1/2 x 10in) - sheet size Stamps and labels on the backboard: Eva Lee’s Gallery, 19A Cutlet Mill Road, Great Neck, N.Y. (stamped) Washburn Gallery, 42 East 57th Street New York, N.Y. 10022, stock no. 7438 Executed in 1936, the present work is one of a series of drawings and paintings of shells, star fish, bones, and other beach detritus that Hartley executed in Nova Scotia that year. The drawing was part of the artist’s estate as recorded in Elizabeth McCausland’s research papers from the 1940s and 1950s on Marsden Hartley’s work in the Archives of American Art, Washington DC, USA. One of the leading artists of American Modernism, Marsden Hartley’s unique style drew on vibrant colours and geometric abstraction but also a deep feeling for landscape. As evident in Two Shells, Hartley was a skilled draughtsman, attuned to the minutiae of natural forms. Born in Lewiston, Maine, Hartley moved with his family to Ohio in 1893 where he studied at the Cleveland School of Art. Hartley’s work caught the attention of the school’s trustees, who granted him the financial means to continue studying in New York City for five years, beginning in 1899 at the Shinnecock Hills School of Art directed by William Merritt Chase and the National Academy of Design. In 1912 he travelled to Paris, where he was attracted to the work of the Post-Impressionists, Fauvists and Cubists, notably the work of Paul Cézanne and Henri Matisse, and formed relationships with key members of the French avant-garde, including Gertrude Stein, Pablo Picasso, Georges Braque, and Robert Delaunay. From these formative travels, Hartley spent much of the next 25 years living further afield, notably Berlin, Bermuda, Mexico, the American Southwest, and Nova Scotia (where he drew the present work), before returning to his native State of Maine in 1937 where he reached the pinnacle of his

artistic achievement in his iconic seascapes, landscapes, and figurative works. The present work will be included in the online catalogue Marsden Hartley Legacy Project: The Complete Paintings and Works on Paper, being prepared by Gail R. Scott at Bates College Museum of Art, Lewiston, Maine USA. We are grateful to Gail R. Scott for her assistance in cataloguing this work. £1,000-1,500

124 ARR Property from an English Private Collection MANÉ-KATZ (FRENCH/UKRAINIAN 1894 - 1962) Rabbi reading signed Mané-Katz ((upper right) oil on canvas 74 x 61 cm (29 x 24 in) PROVENANCE: Talma Galleries Fine Art Inc., New York B. Schmidt Bodner, London (purchased from the above in January 1985) Thence by descent to the present owners Sold with a certificate of authenticity signed by Mr. Sahar, dated 1984 £12,000-18,000

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125

126 ARR

127 ARR

MAX GIMBLETT (NEW ZEALAND B. 1935) How many times for your sake have I gone down to the dragon’s cave signed and dated Max Gimblett 1987 (lower right), titled (lower left) acrylic and polymer on paper 74 x 105.5 cm (29 1/4 x 41 1/2 in)

Property of a Lady

HARALD MAHRENHOLZ (GERMAN 1904 - 1994) Sunset over a pastoral landscape oil on board 79 x 90 cm (31 x 35.5 in)

£500-700

PROVENANCE: Acquired by the present owner in Perth, Western Australia c.1970s

ROBERT LITCHFIELD JUNIPER (AUSTRALIAN 1929 - 2012) Desert Grasses signed and dated Juniper / 66 (lower right) oil on board 51 x 75.5 cm (19 3/4 x 30 in)

£2,000-3,000

Harald Mahrenholz was from a cultured Jewish family. His maternal grandfather had been a cellist, his mother was a concert pianist, and his brother was a highly regarded portrait and fashion photographer. In his home city of Berlin Mahrenholz studied in the studio of the Expressionist painter Ludwig Meidner, and subsequently worked for the stage and film director Max Reinhardt. From Berlin he moved to Paris, where he came under the influence of the Fauve painter and society portraitist Kees Van Dongen, was introduced to Matisse and Picasso, and met Christian Dior. Dior, then a young co-director of the newly See page 5 for more information regarding fees

established Galerie Jacques Bonjean on Rue de la Boétie, took up Mahrenholz’s work, exhibiting his paintings alongside others that he championed, from Leonor Fini, Salvador Dali and Joan Miró to neoRomantics Eugène and Léonide Berman and Pavel Tchelitchew. Through Dior the painter was introduced to the Parisian intelligentsia and beau-monde amongst them Gertrude Stein and Coco Chanel. Mahrenholz moved to London in the late 1930s where he continued to paint, but also set up a haute couture salon on Curzon Street in Mayfair. His clients included Princess Margaret, Margot Fonteyn, Barbara Hutton, the Duchess of Argyll and Vivien Leigh. He was introduced to Daniel Wildenstein by fellow designers Elizabeth Arden and Coco Chanel. Wildenstein held a one-man show of Mahrenholz’s paintings at his New Bond Street gallery in 1947. £300-500 35

128

129

CHRISTIAN MEYER-ROSS (NORWEGIAN 1843 - 1904) The Captive signed Ross (lower right) oil on canvas 99 x 77 cm (39 x 27 1/2 in)

LOUIS DOUZETTE (GERMAN 1834 1924) The Smugglers’ moon signed L Douzette (lower right) oil on canvas 42 x 67 cm (16 1/2 x 26 1/2 in)

£1,000-1,500

£2,000-3,000

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130 HERMANUS II KOEKKOEK (1836 - 1909) (JAN VAN COUVER) View along the canal signed J VAN COUVER (lower right) oil on canvas 60 x 46 cm (23 3/4 x 18 in) J. Van Couver was one of several names adopted by Hermanus II Koekkoek. His father, Hermanus Koekkoek Snr (1815-1882), was a well established painter who encouraged his son to follow in his footsteps. Koekkoek Jnr achieved success not only in his native Holland but also in his adopted home of Britain. In order to avoid confusion between his work and that of his fatherâ&#x20AC;&#x2122;s, Koekkoek junior began to paint under different pseudonyms, often signing his work Jan van Couver, as in the present lot. Between 1859 and 1869 he traveled back and forth between Holland and England, eventually settling in London in 1869. ÂŁ300-500

131 ARR Property of a Collector JULIETTE CAMBIER (BELGIAN 1879 - 1963) Roses in a vase signed and dated Juliette Cambier / 1926 (lower right) oil on canvas 55 x 46 cm (21 3/4 x 18 in) PROVENANCE: Purchased by the grandparents of the present owner before 1939 Â£800-1,200 38

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132 LAURA BRUMM (BRITISH - exhibited 1902 1920) The blue kimono signed L BRUM (lower right); signed and titled (on a label attached to the stretcher) oil on canvas 85 x 41 cm (33 1/2 x 16 1/4 in) PROVENANCE: Private collection, Ireland Landscapist and portrait painter Laura Brumm exhibited at the Liverpool Corporation Autumn Exhibition of Modern Art at the Walker Art Gallery in 1905; with the Allied Artists’ Association at the Royal Albert Hall in 1909 and 1911, and at the Royal Academy in 1917 (no. 388 News From Home). Married to Charles Brumm (b. 1853 in Germany), the couple first lived in Southport, where Charles became president of the Birkdale Liberals and chairman of the Birkdale and County Liberal Club. With the outbreak of the First World War, however, Brumm’s husband retreated from Merseyside politics and the couple moved south with their two daughters to 12 Harley House, Regent’s Park, London. In the present work she signed herself Brum with a single m, possibly to downplay the German origin of her married name. For further information on the artist see: Dennis Child, Painters in the Northern Counties of England and Wales, Leeds, 1994. £500-700

133 Property from an English Estate EUGENE HENRI CAUCHOIS (FRENCH 1850 - 1911) Bouquet of flowers in a vase signed Cauchois (lower right) oil on canvas 45 x 37 cm (17 3/4 x 14 1/2 in) PROVENANCE: In the family of the late owners since the early 1970s £600-800

134 Property from an English Estate HENRI JOSEPH DILLENS (BELGIAN 1812 1872) Playing at soap bubbles signed and dated Henri Dillens 1854 (lower right) oil on panel 50 x 62.5 cm (19 3/4 x 24 1/2 in) PROVENANCE: H & P de Casseres, London Purchased from the above by the parents of the late owner on 6th November 1946 £1,000-1,500

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135 Property from an English Estate JAN WALRAVEN (DUTCH 1827 - CIRCA 1863) Happy hours signed J Walraven (lower left) oil on canvas 61 x 51.5 cm (24 x 20 1/4 in) PROVENANCE: H & P de Casseres, London Purchased from the above by the parents of the late owner on 28th April 1948 Â£400-600

136 ARR OTTO THIELE (GERMAN 1870 - 1955) Interior scene signed Otto Thiele (lower right) oil on panel 70 x 60.5 cm (27 1/2 x 23 3/4 in) £200-300

137 Property of a Gentleman BERNARD DE HOOG (DUTCH 1867 - 1943) The sewing lesson signed B de Hoog (lower right) oil on canvas 81 x 100 cm (31 3/4 x 39 1/2 in) PROVENANCE: Christie’s, London, 18 March 1994, lot 101 Purchased at the above sale by the present owner £2,000-3,000

138 BERNARD DE HOOG (DUTCH 1867 - 1943 ) Tending the new born signed Bernard de Hoog (lower right) oil on canvas 51 x 64 cm (20 x 25 in) £600-800

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139 A G DUPRAT (ITALIAN 20TH CENTURY) The Canal, Venice signed A G Duprat (lower right) oil on panel 45.5 x 65 cm (18 x 25 1/2 in) Â£500-800

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140 ARR FRANTISEK HANUS HERINK (CZECH 1899 1958) Venice: the Campanile, Piazza San Marco and the Doge’s Palace; The Grand Canal, a pair each signed F. Herink (lower right) both oil on canvas each 32 x 53 cm (12 1/2 x 21 in) (2) £800-1,200

141 PIERRE EUGENE MONTEZIN (FRENCH 1874 - 1946) Le bouquet à la fenêtre signed Montezin lower left oil on canvas 65 x 54 cm (25 1/2 x 21 1/4 in) Provenance: Sale, Sotheby’s London, 24th May 1989, lot 192 (purchased by the present owner) The authenticity of this work has been confirmed by Jean-Pierre Klein-Montezin, the artist’s grandson. £4,000-6,000

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142 ARR Property of a Lady FERNAND TOUSSAINT (BELGIAN 1873 1955) Still life of Poppies in a blue and white vase signed F Toussaint (lower left) oil on canvas 81 x 100 cm (31 7/8 x 39 1/2 in) Provenance: Whitford & Hughes, London Acquired from the above by the present owner circa 1985 Â£7,000-10,000

143 DMITRY ALEKSANDROVICH TOPORKOV (RUSSIAN 1885 - 1937) Nude study signed Toporkov (lower left), signed Toporkov Dmt. and inscribed in Russian (on reverse) oil on canvas 69 x 99 cm (27 x 39 1/2 in) Painted in the 1920s. PROVENANCE: with Shishkin Gallery, Moscow Â£800-1,200

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144 ARR TEGIN DMITRY KAPITONOVICH (RUSSIAN 1914 - 1988) Noon at the Beach oil on board 50 x 70 cm (19 1/2 x 27 1/2 in) circa 1962 PROVENANCE: Sale, Shishkin Gallery, Moscow, 15th October 2005, lot 40 Â£1,000-1,500

145 ARR HERBERT ZANGS (GERMAN 1924 - 2003) Untitled - a pair each signed ZANGS (lower right) both acrylic on board each 38 x 30 cm (15 x 11 3/4 in) (2) £800-1,200

146 ARR HENRI MICHAUX (BELGIAN 1899–1984) Ohne Titel signed H. Michaux (lower right), numbered 59/60 (lower left) lithograph plate: 32.5 x 26.5 cm (12 3/4 x 10 1/2 in) £100-200

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147 ARR HERBERT ZANGS (GERMAN 1924 - 2003) Naughts and crosses signed ZANGS (lower right) acrylic on 3 bookbindings 34 x 54.5 cm (13 1/2 x 21 1/2 in) Â£800-1,200

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149 ARR BORIS PETROVICH SVECHNIKOFF (RUSSIAN 1927 - 1998) Butterfly and figures signed with initials and dated 87 (lower left) pen and black ink 28 x 41 cm (11 x 16 in) £200-300

148 ARR

150 ARR

BORIS PETROVICH SVECHNIKOFF (RUSSIAN 1927 - 1998) The Ladder signed with initials and dated 87 (lower right) pen and black ink 28 x 41 cm (11 x 15 in)

BORIS PETROVICH SVECHNIKOFF (RUSSIAN 1927 - 1998) Night Wandering signed with initials and dated 87 (lower right) pen and black ink 28 x 41 cm (11 x 15 in)

£200-300

151 ARR PINCHAS LITVINOVSKY (ISRAELI/RUSSIAN 1894 - 1985) Indian woman and a teepee signed in Hebrew (lower left) oil on canvas 100 x 81 cm (39 1/4 x 32 in) PROVENANCE: Estate of the artist The authenticity of this work has been confirmed by Moshe Cohen and is recorded in the artistâ&#x20AC;&#x2122;s estate under no. 232 Born in Novo-Georgiyevsk, Russia, to a religious family of merchants, Litvinovsky was awarded a scholarship to study at the Art Academy in Odessa. There he met Boris Schatz (1866 -1932), the founder of the Bezalel School of Arts and Crafts in Jerusalem, where Schatz persuaded him to continue his studies, before returning to the Art Academy in Petrograd. Forced to flee Russia because of the pogroms at the time of the Revolution, he emigrated to Israel in 1919, settling with his family in Jerusalem, before moving to the Bitanya commune in Galilee. From 1924 to 1928, Litvinovsky participated in exhibitions of the Jewish Artists Association at the Jerusalem Citadel and shows at the Ohel Theatre in Tel Aviv. In 1926, he designed the set for the Habimah production of The Dybbuk, under the direction of Menahem Gnessin, and met the actress Hanna Rovina who became a favourite model. In the 1930s, he made several trips to Paris, where he encountered the art of Matisse, Picasso, Rouault, and artists of the Jewish School of Paris. In 1935, he held his first solo exhibition at the Bezalel National Museum, and in 1939 was awarded the Dizengoff Prize. During the 1930s he and his family shared a house with Moshe Mokady. Together the two artists established a painting studio. ÂŁ1,000-1,500

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152 ARR PINCHAS LITVINOVSKY (ISRAELI/RUSSIAN 1894 - 1985) The family oil on canvas 99 x 140 cm (39 x 55 in) PROVENANCE: Estate of the artist The authenticity of this work has been confirmed by Moshe Cohen, and is recorded in the artist’s estate under no. 333 £1,000-2,000

153 ARR PINCHAS LITVINOVSKY (ISRAELI/RUSSIAN 1894 - 1985) Violinist with a moustache signed in Hebrew (lower left) gouache 99 x 69 cm (39 x 27 in) PROVENANCE: Estate of the artist The authenticity of this work has been confirmed by Moshe Cohen, and is recorded in the artist’s estate under no. 4269 £300-600

154 ARR PINCHAS LITVINOVSKY (ISRAELI/RUSSIAN 1894 - 1985) Woman and a cow oil and coloured crayons on paper 66 x 98 cm (26 x 38 1/2 in) PROVENANCE: Estate of the artist The authenticity of this work has been confirmed by Moshe Cohen, and is recorded in the artist’s estate under no. 4834 £300-600

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155 ARR PINCHAS LITVINOVSKY (ISRAELI/RUSSIAN 1894 - 1985) Man and a woman signed in Hebrew (on the reverse) oil on canvas 116 x 81 cm (45 1/2 x 32 in) PROVENANCE: Estate of the artist The authenticity of this work has been confirmed by Moshe Cohen, and is recorded in the artist’s estate under no. 11 £1,000-1,500

156 ARR JEAN LURÇAT (FRENCH 1892–1966) Still life with a Mandoline c. 1945 with printed signature Lurçat (lower right) printed on canvas, unframed 124 x 194 cm (49 x 76 1/2 in) £100-200

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British Paintings and Works on paper Lots 157 - 198

157

Property from a Private Collection, London GEORGE WILLIAM MOTE (BRITISH 1832-1909) Logging in a country vail oil on canvas 63 x 77 cm (24 3/4 x 30 1/4 in) PROVENANCE: Harold William Smith (1895-1984), grandfather of the present owner (acquired by the late 1930s. Smith was a painter and decorative artist born in Moseley, Birmingham. He exhibited at the Royal Academy and the RBSA, to which he was elected a member in 1938. One of his many decorative projects included a mural commission for Cadbury’s Bournville factory.) Mote was self taught, and worked in his formative years as gardener to Sir Thomas Phillips of Middle Hall near Broadway in Worcestershire, one of the most acquisitive and eccentric bibliomanes in history. On leaving Sir Thomas’s employ Mote subsequently painted full time, exhibiting regularly at the Royal Academy between 1857-73. The painter’s best and most characterful works, as in the present example, suggest some of the obsessive qualities that he almost certainly shared with the eccentric Sir Thomas. Mote’s long appreciation for and understanding of nature instilled into him as a gardener is abundantly clear in the extraordinary high definition of the vegetation, which exhibits something of the fastidiousness of the style of Richard Dadd. Lovingly detailed, Mote clearly takes as much pleasure from painting every crevice of the nether regions of the uprooted tree

as he does in portraying the forthright honesty of the game keeper. And his brush captures the surrounding vegetation, including dead wood, lichen, fungi, and leaves with a similarly knowing forensic intensity. More than being just an exquisitely observed bucolic country scene, however, the landscape suggests an underlying political message. In the meadow in the middle ground loggers have felled a numbered tree trunk that they are preparing to drag away, perhaps for use in the royal shipyards. Yet the massive form of the fallen oak in the foreground, similarly marked, seems to have come down of its own volition, the wood showing signs of infestation, canker and disease. In similar contrast, whilst the frank face of the gun toting game keeper surveys the viewer, hidden from his sight by the tree stump, a poacher steals a recently killed hare in broad daylight. And thrusting upwards on the right side, almost as high as the cultivated oak trees on the left, is a single wild thorny briar that flourishes insolently tall, as it stands proud against a clear blue sky. Mote’s incorporarion of visual metaphors into his composition, loaded with contemporary meaning, cleverly hint at the underlying political and social discontent of the day. £2,000-3,000

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158 Property from a Private Collection, London DAVID BATES (BRITISH 1840 - 1921) Gathering wood signed and dated David Bates 1894 (lower right) oil on canvas 61 x 46 cm (24 x 18 in) PROVENANCE: K. Chappell, Bakewell Purchased from the above by the father of the present owner in March 1984 £500-700

159 Property from a Private Collection, London BENJAMIN WILLIAMS LEADER (BRITISH 1831 - 1923) Picnic by the river, Summers evening; The fishing party (a pair) each: signed B W LEADER (lower left); one dated1906 (lower left) both: oil on board each: 33 x 44 cm (13 x 17 1/4 in) (2) PROVENANCE: Haynes Fine Art, Broadway Purchased from the above by the father of the present owner in the late 1980s £1,200-1,800

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160

161

162

Property from an Estate, London

Property from a Private Collection, London

Property of a Gentleman

DANIEL SHERRIN (BRITISH 1868 - 1940) Collecting bracken signed D Sherrin (lower left) oil on canvas 51 x 76 cm (20 x 30 in)

JAMES PEEL (BRITISH 1811 - 1906) Travellers in an extensive landscape signed J Peel (lower left) oil on canvas 30.5 x 46 cm (12 x 18 in)

FREDERICK WATERS WATTS (BRITISH 1800 - 1862) Cottage in a landscape oil on canvas 102 x 126 cm (40 x 49 1/2 in)

PROVENANCE: Acquired circa 1990

PROVENANCE: K. Chappell, Bakewell Purchased from the above by the father of the present owner in October 1993

£1,000-1,500

£500-800

£300-500

163 EDWARD GEORGE HANDEL LUCAS (BRITISH 1861 - 1936) Haymaking signed Geo Lucas (lower right) watercolour 66.5 x 100 cm (26 1/4 x 39 1/2 in) £300-500

164 ENGLISH SCHOOL (19TH CENTURY) Welsh landscape pencil and watercolour 21 x 28.5 cm (8 1/4 x 11 1/4 in) £60-80

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165 Property from an Estate, London HENRY JAMES HOLDING (BRITISH 1833 - 1872) The hawking party signed and dated H J Holding 1859 (lower right) watercolour over pencil 44 x 74 cm (17 1/4 x 29 in) £100-200

166 JOSEPH MURRAY INCE (BRITISH 1806 1859) An afternoon stroll signed and dated J M Ince / 1859 (lower left) watercolour 21 x 34 cm (8 1/4 x 13 1/4 in) £200-300

167 Property from an Estate, London ATTRIBUTED TO WILLIAM LIONEL WYLLIE (BRITISH 1851 - 1931) The Thames with St Pauls beyond oil on canvas 25.5 x 35.5 cm (10 x 14 in) PROVENANCE: Acquired by the late owners in the 1980s Â£300-500

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168 Property from an Estate, London ARTHUR JOSEPH MEADOWS (BRITISH 1843 - 1907) Unloading the catch on Dunkirk sands signed and dated Arthur Meadows 1879 (lower left) oil on canvas 46 x 82 cm (18 x 32 in) PROVENANCE: The Hallam Gallery, London Acquired from the above circa 1990 Â£800-1,200

169 Property from a Private Collection, London WILLIAM MELLOR (BRITISH 1851 - 1931) Cattle by the weir signed William Mellor (lower left) oil on canvas 50.5 x 76.5 cm (19 3/4 x 30 1/4 in) PROVENANCE: Haynes Fine Art, Broadway Purchased from the above by the present owner in 1993 £500-700

170 Property from a Private Collection, London WILLIAM MELLOR (BRITISH 1851 - 1931) Cattle watering signed William Mellor (lower right) oil on canvas 41 x 66.5 cm (16 x 26 1/4 in) PROVENANCE Haynes Fine Art, Broadway Purchased from the above by the father of the present owner £300-500

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171 CHARLES WELBY SMITH (BRITISH ACT.1857 - 1908) Mapledurham lock evening signed C Welby Smith (lower left), titled and inscribed Thames (on the reverse) oil on canvas 30.5 x 46 cm (12 x 18 in) The rural idyll that is the village and estate of Mapledurham sit beside the River Thames in South Oxfordshire, close to Reading. The estate has been in the same family since the 15th century and boasts the last operational watermill on the river, powered by Mapledurham weir, and the largest Elizabethan manor house in the county. The lock, first built in 1777, is in fact adjacent to the attractive village of Purley-on-Thames which lies on the opposite bank. ÂŁ250-350

172 Property of a Lady, London HENRY MAURICE PAGE (active 1878 1890) Evening riverscape signed H Maurice Page (lower left) oil on canvas 31 x 51 cm (12 1/4 x 20 in) PROVENANCE: Charles D Dehaeg, London (purchased from the artist in 1890) Alice H Dehaeg (a gift from the above, her husband) EXHIBITED Royal Society of Oil Colours, Piccadilly (circa 1890) ÂŁ300-500

173 Property from an Estate, London ALBERT LUDOVICI JNR (BRITISH 1852 1932) The evening gown watercolour, gouache and pencil 37.5 x 21.5 cm (14 3/4 x 8 1/2 in) Provenance: Hallam Gallery, London (purchased on December 14th 1989) ÂŁ300-500

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174 HORATIO HENRY COULDERY (BRITISH 1832 - 1918) Playtime signed with monogram, C and H entwined (lower right) oil on board 26 x 29 cm (10 1/4 x 11 1/2 in) Â£1,200-1,800

175 ARR JOHN PAWLE (BRITISH 1915 - 2010) Drawing room, Moor Place Signed Pawle (lower left) Oil on canvas 61 x 55.5cm (24 x 22in) Provenance: The Alma Gallery, Bristol £400-600

176 ARR MICHAEL POTTER (B. 1951) Wyndham House Garden signed MICHAEL POTTER (lower right) oil on paper 36 x 42 cm (14 1/4 x 16 1/2 in) £150-250

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177 ARR LELIA PISSARRO (FRENCH B. 1963) Le village de Sandy et Alicette signed LĂŠilia Pissaro (lower right), signed with initials and titled (on the reverse) oil on canvas 38.5 x 46 cm (15 1/4 x 18 in) PROVENANCE: The Catto Gallery, London Purchased from the above by the present owner in 1999 Sold with a certificate of authenticity signed by the artist ÂŁ1,500-2,500

178 ARR DIANNE FLYNN (BRITISH B. 1939) The flower meadow signed D E Flynn (lower left) oil on canvas 51 x 60 cm (20 x 23 3/4 in) PROVENANCE: MacConnal-Mason, London Purchased from the above by the present owner Â£1,000-2,000

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179 ARR PAUL GRIBBLE (BRITISH B. 1938) Playing in the shadows signed Paul S Gribble (lower left) oil on canvas 61 x 76 cm (24 x 30 in) PROVENANCE: Priory Gallery, Cheltenham Purchased from the above by the present owner Â£1,000-2,000

180 ARR PAMELA KAY (BRITISH B. 1939) Girl seated; Girl with a cup and saucer each signed Pamela Kay (lower right) pastel on blue grey paper; black crayon 45 x 32 cm (17 3/4 x 12 1/2 in); 44 x 29.5 cm (17 1/4 x 11 1/2 in) (2) - framed as a pair £200-300

181 ARR Property from an Estate, London SUSAN RYDER (BRITISH B. 1944) Clare by green blind signed Ryder - (lower right), titled on the reverse of the frame oil on canvas 87 x 71 cm (34 x 28 in) The Hallam Gallery, London (purchased 3rd October 1990) £600-800

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182 MARCIAL PLAZA FERRAND (CHILLEAN 1879 - 1949) Still life with dahlias signed M. Ferrand (lower left) oil on canvas, unframed 50 x 39 cm (19 1/2 x 15 1/4 in) Â£200-300

183 ARR Property from a British Private Collection SIR KYFFIN WILLIAMS (WELSH 1918 - 2006) Coast at St Davids signed with initials KW (lower left) oil on canvas 71 x 61 cm (28 x 24 in)

PROVENANCE: Purchased by the parents of the present owner in 1992 Â£8,000-12,000

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184 ARR Property from a British Private Collection SIR KYFFIN WILLIAMS (WELSH 1918–2006) Snow at Llangwyfan signed with initials (lower right) oil on canvas 76 x 76 cm (30 x 30 in)

PROVENANCE: Purchased by the parents of the present owner at the Royal Academy in 1986 EXHIBITED: London, Royal Academy, Summer Exhibition, 1986, no. 3 £8,000-12,000

185 ARR Property of a Gentleman RICHARD W MILLIKEN (BRITISH 1920 2014) Grouse signed R W Milliken (lower right) gouache 54.5 x 73.5 cm (21 1/2 x 29 in) PROVENANCE: H C Dickins, Bloxham £300-500

186 Property of a Gentleman PHILIP RICKMAN (BRITISH 1891 - 1982) Two grouse by gorse in a landscape signed and dated Philip Rickman 1961 gouache 78 x 58 cm (30 3/4 x 22 3/4 in) £250-350

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187

188

189

JAMES HARDY JR (BRITISH 1832 - 1889) The day’s catch signed and dated, J Hardy Jnr. 1868 (lower right) watercolour and bodycolour 26.5 x 40 cm (10 1/2 x 15 3/4 in)

CECIL GORDON LAWSON (BRITSH 1851 - 1882) Shepherd with his flock, in a river meadow near Canterbury signed and dated C G Lawson / 68 (lower right) watercolour and gouache 20 x 34 cm (8 x 13 1/2 in)

No lot

PROVENANCE: Polak Gallery, St. James’s, London £300-400

PROVENANCE: The Fine Art Society, London £300-500

190 ROBERT CLEVELEY (BRITISH 1747 - 1809) Shipping, large and small, off shore watercolour 14.5 x 19.25 cm (15 3/4 x 7 1/2 in) PROVENANCE: with Abbott and Holder Ltd, London £500-700

191 SIR HUBERT JAMES MEDLYCOTT (BRITISH 1841 - 1920) The Thames looking towards Westminster signed and dated H Medlycott 1892 watercolour 21 x 36 cm (8 1/4 by 14 1/8 in) Provenance: Vicars Brothers, London (purchased by the parents of the present owner in the 1960s) £150-250

192 E. M. THOMAS (BRITISH EARLY 19TH CENTURY) The Baths of Cleopatra at Alexandria titled and dated 1802 (lower centre) watercolour 24.5 x 34.5 cm (9 3/4 x 13 1/2 in) £60-80

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193 GEORGE MEARS (BRITISH 1826 - 1906) The paddle steamer P.S. Rouen signed and dated G MEARS / 89 (lower right) oil on canvas 51 x 92 cm (20 x 36 in)

PROVENANCE: Belgrave Gallery Ltd, London (by 1974) Acquired from the above by the family of the present owner George Mears, painter of ship portraits, flourished during the late 19th century and specialised in depicting steam and sailing vessels. His accurate portrayal of the details of the boats he painted gained him employment as the official shipâ&#x20AC;&#x2122;s portrait painter to the major cross-channel shipping company, including the highly successful Peninsular & Oriental Steam Navigation Company (P&O). Mears also received private commissions, notably at the end of the century for the Royal Yachts, Victoria & Albert I & II. ÂŁ700-1,000

194 WILLIAM SAMUEL HOWITT (BRITISH (c.1765 - 1822) Otter signed Howitt (lower right), titled (lower centre) brush and pen and ink and watercolour 16 x 13 cm (6 1/4 x 5 1/4 in) £150-250 195 SIR DAVID WILKIE, R.A. (SCOTTISH 1785 1841) The confirmation pencil on buff paper 19 x 16 cm (7 1/2 x 6 1/4 in) £150-250 196

JOHN LAPORTE (1761-1839). Beddgelert, Caernarvonshire signed, titled and inscribed La Porte / Bedhellert [sic] Mouel head hog [sic] Caernarvonshire on the mount (lower left) watercolour 23 x 38 cm (9 x 15 in) PROVENANCE: Sale, Christie’s, London, 17 November 1970, lot 10 The peak of Moel Hebog sits above the picturesque village of Beddgelert in Wales. Snowdon lies some seven miles to the north west of the village, and is a satisfying walk. £200-300 197 WILLIAM CALLOW RWS (BRITISH 1812 1908) On the Trent signed W Callow (lower centre) watercolour 15.5 x 25.5 cm (6 x 10 in) PROVENANCE: with Walker’s Galleries Ltd., 1934 £200-300

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198 ALOYS ZĂ&#x2013;TL (GERMAN 1803 - 1897) Inner side of the hollow brick mussel signed and dated A. Zotl fecit am 31 Mai 1871 (lower right), inscribed Wurmes. Paf. 43 (lower left), titled in German and inscribed Charma Gigas (lower centre), numbered 108 (upper right) pencil and watercolour sight size: 43 x 54.5 cm (17 x 21 1/2 in) wÂŁ1,200-1,800

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Index A Agache, Alfred Pierre B Bates, David Brumm, Laura Byron, Michael

102

158 132 122

C Callow RWS, William 197 Cambier, Juliette 114, 131 Cauchois, Eugene Henri 133 Cleveley, Robert 190 Couldery, Horatio Henry 174 D De Hoog, Bernard 137, 138 De Nunques, William Degouve 112, 113 Dillens, Henri Joseph 134 Douzzette, Louis 129 Duprat, A. G. 139 E English School

164

F Ferrand, Marcial Plaza Flynn, Dianne 178 G Gimblett, Max Gribble, Paul

182

125 179

H Han, Raymond 121 Hardy Jr, James 187 Hartley, Marsden 123 Heffner, Karl 105 Herink, Frantisek Hanus Holding, Henry James Howitt, William Samuel

140 165 194

J Juniper, Lady Robert Litchfield 126

L Laporte, John 196 Lawson, Cecil Gordon 90

M Mahrenholz, Harald 127 Mané-Katz 124 Marquet, Albert 103 Maze, Paul Lucien 108 Meadows, Arthur Joseph Mears, George 193 Medek, Mikulas 119 Medlycott, Sir Hubert James Mellor, William 169, 170 Meyer-Ross, Christian Michaux, Henri 146 Milliken, Richard W 185 Montezin, Pierre Eugene Mote, George William P Page, Henry Maurice Pawle, John 175 Peel, James 161 Petitjean, Edmond Marie Pissarro, Lelia 177 Potter, Michael 176 R Rickman, Philip Ryder, Susan

I Ince, Joseph Murray 166

K Kapitonovich, Tegin Dmitry Kay, Pamela 180 Kentridge, William 120 Klimt, Gustav 118 Koekkoek, Hermanus II Kogan, Anna Aleksandrovna Kowalski, Leopold Franz

Leader, Benjamin Williams 159 Lefebvre, Jules Joseph 101 Lepine, Stanislas 104 Lier, Adolf Heinrich 107 Litvinovsky, Pinchas 151, 152,153, 154, 155 Lucas, Edward George Handel 163 Ludovici Jnr, Albert 173 Lurçat, Jean 156

144

168 191 128 141 157 172 106

186 181

S Sherrin, Daniel 160 Smith, Charles Welby 171 Svechnikoff, Boris Petrovich 148, 149, 150 T Tchelitchev, Pavel 117 Thiele, Otto 110, 111, 136 Thomas, E. M. 192 Toporkov, Dmitry Aleksandrovich Toussaint, Lady Fernand 142 V Van Rysselberghe 115

130 116 109

W Walraven, Jan 135 Watts, Frederick Waters 162 Wilkie, Sir David 195 Williams, Sir Kyffin 183, 184 Wyllie, William Lionel 167

188

Z Zangs, Herbert Zötl, Aloys

145, 147 198

143

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 reserves the right, in forming our opinion, to consult and rely upon any expert or authority considered by us to be reliable. In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the list below:

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

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

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

Circle of JMW Turner: In our opinion, a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil.

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

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

The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. The term ‘bears the signature’ and/or ‘bears the date’ and/or ‘bears the inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand. Dimensions are given height before width. Pictures are framed unless otherwise stated. For editions, we measure the image where possible and sheet only when unframed ARR after the lot number stands for Artist Resale Right

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.

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