Chiswick-Auctions-British & European Fine Art - 4 Dec 2020 by Chiswick Auctions

British & European Fine Art 4 December 2020

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

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

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

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

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

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

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

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

British & European Fine Art Friday 4 December 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 840 Back Cover Lot 839 Index Lot 822 Inner spreads Lots 847, 830, 820

800 ARR

JAC MARTIN-FERRIERES (FRENCH 1893 - 1973) Vase of flowers signed and dated Jac Martin-Ferrières 46 (lower left) oil on panel 60 x 45 cm (23 3/4 x 17 3/4 in) £1,000 - 1,500

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801

LEONARDO GASSER (FRENCH 1831 - 1892) The wild bouquet signed L. Gasser (upper left) oil on canvas 70 x 55.5 cm (27 1/2 x 22 in) Â£800 - 1,200

802 ARR

LUCIEN ADRION (FRENCH 1889 - 1953) Quai d’Orsay signed adrion (lower right) oil on canvas 65 x 81 cm (25 5/8 x 31 7/8 in)

803

No lot

£2,000 - 3,000

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804

EUGENE GALLIEN-LALOUE (FRENCH 1854 - 1941) Quai du Louvre signed E. Galien-Laloue (lower left) gouache 17.5 x 30.5 cm (7 x 12 in) Â£2,500 - 3,500

805 ARR

Property from an English Collection MARCEL DYF (FRENCH 1899 - 1985) Pivoines et Godétias signed Dyf (lower right) oil on canvas 73 x 61 cm (28 3/4 x 23 5/8 in)

PROVENANCE: Frost and Reed Gallery, London The authenticity of this work has been confirmed by Madame Claudine Dyf. It is registered in the e-catalogue of Marcel Dyf ’s work under no. ID 849 £3,000 - 5,000

Painted in 1964

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806

Property from an English Private Collection WILLIAM HENRY MARGESTON RI (BRITISH 1861 - 1940) A Summer’s day signed and dated W.H. Margeston 1912 (lower right) oil on canvas 79 x 32 cm (31 x 12 1/2 in) PROVENANCE: The Priory Gallery, Cheltenham Purchased from the above by the present owner in the mid-1990s £10,000 - 15,000

807

HIPPOLYTE CAMILLE DELPY (FRENCH 1842 - 1910) The lock house signed and dated H C .Delpy. 95. (lower left) oil on board 38.5 x 72 cm (15 1/8 x 28 3/8 in PROVENANCE: Sale. Bonhams, London, 25th November 2014, lot 363 Purchased at the above sale by the present owner £1,000 - 1,500 808

Property of a Lady, Paris CHARLES-EMILE JACQUE (FRENCH 1813 - 1894) Shepherds and their flock stamped with the signature (Lugt 1364, lower right); dated neuf juillet 78 (lower left); with the artist’s estate stamp (Lugt 4811, on the reverse) pencil 13.5 x 22 cm (5 1/4 x 8 3/4 in) £80 - 120 14

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809

Property of a Lady HENRI-JOSEPH HARPIGNIES (FRENCH 1819 - 1916) Evening signed and dated H. Harpignies. 99. (lower left) oil on canvas 66 x 82 cm (26 x 82 in) Â£3,000 - 5,000

PROVENANCE: The Leicester Galleries (Ernest Brown & Phillips), London R. H. Philipson (purchased in 1917) The Lefevre Gallery (Alex. Reid & Lefevre), London (2002) Julian Simon Fine Art, London Purchased from the above in 2009 EXHIBITED: Toronto, 1910 London, The Leicester Galleries (Ernest Brown & Phillips), 1917

810

HARRY BLOOMFIELD (BRITISH 1870 - 1940) Reclining nude signed Bloomfield (upper right) oil on canvas 54 x 82 cm (21 1/4 x 32 1/2 in) Â£500 - 700

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811 ARR

WILLIAM MALHERBE (FRENCH 1884 - 1951) Bathing in the blue lagoon signed and dated W. Malherbe1922 (on the stretcher) oil on canvas 79 x 69 cm (31 x 27 1/4 in) Â£1,000 - 2,000

812

813 ARR

814 ARR

LEON TANZI (FRENCH 1846 - 1913) A day on the water signed L Tanzi (lower left) pastel on canvas 52 x 75. 5 cm (20 1/2 x 29 3/4 in)

ANDRE DUNOYER DE SEGONZAC (FRENCH 1884 - 1974) Colline Ste. Anne signed a. Dunoyer de Segonzac (lower right) pen, black ink and wash 35 x 47 cm (13 3/4 x 18 1/2 in)

ANDRE DUNOYER DE SEGONZAC (FRENCH 1884 - 1974) Femme nue au chapeau signed a. Dunoyer de Segonzac (lower right) pen and black ink 24 x 30.5 cm (9 1/2 x 12 in)

£400 - 600

£100 -150

£200 - 300

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815

Property from an English Estate LEON RICHET (FRENCH 1847 - 1907) River Landscape signed Léon Richet (lower right) oil on canvas 49 x 64 cm (19 1/4 x 25 1/4 in) £500 - 700

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816

Property from an English Estate ISIDORE VERHEYDEN (BELGIAN 1846 - 1905) On the riverbank signed Is. Verheyden (lower right) oil on canvas 33 x 49 cm (13 x 19 1/4 in) £400 - 600 817

Property from an English Estate PAUL LECOMTE (FRENCH 1842 - 1920) By the riverbank signed Paul Lecomte (lower left) oil on canvas 40 x 26 cm (15 3/4 x 10 1/4 in) £200 - 300

818 ARR

JAROSLAV ŠETELÍK (CZECH 1881 – 1955) View of the Charles bridge, Prague signed Jaroslav Šetelík (lower left) oil on canvas 81 x 96 cm (32 x 37 3/4 in) £600 - 800

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819

ARMAND POINT (FRENCH 1861 - 1932) Aphrodite and Dionysus signed Armand Point (lower right) oil on canvas 102.5 x 133 cm (40 1/4 x 52 1/4 in) Â£600 - 800

Marie-Louise von Motesiczky Property from the Marie-Louise von Motesiczky Charitable Trust (lots 820 - 827)

Viennese emigré artist Marie-Louise von Motesiczky (1906-1996) parted with few of her works during her lifetime, and since her death less than a handful have appeared on the open market. Lots 820 - 827 span four decades - from 1945 to the early 1980s - and mark the first time a group of her paintings is to be offered at auction.

enjoyed a privileged life. Her mother Henriette was scion of an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle. Growing up in an apartment on Brahmsplatz in central Vienna, she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father had died in a hunting accident many years before and her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich she and her mother felt

compelled to flee Austria. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. Immediately following the Anschluss Marie-Louise and her mother travelled to Holland. They stayed with relatives in The Hague, and Marie-Louise renewed contact with Beckmann who was living in Amsterdam. Emigrating to Britain early the following year, in London she reconnected with Oskar Kokoschka, a family friend in Vienna but now similarly

Marie-Louise von Motesiczky, 1925 (Motesiczky archive)

Marie-Louise lived in Vienna until the Anschluss in 1938, when Austria was annexed by Germany and she and her Jewish mother were forced to emigrate to England in 1939. The primary influence on her art was the German painter Max Beckmann whom Marie-Louise had first met in her early ‘teens in 1920. She recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Beckmann was full of encouragement. From the early 1920s, she attended classes in different studios in Holland, Germany and France. Throughout, she and Beckmann kept in regular contact; he visited her in Paris, and she accepted his invitation to attend his masterclasses in Frankfurt. During her formative years Marie-Louise

Marie-Louise von Motesiczky, late 1920s (Motesiczky archive)

exiled. Kokoschka ensured that her work was shown in a series of group exhibitions, culminating in a one-person exhibition at the Czechoslovak Institute in the autumn of 1944.

Maris-Louise von Motesiczky (left), Max Beckmann (centre), and Mathilde von Kaulbach (right) in fancy dress, Munich, 1925 (Motesiczky archive)

On the Continent it had been Beckmann who had informed Marie-Louise’s distinctive aesthetic. His Expressionist manner was evident in her use of bold compositional forms, commanding characterisation, strong lighting and vivid colours. But in London Kokoschka’s

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on, in 1985 her work was shown again in London, at the Goethe-Institut. The catalogue included contributions by Tate curator Richard Calvocoressi, Gunther Busch, former director of the Kunsthalle in Bremen, and fellow émigré and renowned cultural historian Sir Ernst Gombrich. Widely acclaimed in the press, it seemed the climate was favourable for the rediscovery of Marie-Louise’s art.

Marie-Louise von Motesiczky and a friend in her studio in Paris, c. 1930 (Motesiczky archive)

On the Continent, however, Marie-Louise’s reputation was growing. She received wide acclaim when her work was exhibited in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum; she showed in Munich in 1954 and Düsseldorf in 1955, and in the 1960s enjoyed further shows in Austria and Germany. Finally, a full 25 years

Institutions in the UK holding works by the artist include: the British Museum, Freud Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Fitzwilliam Museum,

Further exposure followed: In 1994 she was the subject of a major retrospective in Vienna at the Osterreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was shown in a centenary exhibition at Tate Liverpool, and travelled to Frankfurt, Vienna and Passau, ending

influence also began to infuse her work. Marie-Louise’s palette softened, her brush strokes became lighter and more feathery, and the gestures of her sitters less angular and severe. The change represented a more tempered approach that suited her increasingly thoughtful, enigmatic, and poetic narratives that typified her postwar canvases. Despite Kokoschka’s support, starting afresh in Britain proved challenging, and it wasn’t until 1960 that she had her next one-person show at the influential Beaux Arts Gallery. But bar a notably positive review by J.P Hodin, the show received mixed reviews, and was not a financial success.

future displays of Tate’s archive holdings in general.

Marie-Louise von Motesiczky photographing her reflection in a window, 1963 (Motesiczky archive)

Elias Canetti and Marie-Louise von Motesiczky in her studio at ‘Cornerways’, Amersham, early 1940s (Motesiczky archive)

in Southampton City Art Gallery. In 2007 Jill Lloyd’s biography of MarieLouise appeared, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker. Most recently, in the autumn of 2019, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all

Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna, and the Lentos Kunstmuseum. Linz. The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky. org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and sketches lies with the Marie-Louise von Motesiczky Charitable Trust.

Property from the Marie-Louise von Motesiczky Charitable Trust (lots 820 - 827)

820 ARR

MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906 - 1996) Lobster oil on canvas 40.3 x 60.5 cm (15 3/4 x 23 3/4 in) £1,500 - 2,500 EXHIBITED: London, Roland Browse & Delbanco, The Renaissance of the Fish. Paintings from the 17th to the 20th Century, 1953, no. 42 (erroneously dated 1952) Munich, Städtische Galerie, Erna Dinklage, Marie-Louise Motesiczky, 1954, no. 118 London, Beaux-Arts Gallery, Marie-Louise Motesiczky, 1960, no. 28 (erroneously dated 1954) Linz, Wolfgang Gurlitt Museum, Neue Galerie der Stadt, Marie-Louise Motesiczky, 1966, no. 34 (erroneously dated 1954) Vienna, Wiener Secession, Marie-Louise Motesiczky, 1966, no. 34 (erroneously dated 1954) Munich, Galerie Günther Frank, Marie-Louise Motesiczky, 1967, no. 34 (erroneously dated 1954) Bremen, Kunsthalle, Marie-Louise Motesiczky, 1968, no. 34 (erroneously dated 1954) London, Goethe-Institut, Marie-Louise von Motesiczky. Paintings Vienna 1925 - London 1985, 1985, no. 39 (illustrated in the catalogue; erroneously dated 1954) LITERATURE: Eva Michel, Marie-Louise von Motesiczky 1906-1996. Eine österreichische Schülerin von Max Beckmann, diploma thesis, University of Vienna, 2003, p. 55, pl. 76, illustrated in colour (erroneously dated 1954) Marie-Louise von Motesiczky 1906-1996, exh. cat., 2006, p. 200, discussed; p. 202, fig. 49, illustrated in colour Jill Lloyd, The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, New Haven/London, 2007, p. 148, discussed Ines Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 231, no. 119, illustrated

Painted in 1953, the artist’s playful depiction of a cyclopic-eyed lobster, served up on a silver salver with accompanying garniture borders on the humorous. Indeed, in her diary MarieLouise’s month-long struggle to capture the essence of the crustacean is tinged with a hint of the absurd. She triumphantly marked the painting’s completion on 13th April 1953 with the words: ‘Finally lobster finished, a weight lifted from my heart’. In her catalogue entry Schlenker wryly notes: ‘To celebrate - and possibly as a little revenge for the trouble it had caused - Motesiczky went out to eat half a lobster the next day’ (Schlenker p. 230). The particular significance of Lobster for Marie-Louise is not clear, but an important influence on her following her arrival in London was Oskar Kokoschka who was also living in exile in England. The subject of the present work could well have been inspired by the older artist’s rendition of another crustacean: his influential painting The Crab of 1939-40 (collection of Tate). Lobster was included in The Renaissance of the Fish. Paintings from the 17th to the 20th Century – a surely tongue-in-cheek exhibition title – at Roland Browse and Delbanco the year it was painted. Other artists represented in the show included Picasso, Matisse and Max Ernst beside emerging British artists William Scott, Prunella Clough, Edouard Paolozzi and Lucian Freud (see Lloyd p. 148).

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821 ARR

Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906 - 1996) Cat with flowers signed Montesiczky (upper right) oil on canvas 67.6 x 43.4 cm (26 1/2 x 17 in) EXHIBITED: Amsterdam, Kunstzaall Van Lier & The Hague, Kunstzaal Plaats, Marie-Louise Motesiczky, 1952 Munich, Städitsche Galerie, Erna Dinklage, Marie-Louise Motesiczky, 1954, no. 132 Munich, Galerie Günther Frank, Marie-Louise Motesiczky, 1967, no. 62 (ex-catalogue) Vienna, Österreichische Galerie, Oberes Belvedere, Marie Louise von Motesiczky, 1994, no. 28 (illustrated in colour in the catalogue) LITERATURE: Machiel Brandenburg, ‘Marie Louise Motesiczky. Emotioneel expressionisme’ in De Bussumsche Courant, 9th February 1952, n.p. Ines Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 192, no. 86, illustrated Painted in 1949 at ‘Corner Ways’ the house in Amersham, Buckinghamshire bought by the artist’s mother, Henriette von Motesiczky, in 1941, the curiosity of the cat in the present work is captured to charming and humorous effect. The composition both elongates and contrasts the feline stretching on her hind legs with the adjacent form of a three-legged table and the rugged upright of the artist’s easel. The cat, Suzi, was owned by Marie Hauptmann. Marie had been the family wet nurse in Austria, becoming the artist’s surrogate second mother. She accompanied Marie-Louise and her mother Henriette to England in February 1939, and lived with them until her death in 1954. £4,000 - 6,000

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822 ARR

Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906 - 1996) Circus Scene oil on canvas 53.6 x 90.3 cm (21 x 35 1/2 in) LITERATURE: Ines Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 333, no. 192, illustrated

Painted in 1964, according to Ines Schlenker, the present work is thought to have been inspired by a circus performance attended by the artist, and loosely based on three photographs taken at the time (now in the collection of the Motesiczky Archive at Tate) (fig 1). Dramatically lit, the equestrian act takes place in a claustrophobically small arena. In the centre the striking female trainer, dressed in a full length evening gown with low neckline, flourishes a huge green feather boa over her head as she commands to great theatrical effect the stamping and rearing ponies beside her. Stark lighting illuminates and isolates the scene, casting deep shadows around the circus ring, while the dusky blues of the plumes that decorate the horses’ heads contrast with the violent green and yellow of the central figure’s boa to create an image that combines excitement and energy with an underlying edge of mystery. £7,000 - 9,000

Fig. 1 (Motesiczky archive)

823 ARR

824 ARR

Property from the Marie-Louise von Motesiczky Charitable Trust

MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906 - 1996) Still-life with inkpot, ashtray and matches oil on canvas 30.4 x 66.1 cm (12 x 26 in)

MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906 - 1996) Study of Canetti Reading oil on board 60.8 x 53.2 cm (24 x 21 in)

LITERATURE: Ines Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 313, no. 175, illustrated

LITERATURE: Kristian Wachinger (editor), Elias Canette. Bilder aus seinem Leben, Munich, 2005, p. 94, illustrated Ines Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 182, no. 78, illustrated Ines Schlenker and Kristian Wachinger (editors), Liebhaber ohne Adresse. Briefwechsel 1942-1992, Munich, 2011

Painted in 1960-61. The artist’s choice of a narrow horizontal canvas suggests a debt to Max Beckmann. The format was one that the German painter often deployed when painting still-lifes, as it allowed him to imbue apparently humdrum items spread out across the canvas with enigmatic meaning. In like style, as well as the items in the title, Marie-Louise includes an open book, two feathers and a biro. Although an apparently prosaic selection, the book and quills in particular may well be a reference either to her relationship with the writer Elias Canetti, or to her late brother Karl. £5,000 - 7,000

Painted circa 1945, the present work is Marie-Louise’s earliest likeness of Elias Canetti (1905-1994), the Nobel prizewinning author. Born in Bulgaria, Canetti had emigrated from Vienna to England with his wife Veza in 1939, and like Marie-Louise spent the war years in Amersham, north west of London. There Marie-Louise and he began a relationship that would last the next three decades. As a man who professed

the need to maintain relationships with different women simultaneously, Canetti was by turns supportive and manipulative of Marie-Louise as a person, but never wavered in his belief in her artistic abilities. As late as 1978 he wrote to Marie-Louise: ‘You are a great painter and whether you want it or not, the world will hear of you. Every picture that you paint will enter the history of art.’ Marie-Louise described Canetti as one of her ‘chief gods’ (the other two being Max Beckmann and her mother), and she both treasured and endured Canetti’s complex personality, accommodating many of his demands. Among these was the housing of a considerable portion of his library in the house in Amersham, and later in Hampstead, where she kept a room for him to work in. Canetti himself was not an easy sitter, but Marie-Louise featured Canetti in two other notable portraits, one painted in 1960 now in the Wien Museum, Vienna, the other painted in 1992 which she presented to the National Portrait Gallery, London (Schlenker nos. 165 & 315). Canetti was awarded the Nobel Prize in Literature in 1981. £3,000 - 5,000

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825 ARR

Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906 - 1996) Woman holding a fish oil on canvas 40.7 x 35.4 cm (16 x 14 in) Ines Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 393, no. 230, illustrated Painted in the 1960s the theme of Woman holding a Fish had been addressed by Beckmann on a much larger scale some thirty years before. In the German painter’s canvases big figures with blank expressions holding over-sized fish fill large canvases. In Marie-Louise’s hands the composition is much more focused: the head of a startlingly fresh-faced girl with bright eyes and gamin good looks, occupies a modest canvas as she grasps in her hand a single, limp, possibly

dead, diminutive fish. While Beckmann’s compositions suggest male strength and sexual prowess, in the present work power is clearly in the hands of the woman. As with so many of Marie-Louise’s compositions the underlying message, and for whom it is intended, is oblique. £5,000 - 7,000 826 ARR

Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906 - 1996) Regent’s Park signed MARIE LOUISE M. (lower right) oil on canvas 50.8 x 76.3 cm (20 x 30 in) EXHIBITED: Amsterdam, Kunstzaall Van Lier & The Hague, Kunstzaal Plaats, Marie-Louise Motesiczky, 1952

LITERATURE: Machiel Brandenburg, ‘Marie Louise Motesiczky. Emotioneel expressionisme’ in De Bussumsche Courant, 9th February 1952, n.p. D.H.W. Filarski, ‘Marie Louise Motesiczky’ in Trouw, 12th March 1952, n.p. Jill Lloyd, The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, New Haven/London, 2007, p. 147, discussed Ines Schlenker, Marie-Louise Motesiczky, A Catalogue Raisonné of the Paintings, New York, 2009, p. 217, no. 108, illustrated Painted in 1951, the present idealised view of the artist’s preferred London park features two elegantly dressed ladies with a decidedly continental air walking in early spring. Behind them blooms a profusion of yellow, white and red bulbs – daffodils, tulips and crocuses. Beyond looms the impressive neo-classical forms of one of Regent’s Park’s distinctive terraces, very likely Cumberland Terrace. £5,000 - 7,000 33

827 ARR

Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906 - 1996) Mountain landscape oil on canvas 55.6 x 60.9 cm (21 3/4 x 24 in) LITERATURE: Ines Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 452, no. 273, illustrated

Painted in 1981, Mountain Landscape was painted following Marie-Louise’s trip to Austria in 1980. The precise location of the view is not recorded, and may very likely be a combination of alpine elements that left their mark on Marie-Louise during her visit. Certainly, as with Regent’s Park (see note to previous lot) and many other compositions, she will have used artistic license to rearrange the elements of hillsides and mountains, forest and river, viaduct and village to construct a compositionally satisfying, ever poetic and very personal whole. £2,500 - 3,500

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828 ARR

HANS SCHELLINGER (GERMAN 1905 - 1990) Still Life indistinctly signed and dated 87 70 (lower right); signed, indistinctly inscribed and dated Schellinger 1970 (on the reverse) oil on canvas 115.5 x 42 cm (45 1/2 x 16 1/2 in) ÂŁ300 - 500

829 ARR

JOAN MIRÓ (SPANISH 1893 - 1983) Nu Debout 1917 signed and dated Miró / 1917. (lower right) pencil on paper 19 x 13.5 cm (7 1/2 x 5 1/4 in PROVENANCE: Galerie Cardazzo, Milan Sale. Sotheby’s, New York, 21st February 1985, lot 161 Sale. Sotheby’s, New York, 4th May 2005, lot 308 LITERATURE: Jaques Dupin and Ariane Lelong-Mainauld, Joan Miró. Catalogue raisonné. Drawings. Vol. 1: 1901 - 1937, Chartres, 2008, no. 149, p. 151 (illustrated). The authenticity of this work has been confirmed by ADOM. The present work is one of a series of drawings of nude figures that Miró executed in 1917. £3,000 - 5,000

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830 ARR

Private collection, London JOAN MIRÓ (SPANISH 1893 - 1983) Les essencies de la terra signed Miró. (lower right) brush and ink on lithograph 50 x 36 cm (19 ¾ x 14 ¼ in) Executed in 1968 PROVENANCE: Ediciones Polígrafa, Barcelona Private Collection, Spain Sale. Sotheby’s, London, 20th June 2013, lot 243 Opera Gallery, London Purchased from the above by the present owner The authenticity of this work has been confirmed by ADOM. ‘I feel deeply in harmony with the Japanese soul’ (M. Rowell, ed., Joan Miró Selected Writings and Interviews, London, 1987, p. 275). Executed in 1968, the present lot is characterised by the energy and gestural force of Miró’s works of the late 1960s. In 1966, two years before Miró executed Les essencies de la terra, the artist travelled to Tokyo for a retrospective of his work. The trip allowed Miró to meet Japanese potters, poets and calligraphers whose art he had always held in high regard. The influence of Miró’s experience in Japan can be seen in Les essencies de la terra; the artist has brushed four sweeping, interlocking black lines of ink which dominate the composition sand appear like Japanese calligraphic script. The black ink is juxtaposed dramatically against the speckled patterns of green, blue, red and yellow. £15,000 -20,000

831

JULES PASCIN (FRENCH 1885 - 1930) Accordéoniste et femmes 1921 stamped with signature Pascin (Lugt 2014a, lower right) and with the atelier stamp (Lugt 2014b), and inscribed Lucy Krohg (lower right); inscribed Per Krohg, Lucy & Hermine (on the reverse) ink 26.5 x 43 cm (10 1/2 x 17 in) £400 - 600

Lucy Krohg (née Vidil) was a central figure in the école de Paris working as a model for Henri Matisse, Albert Marquet and Pascin, with whom she had a long romantic attachment. Despite their relationship, Lucy went on to marry the Norwegian painter Per Krohg in 1915 and Pascin married Hermine David in 1918. Pascin rekindled his romance with Lucy in 1921 and later that year his relationship with Hermine David ended. A habitual alcoholic and depressive, Pascin committed suicide in 1930 just as his first major solo exhibition at Galerie Georges Petit in Paris was opening. Pascin’s estate was divided between Hermine David and Lucy Krogh.

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832 ARR

OSCAR DOMINGUEZ (SPANISH 1906 1957) Corrida signed Dominguez (lower right); with the atelier stamp (on the reverse) pen and ink 12 1/2 x 20 cm (5 x 7 3/4 in) £400 - 600

833 ARR

HORACE BRODZKY (AUSTRALIAN 1885 - 1969) Summer night signed HBrodzky (lower left); titled and dated Jly. ‘33 (lower centre) pen and ink 36.7 x 25.2 cm (14 1/2 x 10 in) £200 -300

834 ARR

MAX BRAUMANN (GERMAN 1880 1969) Beer Garden, Munich signed braumann (lower left) oil on canvas 46 x 55 cm (18 x 21 3/4 in) £400 - 600

835

FRANZ HOLPER (GERMAN 1862 - 1935) Davos signed Franz Holper (lower right) oil on canvas 63.5 x 87.75 cm (25 x 34 ½ in) £400 -600

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836

TERRICK WILLIAMS (BRITISH 1860 - 1936) Evening Quimperlé, Brittany signed Terrick Williams (lower left); signed and titled (on the reverse) oil on canvas 27 x 41 cm (10 3/4 x 16 in) £3,000 - 5,000

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837

838

839

CHARLES SIMS (BRITISH 1873 - 1928) Hiding in the reeds signed SIMS (lower right) gouache, oil, pastel and watercolour 39 x 56 cm (15 1/2 x 22 1/2 in)

Property from an English Collection

Property from a Private Collection, London

WILLIAM HEMSLEY (BRITISH 1819 - 1893) The young fishermen oil on canvas 43 x 53 cm (17 x 20 3/4 in)

SIR WILLIAM RUSSELL FLINT, RA, PRWS, RSW (SCOTTISH 1880 - 1969) Waves (storm, Pararmé, Brittany) signed W. RUSSELL FLINT (lower left); signed, titled and dated Sept 16 1964 - Dec 1967 (on the reverse); signed and inscribed Waves (on the backboard) watercolour 49 x 66 cm (19 1/4 x 26 in)

PROVENANCE: Sale. Christie’s, London, 12th December 1989, lot 116 Purchased at the above sale by the present owner £600 - 800

£400 - 600

PROVENANCE: Acquired by the late husband of the present owner prior to 1980 EXHIBITED: London, Royal Academy, 1969, no. 629 £12.000 - 18,000 43

840 ARR

Property from an English Private Collection DOROTHEA SHARP ROI RBA (BRITISH 1874 -1955) Flower Picking signed and dated Dorothea Sharp 1913 (lower right) oil on canvas 81.5 x 99 cm (32 x 39 in) PROVENANCE: Macconnell Mason, London Purchased from the above in 2002 ‘I think the chief attraction of Miss Sharp’s delightful pictures are her happy choice of subjects, and her beautiful colour schemes. Rollicking children bathed in strong sunlight, playing in delightful surroundings, her subjects appeal because they are based on the joy of life. And she presents them equally happily, with a powerful technique which enables her to make the most of her wonderful sense of colour.’ (Harold Sawkins, The Artist, April 1935).

In her late twenties Sharp was hugely influenced by the work of the Impressionists which she saw first-hand when she studied in Paris. The work of Claude Monet in particular had a profound and lasting effect on her oeuvre and can be seen to optimum effect in the present lot. Sharp’s strong use of colour and her bold and free brushstrokes create thick impasto and her Impressionist style delivers a glimpse into a carefree summer’s day. Sharp is known for her expert use of colour, influenced in part by the Impressionists. She described colour as that elusive something we cannot quite define... To have good colour sense is to be in touch with nature... Colour is emotional - it is felt, in its finer sense rather than seen. Colour cannot be taught - beyond a point - it is inborn. (Harold Sawkins, The Artist, April 1931). £30,000 - 50,000

Dorothea Sharp was celebrated for her compositions of domestic and everyday subjects that evoked nostalgic memories of childhood. Painted in 1913 (the year Sharp completed her training at Richmond School of Landscape Painting) Picking Flowers is a charming depiction of three young sisters in a cottage garden.

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841

FREDERICK STUART RICHARDSON (BRITISH 1855 - 1934) Fisherfolk returning home at the end of the day’s catch signed Stuart Richardson (lower right) pastel 24.5 x 35 cm (9 3/4 x 13 3/4 in) £200 - 300

842

RICHARD BEAVIS R.W.S. (BRITISH 1824 - 1896) The sand cart being loaded, Pas de Calais signed R Beavis (lower right) watercolour heightened with white 23.5 x 26.5 cm (9 1/4 x 10 1/2 in) £200 - 300

843

Property from an English Private Collection WILLIAM LEE-HANKEY (BRITISH 1869 - 1952) The Ferry Concarneau signed W. Lee-Hankey (lower right); inscribed The Ferry Concarneau by W. Lee Hankey RWS - A.ROI (on the reverse) oil on canvas 51 x 61.5 cm (20 x 24 1/2 in) PROVENANCE: Sale. Christie’s, London, 14th May 1992, lot 206 William Lee-Hankey stayed in France in the early 1900s painting many works in Brittany, including the present lot. £5,000 - 7,000

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844

DAVID COX SNR. O.W.S. (BRITISH 1783 - 1859) Travelleres in a stormy landscape signed Cox (lower right) oil on canvas 20.5 x 30.5 cm (8 x 12 in) PROVENANCE: Collection of Christopher Fry, playwright, educator, poet, author (1907-2005) and by descent. Â£400 - 600

845

Property of a Private Collector JAMES ENSOR (BELGIAN 1860 - 1949) Les patineurs signed twice, dedicated and dated James Ensor 1899 / a Monsieur Adrien de Gerlache / James Ensor (lower right) etching 17.8 x 23.7 cm (7 x 9 1/4 in) PROVENANCE: Baron Adrien Victor Joseph de Gerlache de Gomery (acquired from the artist) Thence by descent to the present owner, grandson of the above ÂŁ3,000 - 5,000

A keen sailor and seaman from his teenage years, Baron de Gerlache de Gomery (1866-1934) made his reputation as an explorer of Antarctica, leading the Belgian expedition to the South Pole of 1897-99. Setting sail in August 1897 for Antarctica in the Belgica, a converted Norwegian whaling ship, he passed by Graham Land in January 1898, naming the waters between the Island and the archipelago to the west Belgica Strait - later renamed Gerlache Strait in his 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 crew to spend the winter there. From mid-May to late July they experienced total darkness, and there

followed another seven 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 lâ&#x20AC;&#x2122;Antarctique.

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846

Property of a Private Collector THEO VAN RYSSELBERGHE (BELGIAN 1862 - 1926) Emile Verhaeren au veston rouge stamped with monogram (lower left); dedicated épreuve pour Adrien de Gerlache (on the margin lower left) coloured etching 44.2 x 22 cm (17 1/2 x 8 3/4 in) PROVENANCE: Baron Adrien Victor Joseph de Gerlache de Gomery (acquired from the artist) Thence by descent to the present owner, grandson of the above See note to previous lot. £1,500 - 2,500

847

Property of a Private Collector WILLIAM DEGOUVE DE NUNCQUES (BELGIAN 1867 - 1935) Côte Aux Baléares (Majorque, Cala San Vicente) signed with initials and dated 00 (lower right) oil on panel 20 x 47cm (8 x 18½ in) £30,000 - 40,000

PROVENANCE: Suzanne Degouve de Nuncques (née Poulet; the artist’s second wife, previously married to the polar explorer Baron Adrien de Gerlache de Gomery) Thence by descent to the present owner, the grandson of Baron de Gerlache de Gomery EXHIBITED: Namur, Musée Félicien Rops & Otterlo, Kröller-Müller Museum, William Degouve de Nuncques maître du mystère, 2012 LITERATURE: Hans Wijgergangs, Ronald Feltkamp and Théo Galle, William Degouve de Nuncques online catalogue raisonné, no. 3.1900.006, illustrated

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Degouve spent two and a half years in Mallorca, arriving in August 1899, and painted some of his most expansive and colourful landscapes there. Basing himself in the north of the island, he was especially attracted to the island’s dramatic coast line. In the present work, painted in the summer of 1900, Degouve captured the extraordinary pink and white rock limestone formations to be found at Cala San Vicente. In the composition the distinctive rocks emerge majestically from a gloriously placid and inviting sea, while young cedars cling tenaciously to the bare ground above. During his time in Mallorca Degouve de Nuncques struck up close ties with some of the leading Catalan artists of the day, including Santiago Rusiñol and Joaquím Mir. Mir in particular shared Degouve’s love of the area and he, like Degouve, painted some of his most significant works there. Degouve’s friendship with Rusiñol, Mir and other artists from Barcelona ensured a lively dialogue of ideas and exchanges of paintings between Spanish and Belgian artists in the years thereafter.

848

Property of a Private Collector WILLIAM DEGOUVE DE NUNQUES (BELGIAN 1867 - 1935) Vers le Cap Formentor signed with initials and dated WD / de / N. 03 (lower right) pastel 39 x 49.3 cm (15 1/4 x 19 1/2) PROVENANCE: Suzanne Degouve de Nuncques (née Poulet; the artist’s second wife, previously married to the polar explorer Baron Adrien de Gerlache de Gomery) Thence by descent to the present owner, grandson of Baron Adrien de Gerlache de Gomery EXHIBITED: Namur, Musée Félicien Rops, William Degouve de Nunques, maître du mystère, 2012 52

LITERATURE: Hans Wijgergangs, Ronald Feltkamp and Théo Galle, William Degouve de Nuncques online catalogue raisonné, no. 3.1902.000, illustrated Cap de Formentor, refererred to colloquially as the meeting point of the four winds, lies at the eastern end of Majorca’s Formentor peninsula. £3,000 - 5,000 849

Property of a Private Collector WILLIAM DEGOUVE DE NUNQUES (BELGIAN 1867 - 1935) Soir en Brabant signed with initials and dated WD / de / N 10 (lower right) oil on board 34.5 x 45 cm (13 1/2 x 17 3/4 in)

PROVENANCE: Suzanne Degouve de Nuncques (née Poulet; the artist’s second wife, previously married to the polar explorer Adrien de Gerlache) Thence by descent 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. 4.1910.009, illustrated £3,000 - 5,000

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850

Property of a Private Collector JAKOB SMITS (FLEMISH 1855 - 1928) Le soulard (The drunkard) signed Jakob Smits (upper right); titled (lower centre) red crayon 20.7 x 25.2 cm (8 x 10 in) PROVENANCE: Purchased by the grandparents of the present owner before 1939 ÂŁ400 - 600

851

Property of a Private Collector MANNER OF WILLEM MARIS (DUTCH 1844 - 1910) Houses by the canal indistinctly signed (lower right) oil on panel 11.2 x 37.5 cm (4 1/2 x 14 3/4 in) PROVENANCE: Purchased by the grandparents of the present owner before 1939 £300 - 500 852

Property of a Private Collector ARNOLD VANTIEGHEM (BELGIAN B.1937) Snowy landscape signed AR VANTIEGHEM (lower left) oil on canvas 18 x 24 cm (7 x 9 1/2 in) PROVENANCE: Purchased by the parents of the present owner in the 1960s £200 - 300

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853 ARR

Property of a Private Collector JULIETTE CAMBIER (BELGIAN 1879 - 1949) Flowers in a vase signed and dated Juliette Cambier / 1926 (lower right) oil on canvas 22 x 27 cm (8 1/2 x 10 1/2 in) PROVENANCE: Purchased by the grandparents of the present owner before 1939 Â£400 - 600 55

854

Property from the Collection of Helen and Alfred Mignano JAMES HOLLAND (BRITISH 1799 - 1870) A Venetian canal signed with initials and dated JH / 51 (lower left); signed and dated James Holland / 1851 (on the reverse) oil on board 31 x 25 cm (12 1/4 x 9 3/4 in) £200 - 300

855

PAUL VERNON (FRENCH 1796 - 1875) A Venetian view signed Paul Vernon (lower right) oil on panel 46 x 37.5 cm (18 x 14 3/4 in) £300 - 500

856

Property from a Deceased Estate, London CONZALVO CARRELLI (ITALIAN 1818 - 1900) The fisherman’s family signed and inscribed CONZALVO.CARELLI / NAPLES (lower right) oil on canvas 76.5 x 64 cm (30 1/4 x 25 1/4 in) PROVENANCE: Acquired by the parents of the late owner prior to 1980 £3,000 - 5,000

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857

858

Property from a London Collection

ARCHIBALD MARRIOTT WOODHOUSE (AUSTRALIAN 1884 - 1930) Lady in purple signed and dated Mariott Woodhouse 21 twice (lower right) oil on canvas 62 x 51.5 cm (24 1/2 x 20 3/4 in)

ARCHIBALD MARRIOTT WOODHOUSE (AUSTRALIAN 1884 - 1930) Lady in white signed Marriott Woodhouse (lower right) oil on canvas 61 x 51 cm ( 24 x 20 1/4 in)

PROVENANCE: Christopher Day Gallery, Sydney Purchased from the above by the present owner in the 1980s

PROVENANCE: Christopher Day Gallery, Sydney Purchased from the above by the present owner in the 1980s £800 - 1,200

£800 - 1,200

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859

Property from a London Collection LESLIE ANDREW WILKIE (AUSTRALIAN 1879 - 1935) Miss Wilkie, the artist’s daughter signed Leslie Wilkie (lower left) oil on canvas 77 x 69 cm (30 1/4 x 27 1/4 in) PROVENANCE: Christopher Day Gallery, Sydney Purchased from the above by the present owner in the 1980s £1,200 - 1,800

860 ARR

861 ARR

862 ARR

Property of the Hon. Barry McFadzean

Property of the Hon Barry McFadzean

KEVIN CHARLES PRO HART (AUSTRALIAN 1928 - 2006) Wool classing signed Pro Hart (lower right) oil on board 48 x 62.5 cm (19 x 24 1/2 in)

KEVIN CHARLES PRO HART (AUSTRALIAN 1928 - 2006) Windmill signed Pro Hart (lower right); and dated ‘78 (lower left) oil on board 34 x 41.5 cm (13 1/2 x 16 1/2 in)

KEVIN CHARLES PRO HART (AUSTRALIAN 1928 - 2006) Creek signed Pro Hart (lower left) oil on board 37 x 43.5 cm (14 1/2 x 17 in)

PROVENANCE: Purchased by the present owner in Australia in the early 1980s £1,200 - 1,800

PROVENANCE: Purchased by the present owner in Australia in the early 1980s

PROVENANCE: Purchased by the present owner in Australia in the early 1980s £600 - 800

£600 - 800

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863 ARR

Property of the Hon. Barry McFadzean JACK ABSALOM (AUSTRALIAN B.1927) Mountain landscape signed Absalom (lower right) oil on canvas laid on board 17.5 x 32.5 cm (6 3/4 x 12 3/4 in) PROVENANCE: Purchased by the present owner in Australia in the early 1980s £80 - 120

864 ARR

Property of the Hon. Barry McFadzean HUGH SCHULZ (AUSTRALIAN 1921 - 2005) Outback landscapes (a pair) each signed Hugh Schulz (lower right) oil on board 25 X 32.5 cm (9 3/4 x 12 3/4 in) (2) PROVENANCE: Purchased by the present owner in Australia in the early 1980s £400 - 500

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865 ARR

Property of the Hon. Barry McFadzean KEN DONE (AUSTRALIAN B.1940) Saturday 1982 signed and dated Ken Done 1982 (lower centre) oil on canvas 74 x 101.5 cm (29 x 40 in) PROVENANCE: Purchased by the present owner in Australia in the early 1980s Â£500 - 700

866 ARR

867

868

Property of the Hon Barry McFadzean KEITH NAUGHTON (AUSTRALIAN B.1925) Puffing Billy signed Naughton (lower right); titled (on the reverse) oil on board 30.5 x 41 cm (12 x 16 in)

SIDNEY NOLAN OM, AC, CBE, (AUSTRALIAN 1917 - 1992) Horse, 1971 signed Nolan (lower right), inscribed A/P (lower left) etching printed in red 21.7 x 28 cm (8 1/2 x 11 in) - plate size 48 x 63 cm (19 x 24 3/4 in) - sheet size with full margins

PROVENANCE: Purchased by the present owner in Australia in the early 1980s

This artist’s proof is one of 25 etchings from the Dust Suite published in a numbered edition of 60 in 1971.

SIDNEY NOLAN OM, AC, CBE, (AUSTRALIAN 1917 - 1992) Carcase,1971 signed Nolan (lower right), titled (lower centre) and inscribed P/P (lower left) etching printed in red 24.7 x 29.5 cm (9 3/4 x 11 1/2 in) - plate size 48 x 63 cm (19 x 24 3/4 in) - sheet size with full margins

£80 - 120

£300 - 500

This printer’s proof is one of 25 etchings from the Dust Suite published in a numbered edition of 60 in 1971. £300 - 500

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869 ARR

MARIO ROSSELLO (ITALIAN 1927 - 2000) Abstract composition signed Rossello ‘57 (lower right); signed and inscribed with the artist’s address Rossello Mario Piazza Susa, 1 (on the reverse) oil on canvas 65.5 x 41 cm (25 3/4 x 16 in) PROVENANCE: New Vision Gallery, London £200 - 300

870

MICHAEL ILLINGWORTH (NEW ZEALAND 1932 - 1988) Cell form signed and dated MHI ‘60 (lower centre) oil on paper 21 x 22.5 cm (8 1/4 x 8 3/4 in) - irregularly shaped £500 - 700

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871

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.

£3,000 - 5,000

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872

873

874

Property from an English Collection

Property from an English Private Collection

MARK FISHER (BRITISH, AMERICAN 1841 – 1923) Tending the Flowers signed Mark Fisher (lower left) oil on canvas 63 x 75.5 cm (62 3/4 x 29 3/4 in)

HENRY JOHN YEEND-KING (BRITISH 1855 - 1924) In the garden signed Yeend-King (lower right) oil on canvas 47 x 62 cm (18 1/2 x 24 1/2 in)

PROVENANCE: Dicksee & Co, Liverpool, circa 1911

MYLES BIRKET FOSTER (BRITISH 1825 - 1899) Children picking berries on a summer’s evening signed with monogram MBF, entwined (lower right) pencil and watercolour heightened with bodycolour and with gum arabic 9 x 17.5 cm (3 1/2 x 6 3/4 in)

£400 - 600

£300 - 400

£3,000 - 5,000

John Noott, Broadway (purchased by the present owner in the early 1990s)

875

THOMAS ROWLANDSON (BRITISH 1756 - 1827) Knaresborough Castle, Yorkshire pencil, ink and watercolour 34.5 x 50 cm (13 1/2 x 19 3/4 in) Â£700 - 1,000

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876

THOMAS ROWLANDSON (BRITISH 1756 - 1827) The elopement: love, laughs and locksmiths pencil, ink and watercolour 28.5 x 22 cm (11 1/4 x 8 1/2 in) Â£500 - 700 877

No lot

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878

879

880

FRANCIS NICHOLSON (BRITISH 1753 - 1844) Kirkstall Abbey watercolour and pencil 28 x 40 cm (11 x 15 ¾ in)

Property from an English Collection

PAUL SANDBY RA (BRITISH 1725 - 1809) The Bridge at Bridgnorth pencil, pen and ink and watercolour 35.5 x 50.75 cm (14 x 20 in)

£200 - 300

WILLIAM J. FERGUSON (BRITISH ACT.1849 - 1886) The turning of the leaves signed and dated WJ Ferguson / 1885 (lower right) watercolour 35 x 52 cm (13 3/4 x 20 1/2 in) £200 - 300

PROVENANCE: E. Stacy-Marks LTD., East Sussex Sandby travelled through Bridgnorth during his visit to the estate of Sir William Watkins Wynn at Wynnstay in 1771, during which he made many sketches and views of north Wales. He published an aquatint of Bridgnorth in 1778 (RCIN 817138.aq) £1,000 - 2,000

881

882

883

WILLIAM PAYNE (BRITISH 1760 - 1830) The view towards Kings Weston House from Penpole Point with the Severn estuary beyond indisctinctly inscribed and dated *** Weston Somersetshire / Ld. de Clifford Seat near Clifton / overlooking at Penpole point the junction / of the Severn and Avon. This sketched from the terrace above it. 1799 (on the reverse) watercolour 19.5 x 30 cm (7 3/4 x 12 in)

Property of a Lady

DAVID COX SNR. O.W.S. (BRITISH 1783 - 1859) Snowdonia: a Shepherd and Sheep near a Clapper Bridge charcoal 19 x 25.3 cm (7 1/2 x 10 in)

DAVID COX SNR. O.W.S. (BRITISH 1783 - 1859) Going to market: figures resting near a river signed David Cox (lower left) watercolour 26.7 x 36.5 cm (10 1/2 x 14 3/8 in)

PROVENANCE: Thomas Agnew & Sons Ltd., London. Purchased by the present owner circa 2002

PROVENANCE: Thomas Agnew & Sons Ltd., London Purchased from the above by the present owner in 2004

EXHIBITED: London, Agnew’s, 129th Annual Watercolour Exhibition, 2002, no. 43

This North Wales view dates from the late 1840s during the period when Cox travelled every year to Bettws-y-Coed.

A similar drawing by the artist is in the collection of the Birmingham Museums and Art Gallery.

£600 - 800

Kings Weston House was designed by Sir John Vanbrugh and built between 1712 and 1719 for the Anglo-Irish lawyer and politician Edward Southwell (1671-1730). £200 - 300

£500 - 700

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884

ALFRED DE BREANSKI SNR (BRITISH 1852 - 1928) Autumn leaves, Burnham Beeches signed Alfred de Breanski (lower left); signed and titled (on the reverse) oil on canvas 62 x 93cm (24 ¼ x 36 ½ in) PROVENANCE: The Reverend Archibald Dewhurst Mr & Mrs E.R. Spencer, 1936 (a gift from the above) £1,500 - 2,500

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885

Property from an English Collection SIDNEY RICHARD PERCY (BRITISH 1821 - 1886) Cader Idris signed and dated S.R Percy 1884 (lower left) oil on canvas 61.5 x 102 cm (24 1/2 x 40 1/4 in) PROVENANCE: Purchased by the present owners circa 1990 Â£5,000 - 7,000

886

GEORGE HEMMING-MASON (BRITISH 1818 - 1872) Off to market indistinctly signed (lower left) oil on canvas 29 x 21.5 cm (11 1/2 x 8 1/2 in) £200 - 300

887

Property from an English Estate CONTINENTAL SCHOOL (LATE 18TH CENTURY) Cattle watering in a river landscape oil on panel 21.5 x 28.5 cm (8 1/2 x 11 1/4 in) £200 - 300

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888

Property from an English Collection HENDRICK VAN DE SANDE BAKHUYZEN (DUTCH 1795 - 1860) Gathering in the harvest signed and dated H.v.d Sande Bakhuyzen 1822 (lower right) oil on canvas 71 x 85.5 cm (28 x 33 1/2 in PROVENANCE: Mandall’s Gallery, Norwich Polak Gallery, London £1,500 - 2,500 889

THOMAS CRESWICK (BRITISH 1811 - 1867) A Country lane oil on canvas, unframed 89.5 x 69 cm (35 1/2 x 27 1/4 in) £200 - 300

890

JAN HENDRIK WILLEM HOEDT (DUTCH 1825 - 1868) A Dutch estuary scene signed J H W Hoedt (lower right) oil on panel 22 x 29.5 cm (8 3/4 x 11 1/2 in) £300 - 500

891

JOHANNES MAURITZ JANSEN (DUTCH 1811 - 1857) Cottage with peasants in a winter landscape signed J.M. Jansen (lower right) oil on canvas 34.5 x 44.5 cm (13 1/2 x 17 1/2 in) £500 - 700

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892

AUGUSTUS WYNANTS (DUTCH 1795 - 1848) View of Utrecht oil on canvas 19.4 x 28.4 cm (7 3/4 x 11 1/4 in) £500 - 700

893

Property from an English Estate DUTCH SCHOOL (LATE 19TH CENTURY) Dutch landscape in winter indistinctly signed (lower right); titled Holländische Stadtansicht im Winter (on a label on the reverse) oil on panel 21 x 15 cm (8 1/4 x 6 in) £200 - 300

894

From an English Private Collection JOHN FREDERICK TENNANT (BRITISH 1796 - 1872) Panorama of the Medway from Upnor Hill with Chatham Dockyard Kent in the distance oil on board 36 x 56 cm (14 1/4 x 22 in) PROVENANCE: J Davey & Sons, Manchester In 1957 the Royal Navy opened Chatham dockyard in Gillingham during the reign of Henry VIII. It was here that HMS Victory, Nelson’s flagship at Trafalgar, was built and launched in 1765. £350 - 500 895

Property from an English Estate EDMUND GILL (BRITISH 1820 - 1894) River landscape, Lancashire signed and dated Gill 1859 (lower right); signed, inscribed and dated Lancashire Edmund Gill 1859 (on the stretcher) oil on canvas 30.5 x 41 cm (12 x 16 in) £300 - 500

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896

Property from a Surrey Collection HENRY MAIDMENT (BRITISH active c.1889 - 1914) Fishing at Dawn signed H.Maidment (lower left) oil on board 29.5 x 39.5 cm (11 3/4 x 15 1/2 in) £100 - 200

897

Property from an English Collection SIR HENRY THOMPSON (BRITISH 1820 – 1904) Cornfields signed HENRY THOMPSON (lower right) oil on canvas 41 x 61 cm (16 x 24 in) PROVENANCE: Jonathan Cooper, Park Walk Gallery, London £500 - 700

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898 ARR

899 ARR

900

LIONEL DALHOUSIE ROBERTSON EDWARDS (BRITISH 1878 - 1966) Study of a dapple grey horse in a meadow signed and dated Lionel Edwards / 1917 (lower right) gouache 23.5 x 33.5 cm (9 1/4 x 13 1/4 in)

LIONEL DALHOUSIE ROBERTSON EDWARDS (BRITISH 1878 - 1966) Early morning, North Cotswold Hunt signed and dated Lionel D Edwards / sept 05 (lower left) watercolour and bodycolour 26 x 36 cm (10 1/4 x 14 1/4 in)

HARRY HALL (BRITISH 1814 - 1882) A bay racehorse in a loosebox signed and dated Harry Hall / 18** (lower right) oil on canvas 48 x 61 cm (19 x 24 in)

£1,000 - 2,000

Harry Hall was the foremost racehorse portraitist of his time. Born in Cambridge, he first appeared as an artist at Tattersalls, working on a number of their publications, initially British Racehorses and The Sporting Review. He became the chief artist of The Field and produced a great volume of work, much of which was engraved. The Sporting Magazine published 114 plates by Hall. He also worked for The Illustrated London News. £1,000 - 1,500 85

901 ARR

GEORGE EDWARD LODGE (BRITISH 1860 - 1954) Capercaillie in flight signed G.E. Lodge (lower left) gouache 28 x 43 cm (11 x 17 in) £500 - 700

902

RICHARD ANSDELL (BRITISH 1815 - 1885) Buzzard with Ptarmigan signed and dated R Ansdell 1876 (lower right) oil on board 33 x 48.3 cm (13 x 19 in) EXHIBITED: Bolton, Museum and Art Gallery, Civic Centre £600 - 700

See page 5 for more information regarding fees

903 ARR

CHARLES SIMPSON (BRITISH 1885 - 1971) Goldeneye and a Mallard in flight each signed Charles Simpson (lower left) oil on board 52 x 73 cm (20 1/2 x 28 3/4 in) (2) Â£400 - 600

904

ERNEST ALBERT FISCHER-CÖRLIN (GERMAN 1853 - 1932) The Farmyard signed and dated E.A. FISCHER-CÖRLIN, BERLIN / HOLZHAUSEN 1889 (lower left) watercolour and bodycolour 50.75 x 59.75 cm (20 x 23 ½ in) £300 - 500

905

Property from an English Collection HENRY WOODS, R.A. (BRITISH 1846 - 1921) Serra Valle signed, titled and dated Henry Woods / Serra Valle / 1904 (lower right) oil on canvas 33 x 26 cm (13 x 10 1/2 in) PROVENANCE: M. Newman Ltd, London EXHIBITED: London, Royal Academy, Winter Exhibition, 1922 After studying in his native Warrington, and then at the South Kensington Schools, Woods worked first as an illustrator for The Graphic and other magazines. He began to exhibit at the Royal Academy from 1869 onwards, and in 1876, at the suggestion of his brother-in-law, the painter Sir Luke Fildes, he visited Venice. The city enthralled him, and in the 1880s he moved there permanently, regularly sending Italian scenes to London for exhibition. £700 - 1,000

See page 5 for more information regarding fees

906

ZACHARIAS NOTERMAN (BELGIAN c.1820 - 1890) Lou Lou signed and dated Zach Noterman 1886 (lower left); titled (upper left) oil on panel 39.5 x 30 cm (15 1/2 x 11 3/4 in) £300 - 500

907

CHARLES COMPTON (BRITISH 1828 - 1884) Squirrels and a Bullfinch signed and dated C Compton May 1866 (lower right) oil on canvas 45.7 x 35.5 cm (18 x 14 in) PROVENANCE: Sale. Christie’s, London, 16th July 1998, lot 63 Purchased at the above sale by the present owner £1,500 - 2,500

908

CIRCLE OF SIR WILLIAM CHARLES ROSS RA (BRITISH 1794 - 1860) Portrait of Martha Hughes of Kinmel black chalk heightened with white 83 x 71 cm (32 1/2 x 28 in) Â£200 - 300

See page 5 for more information regarding fees

909

Property from an English Estate HENRI CHARLES ANTOINE BARON (FRENCH 1816 - 1885) Dancing maids signed H Baron (lower right) watercolour 26.5 x 20.3 cm (10 1/2 x 8 in) £300 - 500

910

Property from an English Collection FREDERICK WILLIAM HULME (1816 – 1884) A Welsh Valley signed F W Hulme (lower left); signed and indistinctly inscribed At Bett*s*(sic)(Betwsy-Coed?)N.W/F W Hulme (on the reverse) oil on panel 37 x 31 cm (14 1/2 x 12 1/4 in) The subject of the present work is almost certainly Betwys-y-Coed as suggested in Hulme’s abbreviated reference to the subject matter on the reverse. £300 - 500

911

MISS E E SEARLE (BRITISH EXH.1897) The cellist signed and dated E E Searle 1895 (centre right) oil on canvas 50.8 x 38 cm (20 x 15 in) The subject of the present work has traditionally thought to be G.F Watts playing his cello in Little Holland House, Kensington, where the painter lived from 1876-1904. ÂŁ400 - 600 912

No lot

See page 5 for more information regarding fees

913

REBECCA SOLOMON (BRITISH 1832 - 1886) The Letter signed R. Solomon (lower right) oil on canvas 41 x 30.5 cm (16 1/8 x 12 in) £800 - 1,200

914

Property from a London Collection ADRIEN MOREAU-NERET (FRENCH 1860 - 1944) Reading in an interior signed Moreau-Neret (lower right) oil on canvas 14.75 x 18 cm (37 1/2 x 45 3/4 in) £400 - 600

See page 5 for more information regarding fees

915

916

917

Property from an English Estate

CIRCLE OF GIOVANNI SCHRANZ (PORT MAHON, MENORCA 1794 - 1882 MALTA) Entrance to Mahon, Menorca oil on canvas 27.5 x 55.5 cm (10 3/4 x 21 3/4 in)

Property from an English Collection

RAYMOND-EUGÈNE GOETHALS (FRENCH 1804 - 1864) Vue du port du passage en Espagne signed E. Goethals (lower left); titled (on a label on the backboard) oil on panel 12 x 21 cm (4 3/4 x 8 1/4 in) £200 - 300

£300 - 500

FRANCIS HOLMAN (BRITISH 1729 - C.1790) A cutter running into the fleet at anchorage signed and dated F Holman / 1770 (lower left) oil on canvas 44 x 86 cm (17 1/4 x 34 in) PROVENANCE: The Parker Gallery, London Born in Cornwall, Holman is best known for his dramatic naval scenes which convey both the power of war and the sea. Working in London in the late 18th century, his fashionable style earned him opportunities to exhibit his work in institutions such as the Free Society of Artists (1767-1772) and the Royal Academy (1774-1784). Holman became the teacher of Thomas Luny (17591837), also from Cornwall. The present work is comparable to a work The Cutter ‘Fly’ and Other Vessels in the National Maritime Museum, London £4,000 - 6,000

See page 5 for more information regarding fees

918

919

920

Property from an English Collection

THOMAS BUSH HARDY (BRITISH 1842-1897) Off Calais signed and dated T.B Hardy/1891(lower right) watercolour and bodycolour, heightened with white and with scratching out 29 x 72 cm (11 1/2 x 28 1/4 in)

CHARLES H WHITWORTH (BRITISH ACT.1873 - 1913) A Cornish fishing harbour signed and dated C H Whitworth / 88 (lower left); titled (on the reverse) oil on canvas 21 x 31 cm (8 1/4 x 12 1/4 in)

ARTHUR JOSEPH MEADOWS (BRITISH 1843 - 1907) Unloading the catch signed Arthur Meadows (lower left) oil on canvas 35.5 x 61.5 (14 x 24 1/4 in)

PROVENANCE: Abbey Galleries, Westminster Ltd, London

£300 -500

£800 - 1,200

£600 - 800

921

ARNOLD BIDLAKE MITCHELL (BRITISH 1863 - 1944) The Western Front, Wells Cathedral signed, titled and dated 1887 (lower right) pencil, watercolour and grey wash 49.5 x 64.25 cm (19 ½ x 25 ¼ in) EXHIBITED: London, Royal Academy, Summer Exhibition, 1888, no. 1827 £250 - 300

922

AFTER WILLIAM PAGE (BRITISH 1794 - 1872) View of Paestum watercolour 60.5 X 92.5 cm (23 3/4 x 36 1/4 in) £300 - 500

See page 5 for more information regarding fees

923

SAMUEL HOWITT (BRITISH 1756/57 - 1822) S Ethiopicus signed Howitt (lower left) watercolour 18.7 x 12.7 cm (8 1/2 x 5 in) EXHIBITED: London, Chris Beetles Gallery, Bliss was it in that dawn to be alive, 1750 - 1850, October 2008, no. 33 Â£150 - 250

924

AN ENGLISH LATE 19TH CENTURY ROBERSON OAK STUDIO EASEL with adjustable shelf and tilt, supported on an H-frame Height: 230 cm (90 1/2 in), unextended label for ROBERSON, 99, Long Acre, London (attached on the H-frame) £800 - 1,200

925

WILLIAM ORPEN (IRISH 1878 - 1931) Study of a male nude signed and dated W. Orpen / Dec. 96 (lower right) pencil 72.3 x 47 cm (28 1/2 x 18 1/2 in), unframed with the blind stamp ESK in the paper (lower left) PROVENANCE: Archibald de Montfort, Stillorgan (a gift from the artist) Thence by descent to the present owner. Archibald de Montfort (1878-1948) was a childhood friend and neighbour of the artist when Orpen was living with his family at Oriel House in Stillorgan. Later ordained, de Montfort’s ministry was in County Cork. Executed in Orpen’s final year at the Metropolitan School of Art, Dublin, where he was the stand out pupil, the ESK blind stamp on the present drawing indicates ‘Examined South Kensington’. The South Kensington System was a national schools syllabus for the teaching of art across the country and Empire. It is likely that the present work was one of the three drawings Orpen submitted to the national schools prize that academic year, and for which he was awarded the Gold Medal. £500 - 700

100

See page 5 for more information regarding fees

101

Index ABSALOM, JACK 863 ADRION, LUCIEN 802 ANSDELL, RICHARD 902 BAKHUYZEN, HENDRICK VAN DE SANDE 888 BARON, HENRI CHARLES ANTOINE 909 BEAVIS R.W.S, RICHARD 842 BLOOMFIELD, HARRY 810 BRAUMANN, MAX 834 BREANSKI SNR, ALFRED DE 884 BRODZKY, HORACE 833 CAMBIER, JULIETTE 853 CARRELLI, CONZALVO 856 COMPTON, CHARLES 907 CONTINENTAL SCHOOL 887 COX SNR. O.W.S., DAVID 844 COX, DAVID 882, 883 CRESWICK, THOMAS 889 DELPY, HIPPOLYTE CAMILLE 807 DOMINGUEZ, OSCAR 832 DONE, KEN 865 DUTCH SCHOOL 893 DYF, MARCEL 805 EDWARDS, LIONEL DALHOUSIE ROBERTSON 898, 899 ENSOR, JAMES 845 FERGUSON, WILLIAM J. 879 FERRIERES, JAC MARTIN 800 FISCHER-CÖRLIN, ERNEST ALBERT 904 FISHER, MARK 872 FLINT, RA, PRWS, RSW, SIR WILLIAM RUSSELL 839 FOSTER, MYLES BIRKET 873 GALLIEN-LALOUE, EUGENE 804 GASSER, LEONARDO 801 GILL, EDMUND 895 GOETHALS, RAYMOND-EUGÈNE 915 HALL, HARRY 900 HARDY, THOMAS BUSH 918 HARPIGNIES, HENRI-JOSEPH 809 HART, KEVIN CHARLES PRO 860, 861, 862 HEMMING-MASON, GEORGE 886 HEMSLEY, WILLIAM 838 HOEDT, JAN HENDRIK WILLEM 890 HOLLAND, JAMES 854 HOLMAN, FRANCIS 917 HOLPER, FRANZ 835 HOWITT, SAMUEL 923 HULME, FREDERICK WILLIAM 910 ILLINGWORTH, MICHAEL 870 JACQUE, CHARLES-EMILE 808 JANSEN, JOHANNES MAURITZ 891 LECOMTE, PAUL 817 LEE-HANKEY RWS, RI, ROI, RE, NS, WILLIAM 843 LODGE, GEORGE EDWARD 901 MAIDMENT, HENRY 896

MALHERBE, WILLIAM 811 MARGESTON RI, WILLIAM HENRY 806 MOTESICZKY, MARIE-LOUISE VON 820, 821, 822, 823, 824, 825, 826, 827 MARIS, MANNER OF WILLEM 851 MEADOWS, ARTHUR JOSEPH 920 MIRÓ, JOAN 829, 830 MITCHELL, ARNOLD BIDLAKE 921 MONTEZIN, PIERRE EUGENE 871 MOREAU-NERET, ADRIEN 914 NAUGHTON, KEITH 866 NICHOLSON, FRANCIS 878 NOLAN OM, AC, CBE, SIDNEY 867, 868 NOTERMAN, ZACHARIAS 906 NUNCQUES, WILLIAM DEGOUVE DE 847, 848, 849 ORPEN, WILLIAM 925 PAGE, AFTER WILLIAM 922 PASCIN, JULES 831 PAYNE, WILLIAM 881 PERCY, SIDNEY RICHARD 885 POINT, ARMAND 819 RICHARDSON, FREDERICK STUART 841 RICHET, LÉON 815 ROBERSON , ENGLISH LATE 19TH CENTURY 924 ROSS RA, CIRCLE OF SIR WILLIAM CHARLES 908 ROSSELLO, MARIO 869 ROWLANDSON, THOMAS 875, 876 RYSSELBERGHE, THEO VAN 846 SANDBY RA, PAUL 880 SCHELLINGER, HANS 828 SCHRANZ, CIRCLE OF GIOVANNI 916 SCHULZ, HUGH 864 SEARLE, MISS E E 911 SEGONZAC, ANDRE DUNOYER DE 813, 814 ŠETELÍK, JAROSLAV 818 SHARP ROI RBA, DOROTHEA 840 SIMPSON, CHARLES 903 SIMS, CHARLES 837 SMITS, JAKOB 850 SOLOMON, REBECCA 913 TANZI, LEON 812 TENNANT, JOHN FREDERICK 894 THOMPSON, SIR HENRY 897 VANTIEGHEM, ARNOLD 852 VERHEYDEN, ISIDORE 816 VERNON, PAUL 855 WHITWORTH, CHARLES H 919 WILKIE, LESLIE ANDREW 859 WILLIAMS, TERRICK 836 WOODHOUSE, ARCHIBALD MARRIOTT 857, 858 WOODS R.A., HENRY 905 WYNANTS, AUGUSTUS 892 YEEND-KING, HENRY JOHN 874

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.

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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.

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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.

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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.

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‘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

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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.