Chiswick-Auctions-19th&20th-Century-Paintings-March-2021 by Chiswick Auctions

19th & 20th Century Paintings and Works on Paper, including Portrait Miniatures 30 March 2021

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Ishabel Gray

Head of Sale 19th & 20th Century Paintings ishbel.gray@chiswickauctions.co.uk

Suzanne Zack

Luke Price

Adrian Biddell

Krassi Kuneva

Laetitia Masson

Madeleine White

Consultant British & European Fine Art & Portrait Minaitures suzanne.zack@chiswickauctions.co.uk

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

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

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

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

Senior Department Cataloguer Modern British and Urban & Contemporary madeleine.white@chiswickauctions.co.uk

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19th & 20th Century Paintings and Works on Paper, including Portrait Miniatures Tuesday 30 March 2021, 2pm Buyer’s Premium

Cites

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Collection of Lots

Artist’s Resale Right/ Droit De Suite

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Lots marked with ARR indicates that an additional levy may apply for this lot. Please see our Terms & Conditions for more information.

Front Cover Lot 328 Back Cover Lot 348 Inner spreads Lots 300, 322, 338

With thanks to Ghislaine Howard and Pete Spall

Photography Steven McCauley Basak Ulukose

300

ARR

GUSTAVE SINGIER (FRENCH 1909-1984) La pêche dans les rochers signed and dated G SINGIER 47 (lower right); signed, dated and inscribed Singier 47 LA PECHE SUR LES ROCHERS (on the reverse) oil on canvas 27 x 22 cm (10 5/8 x 8 5/8 in)

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PROVENANCE: Galerie Suzanne Bollag, Zurich Galerie Beyeler, Basel Gertrude Schottlander, Lucerne, circa 1957-1960, thence by descent to the previous owner; their sale, Bonhams, Oxford, 5 November 2014, lot 93

£1500 - 2000

19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

301 ARR Property from a London Collection

PROVENANCE: The Piccadilly Gallery, London Galerie Eric Franck, Geneva

AMEDEÉ OZENFANT (FRENCH 1886-1966) Etude pour ‘Maternite’

LITERATURE:

signed with initials OZ. (lower right) pencil 28 x 21.4 cm (11 x 8 3/8 in) Executed in 1941

P. & M. Guénégan, Amédée Ozenfant, 1886-1966 : catalogue raisonné des oeuvres sur papier, St Alban, 2016, p. 293, no. 1941/OP008, illustrated

£800 - 1200

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The Ecole de Paris Paris had long been a mecca for artists, thanks historically to the unrivalled reputation of the Ecole des Beaux-Arts, the unparalleled importance of the annual Salon as an exhibiting platform and the patronage of the French State. But with the advent of Modernism, long held classical canons were eclipsed by the energy of the merging avant-garde. To cater for the proliferation of styles alternative exhibiting bodies proliferated, such as the Salon des Indépendants and the Salon d’automne; commercial galleries and dealers flourished, and the city saw an influx of artists from around the world as never before. By the mid-1920s Paris was home to an estimated 70,000 painters and sculptors, congregated mainly in the districts of Montmartre and Montparnasse. Many of the artists were émigrés, who came to be known collectively as the École de Paris, a term coined in 1925 by the art critic André Warnod, who used it specifically to reference the non-French avant-garde artists working in the French capital. Ecole de Paris artists were not characterised by a defining style, but worked closely alongside one another, exchanging creative ideas and employing a diverse range of techniques and styles. In 1909 a sub-group of the Ecole de Paris was formed by Modigliani, Maurice Utrillo, Chaïm Soutine and Jules Pascin (known as the ‘Prince of Montparnasse’). They were disparagingly called les maudits (the cursed ones), bonded by their shared poverty which they reflected in the subject-matter and style of their often anguished and tormented subject matter. The strong Jewish element of Ecole de Paris artists gathered pace with the arrival in Paris of Marc Chagall in 1910. Chagall settled in La Ruche, a complex of studios in Montparnasse. Together with fellow Russian Soutine, Chagall worked alongside other Jews including Michel Kikoine, Ossip Zadkine and Mané-Katz.

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By the time the Second World War broke however, and with nationalism on the rise, artists associated with the Ecole de Paris were increasingly viewed as a threat to French tradition, especially by anti-semitic critics. By 1940 such artists were barred from exhibiting in France, many were forced to return to their homeland or leave for America, and by the 1950 Paris’s thriving art scene had largely been eclipsed by Abstract Expressionism and the New York School.

Manuel Ortiz de Zarate, Moïse Kisling , Paquerete, Pablo Picasso, Jean Cocteau, Manuel Ortiz de Zarate, at the café La Rotonde, Montparnasse, Paris 1916

19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

302 ARR MICHEL KIKOÏNE (FRENCH/ RUSSIAN 1892-1968) Portrait of Jacques Chalom titled Portrait of Jacques Chalom (on the artist’s label on the reverse) oil on board 73 x 49.5 cm (28 3/4 x 19 1/2 in) Executed circa 1964-1965

PROVENANCE: Sale, Christie’s, London, 27 June 1986, lot 572 Galerie Marek, Paris Private collection, London, by whom purchased from the above in the early 1990s LITERATURE: J. Cassou, Kikoïne, Lausanne, 1973, no. 712, illustrated p. 349 Jacques Chalom des Cordes (b.1935) is a contemporary artist and the son of Samy Chalom, a leading art dealer in Paris during the Ecole de Paris.

£5000 - 7000

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303 ARR JOSEPH PRESSMANE (UKRANIAN/FRENCH 1904-1967) Still life with a candlestick and book

signed and dated J. Pressmane 57 (lower left); signed and inscribed Pressmane/Nature morte (on the reverse) oil on board 35.3 x 42 cm (13 7/8 x 16 1/2 in)

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PROVENANCE: Galerie Marek, Paris Private collection, London, purchased from the above in the early 1990s

£1800 - 2,500

19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

304 ARR SIMON FRANCOIS STANISLAS MONDZAIN (POLISH/FRENCH 1890-1979) Nue Assise signed Mondzain (lower left) oil on canvas laid down on board 30 x 24.8 cm (11 7/8 x 9 3/4 in) Executed in 1926

PROVENANCE: Galerie Marek, Paris Private collection, London, purchased from the above in the early 1990s

£3500 - 4,500

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305 Property from a London Collection JULES PASCIN (BULGARIAN/FRENCH 1 885-1930) Deux Femmes sur un lit stamped with studio stamp ATELIER PASCIN (Lugt 2014b; lower right); stamped SUCCESSION PASCIN LE COMMISSAIRE PRISEUR (Lugt 2014c; on the reverse) pen and ink 39.8 x 47.6 cm (15 5/8 x 18 3/4 in)

PROVENANCE: Estate of the artist B.C. Holland Gallery, Chicago

£500 - 600

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

306 Property from a London Collection MIKHAIL LARIONOV (RUSSIAN 1881-1964) Portrait de Diaghilev signed with initials in Cyrilic M.L (lower left) pencil 40.5 x 25.5 cm (16 x 10 1/8 in) PROVENANCE Galerie Eric Franck, Geneva

£500 - 600 Mikhail Larionov was the lifelong partner to fellow leader of the Russian avant-garde, Natalia Goncharova. The present lot is a portrait of the Russian ballet impresario Sergei Diaghilev (1872 – 1929), founder of the Ballet Russes. The Ballet Russes revolutionised ballet and had a huge influence on 20th-century art, theatre, fashion and interior design.

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

308 ARR Property from the Ben Uri Gallery and Museum MANÉ-KATZ (FRENCH/UKRANIAN 1894–1962) Seascape signed MANÉ-KATZ and dated 34 (lower left) oil on canvas 70.5 x 90.5 cm (27 3/4 x 35 2/3 in) PROVENANCE: A gift from the artist in 1935

EXHIBITED: London, Ben Uri Collection, Opening Exhibition, (titled The Storm) London, Ben Uri Collection, Selections from the Ben Uri Collection, 1960 London, Ben Uri Collection, ManéKatz: Memorial Exhibition, 1963 London, Ben Uri Collection, From

Russia to Paris: Chaim Soutine and his Contemporaries, 2012, illustrated in the catalogue LITERATURE: Ben Uri Art Society Permanent Collection Catalogue, London, 1959, no. 132 W.Schwab & J.Weiner, Jewish Artists:

The Ben Uri Collection: Paintings, Drawings, Prints and Sculpture, London, 1994, p. 75, no. 267, illustrated The Public Catalogue Foundation,

Oil Paintings in Public Ownership: Camden, Vol. 11, London, 2013, p. 29, illustrated

£4000 - 6000 The funds realised from the sale of this lot will be reinvested in the Ben Uri Gallery and Museum collection mirroring the focus of the Ben Uri Research Unit recoding the Jewish and immigrant contribution to British visual culture since 1900. For further information see benuri.org

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309 YITZHAK FRENKEL-FRENEL (ISRAELI 1899-1981) Sacré-Coeur signed Frenel (lower right) oil on canvas 92.3 x 73 cm (36 3/8 x 28 3/4 in) PROVENANCE: Private collection UK, acquired in the mid-1980s

£1000 - 1500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

310 ARR OSSIP ZADKINE (FRENCH 1888-1967) Paysage signed and dated O. Zadkine 28 (lower left) gouache and crayon 42.3 x 58.5 cm (16 5/8 x 23 in)

The present lot is most likely a view executed in the vicinity of Caylus in the South of France. The authenticity of this work has kindly been confirmed by the Zadkine Research Center.

PROVENANCE: Acquired by the present owner in 2012

£4000 - 6000

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311 ARR ANDRÉ LANSKOY (FRENCH 1902-1976) La Malade signed a.L (upper right) oil on canvas 19 x 27 cm (7 ½ x 10 5/8 in) Painted circa 1931

Purchased at the above sale by the present owner The authenticity of this work has been confirmed by the Comité Lanskoy.

£1500 - 1800

PROVENANCE: Sale, Doyle, New York, 4 November 2009, lot 7 Sale, Christie’s, London, 24 June 2016, lot 207

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

312 ARR GEORGES ROUAULT (FRENCH 1871-1958)

Three prints from the Miserere series (i) Miserere mei Deus secundam magnam misericoriam tuam (pl. 4) signed with initials and dated 1923 GR (lower left); numbered 30 in pencil (lower right) oil on canvas 57 x 41.5 cm (22 1/2 x 16 3/8 in) (ii) De profundis (pl. 47) signed and dated G Rouault 1927 (upper right) 43 x 59.7 cm (16 7/8 x 23 1/3 in) (iii) Nous croyants rois (pl. 7) signed and dated G ROUAULT 1928 (lower left); numbered 25 in pencil (lower right)

PROVENANCE: Count Mannassei di Collestate Redfern Gallery, London, purchased from the above Private collection, purchased from the above in 1958 LITERATURE: F. Chapon & G. Rouault, Rouault: oeuvre gravé, pp. 54-111 (the full set catalogued and illustrated)

£600 - 800

Describing his love of print making, Rouault said, ‘They give me a copper plate, and I just dig into it.’ (Georges Rouault, in M. Wheeler, The Prints of Georges Rouault, New York, 1938). Commissioned in 1916 by art dealer Ambroise Vollard Rouault’s Miserere series was only partially realised and published in 1948 with 58 prints (it was originally planned as a two-volume book of 50 prints each).

58.6 x 42.1 cm (23 1/8 x 16 3/8 in) each Heliogravure and acquatint each conceived in 1922-1927, from the edition of 450

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313 ARR GEORGES MANZANA PISSARRO (FRENCH 1871-1961) Portrait de femme sur fond de paysage et de roses signed and dated Manzana.Pissarro.1926. (lower left) oil on canvas 65 x 54.2 cm (25 3/4 x 21 3/8 in

Accompanied by a certificate of authenticity issued by Lélia Pissarro (the artist’s great-niece).

£1200 - 1800

PROVENANCE: The Estate of Marie-Louise Pissarro (the artist’s daughter-in-law) Acquired from the above by the present owner.

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

314 ARR LUDOVIC RODO-PISSARRO (FRENCH 1878-1952) Le collier de perles signed and dated Ludovic Rodo 1927 (lower right) oil on canvas 61 x 49.8 cm (24 x 19 5/8 in)

Accompanied by a certificate of authenticity issued by Lélia Pissarro (the artist’s great-niece).

£1500 - 2000

PROVENANCE: Sale, Tajan, Paris, 25 October 2004, lot 169 Acquired by the present owner in 2012

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PROVENANCE:

315 ARR GEORGES MANZANA PISSARRO (FRENCH 1871-1961) La Promenade (recto); dessin d’une femme (verso) signed Manzana (lower left) charcoal and pastel 49.3 x 63.5 cm (19 3/8 x 25 in) Executed circa 1920

The Estate of Marie-Louise Pissarro (the artist’s daughter-in-law) Acquired from the above by the present owner Accompanied by a certificate of authenticity issued by Lélia Pissarro (the artist’s great-niece).

£1500 - 2500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

316 ARR GEORGES MANZANA PISSARRO (FRENCH 1871-1961) Moroccan Woman with Girl signed Manzana Pissarro. (lower right)

Accompanied by a certificate of authenticity issued by Lélia Pissarro (the artist’s great-niece).

£1000 - 1500

pastel with metallic pigment 46.5 x 62 cm (18 1/4 x 24 3/8 in) PROVENANCE: The Estate of Marie-Louise Pissarro (the artist’s daughter-in-law) Acquired from the above by the present owner

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317 Property of a Lady, London JEAN HIPPOLYTE MARCHAND (FRENCH 1883-1940) Tête de femme signed J. Marchand (lower left) oil on board 66 x 54.3 cm (26 x 21 3/8 in) Painted in 1910

EXHIBITED: London, Crane Kalman Gallery,

Portraits & Figures by J. Marchand, November 1969

LITERATURE: ‘Marchand Undervalued’, in Country Life, 6 November 1969, illustrated.

£300 - 500

PROVENANCE: Crane Kalman Gallery, London Purchased from the above by the parents of the present owner in 1969

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

Property from a Private collection

PROVENANCE: Sale, Christie’s, Amsterdam, 28 May 2002, lot 183

ARNOUT COLNOT (DUTCH 1887-1973)

Purchased at the above sale by the present owner

Path through a mountainous landscape signed A.Colnot (lower left)

£2000 - 3000

318 ARR

oil on canvas 100.7 x 90.5 cm (39 5/8 x 35 5/8 in)\

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319 ARR BERNARD BOUTET DE MONVEL (FRENCH 1881-1949) Deux études pour portraits de Sylvie, la fille de l’artiste each with the artist’s 2016 Estate stamp (lower right) pencil, unframed 65.1 x 37.5 cm (25 5/8 x 14 3/4 in; 34.8 x 49.8 (13 7/8 x 19 5/8 in) PROVENANCE: Succession Boutet de Monvel The artist’s Estate sale, Collection Boutet de Monvel, Sotheby’s, Paris, 5-6 April 2016, lot 223 (part lot) Purchased at the above sale by the present owner

£100 - 150 One of the drawings depicts Sylvie playing with her dog, Champagne, a preparatory study for two paintings executed by the artist in Nemours in 1944 and exhibited in New York at the Knoedler Gallery as part of Monvel’s exhibition Profiles in 1947

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

320 ARR BERNARD BOUTET DE MONVEL (FRENCH 1881-1949)

Trois études pour portraits de Sylvie, la fille de l’artiste each with the artist’s 2016 Estate stamp 48 x 63 cm (18 7/8 x 24 3/4); 22.4 x 18.8 cm (8 7/8 x 7 3/8 in); 19 x 26.3 cm (7 1/2 x 10 3/8 in) pencil, unframed PROVENANCE: Succession Boutet de Monvel The artist’s Estate sale, Collection Boutet de Monvel, Sotheby’s, Paris, 5-6 April 2016, lot 223 (part lot) Purchased at the above sale by the present owner

£150 - 250 These drawings depict the artist’s daughter Sylvie as a baby, whom Boutet de Monvel painted and drew throughout his lifetime. Included is a preparatory sketch for a painting of Sylvie in her crib, executed circa 1936.

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Seven Works from the Estate of Louis Christian Hess Louis Christian Hess (1895-1944) was strongly influenced by German Expressionism and the Neue Sachlichkeit. He became friends with Max Beckmann and Karl Hofer and was a leading voice in the Juryfreie in Munich. Very few of his works have ever appeared on the market, and this marks the first time a group has been offered at auction. Hess was born in Bolzano in the South Tyrol, his father was an office clerk; his mother from the Austrian bourgeoisie. In 1906 the family moved to Innsbruck where Hess studied at the Staatsgewerbeschule (State Institute of Art), and in 1915 he had his first exhibition of drawings and prints at the Thurn und Taxishof Galerie. His formative years, however, were overshadowed by a succession of family bereavements and the horrors of the First World War. Between the ages of 10 and 22, he lost his father and two of his three sisters to tuberculosis, and learnt of the death of his mother whilst on the German front line, where he fought in the battles of Verdun, the Somme and Aisne. By the end of the War he had one remaining sibling, his sister Emma, to whom he remained close. But his war time experiences combined with unfolding family tragedies scarred him psychologically, and left him with a nervous disposition for the rest of his life. In 1919, during the early years of the Weimar Republic, Hess began studying at the Academy of Fine Arts in Munich under Carl Johann Becker-Gundahl. Although the Academy was conservative in outlook, it was there that Hess developed his natural skill as a colourist. In 1920 he exhibited in the Ausstellung Junger Münchner – Graphische Kunstwerkastätten, where his work was singled out by the critic George Jacob Wolf for having ‘an uncommonly developed sense of colour’. Munich in the 1920s was home to the artists most closely associated with Neue Sachlichkeit (The New Objectivity) –

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Portrait of the artist Louis Christian Hess

amongst them Otto Dix, George Scholz, Christian Schad and Max Beckmann. Although Hess was not formally associated with the movement, he became friends with Beckmann in the late 1920s, and the influence of the style can clearly be seen in his work. In 1925 Hess travelled to Sicily to visit his sister Emma in Messina. He wrote to his friends in Germany that he had found paradise, and so inspired, in 1926 he produced a series of 60 vibrant Sicilian etchings, and returned repeatedly to the island thereafter.

Proper ty from the estate of Louis Christian Hess

Hess joined the progressive Juryfreie in Munich in 1929, becoming one of the group’s leaders. The Juryfreie (Jury-free) was self-adjudicating and open to artists from all traditions. During the 1920s and early 1930s it was the most liberal exhibiting body in Munich; some members included Wassily Kandinsky and Oskar Schlemmer. In July the same year Art critic Wilhelm Hausenstein wrote in Aus meinem Künstnotizbuch that the ‘Juryfreie reveals itself as a prominent artistic group... I notice Christian Hess, Josef Scharl, Fritz Burkhardt, Grassmann, Panizza and sculptors such as Spengler and Zeh’.

But Hess’s years with Cecilia were short lived; in 1936 she left him to travel to Switzerland. The rupture caused the artist extreme mental instability and pushed him to attempted suicide. He lived for a further two years in Sicily before returning to Munich in 1938, leaving many of his paintings behind him in the care of his sister. Forced to conscript in 1940, due to his fragile health Hess was assigned work at the post office, but in December of 1940 he fell seriously ill and was discharged. He returned to Austria and in 1944 died in hospital at the age of 48 after an air raid over Innsbruck. During the Second World War Messina suffered extensive bombing due to its strategic position. To protect the paintings her brother left behind, Emma rolled and wrapped them, shielding them in air-raid shelters. After Hess’s death Emma oversaw his estate and the survival of a significant numbers of his work. The seven lots in this sale are from the group that Hess delivered to his sister when he revisited Messina in 1936.

Louis Christian Hess drinking beer from a bottle with members of the Juryfreie, Munich 1929

With wider recognition for his work Hess also exhibited with the Secessionists at the Glaspalast in the early 1930s. But disaster and disruption followed. Tragically several of his works were destroyed in a catastrophic fire at the Glaspalast in June 1931. Devastated, Hess wrote on a postcard to his sister Emma illustrating the ruins of the Glaspalast fire: ‘here lie my works: all burnt’. The same year too, following public demonstrations by the Juryfreie, Hess and others were banned from the group by the far-right paramilitary wing the SA, and in 1934, with Hitler’s rise to power, the Juryfreie was disbanded as they were viewed as ‘culturally bolshevic’. Following the financial crash of 1929, the on-set of the Depression and widespread unemployment, Hess wrote to Emma in 1932: ‘Financially, circumstances have never been so catastrophic. Wherever you are and whoever you speak to, everyone grumbles…and politics are the main theme.’ The following year, with mounting political instability, and with his art viewed as degenerate by the authorities, Hess fled Germany to join his sister in Sicily with his wife, the actress Cecilia Faesy.

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Proper ty from the estate of Louis Christian Hess

321 LOUIS CHRISTIAN HESS (AUSTRIAN 1895-1944)

Frauenkirche

linocut 16 x 14.6 cm (6 3/4 x 5 3/4 in)

£200 - 300 Executed in Munich in 1919 during the early years of the Weimar Republic when Hess was studying at the Academy of Fine Arts. The work reflects Hess’s clear interest in the woodcuts of the German Expressionists, in particular those of Karl Schmidt-Rottluff, who worked

almost exclusively in this medium after the First World War. It shares particularly striking similarities with Schmidt-Rottluff ’s woodcut Stadtbild aus Soest of 1923, in the collection of The Cleveland Museum of Art. In both the church spires extend to the sky, whilst the jagged angles and patterns of light express a vivid energy.

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322 LOUIS CHRISTIAN HESS (AUSTRIAN 1895-1944)

Friend I oil on canvas 94 x 55.3 cm (37 x 21 3/4 in) EXHIBITED: Palermo, Palazzo del Turismo; Rome, Deutsche Bibliothek; Padova, Associazione Italo-Tedesca; Genova, Biblioteca Germanica, Galleria Carmagnola; Trieste, Instituto Germanico di Cultura; Bolzano, Goethe Gallery; Milan, Galleria Pietra; Florence, Palazzo Vecchio; Turin, Teatro Gobetti; Innsbruck, Tiroler Landesmuseum; Passau, Goethe Institut; and Munich, Kunstverein, Christian Hess,

Painted in Munich in 1930, the present work depicts the right hand figure in the central panel of Hess’s much acclaimed large scale tryptich Am Wasser painted the same year (fig. 1). First shown at the Glaspalast in 1931, the central panel of Am Wasser was illustrated in Jugend the same year (fig. 2). Much to Hess’s immense distress, however, Am Wasser together with a significant portion of his other work was destroyed in a catastrophic fire at the Glaspalast two years later.

Another artist and friend who influenced Hess was the German Expressionist Karl Hofer. In the present work Hess explores Hofer’s interest in non-representational colours to provoke emotional responses, notably in the sitter’s vibrant yellow gilet contrasting with the black background. Karl Hofer was also a skilled master of form and Hess has demonstrated this in his adept rendering of the shadowed folds of the sitter’s clothing.

Retrospective Exhibition

(travelling exhib.), 1974-77 Rome, Goethe Institut, Retrospetti-

va Christian Hess - Oli, acquerelli, disegni dal 1922 al 1938, MarchApril 1983

Bruneck, Stadtsmuseum, Christian Hess, Back to the Origins a century later, October-December 2011 Vienna, Schütz Kunst & Antiquitäten, Christian Hess, April 2014 Rome, Palazzo delle Esposizioni Fondazione banca del Monte di Lucca,

Louis Christian Hess e l’Italia alla ricerca del Paradiso, July 2016 £6000 - 8000

Fig 1. A photo of the triptych Am Wasser (1930) destroyed in the 1931 Glaspalast fire. Friend I echoes many tendencies found in Beckmann’s works: the plasticity of the figure, the powerful use of light and dark, the black outlines that brilliantly carve out the form of the sitter and the use of the deliberately vibrant rich, almost garish yellow. There are also similarities with Christian Schad’s cool dispassionate Neue Sachlichkeit style: the figure glances away from the viewer, preoccupied in her thoughts, creating a haunting sense of mystery within the painting.

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Fig 2. Am Wasser (1930) reproduced on the cover of the magazine Jugend in 1931.

Friend I was painted the year after Hess joined the progressive Juryfreie artist group in Munich. He soon became one of the group’s leaders, and during the 1930s he began to receive wider recognition with his work featured in a number of magazines.

Proper ty from the estate of Louis Christian Hess

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323 LOUIS CHRISTIAN HESS (AUSTRIAN 1895-1944)

Still life with lemons signed C.Hess (upper left)

oil on board 42 x 33.2 cm (16 1/2 x 13 1/4 in) EXHIBITED: Messina, Istituto Verona Trento, Die

Bruneck, Stadtsmuseum, Christian Hess, Back to the Origins a century later, October-December 2011.

£1500 - 2000 Painted in 1925 in Messina, the year Hess arrived in Sicily to visit his sister

erste Retrospektive Ausstellung des Malers Louis Christian Hess, July August 1956

Rome, Goethe Institut Roma in collaboration with Galleria Art Message, Retrospettiva Christian Hess

- Oli, acquerelli, disegni dal 1922 al 1938, March-April 1983

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Emma. There he experienced an artistic epiphany, revelling in the possibilities of colour and light that the sun-drenched Mediterranean island offered. Hess returned to Sicily frequently thereafter. In 1927 he executed a series of bold colourful Sicily-inspired works for exhibition in Germany, and in 1933 he moved there with his wife, the actress Cecilia Faesy, a move that was sadly shortlived: Faesy left him to live in Switzerland three years later.

Proper ty from the estate of Louis Christian Hess

324 LOUIS CHRISTIAN HESS (AUSTRIAN 1895-1944)

Self-portrait

oil on canvas 99.7 x 58.5 cm (31 3/8 x 23 in) EXHIBITED: Rome, Goethe Institut,

Retrospettiva Christian Hess - Oli, acquerelli, disegni dal 1922 al 1938, 1983 Bolzano, Museo Civico, Christian Hess, 2008-2009, no. 1, illustrated in

Painted in Munich in 1924, this is one of a small number of self-portraits Hess completed between 1920 and 1937. Although not formally associated with Neue Sachlichkeit, the present work shares similarities with Christian Schad’s objective Neue Sachlichkeit style of the mid-1920s. Like Schad’s portraits, Hess paints himself with a stark realism, looking out at the viewer with a quizzical eye.

the catalogue

£5000 - 7000

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325

326

LOUIS CHRISTIAN HESS (AUSTRIAN 18951944)

LOUIS CHRISTIAN HESS (AUSTRIAN 1895-1944)

oil on canvas 58.5 x 80 cm (23 x 31 1/2 in) Painted in 1927 in Messina

oil on canvas 60.5 x 45.2 cm (23 7/8 x 17 7/8 in)

Olive grove

EXHIBITED: Rome, Goethe Institut, Retrospettiva Christian Hess - Oli, acquerelli, disegni dal 1922 al 1938, 1983. Bruneck, Stadtsmuseum, Christian Hess, Back to the Origins a century later, 2011. Messina, Salone degli Specchi di Palazzo dei Leoni, Christian Hess: Messina tra terra e sogno, 2015. Rome, Palazzo delle Esposizioni - Fondazione banca del Monte di Lucca, Louis Christian Hess e l’Italia alla ricerca del Paradiso, 2016

Resting woman

EXHIBITED: Palermo, Palazzo del Turismo; Rome, Deutsche Bibliothek; Padova, Associazione Italo-Tedesca; Genova, Biblioteca Germanica, Galleria Carmagnola; Trieste, Instituto Germanico di Cultura; Bolzano, Goethe Gallery; Milan, Galleria Pietra; Florence, Palazzo Vecchio; Turin, Teatro Gobetti; Innsbruck, Tiroler Landesmuseum; Passau, Goethe Institut; and Munich, Kunstverein, Christian Hess, Retrospective Exhibition (travelling exhib.), 1974-77

£3000 - 5000

Vienna, Schütz Kunst & Antiquitäten, Christian Hess, A Tyrolean in Sicily, Heritage Exhibitian, 2012, p. 29, illustrated in the catalogue

Please see note online

£3000 - 5000

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Proper ty from the estate of Louis Christian Hess

Painted in 1925 in Messina. Although Hess had yet to meet Max Beckmann, he would have been exposed to his work whilst living in Munich in the early 1920s. In Resting woman the influence of Beckmann can be seen in the outlined sharp black brushstrokes and his use of the vibrant yellow, features that would come to characterise Hess’s most accomplished pictures of the 1930s. With the sitter’s arms crossed, her form defining the edges of the picture plane, her protective pose and tense expression possibly express the artist’s own nervous disposition following his experiences on the German front line in the War and the traumatic loss of his parents and two of his sisters.

327 LOUIS CHRISTIAN HESS (AUSTRIAN 1895-1944)

Harbour scene signed L.C.Hess (lower right) watercolour and pencil 33 x 48.1 cm (13 x 19 in) EXHIBITED: Milan, Mostra Messina Turistica, 1961 Messina, Salone degli Specchi di Palazzo dei Leoni, Christian Hess: Messina tra terra e sogno, 2015 Rome, Palazzo delle Esposizioni - Fondazione banca del Monte di Lucca, Louis Christian Hess e l’Italia alla ricerca del Paradiso, 2016

£600 - 800 Executed in 1933 in Messina, the year Hess fled Munich for Sicily due to mounting political instability. In Germany Hess’s art was viewed as degenerate by the authorities, and Sicily offered him more artistic freedom. His works during this period were vibrant and expressive, inspired by the landscape and island life.

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Marie-Louise von Motesiczky The nine oil paintings by Viennese emigré artist Marie-Louise von Motesiczky (1906-1996) offered in this sale, follow the sale of eight works on 4th December 2020. Once again the lots span four decades - from the 1940s to the mid-1980s. Marie-Louise von Motesiczky enjoyed a privileged childhood, living with her parents and brother on Brahmsplatz in central Vienna. 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, and 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 and the Anschluss, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. 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. The most formative influence on Marie-Louise’s artistic development before the War was the German painter Max Beckmann. She had first been introduced to Beckmann in 1920, and kept in regular and close contact with him thereafter. As she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Later, on her arrival in Britain in early 1939, Marie-Louise was reacquainted with Oskar Kokoschka, a family friend now similarly exiled. In London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a one-person show at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at

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Fig. 1, Marie-Louise von Motesiczky in the play Der verwechselte at the Hotel Frankfurter Hof, 7 April 1927 (Motesiczky Archive)

the influential Beaux Arts Gallery off Bond Street. On the Continent she received wide acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Austria and Germany.

Fig. 2, Max Beckmann with Marie-Louise von Motesiczky and Mathilde von Kaulbach, 1924 (Motesiczky Archive)

Proper ty from the Marie-Louise von Motesiczky Charitable Trust

In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another one-person exhibition in London, at the Goethe-Institut which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna and Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently, in 2019-20, 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 future displays of Tate’s archive holdings in general.

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, 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 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 correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Fig. 3, Marie-Louise von Motesiczky photographing her reflection, 1963 (Motesiczky Archive)

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Proper ty from the Marie-Louise von Motesiczky Charitable Trust

328 ARR Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906-1996)

Bowl of fruit with candelabra oil on canvas 61 x 50.2 cm (24 x 19 3/4 in)

LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 197, no. 90, illustrated

Painted in the 1940s, Motesiczky uses the flickering flames of three lit candles to illuminate a still life that incorporates tokens of love and abundance. Set before the candelabra is a large and vibrant bouquet of red roses; in the foreground, placed on a newspaper is a cornucopia of apples and pears. The motifs of flowers, fruit and the written word may well reference the happiness she was experiencing at the time with the writer Elias Canetti, the dancing light of the candles silhouetted against the black background perhaps reflecting a moment of magic in the relationship. A preparatory sketch for the painting is now in the collection of Tate’s Archive, the only significant difference being the introduction of the newspaper under the bowl of fruit in the finished work.

£2000 - 3000

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329 ARR Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 19061996) The Gardener| oil on canvas 76.1 x 50.8 cm (29 7/8 x 20 in) LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue

Raisonné of the Paintings, New York, 2009, p. 178, no. 75 catalogued, p. 179, illustrated

£3500 - 4500

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Proper ty from the Marie-Louise von Motesiczky Charitable Trust

Painted in 1945. Ines Schlenker assumed in her 2009 catalogue that the present work depicts a gardener employed by Marie-Louise and her mother in Amersham, because the painting was done when Marie-Louise and her mother were living there. Recently it has been suggested that the subject might be a gardener who worked on the Motesiczkys’ estate at Hinterbrühl, south west of Vienna where they spent their summers before the War (fig.1). If this is so, he would have been painted from memory and photographs. A photograph survives in the Marie-Louise von Motesiczky archive at Tate of the man in question, Josef Rasser, although it does not allow a definitive identification with the gardener in the painting.

Jill Lloyd in her biography of Marie-Louise von Motesiczky describes the beauty of Hinterbrühl which ‘comprised a magnificent villa, with some eighteen large rooms, surrounded by several acres of landscaped gardens and woodland.’ Henriette, Marie-Louise’s mother, who inherited the property on her parents’ death, evoked the house in its heyday: ‘with its sweeping stone stairways, its scented rose gardens and its candlelit rooms, filled with the perfume of dark-red and pink carnations, which were placed every evening in a china jardinière at the centre of the dining table.’ (Lloyd p. 3).

Fig. 1, Villa Todesco, Hinterbrühl, view from the garden, early 1900s (Motesiczky Archive)

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330 ARR Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906-1996)

The Magic Fish

oil on canvas 76.2 x 101.6 cm (30 x 40 in) EXHIBITED Vienna, Wiener Secession; Linz, Neue Galerie der Stadt, Wolfgang Gurlitt Museum; Munich, Galerie Günter Franke; Bremen, Kunsthalle, Marie-Louise Motesiczky, 1966-68, no. 37, illustrated in the catalogue London, Goethe-Institut; Cambridge, The Fitzwilliam Museum, Marie-Louise von Motesiczky. Paintings Vienna 1925-London 1985, 1985-1986 no. 42, illustrated in the catalogue Liverpool, Tate; Frankfurt am Main, Museum Giersch, Marie-Louise von Motesiczky, 2006, no. 52, illustrated in the catalogue. LITERATURE: E. Freundlich, ‘”Trotz alledem ein guter Ort”. Die wiener Secession stellt Bilder von Marie-Louise Motesiczky aus’, in Mannheimer Morgen, 25 May 1966, n.p. G. Helfgott, ‘Bilder von Menschen und Schicksalen’, in Arbeiter-Zeitung (Vienna), 13 May 1966, n.p. H. Spiel, ‘Die Malerin Marie-Louise Motesiczky. Einer Ausstellung, in der Wiener Secession, 19 May 1966, n.p. Dr S., ‘Rätsel des lebens im Selbspoträt. Marie-Louise von Motesiczky eine Schülerin Beckmanns’, in Wimme-Zeitung, (Lilienthal), 1 November 1968, n.p.

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J Wdt, ‘Später Expressionismus. Marie-Louise Motesiczky in Bremen’, in Frankfurter Allgemeine Zeitung, 9 November 1968, n.p. J. Russell Taylor, ‘Painting unparalleled for love and tender precision’, in The Times, 2 September 1985, n.p. K. Winterbottom, ‘Marie-Louise von Motesiczky’, in Art & Artists, no. 240, September 1986, p. 11 Marie Louise von Motesiczky, exh. cat., Österreichische Galerie, Oberes Belvedere, Vienna, 1994, pp. 9-12, illustrated S. Plakolm-Forsthuber, Kunstlerinnen in Osterriech 18971938. Malerei, Plastik, Architektur, Vienna, 1994, p. 169 E. Michel, Marie-Louise von Motesiczky 1906-1996. Eine österreichische Schülerin von Max Beckmann, diploma thesis, University of Vienna, 2003, pp. 66 & 82; p. 96, illustrated L. Davies, ‘Art Review. Marie-Louise von Motesiczky’, in Metro, 21 April 2006, n.p. J. Lloyd, The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, Newhaven/London, 2007, p. 162, discussed I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 270, no. 146, illustrated

£6000 - 8000

Proper ty from the Marie-Louise von Motesiczky Charitable Trust

Painted in 1956, the intended message of the present work - a semi-nude woman, on a chaise-longue wielding a long-handled implement to ward off a flying fish - has long remained a mystery. It has been suggested that the figure is Marie-Louise, and that the subject is both inspired by a dream and the influence of her mentor Max Beckmann. Schlenker notes how the artist regulary recorded her dreams, sharing their absurdity in letters to Elias Caneti. Schlenker comments: ‘In several dreams individual fish or a large number of them play a role... although none would directly explain The Magic Fish.’

In the late 1920s and early 1930s Beckmann had painted several large-scale canvases featuring women with fish. But whilst Beckmann’s female figures were clearly at ease with their catch, here the protagonist wants to repel the creature. Yet, as Schlenker notes, when first exhibited critics widely admired its cryptic symbolism, remarking how it represented ‘something enigmatic, mysterious, something fateful... behind which, in reality stand impressions of human fates.’ and praised the ‘strangely uncanny fairytale world... which puts the viewer in its spell’ (Schlenker p. 270).

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Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906-1996)

Still-life with azalea and teapot signed MOTESICZKY (lower left) oil on canvas 50.6 x 61 cm (19 7/8 x 21 in)

LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 399, no. 236, illustrated

£4000 - 6000 48

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Painted in the 1960s, according to Ines Schlenker the view from the window resembles that from the artist’s living room on the first floor at Chesterford Gardens in Hampstead (Schlenker p. 399), the house into which she moved with her mother in 1960. Depicted are a selection of personal items on the painter’s writing desk, placed next to a window that gives a view of the night sky, punctuated by lights from the windows of surrounding houses. On the upper shelf of the writing desk is a letter opener, a small potted pink azalea and a white teapot. The writing surface beneath displays a striking red quill and a green pencil in a container on an elaborate four-legged stand, a selection of the artist’s correspondence, including an envelope with a red post-marked stamp, and a postcard of a lake and mountains under a cloudy sky.

Proper ty from the Marie-Louise von Motesiczky Charitable Trust

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Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906-1996)

Two women drinking wine

oil on canvas 63.3 x 76 cm (24 7/8 x 29 7/8 in) LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 398, no. 234, illustrated

Dating from the 1960s this ‘double portrait’ was one of many that Marie-Louise painted throughout her life, often focusing on the relationship between two women. In the present composition, clearly designed to raise a smile, the artist accentuates the differences in the two women - one tall, one short; one flowing blond, one close-cropped brunette; one powdered with red lipstick and earrings, one unmade up and unadorned - and positions them in an almost painfully constricted space, trapped in conversation behind a table upon which the absurdly over-sized leaves of of a wilting rhododendron branch in a brown jug crowd out the women as they raise a glass.

£4000 - 6000

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Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906-1996)

Regent’s Canal with aviary

oil on canvas 51 x 76.5 cm (20 1/8 x 30 1/8 in) LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 466, no. 286, illustrated

£2500 - 3500

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Painted in 1986, the present work marks Marie-Louise’s return to painting Regent’s Park and the canal after a hiatus of nearly twenty-five years. She had first been attracted to it in 1951, when she painted two elegant ladies with a decidedly Continental air walking in front of John Nash’s fine classical terraces (Schlenker no. 108; Sale, Chiswick Auctions, 4th December 2020, lot 826) and in the following year, Regent’s Canal with Car (Schlenker no. 111). Regent’s Canal with Aviary reprises the same viewpoint, Macclesfield Bridge, as this last painting, but is notably both more panoramic in format, and abundant in vegetation. The view itself too is not entirely accurate, as the distinctive form of London Zoo’s aviary designed by Lord Snowden and built in 1965 that dominates the background, cannot actually be seen from the bridge. However, as with so many of Marie-Louise’s, works verisimilitude was not necessarily her priority. Rather it was her associations with people and places that she treasured, as Schlenker notes: ‘Motesiczky was especially fond of this location for here she could hear “such strange birdcalls” from within the zoo and from the surrounding park.’ (Schlenker p. 466).

Proper ty from the Marie-Louise von Motesiczky Charitable Trust

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Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906-1996)

Self-portrait with palette oil on canvas 63.2 x 75.8 cm (24 7/8 x 29 7/8 in) LITERATURE: J. LLoyd, The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, New Haven/ London, 2007, p. 171, discussed I. Schlenker, Marie-Louise von Motesiczky

Painted in 1960. As Schlenker notes this is one of the few self portraits in which Motesiczky depicts herself as a professional painter with all the attributes of her trade (Schlenker p. 307). Marie-Louise places herself before her easel with palette and brush in hand, wearing an artist’s smock and cap. The reason that she is painting what appears to be an eagle is ambiguous, but may well refer to her largest work to date, The Old Song, 1959 (Schlenker 158, Stedelijk Museum, Amsterdam). This was an allegorical subject in which ‘the ugly bird’ symbolises the husband to whom the figure ‘singing’ the song is unhappily married. Please see continuation of note online

1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 307, no. 168, illustrated

£4000 - 6000 See page 7 for more information regarding fees

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Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906-1996)|

Dog coiffure

oil on canvas 45.8 x 55.8 cm (16 1/8 x 22 in) LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 392, no. 229, illustrated

£3000 - 5000

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Painted in the 1960s, Ines Schlenker notes that the artist and her mother were both great dog lovers, and owned a succession of different breeds throughout their lives. As Schlenker describes, the focus is the grooming of a patient fawn-coloured Afghan. Behind the Afghan a large grey dog, possibly a poodle with its head held high, seeks attention. Lower right a third dog looks on, its tail forming a graceful Arabesque with the back legs of the standing Afghan. The coiffeuse crouches behind the Afghan, her work surveyed by two women wearing hats, presumably the dog-owners, squashed into the top right quadrant of the composition to complete this intentionally humorous scene.

Proper ty from the Marie-Louise von Motesiczky Charitable Trust

336 ARR Property from the Marie-Louise von Motesiczky Charitable Trust MARIE-LOUISE VON MOTESICZKY (AUSTRIAN 1906-1996)

Portrait of Suzanne van Thijn

oil, charcoal and pastel on canvas 73.5 x 50.8 cm (28 7/8 x 20 in) LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, pp. 396-397, no. 233, illustrated p. 397

£2500 - 3500 Painted in the 1960s, Suzanne van Thijn (1904-c.1983) was a Dutch journalist and librarian of Jewish origin who fled Amsterdam in 1940. She spent the war years first in Oxford and then in London. Marie-Louise and Suzanne shared a number of friends, among them neighbours Nell and Arthur Clegg and the journalist, art critic and editor Henri Wiessing (1878-1961), who was van Thijn’s lover for many years. Wiessing and van Thijn remained in close touch with Marie-Louise after returning to the Netherlands when the War was over. The idea of doing a portrait of Suzanne was conceived in the early 1950s. In 1952 Wiessing wrote to Marie-Louise: ‘The thought that you want to paint Suzanne has thrilled me.’ On a visit from Wiessing and Suzanne to London in 1953, Marie Louise wrote of the striking impression Suzanne made on her: ‘there they stood... Suzanne with her crown of hair à la Empress Elisabeth and the suit close fitting at the waist’ (Schlenker p. 396). But the artist didn’t in fact pursue the idea until a further visit by Suzanne to London in the 1960s, possibly shortly after Wiessing’s death. At the time Marie-Louise captured Suzanne’s cultured elegance in several photographs (fig. 1), almost certainly to act as an aide-mémoire for the present painting. Suzanne’s distinctive hairstyle clearly continued to fascinate Marie-Louise. Schlenker notes that in the subsequent painting: ‘the artist concentrated on the sitter’s extraordinary hairstyle, long plaits of hair wound round her head several times, creating the impression of a crown.’ (Schlenker p. 396).

Fig. 1, Suzanne von Thijn, 1960s (Motesiczky Archive)

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337

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NINO CAFFÈ (ITALIAN 1909-1975)

Anticamera signed N. Caffè (lower left)

oil on panel 51.5 x 62.3 cm (20 1/4 x 24 1/2 in) PROVENANCE: Count Mannassei di Collestate Redfern Gallery, London, purchased from the above Private collection, purchased from the above in 1958

£1200 - 1800

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

338 ARR Property from a Private collection SALVADOR DALI (SPANISH 1904-1989)

The Shepherd (Song of Songs) signed Dali in pencil (lower right); numbered in pencil E 90/250 (lower left) colour etching with gold dust 56 x 37.5 cm (22 x 14 3/4 in) Executed in 1971 PROVENANCE: Peter Harrington, London Purchased from the above by the present owner LITERATURE: R. Michler & L.W. Löpsinger (eds.), Catalogue Raisonnè of Etchings and Mixed-Media Prints, 1924-1980, New York, 1994, pp. 468-479

£400 - 800 339

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Property from a Private Collection SALVADOR DALI (SPANISH 1904-1989)

Thou art all fair, my love (Song of Songs) signed Dali in pencil (lower right); numbered in pencil E 90/250 (lower left) colour etching with gold dust 56.5 x 38 cm (22 1/4 x 15 in) Executed in 1971

PROVENANCE: Peter Harrington, London Purchased from the above by the present owner LITERATURE: R. Michler & L.W. Löpsinger (eds.), Catalogue Raisonnè of Etchings and Mixed-Media Prints, 1924-1980, New York, 1994, pp. 468-479

£200 - 400 The Song of Songs is a series of 12 etchings by Dali executed in the 1970s that demonstrate his interest in religious themes and stories of the Old Testament.

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341

340 Property from a Private Collection

Property from a Private Collection

PAT HANLY (NEW ZEALAND 1932-2004)

Fire above the city signed and dated P.Hanly 60 (lower right); signed, titled and dated P.HANLY 60 FIRE ABOVE THE CITY (on the

Escape from destruction

70 x 61 cm (27 1/2 x 24 in)

indistinctly signed and dated (lower left); signed, titled and dated P.HANLY “DESTRUCTION” 1960 (on the reverse) oil on board 58.2 x 46.2 (22 7/8 x 18 1/8 in)

PROVENANCE: Robin Howard CBE, thence by descent to the present owner

EXHIBITED: London, Gallery One, Contemporary Painting and Sculpture, 1960

£1500 - 2500

£2000 - 3000

reverse) oil on board

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

342 Property from a Private Collection PAT HANLY (NEW ZEALAND 1932-2004)

Hope of Paradise signed and dated P.Hanly 60 (lower right); signed and titled HOPE OF PARADISE P.HANLY (on the reverse) oil on board 61 x 79.6 cm (24 x 31 3/8 in)

PROVENANCE: Robin Howard CBE, thence by descent to the present owner EXHIBITED: London, Gallery One,

Contemporary Painting and Sculpture, 1960

Robin Howard (1924-1989) was the grandson of Prime Minister Stanley Baldwin and son of Sir Arthur Howard and Lady Lorna Howard. In the Second World War he was lieutenant in the Scots Guards, but injury resulted in the tragic loss of both his legs. He subsequently qualified as a lawyer, but never practiced and in 1956 he formed the Hungarian Department of the United Nations Association in England to assist refugees. Best known as a patron of modern dance, in the 1950s he sponsored the Martha Graham Dance Company and persuaded them to perform in the UK. In 1967 he founded the London Contemporary Dance Theatre and the Contemporary Dance Trust and in 1969 based the Trust in a London complex of buildings known as The Place, which has served as a centre for British contemporary dance ever since.

£3000 - 5000

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343 ANATOL IVANOVIC SCHUGRIN (RUSSIAN 1906-1989)

Sans titre

signed in Cyrillic Schugrin A (upper right) pencil 29.5 x 21.3 cm (11 5/8 x 8 3/8 in)

£500 - 700

344 ANATOL IVANOVIC SCHUGRIN (RUSSIAN 1906-1989)

Sans titre

signed in Cyrillic Schugrin A (lower right) pencil 26.2 x 20.5 cm (10 1/4 x 8 1/8 in) Executed in 1927 PROVENANCE: Galerie Eric Franck, Geneva

£500 - 700

345 ANATOL IVANOVIC SCHUGRIN (RUSSIAN 1906-1989)

Sans titre

signed in Cyrillic Schugrin A (lower left) pencil 20.3 x 28 cm (8 x 11 in)

£500 - 700

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

346 ANATOL IVANOVIC SCHUGRIN (RUSSIAN 1906-1989)

Sans titre

signed in Cyrillic Schugrin A (lower right) pencil 30 x 21 cm (11 7/8 x 8 1/4 in)

£500 - 700

347 ANATOL IVANOVIC SCHUGRIN (RUSSIAN 1906-1989)

Sans titre

signed in Cyrillic Schugrin (upper right and lower right) pencil 29.1 x 20.9 cm (11 1/2 x 8 1/4 in) Executed circa 1927

£500 - 700

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348 ARR MIKULAS MEDEK (CZECH 1926-1974)

Visage, rose signed and dated MEDEK 67 (lower right) ink and wash 52.2 x 34 cm (20 1/2 x 13 3/8 in) PROVENANCE: Eli Wallitt, Geneva, acquired from the artist in 1969

£800 - 1200 349 ARR MIKULAS MEDEK (CZECH 1926-1974)

Visage, bleu signed with initial and dated M 70 (lower right) ink and wash 52.7 x 33.8 cm (20 3/4 x 13 3/8 in) PROVENANCE: Eli Wallitt, Geneva, acquired directly from the artist in 1969

£800 - 1200

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

Medek’s startling and disconcerting imagery ensured that he was one of the most original voices within the Czech visual arts to emerge after the Second World War. The style of this and the following lot bear some comparison with the work of Max Ernst, including the abstraction of figural elements, the essential flatness of the motifs and the artist’s innovative use of his medium. But unlike Ernst, whose work always retained an underlying sense of decoration, Medek’s rarely incorporated such distractions. Rather they express an unremitting sense of anonymity and dislocation, the facial forms retaining an insistent impersonality. That Ernst informed Medek’s style is not surprising. Prague had been a hot-bed of Surrealist activity since the 1920s. Up until the Second World War and well into the 1950s there were many and diverse exchanges between Surrealists in Paris and their counter parts in Prague. But as divisions and dissensions grew among the group in the post-War years, so Medek retreated from the public gaze to create a wholly new and more inscrutable aesthetic during the 1960s. The tenor of his work reflected the political climate, Medek’s anxious imagery a response to the repression of the country during Communist rule, and the hectoring of the Soviet Union in particular.

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350 ARR OTA JANECEK (CZECH 1919-1996)

Girl

signed and dated Ota Janecek 92 (lower right) pastel 27.7 x 21.3 cm (10 1/8 x 8 3/8 in)

£300 - 500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

351 ARR VASYL KHMELIUK (UKRANIAN 1903-1986)

Nature morte

signed with initials VK (lower left) oil on canvas 35 x 55.9 cm (14 3/4 x 22 in) PROVENANCE: The Leicester Galleries (Ernest Brown & Phillips), Ltd., London

£300 - 500

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352 ARR LUCIEN LEVY-DHURMER (FRENCH 1865-1953)

Les Martyrs signed L.Lévy-Dhurmer (lower right) pastel 58.5 x 49 cm (23 x 19 1/4 in)

PROVENANCE: Mr and Mrs. Zagorowsky, thence by descent; sale, Artcurial, Paris, 23 March 2011, lot 315 Purchased at the above sale by the present owner

£300 - 500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

353 PIERRE AMEDEE MARCELBERONNEAU (FRENCH 1869-1937) Le pont sous la clairière and Autum-

nal stream

oil on canvas 46 x 38.1 cm (18 1/8 x 15 in); 35 x 22 cm (13 3/4 x 8 5/8 in) (2)

£300 - 500

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354 Property from the Estate of Mary Donovan-Roughsedge JOHN HASSALL (BRITISH 1868-1948)

The nun signed Hassall (upper right)

watercolour 43.2 x 35.6 cm (17 x 13 1/4 in) PROVENANCE: Michael Donovan-Roughsedge, Tunbridge Wells, by whom acquired circa 1990 By descent from the above to the late owner in 2016

£500 - 700

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Proper ty from the estate of Mary Donovan-Roughsedge

355 Property from the Estate of Mary Donovan-Roughsedge NICO JUNGMANN (DUTCH 1872-1935)

Norwegian Maiden

signed with monogram (lower left) gouache, watercolour and pen and ink 32.2 x 23.3 cm (12 5/8 x 9 1/8 in) PROVENANCE: Abbott & Holder, London Michael Donovan-Roughsedge, Tunbridge Wells, by whom acquired from the above circa 1990 By descent from the above to the late owner in 2016

£800 - 1200

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An early study for Venus in Venus Discordia, executed during a period of stress circa 1870, owing to the relationship with Maria Zambaco. Burne-Jones obviously later felt that such distress indicated by the twisted hands and limbs, was not suitable for permanent inclusion in the final painting. In the pencil composition study made in 1871 (Whitworth Art Gallery) the artist has already rejected this anxious figure in favour of a contemplative figure. Burne-Jones rarely designed figures in such anxious states, but exceptions are found in Despair, Envy and Folly (St Chad’s Church, Rochdale) of 1873 and the statues in the Pilgrim Outside the Garden of Idleness embroidery designed in 1874 and The Souls by the Styx c.1873. – Willam Water Thank you to William Waters for his assistance with the cataloguing of this lot. The present lot is included in the online Burne-Jones Catalogue Raisonné Foundation: www.eb-j.org

£3000 - 5000

356 Property from the Estate of Mary Donovan-Roughsedge SIR EDWARD COLEY BURNEJONES ARA (BRITISH 18331898) Study of Venus for Venus Discordia, variant pose signed with initials EBJ (lower left) pencil 21.5 x 14.5 cm (8 1/2 x 5 3/4 in) Executed circa 1870

PROVENANCE: Abbott & Holder, London Michael Donovan-Roughsedge, Tunbridge Wells, by whom acquired from the above circa 1990 By descent from the above to the late owner in 2016

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Proper ty from the estate of Mary Donovan-Roughsedge

Property from the Estate of Mary Donovan-Roughsedge

PROVENANCE: Michael Donovan-Roughsedge, Tunbridge Wells, by whom acquired circa 1990

SIR FREDERICK LORD LEIGHTON PRA AWS (BRITISH 1830-1896)

By descent from the above to the late owner in 2016

357

Study for Andromache and a boy carrying a flagon with the artist’s studio stamp (Lugt 1741a); titled andromache (lower right) black and white chalk 26.1 x 30 cm (10 3/8 x 11 3/4 in) Executed in 1886-1888

The painting Captive Andromache (1888) was purchased by the Manchester City Council in 1889 for £4,000 directly from the artist; the painting now hangs in Manchester Art Gallery.

£2000 - 3000

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Cardinals, Cavaliers and Gentlemen of learning Assembled some twenty years ago lots 358 to 367 offer a particularly fine and representative selection of costumbrista pictures – cardinals, cavaliers and gentlemen of learning. These include four especially fine examples by the leading exponents of this singular genre: George Jehan Vibert, Andrea Landini and Francois Brunery. Ever popular both then and now, the subject matter offers a retreat into the past and the chance both to celebrate and poke fun at a wide variety of male past-times and peccadilloes in historicizing styles. In each the protagonists act out small moments of little consequence dressed up in the frills and furbelows of seventeenth- and eighteenth-century fashions, or in many instances in the elaborate pomp and ceremony attached to ecclesiastical garb.

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This last theme, especially popular in predominantly Catholic countries – France, Belgium, Italy, Spain and Southern Germany, provided a rich vein of material for an audience increasingly sceptical of the probity of the church. In other scenes musicians and gentlemen of letters are presented in opulent dress in magnificent surroundings of earlier centuries. By so cloaking their protagonists, artists avoided the risk of pandering to the fashions of the day that would quickly become outdated. Instead their compositions exude the timeless taste, elegance and luxury of yesteryear. To paraphrase Hook and Poltimore, in an age of increasing industrialisation it was a world of sedan chairs, not railways; of muslin and brocade not coalmines; of refinement, not contemporary grossness. (P. Hook & M Poltimore, Popular 19th Century Painting, Woodbridge, 1987, p. 296). Today the viewer glimpses an extraordinary never-never world of splendour and excess through the lense of some of the most technically talented painters of the period.

Cardinals, Cavaliers and Gentleman of learning, Proper ty from an English private collection

358 Property from an English Private Collection ANDREA LANDINI (ITALIAN 1847-1912)

The Toast signed A.Landini (lower right)

oil on canvas 53.5 x 64.7 cm (21 1/8 x 25 1/2 in) PROVENANCE: Willow Gallery, Weybridge Purchased from the above by the present owner in May 2002

Landini became a master of sending up the pampered lives of clerics in his elaborately constructed and extraordinarily detailed work. In the present painting two robed prelates and their richly attired man servant in a luxuriously appointed salon stand up to raise a glass to celebrate their privilege. On a pristine lace tablecloth a champagne bottle is uncorked, while a second is cooling; a delicious dessert awaits on a silver stand next to an elaborate cornucopia of fruit. To the right is a carafe of wine. On the wall behind them between ornate pilasters hangs a tapestry of three nattering women in the style of Boucher, the master of pompous inconsequence. The setting is secular, the occasion in all likelihood trivial, as the male triumvirate mimic the Holy Trinity - Father, Son and the Holy Ghost - the three men standing around what is clearly an altar of earthly delights.

£12000 - 18000 See page 7 for more information regarding fees

359 Property from an English Private Collection FRANCOIS BRUNERY (ITALIAN 1849-1926) One glass too many or A delicate operation signed F.Brunery (lower right) oil on canvas 61 x 51 cm (24 x 20 in) PROVENANCE: MacConnal-Mason & Son Ltd., London Sale, Christie’s, London, 30 March 2001, lot 27 Willow Gallery, Weybridge Purchased from the above by the present owner in June 2001

£8000 - 12000

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In the present work three generations – son, father and grandfather – have withdrawn from the ladies after their meal to enjoy male companionship and indulge in coffee and liqueurs. All are mellow with drink, the grandson enjoying the moment as his grandfather tremulously fills his glass, watched anxiously by his father. Dressed in highly elaborate eighteenth-century Rococo garb, including satin breeches, fabulously decorated tailcoats and richly embroidered waistcoats, the desire not to spill a single drop of the precious liquid contrasts with the three men’s extraordinarily lavish attire and their sumptuous surroundings, all of which afforded Brunery the opportunity to exhibit his consummate skill with a paint brush.

Cardinals, Cavaliers and Gentleman of learning, Proper ty from an English private collection

360 Property from an English Private Collection FRANCOIS BRUNERY (ITALIAN 1849-1926)

A challenging passage signed F.Brunery (lower right) oil on canvas 61 x 51 cm (24 x 20 in)

PROVENANCE: Sale, Christie’s, London, 21 March 1997, lot 17 Haynes Fine Art, Broadway

In the present work Brunery situates his lute playing ‘cavaliers’ in a Dutch seventeenth century interior. By referencing the Dutch Golden Age, Brunery aligns himself with such Old Master maestros as Gerard ter Borsh and Frans van Mieris, to serve up a feast of colours, textures and designs. Clad in billowing velvet knickerbockers, ornately brocaded doublet and sporting the most intricate lace ruffs, the men’s lush and highly ornamented costumes contrast with the hand-woven deep pile oriental carpet that covers the table, and the hard glazed surfaces of the adjacent drinking vessels, allowing the artist the opportunity to show off his painterly virtuosity.

Purchased from the above by the present owner in April 2001

£8000 - 12000

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361 Property from an English Private Collection JEHAN GEORGES VIBERT (FRENCH 1840-1902)

The rehearsal signed J.G.Vibert (lower left)

oil on canvas 89.3 x 130.7 cm (35 3/8 x 51 1/2 in) PROVENANCE: The Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in September 1998

£20 000 - 30 000

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The present impressive oil is an especially large scale example of Jehan George Vibert’s wry depiction of the Catholic Church seen behind closed doors. In it a choir of eight monks are rehearsed by a cantankerous Monseigneur in his palatial surroundings. Enthroned on a richly brocaded armchair the prelate clutches his violin as he strains forward in his seat, using his bow to conduct. Accompanying the singers are a double-bass player and a young and earnest pianist, both attired in distinctive red ecclesiastical robes. With mouths open-wide, and eyes fixed intently on their music, the choir seem to be literally singing for their lives. Woe betide the poor chorister who sings a wrong note, or misses the beat.

Cardinals, Cavaliers and Gentleman of learning, Proper ty from an English private collection

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362 Property from an English Private Collection BERNARD-LOUIS BORIONE (FRENCH 1865-1920)

Le Cardinal guitariste signed B.Borione (lower right)

oil on canvas 35.5 x 27.3 cm (14 x 10 3/4 in) PROVENANCE: Sale, Sotheby’s, London, 25 November 1997, lot 92 The Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in September 1998

£500 - 700 These two lots by Borione make the Roman Catholic Church the butt of their joke. In Le Cardinal guitariste and A good read prelates in elegantly appointed private interiors indulge in reading a novel and playing a guitar, pursuits in their day that would have been deemed highly inappropriate for such eminent men of the cloth.

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Cardinals, Cavaliers and Gentleman of learning, Proper ty from an English private collection

363 Property from an English Private Collection BERNARD LOUIS BORIONE (FRENCH 1865-1920)

A good read

signed and inscribed B.Borione Paris. (lower right) oil on panel 36.2 x 28 cm (14 1/4 x 11 in) PROVENANCE: Sale, Christie’s, London, 5 July 2001, lot 96 Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in July 2001

£300 - 500 These two lots by Borione make the Roman Catholic Church the butt of their joke. In Le Cardinal guitariste and A good read prelates in elegantly appointed private interiors indulge in reading a novel and playing a guitar, pursuits in their day that would have been deemed highly inappropriate for such eminent men of the cloth.

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364

ARR

Property from an English Private Collection ALOIS HEINRICH PRIECHENFRIED (AUSTRIAN 1867-1953)

The connoisseur signed A Priechenfried (upper right) oil on board 51.5 x 40.7 cm (20 1/8 x 16 in)

PROVENANCE: Sale, Christie’s, New York, 7 September 2006, lot 197 Gladwell & Company, London Purchased from the above by the present owner in August 2007

£1000 - 2000

365

ARR

Property from an English Private Collection GRETE KALLA PRIECHENFRIED (GERMAN 1900-2002)

The bibliophile signed G.Kalla Priechenfried (upper left) oil on board 44.5 x 33.7 cm (17 1/2 x 13 1/4 in) PROVENANCE: Gladwell & Company, London Purchased from the above by the present owner in June 2006

£1000 - 2000

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Cardinals, Cavaliers and Gentleman of learning, Proper ty from an English private collection

366

ARR

Property from an English Private Collection ALOIS HEINRICH PRIECHENFRIED (AUSTRIAN 1867-1953)

Meditation signed A Priechenfried (upper right) oil on canvas 55.8 x 40.5 cm (20 x 16 in)

PROVENANCE: Sale, Christie’s, New York, 7 September 2006, lot 198 Gladwell & Company, London Purchased from the above by the present owner in August 2007

£1000 - 2000

367 ARR Property from an English Private Collection ALOIS HEINRICH PRIECHENFRIED (AUSTRIAN 1867-1953)

The alchemist signed A Priechenfried. (lower right) oil on panel 52.5 x 36.8 cm (20 5/8 x 14 1/2 in) PROVENANCE: Sale, Nagel, Stuttgart, 1 July 2000, lot 751 Gladwell & Company, London Purchased from the above by the present owner in June 2006

£1000 - 2000

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368 Property from the Estate of Mary Donovan-Roughsedge JOHN SELL COTMAN (BRITISH 1782-1842)

An arquabusier watercolour and pencil 29.5 x 22.4 cm (11 5/8 x 8 7/8 in) PROVENANCE: Nicholas Bowlby Fine Art, Tunbridge Wells Michael Donovan-Roughsedge, Tunbridge Wells, by whom acquired from the above circa 1990 By descent from the above to the late owner in 2016 EXHIBITED: London, Tate Gallery, Cotman, 1922

£400 - 600

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

369 THOMAS MILES RICHARDSON SENIOR (BRITISH 1784-1848)

Figures in a market place in Northern France watercolour heightened with white over pencil 23 x 30 cm (9 x 11 3/4 in) PROVENANCE: Abbott and Holder, London

£300 - 500 Please see note online 370 ANTONIO BIGNOLI (ITALIAN 1812-1886) after JACQUES ALFRED VAN MUYDEN (SWISS 1818-1898)

The Convent of Albiano signed A. Bignoli - VAN MUYDEN (lower right) watercolour, unframed 24 x 36 cm (9 1/2 x 14 in)

£300 - 500

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371 WLADIMIR PETROFF (RUSSIAN 1880-1935)

In the Hagia Sophia signed and dated W. Petroff 1929 (lower left)

oil on canvas 62.2 x 47.6 cm (24 1/2 x 18 3/4 in)

£1000 - 1500 The present work is one of the larger views of the interior of the Hagia Sophia that Petroff painted.

371a Property of a Lady, London RAYMOND DE BAUX (GERMAN 1785/90-1862)

Boy with a monkey signed R de Baux (lower right) oil on canvas 32 x 24cm (12 1/2 x 9 1/2 in)

£400 - 600

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

372

373

Property of a Private Belgian Collector

JEAN RAYMOND HIPPOLYTE LAZERGES (FRENCH 1817-1887)

Middle Eastern Lady signed hip.te Lazerges (lower left)

The Musician signed hip.te Lazerges (lower right)

oil on panel

36 x 24 cm (14 1/4 x 9 1/2 in)

PROVENANCE:

Acquired by the father of the present owner in 1963, thence by descent

£2000 - 3000

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374 Property from an English Private Collection THEODORE GERARD (BELGIAN 1829-1895) At the dairy signed and dated Théodore Gérard 1866 (lower left) oil on panel 72.5 x 56 cm (28 1/2 x 22 in) PROVENANCE: Sale, Phillips, London, 1 December 1998, lot 19 The Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in May 1999

£2500 - 3500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

375 Property from an English Private Collection PEDER MONSTED (DANISH 18591941) Washing day signed and dated Monsted-1905 (lower right) oil on canvas 48.3 x 34 cm (19 x 13 3/8 in) PROVENANCE: Sale, Sotheby’s, London, 22 September 2000, lot 45 Gladwell & Company, London Purchased from the above by the present owner in June 2006

£4000 - 6000

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376 Property from an English Private Collection

PROVENANCE: Sale, Christie’s, London, 11 November 1999, lot 561

ALBERT HEINRICH BRENDEL (GERMAN 1827-1895)

The Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in December 1999

(lower right) oil on canvas 54.5 x 72.4 cm (21 1/2 x 28 1/2 in)

£3000 - 5000

Waiting for the last boat home signed and dated A Brendel.1873.

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

377 Property from an English Private Collection PIETER CORNELIUS DOMMERHUIJZEN (DUTCH 1834-1908)

Extensive beach, with fisherfolk and boats signed and dated P.C Dommerhuijzen 1861 (lower right)

PROVENANCE: Sale, Phillips, London, 24 March, 1998, lot 12 The Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in December 1998

£3000 - 5000

oil on canvas

61 x 106.7 cm (24 x 42 in)

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378 Property from a Private London Collection HENRY MOORE (BRITISH 1831-1895)

Stormy seas

signed and dated H.MOORE.1874. (lower right) oil on canvas 35 x 50.8 cm (12 x 20 in) PROVENANCE: The Maas Gallery, London

£600 - 800

379 ARR MICHAEL D’AGUILAR (BRITISH 1924 - 2011)

Sur la Plage après L’orage signed MD’Aguilar (lower right); signed and titled MD’Aguilar/Sur la plage-apres l’orage/La Bretagne. (on the reverse) oil on canvas 50.8 x 61 cm (20 x 24 in)

£300 - 500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

380 JOHN LYNN (BRITISH ACT. 1828-1838)

French paddle steamer, brig and other shipping off Istanbul oil on canvas 67 x 49 cm (26 3/8 x 19 1/4 in) PROVENANCE: Colin Denny Ltd Sale, Chorley’s, Gloucester, 24 July 2018, lot 342 Purchased at the above sale by the present owner

£1500 - 2000

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381

382

Property from a London Collection

HENRY GILDER (BRITISH 1743-1808)

JOHN GLOVER (BRITISH 1767–1849)

Figures on the bank of the river with cattle watering beyond watercolour 6 x 18.5 cm (2 3/8 x 7 1/4 in) PROVENANCE: Spink, London Purchased from the above by the present owner in 1989

Elegant figures in front of Roydon Hall, Kent

watercolour and bodycolour, heightened with pen and black ink 22.8 x 42.8 cm (8 7/8 x 16 3/4 in)

£1000 - 1500 Roydon Hall was built by Thomas Roydon (1482-1557) during the reign of King Henry VIII and is located in the village of East Peckham, Kent.

£500 - 800 90

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

383 Property of a Lady, London PAUL SANDBY (BRITISH C.1730-1809)

View of Llangollen and Dinas Bran Castle, looking west up the valley of the River Dee signed Sandby (lower right) oil on panel 34.3 x 47.3 cm (13 1/2 x 18 3/8 in) PROVENANCE: Thomas Agnew & Sons, London Galerie Art and Antiques, Basel The present work relates to the mezzotint by Sandby, Llangollen in the County of Denbigh, from the Turnpike Road above the River Dee from Views in Wales published c.1776 (plate 4)

£1500 - 2500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

384 DAVID COX Snr. OWS (BRITISH 1783-1859)

Near Bettws-y-Coed

watercolour over pencil 22 x 43 cm (9 x 13 1/2 in)

385

386

ANDREAS ACHENBACH (GERMAN 1815-1910)

ALBERT GOODWIN RWS (BRITISH 1845-1932)

Escaping from a sinking vessel signed and dated Achenbach 1848

PROVENANCE: The Manning Galleries Ltd., London

(lower left) pen and brown ink and grey wash over pencil 15 x 23.2 cm (6 x 9 in)

£300 - 500

Canal scene

signed with monogram and dated 64 (lower left) watercolour 18 x 24 cm (7 x 9 1/2 in)

£200 - 300

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387 Property from an English Private Collection WILLIAM M. HAY (BRITISH 1852-1881)

Portrait of a lady

oil on canvas 53.5 x 43 cm (21 1/8 x 16 7/8 in ) PROVENANCE: Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in December 1998

£300 - 500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

388 Property from an English Private Collection HENRY WEIGALL JNR (BRITISH 1829-1925)

Portrait of Florence Stephenson

oil on canvas 75.6 x 63.2 cm (29 3/4 x 24 7/8 in) Painted circa 1860 PROVENANCE: Sale, Christie’s, London, 6 September 2001, lot 101 The Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in November 2001

£2000 - 3000 A portrait of the wife of Benjamin Charles Stephenson (son of Sir William Henry Stephenson). Stephenson was an English dramatist, lyricist and producer of several long running shows of Victorian theatre in both London and New York. He wrote for the theatre using the pen name ‘Bolton Rowe’. His biggest hit was the 1886 comic opera Dorothy which came to be regarded as a classic Victorian piece.

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389 Property of a Lady, London GEORGE MORLAND (BRITISH 1762/63-1804) After the harvest signed G Morland (lower left) oil on canvas 34 x 38 cm (13 3/8 x 15 in) PROVENANCE: Sir Geoffrey Keynes, Lammas House, Brinkley, Suffolk. Keynes (1887-1982) was a surgeon, writer and art collector. A prominent scholar and collector of the works of William Blake he founded the William Blake Trust.

£600 - 800

389a Property from an English Private Collection DANIEL SHERRIN (BRITISH 18681940) Sand dunes signed D.SHERRIN (lower left) oil on canvas 30.7 x 56 cm (12 1/8 x 22 in) PROVENANCE: Sale, Sotheby’s, Billinghurst, 16 January 2001, lot 1116 The Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in November 2001

£300 - 500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

390 EDITH HUME (BRITISH 1843-1906)

A fisherman’s tale signed E.Hume (lower left)

oil on panel 40 x 51 cm (15 3/4 x 20 1/8 in) PROVENANCE: The Cider House Galleries Ltd, Bletchingley Purchased from the above by the present owner in November 2001

£1500 - 2500

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391 ARR GABRIEL DESCHAMPS (FRENCH B.1919) Le midi signed G.Deschamps (lower right) oil on canvas |50.1 x 61 cm (19.3/4 x 24 in) PROVENANCE: Sale, Sotheby’s, London, 25 October 1995, lot 183

£1,200 - £1,800

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

392 ARR Property from an English Private Collection CHARLES NEAL (BRITISH B. 1951)

Poppies in a field, Gloucestershire signed C.Neal (lower left)

PROVENANCE: Mason Domingo, Wallington Purchased from the above by the present owner in November 1998

£1200 - 1800

oil on canvas 81.4 x 79 cm (31 7/8 x 31 1/8 in)

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PROVENANCE:

393 ARR Property from an English Private Collection CHARLES NEAL (BRITISH B. 1951)

Early Frost - Normandy signed C.Neal (lower right)

oil on canvas 81.6 x 102 cm (32 1/8 x 40 1/8 in)

100

Astley House Fine Art, Moreton-inMarsh Purchased from the above by the present owner in March 2000

£1500 - 2500

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

394 ARR Property from an English Private Collection CHARLES NEAL (BRITISH B. 1951)

Holkham Bay: View To Holkham Gap, Norfolk. signed C.Neal (lower right) oil on canvas 101.6 x 153 cm (40 x 60 in)\ PROVENANCE: Astley House Fine Art, Moreton-inMarsh Purchased from the above by the present owner in March 2000

£1500 - 2500

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101

PROVENANCE:

395 Property from a Sussex Private Collection

Acquired directly from the artist by Mr James White, Birmingham, in January 1847

THOMAS BAKER OF LEAMINGTON (BRITISH 1809-1869)

Acquired by the family of the present owner in the early 1970s, thence by descent

(lower left) oil on canvas 51 x 76.8 cm (20 1/8 x 30 1/4 in)

£1200 - 1800

Scene in Monsal Dale, Derbyshire signed and dated T.BAKER 1846.

102

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This work is included in the online Catalogue raisonné of Thomas Baker of Leamington produced by Robert Mulraine, no. 258, www.thomasbakerofleamington.com

19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

396 Property from a Private collection KARL JULIUS ROSE (GERMAN 1828–1911)

Fjord landscape

signed and dated Julius Rose München 1892 (lower left) oil on canvas 74.3 x 116.3 cm (29 1/4 x 45 3/4 in) PROVENANCE: Sale, Sotheby’s, Amsterdam, 1 November 2005, lot 1501 Purchased at the above sale by the present owner

£1200 - 1800

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103

397 JOHN WHITE ABBOTT (BRITISH 1763-1851) (i) Two peasants and a dog on a

woodland walk dated Oct 27/1815 (lower right)

pen and brown ink and monochrome wash 18 x 15 cm (7 3/4 x 6 in) (ii) Cattle and sheep at a river dated April 30 1809 (lower left) pen and brush and wash 17.5 x 28.5 cm (6 3/4 x 11 1/4 in) PROVENANCE: The artist’s family, by descent With Heather Newman, Cotswolds (2)

£500 - 700

104

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

398 THOMAS STOTHARD RA (BRITISH 1755-1834)

Design for Tasso’s ‘Jerusalem Delivered’ signed and inscribed No 6 Design to Tasso’s Jerusalem Delivered T. Stothard R.A. (on the artist’s label on the reverse) pen and ink and grey wash on laid paper 13.7 x 9.5 cm (5 1/2 x 3 3/4 in)

£300 - 500 The present work is Stothard’s design for plate 6 illustrating Tasso’s epic from Jerusalem Delivered about the First Cruscade. Translated by John Hook and published in 2 volumes in London in 1792.

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105

399 ANTOINE-JEAN-BAPTISTE THOMAS (FRENCH 1791-1833)

Death of an Old Monk signed Thomas (lower left)

pencil and wash 17 x 11 cm (6 3/4 x 4 3/8 in) Executed in 1818 EXHIBITED: New York, Shepherd Gallery, Christian Imagery in French and Nineteenth Century Art 17891906, Spring 1980, no. 27, illustrated in the catalogue

£150 - 250

400 ANTOINE PIERRE MONGIN (FRENCH 1761/2-1827) A rustic cottage, Rijkevorsel inscribed Rikvorsel. (upper right) grey wash over pencil on laid paper 9.4 x 22 cm (3 3/4 x 9 in) PROVENANCE: Christopher Powney, London

£200 - 300

106

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

401 THOMAS CHURCHYARD (BRITISH 1798-1865)

Farming scene and A roadside discussion

each black chalk 10.5 x 13 cm (4 x 5 in); 8.25 x 13.25 cm (3 1/4 x 5 1/4 in) PROVENANCE: Harriet Churchyard Album With David Messum Fine Art, London EXHIBITED: London, David Messum Fine Art, Bicentenary Exhibition, 1998, nos. 107 and 96 (2)

£300 - 500

402 Property from an English Collection SIR FRANCIS GRANT (BRITISH CIRCA 1803-1878)

A carriage and pair at a level crossin black ink and wash 19.3 x 30 cm (7 5/8 x 11 3/4 in)

EXHIBITED: London, J S Mass & Co Ltd, Christmas Exhibition, 1968

£200 - 300

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107

403 JOHN THOMAS SMITH (BRITISH 1766-1833)

Two drawings of a town on the river each pen and ink each 10 x 26 cm

PROVENANCE: Christopher Powney, New Bond St., London

£300 - 500

108

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

404

405

GIOVANNI COSTA (ITALIAN 1833-1893) and GEORGE HEMING MASON (1818-1872) Isle of Capri (recto); Sketch of girls picking fruit (verso) signed G. Costa. (lower left); signed Mason (on the reverse) pencil on laid paper 11.3 x 16 cm (4 1/2 x 6 1/4 in)

JOHN VARLEY (BRITISH 17781842)

£200 - 300 In 1844 George Heming Mason went to Italy with his brother, settling in Rome in 1845. To make ends meet he painted souvenir views of the landscape around Rome. From 1852 to 1857 he worked closely with the Italian landscape painter Giovanni Costa. Mason adjusted his style to that of Costa, absorbing his ideas, and together with other foreign painters, they founded a new school of landscape painting, which years later came to be known as the ‘Etruscans’.

(i) Figures by a well pencil on wove paper bearing collectors mark (BATH beneath a crown) 9.8 x 10.5 cm (4 x 41/4 in) (ii) FRANCIS PLACE (BRITISH 1647-1728)

Study of ruins pencil and grey wash 10.3 x 7.5 cm (4 1/4 x 3 in) From the Collection of Sir Bruce Ingram (iii) JOHN VARLEY (BRITISH 1778-1842)

River landscape pencil and grey wash 10 x 14 cm (4 x 5 1/2 in) PROVENANCE: Christopher Powney, New Bond St., London

£300 - 500

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109

406 Property from an English Collection JOHN LEECH (BRITISH 1817-1864)

A tip refused signed John Leech. (lower left) watercolour and pencil 9 x 10.8 cm (3 x 4 5/8 in)

£400 - 600

407

410

Property from an English Collection

SAMUEL HOWITT (BRITISH 1756/57-1822)

WILLIAM MARSHALL CRAIG (BRITISH 1765-1834)

G. Vulpes signed Howitt (lower left)

watercolour 16 x 13 cm (6 1/4 x 5 1/8 in)

£150 - 250

Gathering at the waterhole signed and dated W.M.CRAIG.1804 (lower centre) black ink and wash 21 x 14.7 cm (8 1/4 x 5 3/4 in)

£180 - 220

110

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19th & 20th Century Paintings and Works on Paper, including Por trait Miniatures

409 Property from an English Collection JOHN LEECH (BRITISH 1817-1864)

The Mayor of Middlesex inscribed Middlesex (lower centre) watercolour and pencil 16 1/2 x 13 cm (6 1/2 x 5 1/8 in)

£150 - 200

408 Property from a London Collection ARCHIBALD THORBURN (BRITISH 1860 - 1935)

Red-breasted Merganser signed A. Thorburn (lower left) watercolour 16.4 x 23.4 cm (6 1/2 x 9 1/8 in) PROVENANCE: The Moorland Gallery, London

£1000 - 1500 The original watercolour for plate 59 in Lord Lilford, Coloured Figures of the Birds of the British Islands, vol.vii (1885-1897)

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111

112

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Por trait Miniatures

Portrait Miniatures Suzanne Zack

Consultant Portrait Minaitures suzanne.zack@chiswickauctions.co.uk

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113

411 λ LAURENCE HILLIARD (BRITISH 1581/2-1647/8)

Portrait miniature of a nobleman, circa 1605, wearing black doublet and white ruff, blue background with gold border gouache on vellum set into the lid of an ivory box 50mm (2 in) high PROVENANCE: Edain Bucher

£3000 - 5000

114

The sitter in this delicate portrait was clearly a nobleman connected with the court, which is made apparent by the black doublet he is wearing. Black was an expensive cloth to produce and usually only worn by the very wealthiest people. It has been suggested that the sitter could be Sir Thomas Coventry, later 1st Baron Coventry of Aylesborough (15781640). He regularly commissioned portraits from Cornelius Johnson between 1623 and 1639, and there are various versions of his portrait in private and public collections including a number in properties owned by the National Trust. Coventry was a prominent English lawyer, politician and judge. In 1617 he was made Solicitor-General by King James I and knighted, and in 1621 he became Attorney General. On the ascent of

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Charles I in 1625, he was promoted again, to Lord Keeper. He was created Baron Coventry of Aylesboroughin 1628. As a Protestant, it is thought that his appointment served to quell religious friction following the King’s marriage to Henrietta Maria. Laurence Hilliard was the son of the eminent miniaturist Nicholas Hilliard. He began his apprenticeship circa 1597 and completed it in 1605. He worked for James I and Queen Anne of Denmark and inherited his father’s appointment as limner to James I. Some of Laurence’s miniatures, as evident here, show the blue background which are reminiscent of his father’s work.

Por trait Miniatures

412 JOHN FABER the ELDER (DUTCH c.1650/60-1721)

Portrait miniature of John Boyd (d.1699), Regent of Glasgow University (from 1672), wearing lace shirt, robes and wig signed and dated, JFaber/ 1698, lower left, and inscribed in a later hand verso, Portrait/ of/ John Boyd/ Pen drawing by Faber/ done in 1698 pen and black ink on vellum turned wood frame, probably the original oval, 70mm (2.7 in) high PROVENANCE: By family descent

£800 - 1200

413 GERVASE SPENCER (BRITISH 1715-1763)

Portrait miniature of a nobleman, wearing a blue coat with silver frogging, a pink waistcoat with lace trimming, a heart shaped cravat pin, a black tricorn hat under his arm, and a powdered wig

The present portrait of John Boyd, Regent of Glasgow University, was made when Faber was living in England. Arriving from The Hague in 1696, Faber settled in London and soon gained royal commissions. The technique known as plumbago or monochromatic portrait became popular amongst academic patrons in the later 17th century. Intellectual curiosity and connoisseurship of prints persuaded many academics, connected to universities, to commission their own portraits drawn in a style that evoked the fine detailed lines of engravings. This was a period when prints were avidly collected. In 1707 Faber himself set up his own business selling prints on the Strand and later moved to larger premises. It is probable that John Boyd commissioned his portrait from Faber on a visit to London in 1698, a year before his death. He may have intended to further commission an engraving from this pen and ink drawing to include as a frontispiece in his published works.

signed G. Spencer and dated 1745, lower left watercolour on ivory gilt-metal frame oval, 43 mm (1 3/4 in) high

PROVENANCE: D. S. Lavender (Antiques) Ltd., London

£600 - 800

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115

414 JAMES NIXON (BRITISH 1741-1812)

Portrait miniature of a Lady, wearing white robes with a pale pink underdress, a pale blue veil draped from her powdered hair and through a pearl loop on her dress, her hair adorned with further pearls, wooded landscape background signed with initial, N (lower left) watercolour on ivory gold frame, the reverse glazed to reveal dark brown plaited hair oval, 83mm (3 1/4in) high

PROVENANCE: Sale, Bonhams, London, 22 April 2004, The Albion Collection of Fine Portrait Miniatures, lot 113 EXHIBITED: Scottish National Portrait Gallery, 2000-2003

£3000 - 5000

Please see our website for additional information.

116

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Por trait Miniatures

415 λ

416

RICHARD CROSSE (BRITISH 1742-1810)

Portrait miniature of a Lady circa 1780, wearing a white dress with blue ribbon waistsash and an elaborate bonnet trimmed with a white plume and blue ribbon watercolour on ivory

Portrait miniature of a Lady, circa 1770, wearing a low cut blue dress with lace and pearl trim and a lace shawl, her dark brown hair upswept

Gold frame, the reverse glazed to reveal two locks of hair around a gold initial L within a gold oval belt motif engraved with inscription, In Deo Fido, on white glass oval, 70mm high

watercolour on ivory gilt metal frame oval, 50 mm (2 in) high

£400 - 600

£500 - £700

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117

417

418

419

ENGLISH SCHOOL (18th CENTURY)

MANNER OF JEAN PETITOT

ENGLISH SCHOOL (18TH CENTURY)

Portrait miniature Lord Robert Kerr, wearing blue coat over a grey waistcoat, white stock and frilled cravat, his hair powdered and worn en queue watercolour and bodycolour on ivory gilt-metal mount set into a rectangular gilt-wood frame; inscribed with an extract taken from The History of the Rebellion in the year 1745 by John Home Esq., published in 1802, London (on the reverse)

Portrait miniature of Queen Henrietta Maria, after Sir Anthony Van Dyck enamel fitted shagreen case 55mm (2 1/4 in) high

£250 - 350

oval, 60 mm (2 1/2 in) high PROVENANCE: Kerr family, thence by descent.

£300 - 500 Please see our website for additional information.

118

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Portrait miniature of Charles I watercolour on ivory gilt-metal frame oval 50 mm (2 in) high

£150 - 250

Por trait Miniatures

421

422

WILLIAM ESSEX (BRITISH 17841869) after ROBERT EDGE PINE

JEAN PIERRE THIBOUST (FRENCH 1763-c.1824)

Portrait miniature of David Garrick

Portrait miniature of a Gentleman, wearing military-style blue cloak with silver ‘epaulettes’ and red-edged collar, white waistcoat and stock, his hair powdered, hoop earring, c. 1794 signed, Thiboust/ 3 R, centre right

signed and dated 1835, middle right, fragments of inscription to the counter enamel enamel pierced silver oval frame mounted set with lasque cut diamonds oval, 65 mm (2 1/2 in) high PROVENANCE: Sidney Hands, Grafton Street, London, 1929; Sotheby’s, London, 30 June 2005

£1500 - 2500

watercolour on ivory gilt-metal frame with engraved inner border, the reverse with hairwork and watercolour cipher of initials ‘LRS’ set in neoclassical border

During his day, Thiboust was a highly regarded miniaturist who attracted a notable following amongst his patrons. He was a pupil of Le Guay and Durameau, he was particularly successful during the Revolutionary period in France, painting impressively complex compositions of sitters in classical dress. His career continued into the 19th century, where he painted the director of the Opéra, Louis Luc de Persius (1769-1819) in a stunning portrait, showing him in the act of composing music. Thiboust’s self-portrait is in the collection of the Musee Carnavalet, Paris.

circular, 57mm (2 1/4in) diam.

£1500 - 2500

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119

423

424

425

RICHARD COSWAY R.A. (BRITISH 1742-1821)

CHARLES SHIRREFF (SCOTTISH circa 1750- circa 1829)

RICHARD COSWAY (BRITISH 17421821)

Portrait miniature of a Gentleman, circa 1790, wearing a plum coloured coat with pearl buttons, white waistcoat and frilled white chemise and white stock, his hair powdered and worn en queue

Portrait miniature of a Lady wearing a white dress with a Van Dyck collar, a blue dress with puff sleeves slashed to reveal a white underslip, a white bandeau in her powdered and curled hair

watercolour on ivory

Portrait miniature of George Spencer Churchill, 5th Duke of Marlborough (Marquess of Blandford) 17661840, circa 1817, wearing historical fancy dress consisting of armour under a red cloak fastened with a buckle on the shoulder

gilt-metal frame with a blue enamel border with gold sprays within a split pearl border

gold frame, the reverse glazed to reveal brown silk within a blue enamel border

PROVENANCE: Sale, Bonhams, Fine Portrait Miniatures and Silhouettes, 2 Februrary 2000, lot 163

£2000 - 3000

oval, 60 mm (2 1/2 in) high PROVENANCE: Sale, Sotheby’s London, 19 October 1981, lot 129

watercolour on ivory gilt-metal ormolu hexagonal frame hexagonal, 67 mm (2 3/4 in) high PROVENANCE: The Marshall Papers, Miss Sarah Marshall Bernstein, a direct descendant of Duke and Matilda Glover

£700 - 900 £400 - 600 Please see our website for additional information

120

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Por trait Miniatures

426

427

428

CHARLES SHIRREFF (SCOTTISH circa 1750-circa 1829)

CHARLES SHIRREFF (SCOTEDWARD BURCH R.A (BRITISH circa 1730-1814)

SAMUEL SHELLEY (BRITISH 1750/61808)

Portrait miniature of a Lady facing left, wearing a white dress with frilled collar, white bandeau in her long powdered curling hair watercolour on ivory silver-gilt hinged fausse-montre frame, the reverse glazed to reveal plaited hair

Portrait miniature of Master Charles Web Smith, aged 8, circa 1800, wearing dark blue coat with silver buttons and white shirt with frilled collar watercolour on ivory oval, 73 mm (2 3/4 in) high

PROVENANCE:

£700 - 900

Sale, Christie’s, London, 21 November 2000, Important Portrait Miniatures, Gold Boxes and Objects of Vertu, lot 187 as by Philip Jean

£400 - 600

watercolour on ivory

gold frame

oval, 56 mm (2 1/4 in) high

Portrait miniature of Dupré Porcher Esq., wearing a brown coat, white waistcoat and cravat and powdered wig (inscribed on the reverse), Dupré Porcher Esq./ Guardian of M.A.E.C./ by/ Sam Shelley/ 6 Gt George St./ Hanover Square gilt metal frame oval, 75 mm (3 in) high

Charles was the son of Mr. Charles Smith and uncle of Miss Mallet of Osborne Place. The miniature was left to Mrs. Johnston and at her death to be returned to Mrs. Fowler, Living at Upper Clapton, Master Smith’s sister. The palm trees evident in the background may provide a clue to the location where this miniature was executed.Portrait Miniatures, Gold Boxes and Objects of Vertu, lot 187 as by Philip Jean

£300 - 500

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121

429

430

GEORGE ENGLEHEART (BRITISH 1750/3-1829)

GEORGE ENGLEHEART (BRITISH 1750-1829)

Portrait miniature of Thomas Ashton, wearing scarlet uniform with blue collar and facings, gold epaulette, white waistcoat and cravat, wearing a powdered wig, cloud and sky background

Portrait miniature of Thomas Ashton, circa 1786, wearing a blue coat with silver buttons, buff waistcoat, frilled chemise and tied cravat

watercolour on ivory

gold frame, the reverse with central glazed aperture to reveal hair within blue glass surround

gold frame, the reverse with central blue glazed aperture with locks of hair tied with seed pearls within blue glass border oval, 50 mm (2 in) high Engleheart’s fee book for 1789: Captain Ashton, painted 25th April 1789, copied 2nd May 1789, paid 16th May for 2, 20 gns

£2000 - 3000

122

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watercolour on ivory

oval, 50 mm (2 in) high Listed in Engleheart’s fee book of 1786: Painted 20 Feb 1786 / Paid 6 March 1786 8gns

£1200 - 1800

Por trait Miniatures

431

432

433

ATTRIBUTED TO PHILIP JEAN (BRITISH 1755-1802)

PHILIP JEAN (BRITISH 1755-1802)

EDWARD MILES (BRITISH 17521828)

A pair of portrait miniatures of husband and wife Mr and Mrs J. Richardson; she wearing white dress with blue sash, fichu with frilled edge and wearing the portrait miniature of her husband attached to a blue ribbon at her waist, cloud and sky background; he wearing blue coat with gold buttons and knotted cravatshe set in a gold frame, the reverse with glazed aperture revealing lock of hair against ivory plaque inscribed in Latin with the name and dates of the sitter, set into a fitted red moroccan leather case; he set in a gold frame, the reverse glazed to reveal plaited hair around an ivory plaque inscribed in Latin with the name and dates of the sitter and his initials, all set into a gilt-metal brooch mount watercolour on ivory, each ovals, 70 mm (2 3/4 in) and 60 mm (2 1/4 in) high, respectively PROVENANCE: Richardson family and by descent (2)

£600 - 800

Portrait miniature of a Gentleman, wearing a maroon coat, white waistcoat, frilled white chemise and stock, his hair powdered

Portrait miniature of a gentleman, circa 1790/94, wearing blue coat and knotted cravat

watercolour on ivory

gilt-metal naviette bracelet clasp frame

gold frame, the reverse glazed to reveal plaited hair

oval, 45 mm (1 3/4 in) high

oval, 60mm (2 1/2 in) high

PROVENANCE:

£350 - 450

Sale, Bonhams, 8 September 1999

£400 - 600 Philip Jean was born in St. Ouen, Jersey. He was patronised by the Royal Family and painted full length portraits of George III and Queen Charlotte.

Edward Miles became an errand boy to a surgeon who encouraged him in drawing. In 1771, he went to London and entered the Royal Academy Schools. He was appointed Miniature Painter to the Duchess of York in 1792 and to Queen Charlotte in 1794. He was Court Painter to the Tsar in St. Petersburg from 1797 to 1806. He finally settled in Philadelphia, where he became a founder member of the Academy. Although the sitter’s identity has not been found, it is likely that the portrait dates from circa 1790/94 - during which time he was working in London and before his journey to Russia.

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123

434 HENRY JACOB BURCH junior (BRITISH B.1763)

Portrait miniature of a Gentleman, wearing a blue coat, yellow waistcoat with black spots and a large white tied cravat, with powdered hair watercolour on ivory gold frame, the reverse with central glazed aperture to reveal rows of plaited hair divided by gold wire within a blue glass border oval, 65 mm (2 1/2 in) high

£600 - 800

435 JOSEPH DANIEL (BRITISH circa 1760-1803)

Portrait miniature of a Gentleman, wearing blue coat, white waistcoat, frilled white chemise and stock

watercolour on ivory gilt-mounted rectangular black lacquer frame oval, 63 mm (2 1/2 in) high

£300 - 500

436 HENRY JACOB BURCH junior (BRITISH B.1763)

Portrait miniaure of a Gentleman, wearing dark blue coat with black collar, white waistcoat and knotted cravat

watercolour on ivory gilt-mounted rectangular black wood frame oval, 73 mm (2 3/4 in) high

£300 - 500

124

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Por trait Miniatures

437 ANDREW ROBERTSON (BRITISH 1777-1845)

Portrait miniature of a young lady, wearing a white dress with frilled collar, blue shawl over her left and a multi-strand coral necklace watercolour on ivory chased foliate gilt-metal frame oval, 90mm, high

£300 - 500 438 ANNE MEE (née FOLDSTONE) (BRITISH circa 1770/5-1851)

Portrait miniature of a Naval Officer circa 1800, wearing uniform with gold epaulettes, a three masted ship in the background watercolour on ivory gilt-metal frame oval, 100 mm (4 in) high

£600 - 800 439 MRS ANNE MEE (née FOLDSTONE) (BRITISH circa 1770/5 -1851)

A pair of wedding portrait miniatures of Lady Isabel Anne Dashwood (1772-1858) and her husband Sir Francis Dashwood (1772-1828), circa 1793, he wearing blue coat, cream waistcoat, white stock and cravat; she wearing a low cut white dress, her powdered hair dressed with a white bandeau fastened beneath her chin watercolour on ivory gold frames ovals, 77 mm (3 ¼ in) high

£800 - 1200 Please see our website for additional information. See page 7 for more information regarding fees

125

440 THOMAS HARGREAVES (BRITISH 17751846) A pair of portraits of the Reverend John R Lyon of Pulford (1785-1869) and his wife Mrs Lyon née Clayton (m. 1814 - d. 1869), he wearing black coat, waistcoat and white frilled chemise and tied cravat; she wearing dark blue dress over white lace slip and grey shawl, her dark curled hair upswept watercolour on ivory metal frames ovals, each 88 mm (3 1/2 in) high

£800 - 1200 441 CHARLES JAGGER (BRITISH 1770-1827) A pair of portrait miniatures of a Lady and Gentleman; she wearing black dress, white high neck frilled chemise and fichu and a white turban adorned with white ribbon; he wearing black coat with white striped waistcoat and knotted cravat and stock, cloud and sky background watercolour on ivory gilt ormolu mounts within rectangular papier mache frames oval, each 65 mm (2 1/2 in) high

£600 - 800 442 THOMAS HARGREAVES (BRITISH 17751846) A pair of portrait miniatures of a Lady and Gentleman; she wearing white dress with frilled trim and white lace bonnet with white ribbon, landscape background; he wearing dark brown coat, white waistcoat, frilled chemise and stock, cloud and sky background each signed and dated 1809, on the reverse watercolour on ivory oval, each 85 mm (3 1/2 in) high

£800 - 1200

126

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Por trait Miniatures

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127

128

443

446

444

447

445

448

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Por trait Miniatures

443

445

447

WILLIAM THICKE (BRITISH active 1779-1814)

WILLIAM ARMFIELD HOBDAY (BRITISH 1771-1831)

JAMES STEWART (BRITISH 19TH CENTURY)

Portrait miniature of a Lady, wearing white dress with thin black ribbon waistband, a white bandeau in her curled and powdered hair

Portrait miniature of a Gentleman, wearing a blue coat, white waistcoat and cravat, with powdered hair

Portrait miniature of a Gentleman, wearing blue coat, yellow waistcoat, frilled chemise and black stock

watercolour on ivory

gold frame, the reverse glazed to reveal central aperture with locks of hair in a sheaf design with a plaited hair border

gilt-mounted rectangular papier mache frame, the reverse with original artist’s label attached to the backing

oval, 70mm (2 3/4in) high

oval, 70 mm (2 3/4 in) high

£300 - 500

£150 - 250

444

446

448

EDWARD J HARDING (IRISH 18041870)

CHARLES T FOX (BRITISH 17941849)

CIRCLE OF RICHARD COSWAY RA (BRITISH 1742-1821)

Portrait miniature of a Lady, circa 1850, wearing white dress with pearl trim and blue bow with a portrait miniature at her corsage, cloud and sky background

Portrait miniature of a Gentleman, wearing black coat, black waistcoat, white shirt and black stock

Portrait miniature of a lady, wearing a white dress with frilled collar and blue sash, her hair powdered and curled with a white bandeau

gilt-mounted black lacquer frame oval, 72 mm (3 in) high

£300 - 500

signed and inscribed (on the reverse), Harding/ South ..../ C. Cork

signed and dated on original backing card, Painted by --- Fox/ Miniature Painter/ 5 Grenada Terrace/ Commercial Road/ Jan 6 1834. London

watercolour on ivory

metal frame

gilt-mounted rectangular black lacquer frame

oval, 72 mm (2 3/4 in) high

watercolour on ivory gold frame oval, 70 mm (2 3/4 in) high

£300 - 500

oval, 72 mm (3 in) high

£200 - 300 £200 - 300

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129

449 JOHN BARRY (IRISH 1784-1827) Portrait miniature of Captain Nathaniel Burslem, KH, JP (circa 1769-1856) watercolour on ivory fitted shagreen case, containing inscription, A Miniature of Captain N. Burslem when in the 11th Regiment of Foot painted by Barry, the celebrated Irish Miniature Painter in or about 1793. 50 Guineas he recieved for painting it. oval, 65mm (2 1/2in) high PROVENANCE: Ellison Fine Art, 2002

The Royal Staff Corps was a corps of the British Army which was founded circa 1800 and disbanded in circa 1837. It was generally responsible for short-term military engineering works, with the Royal Engineers and Corps of Royal Sappers and Miners remaining responsible for permanent works, but the boundaries between the functions of the corps were blurred. The Royal Staff Corps answered to the Quartermaster-General instead of to the Board of Ordnance. It also seems to have provided personnel for military police and orderly duties. On its disbandment most of its personnel transferred to the Royal Engineers and the Corps of Royal Sappers and Miners.

£500 - 700 Captain Burslem was educated at Rugby School. He was appointed an Ensign in the 11th Foot in December 1789 rising to Lieutenant Colonel in the 14th Foot by October 1814. He was appointed to command the 17th Foot in 1826 and afterwards retired from the service by 1829.

450 ENGLISH SCHOOL (EARLY 19TH CENTURY) Portrait miniature of an Officer in the Royal Staff Corps, wearing red uniform with black facings and silver epaulettes watercolour on ivory rectangular black apier maché frame oval, 78 mm (3 in) high

451 WILLIAM DENTON (BRITISH exh. 1792-1795) Portrait miniature of an Officer of the 12th Light Dragoons, his dark blue jacket with silver lace and pale yellow facings, his hair powdered and worn en queue signed with initials and dated 1794, lower right, signed and dated Wm. Denton Pinxt. Feby. 1794, verso watercolour on ivory gold frame, the reverse glazed to reveal gold monogram JW on plaited hair oval, 67 mm (2 3/4 in) high PROVENANCE:

Sale, Dreweatts, 8 June 2011, lot 133

£150 - 250

£500 - 700

130

452 ENGLISH SCHOOL (circa 1800) Portrait miniature of Jane, Mrs Wallop Brabazon, née Dupré, daughter of Josias Dupré of Wilton Park, Bucks, circa 1800, wearing a white dress with gold braid trim, cloud and sky background watercolour on ivory gilt metal frame, the reverse glazed to reveal plaited hair

Sale, Bonhams, London, 4 March, 2003, Portrait Miniatures and Silhouettes, lot 131

PROVENANCE:

The 12th Light Dragoons were posted from England to the Mediterranean in 1793 where they fought at the siege of Toulon. In 1794 they took part in the siege of Bastia in April; in May to Cita Vecchia; to Rome; in August to Corsi. It is likely that the the sitter sat for the present portrait before his departure.

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oval, 71 mm (2 3/4 in) high together with a portrait miniature of her sister, as a young lady wearing a white dress with frilled trim (2)

£300 - 400

Por trait Miniatures

449

450

451

452

See page 7 for more information regarding fees

131

132

453

456

454

457

455

458

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Por trait Miniatures

453

455

457

FRENCH PROVINCIAL SCHOOL (circa 1815)

PROVINCIAL SCHOOL (AMERICAN?) CIRCA 1790

Portrait miniature of a young man called ‘Germain Leroy’, wearing black coat, white waistcoat, frilled white chemise and cravat with a gold pin, with dark curly hair and sidewhiskers

Portrait miniature of a Gentleman, wearing a black coat with the medal of the Royal French Order of the Lily (Ordre du Lys), white waistcoat, frilled white chemise and white stock, his hair powdered

Portrait miniature of a lady seated in an interior by an open window holding a posy, wearing a black dress over a white petticoat with white kerchief around her shoulders and white apron and a white frilled bonet with a blue ribbon

watercolour on ivory

gilt-mounted black lacquer frame

oval turned wood frame

oval

oval convex verre eglomisé set within a rectangular black wood frame

inscribed verso, Germain/ Leroy / ami de mon/ père

oval, 90 mm (3 1/2 in) high

59 mm (2 3/4) in) high

£200 - 300

£400 - 600

£200 - 300

454

456

458

ITALIAN SCHOOL (circa 1840)

FRENCH SCHOOL (circa 1821)

GERMAN SCHOOL (circa 1860)

Portrait miniature of a Lady, wearing blue off the shoulder dress with puff sleeves and white lace underdress, her hair worn in ringlets with a jewelled headband

Portrait miniature of a Lady, called Rose Vittoz de Chabon, wearing a grey empire line dress trimmed with lace and a thin black with a jewelled buckle, wearing a pearl necklace and earrings and a gold diadem in her upswept curled brown hair

Portrait miniature of Amalie of Zweibrücken-Birkenfeld-Bischweiler, Queen of Saxony

watercolour on ivory gilt mounted rectangular wood frame oval, 53mm (2 1/8in) high

signed and dated Laracine 1821, lower right

£150 - 250

circular gilt metal mounted rectangular wood frame

watercolour on ivory gilt-wood moulded frame oval, 65 mm (2 1/2 in) high

£150 - 250

circular, 56mm (2 1/4in) diam

£200 - 300

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459 ITALIAN SCHOOL (circa 1825) Portrait miniature of Mrs Hugh Berners (née Julia Ashton of Wolverstone Park), painted in Rome circa 1825, wearing a low cut white dress and blue shawl, long gold drip earrings, her dark hair curled and upswept watercolour on ivory rectangular gilt metal frame 70 mm (2 3/4 in) high

£200 - 300 460 ITALIAN SCHOOL (circa 1825) Portrait miniature of The Hon. Mrs Fred Baring (née Frederica Ashton), painted in Rome circa 1825, wearing a low cut white dress and fur stole, long gold earrings, her fair hair curled and upswept watercolour on ivory rectangular gilt metal frame 72 mm (2 3/4 in) high

£200 - 300 461 SPANISH SCHOOL (circa 1840) A pair of portrait miniatures of a Lady and Gentleman; she wearing dark blue velvet off the shoulder dress and long strand necklace worn as a choker, drop earrings, her black hair upswept and adorned with a pearl; he wearing white chemise and red and white cloak watercolour on ivory rectangular carved gilded frames rectangular, she, 65 mm (2 1/2 in); he, 68 mm (2 4/8 in) high

£200 - 300

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Por trait Miniatures

462 ENGLISH SCHOOL (circa 1840) Portrait miniature of a young man, wearing a black coat, blue and black striped waistcoat, white chemise and black stock, his wavy dark brown hair worn fashionably long watercolour on ivory gilt-metal locket frame with brooch mount oval, 55 mm (2 1/4 in) high

£200 - 300 463 ENGLISH SCHOOL (circa 1830) Portrait miniature of Mrs Edward Ashton (née Clerk of Pennycuik), head and shoulders, wearing a white dress and gold necklace, her dark hair worn in ringlets watercolour on ivory gilt metal locket frame the reverse with hair compartment within circular, 44 mm (1 3/4 in) diam

£100 - 200 464 JAMES WARREN CHILDE (circa 1778-1862) Portrait miniature of a Lady, seated on a balcony overlooking a landscape, wearing a blue off the shoulder dress with white trim, black lace shawl, a brooch at her corsage and long gold necklace and gold bracelet, holding a posy of flowers signed with initials, right hand edge watercolour on ivory gilt-metal arched mount within rectangular wood frame rectangular, 95 x 75 mm (3 1/2 x 3 in)

£300 - 400 See page 7 for more information regarding fees

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459 REGINALD EASTON (1807-1893) Portrait miniature of Mrs R. J. Maxwell, wearing a red dress with lace shawl and pearl necklace watercolour on ivory original ormolu easel frame with tied ribbon surmount oval, 82 mm (3 1/4 in) high together with Portrait miniature of Miss R. T. Maxwell, her daughter, wearing a white dress with blue sash waistband and blue ribbon choker, landscape background signed and dated 1840 watercolour on ivory chased foliate frame surmounted with floral suspension ring, the reverse glazed to reveal plaited hair oval, 78 mm (3 in) high (2)

£1000 - 1500 The present portrait of Mrs Maxwell is thought to have been painted close to her wedding day in 1830. The portrait of her daughter was painted around ten years later. The later portrait with the landscape background shows the development of Easton’s style from an almost monochrome background to his more vibrant palette. He became a fashionable artist, particularly known for painting children and was patronised by the aristocracy and the Royal Family.

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Por trait Miniatures

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137

138

466

468

467

469

467

470

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Por trait Miniatures

466

468

469

JOSEPH OTIS MINOTT (AMERICAN 1864-1909)

GERTRUDE MASSEY (BRITISH fl. 1898-1911)

MRS E. A. G. COLLES (BRITISH exh. 1907-1910)

Portrait miniature of a young boy wearing a white chemise

Portrait miniature of a boy, circa 1905, in white shirt with blue ribbon necktie

signed J.O. Minott and dated 1907, lower right

watercolour on ivory

Portrait miniature of a young girl wearing a white dress, coral bead necklace and a blue ribbon in her long blonde curly hair

watercolour on ivory

silver frame set with pearl border and pearl hanger

white metal frame

oval, 78mm (3 ¼ in) high

oval, 72 mm (2 3/4 in) high

HARMAN (19th CENTURY) Portrait miniature of Grace Gambier Parry, née Dorman, wife of Sydney Gambier Parry, the son of Thomas Gambier Parry, as a child. Wearing off the shoulder dress her hair worn long in ringlets signed, Harman, right hand edge watercolour on ivory gilt-metal frame oval, 60 mm (2 1/4 in) high together with English School (circa 1830), portrait miniature of a little girl wearing a white dress with pink ribbon sash,watercolour on ivory, gilt frame the reverse with blue glass, oval, 50mm (2in) high (2)

£250 - 350

gilt-metal mount with velvet reverse oval, 67 mm (2 2/3 in) high

£300 - 400 £200 - 300

£150 - 250 467

signed, EAG Colles, lower right

Gertrude Massey specialised in painting miniature portraits of children and later dogs. Her body of work includes likenesses of the children of Queen Alexandra and Edward VII, executed at Balmoral Castle. She clearly readily engaged with the somewhat arduous task of painting younger sitters, outlining in her autobiography the necessary measures taken in order to capture accurate likenesses of her easily distracted subjects: ‘When children are very young - and I have painted children of all ages - I prefer to paint them in their own surroundings. They soon begin to play and forget that I am watching them. If they are old enough, I give them pencil and paper and ask them to draw me. Thus I get a good look every time they raise their heads to study me.’ (Massey, p.83). The upward gaze of the boy in the present miniature, would suggest that the child was old enough to be asked to draw Gertrude.

470 ELEANOR MACLEAN ROSS (SCOTTISH fl. 1900-1907) Portrait miniature of Margaret Crawford Walker as a child, wearing a white dress and coral necklace, a coral ribbon in her blonde hair signed on the reverse and inscribed, Margaret Crawford Walker/ Miniature on ivory/ by/ Eleanor M. Ross M. * M/ Studio/ Mount Rideau/ North Berwick/ George St./ Edinburgh in a recent rectangular giltwood frame oval, 67 mm (2 3/4 in) high

£100 - 150

The present sitter’s husband was grandson of the British artist and collector Thomas Gambier Parry (1816-1888) who formed the important collecton of early Italian paintings and objects that were bequethed by his heirs to the Courtauld Insititute of Art, London.

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139

471

472

ELISABETH (ELLIE) WEINGARTEN (BRITISH 1884-1942)

MILDRED LINGWOOD (BRITISH, early 20th CENTURY)

Portrait miniature of a lady facing right, wearing a pale blue off the shoulder dress, with cream roses at her corsage, apparently seated in a chair, with a curtain behind her and a large framed painting on the wall

Portrait miniature of Sir Herbert Atkinson Barker (1869-1950)

signed and dated 1923, lower right watercolour on ivory gilt-metal frame with beaded border

signed on the obverse with monogram, ML and dated 1908, inscribed on backboard, ..l Bonesell. Mr HA Barker Mrs Mildred Lingw[ood] Bedford Road [Be] dford Park W overpainted photograph on ivorine Gilt-metal mount with leather backing

oval, 100 mm (4 in) high

oval, 98mm (4in) high

£300 - 400

PROVENANCE:

Elli (Elizabeth), was born into a Jewish family in Brunn, Bohemia, (now Brno, Czech Republic), and was active as a miniaturist in Vienna. In 1942, she was arrested by the Nazis, and sent to a concentration camp in Riga, where she died.

140

Sale, Christie’s, 15 June 2005, lot 110; Private collection

£300 - 500

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Sir Herbert Atkinson Barker (18691950) was a reknowned British osteopath and manipulator. As a bonesetter or manipulative surgeon he was at odds with the medical profession at the turn of the century because he practised healing without having received the traditional education of a teaching hospital. His patients included Shaw, Kipling and Augustus John. In 1920, 307 MP’s signed a petition asking the Archbishop of Canterbury to bestow on Barker an honorary medical degree. This failed, but two years later he received a knighthood. Medical hostility gradually petered out. In 1936 he gave a demonstration of his skills before the British Orthopaedic Association, and three years later a film of his work was made. On 8 September, 1967 The Times reported that Michael Joseph’s book Harley Street, revealed that prominent surgeons were sending their patients to Barker despite the B.M.A. ban on him. The present miniature is painted on a photographic base. Mildred Lingwood may have been married to Edgar Lingwood who ran a photographic studio.

Por trait Miniatures

473

474

475

ELEANOR PALMER, ARMS (BRITISH exh. 1887-1921)

ADOLPHE DE BATHE (active 1890died 1941)

MARGARET HARDISTY (BRITISH, EARLY 20TH CENTURY)

Portrait miniature, said to be a self-portrait with her two daughters

Portrait miniature of a Lady, wearing a white dress, her hair upswept, parkland background with house and deer

Portrait miniature of Major William Frederick James Hardisty, wearing uniform of the Worcestershire Regiment

Inscribed verso, Mrs Eleanor Palmer, RMS. The Lymes, Priory Road, Bowden. ‘Winnie’ daughter of Dr Surridge. £15.15.0 watercolour on ivorine rectangular recent burr wood frame 122 mm (4 3/4 in) high

£300 - 400

signed A de Bathe R.B.A. lower right watercolour on ivory

signed and dated 1927, verso watercolour on ivory

gilt metal frame oval, 125 mm (4 3/4 in) high

rectangular ‘hammered’ white alloy frame

£200 - 300

82 mm (3 1/4 in) high PROVENANCE: Sale, Reeman Dansie, Colchester, 15 February 2017, lot 970

£100 - 150 Major Hardisty, MBE (1858-1924) was a cadet in the 29th Foot (London Gazette, 10th May 1878), Major in the Worcestershire Regiment in 1910.

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476 HUGH DOUGLAS HAMILTON (IRISH B. circa 1739-1808) Portrait of a Lady, wearing low cut white dress and fichu, with upswept powdered hair pastel original 18th Century carved gilt wood frame 30 x 25 cm (12 x 10 in) PROVENANCE: Sale, Christie’s, London, 14 June 1977

£600 - 800

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143

477

478

ENGLISH SCHOOL (circa 1820) after SIR THOMAS LAWRENCE

ENGLISH SCHOOL (circa 1832)

Portrait miniature of Lady Emily Cowper, later Lady Ashley, Countess of Shaftesbury, as a child, wearing a white dress with blue sash and coral necklace watercolour on ivory rectangular gilt gesso frame 21 x 18.5 cm (8 1/4 x 7 1/4 in)

£150 - 250 Emily Caroline Catherine Frances (1810-1872), first daughter of the 5th Earl Cowper, married on June 10, 1830, Anthony Ashley-Cooper, 7th Earl of Shaftesbury (1801-1885), the great evangelical philanthropist, who is commemorated by the statue of Eros in Piccadilly Circus. Lawrence painted Lady Emily when she was about three years old.

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Portrait of a young man, seated in an armchair his hand resting on a book signed with initial and dated P 1832 (lower left) watercolour over pencil original gilt moulded frame 22.5 x 17.5 cm (9 x 7 in)

£300 - 500

Por trait Miniatures

479

ATTRIBUTED TO CORNELIUS BEAVIS DURHAM (BRITISH 1809-1884)

Property from an English Estate

Miss Margaret Little

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)

watercolour 34 x 27 cm (13 1/2 x 10 3/4 in)

£400 - 600 Miss Little`s father was Rev. T.W. Little of Fordingbridge, Hampshire. Durham is known for his portrait painting and miniatures, winning awards at the Society of Arts 1825-26 and a gold Isis medal in 1832.

£150 - 250

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Index Achenbach, Andreas 385 Baker, Thomas 395 Baron, Henri Charles Antoine 480 Barry, John 449 Bignoli, Antonio 370 Bone, Henry Pierce 420 Borione, Bernard-Louis 362, 363 Burch, Edward 427 Burhc, Henry Jacob Jr 434, 436 Burne-Jones, Sir Edward Coley 356 Brendel, Albert Heinrich 376 Brunery, Francois 359, 360 Caffé, Nino 337 Childe, James Warren 464 Colleges, E.A.G 469 Colnot, Arnout 318 Costa, Giovanni 404 423, 425, 448 423, 425 Cotman, John Sell 368 Cox, David Snr. 384 Craig, William Marshall 410 Crosse, Richard 416 D’Aguilar, Michael 379 Dali, Salvador 338, 339 Daniel, Joseph 435 De Bathe, Adolphe 474 De Baux, Raymond 371A Denton, William 451 De Monvel, Bernard Boutet 319, 320 Deschamps, Gabriel 391 Dommerhuijzen, Pieter Cornelius 377 Easton, Reginald 465 Engleheart, George 429, 430 English School (18th Century) 417, 418, 419 452 English School (19th Century) 450, 462, 463, 478 Essex, William 421 Faber, John the Elder 412 Fox, Charles 446 French Provincial School and French School (1815/1821) 453, 455 French School (circa 1821) 456 Frenkel-Frenel, Itzhak 309 Gerard, Theodore 374 German School 458 Gilder, Henry 382 Glover, John 381 Goodwin, Albert 386 Grant, Sir Francis 402 Hamilton, Hugh Douglas 476 Hanly, Pat 340, 341, 342 Hassall, John 354 Harding, Edward 444 Hargreaves, Thomas 440, 442 Hardisty, Margaret 475 Harman 467 Hay, William 387 Hess, Louis Christian 321, 322, 323, 324, 325, 326, 327 Hobday, William Armfield 445 Howitt, Samuel 407 Hume, Edith 390 Italian School 454, 459, 460 Jagger, Charles 441 Janecek, Ota 350

Jean, Phillip 431, 432 Jungmann, Nico 355 Khmeliuk, Vasyl 351 Kikoïne, Michel 302 Landini, Andrea 358 Lanskoy, André 311 Larionov, Mikhail 306 Lawrence, Sir Thomas 477 Lazerges, Jean Raymond Hippolyte 372, 373 Leech, John 406, 409 Leighton, Sir Frederick Lord 357 Levy-Dhurmer, Lucien 352 Lynn, John 380 Mané-Katz 308 Mason, George Heming 404 Marcel-Beronneau, Pierre Amedee 353 Marchand, Jean Hippolyte 317 Medek, Mikulas 348, 349 Mee, Anne 438 Minott, Joseph Otis 466 Monzain, François Stanislas 304 Mongin, Antoine Pierre 400 Monsted, Peder 375 Moore, Henry 378 Morland, George 389 Neal, Charles 392, 393, 394 Nixon, James 414 Ozenfant, Amedeé 301 Palmer, Eleanor 473 Pascin, Jules 305 Petroff, Wladimir 371 Pissarro, Georges Manzana 313, 315, 316 Pressmane, Joseph 303 Priechenfried, Alois 366, 367 Provincial School (American?) 457 Rodo-Pissarro, Ludovic 314 Roualt, Georges 312 Ross, Eleanor Maclean 470 Rose, Karl Julius 396 Sandby, Paul 383 Schugrin, Anatol Ivanovic 343, 344, 345, 346, 347, Shelley, Samuel 428 Sherrin, Daniel 389A Shirreff, Charles 424, 426 Singier, Gustave 300 Smith, John Thomas 403 Spanish School 461 Spencer, Gervase 413 Stewart, James 447 Stothard, Thomas 398 Thiboust, Jean Pierre 422 Thicke, William 443 Thomas, Antoine-Jean-Baptiste 399 Thorburn, Archibald 408 Varley, John 405 Vibert, Jehan Georges 361 Von Motesickzky, Marie-Louise 328, 329, 330, 332, 332, 333, 334, 335, 336 Weigall, Henry Jr 388 Weingarten, Elisabeth 471 Zadkine, Ossip 310

147

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

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at least 24 hours before the sale. Registration thereafter shall be at the auctioneer’s entire discretion. International bidders may be required to register 48 hours before the sale and to submit bank details. A deposit may be requested prior to each sale. Failure to register shall result in the impossibility for the bidder to purchase a Lot. 1.10 Proof of identity Bidders not previously known to CA Ltd will be required to provide: • Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable. • Proof of address of main residence. Only official documents showing name and address will be accepted. • Both landline and mobile telephone numbers • A bank reference for foreign bidders may be requested • Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the above-mentioned requirements for proof of identity. Any Bidder that does not match the provided identity for registration may not purchase during the sale. 2. DURING THE SALE 2.1 Attendance at auction Attending the auction in person is recommended. CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises. Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale. 2.2 Personal bidding Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale. 2.3 Commission bids CA Ltd will use reasonable efforts to carry out Commission bids received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it. Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot. In the event of multiple commission bids set at the same price, the first registered commission bid will take priority. 2.4 Telephone bids If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone. CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder. 2.5 Internet bids Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues affecting connection. In addition to having our own in-house online bidding platform, some sales are also offered with online live bidding by third party platforms, CA Ltd is not responsible for any issues that may arise during registration or utilising said platforms. CA ltd encourages prospective bidders to bid directly with Chiswick Live or via traditional direct in-house means wherever possible. 2.6 Bidding on behalf of someone

Terms and Conditions for Buyers at Chiswick Auctions A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required. 2.7 Bidding on an item Bid incrementation is at the auctioneer’s entire discretion. 2.8 Video transmission For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome. 2.9 Online-only auctions Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd. 2.10 Dispute resolution during the auction Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’s entire discretion. 3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale. 3.2 Transfer of property Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyer’s premium, relevant taxes, and costs in relation to shipping. 3.3 Transfer of risks Purchased Lots shall be at the Buyer’s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise. 3.4 Cancellation of the sale At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter. Under no circumstances can the Buyer cancel the sale. CA Ltd may at its entire discretion, during or after the auction, cancel the sale of the Lot or reoffer and resell the Lot if it becomes aware of any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale. Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc. In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract. 4. AFTER THE SALE 4.1 Payment All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express. CA ltd adheres strictly to current anti-money laundering regulations and reserves the right

to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance. Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers. Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional. Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. 4.2 Buyer’s Premium The Buyer will pay CA Ltd a premium of 25% on the hammer price plus VAT on that commission on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots. The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis. †: Normal VAT rules?apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the UK 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-UK 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 UK, you must use Chiswick Auctions Ltd TA Shipper, Regency Shipping Ltd 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:

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Terms and Conditions for Buyers at Chiswick Auctions • 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

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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

Terms and Conditions for Buyers at Chiswick Auctions Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: • Heat treatment to enhance sapphires and rubies’ clarity and colour • Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone • Staining • Irradiation • Coating Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof. A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone. If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only. 6.2 Estimated weights If a stone’s exact weight appears within the body of the description, the stone has been unmounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. 6.3 Signatures ‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker. ‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. ‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client. ‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic. Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details. 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and without defects, or has been subject to repair or restoration. CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto. The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof. Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for import or export purposes in accordance with CITES regulations. CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps. 8. FURNITURE

8.1 Upholstered furniture after 1950 According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale. 9. GLOSSARY OF PICTURE CATALOGUING TERMS Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 1 JMW Turner: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. 2 Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category. 3 Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction. 4 Circle of JMW Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. 5 Style of; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil. 6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date. 7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist. 8 The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. 9 The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist. 10 Pictures are framed unless otherwise stated. 10. ASIAN ARTS 10.1 Import and export restrictions When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items. 10.2 Fine Chinese Paintings Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, a ‘forgery’ is defined as a work created with the intent to deceive. 11. BOOKS AND MANUSCRIPTS Books and manuscripts sold as incomplete are not subject to returns. Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to unnamed books or to books sold under the heading of ‘binding’ or ‘bindings’. 12. WINES AND SPIRITS In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level.

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Terms and Conditions for Buyers at Chiswick Auctions For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of an ‘acceptable’ fill level from CA Ltd. CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc. 13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. Some Lots may be subject to copyright protection, CA Ltd does not guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder. 15. SEVERABILITY Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result. 16. AMENDMENTS The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

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