Chiswick-Auctions-Old Master-Paintings-Drawings-22-April2021 by Chiswick Auctions

Old Master Paintings & Drawings 22 April 2021

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Front Cover Lot 106 Back Cover Lot 114 Index Lot 108 Inner spreads Lots 116, 117, 150 Photography Steven McCauley

101

CIRCLE OF PERINO DEL VAGA (FLORENCE 1501 - 1547) Ornamental female figure pen and brown ink over black chalk on paper, mounted 255 x 108 mm (10 x 4 1/4 in.) The shape and size of the present work suggest it was an ornemental design for a fresco decoration, a piece of silver or a tapestry. £1,500 - 2,500

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102

NORTHERN ITALIAN SCHOOL (LATE 16TH CENTURY) Illustration for a thesis frontispice or ‘Conclusiones’ for a Jesuit College pen and brown ink and brown wash on paper, indented 296 x 185 mm (11 3/4 x 7 1/4 in.) watermark (Briquet 6033, which dates the paper to 1560, Trento, Italy) The present work is a design for a thesis frontispiece by a student at the Accademia degli Aristofi, the scholarly body formed within the Jesuit Collegio di Brera in Milan in 1593. Also referred to as the Accademia partenia, it was dedicated to the Virgin Mary, whose symbol of lilies also referenced the apparent purity of its students. The left half of the present works sketch depicts a well in a garden above which a waterwheel gushes forth water. Over the wheel is the Latin motto [Vna] Omnes (all together). The iconography of the fount of sparkling water, the engineering of the wheel and the call for collaboration evokes the principles and interests of the Accademia degli Aristofi, and was an iconography first adopted by an anonymous hand circa 1597 (Biblioteca Nazionale Braidense, Milan). (Fig.1) (1) Jenifer Montagu has pointed out that the cartouche held by a putto to top right of the design would have been for the arms of the dedicatee. (1) Alessia Alberti, ‘Un aspetto della festa barocca nello Milano del Seicento: le incisioni per tesi di Giovanni Paolo Bianchi’, in Rassegna di Studi e di Notizie, Milan, 2013, vol. XXXIV, pp. 112-113 £1,500 - 2,500

103

FLORENTINE SCHOOL, CIRCA 1700 Studies of hands red chalk on paper, mounted 280 x 205 mm (11 x 8 1/4 in.) (watermark, edge) £800 - 1,000

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104

FRENCH SCHOOL, CIRCA 1670 After Aruncus or the Gleaner, a garden herm in Versailles red chalk on paper 460 x 290 mm (18 x 11 1/2 in.) The present work is a copy after the marble sculpture executed in 1656 in Rome by an unknown hand, after a design by Nicolas Poussin (1594 - 1665). The marble belonged to Nicolas Fouquet (1615-1680), and was originally displayed in the gardens of his castle in Vauxle-Vicomte.The sculpture was later engraved by Simon Thomassin (1652? - 1732) (2), and moved to Versailles before 1850 to replace another herm of Winter (3). (1) 2060 x 655 (inv. 1850.9188; MR1976) (2) Recueil des Figures, Groupes, Thermes [sic], Fontaines, Vases et autres ornemens tels qu’ils se Voyent à présent dans le Château et Parc de Versailles, gravé d’après les originaux par Sieur Thomassin, Graveur du Roy, A Paris, chez ledit Thomassin, rue St. Jacques, vis à vis la rue du Plastre à l’enseigne de l’Annonciation et de l’Espérance, Paris,1694, no. 185 (3) B. Rosasco, ‘The Herms of Versailles in the 1680s’, The Princeton University Library Chronicle , Vol. 76, No. 1-2 (Winter 2015), pp. 145-17 £600 - 800

105

ABRAHAM JANSZ BEGEYN (LEIDEN1637 - BERLIN 1697) Classical landscape with a flock of goats resting in thistles and a group of female figures in the background signed A bega (lower left) oil on canvas 105 x 130 cm (41 1/4 x 51 1/4 in.) PROVENANCE: Sale, Christie’s, London, 26th April 2017, lot 316; Sale, Christie’s, London, 8th December 1967, lot 134. £4,000 - 6,000

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106

ATTRIBUTED TO CLAUDE DERUET (NANCY 1588 - 1660) Portrait of a Lady in a pink dress oil on canvas 73 x 60 cm (28 2/3 x 23 1/2 in.) The present work reflects Claude Deruet’s canon of sublime feminine beauty, or ‘façon Deruet’ as it was known at the time, which the painter had developed in 1640s. (1) Fascinated by the concept of feminine beauty, he became the preferred portraitist for many leading Ladies of the day.

Deruet trained in the workshop of Jacques Bellange (1575-1616), and then in Italy with Cavaliere d’Arpino (1568-1640) and Antonio Tempesta (1555-1630); all great masters whom he learnt his maneria from. He was appointed chief painter to the duchy of Lorraine in 1620 by Henry II and painted Louis XIII in 1624. (1) Mélanie Logre, ‘Claude Deruet (1588-1660), Survivances de la maniera dans l’œuvre d’un Nancéien du XVIIe siècle’, in Doctorales, Nancy, 16th November 2013. £4,000 - 6,000

107

ROMAN SCHOOL (17TH CENTURY) Apples, figs, pears and other fruits in a basket, with two watermelons on a ledge oil on canvas 71.6 x 96.5 cm (28 1/4 x 38 in.) PROVENANCE: with Galleria Giorgio Caretto, Turin, by 1981; Sale, Bolaffi, Turin, 2nd April 2019, lot 212. £7,000 - 9,000

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108

BERNHARD KEILHAU CALLED MONSÙ BERNARDO (HELSINGOR 1624 - ROME 1687) Harvesting oil on canvas 108 x 150 cm (42 1/2 x 59 in.) PROVENANCE: Sale, Sotheby’s, Florence, 18th October 1969, lot 103; Sale, Minerva Auctions, Rome, 27th November 2018, lot 202 LITERATURE Heimbürger M., Bernardo Keilhau detto Monsù Bernardo, Rome, 1988, p. 232 The present work is recorded in the Fondazione Zeri photo archive as fully attributed to Monsù Bernardo (no. 48460). After training in his native Denmark, Bernhard Keil worked in Rembrandt’s studio and then, in 1651, left the Dutch Republic for Italy, where he eventually settled in Rome. Other works by the artist can be found in the Metropolitan Museum, New York (The Lacemaker), in the Boijmans Museum van Beuningen in Rotterdam, (Family Group in an Interior) and in the Princeton University Art Museum, (Seated Girl with Wreaths of Roses). £8,000 - 12,000

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109

BOLOGNESE SCHOOL (EARLY 17TH CENTURY) Portrait of a Gentleman with a crucifix oil on canvas 130 x 88 cm (151 x 34 1/2 in.) £6,000 - 8,000

110

NEAPOLITAN SCHOOL (LATE-17TH CENTURY) The Visitation pen and brown ink over red chalk on paper laid down 155 x 243 mm (6 x 9 1/2 in.) £700- 800

111

SALVATORE ROSA (NAPLES 1615 - ROME 1673) Study of a standing figure in profile pen and brown ink 122 x 33 mm (4 3/4 x 1 3/10 in.) PROVENANCE: Property from a European Private Collection. The present work is comparable in style and technique to a study of a female figure in profile in the Musée du Louvre, Paris (INV 9747), that relates to the Cumean Sybil in a painting and an engraving by Salvatore Rosa. £2,500 - 3,500

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112

FLORENTINE SCHOOL (LATE 17TH CENTURY - EARLY 18TH CENTURY) Diana resting with her dog pen and brown ink over black chalk and blue wash, with white heightening on paper, laid down 205 x 213 mm (cut out and laid down on to sheet 270 x 292 mm); (8 x 8 1/4 in.) mounted Bears inscription gennaro laudi on the mount; dated 1684 on the laid down paper. PROVENANCE: Lugt unidentified mark (L. 2099) The collector’s mark on the present work can be found on Florentine drawings from the 16th, 17th and 18th centuries as recorded in Lugt’s Inventory in 1921 and 1956. £600 - 800 24

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113

ROMAN SCHOOL (18TH CENTURY) Mary Magdalene washing the feet of the Christ in the House of Simon the Pharisee red chalk, brown wash and white heightening on paper laid down 402 x 301 mm (15 3/4 x 11 3/4 in.) £2,000 - 2,500

114

VENETIAN SCHOOL (EARLY/MID-17TH CENTURY) Portrait of a Lady as Flora oil on canvas 72 x 56 cm (28 1/4 x 22 in.) PROVENANCE: Sale, Cambi Casa d’Aste, Genoa, 30th May 2018, lot 115 (as attributed to Antonio Zanchi). The present painting of a Lady as Flora reprises the Bella genre popular among Venetian female sitters in the 16th century. (1) Conveying an idealised sense of beauty rather than a realistic portrait, the intention was to reflect the sitter’s inner virtue. The portraits were more or less erotic according to the taste of the individual commissioning the painting. A leading example of the Bella genre is Titian’s Flora in the Uffizi Gallery, Florence. (2) In it Flora – goddess of spring and re-birth – is depicted with long hair, and holds flowers and leaves – symbols of marital love. Beyond the Allegory however lies a portrait of a spouse to be. Unveiling one of her breasts, the sitter shows two fingers open which presages the loss of her Virginity. Later on in 18th-century Venice and in keeping with the Bella genre, Giovanni Battista Tiepolo (1696-1770) would also paint his own example of a Portrait of a Lady as Flora (Sotheby’s, London, 5th July 2017, lot 37). (1) Joséphine Le Foll, ‘Les Belles Vénitiennes’, in Raphael et son temps, p.173 (2) Gloria Fossi, Galleria degli Uffizi: Arte, Storia, Collection, Milan, 2015, p. 231 £7,000 - 9,000

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115

ROMAN SCHOOL (17TH CENTURY) A Bowl of blackberries with other fruits on a table oil on canvas 35.6 x 47 cm (14 x 18 1/2 in.) £3,000 - 5,000

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116

PROPERTY FROM A PRESTIGIOUS PRIVATE ITALIAN COLLECTION A NORTH EUROPEAN PAINTED AND EBONISED TABLE CABINET, THE PAINTED PANELS FRENCH SCHOOL, THIRD QUARTER 17TH CENTURY, INSET INTO A 19TH-CENTURY CABINET Still Lives with fruits and flowers oils on wooden panels, compressed bun feet 65 x 42 x 106 cm (25 1/2 x 16 1/2 x 41 2/3 in.) £3,000 - 5,000

117

CIRCLE OF FELICE GIANI (SAN SEBASTIANO CURONE 1758 - ROME 1823) The birth of Bacchus oil on canvas 28.5 x 33 cm (11 1/4 x 13 in.) The present work recalls in subject and composition a drawing representing Mercurio leaving Bacchus to the care of the Nymphs of Mount Nisa by Felice Giani, in the collection of the Pinacoteca Nazionale di Bologna, Italy (national inv. 0800084172) (Fig. 1). Bacchus was the child of the Roman god Jupiter, and Semélé, a human whom Juno had tricked into asking to see Jupiter as he really was. Since Semélé was a mortal, she was burned up by the sight of Jupiter in his divine form. So Jupiter sewed the infant Bacchus into his thigh, and gave birth to him nine months later. £1,500 - 2,500

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118

119

BOLOGNESE SCHOOL (17TH CENTURY) The Infant Jesus lying on the Cross oil on canvas 58.5 x 86.5 cm (23 x 34 in.)

CIRCLE OF LAURENT DE LA HYRE (PARIS 1606 - 1656) Putti playing with grapes and a drum oil on canvas 58 x 65 cm (22 3/4 x 25 1/2 in.)

£1,500 - 2,500

£2,000 - 3,000

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120

ITALIAN SCHOOL, CIRCA 1580 Portrait of a lady, half-length, in a floral embroidered gown and lace ruff oil on panel 62.3 x 51.2 cm (24 1/2 x 20 in.) £4,000 - 6,000

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121

SIENESE ITALIAN SCHOOL (17TH CENTURY) Standing female figure with a dove red and black chalks on paper, laid down 130 x 100 mm (5 x 4 in.) £300 - 400

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122

CHARLES-JOSEPH NATOIRE (NIMES 1700 - CASTEL GANDOLFO 1777) The Sacred Heart appearing to Sainte Marguerite-Marie Alacoque (1647-1690) pen and brown ink with grey wash over black chalk, within drawn lines on paper 103 x 186 mm (4 x 7 1/4 in.) PROVENANCE: Collection S. Baglioni (stamp on the reverse) The present drawing was either executed or heavily retouched by Charles-Joseph Natoire. Perhaps inspired by Rubens’ habit of retouching drawings, and by the knowledge that Crozat and Mariette admired such sheets by Rubens, in like manner Natoire often took his own pen and brush to the drawings in his collection. (1)

During his directorship of the Académie de France in Rome (1751-1775), Natoire was a very active collector, acquiring large numbers of italian drawings. In a letter to Marigny on 17th January 1759 he wrote: ‘my sole pleasure lies in collecting some drawings by good artists and not of great value’ (2). A group of these retouched works, mostly Italian and acquired by the Comte d’Orsay (1748-1809) from Natoire’s brother, entered the Louvre before what remained of Natoire’s collection was sold at auction in Paris (3).

it is similar to such sheets as the Char du Soleil in the Louvre (INV 31417). (1) Perrin Stein, ‘Copies and retouched drawings by Charles-Joseph Natoire Master’ in Master Drawings, vol. 38, no 2, Summer 2000, pp. 167-186 (2) Correspondance, vol. 11, p. 260: letter 5327, in Perrin Stein, Ibid., p. 185, footnote 30. (3) P. Stein, Ibid., p. 175 £700 - 900

The vignette format of the present drawing suggests it is a preparatory sketch for a book illustration, which bears comparison in purpose with a preparatory drawing by Natoire for the illustration of the third book of De vita e rebus gestis Clementis undecimi pontificis maximi libri sex in the Morgan Library, New York (INV 109951). Stylistically,

123

ATTRIBUTED TO FRA SEMPLICE DA VERONA (VERONA 1589 - 1654) Three studies of a Capuchin Friar laid down with verso visible (inventory number on verso, 1026, 10) 125 x 200 mm (5 x 7 3/4 in.) The present work draws comparison in subject and in treatment with other sheets by Fra Semplice da Verona from the Würzburg Collection in Germany and published by Stefan Morét in 2007. The drawn corpus by da Verona is thin and his drawings are rare; they most generally depict Capuchin Friars, as single studies or as part of larger compositions, in pen and brown ink and brown wash, almost always over red chalk.

Several of his later paintings were commissioned by the Capuchin order of which he was a member, and illustrated scenes and miracles from the life of Saint Felix of Cantalice, a Capuchin monk who was beatified in 1625. (1) Stefan Morét, ‘Alcuni disegni sconosciuti di Fra Semplice da Verona a Würzburg’, in Arte Veneta, Milan, 2007, pp. 216-222 £700 - 900

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124

WORKSHOP OF FRANCOIS PERRIER (PONTARLIER 1590 - PARIS 1650) Annunciation in a classical landscape pen and brown ink over black chalk with grey wash on paper 188 x 287 mm (7 1/2 x 10 1/2 in.) The style of the present work compares with that of Francois Bourlier (1617/1626?-?), pupil of Perrier, examples of which can be found in the Album Perrier donated to the Musée du Louvre in 1880 by Danish collector Colonel Andreas Krag of Copenhaguen (inv. RF879 to RF1060). (1) L-A. Prat, ‘Un bien curieux album’, Le Dessin Français au XVIIe, Paris, 2013, pp. 326-329 £700 - 900

124A

ROMAN SCHOOL (17TH CENTURY) Portait of a philosopher (‘Only the Sage is free’) oil on canvas 122.5 x 97.5 cm (48 1/4 x 38 1/3 in.) £4,000 - 6,000

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125

ANDREA DE LEONE (NAPLES 1610 - 1685) Battle between the Hebrews and the Philistines with David & Goliath oil on octagonal canvas 48.5 x 62 cm (19 x 24 1/2 in.) Painted circa 1650-1660 PROVENANCE: European private collection. Bears inscription on the reverse David che uccide il Gigante Golia / Dipinto di Andrea da Leone The present recently rediscovered work, can be dated to the mature period of Andrea di Leone’s career as a painter of battles, when his work reflects his increasing stylistic independence from his master Aniello Falcone (Naples 1660 - 1665). The scene of David fighting Goliath in the foreground emphasises the violent backdrop inspired by the wars of the time. Goliath’s size and distortion in the foreground are typical of De Leone’s style in his later years, as also shown in a signed painting of the same subject dating to circa 1645 in the collection of the Capodimonte Museum in Naples (inv. 8315), (fig. 1). De Leone’s sophisticated use of lapis lazuli in David’s cloak and in the sky adds drama to the composition. Divided into two parts, the foreground remains in the shadows leaving the protagonists in the dark while the light shed on the turbulent background reveals a mass of soldiers on the battlefield. The Neapolitan practice of life drawing was key to the depiction of such battle scenes, as illustrated by the several red chalk male nudes in movement.

Andrea di Leone built his fame and a commercial success on his battle paintings, stimulated by important commissions, and strong market demand thereafter. The battle painting genre developed in Naples in Aniello’s Falcone workshop, and it was Andrea de Leone and Salvatore Rosa in particular who went on to explore the theme further. The genre had become a flourishing topic of the day in aristocratic European circles, and in Naples most particularly, due to the Thirty Years’ War, which had seen young Neapolitans sent to the front across Europe. We are grateful to Miriam di Penta for her help in cataloguing this present lot. (1) see Andrea di Leone, Andrea De Leone (Napoli 1610-1685), Dipinti e disegni, Rome, 2016, cat. entry Q.7 £5,000 - 7,000

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126

PROPERTY FROM THE COUNTESS OF EGLINTON AND WINTON AFTER JACOB RUISDAEL, LATE 17TH CENTURY Landscape near Muiderberg oil on canvas 67.5 x 84 cm (26 1/2 x 33 in.) PROVENANCE: Sir Horace and Lady Pinching, Chateau de Tour de Peilz, Lake Geneva (Educated

at Pembroke College Oxford and St George’s Hospital, Sir Horace Pinching (KCMG - 1857-1935), joined the army as a surgeon in 1884. Seconded for service with the Egyptian army in 1888, he rose to the rank of Major in 1896 and was appointed Director general of the Egyptian Department of Public Health in 1899. Elevated to KCMG in 1902, the following year he married Edmée Anna Cramer of Presey, Geneva, by whom he had two daughters. He retired from the army in 1908.

John Dunn-Yarker, Leyburn Hall, Yorkshire (1940-2018; grandson of the above) Inherited by the present owner, sister of the above, The Countess of Eglinton and Winton. The present work is a 17th-century copy after the painting dating circa early 1650s in the Ashmolean Museum, Oxford (inv. no. WA1955.66). £2,500 - 3,500

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127

CIRCLE OF PHILIPS WOUWERMAN (HAARLEM 1619 - 1668) The hawking party oil on panel 34.3 x 38.7 cm (13 1/2 x 15 1/4 in.) red wax stamp on the backing of the panel £2,000 - 3,000

128

ANTONIO DE’ DOMINICI (ACTIVE IN NAPLES 1755-1794) Poitphar’s wife pen and brown ink, brown wash, white heightening on prepared grey paper 280 x 201 mm (11 x 8 in.) PROVENANCE: Antonio Dominici/a s. Gennaro anno 1560/ Sorrerno (in pen and brown in on verso) £200 - 300

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129

BOLOGNESE SCHOOL (MID-17TH CENTURY) Saint Agatha standing with her eyes in a coup and the martyr palm red chalk and stumping, mounted 360 x 215 mm (14 1/4 x 8 1/2 in.) PROVENANCE: Charles Henri Marcelli, Liege, (1798-1864), his mark (L.609); Count E.R. Lamponi-Leopardi, Florence, (2nd half of 19th century), his mark (L.1760), his sale, Milan, 10-19 Novembre 1902 £800 - 1,000 49

130

131

NEAPOLITAN SCHOOL (18TH CENTURY) Saint Benedetto in glory brush and grey wash, with grey wash on paper 420 x 280 mm (16 1/2 x 11 in.) watermark Bears inscription Giov. Battista Lorenzi in pen and brown ink.

OTTAVIANO DANDINI (FLORENCE 1681 - 1740 ) Studies of God Father and two figures battling in the lower part black chalk on paper 340 x 253 mm (13 1/4 x 10 in.)

£250 - 350

PROVENANCE: possibly Giovanni Targioni Tozzetti, Florence (1712-1783); possibly sale, London, Parsons & Sons, London, 1931 Bears inscription O.D in pen and black ink to the lower edge. In her piece on the collection DandiniTargioni, Silvia Benassai (1) recalls that a group of 150 sheets was offered at auction in 1931 at Parsons &Sons, London (2) and was dispersed between public

and private collections. All sheets carried an inscription in pen and black ink on the lower edge of each sheet with the initials of the drawings’ authors, all belonging to the Dandini family. The initials O.D on the present sheet are similar to those on one in the British Museum (C.D, inv number 1930,0414.16). (1) Silvia Benassai, ‘Disegni di Cesare e Pietro Dandini dalla raccolta DandiniTargioni Tozzetti’, in Donum. Studi di storia della Pittura, della scultura e del collezionismo a Firenze dal Cinquecento al Settecento, Florence, 2020, pp. 97-105 (2) A Collection of 152 clever and interesting original drawings in red chalk, pen and ink, pencil etc. by Vicenzo, cesare, Pietro and Ottaviano Dandini, London, 1931 £300 - 400 See page 6 for more information regarding fees

132

ITALIAN SCHOOL, CIRCA 1750 Architectural project of the transportation of Michelangelo’s Pietà in the first Chapel to the right inscribed ‘Trasporto, della Pieta di Michel’angelo del / coro dei canonici, anco, impediva le funzioni, alla’altare/ del Crocefisso alla destra nel ingresso della Basilica’ in pen and brown ink pen and brown ink with two tones of grey wash over black chalk, partially squarred 433 x 288 mm (17 x 11 1/4 in.) The present work records the event of the transportation of the Pietà by Michelangelo in 1750 and can be dated to around that time. £600 - 800

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133

GENOESE SCHOOL (18TH CENTURY) Pietà with the sinful souls in the lower part pen and brown ink over black chalk, with brown wash, within drawn line 257 x 180 mm (10 x 7 in.) watermark Bears an inventory number 121 in pen and pink ink in the upper left corner. Vallardi collection? £500 - 700

134

AFTER GIOVANNI PAOLO PANNINI Tivoli with tempietto; Rome with cestius pyramid oil on canvas 415 x 202 mm (16 1/4 x 8 in.) (a pair) £400 - 600

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135

BOLOGNESE SCHOOL (MID-17th CENTURY) Rinaldo and Armida oil on copper, oval 44 x 56.5 cm (17 1/4 x 22 1/4 in.) The present oil derives from Rinaldo and Armida, circa 1601, by Annibale Carracci, now in the National Museum of Capodimonte. Painted for Odoardo Farnese, Duke of Parma, it illustrates an episode from Canto XVI of Tasso’s Gerusalemme liberata featuring Rinaldo and Armida. £3,000 - 5,000

136

ANTWERP SCHOOL, (LATE 16TH CENTURY) Feast of the Gods (Humanity before the Deluge?) pen and brown ink, traces of red and black chalks 220 x 330 mm (8 1/2 x 13 in.) The present work is close in composition to the painting by Pawels Franck called Paolo Fiammingo (1540-1596) representing Humanity before the Deluge with the Tornabuoni gallery, Florence. £300 - 400

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137

ROMAN SCHOOL, CIRCA 1640 The Deluge pen and brown ink on paper, laid down 104 x 250 mm (4 1/8 x 9 7/8 in.) £700 - 900

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138

139

BOLOGNESE SCHOOL (LATE 17TH CENTURY) Study of Jesus-Christ after a sculpted crucifix black, red and white chalks on grey on paper 300 x 197 mm (11 2/3 x 7 2/3 in.) watermark PIB

MANNER OF FRANCESCO SALVATOR FONTEBASSO (VENICE 1707 - 1769) Christ and a helper pen and brown ink with grey wash on paper 226 x 173 mm (8 2/3 x 6 2/3 in.) £200 - 300

£600 - 800

140

FOLLOWER OF LUIS DE MORALES (BADAJOS 1509/1520 - 1586) Pietà oil on panel 43 x 31.5 cm (17 x 12 1/2 in.) £2,000 - 3,000

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141

WORKSHOP OF FRANS FRANCKEN II (ANTWERP 1581 - 1642) Flagellation of Christ c.1620 oil on copper laid down on wood 360 x 260 mm (14 1/4 x 10 1/4 in.) The present work draws stylistic comparison with a composition on copper by Frans Francken II representing the Mocking of Christ surrounded with other biblical studies, in the Museum Catharijneconvent, Utrecht (inv. StCC 57). £5,000 - 7,000

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142

AFTER FRANCISCO DE ZURBARAN Saint Francis of Assis in Meditation oil on canvas 154 x 98 cm (60 2/3 x 38 1/2 in.) The present work is a copy after the painting by Zurbaran of circa 1635-9 in the National Gallery, London (inv. no. NG230). £400 - 600

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143

EMILIAN SCHOOL (17TH CENTURY) Madonna with the Infant Jesus and a dove oil on panel 40 x 33 cm (15 2/3 x 13 in.) £1,200 - 1,500

144

GILLES-LAMBERT GODECHARLE (BRUXELLES 1750 - 1835) Female figure surrounded by children pen and black ink with grey wash over black chalk 191 x 227 mm (7 1/2 x 9 in.) £200 - 300

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145

ITALIAN NEOCLASSICAL SCHOOL Figures at a table pen and brown ink over black chalk, within drawn lines 190 x 237 mm (7 1/2 x 9 1/3 in.) £400 - 500

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146

147

CARL FRIEDRICH HEINRICH WERNER (WEIMAR 1808 - LEIPZIG 1894) Studies of figures in costume on boats; Scene of a gathering of figures in Renaissance costume (recto/ verso: various sketches) pencil and watercolour on paper 350 x 382 mm (13 2/3 x 15 in.); 242 x 466 mm (9 1/2 x 10 1/2 in.) (2)

CARL FRIEDRICH HEINRICH WERNER (WEIMAR 1808 - LEIPZIG 1894) Studies of figures in costume on boats graphite and watercolour on paper 480 x 370 mm (18 2/3 x 14 1/2 in.)

£700 - 900

This is a preparatory study – not used – for The Marriage Festival in Venice, signed and dated 1860, tempera and watercolour on paper, 74 x 63 cm (sale, Bonham’s London, Knightsbridge, November 26, 2013) £700 - 900 69

147A

FOLLOWER OF THEODORE GERICAULT (ROUEN 1791 - PARIS 1824) Achilles oil on canvas laid down on board 24 x 28 cm (9.5 x 11 in.) £800 - 1,200

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148

AFTER AEGIDIUS SADELER II (CIRCA 1600) The Massacre of the Innocents oil on canvas 64 x 56 cm (25 1/4 x 22 in.) £2,500 - £3,500

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149

NEOCLASSICAL ITALIAN SCHOOL The Arrest of Socrates oil on canvas 120 x 150 cm (47 1/4 x 59 in.) £1,500 - 2,500

150

ATTRIBUTED TO ISAAC DE MOUCHERON (AMSTERDAM 1667 – 1774) A villa in a wooded park with an obelisque pen and brown ink, watercolour, on paper, laid down and mounted 282 x 216 mm (11 x 8 1/2 in.) bears inventory number 758 in pen and purple ink on the reverse of the mount £1,000 - 2,000

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151

AUGUSTE-ALEXANDRE GUILLAUMOT (PARIS 1815 - MARLY LE ROI 1892) Design for a Fountain project in Les Batignolles, Paris signed Ate Guillaumot/ a Batignolles, rue Lemercier No 2, dated 30 juin 1859 watercolour on paper over black chalk on paper 240 x 305 mm (9 1/2 x 12 in.) watermark running along the lower edge

the fountain engineering, as opposed to the known group of drawings recording the various views of the Château de Marly (see Bibliotheque Nationale de France, Paris). We are grateful to Bruno Bentz for kindly dating the present architectural drawing to early in the career of Auguste-Alexandre Guillaumot. £500 - 600

The present work is an early design for a fountain project, never realised, in the Batignolles area in Paris where AugusteAlexandre Guillaumot had his studio at 2, rue Lemercier before moving to Marly-le-Roi. The present work depicts a design project Guillaumot and various inscriptions suggesting 75

152

LOUIS-JOSEPH WATTEAU CALLED WATTEAU DE LILLE (VALENCIENNES 1758 - LILLE 1823) Le marchand ambulant; Le marchand d’étain signed F. Watteau / 1779 (lower right) oil on panel 39.8 x 53 cm (15 5/8 x 20 7/8 in.) (2) £2,000 - 3,000

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153

154

JOSEPH MARCUS HERMANN (FREIBURG 1732 - 1811) Bagpipe player in a landscape with two children in the background red chalk and stumping on paper 360 x 225 mm (14 1/4 x 8 2/3 in.) watermark

MANNER OF HUBERT ROBERT A cliff red chalk on paper 335 x 225 mm (13 x 8 2/3 in.) £200 - 300

£300 - 400

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155

ATTRIBUTED TO EDME BOUCHARDON (CHAUMONT 1698 - PARIS 1762) A male figure kneeling in profile red chalk over black chalk 392 x 272 mm (15 1/2 x 10 2/3 in.) PROVENANCE: Alessandro Maggiori, his handwritten note ‘Alessandro compro in Roma l’anno 1809’, his mark (L.3005b) £200 - 300

156

FRENCH SCHOOL (18TH CENTURY) A male figure leaning on a ruin red chalk, counterproof 268 x 401 mm (10 1/2 x 15 2/3 in.) £150 - 250

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156A

PROPERTY FROM THE ESTATE OF MARY DONOVAN-ROUGHSEDGE PHILIPPE-JACQUES DE LOUTHERBOURG R.A. (STRASBOURG 1740 - CHISWICK 1812) The dressing of a wounded General brown and grey wash over pencil heightened with white 35 x 46 cm (13 2/3 x 18 in.) £600 - 800

157

VENETIAN SCHOOL (18TH CENTURY) Vedute with travellers oil on canvas 73 x 149 cm (28 2/3 x 58 1/2 in.) £3,000 - 5,000

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158

CIRCLE OF CASPARD VAN WITTEL (AMERSFOORT 1653 - 1736) Landscape with a bridge gouache on parchment 200 x 300 mm (7 2/3 x 11 2/3 in.) £1,000 - 2,000

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159

SWISS SCHOOL, CIRCA 1650 Gentleman in a landscape gouache on paper 220 x 138 mm (8 1/2 x 5 1/2 in.) £500 - 700

160

FORTUNATO DURANTI (MONTEFORTINO 1787-1863) Figure studies pen and brown ink with brown wash 150 x 115 mm (6 x 4 1/2 in.); 130 x 102 mm (5 1/4 x 4 in.) (2) £400 - 600

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161

ROMAN SCHOOL, CIRCA 1620 Studies after trophies; Female head study, bozzetto bears inscription Molto il Sig. et Pro (padrone) Osservandissimo..../ Per la Cardinale.. il quadro del ... ben condironato pen and brown ink and brown wash on paper; pen and brown ink and red chalk 190 x 267 mm (7 1/2 x 10 1/2 in.) £800 - 1,200 88

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162

FORTUNATO DURANTI (MONTEFORTINO 1787-1863) A monk at an altar with the Virgin Mary with the Infant Jesus pen and brown ink over black chalk on paper, squared up in pen and ink, mounted 205 x 145 mm (8 1/4 x 5 3/4 in.) £500 - 700

163

CIRCLE OF JACOB FERDINAND VOET (ANTWERP 1639 - PARIS 1689) Portrait of Hortense Mancini? oil on canvas 75 x 60.5 cm (29 1/2 x 23 2/3 in.) £3,000 - 5,000

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164

165

FOLLOWER OF ABRAHAM BLOMAERT (GORINCHEM 1566 - UTRECHT 1651) Studies of baby hands inscribed A*** 1732 red chalk, white and yellow heightening, counterproofed from the upper part of the sheet to the lower one 262 x 176 mm (10 1/4 x 7 in.) watermark

ATTRIBUTED TO JEAN-JACQUES GRANDVILLE (NANCY 1803 - VANVES 1847) Portrait of Simon Fraser, eleventh Lord Lovat pen and brown ink, watercolour on paper 355 x 240 mm (14 x 9 1/2 in.)

£300 - 400

The present work relates to a print executed by William Hogarth 1746 (see Royal Academy, inv. 17/3855), sketched by the artist at St Albans, where on his way to London for trial and later execution. Jacobite conspirator, Lord Lovat, is sat at a desk on which rest his ‘Memoirs’. After his arrest in 1746 Lovat was brought to London for trial. On the way he stopped briefly in St Albans, where William Hogarth arranged to meet him at the White Hart Inn. The result of the meeting was this famous print, published while Lovat was lodged in the Tower of London. The print was much in demand and was the source of numerous contemporary copies. £800 - 1,000

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The Art of the Frame (LOTS 166 - 200)

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Over the centuries frames have served to protect and embellish a painting or work on paper; typically they offer substance and give grandeur. In the Renaissance the frame enjoyed a starring role. But over time its status has diminished to that of a simple means of support. Today the origin and significance of a frame is regularly under-appreciated, their design understood by but a few. Traditionally artists have used frames wisely and to great effect. A flamboyant example in this sale is lot 191, a pair of carved and gilded Carlo Maratta style frames. The surface of each is in high and bold relief, and gilded in gold leaf. The common use of softwood from poplar trees allowed for such sumptuous and heavy carvings so often associated with the Florentine, Venetian and Bolognese studios. The gilding served as a source of light in dark interiors, and to dazzle when illuminated by candlelight. The effect is the creation of a highly theatrical surround and the bathing of the works within in a reflected golden glow. In contrast is the more austere 17th century Dutch tortoiseshell frame such as lot 166. Refined, and composed of oak with ripple and wave ebonised mouldings, the hardwood determined a much more restrained architectural effect. The Dutch master frame makers of the 17th century took the art of carved mouldings to new heights and to fabulous lasting effect. These two very different styles, one from the South, the other from the North each tell their own stories, produced at the same time during the latter part of the 17th century, they served the same essential purpose, but in effect were worlds apart, reflecting not just the local materials available, but the character of two very different cultures.

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LOT 166. A DUTCH 17 TH CENTURY EBONISED AND TORTOISESHELL FRAME. Estimate £800 - 1200

01.

02.

03. SIGHT EDGE MEASUREMENT SECTION DEPTH

DETAIL 01

DETAIL 03

This wood has been stained a dark colour – ebonised – so as not to detract from the painting itself. Combined with the tor toiseshell, it produces the more austere frame favoured by the Dutch.

An ogee is an architectural term to describe an ‘S’-shaped profile. Think of the edge of a kitchen counter top! Here, the ogee of the frame is inlaid with tor toiseshell, an effect that was often rendered in paint rather than the real thing (see lot 172).

DETAIL 02

COUNTRY DETAIL

The sight edge is, we believe, made from an ebony veneer and treated in a machine to produce this ‘ripple and wave’ effect. Ebony was expensive and exotic, its use therefore limited to that of a veneer, impor ted from the Dutch East Indies, ‘Dutch ripple’ frames were often produced in other areas of Europe, including Spain, as a result of the Hapsburg Empire ruling both Spain and the area we now know as the Netherlands.

In the 17th Century, Dutch interiors lacked a lot of natural light – a combination of architectural design, narrow streets in towns and the weather. Consequently, the Dutch frame-makers preferred dark designs, such as staining the wood a dark or black colour (ebonising), or utilising materials such as ebony. This meant that the frame would not distract from the painting in low light or candlelight, in a way that a gilded frame would.

LOT 169. A SPANISH 17 TH CENTURY-STYLE PAINTED AND GILDED FRAME.

01.

Estimate £500 – 700 02.

DETAIL 01

COUNTRY DETAIL

Gilding – the process of applying gold or silver leaf (or an imitation of metal alloys) to the frame surface (wood, plaster) to spectacular effect. Gilded frames have been produced since the 12th century, and the methods employed can be quite complex.

The evolution of Spanish frame styles closely followed that of Italy. The 17th century was the pinnacle of Spanish frame making; they became known for their dramatic gilding and sculptural carvings, as well as stark ebonised finishes as illustrated in this example.

DETAIL 02 A Cavetto sight edge is a concave moulding, usually a quar ter-circle. The word comes from Italian, and from the Latin for ‘hollow’. A concave moulding of a full semi-circle is called a ‘scotia’.

100

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LOT 172. AN ITALIAN 18 TH/19 TH CENTURY FAUX TORTOISESHELL PAINTED AND CARVED MOULDING FRAME.

02.

Estimate £800 – 1200 01.

DETAIL 01

COUNTRY DETAIL

This detail shows incised scrolling foliage on punch work. Punch work refers to an intricate decoration made by ‘stamping’ the frame with small pattered punches to create a textured pattern. We think this was used to diffuse the light falling on the frame, and to add texture.

Italy was the centre of frame making from the 16th century onwards. The country’s craftsmen became known for their gilding, ornamentation and ar tistic beauty. Each region developed their own style e.g. Venetian, Florentine or Bolognese. The basic ‘cassetta’ (little box) frame originated in Italy and has become a staple of frame making ever since.

DETAIL 02 Here, the hollow is faux tor toiseshell (see lot 166) – a painted effect far cheaper to produce!

LOT 174. A LOUIS XVI CARVED AND GILDED COMPOSITION FRAME. Estimate £400 - £600

01.

DETAIL 01

COUNTRY DETAIL

This egg-and-dark pattern will be widely recognised from Classic architectural detailing and was commonly used on frames – a continuously carved or cast ornament, consisting of alternating egg and arrow-shaped motifs.

Louis XIV, XV and XVI frame styles represent the ‘golden age of frame making’. France became known for spectacular frames, ornamental carving, gilding and other designs as illustrated in this lot. Later in the period, ‘compo’ (plaster) accompanied the wooden carvings, as also shown in this example. Each King’s style influenced frame making in a different way. For example, frames often incorporated sun flowers in homage to the Sun King, Louis XIV.

02. DETAIL 02 This is a pearl course, which perhaps needs no fur ther explanation! They are also referred to as beaded, when the shapes are bigger.

03. DETAIL 03 Lamb’s tongue sight edge – lamb’s tongue ornamentation was commonly used in frame making – a continuous pattern said to represent a lamb’s tongue, cast or carved into the wood.

101

LOT 179. AN ENGLISH 18TH CENTURY VENETIAN-STYLE GILTWOOD CARVED SANSOVINO FRAME Estimate £700 - 1000 01.

DETAIL 01

COUNTRY DETAIL

A Sansovino frame is a par ticular type of Venetian frame, named after Jacopo Sansovino, who was an architect and sculptor. The are known for their carved, overlapping scrolls, garlands of fruit, and – as shown in this example – cherubs.

In the 17th and 18th centuries, English frame designs were greatly influenced by French and Dutch styles, although this par ticular lot demonstrates a strong Italian influence. Frames were often mass produced, using oak and later ‘compo’ (plaster). In the 19th century, many fine designs were produced, reflecting the Pre-Raphaelite and Ar ts and Crafts movements.

03. DETAIL 02 Venetian-style – as can be seen here, this style was very ornamental, with lavish embellishments and rich colours.

102

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103

Index A Antwerp School 136 B Begeyn, Abraham Jansz 105 Bloemaert, Abraham (follower of) 164 Bolognese School 109, 118, 129, 135, 138 Bouchardon, Edme (attributed to) 155 D Dandini, Ottaviano 131 Deruet, Claude (attributed to) 106 Delaroche, Paul (follower of) 148 Dominici, Antonio de’ 128 Duranti, Fortunato 160, 162 E Emilian School 143 F Florentine School 103, 112 Fontebasso, Francesco Salvator (manner of) 139 Francken II, Frans (workshop of) 141 French School 104, 156 G Genoese School 133 Giani, Felice (circle of) 117 Godecharle, Gilles-Lambert 144 Grandville, Jean-Jacques (attributed to) 165 Guillaumot, Auguste Alexandre 151 H Hermann, Joseph Marcus 153 Hyre, Laurent de la (circle of) 119 I Italian School 120, 132 Italian Neoclassical School 145, 149 L Leone, Andrea de 125 Loutherbourg, Philippe-Jacques de 156A

M Monsù Bernardo 108 Morales, Luis de (follower of) 140 Moucheron, Isaac de (attributed to) 150 N Natoire, Charles- Joseph 122 Neapolitan School 130 North European 116 Northern Italian School 102 P Pannini, Giovanni Paolo (after) 134 Perrier, François (workshop of) 124 R Robert, Hubert (manner of) 154 Roman School 107, 113,115, 124A, 137, 161 Rosa, Salvatore 111 Ruisdael, Jacob (after) 126 S Sienese School 121 Swiss School 159 V Vaga, Perino del (circle of) 101 Venetian School 110, 114, 157 Verona, Fra Semplice da (attributed to)123 Voet, Jacob Ferdinand (circle of) 163 W Watteau, Louis-Joseph 152 Werner, Carl Friedrich Heinrich 146, 147 Wittel, Caspar van (circle of) 158 Wouwerman, Philips (circle of) 127 Z Zurbarán, Francisco de (after) 142

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Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. 4.2 Buyer’s Premium The Buyer will pay CA Ltd a premium of 25% on the hammer price plus VAT on that commission on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots. The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis. †: Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice. 4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyer’s premium. The rate applicable shall be the legal rate at the date of the sale. Goods such as books and antique books, music, maps and charts etc. are subject to zerorated VAT. In addition, any import taxes that may be incurred shall be paid by the Buyer above hammer price, VAT and Buyer’s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale. 4.4 Artist Resale Rights / Droit de Suite Lots marked with ‘ARR’ may be subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500. Royalties for Droit de Suite are as follows: • From 0 to €50,000 4% • From €50,000.01 to €200,000 3% • From €200,000.01 to €350,000 1% • From €350,000.01 to €500,000 0.5% • Exceeding €500,000 0.25% 4.5 Remedies for non-payment If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: • To cancel the sale • To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. • To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. • To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer • Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. • To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. • To exercise a lien over the Buyer’s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. • To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. • To take such other action as is permissible by Law and in the discretion of CA Ltd. 4.6 Collection Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements

may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7). 4.7 Storage CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer. 4.8 Shipping Any shipping costs that may arise subsequent to the sale shall be at the Buyer’s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer. 4.9 Loss or Damage CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care. 4.10 Cultural Goods import and export restrictions Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts. The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. 4.11 CITES Import and export restrictions Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’s duty to initiate the proceedings with the relevant authority. The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations. 4.12 Limitation of liability regarding CITES export licenses Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them. CA Ltd cannot be held responsible if the Buyer’s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. 4.13 Warranties CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. 4.14 Authenticity warranty In the event of a Lot being sold as authentic under the catalogue description and the Buyer

provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not authentic, CA Ltd will refund the purchase price. The Buyer shall give notice to CA Ltd within 28 days from knowledge or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall be defined as the state of a Lot that is genuine and not a forgery or a copy. 5. ANTIQUITIES AND TRIBAL ART 5.1 Import and export restrictions and regulations Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value. It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest. Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value. Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences. 6. JEWELLERY 6.1 Gemstone treatment and estimates Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: • Heat treatment to enhance sapphires and rubies’ clarity and colour • Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone • Staining • Irradiation • Coating Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof. A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone. If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only. 6.2 Estimated weights If a stone’s exact weight appears within the body of the description, the stone has been unmounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. 6.3 Signatures ‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker. ‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. ‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client. ‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic. Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details. 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in

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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.

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11. BOOKS AND MANUSCRIPTS Books and manuscripts sold as incomplete are not subject to returns. Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to unnamed books or to books sold under the heading of ‘binding’ or ‘bindings’. 12. WINES AND SPIRITS In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level. For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of an ‘acceptable’ fill level from CA Ltd. CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc. 13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. Some Lots may be subject to copyright protection, CA Ltd does not guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder. 15. SEVERABILITY Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result. 16. AMENDMENTS The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.