OLD MASTER & BRITISH DRAWINGS & WATERCOLOURS

OLD MASTER & BRITISH DRAWINGS & WATERCOLOURS SOUTH KENSINGTON 9 DECEMBER 2015

OLD MASTER & BRITISH DRAWINGS & WATERCOLOURS PROPERTIES FROM

Wednesday 9 December 2015

Property from the Estate of Nigel Park to Beneft the National Galleries of Scotland

AUCTION

The Property of the Late Mr Anthony Hobson The Property of the Maxwell Macdonald Family The Property of Ana Maria Espirito Santo Bustorff Silva The Executors of the Late George Harwood Property removed from Blair Castle, Blair Atholl, Scotland

Wednesday 9 December 2015 at 1.00 pm 85 Old Brompton Road London SW7 3LD VIEWING

Saturday Sunday Monday Tuesday

5 December 6 December 7 December 8 December

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AUCTIONEERS

Georgina Wilsenach and James Hastie

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In sending absentee bids or making enquiries, this sale should be referred to as M I L T O N - 1 0 7 1 3

This auction is subject to Important Notices, Conditions of Sale and to reserves. [25]

Lot 212 (enlarged detail) Lot 43 (enlarged detail) pa g e 141:

Lot 136 (enlarged)

AUCTION RESULTS

index: Lot 206

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27 JANUARY 2016 OLD MASTER & BRITISH DRAWINGS NEW YORK

1 APRIL 2016 DESSINS ANCIENS ET DU XIXE SIÈCLE PARIS

28/10/15

2

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3

1

ATTRIBUTED TO BARTOLOMEO CESI (BOLOGNA 1556-1629) A seated Saint with inscription ‘Guido’ (recto), and with trimmed illegible inscription (verso) pen and brown ink, brown wash, heightened with white (partly oxidized), on blue paper 8¬ x 7¡ in. (21.9 x 18.7 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

An attribution to Denys Calvaert (1514-1619) has also been suggested.

1

2

FLORENTINE OR SIENESE SCHOOL, 17TH CENTURY A seated man writing black and white chalk, touches of red chalk, stumping, on blue paper 10æ x 12 in. (27.2 x 30.6 cm.)

£1,000-1,500



2

$1,600-2,300 Ç1,400-2,100

3

4

FROM A GERMAN PRIVATE COLLECTION (LOTS 3, 9, 21, 30, 39-40, 47, 50, 76, 79-81, 88-9, 114-15, 117, 135-37 AND 188)

3

CIRCLE OF GIULIO ROMANO (ROME 1499-1546 MANTUA) A Roman soldier, arms outspread pen and brown ink, brown wash, watermark lamb, the upper edge partially made up 8¬ x 5Ω in. (22 x 14 cm.)

£800-1,200



4

THE PSEUDO-PACCHIA (ACTIVE IN SIENA CIRCA 1530) A sheet of studies; Hercules, a study of his head in profle, fve other heads, two draped fgures in profle, an arm and a hand illegibly inscribed (recto); with number ‘3’ (verso) black and touches of red chalk, pen and brown ink 11¡ x 8Ω in. (28.7 x 21 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

$1,300-1,800 Relates to a group of sheets from a sketchbook of which sixteen drawings Ç1,200-1,700 similar in subject, size and technique and with similar numbering were

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

in the H.S. Reitlinger collection (sold at Sotheby’s, London, 9 December 1953, lot 69, as North Italian School). The artist has been named PseudoPacchia because of his affnities with Sienese artists such as Girolamo della Pacchia (1477- after 1535), Domenico Beccafumi (circa 1486-1551) and Giovanni Bazzi, called Sodoma (1477-1549). Other drawings by the artist, and possibly from the same sketchbook, are in the British Museum (inv. 1954,1126.2, 1954,1126.3) and in the Art Institute, Chicago (S.F. McCullagh and L.M. Giles, Italian Drawings before 1600 in the Art Institute of Chicago, Chicago, 1997, no. 260).

5

5

IPPOLITO COSTA (MANTUA CIRCA 1506-1561) OR GIOVANNI BATTISTA BERTANI (MANTUA CIRCA 15161576) The Martyrdom of Saint Agatha with inscription ‘Giorgio Vasari’ pen and brown ink, brown wash heightened with white, squared in black chalk, watermark Strasburg lily 6√ x 5 in. (17.4 x 12.7 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

ENGRAVED:

by Diana Scultori (circa 1530-1585) in reverse, 1577. Engraved in reverse by Scultori in 1577 (see British Museum Inv. 1872,1012.3459; P. Bellini, L’opera incisa Adamo e Diana Scultori, Vicenza, 1991, no. 34, p. 220). A painting by Costa of the subject, in the same direction as the present drawing but omitting the tree in the background, is in Mantua’s Cathedral. Luigi Lanzi suggested that the painting was executed after a drawing by Giovanni Battista Bertani (see L. Lanzi, Storia pittorica della Italia, IV, Bassano, 1809, p. 16).

5

6

CIRCLE OF POLIDORO CALDARA, CALLED POLIDORO DA CARAVAGGIO (MILAN 1492-1540 MESSINA) Bacchus, on a triumphal car drawn by lions, a satyr and other fgures, all heads wreathed pen and brown ink, brown wash 10º x 14º in. (26.1 x 36.2 cm.); and another drawing, The Archangel Michael defeating Satan (recto); The Crucifxion (verso), Neapolitan School, 17th Century (2)

£700-1,000



6 (part lot)

$1,100-1,500 Ç970-1,400

7

ALESSANDRO TURCHI, L’ORBETTO (VERONA 1578-1649 ROME) A young general (Alexander?) showing clemency to two prisoners with inscription ‘Alessandro Turci Veronese’ black chalk, pen and brown ink, brown wash heightened with white, three corners and the right edge made up 7√ x 10æ in. (20.1 x 27.5 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

7

(recto)

(verso)

8

LUDOVICO CARDI, IL CIGOLI (CIGOLI 1559-1613 ROME) A male nude seen from the back (recto and verso) with trimmed inscription ‘Cigoli’ and with numbers ‘241’ and ‘242’ (recto); with number ‘8’ in a square (verso) red chalk 16¡ x 11 in. (42.7 x 28 cm.)

£3,000-4,000



$4,600-6,100 Ç4,200-5,500

PROVENANCE:

Anonymous sale; Christie’s, London, 11-13 December 1985, lot 195.

8

As suggested by Miles Chappell in the 1985 catalogue this sheet may be related to a pen and ink drawing, showing a fgure in similar pose and also seen from the back, offered at Christie’s, London, 11-13 December 1985, lot 194. Seven drawings, including this one, were offered in 1985 (lot 193 being now in the British Museum, London; inv. 1986,0621.42), all bearing similar ink inscription ‘Cigoli’ as on the recto of the present drawing.

10 (recto)

9

FROM A GERMAN PRIVATE COLLECTION

10

9

ATTRIBUTED TO MATTEO ROSSELLI (FLORENCE 1578-1650) A standing man, heavily robed, and studies of legs and heads (recto); Studies of heads (verso)

ATTRIBUTED TO FRANCESCO FURINI (FLORENCE 1603-1646) A young male nude running with inscription ‘Furini’ (recto) and ‘Furini No 5 No 528.’ (on the mount, verso) red chalk, the four corners cut, made up at the top 16º x 10æ in. (41.3 x 27.4 cm.)

£1,000-1,500



illegibly inscribed (verso) red chalk, stumping (recto), the corners cut 16 x 10¡ in. (40.5 x 26.2 cm.)

£1,000-1,500

 $1,600-2,300

$1,600-2,300 Ç1,400-2,100

Ç1,400-2,100 An attribution to Francesco Curradi (1570-1661) has also been suggested.

PROVENANCE:

P. Hermann (L. 1352a), and by descent to the present owner. An attribution to Simone Pignoni (1611-1698) has also been suggested.

9

11

GIOVANNI BATTISTA TROTTI, IL MALOSSO (CREMONA 1555-1619 PARMA) The Sacrifce of Isaac black chalk, pen and brown ink, brown wash, squared in black chalk, the upper left corner cut and made up 5¬ x 5¬ in. (13.6 x 13.6 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

Anonymous sale; Sotheby’s, London, 25 November 1970, lot 12.

12 No Lot

13 11

VERONESE SCHOOL, THIRD QUARTER OF THE 16TH CENTURY Studies for a Crucifxion and a Deposition (recto); Partial study of Christ on the Cross fanked by two angels, after Michelangelo (verso) pen and brown ink (recto), the upper left corner cut; black chalk (verso) 9º x 8Ω in. (23.5 x 27.3 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

14

ATTRIBUTED TO BELISARIO CORENZIO (CIRCA 1558-CIRCA 1640 NAPLES) The archangel Michael triumphs over the Turks with number ‘67’ (?) (recto); with inscription ‘n’ (verso) red chalk, pen and brown ink, brown and red wash, heightened with white 8¡ x 7√ in. (21.2 x 20 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

Unidentifed collector’s mark (crowned shield, not in Lugt). Anonymous sale: Karl & Faber, Munich, 6 June 1968, lot 181 (as Roman School, with an attribution to Giovanni Battista Passeri). H. List (L. 4063). Ratjen Foundation, Vaduz. EXHIBITED:

Munich, Staatliche Graphische Sammlung and elsewhere, Stiftung Ratjen, Italienische Zeichnungen des 16.-18. Jahrhunderts, 1977-78, no. 61 (as Belisario Corenzio; catalogue entry by D. Graf).

13

Known to be active in Naples from 1590, Corenzio was a prolifc artist who executed many alterpieces and fresco cycles in Naples’ churches and he was one of the frst Neapolitan artists to leave a large number of drawings. The present drawing, with Corenzio’s typical spirited penwork, seems not to be connected to any known paintings by the artist.

14

15

15

ATTRIBUTED TO GIOVANNI BATTISTA CASTELLO, IL GENOVESE (GENOA 1547-1637/39) Christ crowned with thorns bodycolour, gum Arabic, heightened with gold on vellum 6¡ x 4æ in. (16.3 x 12 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

*16

ROMAN SCHOOL, LATE 16TH CENTURY Saint Francis of Assisi adoring the Christ Child with inscription ‘Frederico Zuccaro’ (verso) oil on paper 9 x 7¿ in. (22.9 x 18.1 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

An attribution to Francesco Allegrini (1615/20-1679) has been suggested. We are grateful to Marco Simone Bolzoni for his assistance in cataloguing this drawing. 16

17

17

SOLD FROM THE ESTATE OF NIGEL PARK TO BENEFIT THE NATIONAL GALLERIES OF SCOTLAND (LOTS 18, 32, 41, 44, 73 & 109)

JACOPO NEGRETTI, PALMA IL GIOVANE (VENICE CIRCA 1548-1628) The Presentation in the Temple

18

black chalk, pen and brown ink, brown wash, with touches of oiled chalk and white oil 8æ x 14¿ in. (22.2 x 35.8 cm.)

£4,000-6,000



$6,200-9,200 with number ‘11’ (recto) and inscribed ‘Scagni no 2/ dalavar le mo[?]/ cassa e Ç5,600-8,300 forzier/ robbe [...]/ orinali no 2/ legno -/ 2 zan[...]’ (verso)

PROVENANCE:

J. Richardson. Sr. (L. 2184). T. Philipe (L. 2451). Anonymous sale; Karl und Faber, Munich, 28 November 1974, lot 356 (as Venetian School, second half 17th Century). Herbert List (according to the 1977 catalogue). LITERATURE:

S.M. Rinaldi, Drawings by Jacopo Palma il Giovane from the Collection of the late Mr. C.R. Rudolf, London, 1977, pp. 11-2. S.M. Rinaldi, Palma il Giovane: L’opera completa, Milan, 1984, no. D 185, fg. 58. A study, with differences, for the picture now at the Gemäldegalerie, Dresden (S.M. Rinaldi, op. cit., 1984, no. 91, fg. 57). The painting was previously in the Church of Santa Maria dell’Umiltà in Venice, whose name until 1615 was the Church of the preti di Gesù. It can be identifed as one of the ‘quattro historie in due Cappelle della Vita della Madonna’ in that church, described by Borghini in his Il Riposo from 1584 (R. Borghini, Il Riposo, Florence, 1584, p. 559). Based on Borghini’s text, Rinaldi has suggested that the paintings and related drawings were executed in the summer of 1582 (see S.M. Rinaldi, op. cit., no. 91, p. 84).

12

JACOPO NEGRETTI, PALMA IL GIOVANE (VENICE CIRCA 1548-1628) Three apostles in an interior

pen and brown ink, brown wash, heightened with white on yellow prepared paper 10Ω x 7Ω in. (26.8 x 19.1 cm.)

£3,000-5,000



$4,600-7,700 Ç4,200-6,900

18

19

GIOVANNI FRANCESCO BARBIERI, IL GUERCINO (CENTO 1591-1666 BOLOGNA) A young woman looking down to the right pen and brown ink, irregularly cut 7 x 8¡ in. (17.7 x 21.3 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

PROVENANCE:

R. Houlditch Jr. (L. 2214), probably with his erased and illegible inscription. Jacques and Galila Hollander; Piasa, Paris, 28 March 2014, lot 43.

19

20

ITALIAN SCHOOL, 17TH CENTURY Saint Paul the Hermit fed by a Raven black chalk, pen and brown ink, brown wash 8æ x 6¡ in. (22.2 x 16.2 cm.); and another drawing, Portrait of Michelangelo Caetani (1804-1882), Duke of Sermoneta, by Tommaso Minardi

£800-1,200

(2)

$1,300-1,800 Ç1,200-1,700



20 (part lot)

FROM A GERMAN PRIVATE COLLECTION

21

CIRCLE OF ANNIBALE CARRACCI (BOLOGNA 1560-1609) The Virgin reading to the Christ Child pen and brown ink, brown wash, heightened with white (slightly oxidized) on light brown prepared paper, circular 7Ω in. (19 cm.) (diam.)

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

W. Mayor (L. 2799). B. Himmelheber (L. 4035), and by descent to the present owner. LITERATURE:

A catalogue of the collection of drawings by the Old Masters formed by the late W. Mayor, Esq., of Bayswater. London, 1875, p. 64, no 287 (as Ludovico Carracci).

21

Another version of this drawing from the collections of Jonathan Richardson Sr. and Ed. Knight, was engraved by Conrad Metz (1745/491827) and published in Imitations of Ancient and Modern Drawings, second edition, 1798 (see, British Museum, London, inv. 1936,1105.16.1139). The engraving is in reverse to the present drawing.

23

22

22

CARLO CIGNANI (BOLOGNA 1628-1719 FORTí) Self-portrait, bust-length, wearing the cross of Malta signed, inscribed and dated ‘CAROLVS CIGNANVS NOBILIS BONONIENSIS, PICTOR EQVES, ET COMES. ANNORV[M]XXXXXXXVIIII. [1678]’ black chalk, stumping, in an inscribed oval 17¬ x 5Ω in. (19.3 x 13.8 cm.)

£4,000-6,000



Four painted self-portraits are in the Paltrinieri Collection in Bologna, in the Uffzi, in the Academia Clementina in Bologna and at Chatsworth (B. Buscaroli Fabbri, op. cit., nos. 22, 53, 70 and p. 186, ill.). A copy after the British Museum drawing is in Rio de Janeiro (R. Morselli, Disegni Italiani della Biblioteca Nazionale di Rio di Janeiro, la collezione Costa da Silva, Pesaro, 1995, no. 118).

$6,200-9,200 Ç5,600-8,300

PROVENANCE:

Charles Lucy, according to Richardson. J. Richardson Sen. (L. 2183), his mount with attribution ‘Carlo Cignani’ and inscription ‘LL. Given me by Mr. Lucy Said to have been Touch on by Carlo Himself t.’. Anonymous sale; Christie’s, New York, 23 January 2002, lot 39, where purchased by the present owner. Another version, omitting the cross of Malta and executed in red chalk, is in the British Museum, London (inv. 1921-3-24-2; B. Buscaroli Fabbri, Carlo Cignani, Padova, 1991, p. 186, ill.). That drawing was previously in the collection of the artist Charles Lucy (born 1692), on whose death it probably came in the possession of Richardson Jr. who then passed it on to Charles Rogers (N. Turner, ‘The Gabburri Rogers Series of drawn Self-Portraits and Portraits of Artists’, Journal of the History of Collections, 1993, II, pp. 185 and 189, note 32).The present drawing was also previously owned by Charles Lucy who presented it to Richardson Sr., according to the latter’s inscription.

23

ATTRIBUTED TO OTTAVIO MARIA LEONI (ROME 1578-1630) Portrait of a man, bust length with number ‘24’ black and white chalk on brown paper 4Ω x 3¡ in. (11.4 x 8.5 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

15

24

25

PROPERTY OF A PRIVATE EUROPEAN COLLECTION

24

25

CIRCLE OF ANNIBALE CARRACCI (BOLOGNA 1560-1609 ROME) Portrait of a young man, bust length

CIRCLE OF ANNIBALE CARRACCI (BOLOGNA 1560-1609 ROME) Portrait of a man wearing a hat, bust length, in profle to the left

red and white chalk on brown-grey paper 12Ω x 9Ω in. (31.7 x 24.3 cm.)

£2,500-3,500



with illegible inscription

$3,900-5,400 red chalk, the upper corners cut Ç3,500-4,900 9√ x 7Ω in. (25 x 19.2 cm.) £2,000-3,000

PROVENANCE:

Benno Geiger; Sotheby’s, London, 7 December 1920, lot 61 (as Annibale Carracci). Henry Oppenheimer; Christie’s, London, 10 July 1936, lot 60B (as Annibale Carracci). Anonymous sale; Christie’s, London, 10 July 1973, lot 196 (as Annibale Carracci).

16



$3,100-4,600 Ç2,800-4,200

26

CIRCLE OF ANNIBALE CARRACCI (BOLOGNA 1560-1609 ROME) A man looking to the left, leaning on a ledge black and white chalk on blue paper 9¬ x 7 in. (24.4 x 17.8 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,200

26

27

BOLOGNESE SCHOOL, EARLY 17TH CENTURY A man holding a stick red chalk, indistinct watermark 10¿ x 5 in. (25.7 x 12.7 cm.)

£800-1,200



27

28

BOLOGNESE SCHOOL, CIRCA 1700 A reclining male nude, seen from behind with one arm raised, and a subsidiary study of a man grimacing in pain with number ‘79’ (verso) red and white chalk, stumping 12√ x 8Ω in. (32.6 x 21.8 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

PROVENANCE:

Dr. L. Pollak (L. 788b). Anonymous sale; Christie’s, London, 2 July 1991, lot 277 (as Bolognese School, late 17th Century). 28

$1,300-1,800 Ç1,200-1,700

(verso)

29 (recto)

29

ATTRIBUTED TO GIACOMO CAVEDONE (SASSUOLO 1577-1660 BOLOGNA) The head of a bearded man (recto); The head of a bearded man, in profle to the right (verso) with inscription ‘Andrea Sacch[i].’ black chalk heightened with white on faded blue paper 15æ x 11 in. (40.1 x 28 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,200

PROVENANCE:

with Colnaghi, Exhibition of Old Master Drawings, London, 1956, no. 12. Anonymous sale; Sotheby’s, London, 10 July 2002, lot 112. Two drawings by Cavedone showing a similar model in similar pose to that on the verso of the present drawing are in the Royal Collection, Windsor Castle (O. Kurz, Bolognese drawings of the XVII & XVIII centuries, in the collection of her Majesty the Queen at Windsor Castle, London, 1955, p. 91, nos. 95-6, pl. 18).

FROM A GERMAN PRIVATE COLLECTION

30

ITALIAN SCHOOL, 17TH CENTURY Saint Luke the Evangelist with number ‘460’ (on the backing sheet) black chalk, pen and brown ink, brown wash heightened with white on faded blue paper 10√ x 8¿ in. (27.8 x 20.6 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

30

31

SOLD FROM THE ESTATE OF NIGEL PARK TO BENEFIT THE NATIONAL GALLERIES OF SCOTLAND

31

32

BOLOGNESE (?) SCHOOL, 17TH CENTURY The Marriage at Cana

CIRCLE OF DOMENICO PIOLA (GENOA 1627-1703) The Judgement of Solomon

traces of red chalk, black chalk, pen and brown ink, grey wash 10æ x 15æ in. (27.3 x 39.8 cm.)

with inscription ‘[...]camo Carci’ (?) (recto), and ‘Domenico Piola’ (verso) red chalk, pen and brown ink, brown wash 6æ x 10Ω in. (17.2 x 26.7 cm.); and four other drawings, The Mystic Marriage of Saint Catherine, Follower of Parmigianino; A shipwreck, with soldiers around a fre, Attributed to Jacques Gamelin; Balaam and the Angel, Genoese School, 17th Century; and The death of a worrier, Italian School, 18th Century (5)

£1,500-2,000

$2,300-3,100 Ç2,100-2,800



PROVENANCE:

Sir Joshua Reynolds (L. 2364). T. Banks (L. 2423). Sir Edward J. Poynter (L. 874).

£1,000-1,500



PROVENANCE:

J. du Pan (L. 1440).

32 (part lot)

$1,600-2,300 Ç1,400-2,100

33

BALDASSARRE FRANCESCHINI, IL VOLTERRANO (VOLTERRA 1611-1690 FLORENCE) Christ with the Cross receiving Saint Lucy into glory, God the Father above inscribed (partially trimmed) ‘Fortezza/ Carità/ Verginità/ Fede’ and with inscription ‘104’ red chalk, watermark bird in circle (close to Heawood 161, Rome 1646) 8 x 10¡ in. (20.3 x 26.5 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,200

PROVENANCE:

The pencil numbering probably indicates that the drawing came from an album of mostly 17th Century Florentine drawings dispersed by Hans Calmann in the later 1960s. EXHIBITED:

Edinburgh, Scottish Arts Council, Merchants’ Hall, Italian 17th Century Drawings from British Private Collections, 1972, no. 50, ill. LITERATURE:

A. Grassi, R. Spinelli and M.C. Fabbri, Volterrano: Baldassarre Franceschini (1611-1690), Florence, 2013, no. 33, ill. A study for the ceiling fresco in the Colloredo chapel in the church of the Santissima Annunziata, Florence (A. Grassi et al., op. cit., p. 52). According to Baldinucci, the chapel was commissioned by the heirs of the Marquese Fabrizio Coloreto and Volterrano started working on the decoration after 1650 (F. Baldinucci, Notizie de’professori del disegno da Cimabue in qua, Florence, 1681-1728, ed. 1845-7, V, 1847, p. 162). The artist was responsible for a large number of decorations in the Santissima Annunziata which were executed over a period of more than twenty years. A number of studies for these commissions were offered at Sotheby’s, London, Drawings by Baldassarre Franceschini, 3 July 1980, lots 16, 37, 41, 43 and 46.

20

(recto)

34

ROMAN SCHOOL, 17TH CENTURY Two angels supporting a cartouche (recto); Another study of the same (verso) with number ‘504’ (recto), and with illegible inscription (verso) red chalk 7¬ x 10º in. (19.3 x 26.2 cm.)

£800-1,200



(verso)

$1,300-1,800 Ç1,200-1,700

35

ATTRIBUTED TO ANTONIO TRAVI, IL SESTRI (SESTRI PONENTE 1608-1665) The Adoration of the Magi pen and brown ink, brown wash, heightened with white on faded blue paper 10Ω x 13 in. (26.7 x 33 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

PROVENANCE:

H. Vaughan (L. 1380a), with his number ‘222’. By the same hand as The Adoration of the Shepherds, a drawing which has been associated with Antonio Travi, Il Sestri (Sestri Ponente 16081665) and is now in the Staatsgalerie Stuttgart (Inv. C 63/1185; C. Thiem, Italienische Zeichnungen 1500-1800, Ostfldern-Ruit, 1992 [reprint], no. 307). Another drawing of the Adoration of the Magi by the same hand was previously in the C.R. Rudolf collection (see Sotheby’s, London, 19 May, 1977, lot 14, as ‘North Italian School, 18th Century’).

35

36

BOLOGNESE SCHOOL, LATE 17TH CENTURY A levitating Saint holding the Christ Child traces of black chalk, pen and brown ink, brown wash heightened with white, arched top 11¿ x 6¬ in. (28.1 x 16.9 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

Georgina Bland (according to an inscription on the backing board ‘From Georgina Bland’s Rome album, 1827’).

36

37

CIRCLE OF LUCA GIORDANO (NAPLES 1632-1706) The Triumph of Deborah red chalk, pen and brown ink, watermark anchor in a circle 10Ω x 15º in. (26.5 x 38.7 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

After Giordano’s Triumph of Deborah, an oil on canvas now in the Prado, Madrid (O. Ferrari and G. Scavizzi, Luca Giordano, Naples, 1966, II, p. 174, III, fg. 341).

37

22

38

CIRCLE OF CARLO MARATTI (CAMERANO 1625-1713 ROME) Studies of a fgure holding a book, with subsidiary studies of the fgure’s left hand holding a pen (recto); Drapery studies (verso) red chalk, traces of white chalk on blue paper, watermark palm tree 16¿ x 10Ω in. (40.9 x 26.7 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,200

We are grateful to Ann Sutherland Harris for having suggested an attribution to Giuseppe Passeri (1654-1714).

38

FROM A GERMAN PRIVATE COLLECTION

39

ATTRIBUTED TO DOMENICO MARIA VIANI (BOLOGNA 1668-1711 PISTOIA) Study of a male nude, half length, looking to the right with inscription ‘Viani N° 215’ (on the mount, verso) black chalk, watermark encircled anchor 8¡ x 7¡ in. (21.3 x 19.3 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

39

P. Hermann (L. 1352a), and by descent to the present owner.

FROM A GERMAN PRIVATE COLLECTION

40

DOMENICO PARODI (GENOA 1672-1742) A design for a ceiling with muses inscribed with the names of the muses and ‘Dulciloquis calamos Euterpe flatibus urget/ Comica lasivo gaudet sermone Thalia/ Signat cuncta manu loquitur Polyhimnia gestu/ Plectra gerens Erato saltat pede Carmine ulta erato nam tu amoris habes Uvidio de arte/ Terpsigro [Terpsichore] affectus citharis movet imperat auget/ Urania celi motus scrutatur et astra’ (recto) and with inscription ‘Ferrari’ (recto and verso) red chalk, pen and brown ink, grey wash 12Ω x 10¬ in. (32 x 27 cm.)

£1,500-2,000



Close, although in reverse, to one of the pilgrims in Viani’s painting of The Supper at Emmaus in a Bolognese private collection (A. Cera ed., ‘Domenico Maria Viani’, in La pittura emiliana del ‘600, Milan, 1982, no. 3 ill.). For another drawing by Viani in black chalk and also in reverse to the painting it prepares, see R. Roli, in Disegni emiliani del sei-settecento. Quadri da stanza e da altare, Bologna, 1991, no. 64.I, p. 235, ill.

$2,300-3,100 Ç2,100-2,800

PROVENANCE:

C. Prayer (L. 2044). P. Hermann (L. 1352a), and by descent to the present owner. A smaller version, in similar technique but omitting the inscriptions, is in the Victoria & Albert Museum, London (Inv. 9118A; P. Ward-Jackson, Italian Drawings: Volume Two: 17th-18th century, London, 1980, II, no. 1079). We are grateful to Mary Newcome Schleier for her assistance in cataloguing this drawing and for suggesting the attribution on the basis of a digital photograph.

40

41

SOLD FROM THE ESTATE OF NIGEL PARK TO BENEFIT THE NATIONAL GALLERIES OF SCOTLAND

41

42

DOMENICO PIOLA (GENOA 1627-1703) Balaam and the Angel

GENOESE SCHOOL, 17TH CENTURY The Visitation

black chalk, pen and brown ink, brown wash 11Ω x 17 in. (29.2 x 43.2 cm.)

with number ‘83’ black chalk, pen and brown ink, brown wash, squared in black chalk, on buff paper 9æ x 8√ in. (24.7 x 22.5 cm.)

£1,500-2,000

$2,300-3,100 Ç2,100-2,800



£700-1,000



PROVENANCE:

J.-A. Duval le Camus (L. 1441). PROVENANCE:

probably M.I.B.L. Genevosio (L. 545).

42

24

$1,100-1,500 Ç970-1,400

43

BARTOLOMEO BISCAINO (GENOA 1632-1657) The Virgin and Child with the infant Saint John the Baptist red chalk heightened with white on light brown paper 11¿ x 7√ in. (28.4 x 20 cm.)

£5,000-7,000



$7,700-11,000 Ç7,000-9,700

Bartolommeo Biscaino was taught the principles of painting by his father, Giovanni Andrea Biscaino (1605-1657). Biscaino usually treated religious subjects, and the Virgin and Child appear, with or without the infant Saint John, in a number of his etchings (see, for example, Bartsch 26, 27-9). The confdent handling of the red chalk in combination with white heightening are typical for the artist’s drawings and can be compared to the technique of The Reclining nymph in a garden with a fountain, vase and three cupids in the Statens Museum for Kunst, Copenhagen (M. Newcome Schleier, Italian Drawings in the Department of Prints and Drawings: Statens Museum for Kunst: Genoese Drawings, Copenhagen, 2004, no. 65). Another drawing by Biscaino, in similar technique, was sold at Christie’s, New York, 22 January 2004, lot 54. We are grateful to Dr. Mary Newcome Schleier for confrming the attribution on the basis of a digital photograph.

25

44 (part lot)

SOLD FROM THE ESTATE OF NIGEL PARK TO BENEFIT THE NATIONAL GALLERIES OF SCOTLAND

44

*46

GIOVANNI BATTISTA BUSIRI (ROME 1698-1757) A wooded hilly landscape with travellers

FRANZ KAISERMANN (YVERDON 1765-1833 ROME) A view of Lake Albano with Castel Gandolfo to the left and travellers in the foreground

inscribed ‘nella villa di cittinale fori [?] di Siena’ (verso) pen and brown ink 6√ x 9º in. (17.5 x 23.6 cm.); and four other drawings, John the Baptist, Spanish School; The descent of the Holy Spirit, Circle of Cesare Nebbia; Madonna and Child with Saints Lawrence and John the Evangelist, Genoese (?) School, 17th Century; and A landscape with travellers and a cloister (?) to the right, Circle of Guercino (5)

£800-1,200



$1,300-1,800 £4,000-6,000 Ç1,200-1,700 

GASPAR VAN WITTEL, CALLED VANVITELLI (AMERSFOORT 1652/53-1736 ROME) A coastal landscape with a fortifed town to the left, and mountains in the background black and red chalk, pen and brown ink, watercolour and bodycolour on two attached sheets, laid down on canvas 10º x 22æ in. (26.1 x 58.2 cm.)



$9,200-12,000 Ç8,400-11,000

This imaginary view combines characteristic aspects of Neapolitan landscape, the coastal view and the mountains reminiscent of Mount Vesuvius, and of Lazio, such as the fortifed Roman town. We are grateful to Ludovica Trezzani for confrming the attribution after examining the original and for her assistance in preparing this catalogue entry.

26

$6,200-9,200 Ç5,600-8,300

Another version of this drawing was sold at Neumeister Kunstauktionen, Munich, 27 June 2012, lot 438.

45

£6,000-8,000

signed ‘F. Keiserman ft’ (recto) and signed, dated and inscribed ‘Vue du Lac d’Albano/ dessiné daprès nature par F. Keiserman artiste a Rome. 1814’ (verso) traces of black chalk, watercolour, gum Arabic, watermark fgure (close to Heawood 1364, Amsterdam circa 1769) 15 x 21º in. (38 x 53.9 cm.)

45

46

FROM A GERMAN PRIVATE COLLECTION

47

SEBASTIANO GALEOTTI (FLORENCE 1676-1746 MONDOVí) A queen consigned to hell by avenging angels pen and brown ink, grey wash, on light brown prepared paper 10√ x 13¬ in. (27.6 x 34.5 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

G. Chiantorre (L. 540). B. Himmelheber (L. 4035), and by descent to the present owner.

47

*48

ANTONIO PIETRO FRANCESCO ZUCCHI A.R.A (VENICE 1726-1795 ROME) An Italian seaport signed ‘Zucchi’ pen and brown ink, brown and grey wash heightened with white, watermark D & I Blauw 17æ x 15 in. (45.2 x 37.8 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

A study with differences for An Italian Seaport, a picture signed and dated 1771 at Harewood (T. Borenius, Catalogue of the pictures and drawings at Harewood House and elsewhere in the collection of the Earl of Harewood, Oxford, 1936, no. 77, fg. XXX). The painting is part of a series of four Italian views by Zucchi that were commissioned by Edwin Lascelles, Lord Harewood, in 1771 for the Music Room, where the paintings are still on display to this day.

48

49

ANTONIO PIETRO FRANCESCO ZUCCHI, A.R.A. (VENICE 1726-1795 ROME) A singer with two musicians pencil and brown wash heightened with white 7¡ x 10æ in. (18.7 x 27.3 cm.); and another drawing, The Galleria Farnese, Italian School, 17th Century (2)

£1,000-1,500



49 (part lot)

$1,600-2,300 Ç1,400-2,100

FROM A GERMAN PRIVATE COLLECTION

50

ATTRIBUTED TO GASPARE DIZIANI (BELLUNO 1689-1767 VENICE) Hagar and the angel red chalk, pen and brown ink, brown wash 5√ x 8 in. (15 x 20.3 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner. An oil sketch of the same subject that is also attributed to Gaspare Diziani is in the Kelvingrove Museum, Glasgow (Inv. 194; G. Buchanan, Catalogue of Italian Paintings with which is included a small group of Spanish Pictures, Glasgow, 1970, p. 48, ill.).

50

51

FRANCESCO SALVATOR FONTEBASSO (VENICE 1707-1769) Antiochus and Stratonice pen and brown ink, traces of red chalk 7¡ x 11¿ in. (18.7 x 28.2 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,200

PROVENANCE:

H. List (L. 4063). Fontebasso treated this subject in two paintings, one now at the Museum of Fine Arts, Budapest (Inv. L. 3.534; M. Magrini, Francesco Fontebasso, Venice, 1988, under no. 26, fg. 59), the other in the M.K. Cˇiurlionis National Museum of Art, Kaunas (M. Magrini, op. cit., no. 59, fg. 60).

51

52

FRANCESCO SALVATOR FONTEBASSO (VENICE 1707-1769) Avarice and Frivolity with number ‘1104’ (verso) pen and brown ink 9 x 7√ in. (22.7 x 19.9 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

52

54

53

53

54

ATTRIBUTED TO ANTONIO VISENTINI (VENICE 1688-1782) The façade of a church

GAETANO GANDOLFI (SAN MATTEO DELLA DECIMA 1734-1802 BOLOGNA) Design for a nobleman’s crest with two alternative options, with and without a coronet

inscribed ‘Scala di Palmi Cento Romani’ (recto) and with inscription ‘Est Præpositi Nicolai Antonij Severi de Murro Vallium Firimanæ Diœcesis’ (verso) black chalk, pen and brown ink, grey wash 18√ x 15 in. (48 x 38.3 cm.)

£700-1,000



black chalk, pen and brown ink, brown wash 12º x 8º in. (31.2 x 20.8 cm.)

£1,500-2,000 $1,100-1,500  Ç970-1,400

$2,300-3,100 Ç2,100-2,800

PROVENANCE: PROVENANCE:

Anonymous sale; Christie’s, London, 16 April 1999, lot 93 (as Roman School, 18th Century); where purchased by the present owner.

30

with Richard Day, London, 1977; where purchased by the present owner.

55 (i)

55 (ii)

55

56

FRANCESCO SIMONINI (PARMA 1686-1753 VENICE) Two battle scenes with cavalry skirmishing outside a city

ITALIAN SCHOOL, 18TH CENTURY The murder of a Roman general

black chalk, pen and brown ink, brown wash 13¿ x 19º in. (33.2 x 48.9 cm.)

pen and brown ink, two shades of brown wash heightened with white

apair(2) 19¬ x 27¿ in. (50 x 68.9 cm.)

$6,200-9,200 £2,000-3,000 Ç5,600-8,300 

£4,000-6,000



PROVENANCE:

with Folio Fine Art, London, 1970, nos. 23 and 24 (with their labels on the backing boards). Two similar drawings by Simonini, executed with comparable free penand brushwork, are in the National Galleries of Scotland (K. Andrews, Catalogue of Italian Drawings, Cambridge, 1968, I, nos. D 2834 and D 3167, II, fgs. 771-72).

56

$3,100-4,600 Ç2,800-4,200

An attribution to Giovanni Battista Dell’Era (1766-1798) has been suggested.

57

PIETRO DI GOTTARDO GONZAGA (LONGARONE 1751-1831 SAINT PETERSBURG) A capriccio with a temple on the left and a triumphal arch in the background black chalk, pen and black ink, brown and grey wash, countermark R 10æ x 8 in. (27.5 x 20.3 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

with the stamp (not in Lugt) of the Petrograd division of the Commissariat for Foreign Affairs of Russia which was formed in 1920 and reorganized in 1923 when it changed names.

57

58

PIETRO DI GOTTARDO GONZAGA (LONGARONE 1751-1831 SAINT PETERSBURG) View of an island on the Tiber with number ‘129’ black chalk, pen and brown ink, grey wash 5Ω x 8¿ in. (13.8 x 20.4 cm.)

£600-800

$920-1,200 Ç840-1,100



58

59

VENETIAN SCHOOL, 18TH CENTURY A gentleman in carnival costume, wearing spectacles and holding an axe (recto); Figure studies (verso) traces of black chalk, pen and brown ink, irregularly cut and made up at the right edge and at the upper left corner 8Ω x 4¬ in. (21.4 x 11.7 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

B. Suermondt (L. 415). Dr. A. Sträter (L. 787). Marquis P. de Chennevières (L. 2073). R.P. Goldschmidt (L. 2926). J.E. Huxtable; Sotheby’s, London, 13 July 1949, lot 66 (as Pietro Longhi). Dr. Francis Springell; Sotheby’s, London, 30 June 1986, lot 81; where purchased by the present owner. EXHIBITED:

Edinburgh, National Gallery of Scotland, Old Master Drawings from the Collection of Dr and Mrs Francis Springell, 1965, no. 78 (as Pietro Longhi).

59

The traditional attribution to Pietro Longhi (1701-1785) was dismissed in the Springell catalogue, where a tentative attribution to Luca Carlevarijs (1663-1730) was suggested.

THE PROPERTY OF THE LATE ANTHONY HOBSON (1921-2014)

60

GIUSEPPE VALERIANI (ROME 1708-1762 SAINT PETERSBURG) Design for the ceiling of the Grand Ballroom of the Stroganov Palace in Saint Petersburg: A prince delivered by Mercury to Jupiter and Juno, with Minerva banishing the Vices; and A design for the border of the ceiling decoration in the Grand Hall of the Stroganov Palace inscribed ‘9’ and illegibly inscribed (recto) and with inscription ‘R10=’ and ‘M.2’ [?] (verso) (i); with inscription ‘Plafon della Sala del/ Baron de Stroganof’ (recto) (ii) black chalk, pen and brown ink, grey and brown wash, lightly and tightly squared in black chalk, countermark IV (1); pencil, pen and black ink, grey wash (2) 11¿ x 14æ in. (28.2 x 37.5 cm.) (1); 5æ x 7√ in. (14.5 x 20 cm.) (2) (2)

£5,000-8,000



EXHIBITED:

Saint Petersburg, Académie des Sciences de Russie, Lomonosoff et l’époque d’Elisabeth, 1912 (the whole album of which these drawings were part). LITERATURE:

A. Benois, ‘Review of St. Petersburg exhibition’, Stary Gody, May 1912, pp. 3-28 (article on the whole album). These two drawings are studies for one of Valeriani’s most important works, the frescoed ceiling of the Grand Ballroom of the Stroganov palace in Saint Petersburg, executed circa 1755. The larger sheet shows the design for the central panel, and the smaller one is a design for a section of the trompe-l’oeil architectural border.

$7,700-12,000 The Stroganov palace stands in the centre of Saint Petersburg on the Ç7,000-11,000

PROVENANCE:

The Duke of Leuchtenberg. E. Fatio (L. 3472); Nicolas Rauch S.A., Geneva, 3-4 June 1959, part of lot 241 (an album of 143 drawings of various sizes by Valeriani and his Studio). with Colnaghi, London, 1960; where acquired by Anthony Hobson.

Nevsky Prospect, not far from the Imperial Winter Palace, testifying to the prominence of the Stroganov family. The Stroganovs were signifcant patrons of the arts - founding art schools, building churches and art collections. In 1752 Baron Sergei Stroganov commissioned the palace from a design by the Italian architect Francesco Bartolomeo Rastrelli (17001771).

33

61 (part lot)

61

63

FELICE SANTOLONI (ITALIAN, BORN CIRCA 1800) Ora II di Giorno; Ora III di Giorno; Ora VI di Giorno; Ora III di Notte; Ora IV di Notte; and Ora V di Notte

SALOMON CORRODI (FEHRALTORF 1810-1892 COMO) A view of Rome from Monte Mario, behind S. Maria del Rosario and the via Trionfale, with cattle pulling a wagon in the foreground and Saint Peter’s in the background

inscribed with titles and ‘Raffael Sanzio Durb inv’, signed ‘Felice Santoloni F’ bodycolour, probably over etched outlines signed and dated ‘Sal. Corrodi. Rom/ 1856.’ 16¡ x 11√ in. (41.6 x 30.3 cm.); and smaller (6) black chalk and watercolour £3,000-4,000 $4,600-6,100 9æ x 4Ω in. (24.6 x 36.8 cm.)



Ç4,200-5,500 £3,000-4,000



*62

ITALIAN SCHOOL, 18TH CENTURY An extensive view of Saint Peter’s, Rome, with the Bernini colonnade bodycolour 16¿ x 28¿ in. (40.8 x 71.4 cm.)

£6,000-8,000



$9,200-12,000 Ç8,400-11,000

PROVENANCE:

Wocher (according to a label on the verso: ‘N9/ St Pierre a Rome/ Vente Wocher 1831.’).

34

$4,600-6,100 Ç4,200-5,500

62

63

64

65

THE PROPERTY OF THE MAXWELL MACDONALD FAMILY (LOTS, 64, 66-9, 70, 72 AND 74) The drawings in lots 64, 66-9, 70, 72 and 74 were part of the celebrated collection assembled by Sir William Stirling-Maxwell (1818-1878). An erudite art historian and Hispanist, he formed one of the earliest and most important collections of Spanish drawings in Britain. StirlingMaxwell had a large influence on the appreciation of Spanish art in England; he published in 1848 the first scholarly history of Spanish Art in English, Annals of the Artists of Spain, which made Spanish art easily accessible to English readers for the first time. The scholarly approach to Spanish drawings was also present in Stirling-Maxwell’s collection. He tried to collect drawings by as many artists as possible in order for his collection to offer a comprehensive survey of Spanish drawing. The collection was formed between 1842 and the early 1870s and on their dispersal in the 1920s about half of the collection was bought by Sir Robert Witt who bequeathed them to the Courtauld Institute (see Z. Véliz, Spanish Drawings in The Courtauld Gallery: complete catalogue, London, 2011). While most of the drawings from the remaining half were dispersed by Stirling-Maxwell’s sons, a number of drawings remained at Pollok House, from which the present drawings were removed.

64

65

CIRCLE OF ALONSO CANO (GRANADA 1601-1667) An altarpiece showing the apparition of the Virgin to Saint Francis, in an architectural frame

SPANISH SCHOOL, 18TH CENTURY The Immaculate Conception

inscribed ‘S.FRANCO/ DE/ SENA’ black chalk, pen and brown ink, brown wash 11√ x 9¬ in. (30.2 x 24.6 cm.)

£1,000-1,500



black chalk, pen and brown ink, watermark cross in a circle, arched top 14√ x 8¡ in. (37.7 x 21.4 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

$1,600-2,300 Ç1,400-2,100 An attribution to Domingo Martínez (circa 1688-1750) has been

PROVENANCE:

Sir William Stirling-Maxwell (1818-1878), and by descent to the present owners. We are grateful to Dr. Zahira Véliz for her assistance in cataloguing this drawing.

suggested (see, for a comparable drawing, A.E. Pérez Sánchez, B. Navarrete Prieto, Tres siglos de dibujo sevillano, exhib. cat., Seville, FocusAbengoa Foundation, 1995-96, no. 127).

THE PROPERTY OF THE MAXWELL MACDONALD FAMILY

66

ATTRIBUTED TO JUAN FERNçNDEZ NAVARRETE, EL MUDO (LOGROÑO CIRCA 1526-1579 TOLEDO) Three draped fgures

PROVENANCE:

with inscription ‘Murillo’ and with numbers ‘n35’ and ‘229’ (recto) black chalk 11æ x 8æ in. (29.7 x 22.4 cm.)

These three fgures appear as the angels in the painting Abraham and the three angels by Juan Fernández Navarrete, now in the National Gallery of Ireland, Dublin (R. Mulcahy, Spanish Paintings in the National Gallery of Ireland, Dublin, 1988, pp. 11-4, no. 1721, fg. 6), though the fgure of Abraham intervenes in the foreground. It was commissioned in 1575 by King Philip II of Spain for the Guest Room of the monastery in the Escorial.

£3,000-4,000



$4,600-6,100 Ç4,200-5,500

Sir William Stirling-Maxwell (1818-1878), and by descent to the present owners.

A similar drawing of the three angels, without Abraham, is in the Instituto Valencia de Don Juan, Madrid (inv. 5807; R. Mulcahy, op. cit., p. 13, note 14, fg. 7 and Z. Véliz, ‘The Courtauld Gallery’s Mystic Marriage of St. Catherine: A link between Navarrete and Schiavone’, Master Drawings, XLIX, 2011, no. 1, p. 39, fg. 14). It is unclear if the two drawings are autograph studies or ricordi, or copies after the painting by another hand. We are grateful to Dr. Zahira Véliz and Benito Navarrete Prieto for their assistance in cataloguing this drawing.

37

67

68

THE PROPERTY OF THE MAXWELL MACDONALD FAMILY (LOTS 67-69)

67

Although a similar inscription ‘Al˚ Can’ can be found on a few drawings by Cano, this drawing is, as was already noted by Stirling-Maxwell in a rare inscription on the back of the mount, also close to Murillo. We are grateful to Dr. Zahira Véliz for her assistance in cataloguing this drawing.

CIRCLE OF BARTOLOMÉ ESTEBAN MURILLO (SEVILLE 1618-1682) 69 The Infant Christ lying on a Cross, his right hand resting on a skull PEDRO TORTOLERO (SEVILLE CIRCA 1700-1766) red chalk, stumping A kneeling putto with his arms spread 4 x 5¬ in. (10 x 14.4 cm.) £1,000-1,500



with inscription ‘Tortolero’

$1,600-2,300 red chalk Ç1,400-2,100 12æ x 9º in. (31.2 x 23.6 cm.) £1,500-2,000

PROVENANCE:

Sir William Stirling-Maxwell (1818-1878), and by descent to the present owners.

$2,300-3,100 Ç2,100-2,800



PROVENANCE:

The traditional attribution to José Antolínez (1635-1675), recorded by Sir William Stirling-Maxwell on the mount, can no longer be sustained. This is a copy after a drawing by Murillo in red and black chalk and similar in size, today in the British Museum, London (inv. 1858-7-24-I; J. Brown, Murillo: Virtuoso Draftsman, New Haven and London, 2012, no. 23). Another copy is in the Biblioteca Nacional, Madrid (inv. DIB/16/40/8; M.P. McDonald, Renaissance to Goya: Prints and Drawings from Spain, exhib. cat., London, British Museum, 2012, p. 150, fg. 38). The same subject appears in another drawing by Murillo now in the Louvre, Paris (inv. 18.428; J. Brown, op. cit., no. 62) which is a study for a painting of the same fgure, with two putti above, now in the Graves Art Gallery, Sheffeld (J. Brown, op. cit., fg. 57). We are grateful to Benito Navarrete Prieto for his assistance in cataloguing this drawing.

Sir William Stirling-Maxwell (1818-1878), and by descent to the present owners. LITERATURE:

A.E. Pérez Sánchez, B. Navarrete Prieto, Tres siglos de dibujo sevillano, exhib. cat., Seville, Focus-Abengoa Foundation, 1995-96, p. 46, ill. This is the only known drawing by the Sevillian artist Tortolero, and it was, as noted by Benito Navarrete Prieto, possibly made after a sculpture (A.E. Pérez Sánchez and B. Navarrete Prieto, op. cit., p. 46). Tortolero, a pupil of Domingo Martínez (circa 1688-1750), is mainly known for his engravings and for his illustrations for Annales eclesiásticos i seglares … de la ciudad de Sevilla by Lorenzo Bautista de Zúñiga, published in Seville, 1747. We are grateful to Benito Navarrete Prieto for his assistance in cataloguing this drawing.

68

ATTRIBUTED TO ALONSO CANO (GRANADA 1601-1667) Putti holding a martyr’s palm and fowers with inscription ‘Al˚ Cano’ (recto) red chalk 3 x 4Ω in. (9.4 x 11.5 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

Sir John McPherson Brackenbury; Christie’s, London, 26 May 1848, lot 62 (‘A. Cano...Two angels’; 15 shillings together with lot 61), where purchased by; Sir William Stirling-Maxwell (1818-1878), with his inscription ‘Alonso Cano or Bart. Esteban Murillo./ London May 26. 1848./ Sir J. Brackenbury’s Sale.’ and his signature (verso), and by descent to the present owners. 69

70

71

THE PROPERTY OF THE MAXWELL MACDONALD FAMILY

71

70

ANTONIO DEL CASTILLO (CÓRDOBA 1616-1668) Studies of four heads

SPANISH SCHOOL, 17TH CENTURY A man holding a staff seen from behind with ink inscription ‘Orrente’ red chalk, the upper two corners cut 9æ x 6¡ in. (24.9 x 16.4 cm.)

£1,500-2,000



signed with initials ‘A.C.’ traces of black chalk, pen and brown ink, partial watermark cross (?) in a circle 8¬ x 6º in. (21.7 x 15.7 cm.)

£3,000-5,000 $2,300-3,100  Ç2,100-2,800

PROVENANCE:

Sir William Stirling-Maxwell (1818-1878), and by descent to the present owners. Although it bears an old attribution to Pedro Orrente (1580-1645), this drawing can’t be connected to any known composition by the artist and differs stylistically from the few known drawings by him. We are grateful to Dr. Zahira Véliz and Benito Navarrete Prieto for their assistance in cataloguing this drawing.

$4,600-7,700 Ç4,200-6,900

This sheet, showing four models in different poses, is part of a group of head studies by Castillo dated by Benito Navarrete Prieto to the 1650s (see B. Navarrete Prieto, Antonio del Castillo [1616-1668]: Dibujos: Catálogo Razonado, Santander, 2008, nos. 116, 118, 120, 131, 133, 134, 136, 141). It is particularly close to the sheet in The Courtauld Institute of Arts, London (B. Navarrete Prieto, op. cit., no. 141) which is similar in size and composition and furthermore shows some of the same models and has the same type of signature in the centre of the sheet. The paper of the Courtauld drawing has the same fragmentary watermark and is laid on a similar blue mount indicating that the two drawings were once kept in the same album. Navarrete Prieto noted the similarities between the Courtauld drawing and an engraving by Frederick Bloemaert (1610-circa 1669) from the Tekenboek, pointing out that Castillo must have used it for inspiration for his drawn studies (B. Navarrete Prieto, op. cit., fg. 141.1). We are grateful to Benito Navarrete Prieto for having confrmed the attribution to Castillo on the basis of a digital photograph and for his assistance in cataloguing this drawing.

39

THE PROPERTY OF THE MAXWELL MACDONALD FAMILY

72

ATTRIBUTED TO JERÓNIMO JACINTO DE ESPINOSA (CONCENTAINA 1600-1667 VALENCIA) The head of a man pen and brown ink, brown wash, heightened with white, circular, made up at the top 4¿ in. (10.5 cm.) (diameter)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

Sir William Stirling-Maxwell (1818-1878), and by descent to the present owners. Attributed to de Espinosa by Stirling-Maxwell (on the mount), this study can be compared to the head of God the Holy Spirit in The Trinity, a drawing in the National Library of Spain, Madrid (D. Angulo and A.E. Pérez Sánchez, A Corpus of Spanish Drawings: Volume Four: Valencia: 1600-1700, New York, 1988, IV, no. 77, pl. XXVIII). We are grateful for Benito Navarrete Prieto for endorsing the attribution to Espinosa on the basis of a digital photograph. 72

SOLD FROM THE ESTATE OF NIGEL PARK TO BENEFIT THE NATIONAL GALLERIES OF SCOTLAND

73

FRENCH SCHOOL, EARLY 17TH CENTURY The Holy Family with Jesus reading black chalk, pen and brown ink, brown wash, the four corners cut and made up 9¿ x 6¡ in. (23.4 x 16.3 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

An attribution to Georges Lallemand (1575-1635) has been suggested.

73

THE PROPERTY OF THE MAXWELL MACDONALD FAMILY

74

SPANISH SCHOOL, 17TH CENTURY Two seated putti holding a duck with number ‘91’ (recto) and with inscriptions of accounts (verso) red and traces of black chalk, stumping 10 x 15æ in. (26.2 x 40 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

Sir William Stirling-Maxwell (1818-1878), and by descent to the present owners.

40

74

75

75

FROM A GERMAN PRIVATE COLLECTION

FRENCH SCHOOL, CIRCA 1600 A unicorn surrounded by animals, two men standing on the right

76

pen and brown ink, watercolour, traces of a watermark 8¿ x 21¡ in. (20.6 x 54.8 cm.)

£3,000-4,000

ATTRIBUTED TO CHARLES-EMMANUEL BISET (MECHELEN 1633-CIRCA 1710 BREDA) An allegory, with three fgures holding scrolls and Faith, Hope and Charity (recto); Studies of dancing fgures (verso)

$4,600-6,100 inscribed with colour indications in French (verso) Ç4,200-5,500 black and red chalk, grey wash, partially indented for transfer (recto); black



PROVENANCE:

chalk (verso), the verso lightly blackened for transfer 13√ x 17æ in. (35.2 x 45.2 cm.)

C.R. Rudolf; Sotheby’s, London, 21 May 1963, lot 45 (as attributed to Jean Duvet).

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

EXHIBITED:

London, Arts Council Gallery, Birmingham, City Museum & Art Gallery, Leeds City Art Gallery, Old master drawings from the collection of Mr. C. R. Rudolf, 1962, no. 176 (as attributed to Jean Duvet). This drawing, perhaps symbolizing the triumph of chastity over lechery, has been attributed to Duvet by Dr. I.Q. van Regteren Altena. It may be compared with an engraving by Duvet, A King Pursued by a Unicorn (Bartsch 40).

76

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

77

77

GERMAN (?) SCHOOL, 16TH CENTURY Portrait of a woman, bust length, turned to the right black chalk on blue faded paper, brown ink framing lines 4¡ x 2√ in. (11.3 x 7.3 cm.)

£1,500-2,000



78

$2,300-3,100 Ç2,100-2,800

78

ATTRIBUTED TO HANS SPRINGINKLEE (CIRCA 1495-1540 NUREMBERG) A bishop saint holding a crozier and a bible with date ‘1515’ pen and brown ink 7Ω x 3æ in. (19.1 x 9.5 cm.)

£1,500-2,000



Comparable to the fgure of Saint Sebald, attributed by Campbell Dodgson to Springinklee, on the verso of the title page to Die hystori des lebens ... Sant Sebalds, published by Hieronymus Hölzel in Nuremberg in 1514 (Bartsch VII, 19 (179); C. Dodgson, Catalogue of Early German and Flemish Woodcuts ... in the British Museum, London, 1903 [reprinted 1980], I, p. 381, no. 3).

$2,300-3,100 Springinklee is chiefy remembered as a pupil and assistant of Albrecht Ç2,100-2,800 Dürer, in whose house in Nuremberg he lived. The latter’s infuence is clearly seen in early work such as the present drawing, which recalls Dürer’s woodcut The Patron Saints of Austria (Bartsch 116). This appeared with six saints in circa 1515, and with a further two bishop saints, sometimes attributed to Springinklee, added in 1517. Two signed drawings by Springinklee are known, Rest on the Flight into Egypt, dated 1514, in the British Museum (J. Rowlands, Drawings by German Artists ... in the British Museum, London, 1993, no. 468) and Christ as the Man of Sorrows in the Kupferstichkabinett, Basel (P. Strieder et al., Meister um Albrecht Dürer, exhib. cat., Nuremberg, Germanisches Nationalmuseum, 1961, pl. 67).

42

80

79

FROM A GERMAN PRIVATE COLLECTION

FROM A GERMAN PRIVATE COLLECTION

79

80

GERMAN (?) SCHOOL, 17TH CENTURY The nave of a Gothic cathedral

GERMAN (?) SCHOOL, 17TH CENTURY An aisle in a Gothic cathedral

pen and black ink, grey and brown wash, black ink framing lines, watermark crest with letters HH 9Ω x 6√ in. (24.2 x 17.4 cm.)

with monogram ‘FI’ and with inscription ‘Nro: 3.’ pen and black ink, grey wash 13æ x 9æ in. (35 x 24.8 cm.)

£800-1,200



$1,300-1,800 £800-1,200 Ç1,200-1,700 

$1,300-1,800 Ç1,200-1,700

PROVENANCE:

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

B. Himmelheber (L. 4035), and by descent to the present owner.

FROM A GERMAN PRIVATE COLLECTION

81

GERMAN (?) SCHOOL, 17TH CENTURY Musician angels in the clouds pen and black ink, grey wash heightened with white on blue prepared paper 8æ x 12 in. (22.2 x 30.3 cm.)

£600-800



$920-1,200 Ç840-1,100

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

81

82

82

LAMBERT LOMBARD (LIéGE 1506-1566) The poet Virgil suspended in a basket with inscription ‘Lombardus’ black chalk, pen and brown ink, grey wash heightened with white 8¡ x 11æ in. (21.4 x 29.7 cm.)

£4,000-6,000

$6,200-9,200 Ç5,600-8,300



According to a medieval legend, the frst century B.C. Roman poet Virgil fell in love with the Roman emperor’s daughter. She promised to raise the poet to her bedroom one night, but instead left him dangling halfway to be mocked by the public the following day. Belonging to a popular sixteenth-century theme, the power of woman, the tale intended as a warning of women’s ability to make a fool of even the wisest and craftiest man.

83 The elongated fgures drawn with strong linear outlines can be compared to a large number of sheets by the artist (see, for example, G. Denhaene, Lambert Lombard. Renaissance et humanisme à Liège, Antwerp, 1990, fgs. 95-102, 158-167 and 342). A similar static arrangement of the fgures, in rather solid rectangular shaped groups, can also be found in a drawing by Lombard in the Metropolitan Museum of Art, New York (inv. 1975.131.241; G. Denhaene, op. cit., fg. 341).

ATTRIBUTED TO LAMBERT LOMBARD (LIéGE 1505-1566) Figures surrounding an obelisk and studies of allegorical fgures (recto); Two bearded men and ornamental foliage (verso) pen and brown ink, brown-grey and red wash (recto); pen and brown ink, grey wash (verso), watermark monogram ZC (?), upper right corner cut 4√ x 10¿ in. (12.5 x 25.7 cm.)

£1,000-1,500



83

$1,600-2,300 Ç1,400-2,100

(i)

84

JOHANN WOLFGANG BAUMGARTNER (KUFSTEIN 1712-1761 AUGSBURG) Christ in the House of Matthew; The Temptation of Christ; and The Road to Emmaus traces of black chalk, pen and black ink, brown wash on blue paper, watermark arrowhead with heart, black ink framing lines; black chalk, pen and black ink, pen and grey and brown wash heightened with white on faded blue paper (2 and 3) 7 x 11º in. (18 x 28.5 cm.); 6√ x 11¡ in. (17.4 x 29 cm.); and 7¿ x 11¬ in. (18 x 29 cm.) (3)

£4,000-6,000

$6,200-9,200 Ç5,600-8,300



PROVENANCE:

Jakob Schröfl (L. 4433); Kunstauktionhaus Leo Schidlof, Vienna, 17-19 October 1921, part of lot 123.

(ii)

(iii)

85

WILLEM VAN DE VELDE II (LEIDEN 1633-1707 LONDON) An English two- or three-decker signed with initials ‘W. V. V J’ (verso) and inscribed ‘d sand w..d[en]’ (recto) and ‘d[e mas]ste ofte túgh valt voorofer/ moet soo niet sijn.[...] afdrú..[?]’ (verso) black chalk, watermark lamb in circle 18¡ x 12 in. (46.8 x 30.5 cm.)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

PROVENANCE:

P. Sandby (L. 2112) The inscription on the recto presumably gives the name of the ship, in which case it might be identifed as the ‘Sandwich’, an English threedecker, built in 1679. The inscription on the verso is particularly interesting as with it the artist gives his opinion on the drawing; Van de Velde describes how the mast and rigging (‘d[e mas]ste ofte túgh’) are falling forwards, which shouldn’t be the case according to the artist (‘moet soo niet sijn’). We are grateful to Pieter van der Merwe for his help in cataloguing this drawing and those in lot 86 and 87.

85

86

WILLEM VAN DE VELDE II (LEIDEN 1633-1707 LONDON) An English gaff-rigged royal (naval) yacht with number ‘97’ black chalk, brown ink framing lines, fragmentary watermark Bend (close to Heawood 136, Amsterdam, 1611) 6¿ x 8¬ in. (15.7 x 19.4 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

86

87

WILLEM VAN DE VELDE II (LEIDEN 1633-1707 LONDON) Studies of a ship with crew raising anchors black chalk, countermark B 10¬ x 7√ in. (26.9 x 17.3 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

PROVENANCE:

D.G. van Beuningen (L. 758). Both studies show the raising of the anchors from the sea bed. In the lower study, the upper ring of the anchor is being hoisted onto the cathead – a beam which projects out beyond the end of the vessel. The name ‘cathead’ derives from the protrusion‘s traditional decoration with a lion’s face or other felids. The pointed arms (fukes) of the anchor are being lifted so that they can be secured with ropes to the side of the boat, near its upper edge (gunwale). A comparable signed drawing showing the raising of anchors is in the Courtauld Institute of Art, London (Inv. D.1952.RW.1306). 87

FROM A GERMAN PRIVATE COLLECTION

88

PIETER JANSZ. QUAST (AMSTERDAM 1605/06-1647) King Solomon with his entourage signed ‘PQuast 1646.’ black chalk on prepared vellum 12¿ x 8æ in. (30.8 x 22.3 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

PROVENANCE:

P. Langerhuizen Lzn. (L. 2095). Deiker Collection (according to a mount in the Witt library). Dr. W. Beck (L. 2603c). B. Himmelheber (L. 4035), and by descent to the present owner.

88

FROM A GERMAN PRIVATE COLLECTION

89

DUTCH SCHOOL, 17TH CENTURY Head of a woman in profle to the left with inscription ‘Mieris’ (twice) and with number ‘1038’ (verso) black chalk, brown ink framing lines 4¬ x 4æ in. (11.7 x 12.1 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

89

90

ATTRIBUTED TO WILLEM DROST (AMSTERDAM 1633-1659 VENICE) A vision of Saint Jerome pen and brown ink, brown ink framing lines 6 x 7 in. (15.2 x 17.8 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

PROVENANCE:

R. Gummow; Christie’s, London, 23 June 1970, lot 90 (as Attributed to Rembrandt).

90

This drawing has previously been attributed to Rembrandt, but Peter Schatborn has suggested that it should be given to Willem Drost, noting that the precise rendering of the hands, with every fnger individually represented, and the strong parallel hatchings, noticeable in Saint Jerome’s habit, are characteristic of the artist’s drawings (see, for example, W. Sumowski, Drawings of the Rembrandt School, New York, 1980, III, nos. 550x and 567xx). Furthermore the loose lines indicating the background can be compared to a number of Drost’s drawings (see W. Sumowski, op. cit., nos. 550x, 551x, 555x).

47

91

92

91

93

PIETER VAN BLOEMEN, CALLED STANDAART (ANTWERP 1657-1720) An encampment with cooking pots, a tent and a man in the background

LAMBERT DOOMER (AMSTERDAM 1624-1700) The Sankt Aposteln basilica, Cologne, seen from the North (recto); A partial study of the same (verso)

black chalk, point of the brush and black ink, grey wash, black ink framing lines 6¬ x 8¡ in. (16.9 x 22.4 cm.)

£800-1,200



inscribed ‘S. Qurijeen te Kuelen’ and with inscription ‘S gorge’ (verso) black chalk, brown and grey wash, brown ink framing lines, Strasburg lily with letters WR (recto); black chalk (verso) 14Ω x 10º in. (36.6 x 26 cm.)

$1,300-1,800 £6,000-8,000 Ç1,200-1,700 

$9,200-12,000 Ç8,400-11,000

PROVENANCE:

ANTHONIE WATERLOO (LILLE 1609-1690 UTRECHT) A river landscape with fshermen in boats

Cornelis Ploos van Amstel (1726-1798) (L. 2118a), possibly with his inscriptions; ‘h 14 dm/ b 10 d’ and ‘K: N 7/ aa/ Doomer/ N65-0’; possibly Philippe van der Schley, Amsterdam, 3 March 1800, Kunstboek K, lot 31 (‘De Dom te Keulen, met Sappen, door J. Doomer’) or Kunstboek O, lot 16 (‘Een Gezigt binnen Keulen; gewasschen met O.I. Inkt en dun gecouleurd, door Doomer’).

black chalk, brown ink framing lines 3¡ x 5Ω in. (8.7 x 13.9 cm.)

LITERATURE:

THE PROPERTY OF A DUTCH GENTLEMAN

92

£1,000-1,500



PROVENANCE:

Prince Reuss. with Gustav Nebehay, Vienna, 1928, no. 59, ill. (according to Beck). Anonymous sale; Christie’s, Amsterdam, 11 November 1996, lot 88. Anonymous sale; Christie’s, Amsterdam, 10 November 1997, lot 69. with Douwes Fine Art, Amsterdam, 1998; where acquired by the present owner. LITERATURE:

H.-U. Beck, Jan van Goyen: 1596-1656: ein Oeuvreverzeichnis, Amsterdam 1972, I, no. 647 (as A. Waterloo?). Can be compared to a group of drawings by Waterloo, similar in size, technique and style which are very close to drawings by Jan van Goyen (1596-1656) (H.-U. Beck, Künstler um Jan van Goyen, Maler und Zeicher, Doornspijk, 1991, pp. 436-41, nos. 1233-54). A number of these were used by Waterloo as designs for his etchings (Bartsch 8, 11,12, 14, 15 and 18). The attribution to Waterloo was confrmed by Dr. Hans-Ulrich Beck in the 1996 catalogue.

48

Possibly W. Schulz, Lambert Doomer: 1624-1700: Leben und Werke, Ph.d

$1,600-2,300 dissertation, Berlin, 1972, II, no. 306. Ç1,400-2,100

Another drawing by Doomer showing the basilica from the same angle, but with additional buildings to the right and left, is in the Klassik Stiftung Weimar (inv. 4892; W. Schulz, op. cit., no. 307 and W. Sumowski, Drawings of the Rembrandt School, New York, 1979, II, no. 422). That drawing also bears the inscription ‘S. Qurijeen te Keulen’, although this time on the recto. While both inscriptions suggest that the drawings depict a church for Quirinus, they clearly show the Sankt Aposteln basilica in Cologne which still stands today. Schulz (op. cit.) considered the Weimar drawing to be a replica dating from the early 1670s of a lost drawing of the Rhine journey of about 1663.

93

95

94

THE PROPERTY OF A DUTCH GENTLEMAN

THE PROPERTY OF A DUTCH GENTLEMAN

94

97

GERRIT GROENEWEGEN (ROTTERDAM 1754-1826) An English frigate fring a salute in crowded waters

JAN VAN DER MEER THE YOUNGER (HAARLEM 1656-1705) Sheep in a wooded landscape with peasants in the background

black chalk, pen and brown ink, grey wash, brown ink framing lines, watermark JKool with grapes and a rooster 10 x 13æ in. (25.4 x 34.9 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

signed ‘J v der meer/ de jonge’ black chalk, pen and brown and black ink, watercolour, brown ink framing lines 8¬ x 11 in. (22 x 28 cm.)

£2,000-3,000

PROVENANCE:



Sir Bruce Ingram (according to Rob Kattenburg). with Rob Kattenburg, Bergen; where purchased by the present owner.

PROVENANCE:

THE PROPERTY OF A DUTCH GENTLEMAN

95

VINCENT JANSZ. VAN DER VINNE (HAARLEM 1736-1811) A wooded landscape with a horse cart on the left and a ruin in the background black chalk, pen and brown ink, brown and grey wash, brown ink framing lines 9æ x 12º in. (24.7 x 31.4 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

$3,100-4,600 Ç2,800-4,200

W. Mayor (L. 2799), and with his inscription (?) ‘W.M. 1858’ (verso) (L. 2639). Anonymous sale; Kornfeld & Klipstein, Bern, 16 June 1960, lot 335. with William H. Schab Gallery, New York. Emile E. Wolf, New York. Jacobus A. Klaver, with his mark on the mount (not in Lugt); Sotheby’s, Amsterdam, 10 May 1994, lot 86; where purchased by the present owner. EXHIBITED:

Ithaca, Herbert F. Johnson Museum of Art, Cornell University, Dutch Drawings of the Seventeenth Century from a Collection, 1979, no. 54 (catalogue by C.E. Gilbert). Rijksmuseum, Amsterdam, Tekeningen van Oude Meesters. De verzameling Jacobus A. Klaver, 1993, no. 93, ill. (catalogue by P. Schatborn and M. Schapelhouman). LITERATURE:

96

JAN BULTHUIS (GRONINGEN 1750-1801 AMSTERDAM) A naval battle black chalk, pen and black ink, grey wash, black ink framing lines 5¬ x 7¬ in. (14.3 x 19.5 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,200

Two drawings by Bulthuis of similar subject, size and technique are in the Rijksmuseum, Amsterdam (RP-T-1905-172, RP-T-1905-173).

50

A brief chronological description of Original Drawings and Sketches by the Old Masters ... formed by the late Mr. William Mayor, London, 1875, no. 903. Jan van der Meer the Younger was born into a family of artists and, according to Van Gool, was a pupil of his father, Jan van der Meer, called ‘Vermeer van Haarlem’ (1628-1691). The son specialized in depictions of animals in pastoral landscapes. Although most of his drawings are executed in grey wash, he also executed a small number of drawings in a more refned technique combining black chalk, pen and ink and watercolour, as the present drawing.

96

97

98

98

99

CIRCLE OF OCTAVIANUS MONTFORT (ACTIVE 17TH CENTURY) Cherries, pears and apricots in a porcelain dish on a stone ledge

ATTRIBUTED TO BARBARA REGINA DIETZSCH (NUREMBERG 1706-1783) A spray of pink roses with a blue butterfy (Lycaenidae); and A spray of white jasmine with a large copper butterfy (Lycaenidae) and a dragonfy

graphite, watercolour, bodycolour and gum Arabic on vellum 9 x 13 in. (22.9 x 33 cm.)

£1,000-1,500



(i)

$1,600-2,300 bodycolour, gold framing lines Ç1,400-2,100 9 x 6æ in. (22.8 x 17.1 cm.) (1); 11º x 8¿ in. (28.5 x 20.6 cm.) (2) apair(2) £2,000-3,000 $3,100-4,600  Ç2,800-4,200

(ii)

*100

ATTRIBUTED TO JACOB MARREL (FRANKENTHAL 1614-1681 FRANKFURT) A tulip black chalk, bodycolour on white prepared vellum 13º x 8√ in. (33.7 x 22.4 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

100

101

PIETER HOLSTEYN II (HAARLEM CIRCA 1614-1673) A waxwing (Bombycilla) signed with initials ‘PH fe’ (the initials interlaced) (recto); with numbers ‘49’ and with ‘i22’ (verso) watercolour, bodycolour, gum Arabic, fragmentary watermark foolscap 6¿ x 7¬ in. (15.6 x 19.3 cm.); and two further drawings by the same hand, A Duck; and A water fowl

(3)

£1,000-1,500



101 (part lot)

102

GEORG DIONYSIUS EHRET (ERFURT 1708-1770 LONDON) A Bristly Ox-tongue (Picris hieracioides) and a Hawk Moth (Pachylia fcus) signed ‘G.D. Ehret. pinxit./ 1756.’ and titled and inscribed ‘HIERACIUM echioides capitulis Cardui benedicti. C.B. Pin.’ bodycolour and gum Arabic on vellum 19 x 13¬ in. (48.2 x 34.8 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,200

PROVENANCE:

probably Iola A. Williams. LITERATURE:

I.A. Williams, Early English Watercolours and some cognate drawings by artists born not later than 1785, London, 1970, p. 26, plate XXIV, fg. 47.

102

$1,600-2,300 Ç1,400-2,100

103

GERMAN SCHOOL, 19TH CENTURY A big house and other buildings in an extensive landscape dated ‘1812.’ pencil, watercolour and bodycolour, black wash framing lines 16º x 22¬ in. (41.2 x 57.4 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

103

104

HENDRICK ABRAHAM KLINKHAMER (AMSTERDAM 1810-1872) The victory of the Peasants, after Philips Wouwerman (Haarlem 1619-1668) signed with initials ‘H:A:K’ and inscribed ‘PH. W.’ (the frst two letters interlaced) (recto) and signed, dated and inscribed ‘H.A. Klinckhamer/ naar/ Philip Wouwerman/ 1855’ (verso) watercolour, bodycolour and gum Arabic 16¿ x 21º in. (40.8 x 54 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

PROVENANCE:

with J.H.A. Mansink, Enschede, 1979.

104

A tobacco broker by profession, Klinkhamer was a skilled amateur artist who produced quite a number of drawings as well as some etchings. He specialized in highly fnished watercolours after famous Dutch Golden Age painters, such as the present one, which was made after Philips Wouwerman’s Victory of the Peasants, today in Beeckestijn House, Velsen (B. Schumacher, Philips Wouwermans: The Horse Painter of the Golden Age, Ghent, 2006, I, no. A269, II, ill. 251). A large number of Klinkhamer’s drawings are now housed in the Rijksmuseum, Amsterdam.

105 (i)

(ii)

105

106

FRENCH SCHOOL, 18TH CENTURY An artist painting in a studio; and An artist sculpting in a studio

DUTCH (?) SCHOOL, 17TH CENTURY Portrait of a man wearing a hat, half length

signed with initials ‘VD’ (i) black chalk, watercolour and bodycolour on vellum 12Ω x 9 in. (32.1 x 22.7 cm.)

black and white chalk on (faded) blue paper 15æ x 11¿ in. (39.9 x 28.2 cm.)

apair(2) £800-1,200

$1,100-1,500  Ç970-1,400

£700-1,000



$1,300-1,800 Ç1,200-1,700

An attribution to Herman van der Mijn (1684-1741) has been suggested. PROVENANCE:

Anonymous sale; Christie’s, London, 30 March 1971, lot 277.

106

55

107

107

108

FRENCH SCHOOL, CIRCA 1700 John the Baptist, surrounded by angels

FRENCH SCHOOL, EARLY 18TH CENTURY Time unveiling Truth

black and white chalk on blue paper 9¿ x 16√ in. (23.3 x 42.9 cm.)

black and white chalk on buff paper 15¿ x 21 in. (38.5 x 53.5 cm.)

£800-1,200



108

$1,300-1,800 £800-1,200 Ç1,200-1,700 

$1,300-1,800 Ç1,200-1,700

109

110

SOLD FROM THE ESTATE OF NIGEL PARK TO BENEFIT THE NATIONAL GALLERIES OF SCOTLAND

109

110

CIRCLE OF CHARLES LE BRUN (PARIS 1619-1690) An angel with crossed arms

ROMAN (?) SCHOOL, 17TH CENTURY Portrait of a man, presumably an artist

with inscription ‘Le Brun f N˚ 51 [?]’ and with illegible inscription red chalk and touches of white chalk, the upper left corner cut and partially made up 7¿ x 6Ω in. (18.2 x 16.5 cm.)

black, red and white chalk, inscribed in an oval, on blue faded paper, watermark fower in a crest 9º x 7º in. (22.6 x 18.6 cm.)

£800-1,200



£1,500-2,000 $1,300-1,800  Ç1,200-1,700

$2,300-3,100 Ç2,100-2,800

PROVENANCE: PROVENANCE:

with Jean Willems, Brussels.

Francesco Maria Niccolo Gabburi. Possibly Benedetto Luti. William Kent (c.1758). Charles Rogers (L. 624); Jonathan Richardson Jr. (L. 2170, his mount with extensive inscription and attribution to Ottavio Leoni on the verso). possibly Thomas Philipe, London 18 April 1799, lot 374 (as Ottavio Leoni). with Colnaghi’s, London. Paul Bernat (mark not in Lugt). LITERATURE:

N. Turner, ‘The Gabburri / Rogers series of drawn self-portraits and portraits of artists’, Journal of the History of Collections, 1993, V, no. 2, Appendix IV, p. 209 (as Ottavio Leoni).

57

112 (recto)

111

111

112

NICOLAS LANCRET (PARIS 1690-1745) A young man, bust-length, looking to the right

FRENCH SCHOOL, 18TH CENTURY A woman seen from behind, after François Boucher (Paris 1703-1770) (recto); Head of a young woman (verso)

with inscription ‘Fr G. Col. Watteau’ on the mount black, red and white chalk, on light brown paper 3¬ x 3√ in. (9.1 x 9.8 cm.)

£1,000-1,500



proprietary watermark black and red chalk (recto); black chalk, stumping (verso) 9¿ x 11√ in. (23.3 x 30.3 cm.)

£800-1,200

$1,300-1,800 Ç1,200-1,700



$1,600-2,300 Ç1,400-2,100 A copy after a drawing by Boucher in a private collection (A. Ananoff, François Boucher, Lausanne,

PROVENANCE:

Anonymous sale; Christie’s, London, 9 July 2001, lot 105.

1976, no. 321/1), which is a study for the woman holding fowers in The fountain of love, a fnished cartoon for a tapestry, now in the J. Paul Getty Museum, Los Angeles (Inv. 71.PA.37; A. Ananoff, op. cit., no. 321).

A study for the head of the man embracing a woman at the left in La Fête dans un Bois, a painting now in the Wallace Collection, London (G. Wildenstein, Lancret, Paris, 1924, no. 137, fg. 42). Dr. Mary Tavener Holmes noted that the the soft handling of the white chalk and the characteristic shape of the eyes suggest a dating of the early 1720s. The combination of different coloured chalks can be compared to the technique of Gilles Embracing Columbine, with studies of his head and hand dated circa 1720-25 (see M. Tavener Holmes, Nicolas Lancret: 1690-1743, exhib. cat., New York, The Frick Collection, 1991, no. 24). We are grateful to Dr. Mary Tavener Holmes for confrming the attribution on the basis of a digital photograph.

112 (verso)

58

113

113

MICHEL-FRANÇOIS DANDRÉ-BARDON (AIX-EN-PROVENCE 1700-1778 PARIS) The supplication of Saint James signed ‘Dandré Bardon’ red chalk, pen and brown ink, brown wash 8¬ x 6¬ in. (22 x 17 cm.)

£3,000-5,000



PROVENANCE:

Georgina Bland (according to an inscription on the backing board ‘From Georgina Bland’s Rome album, 1827’).

$4,600-7,700 An altarpiece of this subject, with some differences in the composition, Ç4,200-6,900 is in the Church of Notre-Dame-du-Rosaire in Lambesc, France (D. Chol, Michel-François Dandré-Bardon ou l’apogée de la peinture en Provence au XVIIIe siècle, Aix-en-Provence, 1987, no. 61). Another painting of the subject is in the Musée Magnin, Dijon (D. Chol, op. cit., no. 62).

59

114

115

FROM A GERMAN PRIVATE COLLECTION

FROM A GERMAN PRIVATE COLLECTION

114

115

ATTRIBUTED TO CHARLES-FRANÇOIS HUTIN (PARIS 1715-1776 DRESDEN) A seated fgure in heavy robes

CLAUDE-JEAN-BAPTISTE HOIN (DIJON 1750-1817) Portrait of a man

red chalk, watermark encircled Strasburg lily 17¡ x 11º in. (44 x 28.6 cm.)

£800-1,200



black and white chalk, stumping, on blue paper 17æ x 11√ in. (45.2 x 30.2 cm.)

£1,000-1,500 $1,300-1,800  Ç1,200-1,700

$1,600-2,300 Ç1,400-2,100

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

PROVENANCE:

P. Hermann (L. 1352a), and by descent to the present owner.

116

PROVENANCE:

HUBERT ROBERT (PARIS 1733-1808) A Roman Villa in a park, with seated and walking fgures in the garden

Prof. Dr. A. Politzer (this stamp not in Lugt, but close to L. 2037). Anonymous sale; Galerie Bassenge, Berlin, 2-6 November 1971, lot 619. K.H. Senger (L. 3555 and 3556), and by descent to the present owner.

with inscription ‘Robert a Rome/ Seul’ and with number ‘N 275’ and with erased number ‘88’ (recto of the mount) and with illegible inscription (verso of the mount) red chalk counterproof 10√ x 14Ω in. (27.8 x 36.8 cm.)

A counterproof of a drawing datable circa 1761, now in the Musée de Valence, France (Inv. D. 44; J. de Cayeux, Les Hubert Robert de la Collection Veyrene au Musée de Valence, Valence, 1985, no. 13). The latter has traditionally been identifed as a view of the Villa Madama, but it is rather a capriccio inspired by the Villa.

£2,000-3,000



116

$3,100-4,600 We are grateful to Sarah Catala for her assistance in cataloguing this drawing. Ç2,800-4,200

117

118

FROM A GERMAN PRIVATE COLLECTION

117

118

LOUIS-CLAUDE VASSÉ (PARIS 1716-1772) A sphinx

GUILLAUME-THOMAS-RAPHAèL TARAVAL (PARIS 1701-1750 STOCKHOLM) Neptune seen from behind

red chalk, watermark posthorn in a crowned shield with C & I Honig 12¿ x 19 in. (30.7 x 48.2 cm.)

£800-1,200



grisaille on paper, some splits, laid down on panel

$1,300-1,800 22¬ x 19æ in. (57.5 x 50.2 cm) Ç1,200-1,700 £7,000-10,000



$11,000-15,000 Ç9,800-14,000

PROVENANCE:

Bernhard Himmelheber, and by descent to the present owner. A similar drawing by Vassé, executed in red chalk and after a sculpture of a lion, was sold at Christie’s, New York, 25 January 2005, lot 131.

A drawing showing Neptune in similar pose, though in reverse, is in the Nationalmuseum, Stockholm (inv. 2993/1863; P. Bjurström, Drawings in Swedish Public Collections. 4. French Drawings: Eighteenth Century, Stockholm, 1982, no. 1186). The handling of the fgure in the Stockholm drawing is close to the present one, the body subtly shaped with fnely drawn shadows giving the fgure its volume and monumentality.

61

119

JEAN-HONORÉ FRAGONARD (GRASSE 1732-1806 PARIS) The birth of Alexander, after Annibale Carracci inscribed by the Abbé de Saint-Non ‘Annibal Carrache/ Palais Tanaro./ Bologne.’ (twice, once upper left and once lower left) black chalk 8 x 10æ in. (20.3 x 27.2 cm.)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

PROVENANCE:

C. Férault, Paris. Anonymous sale; [Auction house unknown], 23 June 1960, lot 125 (to Heilbron). Anonymous sale; Sotheby’s, London, 7 July 1999, lot 70. LITERATURE:

A. Ananoff, L’Oeuvre dessiné de Jean-Honoré Fragonard, Paris, 1963, II, no. 1053. P. Rosenberg and B. Brejon de Lavergnée, Panopticon Italiano: Un diario di viaggio ritrovato: 1759-1761, Rome, 2000, no. 301, ill. ENGRAVED:

by the Abbé de Saint-Non, Fragments, 2, and Griffonis, 170.

62

After a period spent in Rome, Fragonard returned to Paris in 1761 in the company of the Abbé de Saint-Non, a connoisseur, writer and amateur printmaker. During this journey Fragonard drew copies of three hundred Old Master paintings. Almost all the drawings carry inscriptions by the Abbé de Saint-Non which identify the prototypes. The Abbé probably hoped to write a guide to cities that he and Fragonard had visited, which could be illustrated with prints after Fragonard’s drawings. The present drawing was made after a painting, at the time at the Palazzo Tanari, but its whereabouts are unknown. A counterproof of this drawing is in Darmstadt, and a counterproof of the counterproof is in the Baderou collection at Rouen (M. Roland-Michel, ‘Sous le signe de l’abbé de SaintNon’, Etudes de la Revue du Louvre, no. 1, La donation Baderou au Museé de Rouen, Paris, 1980, p. 89).

120

ATTRIBUTED TO JOSEPH GOUPY (NEVERS 1693-1782 LONDON) A bird’s eye view of the port and entrance of Valetta black chalk and bodycolour 22¬ x 38√ in. (57.8 x 98.7 cm.)

£6,000-8,000



$9,200-12,000 Ç8,400-11,000

PROVENANCE:

Anonymous sale; Christie’s, London, 12 December 1985, lot 287a (as Circle of Joseph Goupy); where purchased by the present owner. ENGRAVED:

Antoine Benoist and published by Goupy, circa 1740s.

Another version with the same dimensions as this large bodycolour, this time with the addition of fgures, is part of a series of four views of Valetta, now in the Museum of the Order of Saint John, London (S. Dyer, A Catalogue of Topographical Prints and Drawings of Malta in the Museum of the Order of St John, London, 1984, nos. 5 a-d). The views were engraved without the fgures by Antoine Benoist (1721-1770) and published by Goupy himself and they soon became the most well-known representations of Malta (see British Museum, London, inv. 1952,0214.96-99). The city is seen from the sea. In the centre of the foreground is Fort Saint Elmo, and to the right Fort Manoel during the early stages of construction. The building of the fort started in 1723 and work was completed during the 1730s giving a potential date for the present drawing and the other four views Goupy made of Valetta.

63

121 (i)

(ii)

121

122

JOHANN LUDWIG WERNHARD FAESCH, CALLED JEAN-LOUIS FAESCH (BASEL CIRCA 1738-1778 PARIS) Portraits of actors in theatrical roles at the Comédie Française: Hector and Valère in Le Joueur by Regnard; and Mademoiselle Dumesnil as Athalie in Athalie by Racine

FRENCH SCHOOL, EARLY 18TH CENTURY A pair of fan designs: A Chinese empress relaxing with her courtiers in a garden; and The reception of the Persian embassy at Versailles, 7 February 1715

bodycolour and gum Arabic, heightened with gold, the shape of the fan inscribed ‘HECTOR VALERE./ dans le Joueur’ and ‘ATHALIE’ and ‘Theatre incised (i), with a fan-shaped sheet with incisions affxed to the larger oval Français/ [M]ad lle Dumesnil/ 1768’ (on a piece of paper attached to the sheet (ii) backing board) 11¿ x 15æ in. (28.2 x 40 cm.) apair(2) bodycolour and gum Arabic, heightened with gold (ii) on vellum £4,000-6,000 $6,200-9,200 3√ x 4¬ in. (9.6 x 11.6 cm.); and 4 x 3Ω in. (10.3 x 8.8 cm.) apair(2)

£700-1,200



$1,100-1,800 Ç970-1,700



Ç5,600-8,300

PROVENANCE:

PROVENANCE:

Anonymous sale; Sotheby’s, London, 18 April 1996, lot 51; where purchased by the present owner.

with Agnew’s, London, 1974 (with their labels and inventory numbers ‘39349’ and ‘39351’); where acquired by the present owner.

EXHIBITED:

Faesch specialized in portrait drawings of famous actors and his oeuvre is an important record of the French theatre in the 18th Century. The frst drawing shows Hector and Valère, both characters in the comedy Le Joueur, written by Jean-François Regnard in 1696. The second drawing shows Miss Dumesnil (1713-1803) as Athalie in the eponymous play by Jean Racine, written in 1691, generally considered one of the greatest tragedies of the 17th Century.

64

London, Fan Museum, A Fanfare for the Sun King, Unfolding Fans for Louis XIV, 2003, pp. 48-52, plate I.8 (catalogue by P. Cowan). (2) While it is not known whether the event shown in the frst fan design is imaginary or historic, the second records the reception of the Persian embassy on 7 February 1715 which took place at the Palace of Versailles (P. Cowan, op. cit., p. 49). The Persian Ambassador, Mohemet Riza Beg, is shown at the centre with a white horse to his left, presumably a gift for King Louis XIV who is shown on the right with his brother, Monsieur. The actual depiction of the event is imaginary as the King did not greet the party until they were in the Palace of Versailles. As reported by both the marquis Dangeau and the duc de Saint-Simon the King wore a coat of cloth-of-gold and black velvet - not the red one shown in the present drawing - so heavily trimmed with diamonds that he had to change it immediately after dinner (Saint-Simon, translated by F. Arkwright, Memoirs of the Duke de Saint-Simon, London, 1918, V, p. 94).

122 (i)

(ii)

123

ATTRIBUTED TO JACQUES-CHARLES OUDRY (PARIS 1720-1778 LAUSANNE) Two landscapes with exotic birds in a pond bodycolour on card 13º x 18Ω in. (33.7 x 47 cm.)

apair(2)

£4,000-6,000

$6,200-9,200 Ç5,600-8,300



We are grateful to Dr. Hall Opperman for his help in cataloguing this pair of drawings.

123 (i)

(ii)

124

FRENCH SCHOOL, 18TH CENTURY A ceiling design with four compartments of military trophies and arms, and a fragmentary arched composition below (recto); Architectural studies (verso) black chalk, pen and brown ink and watercolour heightened with white 12º x 9¿ in. (31.2 x 23.1 cm.)

£400-600



$620-920 Ç560-830

PROVENANCE:

with Wynne Jeudwine, from whom purchased by the present owner.

124

125

FRENCH SCHOOL, 18TH CENTURY A quiver, bow and arrows red and white chalk on buff paper, watermark C. A & C 16 x 10 in. (40.6 x 25.5 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

E. Fatio (L. 3472); Nicolas Rauch S.A., Geneva, 3-4 June 1959, lot 70. Curtis O. Baer (L. 3366), by descent to George M. Baer, thence by descent until circa 2010. with Jill Newhouse, New York. Katherine Woodward Mellon, thence by descent until 2012. EXHIBITED:

Atlanta, High Museum of Art and elsewhere, Master Drawings from Titian to Picasso: The Curtis O. Baer Collection, 1985-87, no. 157 (catalogue by E.M. Zafran).

125

126

FRENCH SCHOOL, 19TH CENTURY Still life with a snail, a tortoiseshell butterfy, a frog, plums and insects on a ledge pencil, watercolour 9º x 11√ in. (23.5 x 33 cm.)

£800-1,200



126

$1,300-1,800 Ç1,200-1,700

127 (i)

(ii)

127

128

JOHANN RUDOLF FEYERABEND, CALLED LELONG (BASEL 1749-1814) A glass of wine and bread on a plate, a miniature rose in an urn, a box of paints, a portfolio of drawings, a palate and a picture of birds on an easel; and Berries and a melon on plates, carafes of water and wine, bread, roses in a blue vase, and dominoes

CHRISTOPH LUDWIG AGRICOLA (REGENSBURG 1667-1719) A male common redstart (Phoenicurus), a fy and and a purple thistle

bodycolour, gum Arabic (1) 6Ω x 8¬ in. (16.3 x 21.9 cm.)



£1,000-1,500



apair(2)

bodycolour on vellum 11º x 8¿ in. (28.6 x 20.6 cm.)

£1,500-2,000

$2,300-3,100 Ç2,100-2,800

$1,600-2,300 129 Ç1,400-2,100 CHRISTOPH LUDWIG AGRICOLA (REGENSBURG 1667-1719) A kingfsher bodycolour, gold framing lines on vellum 11¡ x 8¿ in. (28.8 x 20.6 cm.)

£1,500-2,000



128

129

$2,300-3,100 Ç2,100-2,800

130 (i)

(ii)

THE PROPERTY OF ANA MARIA ESPIRITO SANTO BUSTORFF SILVA

THE PROPERTY OF ANA MARIA ESPIRITO SANTO BUSTORFF SILVA

130

132

JEAN PILLEMENT (LYON 1728-1808) A gypsy family by a pond; and A herdsman in a rocky river landscape

JEAN PILLEMENT (LYON 1728-1808) A winter river landscape with peasants gathering wood, a hamlet beyond

signed ‘Jean Pillem [...]’ (1) and ‘Pillement / 3, D, la, Ro,’ (2) black chalk and pastel 13 x 18æ in. (33 x 47.9 cm.)

£2,500-3,500



signed and dated ‘Pillement 1805’ pastel laid down on canvas apair(2) 18√ x 23 in. (48 x 58.5 cm.)

$3,900-5,400 £4,000-6,000 Ç3,500-4,900 

$6,200-9,200 Ç5,600-8,300

EXHIBITED:

EXHIBITED:

Lisbon, Ricardo do Espírito Santo Silva Foundation, Jean Pillement 17281808, e o paisagismo em Portugal no século XVIII, 1996, nos. 24-5.

Lisbon, Ricardo do Espírito Santo Silva Foundation, Jean Pillement 17281808, e o paisagismo em Portugal no século XVIII, 1996, no. 37.

THE PROPERTY OF ANA MARIA ESPIRITO SANTO BUSTORFF SILVA

131

JEAN PILLEMENT (LYON 1728-1808) Figures on a bridge in a storm pastel laid down on canvas 16√ x 21 in. (42.7 x 53.5 cm.)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

EXHIBITED:

Lisbon, Ricardo do Espírito Santo Silva Foundation, Jean Pillement 17281808, e o paisagismo em Portugal no século XVIII, 1996, no. 38.

68

131

132

133

134

133

134

ATTRIBUTED TO WILHELM ALEXANDER WOLFGANG VON KOBELL (MANNHEIM 1766-1855 MUNICH) Portrait of Niccolò Paganini

JEAN-LOUIS-ANDRÉ-THÉODORE GÉRICAULT (ROUEN 1791-1824 PARIS) Study of a bearded man, in profle to the left and a study of a leg

with inscription ‘(W. Kobel)/ mannheim’ and ‘Pachanini’ pencil, watermark crozier 13º x 8º in. (33.6 x 20.9 cm.)

£1,000-1,500



with inscription ‘Géricault’ pencil 5æ x 4º in. (14.6 x 10.7 cm.)

$1,600-2,300 Ç1,400-2,100 £3,000-4,000



$4,600-6,100 Ç4,200-5,500

PROVENANCE:

Anonymous sale; Sotheby’s, London, 28 November 1990, lot 191 (as Wilhelm von Kobell). Paganini (1782-1840) toured around Europe between 1829-31 and he gave a concert in Mannheim just after the 12th of December 1829. A report in the Leipzig Komet described Paganini as following; ‘...There he stands the tall lean fgure in an old-fashioned dress-suit, his bow held high, and his right foot panted well in front of his body with its knee bent.’, just how Kobell depicted the musician in the present drawing.

70

LITERATURE:

G. Bazin, Théodore Géricault, étude critique, documents et catalogue raisonné, Paris, 1992, V, p. 117 and 299, no. 1887, ill.

FROM A GERMAN PRIVATE COLLECTION

135

FRANZ KOBELL (MANNHEIM 1749-1822 MUNICH) Two fgures gazing at woods and distant mountains point of the brush and brown ink, brown wash 6º x 8 in. (15.9 x 20.2 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

135

FROM A GERMAN PRIVATE COLLECTION

136

FRANZ KOBELL (MANNHEIM 1749-1822 MUNICH) Houses framed by trees point of the brush and grey ink, grey wash, brown ink framing lines 7æ x 6¿ in. (19.8 x 15.6 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

136

FROM A GERMAN PRIVATE COLLECTION

137

FRANZ KOBELL (MANNHEIM 1749-1822 MUNICH) A village by a feld and trees point of the brush and brown ink, brown wash, partial brown ink framing lines, watermark letter G 6º x 8 in. (16 x 20.4 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

B. Himmelheber (L. 4035), and by descent to the present owner.

137

138

CARL FRIEDRICH LESSING (BRESLAU 1808-1880 KARLSRUHE) Two travellers in prayer at a shrine in a wooded river landscape signed with initials, dated and inscribed ‘C.F.L. Novbr./ 1835’ pencil, pen and grey and brown ink, grey and brown wash 12 x 15æ in. (30.8 x 39.8 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

EXHIBITED:

Berlin, Nationalgalerie, Werke von K.F. Lessing, 1880-81, no. 90. LITERATURE:

V. Leuschner, Carl Friedrich Lessing, 1808–1880: Die Handzeichnungen, Cologne and Vienna, 1982, Ph.D., II, no. 64, p. 545. 138

A study for The thousand year old oak, an oil painting signed and dated 1837, which follows the composition of the drawing closely and is now in the Städelsches Kunstinstitut, Frankfurt (inv. 1011; I. JenderkoSichelschmidt, Die Historienbilder Carl Friedrich Lessings, Cologne, 1973, Ph.D., no. 33). An oil study for the painting is in the Muzeum Narodowe, Poznan (inv. 1101; I. Jenderko-Sichelschmidt, op. cit., no. 32) and another drawn study, also signed and dated ‘C.F.L. Novbr. 1835’ but slightly larger, was with C.G. Boerner, Leipzig (V. Leuschner, op. cit., no. 63). According to Vera Leuschner the present drawing is either a frst idea for the Frankfurt painting, or a repetition of the larger drawing.

139

FRANÇOIS-EDOUARD BERTIN (PARIS 1797-1871) An Italian hillside town with fgures on a path in the foreground black and white chalk, pen and black ink on brown paper, inscribed in an arched top, watermark letter M in a crowned crest 12 x 16¿ in. (30.5 x 41 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

PROVENANCE:

The artist’s studio stamp (L. 238a). Frederick A. den Broeder, New York. with Colnaghi, New York, 1985. LITERATURE:

139

72

M. Roland Michel, Artistes en voyage au XVIIIe siècle, exhib. cat., Paris and Geneva, Galerie Cailleux, 1986, under no. 6.

140

JEAN-LOUIS-ANDRÉ-THÉODORE GÉRICAULT (ROUEN 1791-1824 PARIS) A sheet of studies of horses hooves and hind legs, with subsidiary studies of a head and a bone (recto); A study of a horse and various sketches (verso) inscribed ‘cubitus’ and numbere ‘II’ (recto) and numbered ‘10’ (verso) pencil, brown wash (verso) 6¬ x 8¡ in. (16.8 x 21.2 cm.)

£3,000-4,000



$4,600-6,100 Ç4,200-5,500

PROVENANCE:

P.O. Dubaut (L. 2103b). EXHIBITED:

Paris, galerie Bignou, Géricault...cet inconnu, 1950, no. 9. LITERATURE:

P. Grunchec, Géricault, Dessins et Aquarelles de Chevaux, Paris, 1982, p. 34, ill.

140

141

FERDINAND-VICTOR-EUGéNE DELACROIX (CHARENTON-SAINT-MAURICE 1798-1863 PARIS) Studies of houses and a two-towered building at Meknès pencil, stumping 5 x 7Ω in. (12.5 x 19 cm.)

£1,500-2,000



$2,300-3,100 Ç2,100-2,800

PROVENANCE:

The artist’s studio stamp (L. 838a) (twice). The two-towered building in the upper sketch of this drawing appears, from the same viewpoint though slightly further away, in a watercolour by Delacroix today in the Musée de la ville de Poitiers et de la société des Antiquaires de l’Ouest, Poitiers (A. Sérullaz, in Delacroix: le voyage au Maroc, exhib. cat., Paris, L’Institut du Monde Arabe, 199495 no. 38, ill.).

141

73

142

143

142

143

DOMENICO MORELLI (NAPLES 1823-1901) A seated Arab

ALEXANDRE-JEAN-BAPTISTE HESSE (PARIS 1806-1879) Studies of a right arm and left hand (recto); A drapery study (verso); and Study of a left hand (recto); Partial study (verso)

signed and dated ‘Morelli 1883’ and inscribed in mock Arabic pen and brown ink, brown-green wash, fragmentary indistinct watermark 17Ω x 12æ in. (44.5 x 32.3 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,200

red, black and white chalk (recto) on blue paper, black and white chalk (verso) 12º x 10√ in. (31.2 x 27.6 cm.); 7º x 4√ in. (18.3 x 12.3 cm.) two sheets on the same backing

£700-1,000 PROVENANCE:



with Stephen Ongpin, An Exhibition of Master Drawings, London, 2009, no. 29.

EXHIBITED:

The same model appears, in different pose and with different clothing, in a painting by the artist datable to the mid-1870s, private collection (I.M. Anderton, ‘The Art of Domenico Morelli’, The Studio, 1901, p. 87, ill.).

74

$1,100-1,500 Ç970-1,400

All three studies on these two drawings are for Hesse’s mural painting of Saint Geneviève distributing bread to the Poor executed in 1852 in the Church of Saint-Séverin, Paris (E. Brugerolles and D. Guillet, Dessins d’Alexandre Hesse, conservés à l’Ecole nationale supérieure des BeauxArts: Études pour les décorations peintes, exhib. cat., Paris, Musée d’Orsay, 1988-1989, p. 7-8, fg. 8). The studies of a right arm and a left hand are those of the fainting woman supported by a man in the centre of the composition. The study of a left hand drawn on a separate piece of paper is for the raised hand of the fgure at the left edge of the composition.

144

144

FÉLIX-JOSEPH BARRIAS (PARIS 1822-1907) Allegory of sculpture charcoal, red and white chalk, squared in black chalk 16√ x 21¿ in. (42.8 x 53.7 cm.)

£600-1,000



$920-1,500 Ç840-1,400

A study for the allegorical fgure of sculpture in Picardy surrounded by the leading towns: Amiens, Beauvais, Laon and Boulogne-sur-Mer [...], a picture datable 1862-63 and commissioned for the decoration of the Musée de Picardie, Amiens where the picture remains to this day (D. Vieville, ‘Le musée et son décor: Amiens, Le Museé de Picardie’, Revue du Louvre, La Revue des Musées de France, 1995, no. 2, p. 59, fg. 8). The painting shows the allegorical fgure of Picardy on a throne surrounded by the four towns, with in the foreground the allegorical representations of sculpture, architecture and painting. Barrias was also responsible for other decorations in the museum such as the ceiling paintings of the dome and the grand stairway.

75

145

145

146

FRANÇOIS-FORTUNÉ-ANTOINE FEROGIO (MARSEILLE 1805-1888 PARIS) A country picnic

GEORGE BARBIER (NANTES 1882-1932 PARIS) A lady in a foral dress holding a cup of tea

signed ‘Ferogio’ coloured chalks on blue paper, inscribed oval, fragmentary proprietary watermark FMMON [...] 8æ x 16æ in. (22.1 x 42.7 cm.)

£1,000-1,500

$1,600-2,300 £600-800 Ç1,400-2,100 



PROVENANCE:

Anonymous sale; Hôtel Drouot [Tajan], Paris, 15 April 1996, lot 32. with Colnaghi’s, London, 1997. Mr. and Mrs. Allan Katz, Tallahassee, Florida, until 2012.

146

76

signed and dated ‘GEORGE/ BARBIER/ 1925’ (recto) and extensively inscribed and titled [...] “La tasse de thé/ Séraphine en rose et noir [...]’ and with stamp ‘147 E’ (verso) traces of pencil, pen and black ink, grey wash, watercolour 10¡ x 8 in. (26.3 x 20.4 cm.)

$920-1,200 Ç840-1,100

Drawn in 1925, the present sheet is a costume study, probably for a theatrical production. A painter and illustrator, Barbier was among the leading illustrators of the Art Deco movement, providing fashion plates for some of the leading couturiers of the period such as Paul Poiret (18791944), Jeanne Lanvin (1867-1946) and Madeleine Vionnet (1876-1975)

147

148

147

148

ALFRED ROLL (PARIS 1846-1919) The expulsion of Eve from the garden of Eden

ATTRIBUTED TO WILLIAM-ADOLPHE BOUGUEREAU (LA ROCHELLE 1825-1905) Female academy, her left arm stretched under her head

signed ‘Roll’ and dedicated ‘à M Lucien Klotz/ affectueux souvenir./ Roll’ charcoal and boycolour on buff paper 19¬ x 13¬ in. (50 x 34.8 cm.)

£1,500-2,000



black and white chalk on light brown paper 15¬ x 10√ in. (39.7 x 27.5 cm.)

$2,300-3,100 £700-1,000 Ç2,100-2,800 

$1,100-1,500 Ç970-1,400

LITERATURE:

PROVENANCE:

L. Roger-Milès, Alfred Roll, Paris, 1904, p. 53, ill.

with Hazlitt, Gooden & Fox, from whom acquired by the former owner; then by descent. EXHIBITED:

London, Hazlitt, Gooden & Fox, Nineteenth century French drawings, May-June 1976, no. 46.

77

149

THOMAS WORLIDGE (PETERBOROUGH 1700-1766 LONDON) Study of a man wearing a turban, bust-length, in the manner of Rembrandt chalk and grey wash on vellum 7 ¿ x 5 ¬ in. (18.1 x 14.3 cm.); and a group of six other head studies by or attributed to Worlidge, three on vellum

(7)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

Worlidge, a portrait painter and etcher, divided much of his working life between London and Bath, and is credited with introducing both William Hoare (1707-1792) and Thomas Gainsborough (1727-1788) to the work of Rembrandt van Rijn, whose drypoint etching style he imitated. This, and the accompanying drawings, in both silverpoint and graphite, demonstrate the direct, confdent draughtsmanship which is characteristic of Worlidge at his best. Whilst none are direct copies from Rembrandt, they all demonstrate elements of the short, broken line characteristic of his etchings.

149

Other examples of his drawings are in the British Museum, the Ashmolean Museum, and the Victoria Art Gallery, Bath.

150

JOHN RUSSELL, R.A. (GUILDFORD 1745-1806 HULL) Study of George White, bust-length, as Saint John the Baptist signed and dated ‘J Russell/ fecit 1772’ (lower right) pastel 23Ω x 17º in. (59.6 x 43.8 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

Anonymous sale; Sotheby’s, London, 25 September 1980, lot 113. LITERATURE:

N. Jeffares, Dictionary of pastellists before 1800, online edition. M. Postle, ‘Patriarchs, prophets and paviours: Reynolds’s images of old age’, The Burlington Magazine, vol. cxxx, no. 1027, October 1988, pp. 739-40, fg. 9.

150

George White, the model for the present work, was a paviour by trade. He was discovered by Sir Joshua Reynolds (1723-1792) in 1770 and within two years had become one of the most celebrated artists’ models, sitting for Nathaniel Hone (1718-1784), Johann Zoffany (1733-1810) and Russell, for whom he probably sat at the Royal Academy Schools. During the 1770s and 1780s Reynolds painted White more than any other model and his features appear in A Captain of Banditti (1772) and Ugolino and his children in the dungeon (Knole Park, 1773).

151

HENRY ROBERT MORLAND (LONDON C. 1716-1797) Portrait of Mary Tweedie (c. 1704-1784), half-length, in a blue lace-trimmed dress and white bonnet signed ‘H.R. Morland’ (lower right) pastel 23 x 17º in. (58.4 x 43.7 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

LITERATURE:

N. Jeffares, Dictionary of pastellists before 1800, online edition.

151

78

Mary Tweedie was the daughter of Alexander Stevenson of Dreva and Venlaw. She married Thomas Tweedie of Quarter and Kingledoors on 1 March 1728, and bore him nine children. Her grandson, Thomas Stevenson Tweedie (1784-1855) Laird of Quarter, was Physician General in the East India Company and proprietor of indigo manufacturing concern in Bengal.

152

CIRCLE OF ROBERT HEALY (DUBLIN C. 1743-1771) Figures seated around a table in an interior pencil and black and white chalk on buff paper 18 x 23¿ in. (45.8 x 58.7 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

T.E. Lowinsky (L. 2420a). The Hon. Nellie Ionides. The Trustees of the Clonterbrook family; Sotheby’s, London, 27 June 1968, lot 142, as by Zoffany (£320 to The Fine Art Society). with The Fine Art Society, London, where purchased by Walter Brandt, and by descent to the present owner. LITERATURE:

S. Sitwell, Conversation Pieces, London, 1939, p. 107, pl. 97.

152

153

ATTRIBUTED TO FRANCESCO BARTOLOZZI, R.A. (FLORENCE 1728-1815 LISBON), AFTER ANGELICA KAUFFMAN (CHUR, SWITZERLAND 1741-1807 ROME) A group portrait of King Ferdinand IV of Naples and his family pencil, black and red chalk on paper watermarked ‘WHATMAN’ 18æ x 23æ in. (47.6 x 60.7 cm.)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

PROVENANCE:

with The Maas Gallery, London, by 1961, where purchased by Walter Brandt, and by descent to the present owner. LITERATURE:

O. Sandner, Angelika Kauffman und Rom, Rome, 1998. p. 33, fg. 26 (as by Kauffman). Traditionallly attributed to Angelica Kauffman, whose group portrait of King Ferdinand and his family it is after, the present drawing is in fact attributed to Bartolozzi, and is probably the drawing used by Mariano Bovi for his stipple engraving of the painting. Details such as the lack of sashes on the King and his son identify it as relating to the fnal version of the painting in the Museo di Capodimonte, Naples, rather than the modello in the Lichtenstein collection. We are grateful to Dr. Bettina Baumgärtel for her help with the present catalogue entry.

153

•154

JOSEPH WILTON, R.A. (LONDON 1722-1803) Study for a decorative frieze red chalk 7Ω x 16Ω in. (19 x 42 cm.); and Study of a Greek vase, pencil, attributed to James Bruce (1730-1794

£600-800



$930-1,200 Ç830-1,100

PROVENANCE:

Sir Francis Watson and by descent to the present owner. Joseph Wilton was a renowned sculptor, a member of the Royal Society of Arts and founding member of the Royal Academy. Drawings relating to various schemes and projects are housed in The Victoria & Albert Museum. We are grateful to Charles Hind, Chief Curator and HJ Heinz Curator of Drawings, RIBA, for confrming the attribution of this drawing.

154

79

WATERCOLOURS BY THOMAS ROWLANDSON (LOTS 155-165) For images of other works in these lots please see www.christies.com

“Although eighteenth-century England produced an unusually large and diverse group of competent draughtsmen, none was more accomplished or prolific than Thomas Rowlandson.” J. Riely, Rowlandson drawings from the Paul Mellon Collection, 1977, p. vii.

155

THOMAS ROWLANDSON (LONDON 1756-1827) Cavalry charging into battle pencil, pen and black ink and watercolour 7º x 12º in. (18.4 x 31.1 cm.)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

PROVENANCE:

with Abbott and Holder, London.

155

156

THOMAS ROWLANDSON (LONDON 1756-1827) Troops arriving at Chatham Harbour with inscription ‘View of Chatham’ (lower right) pencil, pen and ink and watercolour 9 x 16º in. (22.9 x 41.2 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

with Agnew’s, London.

156

80

Queen Elizabeth I frst founded a dockyard at Chatham in the 16th Century. Its importance as a naval base grew throughout the 17th Century, and during the Napoleonic Wars Chatham became a vital base for the army in case of French invasion: the River Medway provided an obstacle for any invading troops. During this time the fortifcations at Chatham were improved: from 1805 to 1812 the highest point in the defences, the Amherst redoubt, was greatly strengthened and became known as Fort Amherst.

157

THOMAS ROWLANDSON (LONDON 1756-1827) A crowded stagecoach crossing a bridge pencil, pen and grey ink and watercolour 5æ x 9º in. (14.6 x 23.4 cm.)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

PROVENANCE:

Anonymous sale; Sotheby’s, London, 19 February 1968, lot 44 Walter Brandt, and by descent to the present owner.

157

158

THOMAS ROWLANDSON (LONDON 1756-1827) Travellers on a track, near Bodmin, Cornwall pen and brown ink and brown and blue wash 8 x 11 in. (20.3 x 27.9 cm.)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

PROVENANCE:

with Abbott and Holder, London.

158

159

THOMAS ROWLANDSON (LONDON 1756-1827) View on the Thames with inscription ‘View on the Thames’ (lower right) pencil, pen and ink and grey wash 11¿ x 17Ω in. (28.2 x 44.5 cm.); and Harvesters in a summer landscape by Rowlandson

(2)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

PROVENANCE:

(1) Anonymous sale; Christie’s, London, 14 July 1987, lot 165. with Abbott and Holder, London. (2) with Abbott and Holder, London, December 1982.

159

81

160

THOMAS ROWLANDSON (LONDON 1756-1827) The Wheatsheaf Coffee House, Fleet Street, London pencil, pen and brown ink and watercolour 5¡ x 9 in. (13.6 x 22.8 cm

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

with R.H. Spurr, The Romney Gallery, Southport.

160

The Wheatsheaf coffee house would have provided an astute social observer like Rowlandson with much subject matter. Each coffee house hosted a particular clientele, usually defned by occupation, interest or attitude, such as Tories and Whigs, traders and merchants, poets and authors and men of fashion and leisure. Known as ‘penny universities’: the price of a cup of coffee, debates on the pressing matters of the day, art and literature would take place there and many important Institutions such as the London Stock Exchange and Lloyds of London had their origins in the coffee houses of London.

161

THOMAS ROWLANDSON (LONDON 1756-1827) Drovers herding cattle along a winding track with signature and date ‘... Rowlandson 1791’ (lower left) pencil, pen and ink and watercolour 11 x 13æ in. (27.9 x 24.9 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

161

162

THOMAS ROWLANDSON (LONDON 1756-1827) Music and Literature pencil, pen and grey ink and watercolour 6√ x 10¡ in. (17.5 x 26.4 cm.)

£2,000-3,000



PROVENANCE:

with Abbott and Holder, London, June 1978.

162

82

$3,100-4,600 Ç2,800-4,100

163

THOMAS ROWLANDSON (LONDON 1756-1827) The itinerant fshmonger pencil, pen and grey ink and watercolour 7 x 10Ω in. (17.8 x 26.6 cm.)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

PROVENANCE:

with Abbott and Holder, London, October 1987.

163

164

THOMAS ROWLANDSON (LONDON 1756-1827) Charity pencil, pen and black ink and watercolour 10 x 8º in. (25.4 x 21 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

with Maurice Dear, Southampton.

164

165

THOMAS ROWLANDSON (LONDON 1756-1827) Figures on the shore with beached shipping at low tide; and Spare the child (2) with signature ‘T. Rowlandson’ (lower left) pencil, pen and ink and watercolour 4º x 6º in. (10.7 x 15.9 cm.); and 4º x 3¡ in. (10.7 x 8.6 cm.)

£1,000-1,500



(2)

$1,600-2,300 Ç1,400-2,100

PROVENANCE:

(1) with Abbott and Holder, London, January 1987. (2) L.G. Duke. with Abbott and Holder, London, July 1978. 165

83

DRAWINGS BY JOHN DOWNMAN A.R.A., FROM THE PROPERTY OF A GENTLEMAN (LOTS 166-186) Art history normally warms to painters who have a distinctive, instantly recognisable voice; but it can struggle to cope with artists who achieve that by using a personal technique that does not fit into the standard pigeon-holes. Downman was neither painter, nor watercolourist, nor pastellist (although he was sometimes each of these); his idiosyncratic technique, which combined wash, chalk and pastel, was based on his masterly use of stumping – blending chalk (black works better than red) with a tight roll of paper or leather. In Downman’s hands, light and shade flowed like liquid across the surface of his paper (some later artists called this technique “sauceÓ): chalk was no longer a graphic tool. While not known as a printmaker (although he did make one experimental lithograph in 1806, and some of his drawings were engraved by others), Downman’s tonalities are reminiscent of mezzotint or stipple engraving. There are few parallels with other British artists: he could be seen perhaps as a continuation of early Hamilton (at least with his finely honed faces), or as similar to Edridge or Lawrence – but their drawing is more uniformly precise than Downman’s. A more interesting comparison is with the French draughtsman Jacques-Antoine-Marie Lemoine (although there is no evidence that either artist knew the other’s work). Lemoine also employed stumping to great effect, and, an accomplished miniaturist, revived a technique associated with Liotard and practised too by Downman, in which parts of the drawings (notably the faces) were enhanced and given a special luminosity by the addition of colour on the reverse of the sheet. Downman did this by working with very thin sheets of translucent paper. The technique served to guide the eye to the most important part of the portrait, and the use of the soft-focus stumping reinforced this sophisticated redirection. It has also been suggested that this technique facilitated the production of the numerous repetitions Downman made of his drawings by tracing. It is hard to see how Downman got to this process. He was born in Wales, the son of a lawyer. From around 1769 he was a pupil of the hugely important Benjamin West in London. But West, whose ambitions were for history painting, not portraiture, and who abominated minor arts (persuading Copley to drop pastel on his arrival in London), would hardly have encouraged Downman’s innovation (although the pupil inscribed a drawing as of his “most beloved teacherÓ). His trip to Italy with Joseph Wright of Derby, 1773–75, might have sparked an interest in the soft chalk method that Wright sometimes employed (often referred to as grisaille pastel), although the topographical drawings Downman made on this journey had some way to go before the technique we see in his portraits emerged. When Downman returned to England, he exhibited at the Royal Academy, but was never fully comfortable there: already the pigeon-holing disadvantaged him, as the Academy would not show his pictures in the principal rooms since they were drawings. He received little critical attention, one comment (on the 1789 Royal Academy) being that “he had but two passable faces, one face for ladies, and another for gentlemen.Ó It was not until the age of 45 that he became an associate, and he was never a full member. That did not stop him enjoying a tremendous vogue: according to a report in the Morning Post in 1786, his portraits were “universally admired & sought after by the first people of rank and fashionÓ. His sitters ranged from royalty (the important portrait of Queen Charlotte in the present group, lot 166, was executed shortly after Benjamin West’s portrait of her) and duchesses (both those of Devonshire) to the theatre (Mrs Siddons) and the provincial middle classes (he settled in Cambridge on his return from Italy, and later lived in Devon). The present group of some 20 such drawings (plus one of his rare, highly finished oils on copper) spans some forty years from 1780 on. Each sheet redolent of the reign of George III, the group immediately demonstrates a far wider range than we might expect if we only encounter his work piece by piece, and encourage us to re-examine a reputation that has seen more ups and downs than most. Although many of the portraits incorporate stock devices such as pillars and curtains, their intimacy is assured by their size. The group portrait, lot 173, is a particular delight. Downman’s work was probably too French in feel to suit the London establishment of his day (Francophilia expired during the wars in the middle of the eighteenth century). Jibes such as the 1789 critic’s reinforced a misunderstanding of his art, which was no more about likeness than Carmontelle’s – and in any case can be seen, with the two superb (and fully individuated) portraits of older ladies in this group (lots 178 and 180), to be false; but while it is true that Downman’s portraits are a long way from the high seriousness of say Romney’s paintings, they are equally far from the vapid gouaches of a Chinnery or Masquerier that were also promoted by London dealers around 1900 (those which provoked Lionel Cust’s withering description of the “namby-pamby styleÓ of British pastellists, with lasting damage to the reputation of all portrait draughtsmen of the period). A monographic exhibition in Cambridge in 1996, with an excellent catalogue written by Jane Munro, revived interest; there are important groups of his drawings at the Fitzwilliam Musem and at the British Museum. Neil Jeffares

166

JOHN DOWNMAN, A.R.A. ( RUABON, WALES 1750-1824 WREXHAM) Portrait of Queen Charlotte, small full-length, wearing a pale blue dress, seated, with a small dog at her feet, and an extensive landscape beyond signed and dated ‘J Downman/del/1784’ (centre, on a pillar) pencil, black chalk, stump and watercolour heightened with white 20Ω x 13 in. (52.1 x 33 cm.)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

PROVENANCE:

Anonymous sale; Christie’s, London, 9 July 1991, lot 55, where purchased by the present owner. Downman executed another drawing of Queen Charlotte, dated 1783, on the reverse of which is a long inscription regarding the sitting, ‘Her Majesty of England, 1783 1st sitting. She was Sophia Charlotte, Princess of Meclenburg-Strelitz. She sat in the Queen’s Closet, Buckingham House. His Majesty came in with Lords North and Grantham and two others. Presently the two eldest Princesses. The King said to the Princess Royal, ‘Are you also prepared to sit?’É. I also drew their portrait and groups in whole lengths, and a whole length of the Queen for the Duchess of Ancaster, and two others’. It is possible that the present drawing is one of the full-lengths referred to in this inscription. G.C. Williamson, John Downman, A.R.A. His Life and Works, 1907, illustrates a half-length portrait, dated 1762, opposite p. viii.

84

85

167

PROVENANCE:

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Anne Lucy Poulett, Lady Nugent (1790-1848), threequarter-length, seated, wearing a white empire line muslin dress and blue shawl, holding a sheet of music, an Irish harp on a pillar behind

with Ellis Smith, London. Anonymous sale; Christie’s, London, 21 November 2007, lot 198. Anonymous sale; Christie’s, South Kensington, 7 April 2009, lot 343, where purchased by the present owner.

signed and dated ‘J Downman/ 1810’ (lower right) pencil, stump and watercolour, heightened with touches of white 22º x 16¬ in. (54.6 x 56.5 cm.)

G.C. Williamson, John Downman A.R.A., his Life and Works, p. lviii, nos. 2 and 3, p. xxxi.

£2,000-3,000



86

$3,100-4,600 Ç2,800-4,100

LITERATURE:

Anne Lucy was the 2nd daughter of Lieutenant-General Vere Poulett. She married George Nugent Grenville, 2nd Baron Nugent in 1813. There is also an unfnished full-length portrait of the sitter by Sir Thomas Lawrence, P.R.A. (1769-1830).

168

PROVENANCE:

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Elizabeth Foster, future Duchess of Devonshire, small full-length, wearing a pale blue dress, beside a monument, a landscape beyond

E. Parsons, London, 1927. P. Rowlands; Christie’s, London, 6 June 1972, lot 53 (240 gns to Perman).

signed and dated ‘J Downman 1783’ (lower left) pencil, stump and watercolour, heightened with touches of white 20¡ x 13æ in. (51.8 x 34.9 cm.), irregular

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

Lady Elizabeth Foster (1758-1824) was a close friend and confdante of Georgiana, Duchess of Devonshire (lot 182), as well as the mistress of her husband, William Cavendish, 5th Duke of Devonshire. Following Georgiana’s death in 1806, Elizabeth and the Duke were married and she became the next Duchess of Devonshire. Downman drew the women together in a rare full-length double portrait, now at Ickworth House, Suffolk, which is noted by Williamson as ‘most remarkable’. Downman executed numerous studies of which this is probably one. There are also drawings of Lady Elizabeth in the British Museum and the Fitzwilliam Museum, Cambridge, executed by Downman as part of the scenery for an amateur production of Arthur Murphy’s ‘The Way to Keep Him’ performed at Richmond House, Whitehall, 1787.

87

169

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of a gentleman, half-length, wearing a green coat and white waistcoat and stock oil on copper, oval 6 x 4√ in. (15.2 x 12.4 cm.)

£600-800



$930-1,200 Ç830-1,100

PROVENANCE:

Anonymous sale; Christie’s, London, 7 February 1991, lot 172, where purchased by the present owner.

170

169

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Mrs. Fisher, wife of the Bishop of Salisbury, halflength, wearing an elaborately ruffed white dress trimmed with blue ribbons signed and dated ‘J. Downman/1788’ (lower right), and inscribed and dated ‘Mrs Fisher. 1788. Original/ The Wife of my good friend Dr. Fisher/ Canon of Windsor./ I drew two of her, and the Dr. who/ became Bishop of Salisbury’ (on the page of the sitters‘ book), and numbered ‘17’ (upper right, overmounted) pencil, stump and watercolour, oval; laid down on the page of the artist’s sitters‘ book 8¡ x 7 in. (21.2 x 17.8 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

Stuart Samuels, M.P. Anonymous sale; Christie’s, London, 12 November 1991, lot 38, where purchased by the present owner. EXHIBITED:

London, The Fine Art Society, Drawings and Engravings by Richard Cosway, R.A. and J. Downman, R.A., May 1898, no. 7. London, Franco-British Exhibition, 1908, no. 120. LITERATURE:

G.C. Williamson, John Downman, A.R.A., his Life and Works, London, 1907, p. lxi., no. 288.

170

88

Dorothea Fisher (1736-1831) was the only daughter of J.F. Scrivenor Esq., of Sibton Park, Suffolk. She married in 1787 Dr John Fisher, who was then Canon of Windsor, and later Bishop of Salisbury. Her husband became John Constable’s greatest patron, and commissioned his masterpiece Salisbury Cathedral from the Bishop’s Grounds.

171

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of King Frederick the Great of Prussia (1712-1786), half-length, wearing a blue coat and the Order of the Schwarzen Adler, and holding his tricorn hat, an encampment beyond inscribed ‘The King of Prussia. Frederick 4th [inserted] the great 1780 a/ copy, from two others, caught Likeness’s. The/ Prussian Embassador [sic] lent me one and gave me/ directions, and said I had made it very true/ indeed, and that the King would never sit for/ a Portrait. I drew one of him for the/ Hon.b Major Pelham’ (on the page of the sitters‘ book, overmounted) pencil, stump and watercolour, oval; laid down on the page of the artist’s sitters‘ book 8¡ x 6√in. (21.2 x 17.5 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

E.M Hodgkins; Christie’s, London, 29 June 1917, lot 42 (80 gns to Gooden & Fox). Major-General J.M.L. Renton C.B., D.S.O., O.B.E.. Anonymous sale; Christie’s, London, 2 March 1976, lot 84 (300 gns to the present owner). EXHIBITED:

London, The Fine Art Society, Drawings and Engravings by Richard Cosway, R.A. and J. Downman, R.A., May 1898, no. 24. LITERATURE:

G.C. Williamson, John Downman, A.R.A., his Life and Works, London, 1907, reproduced opposite p. xxxii.

171

This drawing is after a painting of King Frederick by Heinrich Franke (1738-1792). Franke made several versions of the highly popular picture of the King raising his hat to his people, a distinctive habit for which he was both famed and adored. It was also engraved, and there are many painted copies, although few are as successful in capturing the features and character of the King as Downman is here. The Order of the Schwarzen Adler was the highest order of chivalry in the Kingdom of Prussia.

172

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Mrs. Boyd, half-length, wearing a white dress with blue sash, and a white cap signed and dated ‘J. Downman/ 1784’ (lower right) and inscribed ‘Mrs Boyd his lady. 1784 Original.’ (on the page of the sitters‘ book), and numbered ‘26’ (upper right, overmounted) pencil, stump and watercolour, oval; laid down on the page of the artist’s sitters‘ book 7√ x 6º in. (20 x 15.9 cm.)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

PROVENANCE:

Stuart Samuels, M.P. Anonymous sale; Christie’s, London, 12 November 1991, lot 37, where purchased by the present owner. EXHIBITED:

London, Fine Art Society, May 1898, no. 39. LITERATURE:

G.C. Williamson, John Downman, A.R.A., his Life and Works, London, 1907, p. lxi., no. 290.

172

89

173

173

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of a gentleman and his wife with their young child, halflength signed and dated ‘J. Downman Pt 1785’ (lower right) pencil, stump and watercolour, heightened with touches of bodycolour, oval 10 x 14¿ in. (25.4 x 36 cm.)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

174

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Isabella Hunter, the artist’s cousin, three-quarter-length, wearing a white dress and cape, holding a dove, her left arm resting on a pillar signed and dated ‘Jo Downman/ Pnt/ 1782’ (lower right) and with inscription ‘Miss Isabella Hunter/ identifed by Algernon Smith/ and William Roberts/ purchased from the Estate of/ Mr Hosgood Bristol.’ (on the backboard) pencil, stump and watercolour, oval 11¡ x 8æ in. (29.3 x 22.2 cm.)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

PROVENANCE:

Mr. Hosgood, Bristol. LITERATURE:

Possibly G.C. Williamson, John Downman A.R.A., his Life and Works, London, 1907, p. lxiii.

174

90

Isabella was the daughter of John Hunter, and his wife Amelia Goodsend, Downman’s maternal aunt. The cousins were evidently close, as Downman made several drawings of Isabella and described her in his sitters‘ book as the ‘only remaining child of John Hunter, Esq., and my dear beloved cousin‘. There is another drawing of her in the same pose in the Metropolitan Museum, New York (50.145.12).

175

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Fortune waving farewell to a sailor signed ‘J. Downman’ (lower right, on the spinning wheel) pencil, stump and watercolour 15¿ x 19æ in. (38.3 x 50.2 cm.)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

PROVENANCE:

B. Keenan; Christie’s, London, 17 June 1969, lot 101 (160 gns to Perman on behalf of the present owner).

175

176

JOHN DOWNMAN, A.R.A. (RUABON, WALES 17501824 WREXHAM) Portrait of a young lady, three-quarter-length, seated, wearing a white dress and a tall bonnet and veil pencil, black chalk and stump and watercolour 16º x 12√ in. (41.2 x 32.6 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

with Agnew’s, London. Lore and Rudolf Heinemann, New York; Christie’s, London, 8 July 1997, lot 21, where purchased by the present owner.

176

91

177

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Mrs. Sarah Anne King and her child, half-length, seated, with miniatures in her hair and on her necklace, a seascape beyond signed and dated ‘Jo Downman/ 1805’ (lower left) pencil, stump and watercolour heightened with touches of white 13 x 10¬ in. (33 x 27 cm.)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

PROVENANCE:

with Leger Galleries, London, March 1946. Anonymous sale; Sotheby’s, London, 27 November 2003, lot 221, where purchased by the present owner. LITERATURE:

G.C. Williamson, John Downman A.R.A., his Life and Works, London, 1907, p. xxxii and p. lix, no. 25. Sarah Anne Duckworth (1785-1819) married Sir Richard King (1774-1834) in 1803. At the time this drawing was executed, Sir Richard was a ViceAdmiral and commanded the Achille in the Battle of Trafalgar (1805).

177

178

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Mrs. Arabella Graham-Clarke (1755-1827), halflength, seated, wearing a high-necked white dress and lacetrimmed mob cap, a landscape with windmills beyond pencil, stump and watercolour 11æ x 9¡ in. (29.9 x 23.8 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

The sitter, and by descent until; Christie’s, London, 19 March 1928, lot 6 (unsold). LITERATURE:

G.C. Williamson, John Downman, A.R.A., his Life and Works, London, 1907, p. lv, no. 17. The sitter in this drawing has previously been identifed as Miss Arabella Parkinson of Kinnersley Castle, Herefordshire. However, this is a confation of Arabella Altham, wife of John Graham-Clarke, and her daughter-in-law, Mary Elizabeth Parkinson of Kinnersley Castle. The costume suggests a date of c. 1805, and as such it seems likely that the sitter is Arabella, rather than Mary Elizabeth, who was born in 1786. Arabella was the maternal grandmother of the poet Elizabeth Barrett Browning (1806-1861).

178

92

179

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of a young lady, half-length, wearing a white empireline dress, drapery behind indistinctly signed with initials and dated (lower right) pencil, stump and watercolour 12 x 9¡ in. (30.5 x 23.8 cm.)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

PROVENANCE:

Lady Baron; Sotheby’s, London, 25 March 1964, lot 98 (£38 to Patch).

179

180

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of a lady, half-length, wearing a white dress, a pink ribbon in her hair, seated before a curtain, a seascape beyond signed and dated ‘J. Downman/ 1804’ (lower right) pencil, stump and watercolour, heightened with touches of white 12 x 9¡ in. (30.5 x 23.8 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

Mrs. R.G. Warren; Christie’s, London, 19 June 1979, lot 123 (180 gns to the present owner).

180

93

181

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of a lady, half-length, wearing an elaborate bonnet trimmed with a blue ribbon, and pink jacket pencil, stump and watercolour, oval 9º x 7¡ in. (23.5 x 18.8 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

Anonymous sale; Christie’s, London, 20 May 1975, lot 49 (180 gns to the present owner).

182

181

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Georgiana, Duchess of Devonshire (1757-1806), half-length, wearing a white dress and blue sash, a column and trees beyond pencil and black chalk, stump and watercolour, oval 9º x 7¡ in. (23.5 x 18.8 cm.)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

LITERATURE:

G.C. Williamson, John Downman, A.R.A., his Life and Works, London, 1907, pp. xlii and p. xlviii. Connoisseur, September 1923. ENGRAVED:

Francesco Bartolozzi, published by M. Lawson, 1787. Joseph Collyer, 1788.

182

In 1787 Downman executed a set of four full-length portraits of great ladies for the third Duke of Richmond’s theatre, which were exhibited at the Royal Academy in 1788 (no. 451). This small oval is clearly directly related to that of the Duchess of Devonshire, now at Chatsworth House. From the present drawing, both Francesco Bartolozzi (1728-1815) and Joseph Collyer (1748-1827) made popular engravings.

183

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Mrs. John Langston, half-length, seated, wearing a white dress and blue sash and a white bonnet with pink and blue striped ribbon signed and dated ‘Jo Downman/ 1790’ (lower right), and further inscribed ‘Mrs La[ngston]...’ (lower right, overmounted) pencil, black and white chalk and stump and watercolour, oval 8√ x 7¡ in. (22.5 x 18.7 cm.), irregular

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

183

94

with Vicars Brothers, London. Anonymous sale; Christie’s, London, 12 November 1991, lot 31, where purchased by the present owner.

184

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of a lady, half-length, facing left, wearing a white dress and fchu and red sash pencil, stump and watercolour, oval 7Ω x 6Ω in. (19 x 16.5 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

184

185

JOHN DOWNMAN, A.R.A. ( RUABON, WALES 1750-1824 WREXHAM) Portrait of a lady, half-length, facing left, wearing a ruffed white dress and mob cap signed and dated ‘Jo Downman/ 1785’ (lower left) pencil, stump and watercolour, oval 8¿ x 6Ω in. (20.9 x 16.5 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

Albert Rowlands; Christie’s, London, 11 March 1960, part of lot 26 (32 gns to Ford). Sir Edward Ford, K.C.V.O, M.V.O.; Christie’s, London, 6 June 1967, lot 33 (28 gns to Perman on behalf of the present owner).

185

186

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM) Portrait of Miss Frances Head (1780-1862), half-length, as a child, wearing an elaborately trimmed dress and bonnet with inscription ‘Frances, only child and heiress of Francis Head of St Andrew’s/ Hall, Norfolk - who married/ Sep 1 1806, the Honble Revd/ George Herbert, 4th son of the/ 1st Earl of Carnarvon, Vicar of TILBERNHAM, Norfolk. Born 1789/ and died 1825. She died in 1862.’ (on a label attached to the backboard) pencil, stump and watercolour, oval 8º x 6æ in. (21 x 17.2 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

with Leggatt Brothers, London. Anonymous sale; Christie’s, London, 9 June 1964, lot 107 (35 gns to Ray). 186

95

187

187

188

GEORGE CRUIKSHANK (1792-1878), JOHN LEWIS ROGET (1828-1908), ANTOINE JOHANNOT (1803-1852) A sketchbook of 67 drawings, including cartoons, satirical sketches and anthropomorphic caricatures, and sketches after the Antique

JOHANN HEINRICH F†SSLI, HENRY FUSELI, R.A. (ZURICH 1741 - 1825 PUTNEY HILL) Preliminary sketch for ‘Odysseus in front of Scylla and Charybdis’

the majority signed and inscribed with title or caption, some dated variously ‘8 Jan 1840-4 June 1841’ and numbered ‘1-67’ (upper right) pencil, pen and brown ink 4¡ x 3¬ in. (11.2 x 9.3 cm.); 4¡ x 3√ in. (11.1 x 9.9 cm.) overall

£2,000-3,000

$3,100-4,600 Ç2,800-4,100



George Cruikshank was the most renowned caricaturist and nineteenthcentury illustrator, best-known for his satirical political cartoons. The present sketchbook, in which the drawings seem to have been produced cooperatively with Roget and Johannot, both better known as engravers, demonstrates a softer side of Cruikshank’s wit. The drawings are variously dated, and the multiple signatures suggest that the book was brought out on social occasions as a form of entertainment for the artists themselves.

with inscription in Greek (on a label verso) pencil, pen and brown ink and brown and rose-coloured wash 5 x 3 in. (12.8 x 7.6 cm.)

£3,000-5,000



$4,700-7,700 Ç4,200-6,900

PROVENANCE:

Dr. Robert Ammann. B. Himmelheber (L. 4035) and by descent to the present owner. The present drawing appears to depict Fuseli’s initial idea for Odysseus in front of Scylla and Charybdis (Milton Gallery no. 12; Schiff 894), in which Odysseus is the only survivor of the carnage wrought by the Scylla on his crew. In the fnished picture Odysseus is bestride his ship covered by his protective shield so that his fgure resembles the famous statuette of the ideal warrior. In 1791, Joseph Johnson and Henry Fuseli, mistaken in their anticipation that their subscribers would meet their promises to fund his project, issued proposals for a magnifcent edition of Milton’s complete poems, to be under the supervision of William Cowper as editor. The proposed thirty plates would be executed by the eminent engravers Francesco Bartolozzi, William Sharpe, Thomas Holloway and William Blake. The exhibition was designated by Fuseli as the ‘Milton Gallery’. When a ft of insanity sidelined Cowper, Johnson also withdrew from the scheme. This did not deter Fuseli who decided to press ahead with his own more ambitious plans to publish the new Milton edition. There were several problems: the paintings needed to be engraved promptly so they would be available to their patrons who would not want to await their chosen paintings too long, and attendance at the exhibition was poor. Funds ran short, and Fuseli turned to his friend William Roscoe who advanced him some seven hundred pounds in return for replica paintings and drawings which he largely sold on. We are grateful to Dr. David Weinglass for his help in preparing the present catalogue entry.

188

96

189

JOHN SELL COTMAN AND STUDIO (NORWICH 17821842 LONDON) Study of an artist standing in a studio, with his portfolios with inscription ‘J. S. Cotman./ From a sale of the artists/ works in Norwich in 1861.’ (verso) pencil and watercolour 14¿ x 10º in. (35.9 x 26 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

J.J. Cotman; Spelman, Norwich, 16 May 1861, probably lot 79. Palmer, by 1873. with J. Palser & Son. Anonymous sale; Sotheby’s, London, 10 April 1997, lot 71 (as M.E. Cotman). Anonymous sale; Sotheby’s, Olympia, 24 September 1997, lot 485. Anonymous sale; G.A. Key, Aylsham, 13 February 1998, lot 570. The present large watercolour is derived from a drawing in the British Museum. The central fgure is identical in scale and was almost certainly copied from the drawing to the watercolour by tracing. The fgure itself probably derives from a seventeenth-century engraving. The reworking of the fgure, especially the redrawing of the shadowed right arm, is not consistent with a simple copy, and suggests that, in its early stages, the larger composition was drawn by John Sell Cotman. In his fnal decade, Cotman experimented with arch-topped compositions. Although the sheet has in recent years been attributed to his oldest son, Miles Edmund (1810-1858), this type of subject does not really fall within the range of his interests. However, either he, or his younger brother John Joseph (1814-1878), appear to have had a hand in completing the sheet, adding the background. Timothy Wilcox has suggested that the British Museum drawing is linked to a group of etchings, mainly of fgures in historical costume in interiors, which Cotman created around 1830-33, but which were only published after his death in 1846. The drawing was not used for an etching, but Cotman perhaps saw other potential in it, and began a large watercolour, which he failed to see through to completion. The additions made by members of his family could have been effected during the lifetime of the artist, or later. We are grateful to Timothy Wilcox for his help with this catalogue entry.

189

190

RICHARD WESTALL, R.A. (REEPHAM 1765-1836 LONDON) The Ghost of Prince Edward appearing to Clarence in a dream; Act 1, Scene 4 of ‘Richard III’ indistinctly signed ‘R. Westall’ (lower centre) and with inscription ‘Richard III Act 1st Scene 4th’ (on the verso of the mount) pencil and watercolour with scratching out 6√ x 6¬ in. (17.5 x 16.7 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

Westall worked on Shakespearean subjects on several occasions; his frst project was the illustrations for John Boydell’s lavish publication of Shakespeare’s Works, which occupied him from 1795-1802. In the present scene Clarence tells his keeper in the Tower of London of the dream he had, in which he saw himself drown. He then visited the Underworld where he saw himself accused of all the treasons he had committed. Here the ghost of Prince Edward, whom he had helped to kill, appears and curses him and the Furies appear to drag him down to hell.

190

97

191

ROBERT ADAM (KIRKCALDY 1728-1792 LONDON) A capriccio view with a castle, on a river, anglers in the foreground pen and brown ink and grey wash, on the original mount 9æ x 12 in. (24.6 x 30.5 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

Adam family collections, Blair Adam. Sir John Summerson. Lord Rees-Mogg. with Leger Galleries, London. Mrs Iola Stetson Haverstick. Anonymous sale; Sotheby’s, London, 4 July 2002, lot 215. with Lowell Libson, London.

191

Robert Adam and his brother James established themselves as the leading architects of the period. Robert maintained a parallel interest in landscape, indeed Robert conceived his buildings in conjunction with their surroundings. Like his contemporaries he was fascinated by the Picturesque and the emotional responses that landscape could produce.

192

SIR RICHARD COLT HOARE, 2ND BT., F.R.S. (BARN ELMS 1758-1838 STOURHEAD) The north front of Pembroke Castle, Pembrokeshire, North Wales signed, inscribed and dated ‘North Front of Pembroke Castle - 26 June 1793. RC Hoare fect.’ (in the margin lower centre) pencil, pen and brown ink and brown and blue wash, within a wash-line border, watermark Strasburg Lily 13æ x 20Ω in. (34.9 x 52.1 cm.)

£1,000-1,500

 192

$1,600-2,300 Ç1,400-2,100

PROVENANCE:

John Campbell, Viscount Emlyn, 1st Earl Cawdor. with The Sabin Gallery, London, by 1963 where purchased by Walter Brandt, and by descent to the present owner. Colt Hoare, a member of the Hoare’s banking dynasty, was the fourth owner of Stourhead, Wiltshire. After the death of his young wife, he made several continental tours, and became a dedicated antiquarian and archaeologist, undertaking the frst excavations at Stonehenge in 1798.

193

WILLIAM TURNER DE LOND (FL. 1820-1837) Market day, Edinburgh, under North Bridge with Calton Hill beyond signed and dated ‘W. Turner/ de Lond 1820’ (lower left), and with inscription ‘Vegetable Market, Edinburgh’ (lower centre, in the margin), and ‘Wm.Turner delin de Nat.-’ (lower right, in the margin) pencil and stump on buff paper 193

10√ x 14º in. (27.6 x 36.2 cm.)

£1,000-1,500 98



$1,600-2,300 Ç1,400-2,100

194

JONATHAN SKELTON (LONDON C. 1735-1759 ROME) A watermill, probably near Croydon, Middlesex pencil and watercolour 5¬ x 8Ω in. (14.3 x 21.6 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

Anonymous sale; Christie’s, London, 16 June 1970, lot 101 (380 gns to The Fine Art Society); with The Fine Art Society, London, where purchased by Walter Brandt, and by descent to the present owner. EXHIBITED:

London, The Burlington Fine Arts Club, 1916, no. 59 as by Paul Sandby. 194

195

WILLIAM MARLOW (LONDON 1740-1813) A brawl on market day signed with initials and dated ‘1772’ pencil, pen and ink and watercolour 10√ x 7¿ in. (27.6 x 18.1 cm.); and Stonehouse, Plymouth, pencil, pen and ink and watercolour, from the circle of William Payne, O.W.S. (London 1754-1830) (2)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

195

PROVENANCE:

(1) E.L. Paget. with Colnaghi’s, London. with Agnew’s, London, 1961, where purchased by Walter Brandt, and by descent to the present owner. (2) Edward Croft-Murray, C.B.E. Gilbert Davis (L.757a); Sotheby’s, London, 19 March 1958, lot 106, as by Francis Wheatley, (£90 to The Fine Art Society). with The Fine Art Society, London, 1961, where purchased by Walter Brandt, and by descent to the present owner. EXHIBITED:

(2): Leeds, City Art Gallery, Exhibition of Paintings, Drawings, and Engravings by Francis Wheatley R.A., 1965, no. 32. Suffolk, Ickworth House, Exhibition of English Watercolours of the Great Period, 1968, no. 85 as by Francis Wheatley.

196

99

196

197

196

197

PROVENANCE:

JOHN INIGO RICHARDS, R.A. (LONDON 1730-1810) Newhaven, Sussex

JOHN WHITE ABBOTT (EXETER 1763-1851) Cornworthy Abbey, South Hams, Devon

Sir Mark Grant-Sturgis. with The Fine Art Society, London, by 1967 where purchased by Walter Brandt, and by descent to the present owner.

inscribed and dated ‘New Haven, Sussex. - 1792.’ (lower centre on the mount) and ‘Bishop Foster’ (lower left on the mount) pencil and watercolour on two joined sheets, on the original mount

signed, inscribed and dated ‘Cornworthy Abbey - Devon -/ JWA - July 21.1792.’ (on the verso of the mount) pencil, pen and brown ink and watercolour, on the original mount

5¬ x 13Ω in. (14.3 x 34.3 cm.)

7Ω x 9 ¡ in. (19 x 23.8 cm.)

£800-1,200



$1,300-1,800 £2,000-3,000 Ç1,200-1,700 

PROVENANCE:

with The Maas Gallery, London, November 1969.

100

$3,100-4,600 Ç2,800-4,100

John White Abbott, a surgeon, spent most of his life in Exeter. A good friend and pupil of Francis Towne (1739-1816), his drawing style remained close to that of his master, with tight pen outlines and layered washes. Making only three tours outside of the West Country, in 1791, 1797, and 1827, much of his fnest work relates to the Devon landscape. Cornworthy, on the River Dart, was home to a 13th Century Augustine priory, dissolved during the Reformation. The present drawing depicts the gatehouse, which is all that remains.

198

198

EXHIBITED:

THOMAS GAINSBOROUGH, R.A. (SUDBURY 1727-1788 LONDON) Figures and pack horses on a wooded track

London, Meatyard, Catalogue no. 19, 1939, no. 44, reproduced. LITERATURE:

J. Hayes, The Drawings of Thomas Gainsborough, London, 1970, no. 692.

black, brown and white chalk and grey wash on oatmeal paper 10º x 12æ in. (26.1 x 32.4 cm.)

£8,000-12,000



PROVENANCE:

with Colnaghi and Obach, London 1916. with F.R. Meatyard, London, 1939. Wayland Williams. with Leger Galleries, London, 1988.

$13,000-18,000 Ç12,000-17,000

The loose and delicate handling and the economy of line of the present drawing suggest that it dates to the mid 1780s, when Gainsborough was beginning to experiment with a more abstract treatment of landscape. Gainsborough’s landscape drawings were deeply personal exercises created largely for his own pleasure and relaxation and as such were not intended for wider public consumption. Indeed many were worked up from his imagination and from models made from lumps of coal for rocky outcrops and twigs and broccoli for trees and carefully lit to create the atmosphere he wanted.

101

199

PAUL SANDBY, R.A. (NOTTINGHAM 1730-1809 LONDON) Children playing at being horses pencil and ochre wash 3¿ x 5 in. (8 x 12.7 cm.); and a pencil drawing of a gardener, Circle of Paul Sandby, and The Promenade, watercolour, attributed to William Marlow (1740/1-1813)

£1,200-1,800



(3)

$1,900-2,800 Ç1,700-2,500

PROVENANCE:

with Agnew’s, London.

200 199

PAUL SANDBY, R.A. (NOTTINGHAM 1730-1809 LONDON) A milkman, approaching a cottage numbered ‘40.’ (lower right) pencil, pen and grey ink and watercolour 5Ω x 8Ω in. (14 x 21.5 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

Mr Engleheart, 1888. with The Fine Art Society, London.

201

THOMAS DANIELL, R.A. (KINGSTONUPON-THAMES 1749-1840 LONDON) On the Laldhang Nala, Uttar Pradesh

200

inscribed ‘N..... In the Loll Dong Nulla’ (verso) and numbered ‘122’ (lower left) and with inscription ‘In the Loll dong Rohilcund April 1789’ (in the margin, overmounted) pencil and brown and grey wash 9 x 14¬ in. (23 x 37.2 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

Thomas Daniell and his nephew William (17691837) followed the stream of Laldhang Nala up into the Garhwal Hills from the plains of Rohilkhand, Uttar Pradesh, during their 1788-89 tour of north-east India. They then returned to Kotdwara and its ghaut to ascend to Srinagar in Garhwal. Their time there can be dated by a note in William’s diary: (12 April 1789) ‘We propose marching tomorrow morning towards Lolldong by way of Juga Woll.’ (15 April 1789) ‘Left Lolldong this morning...’ Another drawing from this journey is in Rhode Island School of Design. We are grateful to Jeremiah Losty for his help with this catalogue entry. 201

102

•202

GEORGE CHINNERY (LONDON 1774-1852 MACAO, CHINA) A tanka boat girl; and a Chinese pedlar, Macao the second inscribed with the artist’s shorthand (upper right) pencil, pen and brown ink 6√ x 3º in. (17.5 x 8.4 cm.); and 4¿ x 3¬ in. (10.4 x 9.4 cm.), irregular

£800-1,200



(2)

$1,300-1,800 Ç1,200-1,700

PROVENANCE:

with Agnew’s, London. EXHIBITED:

London, Agnew’s, 100th Annual Exhibition of Watercolours & Drawings’, January-February 1973, nos. 106 and 110 respectively. Chinnery spent the last twenty-seven years of his life in China, arriving in Macao in September 1825. He found an endless source of inspiration for this work and amongst his most popular subjects were the Tanka boatwomen of Macao, who Chinnery recorded in numerous works. The boatwomen guided the foreign ships up the narrow and shallow channels around the coast and ferried the merchants and foreigners around the region. They were a distinct ethnic group, whose lives were carefully controlled by the Chinese authorities. They were discouraged from intermarrying with mainland Chinese and made to live on their sampan boats, along the coast of Macao, Whampoa and Hong Kong.

103

203

204

203

JOHN THOMAS SERRES (LONDON 1759-1825) The lighthouse of Villa Franca and the Entrance to Monaco Harbour pencil and watercolour 3æ x 15¡ in. (9.5 x 39.1 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

was published in 1684 and was still very much in use. Serres’ publication was illustrated with twenty folio plates, comprising a total of 127 subjects, these, for which the present drawing was executed, make up the part of the volume entitled ‘APPEARANCES, from Drawings by J.T. Serres engraved by J. Stadler’. The book also includes descriptions of principal harbours and bays, charts and soundings. Serres completed this huge undertaking in six months.

204 PROVENANCE:

Sir Bruce Ingram (L. 1405a). ENGRAVED:

J. Stadler, The Little Sea Torch, 1801, pl. 17.2. Serres returned from his time with the Channel Fleet probably with the appointment as Marine Draftsman to the Admiralty and with the task of translating, illustrating and publishing by subscription a seventeenthcentury French pilot book. René Bougard’s Le Petit Flambeau de la Mer,

104

WILLIAM MARLOW, A.R.A. (LONDON 1740-1813) Lake Avernus, looking towards Capri inscribed ‘Monte Novo, Lago di Averno, Capo di Miseno e L’Isola di Caprea’ (along the lower edge), and annotated with key pencil and watercolour, on the original mount 9 x 14¬ in. (22.9 x 37.1 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

205

205

CORNELIUS VARLEY (LONDON 1781-1873) View of Mount Snowdon and Crib Goch, Caernarvonshire, North Wales inscribed ‘View .... Crib Goch near Llanberris [sic] Carnarvonshire’ (upper right) pencil and watercolour 7¬ x 9Ω in. (19.3 x 24.1 cm.)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

The present watercolour is the view from The Glyders, which are close by to the north east. The Crib Goch ridge or Red Ridge is on the left and the top of the Llanberis Pass is depicted in the foreground. Wales and North Wales in particular held enormous appeal for artists working during the early years of the 19th Century in search of inspiration. Varley visited Wales on a number of occasions notably in 1802, 1803, 1805 and 1820. Although clearly inspired by the dramatic mountainous landscapes that he found, it was the atmospheric effects and play of light and shadow on landscape that proved equally if not more captivating. During his 1803 tour, which he undertook in the company of Joshua Cristall (1767-1847), Varley became interested in the geological formation of the mountains and landscapes as seen in the present drawing, with its clear emphasis on the geological characteristics and the interplay of atmospheric effects on these.

105

THE PROPERTY OF A PRIVATE COLLECTOR (LOTS 206-211)

206

PAUL SANDBY, R.A. (NOTTINGHAM 1730-1809 LONDON) Study of an oak tree on the Datchet Lane, Windsor pencil, watercolour and bodycolour 11¬ x 10¿ in. (29.5 x 25.8 cm.)

£7,000-10,000



PROVENANCE:

with Agnew’s, London.

106

$11,000-15,000 Ç9,700-14,000

Paul and his brother Thomas (1721/23-1798) both trained initially as military draughtsmen to the Board of Ordnance. In 1746, Thomas had joined the household of William Augustus, Duke of Cumberland, who had been appointed Ranger of Windsor Great Park in the July and from 1748, Thomas was charged with producing a series of views of the Park. On his return from Scotland in 1751, where he had been appointed as a draughtsman for the Military Survey of Scotland, Paul spent a great deal of time at Windsor with his brother, capturing the castle, the park and its surroundings. Datchet Lane, with its distinctive high walls and ancient trees, is on the Northern approach to Windsor Castle, and was a frequent subject for the younger artist.

207

PAUL SANDBY, R.A. (NOTTINGHAM 17301809 LONDON) View of Nuneham House, Nuneham Courtenay, the spires of Oxford beyond pencil, pen and grey ink and watercolour on the original wash-line mounts 5º x 7º in. (13.3 x 18.4 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

Charles Fairfax Murray, 1920. A.A. Allen; Sotheby’s, London, 4 April 1935, lot 101 (sold £34). with Gooden & Fox, London. EXHIBITED:

London, Burlington Fine Arts Club, 1924, no. 89. ENGRAVED:

207

M.A. Rooker for The Copperplate Magazine. Nuneham House was built for Simon Harcourt, 1st Earl Harcourt in 1756 by Stiff Leadbetter. In order to create its Capability Brown landscaped grounds, Harcourt demolished the old village of Nuneham Courtenay and rebuilt it one mile to the north-east.

208

PAUL SANDBY, R.A. (NOTTINGHAM 17301809 LONDON) View of Waterford, Munster, Ireland pencil, pen and grey ink and watercolour on the original wash-line mount 5º x 7º in. (13.3 x 18.4 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

208

PROVENANCE:

Charles Fairfax Murray, 1920. A.A. Allen; Sotheby’s, London, 4 April 1935, lot 102 (sold £20). with Gooden & Fox, London.

209

PETER DE WINT, O.W.S. (STOKE-ON-TRENT 1784-1849 LONDON) Figures before a farm house pencil and watercolour 11Ω x 16 in. (29.2 x 40.6 cm.)

£2,500-3,500



$3,900-5,400 Ç3,500-4,800

PROVENANCE:

with Gooden & Fox, London.

209

107

210

DAVID COX, SEN., O.W.S. (BIRMINGHAM 1783-1859) Shrimpers on Lancaster Sands with inscription ‘Lancaster Sands’ (verso) pencil and watercolour, heightened with touches of bodycolour and with scratching out 6 x 8¬ in. (15.2 x 22 cm.)

£5,000-8,000



$7,700-12,000 Ç7,000-11,000

PROVENANCE:

Frederick Nettlefold (†); Christie’s, London, 5 June 1913, lot 267 (95 gns to Agnew’s). with Agnew’s, London. A.A. Allen; Sotheby’s, London, 4 April 1935, lot 36 (sold £52). Cox frst visited Lancaster in July 1834 and returned a year later and again in 1840. From 1835 and 1847 he produced a great many watercolours and oils based on his impressions of the expansive coastal stretch. The sands that extend across the head of Morecambe Bay are indiscriminately called ‘Lancaster Sands’ and ‘Ulverston Sands’: as the town of Ulverston is near the west portion of the sands, the east portion is more correctly termed Lancaster Sands.

108

211

JOHN SELL COTMAN (NORWICH 1782-1842 LONDON) View of Regensburg, Germany signed ‘Cotman’ (lower right) and inscribed ‘To Mrs Roberts with the best Respects. of J.S Cotman’ (along the lower edge) pencil, pen and brown ink and watercolour, with four paste and with scratching out 10√ x 7Ω in. (27.7 x 19.1 cm.)

£12,000-18,000



$19,000-28,000 Ç17,000-25,000

PROVENANCE:

Sir William Drake (L. 736). A.A. Allen; Sotheby’s, London, 4 April 1935, lot 29 (sold £320).

LITERATURE:

W.F. Dickes, The Norwich School of Painters, London, 1905, p. 360. Following his three tours of Normandy, in 1817, 1818, and 1820, Cotman returned to his native Norwich with a renewed enthusiasm for the picturesque Continental townscapes which were so central to the oeuvre of many of his contemporaries. However, Cotman’s unique technique of adding four paste to his watercolour gives his drawings a vibrancy and boldness which sets them apart. The use of saxon green in the shutters of the building to the left dates this drawing to c. 1828-30, the short period during which Cotman used this vibrant colour, often associated with his highly-fnished watercolours of Continental subjects.

109

SOLD BY THE EXECUTORS OF THE LATE GEORGE HARWOOD

212

JOSEPH MALLORD WILLIAM TURNER, R.A. (LONDON 1775-1851) Milton, Paradise Lost, Book VI: The Fall of the Rebel Angels pencil, pen and red ink and watercolour with scratching out 5Ω x 4Ω in. (14 x 11.4 cm.)

£25,000-35,000



$39,000-54,000 Ç35,000-48,000 The accompanying quotation to the present watercolour, given in the

PROVENANCE:

Monro of Novar; Christie‘s, London, 2 June 1877, lot 28 (140 gns to Bromley). W. Bromley-Davenport; Christie’s, London, 13 May 1878, lot 119 (unsold). with Agnew’s, London. EXHIBITED:

London, Tate Gallery, Turner’s Vignettes, 1993, no. 33. LITERATURE:

A. Wilton, The Life and Work of J.M.W. Turner, London, 1979, p. 451, no. 1265. J. Piggott, Turner’s Vignette’s, London, 1993, pp. 60, 87, no. 33 and p. 100. ENGRAVED:

E. Goodall, Milton’s Poetic Works, 1835 (R.599). The present vignette is arguably one of Turner’s most successful watercolours in this format. His fgures are drawn with confdence, his narrative dramatic and his imagery has a sublimity worthy of William Blake (1757-1827). Turner lived and worked in a time when illustrated books of literature, topography and antiquities were at the height of their popularity. This, combined with the fact that the art of steel engraving was at its peak, partly possibly due to Turner’s infuence, resulted in a golden era of book illustration. As Jan Piggott notes, op. cit., p. 17, ‘he transformed the art from the literal, the narrative or the decorative into a vehicle for poetic landscapes.’ Although this area of Turner’s art is less well known than his romantic landscapes, it was these works that spread Turner’s fame. Rogers’s frst biographer wrote that his illustrations to the two volumes of Rogers frst made Turner known to ‘vast multitudes of the English People’. Ruskin assumes that the two volumes are in the library of every educated household, and frequently uses them as examples for his theories and teachings.

110

Turner worked on the illustrations for Milton’s Poetic Works from May to October 1835. Turner was an excellent choice to illustrate Milton, he had read Milton for many years; six of his oil paintings use epigrams taken from Milton and it was with Milton’s verse that his imagination became unfettered. The imagery Turner deployed in his Miltonic vignettes reached a new height of fantasy.

index, is from Paradise Lost, book I:

‘Hurl’d heading faming from the ethereal sky With hideous ruin and combustion, down To bottomless perdition’ Satan’s rebellion begins when God calls an assembly of all the angels in Heaven in order to announce that he has appointed his Son to reign over them: ‘To Him shall bow / All knees in Heav’n’ (Book V. 607-608). Satan however believes that he and the Son are equal in rank and that God’s exaltation of the Son is unjust. He refuses to submit to the reign of the Son and appeals to the other angels to do the same, before leading his followers in an attack against Heaven. The battle between the loyal and rebel angels rages for days before the Son comes forth from his throne and defeats Satan and casts the rebellious angels from Heaven to Hell. In the present drawing we can see the falling star, Lucifer, glowing as he falls down from the heavens. The rebel angels are on the right tumbling, like inverted fames; a mass of writhing bodies meshed together chaotically. One of the bodies in the centre of the composition, momentarily takes on a cruciform shape before he also falls downwards to bottomless perdition and eternal damnation. Out of the heart of light there issues the Hand of God and over the whole scene is a rainbow, God’s symbol of hope. The contrasting blues and reds of the watercolour create a particularly lurid image of terror as the bodies of the damned fall. Goodall, who engraved the present work was told by Turner to ‘put me in innumerable fgures here’ in the upper portion of the vignette, representing the angelic hoards. The effect of Milton’s verse description of The War in Heaven on Turner’s pen has resulted in one of his most successful literary illustrations. Piggott, loc. cit., notes that ‘The War in Heaven in the Milton series inspires Turner to perhaps two of his greatest vignettes’ namely The Mustering of the Warrior Angels, (Paradise Lost, book VI) and the present watercolour.

“Hurl’d heading flaming from the ethereal sky With hideous ruin and combustion, down To bottomless perdition.”

(actual size)

111

THE TRUSTEES OF A PRIVATE COLLECTION

213

THOMAS GIRTIN (LONDON 1775-1802) Above Lyme Regis, looking across Marshwood Vale, Dorset pencil and watercolour on oatmeal paper 9æ x 20¡ in. (24.8 x 51.7 cm.)

£30,000-50,000



$47,000-77,000 Ç42,000-69,000

PROVENANCE:

C.S. Bale: Christie’s, London 13 May 1881, lot 87 (31 gns to Palser). E. Cohen. Mrs. Oswald. Sir Edward Marsh. S. L. Courtauld and by descent to Major Stephen Courtauld. with Agnew’s, London, 1931. EXHIBITED:

London, Burlington Fine Arts Club, 1916, no. 107. London, Agnew’s, Annual Exhibition of Selected Watercolour Drawings, 1931, no. 103. LITERATURE:

T. Girtin and D. Loshak, The Art of Thomas Girtin, London, 1954, p. 166, no. 240. G. Smith, Thomas Girtin: The Art of Watercolour, London, 2002, p. 146. The present watercolour shows the landscape above Lyme Regis, Dorset from Marshwood Vale, with a distant glimpse of the sea beyond. The relatively unusual long format and elevated viewpoint does much to emphasise the open nature of the landscape of the area and is reminiscent of the work of Dutch seventeenth-century artists such as Phillips Koninck (1619-1678) and Antoine Waterloo (1609-1690). Girtin spent the summer of 1797 travelling through the South West of England making numerous sketches and studies which formed the basis of his more highly fnished studio watercolours and the following year, amongst his nine Royal Academy submissions were four subjects from this tour. There is a related watercolour showing the same scene on a similar size sheet, but from an almost opposite viewpoint in the National Gallery or Art, Canada. A watercolour of the coast is in the Yale Center for British Art and a view of Berry Pomeroy was sold in these Rooms, 20 November 2013, lot 273. Greg Smith has suggested that these could have been commissioned by a local patron (G. Smith, op. cit., p. 146).

112

113

214

215

214

215

EDWARD DUNCAN, R.W.S. (LONDON 1803-1882) Cloud studies

RICHARD PARKES BONINGTON (ARNOLD, NOTTINGHAMSHIRE 1802-1828 LONDON) A sail barge and other shipping beneath a bridge, Northern France

inscribed with extensive colour notes pencil and bodycolour heightened with white pencil and brown wash 6º x 13¡ in. (15.8 x 334 cm.); and a watercolour of cloud studies by Waller 5æ x 7æ in. (14.6 x 19.7 cm.) Hugh Paton, R.S.A., R.S.W. (Dunfermline 1828-1895 Edinburgh), signed, inscribed and dated ‘W.H.P. Fettis Row 23d. June 1863’ (lower right) (2) £6,000-8,000

£1,200-1,800



PROVENANCE:

(1) The artist (L. 842). with Sabin Galleries, London. (2) with The Maas Gallery, London.

114



$9,300-12,000 Ç8,300-11,000

$1,900-2,800 Ç1,700-2,500 The present drawing was probably executed in circa 1823. At this time

Bonington was living in Paris and increasingly experimenting with the use of sepia wash. In 1823 a commission to produce illustrations for a project titled Excursions sur les côtes et dans les ports de France allowed him to undertake a second tour of northern France, during which it seems likely this drawing was produced in one of the coastal towns of Normandy or Picardy. We are grateful to Patrick Noon for his help in suggesting a location and date for the present drawing.

216

216

JOHN CONSTABLE, R.A. (EAST BERGHOLT, SUFFOLK 1776-1837 LONDON) A study for ‘Jaques and the wounded stag’ pencil and brown wash 3Ω x 5¡ in. (8.9 x 13.7 cm.)

£3,000-5,000



$4,700-7,700 Ç4,200-6,900

PROVENANCE:

with Appleby Brothers, London, Autumn Exhibition 1963. The subject of the present recently re-discovered drawing is taken from Act II, scene I of Shakespeare’s As you Like it and shows the melancholy courtier ‘as he lay along Under an oak whose antique root peeps out Upon the brook that brawls along this wood: To the which place a poor sequester’d stag, That from the hunter’s aim had ta’en a hurt, Did come to languish, ...the melancholy Jaques, Stood on the extremest verge of the swift brook’,

As You Like It was both Constable and his friend and patron Sir George Beaumont’s favourite play and Constable in particular appears to have sympathised with the character of Jaques. In about 1819, Beaumont produced an oil of the subject (now in the Tate, London) which must have further inspired Constable to explore the subject. He appears to have worked on this subject on at least two occasions: the frst sometime between the late 1820s and before 1832 and then later in 1834 as part of a series of engravings commissioned by John Martin for publication in his Seven Ages of Shakespeare. In a letter to Colnaghi’s dated 1828, Constable discusses the subject, asking about the fate of his drawing of Jaques as he wanted to make a picture from it. In 1832, he exhibited a watercolour of the subject at the Royal Academy (Private collection, G. Reynolds, The Later Paintings and Drawings of John Constable, 1984, no. 32.9) but whether this is the drawing he wrote to Colnaghi about is uncertain. The composition and format of the present drawing indicate that this rapid study relates to the 1832 watercolour, rather than the later series of drawings for engravings, which are all executed on either square or upright sheets. We are grateful for Anne Lyles for her help with confrming the attribution and subject of this drawing.

115

217

WILLIAM CALLOW, R.W.S (LONDON 1812-1908 GREAT MISSENDEN) View of Greenwich from the Thames, London signed ‘Wm Callow’ (lower left) and with inscription ‘Greenwich’ (verso) pencil and watercolour with scratching out 9Ω x 13Ω in. (24.1 x 34.3 cm.)

£2,500-3,500



$3,900-5,400 Ç3,500-4,800

217

218

DAVID COX, SEN., O.W.S. (BIRMINGHAM 1783-1859) A horseman on a track in an extensive landscape, a castle beyond pencil and watercolour heightened with scratching out 10¬ x 14Ω in. (27 x 37 cm.)

£1,200-1,800



PROVENANCE:

with Agnew’s, London.

218

116

$1,900-2,800 Ç1,700-2,500

219

ATTRIBUTED TO PETER DE WINT, O.W.S., (STONE, STAFFORDSHIRE 1784-1849 LONDON) The Back River, Norwich pencil and watercolour 10æ x 17¿ in. (27.3 x 43.5 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

Col. Charles Russell; Sotheby’s, London, 30 November 1960, lot 77 as by Amelia Long, Lady Farnborough, (£100 to The Fine Art Society). with The Fine Art Society, London, April 1961 as by Amelia Long, Lady Farnborough, where purchased by Walter Brandt, and by descent to the present owner. 219

220

ROBERT LADBROOKE (NORWICH 1768-1842) Durham Cathedral and Castle from the River Wear signed ‘R. Ladbrooke’ (lower left) pencil and watercolour with scratching out 15¿ x 21 in. (38.3 x 53.3 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

The Rev. James Bulwer. with Appleby Brothers, London, by 1966, where purchased by Walter Brandt, and by descent to the present owner.

220

117

221

DR. WILLIAM CROTCH (NORWICH 1775-1847 TAUNTON) Parks Road, Oxford with St. John’s College grounds on the left inscribed and dated ‘S. John’s trees on the left/ Oxford/ Going into the Parks - Oxford June 20 1833 11am/ Saw Mr & Mrs Bishop’ (verso) pencil and watercolour 5æ x 6√ in. (14.7 x 17.5 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

with Appleby Brothers, London, 1962.

221

•222

AFTER JOSEPH MALLORD WILLIAM TURNER, R.A. (LONDON 1775-1851) Tancarville, Normandy: an avenue of poplars

William Crotch was born in July 1775 and was known as the ‘musical phenomenon of Norwich’. He gave public organ recitals at the age of 2Ω. He was Professor of Music at Oxford University for ffty years and frst Principal of the Royal Academy of Music. At Oxford he became friends with John Baptist Malchair (1731-1812), leader of the band at the Music Room, Oxford and drawing master, whose stylistic infuence can be seen in his work.

pencil, watercolour and bodycolour on buff paper 5¡ x 7¿ in. (13.6 x 18.2. cm

£700-1,000



$1,100-1,500 Ç970-1,400

PROVENANCE:

L.G. Duke; Sotheby’s, London, 29 April 1971, lot 154 as by J. M. W. Turner (£3,700 to Agnew’s). with Agnew’s, London. Dr. Theodore Besterman; Christie’s, London, 14 December 1971, lot 101 as by J. M. W. Turner (3,500 gns to Agnew’s). with Agnew’s, London, where purchased by J. Barningham, 3 January 1972 as by J. M. W. Turner. 222

LITERATURE:

I. Warrell, Turner on the Seine, London, 1999, p. 270, under no. 81. The present drawing is after a watercolour in the Turner Bequest (D24737), executed circa 1832 during Turner’s journey along the Seine for his 1834 volume of Turner’s Annual Tour: Wanderings by the Loire and Seine (1833–5; later reissued as Rivers of France). Turner made fve colour studies in bodycolour of Tancarville, of which four share the limited palette, loose application of paint, and rising sun seen here.

223

THOMAS GIRTIN (LONDON 1775-1802) View of Dovedale, Derbyshire with inscription ‘Derbyshire’ (on the mount, verso) pencil and watercolour 12Ω x 18º in. (31.7 x 46.3 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

Miss Spence; Christie’s, London, 19 March 1887, lot 38 (9 gns to Harmer). Mr. Harmer and by descent in the family to the present owner. LITERATURE:

T. Girtin and D. Loshak, The Art of Thomas Girtin, London, 1954, p. 217.

223

118

Girtin’s poetic sense of the picturesque was perfectly suited to the landscape of Dovedale, in the Derbyshire Peak District. It is unclear exactly when the artist visited the area, but it seems likely that it was in either 1799 or 1800 as Girtin made sketching trips to the north of England in both years. Dovedale was a popular destination by this time with artists, writers and tourists in search of the Picturesque and Girtin would have been keen to explore the landscape for himself.

224

225

224

225

THOMAS SHOTTER BOYS, N.W.S. (LONDON 1803-1874) Study of Horse Guards and Westminster, London, Autumn

JAMES DUFFIELD HARDING (DEPTFORD 1797-1863 BARNES) Château de Monas near Orange, France

pencil and watercolour

pencil and watercolour heightened with gum arabic and with scratching out

10æ x 14√ in. (27.3 x 37.7 cm.)

£3,000-5,000



$4,700-7,700 8¿ x 12º in. (20.5 x 30.7 cm.) Ç4,200-6,900 £800-1,200

It seems likely that the present watercolour dates from the 1830’s, during a period in which Boys, whilst living in Paris, visited London frequently. Fascinated by the everyday lives of the city’s inhabitants, he repeatedly turned to the city’s parks as a microcosm of its life, and made several drawings of St. James’s Park, amongst others. A view of Westminster Abbey from St. James’s Park was sold in these Rooms, 20 November 2013, lot 287, whilst another larger watercolour was with Walker’s Galleries, 1935. The present drawing is perhaps that of Horse Guards, St. James’s Park, which was exhibited at The Society of British Artists, Suffolk St., in 1830, no. 730. Boys returned to the park for his lithographed London as it is, 1842, although not to this particular viewpoint.



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

with Agnew’s, Manchester. with Charles Nicholls, Manchester. ENGRAVED:

J.T Willmore for T. Roscoe, Jenning’s Landscape Annual - The Tourist in France, 1834, p. 255.

119

WATERCOLOURS BY WILLIAM PAYNE REMOVED FROM BLAIR CASTLE, BLAIR ATHOLL, SCOTLAND (LOTS 226-235) For images of other works in these lots please see www.christies.com The present group of watercolours by William Payne (1760-1830) have never been exhibited or even framed, rather they have remained loose in a folio and consequently their colours have survived with remarkable freshness. The bold palette and strong pen lines of the drawings in this group are very different from the soft restricted palette and careful pen that we today regard as typical of Payne’s work. His more characteristic technique was developed from his training as a draughtsman for the Board of Ordnance where he was encouraged to record landscape details accurately and rapidly in either careful pen or pencil and then gently worked up in soft washes of colour. In the present group, with their sunsets, and depictions of smugglers and castles, we see the influence of the great Romantic painters such as Claude Joseph Vernet (17141789), giving a new insight into Payne’s oeuvre. Payne rapidly gained a reputation as a draughtsman of note and his works were widely disseminated through the various topographical treatises that were being published at the time and through his parallel career as a drawing master. Born in London, Payne was posted by the Board to Plymouth in 1782, where he remained until 1790. He travelled throughout the region recording the landscapes and coastal scenes which inspired his work. Following his return to London in 1790, he returned frequently to the West Country and also undertook numerous sketching tours to South and North Wales, The Isle of Wight, The Lake District and Yorkshire. Some of the views depicted in the following ten lots are of specific subjects, such as lot 230 of Mount Edgecumbe, whilst others appear to be capriccio views. The freedom of the pen-line and the bold colour washes in the present group of watercolours demonstrate a strength of handling and a palette not normally associated with Payne. Whilst some must record specific places and locations and are versions of earlier landscapes, others appear to be idealisations of scenery in order to convey a particular sentiment.

226

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) Figures unloading a cargo, evening signed ‘W. Payne’ (verso) pencil and watercolour 10¿ x 14 in. (25.7 x 35.6 cm.)

£1,200-1,800 120



$1,900-2,800 Ç1,700-2,500

227

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) Figures on a track approaching a strand at low tide, beached vessels and other shipping beyond signed ‘W.Payne’ (verso) pencil and watercolour 13 x 18æ in. (33 x 47.6 cm.)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

227

228

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) Figures and a dog on the banks of an estuary, a sailing barge and a castle beyond signed ‘W. Payne’ (verso) pencil and watercolour 10¬ x 14Ω in. (27 x 36.8 cm.)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

228

229

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) Travellers approaching a bridge, a castle beyond signed ‘W.Payne’ (verso) pencil and watercolour 10æ x 15 in. (27.3 x 38.1 cm.)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

229

230

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) View of a castle in an extensive landscape at sunset (illustrated); and fgures in a cove at high tide one signed ‘W.Payne’ (verso) pencil and watercolour 8¿ x 11æ in. (20.7 x 29.9 cm.); and 7√ x 11√ in. (20 x 30.1 cm.) (2)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

230

231

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) Dusk: fsherfolk hauling in their nets; and Figures disembarking from a barge (illustrated) one signed ‘W. Payne’ (verso) pencil and watercolour, corners cut both 7¿ x 6¿ in. (18.1 x 15.5 cm.)

£1,000-1,500



(2)

$1,600-2,300 Ç1,400-2,100

231

232

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) Figures before a hamlet; and Figures on a small barge entering a creek (illustrated) both signed ‘W. Payne’ (verso) pencil and watercolour with scratching out 8¡ x 11æ in. (21.2 x 29.9 cm.); and 8º x 11¬ in. (21 x 29.5 cm.) (2)

£2,000-3,000



232

122

$3,100-4,600 Ç2,800-4,100

233

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) Travellers in a woodland glade (illustrated); and Figures below a ruined Abbey, a cascade beyond both signed ‘W. Payne’ (verso) pencil and watercolour 8¿ x 11Ω in. (20.6 x 29.2 cm.); and 8º x 11Ω in. (20.9 x 29.2 cm.)  (2)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

233

234

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) A ruined castle by moonlight; and Fisherman hauling in their nets at sunset (illustrated) one signed ‘W. Payne’ (verso) pencil and watercolour with scratching out, corners cut 7¿ x 6¿ in. (18.1 x 15.5 cm.); and 6√ x 6¿ in. (17.5 x 15.5 cm.) (2)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

These two watercolours are unusual in Payne’s oeuvre as studies of landcapes at sunset or night. There is an additional colour study on the verso of the frst drawing.

234

235

WILLIAM PAYNE, O.W.S. (LONDON 1760-1830) Figures in a rowing boat in an estuary, a village beyond; and Travellers beneath an arch, a ruined keep beyond (illustrated) one signed with initials ‘WP’ (on a rock lower centre) pencil and watercolour, one with scratching out 8Ω x 11Ω in. (21.6 x 29.2 cm.); and 8º x 11¬ in. (21 x 29.6 cm.)(2)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

235

123

236

237

236

EDWARD LEAR (LONDON 1812-1888 SAN REMO) Massa Ducale, Tuscany inscribed and dated ‘Massa Ducale./ 11. July.1861’ (lower left), and ‘flies!’ (lower right) and further inscribed with colour notes pencil and pen and brown ink on green paper 15 x 19√ in. (38.1 x 50.5 cm

£8,000-12,000



237

EDWARD LEAR (LONDON 1812-1888 SAN REMO) Palaiokastritsa, Corfu inscribed in Greek and dated ‘Naura.[?]/ 5th, 6.th Sept. 1856.’ (lower right), and ‘Cistus/ Clematis’ (lower left), numbered ‘57’ (lower right), and further inscribed with colour notes pencil, pen and ink and watercolor

$13,000-18,000 14 x 20Ω in. (35.5 x 52.1 cm.) Ç12,000-17,000 £8,000-12,000

PROVENANCE:



with Agnew’s, London. PROVENANCE:

Lear spent the early part of 1861 in England, however, following the death of his sister Anne in March, by May he was in Florence. The present drawing would have been executed in pencil on the spot, and later worked up with ink in the studio.

Charles Church, a gift from the artist and by descent to the present owner. For a note on this subject and provenance see lot 239.

$13,000-18,000 Ç12,000-17,000

238

238

EDWARD LEAR (LONDON 1812-1888 SAN REMO) Miles from Cefalu, Sicily inscribed and dated ‘Miles from Cefalu./ 9. July. 1847./ (see - 18)’ (lower left), and further inscribed with colour notes pencil, pen and brown ink and watercolour on buff paper 12¡ x 19º in. (31.4 x 48.9 cm.)

£12,000-18,000



$19,000-28,000 Ç17,000-25,000

PROVENANCE:

with Colnaghi’s, London, 1978. Having been sent to Italy in 1837 by the 13th Earl of Derby, Lear based himself in Rome for the next ten years. In the summer of 1847 he made his second trip to Sicily, during which the present drawing was executed. At this time in Italy he developed the characteristic sketching style seen here, with a heavily annotated pencil outline, and loose watercolour washes and penwork added later. These drawings were sent to patrons to encourage them to commission fnished oils or watercolours.

125

239

239

EDWARD LEAR (LONDON 1812-1888 SAN REMO) A coastal village, from an olive grove inscribed in Greek and dated ‘Naupa’ [?]/ 6 .Sept. 1856.’ (lower left), numbered ‘55’ (lower right), and further inscribed with colour notes pencil, pen and ink and watercolour 13º x 21 in. (33.6 x 53.3 cm.)

£6,000-8,000



$9,300-12,000 Ç8,300-11,000

PROVENANCE:

Charles Church, a gift from the artist and by descent in the family to the present owner. The present drawing and lot 237 both depict the monastery of Palaiokastritsa, Corfu, seen from across the bay. Lear spent much of 1856 on the island, leaving for only two months from August to October to travel to Mount Athos. The date on these drawings of early September suggests that he continued to work on them whilst travelling. On his frst visit to Palaiokastritsa, in April 1756, Lear described it in his diary as ‘Such a pretty little place! It is surrounded by great rocks, on one of which is a convent, & on another an old castle...The beauty and quiet of the place is delightful.’ Lear returned there on several occasions over the next few years. Charles Church (1823-1915), later the Dean of Wells, met Lear in Italy in the winter of 1847, whilst Church was travelling through Europe on his way to stay with his uncle Sir Richard Church (17841873), who had commanded the Greek forces in the War of Independence against Turkey. The two men travelled together through Greece in the summer of 1848 and became lifelong friends. Church amassed a considerable collection of his friend’s work.

126

240 (actual size)

•240

EDWARD LEAR (LONDON 1812-1888 SAN REMO) A felucca on the Nile, near Girgeh, Egypt signed with monogram, inscribed and dated ‘near Girgeh. 1867’ (lower left) and signed again and numbered ‘EL 1884’ (lower right) and further numbered and inscribed ‘54. near Girgeh.’ (verso) pencil and watercolour heightened with bodycolour 3Ω x 6æ in. (9 x 17.2 cm.)

£2,000-3,000

$3,100-4,600 Ç2,800-4,100



PROVENANCE:

with Agnew’s, London.

After a gap of thirteen years Lear set off on his fnal trip to Egypt in December 1866, writing, ‘It seems a dream that I am about to see the blinding brightness of the south once more’. (V. Noakes, Edward Lear, The Life of a Wanderer, London, 1979, p. 174). Girgeh is situated south of Cairo along the west bank of the Nile. Lear then travelled further south downriver to the Nubian desert before returning homewards in March 1867. The dates of ‘1867’ and ‘1884’ in the present view are an example of Lear’s practice of executing ‘on the spot’ sketches to capture the colour and spirit of the place before returning years later to complete a more fnished watercolour.

241

EDWARD LEAR (LONDON 1812-1888 SAN REMO) Sonnino, Lazio, Italy signed and dated ‘Edward Lear del./ Feby 4. 1840.’ (lower left) and inscribed ‘Sonnino’ (lower right) black chalk heightened with white on blue paper 4√ x 8¬ in. (12.4 x 22 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

with Abbott and Holder, London, January 1990. This pencil drawing is typical of the artist’s early style. The technique and composition of such works shows the infuence of James Duffeld Harding with a vigorous use of soft dark lines, white chalk highlights and tinted paper.

241

127

242

242

WILLIAM CALLOW, R.W.S. (GREENWICH 1812-1908 GREAT MISSENDEN) The Dogana, Venice, Sunrise signed and dated ‘Wm Callow/ 1870’ (lower right) pencil and watercolour 10¡ x 14Ω in. (26.3 x 36.9 cm.)

£10,000-15,000



$16,000-23,000 Ç14,000-21,000

EXHIBITED:

Probably London, Royal Society of Painters in Watercolour, summer 1871, no. 2. Callow frst visited Italy in the summer of 1840, and made numerous visits to Venice over a 46 year period between 1846 and 1892. In 1840 Callow stayed in the hotel Europa at the same time as J.M.W. Turner (1775-1851). The Europa was in the Palazzo Giustiniani, at the mouth of the Grand Canal (the building serves these days as the offces of the Venice Biennale; meanwhile a different palazzo, further up the canal, facing Santa Maria della Salute, now lays claim to the name of the Europa). Situated directly opposite the Dogana, the Giustiniani palace was the perfect venue. Callow's ability to capture the crisp light made his Venetian works particularly popular with the British public. The present watercolour captures the luminosity of the sunrise and the colours of the city with remarkable clarity, in a manner which recalls the best of Turner’s Venetian works. Venice clearly had a special resonance for Callow, as shown in his description of his fnal trip to Italy, in 1892, at the age of 80, when he spent far longer in Venice than anywhere else. He wrote, ‘I started off with my wife on my last foreign tour to bid farewell to the many picturesque old towns which had raised so much enthusiasm in me more than half a century ago....Finally we arrived at Venice and put up at our old quarters, Hotel Europa facing the Grand Canal...After a fortnight of perfect enjoyment...we reluctantly left Venice, for myself at least for the last time’ (J. Reynolds, William Callow, London, 1980, p. 150).

128

243

WILLIAM CALLOW, R.W.S. (GREENWICH 1812-1908 GREAT MISSENDEN) The Neptune Fountain, Versailles, France signed ‘W. Callow’ (lower left) pencil and watercolour heightened with bodycolour and with scratching out 8√ x 12æ in. (22.5 x 32 cm.)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

Charles Heath commissioned Callow to produce a series of drawings of Versailles to be engraved in the Picturesque Annual for 1839 - Versailles. The present drawing was not engraved but fourteen were used as the basis for the engravings for the French edition and nine for the English edition including Bassin de Neptune, engraved by W. Watkins.

243

244

JOHN FREDERICK LEWIS, R.A., P.O.W.S. (LONDON 1804-1876 WALTON-ON-THAMES) Spanish peasants at Ronda, Spain pencil and watercolour with gum arabic, heightened with bodycolour, and with scratching out 12 x 16Ω in. (30.5 x 42 cm.)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

PROVENANCE:

William Selkirk. with Leger Gallery, London. J.G. Pilcher. with The Fine Art Society, London. Anonymous sale; Sotheby’s, London, 9 April 1992, lot 114. EXHIBITED:

London, The Fine Art Society, December 1963, no. 7227, lent by William Selkirk, Esq. Newcastle Upon Tyne, Laing Art Gallery, John Frederick Lewis R.A. Exhibition, 1971, no. 31, lent by J.G. Pilcher.

244

LITERATURE:

Maj. Gen. M. Lewis, John Frederick Lewis, R.A. 1805-1876, London, 1978, p. 74, no. 271. For more information on this lot see www.christies.com.

THE PROPERTY OF THE LATE MR. ANTHONY HOBSON

245

DAVID ROBERTS, R.A. (EDINBURGH 1796-1864 LONDON) View of Puente Nuevo, Ronda with fgures signed and dated ‘D.Roberts . 1834’ (lower right) pencil and watercolour with scratching out 12Ω x 8æ in. (31.8 x 22.3 cm.)

£1,500-2,000



$2,400-3,100 Ç2,100-2,800

PROVENANCE:

H.J. Towlson; Sotheby’s, London, 20 November 1969, lot 77, (£280 to Colnaghi’s on behalf of the previous owner). ENGRAVED:

A later watercolour of the same view, engraved by J. T. Willmore for ‘Granada’ in T. Roscoe, Jennings Landscape Annual or The Tourist in Spain, Robert Jennings & Co., 1836, London, facing p. 223. Roberts visited Ronda on his way from Malaga to Gibraltar and made several on-the-spot studies of Ronda: one was sold in these Rooms 2 July 2013, lot 84, and another view of the hilltop town is in the Huntingdon Library & Art Gallery, San Marino, California. 245

246

ALBERT GOODWIN, R.W.S. (MAIDSTONE 1845-1932 LONDON) Burnham Beeches signed ‘Albert Goodwin’ (lower right) and inscribed ‘Burnham Beeches’ (lower left), within the artist’s frame lines pencil, watercolour and bodycolour on brown paper 11¬ x 16¡ in. (29.5 cm.) x 41.6 cm.)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

with Albany Gallery, London.

246

247

JOSEF WOLF (M…RZ 1820-1899 LONDON) A lion before the pyramids signed ‘J. Wolf’ (lower right) pencil, pen and ink and watercolour with gum arabic 4Ω x 6Ω in. (11.5 x 16.5 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

with Tryon Gallery, London.

247

Joseph Wolf, who emigrated from Germany to London in 1848, revolutionised animal painting in the nineteenth century. Fascinated by the behaviours as well as the physicality of wild animals, he spent time observing the animals in London Zoo and Knowsley Hall’s menagerie, as well as studying extensively in their libraries. The present watercolour demonstrates his interest in the habitats and interactions of species, epitomised in his 1874 publication of The Life and Habits of Wild Animals.

248

JAMES WARD, R.A. (LONDON 1769-1859 CHESHUNT ) Study of a cow and a sheep in a woodland clearing oil on paper laid on panel 8Ω x 11√ in. (21 x 30 cm.)

£3,000-5,000



248

130

$4,700-7,700 Ç4,200-6,900

249

ENGLISH SCHOOL, CIRCA 1830 Fourteen sheets of studies of butterfies and moths one indistinctly signed with initials, all variously inscribed with their latin names, three inscribed ‘Macau’, two dated ‘15 Mar’ and ‘20 Mar’ and numbered 1-13 pencil, pen and black ink and watercolour, heightened with bodycolour, one watermark ‘J GREEN & SON/1826’, four ‘W KING/ 1827’ 8 x 10 in. (20.3 x 25.3 cm.); and smaller

(14)

£2,500-3,500



$3,900-5,400 Ç3,500-4,800

250

GEORGE GARRARD, A.R.A. (LONDON 1760-1826) Two studies of antelope oil on paper 10 x 16√ in. (25.5 x 42.8 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

Mr. & Mrs. H. N. Squire. with Sven Gahlin, London, 1963, where purchased by the present owner. 248

EXHIBITED:

Bedford, Cecil Higgins Museum, 1961, no’s. 4 & 5. George Garrard established himself as an animal painter and sculptor having initially trained as a pupil of Sawrey Gilpin (1733 - 1807) before entering the Royal Academy schools in 1778. From the markings on the fanks of the antelope and the shape of the horns, it appears likely that the present watercolour depicts Antidorcas marsupialis, or Springbok. Whether the drawings were taken from life or from illustrations is not certain. It is known that Springbok were brought back on board Cooke’s ship, the Resolution in 1775 for the Royal Menagerie, then housed at the Tower of London.

250

251

SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON) Study of gurnards, possibly for ‘The Sea Nymph’ pencil 9 x 6Ω in. (22.9 x 16.5 cm.)

£700-1,000



$1,100-1,500 Ç970-1,400

The painting to which this study relates, A Sea-Nymph, was sold in these Rooms, 14 July 2005, lot 34. The fsh the sea-nymph is holding and which leap out of the waves have been identifed as gurnards, which probably appealed to Burne-Jones not because they have any symbolical signifcance but for their decorative possibilities. Although they look so exotic, they are not in fact a stranger to British fsh-shops, and BurneJones appears to have acquired a specimen to make the present studies from. A study in watercolour, 1880, is in the Whitworth Art Gallery, Manchester.

251

131

DRAWINGS BY SIR LAWRENCE ALMA-TADEMA, FROM A PRIVATE COLLECTION (LOTS 252-255) For images of other works in these lots please see www.christies.com The present group of drawings date from 1857-58, a period when Alma-Tadema was living and studying in Antwerp under Professor Louis Jan de Taeye (1822-1890). Having spent four years studying at the Royal Academy of Antwerp from 1852, Alma-Tadema became de Taeye’s studio assistant in 1855. De Taeye’s greatest influence on his young protégé was his interest in ancient civilisations, particularly the Egyptians, first manifested in Alma-Tadema’s 1858 Unfavourable Oracle and 1858-9 The Dying Cleopatra. Heavily influenced not only by his master but by the work of Egyptologists such as Sir John Gardner Wilkinson (1797-1875), Alma-Tadema explored the visual language of this ancient civilisation, translating the flat, formulaic images of Egyptological handbooks into living beings in dramatic narrative compositions, in a series of pictures described by Edmund Gosse as ‘among the highest expressions of Alma-Tadema’s genius.’ (E. Gosse, Lawrence Alma-Tadema in F. G. Dumas, ed. ‘Illustrated Biographies of Modern Artists’, Part 4, London and Paris, 1883, p. 78). Vern Swanson has confirmed that the present group relate to a series of Egyptian pictures Alma-Tadema planned in around 1857-8 for Going to the Oracle and The Contrary Oracle. No pictures with these titles are know, but as well as the present drawings, a sketchbook was saved and separate leaves were periodically taken from it, and have appeared on the market. The present drawings were all signed and inscribed by Alma-Tadema’s daughter, Anna, and were in the collection of Edmund Gosse, the artist’s brother-in-law, from whose family they were acquired by the family of the present owner in the 1920’s or 1930’s.

252

SIR LAWRENCE ALMA-TADEMA, O.M., R.A. (DRONRIJP 1836-1912 WEISBADEN) Three drapery studies for ‘The Contrary Oracle’, two with nude studies (verso) all three with indistinctly inscribed initials pencil, red and white chalk 11Ω x 14Ω in. (29.2 x 36.8 cm.); 10¬ x 13 in. (27 x 33 cm.); and 8¿ x 13 in. (20.6 x 33 cm.) (3)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

PROVENANCE:

The artist. Edmund Gosse, from whose family acquired by the family of the present owner in the 1920’s or 1930’s and by descent. Two of these three drapery studies also have nude studies on the verso, giving a fascinating insight into Alma-Tadema’s working process, building up his fgures from the nude, and then adding the drapery over the body.

252

132 253

253

SIR LAWRENCE ALMA-TADEMA, O.M., R.A. (DRONRIJP 1836-1912 WIESBADEN) Two studies of skirts and tied scarves for ‘The Contrary Oracle’, one with nude studies (verso) both with indistinctly inscribed initials, one with inscription ‘for the Contrary Oracle’. pencil, red and white chalk on buff paper 11Ω x 10Ω in. (29.2 x 26.7 cm.); and 11æ x 7º in. (29.9 x 18.5 cm.) (2)

£4,000-6,000



$6,200-9,200 Ç5,600-8,300

PROVENANCE:

The artist. Edmund Gosse, from whose family acquired by the family of the present owner in the 1920’s or 1930’s and by descent.

254

SIR LAWRENCE ALMA-TADEMA, O.M., R.A. (DRONRIJP 1836-1912 WIESBADEN) Three composition studies for ‘The Contrary Oracle: A large group of fgures within a great hall; An architectural detail of the receding hallway; and A group of seated fgure; two with details of fgure studies (verso) with inscription ‘... for the contrary/ Oracle.’ pencil and stump 8Ω x 11æ in. (21.6 x 29.7 cm.); 12 x 6Ω in. (30.4 x 16.5 cm.); and 6Ω x 8 in. (16.5 x 20.3 cm.)

£2,000-3,000



253

(3)

$3,100-4,600 Ç2,800-4,100

PROVENANCE:

The artist. Edmund Gosse, from whose family acquired by the family of the present owner in the 1920’s or 1930’s and by descent. The present lot includes one full composition study and two details for the unrealised The Contrary Oracle. Whilst the large drawing gives an overview of the composition, the fgure group and architectural study give a sense of Alma-Tadema’s own exploration of the subject and narrative.

255

SIR LAWRENCE ALMA-TADEMA, O.M., R.A. (DRONRIJP 1836-1912 WEISBADEN) Head and drapery studies for ‘The Contrary Oracle’

254

both with indistinctly inscribed initials, the drapery study with inscription ‘The Contrary Oracle’ (lower right) one pencil, one pencil and red and white chalk on buff paper 5¿ x 7 in. (13 x 17.8 cm.); and 4 x 10Ω in. (10.2 x 26.8 cm.) (2)

£1,200-1,800



$1,900-2,800 Ç1,700-2,500

PROVENANCE:

The artist. Edmund Gosse, from whose family acquired by the family of the present owner in the 1920’s or 1930’s and by descent. The head studies here, with their wooden, statuesque faces, seem to have been taken from an Egyptology handbook. In the delicate rendering of the headpieces and the lack of interest in the faces, we can see AlmaTadema working out the intricacies of the costume. 255

133

256

SIR EDWARD JOHN POYNTER BT., P.R.A., R.W.S. (PARIS 1826-1919 LONDON) Study of a draped woman, bust-length with studio stamp (lower right) black and white chalk on brown paper, oval 9¬ x 8 in. (24.5 x 20.3 cm.)

£800-1,200



$1,300-1,800 Ç1,200-1,700

PROVENANCE:

with Spencer Samuels, New York, 1989.

256

257

JOHN SAMUEL AGAR (1773-1858) Study of Actaeon, with a study of two female fgures (verso) charcoal 9 x 7º in. (22.9 x 18.4 cm.); and a chalk study for ‘Ariadne Deserted by Theseus’, by Herbert James Draper (London 1864-1920), with studio stamp

£800-1,200



(2)

$1,300-1,800 Ç1,200-1,700

PROVENANCE:

(1) with Abbott and Holder, London, where purchased by the present owner.

257

*258

SIMEON SOLOMON (LONDON 1840-1905) Faith signed with initials and dated ‘SS/ 1896’ (lower right) and inscribed ‘FAITH’ (lower centre) blue chalk on buff paper 14º x 10¬ in. (36.2 x 27 cm.)

£800-1,200



258

134

$1,300-1,800 Ç1,200-1,700

259

HERBERT JAMES DRAPER (LONDON 1864-1920) Study of a young man wearing a cap for ‘The Golden Fleece; and A composition study for ‘Jason and Medea’s fight from Colchis’ (1) inscribed ‘120/xx’ (lower left), ‘s+w’ (centre left) and ‘3≈5’ (lower right) (2) inscribed ‘109/ll’ (lower left), both with studio stamp (lower right) one black and white chalk on blue-grey paper, lightly squared; one black and white chalk on buff paper, squared 12 x 15Ω in. (30.5 x 39.4 cm.); and 13Ω x 11¿ in. (34.3 x 28.2 cm.) (2)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

The artist, and by descent to the Draper archive. LITERATURE:

S. Toll, Herbert Draper, a Life Study, London, 2003, pp. 187 and 190, nos. HJD109 and HJD120.xix respectively.

259

Whilst The Golden Fleece is arguably one of Draper’s greatest oil paintings, Jason and Medea’s fight from Colchis was never realised. In 1901, Draper was commissioned to decorate the ceiling of the halls of the Drapers’ Company. He frst looked to Greek mythology, developing the present design for an episode from Jason and the Argonauts, before rejecting it in favour of a chapter from Shakespeare’s Tempest.

260

JOHN LINNELL (LONDON 1792-1882 REDHILL) A study of a male nude, standing black chalk 22 x 13¿ in. (55.8 x 33.3 cm.); and a Study for the Dance of Sheba, by Sir Edward John Poynter, Bt., P.R.A., R.W.S. (Paris 1826-1919 London), with studio stamp (lower right) (2)

£1,000-1,500



$1,600-2,300 Ç1,400-2,100

PROVENANCE:

(1) with Abbott and Holder, London, where purchased by the present owner. (2) with Julian Hartnoll, London, where purchased by the present owner.

259

135

261

HENRY TREFFRY DUNN (TRURO 1838-1899 PUTNEY) An illustrated letter by Henry Treffry Dunn with a portrait sketch of Alexa Wilding (c. 1845 - 1884) pencil 9º x 7Ω in. (23.4 x 19 cm.); and a sketch of Dorking with letter to Dr. Rous by Treffry Dunn, and two sketches of a young lady, and a group of three men, seated



(4)

£800-1,200

$1,300-1,800 Ç1,200-1,700



Clearly sent at the height of Wilding’s popularity as a model amongst the PreRaphaelites, the letter reads: ‘Dr Rous,/ I have your note of today and will send it to Miss Wilding but it is doubtful if she can come, for at present her engagements are very numerous. I fnd she is sitting to Millais, Holman Hunt, Martineau and other great genius. I give you a sort of idea of her head but it is very far short of what she is. Please do not spread her picture to any of your friends as I am afraid we shall have less chance than ever of getting her. Excuse this shabby bit of paper but it is all I can fnd./ I am/ Yours truly/ H Treffry Dunn’

•262

SIR EDWIN HENRY LANDSEER, R.A. (LONDON 1802-1873) Gilbert Stuart Newton, R.A. (1794-1835), full-length in a frock coat, a double sided sheet of studies; and A study of Johnny Purves (d. 1867) of Purves Hall, Berwickshire (1) numbered ‘23’ (centre, on the reverse) (2) inscribed and numbered ‘Glen Feshee ‘’devil’’ and ‘No 33’ (upper right) and further inscribed ‘Johnny Purves’ (verso) pen and brown ink; pen and brown and purple ink on paper, dry stamped ‘Invergarry’ 7 x 4 in. (17.7 x 10.1 cm.); and 1√ x 2Ω in. (4.7 x 6.4 cm.) 261

£800-1,200

(2)

$1,300-1,800 Ç1,200-1,700



PROVENANCE:

(1) with Lowell Libson, London, where purchased by the present owner. (2) Edward Ellice (1771-1863) and by descent to Russell Ellice; Sotheby’s, London, 24 June 1971, lot 38 (six in the lot). with Martyn Gregory, London, where purchased by the present owner, 2006. A pupil of his uncle, the American painter, Gilbert Stuart (1755-1828), Gilbert Stuart Newton moved to Europe in 1817, initially visiting Italy and Paris before arriving in London. He was elected a Royal Academician in 1832, but by 1834 he began to lose his mind and was admitted to an asylum in Chelsea, where he died the following year. Landseer and Newton appear to have been friends. Colonel John Home Purves (c.1816-1867) was Equerry and Comptroller of the Household to HRH the Duchess of Cambridge (1797-1889). The stamp ‘Invergarry’ on the sheet refers to a part of the Ellice’s considerable estate and the drawing formed part of a group of studies made by Landseer when he was staying with Edward Ellice at his hunting lodge, Glenquoich Lodge. 262

136

l263

GERALD LESLIE BROCKHURST (BIRMINGHAM 1890-1978 FRANKLIN LAKES, NEW JERSEY) Sidonie signed and dated ‘G.L. Brockhurst./ 1920’ (lower right) and inscribed ‘To Diana with so much love/ from Thelma, David and Raspit Hill 1968’ (on a label attached to the frame) pencil, within the artist’s frame lines 9¬ x 8æ in. (24.3 x 22.3 cm.)

£2,000-3,000



$3,100-4,600 Ç2,800-4,100

PROVENANCE:

Mrs Cazalet. with Colnaghi’s, London.

263

264

SIR ROBERT PONSONBY STAPLES, BT. (DUNDEE 18531943 COOKSTOWN) Study of Lady Randolph Churchill at Olympia signed, inscribed and dated ‘R. Ponsonby Staples./Lady Randolph Churchill./ at Olimpia [sic]./87’ (lower right) pencil, black and sanguine chalk 10º x 7Ω in. (26 x 19 cm.)

£1,500-1,800



$2,400-2,800 Ç2,100-2,500

PROVENANCE:

with David Messum, London.

264

137

265

ENGLISH SCHOOL, 19TH CENTURY An cloth-bound album of ten architectural studies, including fve sheets of designs for overmantles, and fve for mirrors, the sheets laid onto album pages variously inscribed on the drawings and the album pages pencil, pen and ink and wash, heightened with touches of bodycolour the album sheets 14æ x 11 in. (37.5 x 28 cm.); the drawings 14¿ x 10Ω in. (36 x 26.7 cm.); and smaller

(10)

£1,000-1,500

$1,600-2,300 Ç1,400-2,100



We are grateful to Charlotte Gere for suggesting that these drawings were drawn up by a company like Wright and Maitland, leading eighteenth-century revivalist furniture makers in the 1880’s. Many of the drawings are annotated in code for a decorating frm and are evidently intended for large urban dwellings.

END OF SALE 138

Index A Abbott, J.W., 197 Adam, R., 191 Agar, J.S., 257 Agricola, C.L, 128, 129 Alma-Tadema, L., 252, 253, 254, 255

B Barbier, G., 146 Barbieri, G.F., 19 Barrias, F.-J., 144 Bartolozzi, F., 153 Baumgartner, J.W., 84 Bertin, F.-E., 139 Biscaino, B., 43 Biset, C.-E., 76 Bloemen, P. van, 91 Bolognese (?) School, 31 Bolognese School, 27, 28, 36 Bonington, R.P., 215 Bouguereau , W.-A., 148 Boys, T.S., 224 Brockhurst, G.L., 263 Bulthuis, J., 96 Burne-Jones, E.C., 251 Busiri, G.B., 44

C Caldara, P., 6 Callow, W., 217, 242, 243 Cano, A., 64, 68 Cardi, L. Cigoli, 8 Carracci, A., 21, 24, 25, 26 Castello, G.B., 15 Castillo, A. del, 71 Cavedone, G., 29 Cesi, B., 1 Chinnery, G., 202 Cignani, C., 22 Constable, J., 216 Corenzio, B., 14 Corrodi, S., 63 Costa, I., 5 Cotman, J.S., 189, 211 Cox, D., 210, 218 Crotch, W., 221 Cruikshank, G., 187

D Dandré-Bardon, M.-F., 113 Daniell, T., 201 De Wint, P., 209, 219 Delacroix, F.-V.-E., 141 Dietzsch, B.R., 99 Diziani, G., 50 Doomer, L., 93 Downman, J., 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186 Draper, H.J., 259 Drost, W., 90

140

Duncan, E., 214 Dunn, H.T., 261 Dutch School, 89, 106

E Ehret, G.D., 102 English school, 249, 265 Espinosa, J.J. de, 72

F Faesch, J.L.W., 121 Ferogio, F.-F.-A., 145 Feyerabend, J.R., 127 Florentine School, 2 Fontebasso, F.S., 51, 52 Fragonard, J.-H., 119 Franceschini, B., 33 French School, 73, 75, 105, 107, 108, 112, 122, 124, 125, 126 Furini, F, 9 Fuseli, H., 188

G Gainsborough, T., 198 Galeotti, S., 47 Gamelin, J., 32 Gandolfi, G., 54 Garrard, G., 250 Genoese School, 32, 42, 44 Gericault, J.-L.-A.-T., 134, 140 German School, 77, 79, 80, 81, 103 Giordano, L., 37 Girtin, T., 213, 223 Gonzaga, P., 57, 58 Goodwin, A., 246 Goupy, J., 120 Groenewegen, G., 94 Guercino, 19, 44

L

R

Ladbrooke, R., 220 Lancret, N., 111 Landseer, Sir E.H., 262 Le Brun, C., 109 Lear, E., 236, 237, 238, 239, 240, 241 Lelong, 127 Leoni, O.M., 23 Lessing, C.F., 138 Lewis, J.F., 244 Linnell, J., 260 Lombard, L., 82, 83

Richards, J.I., 196 Robert, H., 116 Roberts, D., 245 Roll, A., 147 Roman School, 16, 34, 110 Romano, G., 3 Rosselli, M., 10 Rowlandson, T., 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165 Russell, J., 150

M

Sandby, P., 199, 200, 206, 207, 208 Santoloni, F., 61 Serres, J.T., 203 Sestri, 35 Simonini, F, 55 Skelton, J., 194 Solomon, S., 258 Spanish School, 44, 65, 70, 74 Springinklee, H., 78 Standaart, 91 Staples, R.P., 264

Malosso, 11 Maratti, C., 38 Marlow, W., 195, 204 Marrel, J., 100 Meer the Younger, J. van der, 97 Minardi, T., 20 Montfort, O., 98 Morelli, D., 142 Morland, H.R., 151 Mudo, 66 Murillo, B.E., 67

N Navarrete, J.F., 66 Neapolitan School, 6 Nebbia, C., 44 Negretti, J., 17, 18

O Orbetto, 7 Oudry, J.-C., 123

P

Harding, J.D., 225 Healy, R., 152 Hesse, A.-J.-B., 143 Hoare, R.C., 192 Hoin, C.-J.-B., 115 Holsteyn II, P., 101 Hutin, C.-F., 114

Palma il Giovane, 17, 18 Parodi, D., 40 Parmigianino, 32 Payne, W., 226, 227, 228, 229, 230, 231, 232, 233, 234, 235 Pillement, J., 130, 131, 132 Piola, D., 32, 41 Polidoro da Caravaggio, 6 Poynter, E.J., 256, 260 Pseudo-Pacchia, 4

I

Q

Italian School, 20, 30, 32, 56, 62

Quast, P.J., 88

H

K Kaisermann, F., 46 Klinkhamer, H.A., 104 Kobell, F., 135, 136, 137 Kobell, W.A.W. von, 133

S

T Taraval, G.-T.-R., 118 Tortolero, P., 69 Travi, A., 35 Trotti, G.B., 11 Turchi, A., 7 Turner de Lond, W., 193 Turner, J.M.W., 212, 222

V Valeriani, G., 60 Vanvitelli, 45 Varley, C., 205 Vassé, L.-C., 117 Velde II, W. van de, 85, 86, 87 Venetian School, 59 Veronese School, 13 Viani, D.M., 39 Vinne, V. Jansz. van der, 95 Visentini, A., 53 Volterrano, il, 33

W Ward, J., 248 Waterloo, A., 92 Westall, R., 190 Wilton, J., 154 Wittel, G. van, 45 Wolf, J., 247 Worlidge, T., 149

Z Zucchi, A.P.F., 48, 49

Conditions of Sale • Buying at Christie’s CONDITIONS OF SALE These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold. Unless we own a lot (∆ symbol, Christie’s acts as agent for the seller. A BEFORE THE SALE 1 DESCRIPTION OF LOTS (a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed ‘Important Notices and Explanation of Cataloguing Practice’ which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called ‘Symbols Used in this Catalogue’. (b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only. 2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below. 3 CONDITION (a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition. Lots are sold ‘as is’, in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller. (b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot. Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason they are not an alternative to examining a lot in person or taking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report. 4 VIEWING LOTS PRE-AUCTION (a) If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition. We recommend you get your own advice from a restorer or other professional adviser. (b) Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at pre-auction viewings or by appointment. 5 ESTIMATES Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.

6 WITHDRAWAL Christie’s may, at its option, withdraw any lot at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.

2 RETURNING BIDDERS We may at our option ask you for current identification as described in paragraph B1(a) above, a financial reference or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms in the last two 7 JEWELLERY (a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous and emeralds) may have been treated to improve occasions, please contact our Credit Department on their look, through methods such as heating and +44 (0)20 7839 9060. oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS less strong and/or require special care over time. (b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder by some method. You may request a gemmological identification and registration procedures including, report for any item which does not have a report if the but not limited to completing any anti-money request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse (c) We do not obtain a gemmological report for to register you to bid, and if you make a successful every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between do get gemmological reports from internationally you and the seller. accepted gemmological laboratories, such reports will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF American gemmological laboratories will describe ANOTHER PERSON any improvement or treatment to the gemstone. If you are bidding on behalf of another person, Reports from European gemmological laboratories that person will need to complete the registration will describe any improvement or treatment only requirements above before you can bid, and supply if we request that they do so, but will confirm a signed letter authorising you to bid for him/ when no improvement or treatment has been her. A bidder accepts personal liability to pay the made. Because of differences in approach and purchase price and all other sums due unless it technology, laboratories may not agree whether a has been agreed in writing with Christie’s before particular gemstone has been treated, the amount commencement of the auction that the bidder is of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party The gemmological laboratories will only report acceptable to Christie’s and that Christie’s will only on the improvements or treatments known to the seek payment from the named third party. laboratories at the date of the report. (d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON information in any gemmological report or, if no If you wish to bid in the saleroom you must report is available, assume that the gemstones may register for a numbered bidding paddle at least have been treated or enhanced. 30 minutes before the auction. You may register online at www.christies.com or in person. For 8 WATCHES & CLOCKS help, please contact the Credit Department on +44 (a) Almost all clocks and watches are repaired in (0)20 7839 9060. their lifetime and may include parts which are not original. We do not give a warranty that 6 BIDDING SERVICES any individual component part of any watch is The bidding services described below are a free authentic. Watchbands described as ‘associated’ service offered as a convenience to our clients and are not part of the original watch and may not be Christie’s is not responsible for any error (human authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing weights or keys. these services. (b) As collectors’ watches often have very fine and complex mechanisms, a general service, change of (a) Phone Bids battery or further repair work may be necessary, Your request for this service must be made no for which you are responsible. We do not give a later than 24 hours prior to the auction. We warranty that any watch is in good working order. will accept bids by telephone for lots only if our Certificates are not available unless described in staff are available to take the bids. If you need the catalogue. to bid in a language other than in English, you (c) Most wristwatches have been opened to find out must arrange this well before the auction. We the type and quality of movement. For that reason, may record telephone bids. By bidding on the wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your waterproof and we recommend you have them conversations. You also agree that your telephone checked by a competent watchmaker before use. bids are governed by these Conditions of Sale. Important information about the sale, transport and shipping of watches and watchbands can be found (b) Internet Bids on Christie’s Live™ in paragraph H2(h). For certain auctions we will accept bids over the Internet. Please visit www.christies.com/ B REGISTERING TO BID livebidding and click on the ‘Bid Live’ icon to see 1 NEW BIDDERS details of how to watch, hear and bid at the auction (a) If this is your first time bidding at Christie’s or from your computer. As well as these Conditions you are a returning bidder who has not bought of Sale, internet bids are governed by the Christie’s anything from any of our salerooms within the last LIVE™ terms of use which are available on www. two years you must register at least 48 hours before christies.com. an auction to give us enough time to process and approve your registration. We may, at our option, (c) Written Bids decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our will be asked for the following: catalogues, at any Christie’s office or by choosing (i) for individuals: Photo identification (driving the sale and viewing the lots online at www. licence, national identity card or passport) and, if christies.com. We must receive your completed not shown on the ID document, proof of your Written Bid Form at least 24 hours before the current address (for example, a current utility bill auction. Bids must be placed in the currency of the or bank statement). saleroom. The auctioneer will take reasonable steps (ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price, Incorporation or equivalent document(s) showing taking into account the reserve. If you make a your name and registered address together with written bid on a lot which does not have a reserve documentary proof of directors and beneficial and there is no higher bid than yours, we will bid owners; and on your behalf at around 50% of the low estimate (iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive and other business structures, please contact us in written bids on a lot for identical amounts, and at advance to discuss our requirements. the auction these are the highest bids on the lot, (b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid reference and/or a deposit as a condition of we received first. allowing you to bid. For help, please contact our Credit Department on +44 (0)20 7839 9060.

C AT THE SALE 1 WHO CAN ENTER THE AUCTION We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid. 2 RESERVES Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without reserve with the symbol q next to the lot number. The reserve cannot be more than the lot’s low estimate. 3 AUCTIONEER’S DISCRETION The auctioneer can at his sole option: (a) refuse any bid; (b) move the bidding backwards or forwards in any way he or she may decide, or change the order of the lots; (c) withdraw any lot; (d) divide any lot or combine any two or more lots; (e) reopen or continue the bidding even after the hammer has fallen; and (f) in the case of error or dispute and whether during or after the auction, to continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If any dispute relating to bidding arises during or after the auction, the auctioneer’s decision in exercise of this option is final. 4 BIDDING The auctioneer accepts bids from: (a) bidders in the saleroom; (b) telephone bidders, and internet bidders through ‘Christie’s LIVE™ (as shown above in Section B6); and (c) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction. 5 BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his or her sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve, the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at his or her sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold. 6 BID INCREMENTS Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at his or her sole option where the bidding should start and the bid increments. The usual bid increments are shown for guidance only on the Written Bid Form at the back of this catalogue. 7 CURRENCY CONVERTER The saleroom video screens (and Christies LIVETM) may show bids in some other major currencies as well as sterling. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services. 8 SUCCESSFUL BIDS Unless the auctioneer decides to use his or her discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by post and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

9 LOCAL BIDDING LAWS You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site. D

THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1 THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 25% of the hammer price up to and including ’50,000, 20% on that part of the hammer price over ’50,000 and up to and including ’1,000,000, and 12% of that part of the hammer price above ’1,000,000. 2 TAXES The successful bidder is responsible for any applicable tax including any VAT, sales or compensating use tax or equivalent tax wherever they arise on the hammer price and the buyer’s premium. It is the buyer’s responsibility to ascertain and pay all taxes due. You can find details of how VAT and VAT reclaims are dealt with in the section of the catalogue headed ‘VAT Symbols and Explanation’. VAT charges and refunds depend on the particular circumstances of the buyer so this section, which is not exhaustive, should be used only as a general guide. In all circumstances EU and UK law takes precedence. If you have any questions about VAT, please contact Christie’s VAT Department on +44 (0)20 7839 9060 (email: VAT_london@christies. com, fax: +44 (0)20 3219 6076). 3 ARTIST’S RESALE ROYALTY In certain countries, local laws entitle the artist or the artist’s estate to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with the symbol λ next to the lot number. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will pay the royalty to the appropriate authority on the seller’s behalf. The artist’s resale royalty applies if the hammer price of the lot is 1,000 euro or more. The total royalty for any lot cannot be more than 12,500 euro. We work out the amount owed as follows: Royalty for the portion of the hammer price (in euros) 4% up to 50,000 3% between 50,000.01 and 200,000 1% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 over 500,000, the lower of 0.25% and 12,500 euro. We will work out the artist’s resale royalty using the euro to sterling rate of exchange of the European Central Bank on the day of the auction. E WARRANTIES 1 SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller: (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded. 2 OUR AUTHENTICITY WARRANTY We warrant, subject to the terms below, that the lots in our sales are authentic (our ‘authenticity warranty’). If, within five years of the date of the auction, you satisfy us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The

terms of the authenticity warranty are as follows: (a) It will be honoured for a period of five years from the date of the auction. After such time, we will not be obligated to honour the authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the ‘Heading’). It does not apply to any information other than in the Heading even if shown in UPPERCASE type. (c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified. Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. For example, use of the term ‘ATTRIBUTED TO…’ in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding. (d) The authenticity warranty applies to the Heading as amended by any Saleroom Notice. (e) The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the sale or drew attention to any conflict of opinion. (f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot. (g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if the original buyer has owned the lot continuously between the date of the auction and the date of claim. It may not be transferred to anyone else. (h) In order to claim under the authenticity warranty you must: (i) give us written details, including full supporting evidence, of any claim within five years of the date of the auction; (ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, in any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses. (j) Books. Where the lot is a book, we give an additional warranty for 14 days from the date of the sale that if on collation any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms: (a) This additional warranty does not apply to: (i) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration; (ii) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; (iii) books not identified by title; (iv) lots sold without a printed estimate; (v) books which are described in the catalogue as sold not subject to return; or (vi) defects stated in any condition report or announced at the time of sale. (b) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 14 days of the date of the sale.

F PAYMENT 1 HOW TO PAY (a) Immediately following the auction, you must pay the purchase price being: (i) the hammer price; and (ii) the buyer’s premium; and (iii) any amounts due under section D3 above; and (iv) any duties, goods, sales, use, compensating or service tax or VAT. Payment is due no later than by the end of the seventh calendar day following the date of the auction (the ‘due date’). (b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence. (c) You must pay for lots bought at Christie’s in the United Kingdom in the currency stated on the invoice in one of the following ways: (i) Wire transfer You must make payments to: Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, London EC3P 3BT. Account number: 00172710, sort code: 30-00-02 Swift code: LOYDGB2LCTY. IBAN (international bank account number): GB81 LOYD 3000 0200 1727 10. (ii) Credit Card. We accept most major credit cards subject to certain conditions. To make a ‘cardholder not present’ (CNP) payment, you must complete a CNP authorisation form which you can get from our Cashiers Department. You must send a completed CNP authorisation form by fax to +44 (0)20 7389 2869 or by post to the address set out in paragraph (d) below. If you want to make a CNP payment over the telephone, you must call +44 (0)20 7839 9060. CNP payments cannot be accepted by all salerooms and are subject to certain restrictions. Details of the conditions and restrictions applicable to credit card payments are available from our Cashiers Department, whose details are set out in paragraph (d) below. (iii) Cash We accept cash subject to a maximum of ’5,000 per buyer per year at our Cashier’s Department only (subject to conditions). (iv) Banker’s draft You must make these payable to Christie’s and there may be conditions. (v) Cheque You must make cheques payable to Christie’s. Cheques must be from accounts in pounds sterling from a United Kingdom bank. (d) You must quote the sale number, your invoice number and client number when making a payment. All payments sent by post must be sent to: Christie’s, Cashiers Department, 8 King Street, St James’s, London SW1Y 6QT. (e) For more information please contact our Cashiers Department by phone on +44 (0)20 7839 9060 or fax on +44 (0)20 7389 2869. 2. TRANSFERRING OWNERSHIP TO YOU You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to the buyer. 3 TRANSFERRING RISK TO YOU The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) When you collect the lot; or (b) At the end of the seventh day following the date of the auction or, if earlier, the date the lot is taken into care by a third party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you. 4 WHAT HAPPENS IF YOU DO NOT PAY (a) If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law): (i) to charge interest from the due date at a rate of 5% a year above the UK Lloyds Bank base rate from time to time on the unpaid amount due;

(ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale; (iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts; (iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law; (v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other partpayment which you have paid to us); (vi) we can, at our option, reveal your identity and contact details to the seller; (vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (viii) to exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and (ix) we can take any other action we see necessary or appropriate. (b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction. 5 KEEPING YOUR PROPERTY If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us. G COLLECTION AND STORAGE 1 COLLECTION Once you have made full and clear payment, you must collect the lot within seven days from the date of the auction. (a) You may not collect the lot until you have made full and clear payment of all amounts due to us. (b) If you have paid for the lot in full but you do not collect the lot within 90 calendar days after the sale, we may sell it, unless otherwise agreed in writing. If we do this, we will pay you the proceeds of the sale after taking our storage charges and any other amounts you owe us and any Christie’s Group company. (c) Information on collecting lots is set out on an information sheet which you can get from the bidder registration staff or Christie’s Cashiers +44 (0)20 7839 9060. 2 STORAGE (a) If you have not collected the lot within seven days from the date of the auction, we or our appointed agents can: (i) charge you storage fees while the lot is still at our saleroom; or (ii) remove the lot at our option to a warehouse and charge you all transport and storage costs (b) Details of the removal of the lot to a warehouse, fees and costs are set out at the back of the catalogue on the page headed ‘Storage and Collection’. You may be liable to our agent directly for these costs.

H TRANSPORT AND SHIPPING 1 TRANSPORT AND SHIPPING We will enclose a transport and shipping form with each invoice sent to you. You must make all transport and shipping arrangements. However, we can arrange to pack, transport and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing before you bid. We may also suggest other handlers, packers, transporters or experts if you ask us to do so. For more information, please contact Christie’s Art Transport on +44 (0)20 7839 9060. See the information set out at www.christies.com/ shipping or contact us at arttransport_london@ christies.com. We will take reasonable care when we are handling, packing, transporting and shipping a lot. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act or neglect. 2 EXPORT AND IMPORT Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into. (a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Art Transport Department on +44 (0)20 7839 9060. See the information set out at www.christies.com/ shipping or contact us at arttransport_london@ christies.com. (b) Lots made of protected species Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to import the lot into another country. Several countries refuse to allow you to import property containing these materials, and some other countries require a licence from the relevant regulatory agencies in the countries of exportation as well as importation. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age and you will need to obtain these at your own cost. If a lot contains elephant ivory, or any other wildlife material that could be confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory), please see further important information in paragraph (c) if you are proposing to import the lot into the USA. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material. (c) US import ban on African elephant ivory The USA prohibits the import of ivory from the African elephant. Any lot containing elephant ivory or other wildlife material that could be easily confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory) can only be imported into the US with results of a rigorous scientific test acceptable to Fish & Wildlife, which confirms that the material is not African elephant ivory. Where we have conducted such rigorous scientific testing on a lot prior to sale, we will make this clear in the lot description. In all other cases, we cannot confirm whether a lot contains African elephant ivory, and you will buy that lot at your own risk and be responsible for any scientific test or other reports required for import into the USA at your own cost. If such scientific test is inconclusive or confirms the material is from the African elephant, we will not be obliged to cancel your purchase and refund the purchase price.

(d) Lots containing material that originates from Burma (Myanmar) Lots which contain rubies or jadeite originating in Burma (Myanmar) may not generally be imported into the United States. As a convenience to US buyers, lots which contain rubies or jadeite of Burmese or indeterminate origin have been marked with the symbol ψ in the catalogue. In relation to items that contain any other types of gemstones originating in Burma (e.g. sapphires) such items may be imported into the United States provided that the gemstones have been mounted or incorporated into jewellery outside of Burma and provided that the setting is not of a temporary nature (e.g. a string). (e) Lots of Iranian origin Some countries prohibit or restrict the purchase and/ or import of Iranian-origin ‘works of conventional craftsmanship’ (works that are not by a recognised artist and/or that have a function, for example: carpets, bowls, ewers, tiles, ornamental boxes). For example, the USA prohibits the import of this type of property and its purchase by US persons (wherever located). Other countries, such as Canada, only permit the import of this property in certain circumstances. As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). It is your responsibility to ensure you do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to you. (f) Gold Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’. (g) Jewellery over 50 years old Under current laws, jewellery over 50 years old which is worth ’34,300 or more will require an export licence which we can apply for on your behalf. It may take up to eight weeks to obtain the export jewellery licence. (h) Watches (i) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol ~ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within one year of the date of the sale. Please check with the department for details on a particular lot. (ii) The importation of luxury watches such as Rolex into the United States is highly restricted. Such watches may not be shipped to the United States and can only be imported personally. Generally, a buyer may import only one watch into the United States at a time. In this catalogue, these watches have been marked with a Φ. This will not affect your responsibility to pay for the lot. For further information please contact our specialists in charge of the sale. For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots. I OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties. (b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these Conditions of Sale; or (ii) give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph. (c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and

saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services. (d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses. J OTHER TERMS 1 OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if we reasonably believe that completing the transaction is, or may be, unlawful or that the sale places us or the seller under any liability to anyone else or may damage our reputation. 2 RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction. 3 COPYRIGHT We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot. 4 ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected. 5

TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities. 6 TRANSLATIONS If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement. 7 PERSONAL INFORMATION We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy policy at www.christies.com. 8 WAIVER No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy. 9 LAW AND DISPUTES This agreement, and any non-contractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of England and Wales. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), we agree we will each try to settle the dispute by mediation following the Centre for Effective Dispute Resolution (CEDR) Model Mediation Procedure. We will use a mediator affiliated with CEDR who we and you agree to. If the dispute is

not settled by mediation, you agree for our benefit that the dispute will be referred to and dealt with exclusively in the courts of England and Wales. However, we will have the right to bring proceedings against you in any other court. 10 REPORTING ON WWW.CHRISTIES.COM Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www. christies.com. K GLOSSARY authentic: a genuine example, rather than a copy or forgery of: (i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer; (ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or (iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material. authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in section E2 of this agreement. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group. condition: the physical condition of a lot. due date: has the meaning given to it in paragraph F1(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot. Heading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group). other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law. purchase price: has the meaning given to it in paragraph F1(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the section headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies. com, which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned. UPPER CASE type: means having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Vat Symbols and Explanation You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of the catalogue headed ‘Conditions of Sale’ VAT payable Symbol No Symbol

We will use the VAT Margin Scheme. No VAT will be charged on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

†

We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium and shown separately on our invoice. For qualifying books only, no VAT is payable on the hammer price or the buyer’s premium.

θ *

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 our invoice.

Ω

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime. Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

α

The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address: q If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above). q If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see † symbol above)

‡

For wine offered ‘in bond’ only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer. If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the buyer’s premium and shown on the invoice.

VAT refunds: what can I reclaim? If you are: A non VAT registered UK or EU buyer UK VAT registered buyer

EU VAT registered buyer

No VAT refund is possible No symbol and α

* and Ω

Subject to HMRC’s rules, you can reclaim the Import VAT charged on the hammer price through your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT amount in the buyer’s premium is invoiced under Margin Scheme rules so cannot normally be claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under standard VAT rules (as if the lot had been sold with a † symbol) then, subject to HMRC’s rules, you can reclaim the VAT charged through your own VAT return.

No Symbol and α

The VAT amount in the buyer’s premium cannot be refunded. However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules (as if the lot had been sold with a † symbol). See below for the rules that would then apply.

†

If you provide us with your EU VAT number we will not charge VAT on the buyer’s premium. We will also refund the VAT on the hammer price if you ship the lot from the UK and provide us with proof of shipping, within three months of collection.

* and Ω

The VAT amount on the hammer and in the buyer’s premium cannot be refunded. However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules (as if the lot had been sold with a † symbol). See above for the rules that would then apply. If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

Non EU buyer No Symbol

1. We CANNOT offer refunds of VAT amounts or Import VAT to buyers who do not meet all applicable conditions in full. If you are unsure whether you will be entitled to a refund, please contact Client Services at the address below before you bid. 2. No VAT amounts or Import VAT will be refunded where the total refund is under ’100. 3. In order to receive a refund of VAT amounts/Import VAT (as applicable) nonEU buyers must:

The VAT amount in the buyer’s premium cannot be refunded. However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules (as if the lot had been sold with a † symbol). Subject to HMRC’s rules, you can then reclaim the VAT charged through your own VAT return.

We will refund the VAT amount in the buyer’s premium.

† and α

We will refund the VAT charged on the hammer price. VAT on the buyer’s premium can only be refunded if you are an overseas business. The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

‡ (wine only)

No Excise Duty or Clearance VAT will be charged on the hammer price providing you export the wine while ‘in bond’ directly outside the EU using an Excise authorised shipper. VAT on the buyer’s premium can only be refunded if you are an overseas business. The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

* and Ω

We will refund the Import VAT charged on the hammer price and the VAT amount in the buyer’s premium.

(a) have registered to bid with an address outside of the EU; and (b) provide immediate proof of correct export out of the EU within the required time frames of: 30 days via a ‘controlled export’ for * and Ω lots. All other lots must be exported within three months of collection. 4. Details of the documents which you must provide to us to show satisfactory proof of export/shipping are available from our VAT team at the address below.

We charge a processing fee of ’35.00 per invoice to check shipping/export documents. We will waive this processing fee if you appoint Christie’s Shipping Department to arrange your export/ shipping. 5. If you appoint Christie’s Art Transport or one of our authorised shippers to arrange your export/shipping we will issue you with an export invoice with the applicable VAT or duties cancelled as outlined above. If you later cancel or change the shipment

in a manner that infringes the rules outlined above we will issue a revised invoice charging you all applicable taxes/charges. 6. If you ask us to re-invoice you under normal UK VAT rules (as if the lot had been sold with a † symbol) instead of under the Margin Scheme the lot may become ineligible to be resold using the Margin Schemes. You should take professional advice if you are unsure how this may affect you.

7. All reinvoicing requests must be received within four years from the date of sale. If you have any questions about VAT refunds please contact Christie’s Client Services on [email protected] Tel: +44 (0)20 7389 2886. Fax: +44 (0)20 7839 1611.

Symbols used in this catalogue The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed ‘Conditions of Sale’. º Christie’s has a direct financial interest in the lot. See Important Notices and Explanation of Cataloguing Practice. ∆ Owned by Christie’s or another Christie’s Group company in whole or part. See Important Notices and Explanation of Cataloguing Practice. ♦ Christie’s has a direct financial interest in the lot and has funded all or part of our interest with the help of someone else. See Important Notices and Explanation of Cataloguing Practice.

λ Artist’s Resale Right. See Section D3 of the Conditions of Sale. • Lot offered without reserve which will be sold to the highest bidder regardless of the pre-sale estimate in the catalogue. ~ Lot incorporates material from endangered species which could result in export restrictions. See Section H2(b) of the Conditions of Sale.

ψ Lot containing jadeite and rubies from Burma or of indeterminate origin. See Section H2(d) of the Conditions of Sale. ?, *, Ω, α, #, ‡ See VAT Symbols and Explanation. ■ See Storage and Collection Pages on South Kensington sales only.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.

Important Notices and Explanation of Cataloguing Practice CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION From time to time, Christie’s may offer a lot which it owns in whole or in part. Such property is identified in the catalogue with the symbol ∆ next to its lot number. On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Where Christie’s holds such financial interest on its own we identify such lots with the symbol º next to the lot number. Where Christie’s has financed all or part of such interest through a third party the lots are identified in the catalogue with the symbol º♦. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Third party guarantors are required by us to disclose to their clients their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubts, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot. Please see http://www.christies.com/financialinterest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest at the front of the catalogue.

FOR PICTURES, DRAWINGS, PRINTS AND MINIATURES Terms used in this catalogue have the meanings ascribed to them below. Please note that all statements in this catalogue as to authorship are made subject to the provisions of the Conditions of Sale and authenticity warranty. Buyers are advised to inspect the property themselves. Written condition reports are usually available on request. Qualified Headings In Christie’s opinion a work by the artist. *‘Attributed to …’ In Christie’s qualified opinion probably a work by the artist in whole or in part. *‘Studio of …’/ ‘Workshop of …’ In Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision. *‘Circle of …’ In Christie’s qualified opinion a work of the period of the artist and showing his influence. *‘Follower of …’ In Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil. *‘Manner of …’ In Christie’s qualified opinion a work executed in the artist’s style but of a later date. *‘After …’ In Christie’s qualified opinion a copy (of any date) of a work of the artist. ‘Signed …’/‘Dated …’/‘Inscribed …’ In Christie’s qualified opinion the work has been signed/ dated/inscribed by the artist. ‘With signature …’/ ‘With date …’/ ‘With inscription …’ In Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published. *This term and its definition in this Explanation of Cataloguing Practice are a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term. POST 1950 FURNITURE All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the ‘Regulations’). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

Storage and Collection STORAGE & COLLECTION CHARGES Specified lots, marked with a filled square ( ■ ) not cleared from Christie’s by 5.00 pm on the day of the sale and all sold and unsold lots not cleared from Christie’s by 5.00 pm on the fifth Friday following the sale will be removed to the warehouse of: Cadogan Tate Ltd 241 Acton Lane, Park Royal London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] Lots will be available for collection on the first full business week after transfer to Cadogan Tate Ltd and every business weekday from 9.00 am to 5.00 pm. Property, once paid, can be released to Christie’s Fine Art Storage Services (CFASS) in London, New York or Singapore FreePort at any time for environmentally controlled long term storage, per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com, or contact [email protected]. Telephone: +44 (0)20 7622 0609 for details. TRANSFER, STORAGE & RELATED CHARGES (PER LOT) CHARGES

Furniture/ Large Objects

Transfer/Admin Storage per day Extended Liability Charge:

’42.00 ’21.00 ’5.25 ’2.65 The lower amount of 0.6% of Hammer Price or 100% of the above charges

Pictures/ Small Objects

All charges are subject to VAT. Very large or heavy items may be subject to a surcharge. Please note that there will be no charge to purchasers who collect their lots within two weeks of this sale.

COLLECTION & PAYMENT OF ANY CHARGES DUE Lots will be available for collection from Cadogan Tate Ltd 241 Acton Lane, Park Royal London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] on every business day after the day of transfer, from 9.00 am until 5.00 pm. Lots may only be released by Cadogan Tate upon a) production of the ‘Collection Order’ obtained from the cashier’s office at Christie’s, 85 Old Brompton Road, London SW7 or Christie’s, 8 King Street, London SW1 b) payment of any charges that may be due to Cadogan Tate Ltd To assist Cadogan Tate to provide a swift release please telephone on the business day prior to collection to ensure that Lots are available and to ascertain any charges due. If sending a carrier please ensure that they are provided with all necessary information, your written authority to collect, the Collection Order and the means to settle any charges. COLLECTION FROM CADOGAN TATE Please note that Cadogan Tate Ltd’s opening hours are Monday to Friday 9.00 am to 5.00 pm, and purchases transferred to their warehouse are not available for collection at weekends. SHIPPING AND DELIVERY Christie’s Art Transport can organise local deliveries or international freight. Please contact them on +44 (0) 20 7389 2712 or arttransport_ [email protected]. To ensure that arrangements for the transport of your lot can be finalised before the expiry of any free storage period, please contact Christie’s Art Transport for a quote as soon as possible after the sale. As storage is provided by a third party, storage fees incurred while transport arrangements are being finalised cannot be waived.

EXTENDED LIABILITY CHARGES All services provided by Cadogan Tate Ltd (“Cadogan Tate”) will be subject to their standard Conditions of Business, copies of which are available at Christie’s South Kensington. Please note in particular that Cadogan Tate q does not accept any liability for damage or loss, due to its negligence or otherwise, exceeding the Hammer Price of a Lot plus associated Buyer’s Premium, or, at its sole option, the cost of repairing or replacing the damaged or missing Lot and q it reserves a lien over all goods in its possession for payment of storage and all other charges due to it and q it automatically arranges on behalf of the Lot’s owner and at the owner’s cost, insurance of the Lot for the sum of the Hammer price plus Buyer’s Premium. The Extended Liability Charge covers the Lot from the time of collection from the saleroom until release of the Lot to the owner or the owner’s agent. The Extended Liability Charge payable by the owner of the Lot is 0.6% of the sum of the Hammer Price and Buyer’s Premium or 100% of the transfer and storage charges, whichever is the smaller. This Extended Liability will not be arranged and no charge will be payable only on receipt by Cadogan Tate of advance written notice from the owner of the lot together with formal waiver of subrogation from the owners insurers. Christie’s Fine Art Storage Services (CFASS) also offers storage solutions for fine art, antiques and collectibles in New York and Singapore FreePort. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.

Cadogan TaTe LTd’s Warehouse 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] 28/10/14

146

Worldwide Salerooms and European Offices AUSTRIA VIENNA

INDIA • MUMBAI

RUSSIA MOSCOW

UNITED KINGDOM • LONDON LONDON, • SOUTH KENSINGTON

+43 (0)1 533 881214 Angela Baillou

+91 (22) 2280 7905 Sonal Singh

BELGIUM BRUSSELS

DELHI

+7 495 937 6364 +44 20 7389 2318 Katya Vinokurova

+91 (011) 6609 1170 Sanjay Sharma

SPAIN BARCELONA

ISRAEL TEL AVIV

+34 (0)93 487 8259 Carmen Schjaer

+972 (0)3 695 0695 Roni Gilat-Baharaff

MADRID

+32 (0)2 512 88 30 Roland de Lathuy DENMARK COPENHAGEN

+45 3962 2377 Birgitta Hillingso (Consultant) + 45 2612 0092 Rikke Juel Brandt (Consultant) FINLAND AND THE BALTIC STATES HELSINKI

+358 40 5837945 Barbro Schauman (Consultant) FRANCE • PARIS

+33 (0)1 40 76 85 85 GERMANY DÜSSELDORF

+49 (0)21 14 91 59 352 Arno Verkade FRANKFURT

+49 (0)173 317 3975 Anja Schaller (Consultant) HAMBURG

+49 (0)40 27 94 073 Christiane Gräfin zu Rantzau MUNICH

+49 (0)89 24 20 96 80 Marie Christine Gräfin Huyn STUTTGART

+49 (0)71 12 26 96 99 Eva Susanne Schweizer

• DENOTES SALEROOM

ITALY • MILAN

+39 02 303 2831 ROME

+39 06 686 3333 Marina Cicogna MONACO

+377 97 97 11 00 Nancy Dotta THE NETHERLANDS • AMSTERDAM

+31 (0)20 57 55 255 NORWAY OSLO

+47 975 800 78 Katinka Traaseth (Consultant) PEOPLES REPUBLIC OF CHINA BEIJING

+86 (0)10 8572 7900 • HONG KONG

+852 2760 1766 • SHANGHAI

+86 86 (0)21 6355 1766 Jinqing Cai

+34 (0)91 532 6626 Juan Varez Dalia Padilla SWEDEN STOCKHOLM

+46 (0)70 5368 166 Marie Boettiger Kleman (Consultant) +46 (0)70 9369 201 Louise Dyhlén (Consultant) SWITZERLAND • GENEVA

+41 (0)22 319 1766 Eveline de Proyart • ZURICH

+41 (0)44 268 1010 Dr. Bertold Mueller TURKEY ISTANBUL

+90 (532) 558 7514 Eda Kehale Argün (Consultant) UNITED ARAB EMIRATES • DUBAI

+971 (0)4 425 5647

+44 (0)20 7839 9060

+44 (0)20 7930 6074 NORTH AND NORTHEAST

+44 (0)20 7752 3004 Thomas Scott NORTHWEST AND WALES

+44 (0)20 7752 3004 Jane Blood SOUTH

+44 (0)1730 814 300 Mark Wrey SCOTLAND

+44 (0)131 225 4756 Bernard Williams Robert Lagneau David Bowes-Lyon (Consultant) ISLE OF MAN

+44 (0)20 7389 2032 CHANNEL ISLANDS

+44 (0)1534 485 988 Melissa Bonn (Consultant) IRELAND

+353 (0)59 86 24996 Christine Ryall (Consultant) UNITED STATES • NEW YORK

+1 212 636 2000

PORTUGAL LISBON

+351 919 317 233 Mafalda Pereira Coutinho (Consultant)

E NQ U I RI ES — Call the Saleroom or Office For a complete salerooms & offices listing go to christies.com

E MA I L — [email protected] 02/09/15

147

Christie’s Specialist Departments and Services DEPARTMENTS AFRICAN AND OCEANIC ART

PAR: +33 (0)140 768 386 AMERICAN FURNITURE

NY: +1 212 636 2230 AMERICAN INDIAN ART

NY: +1 212 606 0536 AMERICAN PICTURES

NY: +1 212 636 2140 ANGLO-INDIAN ART

KS: +44 (0)20 7389 2570 ANTIQUITIES

SK: +44 (0)20 7752 3219 ARMS AND ARMOUR

SK: +44 (0)20 7752 3119 ASIAN 20TH CENTURY AND CONTEMPORARY ART

HANDBAGS & ACCESSORIES

POST-WAR ART

PAR: +33 (0)1 40 76 7249

KS: +44 (0)20 7389 2446 SK: +44 (0)20 7389 2502

IMPRESSIONIST PICTURES

KS: +44 (0)20 7389 2638 SK: +44 (0)20 7752 3218

POSTERS

INDIAN CONTEMPORARY ART

PRINTS

KS: +44 (0)20 7389 2700 NY: +1 212 636 2189 INTERIORS

SK: +44 (0)20 7389 2236 NY: +1 212 636 2032

SK: +44 (0)20 7752 3208 KS: +44 (0)20 7389 2328 SK: +44 (0)20 7752 3109

CHRISTIE’S EDUCATION

London Tel: +44 (0)20 7665 4350 Fax: +44 (0)20 7665 4351 Email: london@christies. edu

Tel: +44 (0)20 7389 2548 Email: norchard@ christies.com FINANCIAL SERVICES

KS: +44 (0)20 7389 2343

HERITAGE AND TAXATION

KS: +44 (0)20 7389 2372 SK: +44 (0)20 7752 3239

KS: +44 (0)20 7389 2057

JEWELLERY

CORPORATE COLLECTIONS

Tel: +44 (0)20 7389 2624 Fax: +44 (0)20 7389 2204

RUSSIAN WORKS OF ART

KS: +44 (0)20 7389 2591 SK: +44 (0)20 7752 3239

OTHER SERVICES

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALES

ISLAMIC WORKS OF ART

JAPANESE WORKS OF ART

AUCTION SERVICES

TRAVEL, SCIENCE AND NATURAL HISTORY

SK: +44 (0)20 7752 3291 SCULPTURE

KS: +44 (0)20 7389 2331 SK: +44 (0)20 7389 2794

edu

Tel: +44 (0)20 7389 2101 Fax: +44 (0)20 7389 2300 Email:rcornett@christies. com PRIVATE COLLECTIONS AND COUNTRY HOUSE SALES

AUSTRALIAN PICTURES

KS: +44 (0)20 7389 2040

LATIN AMERICAN ART

KS: +44 (0)20 7389 2666 SK: +44 (0)20 7752 3262

Tel: +44 (0)20 7389 2343 Fax: +44 (0)20 7389 2225 Email: awaters@christies. com

BOOKS AND MANUSCRIPTS

NY: +1 212 636 2150

SWISS ART

MARITIME PICTURES

ZUR: +41 (0) 44 268 1012

MUSEUM SERVICES, UK

KS: +44 (0)20 7389 2674 SK: +44 (0)20 7752 3203

SK: +44 (0)20 7752 3284 NY: +1 212 707 5949

TOPOGRAPHICAL PICTURES

Tel: +44 (0)20 7389 2570 Email: llindsay@christies. com

BRITISH & IRISH ART

MINIATURES

KS: +44 (0)20 7389 2682 NY: +1 212 636 2084 SK: +44 (0)20 7752 3257

KS: +44 (0)20 7389 2650

KS: +44 (0)20 7389 2040 SK: +44 (0)20 7752 3291

PRIVATE SALES

BRITISH ART ON PAPER

KS: +44 (0)20 7389 2278 SK: +44 (0)20 7752 3293 NY: +1 212 636 2085 BRITISH PICTURES 1500-1850

KS: +44 (0)20 7389 2945 CARPETS

KS: +44 (0)20 7389 2035 SK: +44 (0)20 7389 2776 CHINESE WORKS OF ART

KS: +44 (0)20 7389 2577 SK: +44 (0)20 7752 3239 CLOCKS

KS: +44 (0)20 7389 2357 CONTEMPORARY ART

KS: +44 (0)20 7389 2446 SK: +44 (0)20 7389 2502 COSTUME, TEXTILES AND FANS

SK: +44 (0)20 7752 3215 EUROPEAN CERAMICS AND GLASS

SK: +44 (0)20 7752 3026 FURNITURE

KS: +44 (0)20 7389 2482 SK: +44 (0)20 7389 2791

MODERN DESIGN

SK: +44 (0)20 7389 2142 MUSICAL INSTRUMENTS

SK: +44 (0)20 7752 3365 NINETEENTH CENTURY FURNITURE AND SCULPTURE

SILVER

TWENTIETH CENTURY BRITISH ART

KS: +44 (0)20 7389 2684 SK: +44 (0)20 7752 3311 TWENTIETH CENTURY DECORATIVE ART & DESIGN

KS: +44 (0)20 7389 2699

KS: +44 (0)20 7389 2140 SK: +44 (0)20 7752 3236

NINETEENTH CENTURY EUROPEAN PICTURES

TWENTIETH CENTURY PICTURES

KS: +44 (0)20 7389 2443 SK: +44 (0)20 7752 3309 OBJECTS OF VERTU

KS: +44 (0)20 7389 2347 SK: +44 (0)20 7752 3001 OLD MASTER DRAWINGS

KS: +44 (0)20 7389 2251 OLD MASTER PICTURES

KS: +44 (0)20 7389 2531 SK: +44 (0)20 7752 3250 ORIENTAL CERAMICS AND WORKS OF ART

SK: +44 (0)20 7752 3235 PHOTOGRAPHS

KS: +44 (0)20 7752 3083 POPULAR CULTURE AND ENTERTAINMENT

SK: +44 (0)20 7752 3275

Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: hongkong@ christies.edu CHRISTIE’S FINE ART STORAGE SERVICES

KS: +44 (0)20 7389 2383 SK: +44 (0)20 7752 3265

NY: +1 212 468 7133

New York Tel: +1 212 355 1501 Fax: +1 212 355 7370 Email: newyork@christies.

New York +1 212 974 4570 [email protected] Singapore Tel: +65 6543 5252 Email: singapore@cfass. com CHRISTIE’S INTERNATIONAL REAL ESTATE

US: +1 212 636 2034 Fax: +1 212 636 2035

New York Tel +1 212 468 7182 Fax +1 212 468 7141

VALUATIONS

Tel: +44 (0)20 7389 2464 Fax: +44 (0)20 7389 2038 Email: mwrey@christies. com

[email protected]

London Tel +44 20 7389 2551 Fax +44 20 7389 2168 [email protected]

SK: +44 (0)20 7752 3218

Hong Kong Tel +852 2978 6788 Fax +852 2973 0799

VICTORIAN PICTURES

[email protected]

KS: +44 (0)20 7389 2468 SK: +44 (0)20 7752 3257 WATERCOLOURS AND DRAWINGS

KS: +44 (0)20 7389 2257 SK: +44 (0)20 7752 3293 WINE

KS: +44 (0)20 7752 3366

KEY TO ABBREVIATIONS

KS: London, King Street NY: New York, Rockefeller Plaza PAR: Paris SK: London, South Kensington 30/09/15

148

DICKENS, CHARLES – HABLOT KNIGHT BROWNE [‘PHIZ’] (1815-1882). A FULL SUITE OF ORIGINAL DRAWINGS FOR BLEAK HOUSE ’40,000–60,000

Valuable Books and Manuscripts London, King Street • 1 December 2015 Viewing

Contact

27-30 December 8 King Street London SW1Y 6QT

Rupert Neelands [email protected] +44 (0)20 7389 2674

christies.com

HANS HOFFMANN (NUREMBERG 1545-1591 PRAGUE) A hare among plants watercolour and bodycolour with gum arabic on vellum · signed in pen and black ink with monogram ‘Hh’ and dated ‘1582’ 24Ω x 22√ in. (62.3 x 58 cm.) ’4,000,000– 6,000,000

Old Master & British Paintings Evening Sale London, King Street • 8 December 2015 Viewing

Contact

4-8 December 8 King Street London SW1Y 6QT

Henry Pettifer [email protected] +44 (0)20 7389 2084

christies.com

ANDREA LOCATELLI (ROME 1693/95-1741/51) A pastoral landscape with a family travelling on horseback oil on canvas · 126 x 174 cm. Ç40,000–60,000

Old Masters & 19th Century Art Amsterdam • 17-18 November 2015 Viewing

Contact

13-16 November Cornelis Schuytstraat 57 1071 JG Amsterdam

Sarah de Clerecq [email protected] +31 (0)20 575 52 81

christies.com

ANTOINE WATTEAU (VALENCIENNES 1684-1721 NOGENT-SUR-MARNE) A portrait of Nicolas Vleughels, seated and looking down to the left, tuning his violin with inscription ‘Vateau’ (partly cut) · red, black and white chalk on light brown paper 9¬ x 7Ω in. (24.5 x 18.9 cm.) $120,000–180,000

Old Master and British Drawings New York • 27 January 2016

152

Viewing

Contact

23-27 January 2016 20 Rockefeller Plaza New York, NY 10020

Jennifer Wright [email protected] +1 212 636 2384

christies.com

COUNT AMADEO PREZIOSI (MALTESE 1816-1882) Pasha and maid on a balcony in Pera overlooking Constantinople signed and dated ‘Preziosi 1853’ (lower centre); and signed and dated ‘Preziosi/1853’ (lower right) pen and black ink, black chalk and watercolour, heightened with white on paper · 21 x 29¼ in. (53.3 x 74.3 cm.) ’40,000–60,000

19th Century European & Orientalist Art London, King Street • 15 December 2015 Viewing

Contact

11-15 December 2015 8 King Street London SW1Y 6QT

Alexandra McMorrow +44 (0)20 7389 2538 [email protected]

christies.com

153

MAJOR-GENERAL SIR ARCHIBALD CAMPBELL (1739-1791) BY JOHN SMART (1741-1811) signed and dated 1786 with ‘I’ for India ’15,000– 25,000

Centuries of Style London, King Street • 1-2 December 2015 Viewing

Contact

27 Nov - 2 Dec 2015 8 King Street London SW1Y 6QT

Jo Langston [email protected] +44 (0)20 7389 2347

christies.com

Old Master & British Drawings & Watercolours WEDNESDAY 9 DECEMBER 2015 AT 1.00 PM

85 Old Brompton Road, London SW7 3LD CODE NAME: MILTON SALE NUMBER: 10713

(Dealers billing name and address must agree with tax exemption certificate. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name).

Written Bids Form Christie’s South Kensington Written bids must be received at least 24 hours before the auction begins. Christie’s will confirm all bids received by fax by return fax. If you have not received confirmation within one business day, please contact the Bid Department. Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com

10713 Client Number (if applicable)

Sale Number

BID ONLINE FOR THIS SALE AT CHRISTIES.COM Billing Name (please print)

BIDDING INCREMENTS Bidding generally starts below the low estimate and increases in steps (bid increments) of up to 10 per cent. The auctioneer will decide where the bidding should start and the bid increments. Written bids that do not conform to the increments set below may be lowered to the next bidding interval. UK£50 to UK £1,000

by UK£50s

UK£1,000 to UK£2,000

by UK£100s

UK£2,000 to UK£3,000

by UK£200s

UK£3,000 to UK£5,000

by UK£200, 500, 800 (eg UK£4,200, 4,500, 4,800)

UK£5,000 to UK£10,000

by UK£500s

UK£10,000 to UK£20,000

by UK£1,000s

UK£20,000 to UK£30,000

by UK£2,000s

UK£30,000 to UK£50,000

by UK£2,000, 5,000, 8,000 (eg UK£32,200, 35,000, 38,000)

UK£50,000 to UK£100,000

by UK£5,000s

UK£100,000 to UK£120,000

by UK£10,000s

Above UK£200,000

at auctioneer’s discretion

Address

Post Code

Daytime Telephone

Evening Telephone

Fax (Important)

Email

Please tick if you prefer not to receive information about our upcoming sales by e-mail I have read and understood thIs WrItten BId Form and the CondItIons oF sale - Buyer’s agreement

Signature

If you have not previously bid or consigned with Christie’s, please attach copies of the following documents. Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on the information you should supply. If you are registering to bid on behalf of someone who has not previously bid or consigned with Christie’s, please attach identification documents for yourself as well as the party on whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients, clients who have not made a purchase from any Christie’s office within the last two years, and those wishing to spend more than on previous occasions will be asked to supply a bank reference.

The auctioneer may vary the increments during the course of the auction at his or her own discretion. 1. I request Christie’s to bid on the stated lots up to the maximum bid I have indicated for each lot. 2. I understand that if my bid is successful the amount payable will be the sum of the hammer price and the buyer’s premium (together with any taxes chargeable on the hammer price and buyer’s premium and any applicable Artist’s Resale Royalty in accordance with the Conditions of Sale - Buyer’s Agreement). The buyer’s premium rate shall be an amount equal to 25% of the hammer price of each lot up to and including ’50,000, 20% on any amount over ’50,000 up to and including ’1,000,000 and 12% of the amount above ’1,000,000. For wine and cigars there is a flat rate of 17.5% of the hammer price of each lot sold. 3. I agree to be bound by the Conditions of Sale printed in the catalogue. 4. I understand that if Christie’s receive written bids on a lot for identical amounts and at the auction these are the highest bids on the lot, Christie’s will sell the lot to the bidder whose written bid it received and accepted first. 5. Written bids submitted on ‘no reserve’ lots will, in the absence of a higher bid, be executed at approximately 50% of the low estimate or at the amount of the bid if it is less than 50% of the low estimate. I understand that Christie’s written bid service is a free service provided for clients and that, while Christie’s will be as careful as it reasonably can be, Christie’s will not be liable for any problems with this service or loss or damage arising from circumstances beyond Christie’s reasonable control.

PLEASE PRINT CLEARLY Lot number (in numerical order)

Maximum Bid UK£ (excluding buyer’s premium)

Lot number (in numerical order)

Maximum Bid UK£ (excluding buyer’s premium)

If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS Please quote number below:

Auction Results: +44 (0)20 7839 9060

13/05/15

155

OMP & 19TH CENTURY PAINTINGS

expert knowledge beautifully presented

Continental European and British paintings from the early Renaissance to the early 19th century. British and Irish Art from Tudor period to 1970, including pictures, works on paper, Sporting Art,Victorian and Scottish pictures. Continental European drawings from the early Renaissance to the early 19th century. Paintings, drawings and watercolors from the 19th century, including Romanticism, Genre, Realist, Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and nautical items, ship models and maritime instruments.

Code

Subscription Title

Location

A1 L193 L1 L195 L98 N193 N1 P1 K193 K9 K1 K2 K97 W9

OMP & C19th Paintings Old Master and 19th Century Art 19th Century European Art including Orientalist Art Old Master and British Paintings Victorian and British Impressionist Pictures Topographical Pictures 19th Century European Art Old Master Paintings Old Master & 19th Century European Paintings 19th Century Paintings Old Master & Early British Drawings & Watercolours Old Master Paintings Victorian, Traditionalist & Sporting Pictures Australian Art Old Master & Early British Drawings & Watercolours

Amsterdam King Street King Street King Street King Street New York New York Paris South Kensington South Kensington South Kensington South Kensington South Kensington Worldwide

www.christies.com/shop Photographs, Posters and Prints · Impressionist and Modern Art Jewellery, Watches and Wine · Antiquities and Tribal Art Asian and Islamic Art · Russian Art Furniture, Decorative Arts and Collectables · American Art and Furniture Books, Travel and Science · Design, Costume and Memorabilia Post-War and Contemporary Art Old Master Paintings and 19th Century Paintings

Issues 2 2 5 2 1 2 3 1 2 1 4 5 1 4

UK£Price

US$Price

EURPrice

27 48 119 48 20 48 71 38 43 14 57 71 14 95

44 72 181 76 32 76 108 61 71 24 95 119 24 152

40 76 190 72 30 72 114 57 66 22 87 109 22 144

Christie’s CHRISTIE’S INTERNATIONAL PLC Patricia Barbizet, Chairwoman and CEO Jussi Pylkkänen, Global President Stephen Brooks, Global Chief Operating Officer Loïc Brivezac, Gilles Erulin, Gilles Pagniez, Héloïse Temple-Boyer,

Sophie Carter, Company Secretary CHRISTIE’S EXECUTIVE Patricia Barbizet, Chairwoman and CEO Jussi Pylkkänen, Global President Stephen Brooks, Global Chief Operating Officer INTERNATIONAL CHAIRMEN François Curiel, Chairman, Asia Pacific Stephen Lash, Chairman Emeritus, Americas Viscount Linley, Honorary Chairman, EMERI Charles Cator, Deputy Chairman, Christie’s Int. Xin Li, Deputy Chairwoman, Christie’s Int.

CHRISTIE’S EMERI SENIOR DIRECTORS Mariolina Bassetti, Giovanna Bertazzoni, Edouard Boccon-Gibod, Prof. Dr. Dirk Boll, Olivier Camu, Roland de Lathuy, Eveline de Proyart, Philippe Garner, Roni Gilat-Baharaff, Francis Outred, Christiane Rantzau, Andreas Rumbler, François de Ricqles, Jop Ubbens, Juan Varez ADVISORY BOARD Pedro Girao, Chairman, Patricia Barbizet, Arpad Busson, Loula Chandris, Kemal Has Cingillioglu, Ginevra Elkann, I. D. Fürstin zu Fürstenberg, Laurence Graff, H.R.H. Prince Pavlos of Greece, Marquesa de Bellavista Mrs Alicia Koplowitz, Viscount Linley, Robert Manoukian, Rosita, Duchess of Marlborough, Countess Daniela Memmo d’Amelio, Usha Mittal, Çig˘dem Simavi

CHRISTIE’S UK CHAIRMAN’S OFFICE Orlando Rock, Chairman Noël Annesley, Honorary Chairman; Richard Roundell, Vice Chairman; Robert Copley, Deputy Chairman; The Earl of Halifax, Deputy Chairman; Francis Russell, Deputy Chairman; Julia Delves Broughton, James Hervey-Bathurst, Amin Jaffer, Nicholas White, Mark Wrey SENIOR DIRECTORS Dina Amin, Simon Andrews, Daniel Baade, Philip Belcher, Jeremy Bentley, Ellen Berkeley, Jill Berry, Peter Brown, James Bruce-Gardyne, Sophie Carter, Benjamin Clark, Christopher Clayton-Jones, Karen Cole, Isabelle de La Bruyere, Leila de Vos, Nicole Dembinska, Paul Dickinson, Harriet Drummond, Julie Edelson, Hugh Edmeades, David Elswood, David Findlay, Margaret Ford, Daniel Gallen, Karen Harkness, Philip Harley, James Hastie, Karl Hermanns, Paul Hewitt, Rachel Hidderley, Mark Hinton, Nick Hough, Michael Jeha, Donald Johnston, Erem Kassim-Lakha, Nicholas Lambourn, William Lorimer, Catherine Manson, Nic McElhatton (Chairman, South Kensington), Alexandra McMorrow, Jeremy Morrison, Nicholas Orchard, Clarice Pecori-Giraldi, Benjamin Peronnet, Henry Pettifer, Steve Phipps, Will Porter, Paul Raison, Tara Rastrick, Amjad Rauf, William Robinson, John Stainton, Alexis de Tiesenhausen, Lynne Turner, Jay Vincze, Andrew Ward, David Warren, Andrew Waters, Harry Williams-Bulkeley, Martin Wilson, André Zlattinger DIRECTORS Richard Addington, Zoe Ainscough, Georgiana Aitken, Marco Almeida, Maddie Amos, Alexandra Baker, Helen Baker, Karl Barry, Rachel Beattie, Sven Becker, Jane Blood, Piers Boothman, David Bowes-Lyon, Anthony Brown, Lucy Brown, Robert Brown, Lucy Campbell, Jason Carey, Sarah Charles, Romilly Collins, Ruth Cornett, Nicky Crosbie, Armelle de Laubier-Rhally, Sophie DuCret, Anna Evans, Arne Everwijn, Adele Falconer, Nick Finch, Emily Fisher, Peter Flory, Elizabeth Floyd, Christopher Forrest, Giles Forster, Zita Gibson, Alexandra Gill, Sebastian Goetz, Simon Green, David Gregory, Mathilde Heaton, Annabel Hesketh, Sydney Hornsby, Peter Horwood, Kate Hunt, Simon James, Sabine Kegel, Hans-Peter Keller, Tjabel Klok, Robert Lagneau, Joanna Langston, Tina Law, Darren Leak, Adriana Leese, Brandon Lindberg, Laura Lindsay, David Llewellyn, Murray Macaulay, Sarah Mansfield, Nicolas Martineau, Roger Massey, Joy McCall, Neil McCutcheon, Daniel McPherson, Neil Millen, Edward Monagle, Jeremy Morgan, Leonie Moschner, Giles Mountain, Chris Munro, Rupert Neelands,

© Christie, Manson & Woods Ltd. (2015)

Liberte Nuti, Beatriz Ordovás, Rosalind Patient, Anthea Peers, Keith Penton, Romain Pingannaud, Sara Plumbly, Caroline Porter, Michael Prevezer, Anne Qaimmaqami, Marcus Rädecke, Pedram Rasti, Sumiko Roberts, Sandra Romito, Tom Rooth, Alice de Roquemaurel, Francois Rothlisberger, Patrick Saich, Tim Schmelcher, Rosemary Scott, Tom Scott, Nigel Shorthouse, Dominic Simpson, Nick Sims, Clementine Sinclair, Sonal Singh, Katie Siveyer, Nicola Steel, Kay Sutton, Cornelia Svedman, Rakhi Talwar, Nicolette Tomkinson, Thomas Venning, Ekaterina Vinokurova, Edwin Vos, Amelia Walker, Sophie Wiles, Bernard Williams, Georgina Wilsenach, Toby Woolley, Geoff Young ASSOCIATE DIRECTORS Guy Agazarian, Cristian Albu, Jennie Amos, Ksenia Apukhtina, Katharine Arnold, Alexis Ashot, Fiona Baker, Carin Baur, Sarah Boswell, Mark Bowis, Phill Brakefield, Clare Bramwell, Jenny Brown, John Caudle, Marie-Louise Chaldecott, Sophie Churcher, John Crook, Helen Culver Smith, Laetitia Delaloye, Charlotte Delaney, Freddie De Rougemont, Grant Deudney, Eva-Maria Dimitriadis, Howard Dixon, Eugenio Donadoni, Virginie Dulucq, Joe Dunning, David Ellis, Antonia Essex, Kate Flitcroft, Nina Foote, Eva French, Pat Galligan, Keith Gill, Andrew Grainger, Leonie Grainger, Julia Grant, Pippa Green, Angus Granlund, Christine Haines, Coral Hall, Charlotte Hart, Daniel Hawkins, Evelyn Heathcoat Amory, Anke Held, Valerie Hess, Adam Hogg, Carolyn Holmes, Amy Huitson, Adrian Hume-Sayer, James Hyslop, Helena Ingham, Pippa Jacomb, Guady Kelly, Hala Khayat, Alexandra Kindermann, Polly Knewstub, Mark Henry Lampé, Tom Legh, Timothy Lloyd, Graeme Maddison, Peter Mansell, Stephanie Manstein, Amparo Martinez Russotto, Astrid Mascher, David McLachlan, Lynda McLeod, Michelle McMullan, Kateryna Merkalenko, Toby Monk, Sarah O’Brien, Rosie O’Connor, Samuel Pedder-Smith, Suzanne Pennings, Christopher Petre, Louise Phelps, Eugene Pooley, Sarah Rancans, Lisa Redpath, David Rees, Alexandra Reid, Sarah Reynolds, Meghan Russell, Sangeeta Sachidanantham, Pat Savage, Catherine Scantlebury, Julie Schutz, Hannah Schweiger, Angus Scott, Ben Slinger, James Smith, Graham Smithson, Mark Stephen, Annelies Stevens, Charlotte Stewart, Dean Stimpson, Gemma Sudlow, Dominique Suiveng, Nicola Swain, Keith Tabley, Iain Tarling, Sarah Tennant, Timothy Triptree, Flora Turnbull, Paul van den Biesen, Ben Van Rensburg, Lisa Varsani, Shanthi Veigas, Julie Vial, Assunta Grafin von Moy, Anastasia von Seibold, Tony Walshe, Gillian Ward, Chris White, Rosanna Widen, Ben Wiggins, Annette Wilson, Julian Wilson, Elissa Wood, Charlotte Young

17/09/15

85 OLD BROMPTON ROAD

LONDON SW7 3LD