19th Century european, ViCtorian Bonhams 101 New Bond Street and British impressionist art London Wednesday 25 June 2014 W1S 1SR
+44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax 19th 19th C entury paintings entury
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New Bond Street, London London Street, Bond New Ӏ Wednesday 25 June 2014 2014 June 25 Wednesday 21742
International Auctioneers and Valuers – bonhams.com
19th Century European, Victorian and British Impressionist Art Wednesday 25 June 2014 at 14.00 New Bond Street, London
Viewing Bids Enquiries Physical Condition of Saturday 21 June +44 (0) 20 7447 7448 Peter Rees (Head of Sale) Lots in this Auction 12.00 to 17.00 +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8201 Sunday 22 June To bid via the internet please [email protected] PLEASE NOTE THAT THERE IS 12.00 to 17.00 visit bonhams.com NO REFERENCE IN THIS Monday 23 June Charles O’Brien CATALOGUE TO THE PHYSICAL 9.00 to 16.30 Please note that bids should be (Head of Department) CONDITION OF ANY LOT. Tuesday 24 June submitted no later than 4pm on +44 (0) 20 7468 8360 INTENDING BIDDERS MUST 9.00 to 16.30 the day prior to the sale. New [email protected] SATISFY THEMSELVES AS TO Wednesday 25 June bidders must also provide proof THE CONDITION OF ANY LOT 9.00 to 12.00 of identity when submitting bids. Alistair Laird AS SPECIFIED IN CLAUSE 14 Failure to do this may result in +44 (0) 20 7468 8211 OF THE NOTICE TO BIDDERS Sale Number your bid not being processed. [email protected] CONTAINED AT THE END OF 21742 THIS CATALOGUE. Live online bidding is available Sam Travers Catalogue for this sale +44 (0) 20 7468 8232 As a courtesy to intending £25.00 Please email [email protected] [email protected] bidders, Bonhams will provide a with ‘live bidding’ in the subject written Indication of the physical Illustrations line 48 hours before the auction Lucy Oury condition of lots in this sale if a Front cover: Lot 130 to register for this service. +44 (0) 20 7468 8356 request is received up to 24 Back cover: Lot 87 [email protected] hours before the auction starts. Inside front: Lot 61 important information This written Indication is issued Inside back: Lot 139 Deborah Cliffe subject to Clause 3 of the Notice The United States Government to Bidders. has banned the import of ivory +44 20 7468 8337 into the USA. Lots containing [email protected] ivory are indicated by the customer services symbol Ф printed beside the Jonathan Horwich Monday to Friday 8.30 to 6.00 lot number in this catalogue. Global Director, Picture Sales +44 (0) 20 7447 7448 +44 20 7468 8280 [email protected] Please see page 2 for bidder information including after-sale New York collection and shipment Madalina Lazen +1 (212) 644 9108 [email protected]
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19th Century European, Victorian and British Impressionist Art Lots 1 - 148
19th Century European, Victorian and British Impressionist Art | 7 Property of a deceased’s estate
1 Myles Birket Foster, RWS (British, 1825-1899) The fern gatherers signed with monogram (lower right) watercolour and bodycolour 20 x 27.5cm (7 7/8 x 10 13/16in).
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
8 | Bonhams Other properties
2 ▲ Myles Birket Foster, RWS (British, 1825-1899) Blackberrying signed with monogram (lower left) watercolour and bodycolour 34 x 71cm (13 3/8 x 27 15/16in).
£15,000 - 20,000 €18,000 - 25,000 US$25,000 - 34,000
Provenance S.Henry Wills Esq, Chiddingstone Castle, Edenbridge, Kent
19th Century European, Victorian and British Impressionist Art | 9 Property of a deceased’s estate
3 Helen Allingham, RWS (British, 1848-1926) Duke’s Cottage, Burton, Dorset signed ‘H. Allingham’ (lower right) watercolour with scratching out 25 x 46cm (9 13/16 x 18 1/8in).
£7,000 - 10,000 €8,600 - 12,000 US$12,000 - 17,000
Provenance Maurice Hill, 1896 Sale, Christie’s London, 27 July 1981, lot 116 Sale, Hamptons Fine Art, Godalming, 27 September 27, 2000, lot 298
Literature Marcus B. Huish, The Happy England of Helen Allingham, London, 1985, pp.144-145, illustrated in colour, plate 53
10 | Bonhams Other properties
4 Myles Birket Foster, RWS (British, 1825-1899) The swing signed with monogram (lower right) watercolour and bodycolour 32.5 x 70.5cm (12 13/16 x 27 3/4in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
Provenance with Frost & Reed, 1945 Private collection UK
19th Century European, Victorian and British Impressionist Art | 11 5 George Elgar Hicks, RBA (British, 1824-1914) A gypsy girl signed and dated ‘G E Hicks. 1880-’ (lower left) oil on canvas 61 x 46.5cm (24 x 18 5/16in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
12 | Bonhams 6 Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898) A seated woman with a pitcher red and black chalks 22.8 x 17cm (9 x 6 11/16in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
Executed circa 1864
Provenance Sale, Sotheby’s, Castle Howard, Yorkshire, 11-13 November 1991, lot 618 Private collection
19th Century European, Victorian and British Impressionist Art | 13 John Simmons, Titania, Bristol Museum and Art Gallery
7 W John Simmons (British, 1823-1876) Scene from A Midsummer Night’s Dream signed and dated ‘J.Simmons./1873.’ (lower right) watercolour 72.5 x 95.5cm (28 9/16 x 37 5/8in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
Provenance Purchased for £25 from Grindley and Palmer, Liverpool, 1935 Gifted to the present owner, 1965
Born in 1823, John Simmons is listed in Bristol directories as a As the present lot demonstrates, the soft charm of Simmons’ sensual miniature painter, living in Clifton. Although primarily supporting himself nudes and the delicacy of their painting elevates them above mere through portraiture during the 1850s and 1860s, Simmons is most objects of carnal desire. Jeremy Maas defended Simmons, stating celebrated for his enchanting watercolours of ethereal fairyland scenes, ‘it could be said...that Simmons uses fairy trappings to mask the and the present lot is one of the finest and most ambitious examples. otherwise blatant exoticism of the paintings, but his evocation of Fairy painting was a genre which found a renewed popularity in the fairyland is too successful for this to remain true.’1 19th century, these mystical worlds granting the viewer an escape from the hardships of Victorian life. 1 Jeremy Maas, The stuff that dreams are made of, Exhibition Catalogue, London 1996 Shakespeare’s A Midsummer Night’s Dream was a popular theme of the period, painted by artists such as Robert Huskisson, John Anster Fitzgerald, John Atkinson Grimshaw, Francis Danby and Richard Dadd. The present lot depicts the sleeping Hermia (the central right figure) and Titania (central left), whom Oberon spikes with a love potion, ensuring that when she wakes she will fall in love with whomever she first sees. Blurring the boundaries between reality and dreams, he creates a poetical vision of Shakespeare’s play. The complexity of the composition is unusual for Simmons, usually depicting one or two figures framed by foliage, often capturing his heroine Titania as a paradigm of Victorian female beauty.
14 | Bonhams 19th Century European, Victorian and British Impressionist Art | 15 8 William Davis (British, 1812-1873) Scotch Terriers signed ‘W DAVIS.’ (lower right) oil on canvas 30 x 36cm (11 13/16 x 14 3/16in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
Provenance Sir Donald Currie KCMG The Fine Art Society PLC, London Private collection, UK
An old label attached to the reverse states that the present lot was painted by William Davis and Ford Madox Brown. The two were known to be great friends and William Davis appears regularly in Madox Brown’s diary. After the early death of Davis, Madox Brown was known to have completed some of the unfinished studio pictures.
16 | Bonhams 9 John Edward Newton, RI (British, active 1835-1891) Still life signed with monogram and dated ‘1863’ (lower right) oil on canvas 15 x 22.5cm (5 7/8 x 8 7/8in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
In 1863 when the present lot was painted John Edward Newton was The fine detail seen in Still life, especially the care taken to describe the living in Liverpool, exhibiting his still lifes and landscapes at the RA, BI different materials depicted is typical of the artist’s precise and exact and elsewhere. His tightly executed and highly accurate brushwork style in this period when Ruskin’s ambitions for raising genres such is part of a larger movement inspired by Ruskin’s call for ‘truth to as still life to new heights through close observation and faithful and nature’ originally exemplified in the Pre-Raphaelite Circle’s attention to fastidious rendering of detail were realised. detail and meticulous handling of ‘wet-on-wet’ painting techniques. This tradition was continued in many artists’ work particularly in the Liverpool area where Newton and William Davis (1812-1873) embodied this approach.
19th Century European, Victorian and British Impressionist Art | 17 10 * John Frederick Herring, Jnr. (British, 1815-1907) Coursing; Deer stalking a pair, one signed ‘J F Herring’ (lower left) oil on board each 15.5 x 20.5cm (6 1/8 x 8 1/16in) unframed (2)
£3,000 - 5,000 €3,700 - 6,100 US$5,100 - 8,400
18 | Bonhams 11 * John Frederick Herring, Jnr. (British, 1815-1907) In the sty signed ‘J F Herring’ (centre right) oil on canvas laid down, painted oval 38.5 x 50.5cm (15 3/16 x 19 7/8in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
19th Century European, Victorian and British Impressionist Art | 19 12 Otto Eerelman (Dutch, 1839-1926) A healthy brood signed ‘Otto Eerelman’ (lower right) oil on canvas 61 x 89cm (24 x 35 1/16in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
20 | Bonhams 13 W William Elstob Marshall (British, active 1859-1880) Temporary lodgings down at the dogs home signed and dated ‘W.E Marshall.1878’ (lower left), signed and inscribed with title and artist’s address on label on reverse oil on canvas 82 x 134.5cm (32 5/16 x 52 15/16in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
William Elstob Marshall was probably a son of Thomas Falcon Marshall (1818-1878), a prolific Liverpool genre artist who exhibited at the Royal Academy and was elected a member of the Liverpool Academy in 1846. William Elstob Marshall exhibited eighteen works at The Royal Society of British Artists, Suffolk Street. He painted mostly in oils, depicting animals and rustic subjects, inspired by his time living in both Somerset and Scotland. He later settled in Haverstock Hill, London. Marshall exhibited at the Royal Academy between 1859 and 1880, and also at the British Institute.
19th Century European, Victorian and British Impressionist Art | 21 14 W Henry William Banks Davis, RA (British, 1833-1914) Spring time signed and dated ‘H.W.B.Davis /92’ (lower right) oil on canvas 81.5 x 152.5cm (32 1/16 x 60 1/16in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
Exhibited London, Royal Academy, 1892, no.191
Literature Royal Academy Illustrated, 1892, p.107
22 | Bonhams 19th Century European, Victorian and British Impressionist Art | 23 15 W Herbert Wilson Foster (British, active 1881-1917) Home from the harvest field signed and dated ‘18. Wilson Foster. 86’ (lower left) oil on canvas 68.5 x 96.5cm (26 15/16 x 38in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
Provenance Private collection, UK
Exhibited London, Royal Academy, 1887, no.484
Herbert Wilson Foster was born in Endon, Staffordshire, on 18 January 1848. He attended Hanley School of Art, later moving to London and travelling to Belgium and France. Foster also worked as a porcelain painter, working at one point on the tile panels in the Victoria & Albert Museum. His paintings were frequently exhibited at the Royal Academy between 1873 and 1899, mainly focusing on portraits and rural village scenes. In 1893, he accepted a teaching position at the Nottingham School of Art, where his pupils included Dame Laura Knight and Harold Knight. Upon his death in 1929, the Head Teacher of the school, Mr J Else, wrote in his obituary in the Nottingham Evening Post that ‘Mr Foster was one of the most distinguished life masters in the country. He was certainly the best man we have ever had in that time.’
24 | Bonhams 16 W Harold Septimus Power (Australian, 1878-1951) Field labourers at rest signed and dated ‘H.S.Power/1908’ (lower right) oil on canvas 51 x 79.5cm (20 1/16 x 31 5/16in).
£6,000 - 8,000 €7,400 - 9,800 US$10,000 - 13,000
Harold Septimus Power is best known for his depictions of animals. He was New Zealand born and started his career in Adelaide. He trained at the Academie Julian in Paris and became a regular exhibitor at the Royal Academy. He is especially known for his horse subjects and this extends to his paintings of war horses when employed as an official Australian war artist during the Great War.
19th Century European, Victorian and British Impressionist Art | 25 17 William Henry Margetson, RI, ROI (British, 1861-1940) Barbara Allen signed ‘W. H. Margetson.’ (lower right) with artist’s label faintly inscribed with title on reverse oil on panel 41 x 30cm (16 1/8 x 11 13/16in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
26 | Bonhams 18 W George Sheridan Knowles, RI, RBA, ROI, RCA (British, 1863-1921) The Proposal signed and dated ‘G. Sheridan Knowles 1900’ (lower right) oil on canvas 67 x 97.5cm (26 3/8 x 38 3/8in).
£6,000 - 8,000 €7,400 - 9,800 US$10,000 - 13,000
19th Century European, Victorian and British Impressionist Art | 27 19 W 20 Charles Sillem Lidderdale, RBA (British, 1831-1895) Jessica Hayllar (British, 1858-1940) A prayer for those at sea All better now signed and dated ‘CSLidderdale/69-70’ (lower left), inscribed with title signed and dated ‘Jessica Hayllar/1896’ (lower left) and artist’s address on old label on the reverse oil on canvasa oil on canvas 65 x 47.5cm (25 9/16 x 18 11/16in). 77.5 x 142.5cm (30 1/2 x 56 1/8in). £25,000 - 35,000 £8,000 - 12,000 €31,000 - 43,000 €9,800 - 15,000 US$42,000 - 59,000 US$13,000 - 20,000
Exhibited London, Royal Academy, 1870, no.96
While best known for his depictions of young country girls, Charles Sillem Lidderdale’s earlier work showed a greater variety of subjects. He exhibited 36 paintings at the Royal Academy between 1856 and 1893, works including genre, portraiture and historical subjects.
The setting for the present lot may well be the Northern French coast: Lidderdate exbihited a work at the Royal Academy in 1867, entitled Matelottes on the Bolonnais Coast waiting for the Boats (RA 1867, no. 480) and in 1870 he presented a work entitled A Breton Peasant at Suffolk Street (RBA 1870, no.66).
28 | Bonhams 19th Century European, Victorian and British Impressionist Art | 29 21 W Sir Samuel Luke Fildes, RA (British, 1843-1927) Portrait of Mrs Arthur James In 1885 she married Mr. John Arthur James. The couple moved signed and dated ‘Luke Fildes. 1895.’ (upper left), inscribed ‘Mrs to Coton House in 1881 where they established the Coton House Arthur James/by Luke Fildes/1895’ on the reverse Stud. Both she and her husband were interested in horse racing and oil on canvas hunting. They owned many successful racehorses using the same 143 x 105cm (56 5/16 x 41 5/16in). trainer as their friend Edward Prince of Wales, later to be Edward VII. They were members of the Atherstone, Pytchley and other hunts and £10,000 - 15,000 Venetia continued to hunt until over 70 years of age. €12,000 - 18,000 US$17,000 - 25,000 The couple’s London town house was an ornate palace of Italian marble, onyx and alabaster, famous for its red marble staircase and Exhibited beautiful Angelica Kauffman frescoes and ceilings. London, Royal Academy, 1895, no.250 After her husband’s death in 1917, Mrs. James continued to breed Literature horses and hunt. She was a distinguished amateur actress holding Royal Academy Illustrated, 1895, p.38 entertainments at Coton House. She was elected President of the Rugby and District Boy Scouts Association in 1917 and made a Born in May 1861, Mrs. Mary Venetia James, née Cavendish-Bentinck Justice of the Peace in 1921. Her beneficence towards the Rugby was the daughter of the Rt Hon George Cavendish-Bentinck and hospital continued throughout her life; she endowed the new out- great granddaughter of the third Duke of Portland, who was viceroy of patients department in memory of her husband in the 1920s. She died Ireland. She was also Godmother to Queen Elizabeth (later the Queen shortly before her 87th birthday on 2 May 1948. She left pictures by Mother). Titian, Reynolds and Gainsborough to the National Gallery, London.
30 | Bonhams 22 Frederick Morgan, ROI (British, 1847-1927) The fisherman signed ‘Fred Morgan’ (lower right) oil on canvas 79.5 x 51.5cm (31 5/16 x 20 1/4in).
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
19th Century European, Victorian and British Impressionist Art | 31 23 Edward William Cooke, RA (British, 1811-1880) Boats on the Venetian lagoon oil on canvas, unstretched 11.5 x 21.5cm (4 1/2 x 8 7/16in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
32 | Bonhams 24 Henry Woods, RA (British, 1846-1921) A Venetian canal scene signed and dated ‘Henry Woods/1886’ (lower right) oil on canvas laid down panel 47 x 73.5cm (18 1/2 x 28 15/16in).
£6,000 - 8,000 €9,800 - 15,000 US$13,000 - 20,000
Provenance with M. Newman Ltd., London, June 1975, cat. no. 17 Sale, Sotheby’s London, 9 June 1999, lot 116
19th Century European, Victorian and British Impressionist Art | 33 25 Edward Pritchett (British, 1828-1864) Campanile di San Marco signed ‘E.Pritchett’ (lower left) oil on canvas 54 x 44cm (21 1/4 x 17 5/16in).
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
34 | Bonhams 26 Edward Pritchett (British, 1828-1864) The Riva degli Schiavoni, Venice oil on canvas 46 x 61cm (18 1/8 x 24in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
19th Century European, Victorian and British Impressionist Art | 35 27 Michelangelo Maestri (Italian, circa 1779-1812) Vulcano e Pallade; Giove e Antiope; Arianna e Bacco; Venere Ferita da Cupido; Teti; Nascita di Venere, a set of six each signed and inscribed ‘MichAng.Maestri fece in Roma’ (lower right), inscribed with title (lower centre) and inscribed ‘Raf.Sanz.Urb. ino.’ (lower left) watercolour and gouache, each each 32 x 24.5 cm (12 5/8 x 9 5/8in). with hand painted margins (6)
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
These watercolours are copies of scenes from Raphael’s frescoes that in the 17th Century therefore marks a rejection of nudity, pagan motifs decorate the Vatican’s Stufetta del Cardinal Bibbiena, a small bathroom or carnal desires and instead displays a return to piety andan active now situated within the Papal Apartments. The frescoes were desire to promote the superiority of the Catholic church. It is therefore commissioned in 1516 by Cardinal Bibbiena, a great patron of the arts likely that the now partially destroyed frescoes in the Stufetta del and friend of Raphael. The erotic scenes of naked, cavorting deities Cardinal Bibbiena were defaced during this time. The bathroom was were later met with shock and disgust by his successors, largely due hidden from the public and only rediscovered in the mid-19th Century. to the artistic reforms stipulated by the Council of Trent (1545-1563) To this day, members of the public are very rarely granted access. as part of the Catholic Reformation. Papacy commissioned Italian art
36 | Bonhams 19th Century European, Victorian and British Impressionist Art | 37 28 Carlo Grubacs (Italian, 1810-circa 1870) Gondoliers on the Grand Canal, Venice signed ‘C. Grubacs’ (lower left) oil on canvas 21 x 27cm (8 1/4 x 10 5/8in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
38 | Bonhams 29 Giovanni Grubacs (Italian, 1829-1919) Venice signed ‘G. Grubacs’ (lower right) oil on board 15 x 25cm (5 7/8 x 9 13/16in).
£7,000 - 9,000 €8,600 - 11,000 US$12,000 - 15,000
19th Century European, Victorian and British Impressionist Art | 39 30 Antonietta Brandeis (Czechoslovakian, 1849-1910) Palazzo Albrizzi; La volta del Canal Grande Palazzo Rezzonico, ca’ Foscari ca’ Bali; Ponte dei Sospiri three, framed as one, each signed with initials (one lower left, two lower right) and inscribed with titles, one also inscribed ‘50 Lire’ two inscribed ‘30 Lire’ on reverse, each stamped with artist’s address stamp on reverse oil on panel two 21.5 x 12.5cm (8 7/16 x 5in.), one 12.5 x 21.5cm (5 x 8 7/16in.)
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
40 | Bonhams 19th Century European, Victorian and British Impressionist Art | 41 31 W Giuseppe Chiarolanza (Italian, 1864-1920) Across the bay signed ‘G. Chiarolanza’ (lower left) oil on canvas 61 x 105.5cm (24 x 41 9/16in).
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
42 | Bonhams 32 François Antoine Bossuet (Belgian, 1800-1889) Santa Maria Della Salute signed and dated ‘F. Bossuet 78’ (lower right) oil on canvas 51 x 71cm (20 1/16 x 27 15/16in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
Provenance with Willow Gallery, Weybridge Private collection
19th Century European, Victorian and British Impressionist Art | 43 33 AR Attilio Pratella (Italian, 1856-1949) Awaiting the catch signed ‘APratella’ (lower centre) oil on canvas 44 x 69cm (17 5/16 x 27 3/16in).
£15,000 - 20,000 €18,000 - 25,000 US$25,000 - 34,000
44 | Bonhams 34 Raffaele Tafuri (Italian, 1857-1929) The Grand Canal, Venice signed and inscribed ‘R.Tafuri/Venezia’ (lower right) oil on canvas 60 x 80cm (23 5/8 x 31 1/2in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
19th Century European, Victorian and British Impressionist Art | 45 35 W Charles Clément Calderon (French, 1870-1906) The Doge’s Palace, Venice signed ‘C. Calderon’ (lower right) oil on canvas 54.5 x 81.5cm (21 7/16 x 32 1/16in).
£7,000 - 10,000 €8,600 - 12,000 US$12,000 - 17,000
46 | Bonhams 36 W Antonio Ermolao Paoletti (Italian, 1834-1912) A fruitful hand signed and inscribed ‘Antonio Paoletti fu Giov:ni/Venezia’ (lower right) oil on canvas 56.5 x 81cm (22 1/4 x 31 7/8in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
19th Century European, Victorian and British Impressionist Art | 47 37 Luca Postiglione (Italian, 1876-1936) Feeding the baby signed ‘L. Postiglione’ (lower right) oil on board 56.5 x 40cm (22 1/4 x 15 3/4in).
£7,000 - 10,000 €8,600 - 12,000 US$12,000 - 17,000
48 | Bonhams 38 Giulio del Torre (Italian, 1856-1932) A Venetian seamstress signed and inscribed ‘G.del Torre./Venezia’ (upper right) oil on panel 41.6 x 29.7cm (16 3/8 x 11 11/16in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
19th Century European, Victorian and British Impressionist Art | 49 39 Ettore Forti (Italian, active 1880-1920) In a Roman palace signed and inscribed ‘EForti/Roma’ (lower right) oil on canvas 42.5 x 65.5cm (16 3/4 x 25 13/16in).
£18,000 - 24,000 €22,000 - 29,000 US$30,000 - 40,000
50 | Bonhams 40 Joaquin Luque Rosello (Spanish, 1866-1932) The Arch of Titus, Rome signed, inscribed and dated ‘J. Luque Rosello/Roma 93’ (lower right) oil on canvas 33 x 62cm (13 x 24 7/16in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
19th Century European, Victorian and British Impressionist Art | 51 41 W Giuseppe Gabani (Italian, 1846-1899) The return from Capannelle, Rome signed and inscribed ‘G. Gabani/Roma’ (lower left) oil on canvas 84 x 150cm (33 1/16 x 59 1/16in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
52 | Bonhams 19th Century European, Victorian and British Impressionist Art | 53 42 W Penry Williams (British, 1798-1885) Scene in the Campagna, Rome, looking towards the Alban Hills and the Claudian Aquaduct signed and dated ‘Penry Williams/ROME/1850’ (lower left), inscribed ‘No.1/Scene in the Campagna/of Rome looking toward/the Alban Mount, the Claudian/Aquaduct etc/the property of Viscount Canning/ by Mr Penry Williams’ on a label attached to the reverse oil on canvas 41 x 94.5cm (16 1/8 x 37 3/16in).
£6,000 - 8,000 €7,400 - 9,800 US$10,000 - 13,000
Provenance Viscount Canning, Lady May Beaumont, Duchess of Roxburgh
Exhibited London, Royal Academy, 1850, no. 203
54 | Bonhams 43 W Andreas Marko (Austrian, 1824-1895) In the Roman Campagna signed and dated ‘And.Marko.1876’ (lower right) oil on canvas 76 x 101cm (29 15/16 x 39 3/4in).
£8,000 - 10,000 €9,800 - 12,000 US$13,000 - 17,000
19th Century European, Victorian and British Impressionist Art | 55 44 W Ippolito Caffi (Italian, 1809-1866) Roma: il Foro Romano oil on canvas 56.5 x 162.5cm (22 1/4 x 64in).
£100,000 - 150,000 €120,000 - 180,000 US$170,000 - 250,000
The painting shows one of the most famous views in Rome, depicted Beyond and to the right is the Temple of the Dioscuri and slightly to the with a great sense of space, an exaggerated horizontal view point, and left is the triumphal arch of Septimius Severus. Constructed in marble, wonderful scale. In the foreground can be seen the Temples of Saturn this was erected in honour of the Emperor and his sons. The Arch and Vespasian, beyond that the Column of Foca, the last to be erected was uncovered in 1803 during the Papacy of Pius VII, initially it was in the forum and dedicated in August 608 to the Byzantine emperor of surrounded by a small wall which was taken down in 1830. Towards the same name who donated the Pantheon to the Church of Rome. the left can be seen the Church of Saints Luke and Martina, which was On the summit there was a gilded statue of the Emperor, which was founded in 625 on the wishes of Onorius I. The rebuilding was begun promptly removed a few years later when he fell into disgrace and was in 1635 and is the work of Pietro da Cortona under the orders of Pope killed. During the excavations of the Forum in 1813, a long epigraph Urban VII and was finished with the completion of the facade in 1664. appeared which described the sculpture. Pietro da Cortona himself is buried there.
56 | Bonhams Shortly before starting work on the building the level of the piazza in front was lowered to make more visible the façade of the Mamertino prison or Carcer Tuliano, the oldest in Rome, where Saints Peter and Paul were traditionally thought to have been imprisoned. These places had a very seductive effect on the artist; he saw in them a grandeur which he depicted with a great sense of theatre and importance. Caffi also worked on a grand scale on other projects - frescoes on the walls of the upper floor of the Caffe Pedrocchi in Padua (1841); in The Palazzo di via Manin, Treviso, and in the mid 1850’s in his own house in Calle del Selvadego, Venice. Similar works to this view of The Forum, but with slight variations can be found elsewhere, for example in The Museo di Ca’ Pesaro a Venezia, dated 1856, in the Museo di Roma.
We are grateful to Dr Annalisa Scarpa who has confirmed the authenticity of this lot.
19th Century European, Victorian and British Impressionist Art | 57 45 W Gustavo Simoni (Italian, 1846-1926) Schlachtbericht (The Report of Battle) signed and dated ‘G.Simoni Roma 1901’ (lower right) watercolour 102 x 67cm (40 3/16 x 26 3/8in). in a Bugatti style frame £20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
Exhibited Berlin, Große Berliner Kunstausstellung, 1911.
Gustavo Simoni was a prominent member of the Italian Orientalists in Rome during the late nineteenth century. After studying at the Accademia di San Luca under Dario Querci (1831-1918) and Francesco Podesti (1800-1895), he travelled extensively throughout Europe and North Africa.
This monumental watercolour is a masterpiece by Simoni, set in the Royal Palace of Reales Alcázares de Sevilla, probably in the Patio de las Doncellas (Court of the Ladies). Originally a Moorish fort, the Alcázar palace has been the residence of Abbasid, Almoravid and Almohad kings, as well as generations of the Spanish royal family. It is arguably one of the best preserved examples of Islamic architecture in Spain.
58 | Bonhams 19th Century European, Victorian and British Impressionist Art | 59 46 W Hugo Birger (Swedish, 1854-1887) Ormtjusare (Snake charmers) signed ‘Birger.’ (lower left), indistinctly inscribed and dated ‘1884’ on reverse oil on canvas 61 x 87cm (24 x 34 1/4in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
Provenance Konsthandl G. Carlsson, Karlskrona Private collection, Sweden
Literature Sixten Strömbom, Hugo Birger, Wahlström & Widstrand, Stockholm, 1947, p.191, illustrated in black and white p.192, cat no.160
60 | Bonhams 47 Francesco Coleman (Italian, 1851-1918) A desert caravan signed and inscribed ‘FColeman/Roma’ (lower right) oil on canvas 68 x 48cm (26 3/4 x 18 7/8in).
£6,000 - 8,000 €7,400 - 9,800 US$10,000 - 13,000
19th Century European, Victorian and British Impressionist Art | 61 48 W Cyprien Auguste Miguel (French 19th Century) An Odalisque signed and dated ‘Cy. Miguel/ 1887’ (lower left) oil on canvas 84 x 209.5cm (33 1/16 x 82 1/2in).
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
62 | Bonhams 49 W Austrian School, late 19th century A market in Cairo oil on canvas 86.5 x 125.5cm (34 1/16 x 49 7/16in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
Provenance Private collection, Austria
The present lot is based on a large oil by Leopold Carl Müller (Austrian, 1834–1892) entitled Market in Cairo (1878, now in the collection of Belvedere Museum, Vienna), generally considered to be Müller’s masterpiece.
19th Century European, Victorian and British Impressionist Art | 63 50 Robert Gavin, RSA (British, 1827-1883) A Shiek [sic] of Araby signed ‘ROBERT GAVIN A.R.S.A.’ and inscribed with title on reverse oil on canvas 61 x 51cm (24 x 20 1/16in).
£7,000 - 10,000 €8,600 - 12,000 US$12,000 - 17,000
Captivated by the exoticism and mystery of North Africa and the Born in Leith, Scotland, Robert Gavin was one such artist, spending Middle East, many European artists during the mid-late nineteenth a number of years in Morocco observing and painting Moorish life, century travelled to North Africa and the Middle East for artistic primarily portraits. The present lot reflects the curiosity of the European inspiration. The Orientalist genre developed from Romanticism, sharing Orientalists, showing particular interest in the colours and textures a concern for human emotions, the human form and a fascination for of the sitter’s exotic costume. Although there no proof, it is possible the perceived ‘uncivilised’ cultures of the Orient. that this is a self-portrait of the artist; Orientalist artists, such as John Frederick Lewis (1805-1876), often painted themselves in Oriental costume.
64 | Bonhams 51 W William Luker (British, 1828-1905) Bedouin resting amongst ruins signed and dated ‘W-Luker.1863.’ (lower left) oil on canvas 77 x 128cm (30 5/16 x 50 3/8in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
19th Century European, Victorian and British Impressionist Art | 65 52 53 Mortimer Luddington Menpes, RI, RBA, RE Mortimer Luddington Menpes, RI, RBA, RE (British, 1855-1938) (British, 1855-1938) A man in a formal kimono at a shrine In the workshop signed ‘Mortimer Menpes:’ (lower left) signed ‘Mortimer Menpes:’ (lower left) watercolour and bodycolour watercolour and bodycolour 28.5 x 22.5cm (11 1/4 x 8 7/8in). 33.5 x 37.5cm (13 3/16 x 14 3/4in).
£3,000 - 5,000 £3,000 - 5,000 €3,700 - 6,100 €3,700 - 6,100 US$5,100 - 8,400 US$5,100 - 8,400
66 | Bonhams 54 Mortimer Luddington Menpes, RI, RBA, RE (British, 1855-1938) The archer signed ‘Mortimer Menpes:’ (lower left) watercolour and bodycolour 28.5 x 22.5cm (11 1/4 x 8 7/8in).
£3,000 - 5,000 €3,700 - 6,100 US$5,100 - 8,400
19th Century European, Victorian and British Impressionist Art | 67
Property from an Important Private European Collection. Lots 55-63 55 W Jacobus van der Stok (Dutch, 1794-1864) Figures on a frozen waterway with townscape signed ‘Jvd Stok fc/55’ (lower left) oil on canvas 68 x 91cm (26 3/4 x 35 13/16in).
£80,000 - 100,000 €98,000 - 120,000 US$130,000 - 170,000
Jacobus van der Stok was the son of a wig maker from Leiden. He was a pupil of Dutch landscape painter Albertus Jacobus Besters (1755-1819), who also lived in Leiden. He was a contemporary of Andreas Schelfhout (1787-1870) whose style greatly influenced Stok’s earlier works. He married Philippina Rekker in 1823 with whom he had a daughter, Jacoba van der Stok. Jacoba was also an artist, trained by her father, however, she mainly painted flowers. Cornelis Springer (1817-1891) was also one of his pupils. Van der Stok lived most of his life in Amsterdam, where he died in 1864.
70 | Bonhams 19th Century European, Victorian and British Impressionist Art | 71 Nicholas Pieneman (1809 - 1860), Portrait of Charles Leickert, 1853 (Rijksmuseum, Amsterdam)
56 W Charles Leickert (Dutch, 1816-1907) View on the Ij with Amsterdam in the background signed and dated ‘Chs. Leickert. f 49’ (lower right) oil on canvas 72 x 105cm (28 3/8 x 41 5/16in).
£180,000 - 220,000 €220,000 - 270,000 US$300,000 - 370,000
Provenance Sale, Christie’s Amsterdam, 6 April 1982, lot 182 with Kunsthandel Wim de Boer, Alkmaar
Literature W. van der Laan, Charles Leickert, ‘Kopieerlust des dagelijkschen levens?’, published in Tableau, 1983, pp.390-395 Willem Laanstra, Charles Leickert: Een meesterlijk adept, published in Kunstwerk, 1995, pp.30-33 Harry J. Kraaij, Charles Leickert 1816-1907: Painter of the Dutch Landscape, Schiedam, 1996, p.55, cat. no. 32, illustrated in colour Willem Laanstra, Andreas Schelfhout 1787-1870, Amsterdam, 1995, p.44, fig.3, illustrated in colour
72 | Bonhams 19th Century European, Victorian and British Impressionist Art | 73 Charles Leickert, Winter op het IJ voor Amsterdam (Rijksmuseum, Amsterdam)
A very similar composition entitled Winter op het IJ voor Amsterdam joined the studio of Wijnand Nuyen (1813-1839) where he continued (Rijksmuseum, Amsterdam, see illustration), was painted the year after his study of Dutch cityscape and landscape painting. He made his the present lot. Painted from the same viewpoint at slightly different debut at the General Exhibition of Dutch Living Masters in The Hague stages of sunset, both compositions depict the same barn, house and in 1839 and soon after became an apprentice to Andreas Schelfhout figure group to the left hand side. The most notable difference is that (1787-1870). In 1848, he moved to Amsterdam in order to further the Rijksmuseum work is painted in winter, showing skating figures on establish his reputation; the years that followed were some of the the frozen river. These works are a careful and highly detailed study of most successful of his career. As well as exhibiting regularly, Leickert light and colour, and the atmospheric changes between seasons and joined the Arti et Amicitiae art society and in 1856, he was elected to times of day, aspects that were of paramount importance to Leickert. the board of governors of Amsterdam’s Royal Academy of Fine Art. On a trip to Mainz, Germany in 1860, he met his future wife, Apollonia Charles Leickert was born in Brussels in 1816 to German parents. Schneider, marrying her that same year and later moving to Mainz in The family moved shortly afterwards to The Hague where his father 1887, where he remained until his death. was Chamberlain in the court of King Willem I. Leickert’s childhood was not a happy one; his four siblings died before he was eleven and he was orphaned by the age of fourteen. The orphanage that took him in continued to pay the fees for his tuition at The Hague Drawing Academy where his father had enrolled him before his death. Leickert studied here between 1827 and 1834, and was a pupil of Bartholomeus van Hove (1790-1880). Upon leaving the academy, he
74 | Bonhams 57 David Adolf Constant Artz (Dutch, 1837-1890) Motherhood signed and dated ‘ARTZ. 1873’ (lower right) oil on canvas 55 x 76.5cm (21 5/8 x 30 1/8in).
£6,000 - 8,000 €7,400 - 9,800 US$10,000 - 13,000
19th Century European, Victorian and British Impressionist Art | 75 Jacobus Ludovicus Cornet (1815-1882), Portrait of Jan Jacob Spohler, 1849 (Rijksmuseum, Amsterdam)
58 W Jan Jacob Spohler (Dutch, 1811-1866) Figures on a frozen river signed and dated ‘J. J. Spohler f. 58’ (lower right) oil on canvas 66 x 81cm (26 x 31 7/8in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
76 | Bonhams 19th Century European, Victorian and British Impressionist Art | 77 59 Hermanus Koekkoek the Elder (Dutch, 1815-1882) The hay barge signed with initials and dated ‘H.K/1858’ (lower left) oil on canvas 38.5 x 54.5cm (15 3/16 x 21 7/16in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
The Koekkoek family is one of the most celebrated artistic families in the history of Dutch 19th century painting. Hermanus Koekkoek was born in Middelburg and was the youngest of four sons of Johannes Hermanus Koekkoek (1778-1851). His eldest brother Barend Cornelis Koekkoek (1803-1862) was renowned for his landscape painting and was arguably the most famous artist of the family. Hermanus trained with his father, moving to Amsterdam in 1832 where he exhibited at the Koninklijke Academy. Like his father, he mostly painted maritime subjects and travelled extensively throughout the Netherlands for his inspiration. He had four sons, all of whom were talented painters in their own right, notably Willem Koekkoek (1839-1895) who exhibited regularly in Amsterdam, The Hague and Rotterdam.
78 | Bonhams 19th Century European, Victorian and British Impressionist Art | 79 60 W Frederik Marinus Kruseman (Dutch, 1816-1882) Frozen waterway beside a castle signed and dated ‘FMKruseman./1859. Fc.’ (lower left) oil on canvas 79.5 x 110.5cm (31 5/16 x 43 1/2in).
£120,000 - 180,000 €150,000 - 220,000 US$200,000 - 300,000
Born in Haarlem, a sleepy town situated between Amsterdam and Leiden, Frederik Marinus Kruseman was one of seven children of Philip Benjamin Kruseman. His artistic talents were quickly recognised and he was enrolled at Stadstekenschool (City Drawing School), Haarlem, where he studied under Jan Reekers (1790-1858). In addition to this training, Kruseman also received painting lessons from Nicolaas Johannes Roosenboom (1805-1880), son-in-law and pupil of Andreas Schelfhout (1787-1870), whom Kruseman would have likely met as he frequently visited Roosenboom’s studio. He later became a pupil of Barend Cornelius Koekkoek (1803-1862) before travelling extensively through Northern Europe. He exhibited works in Haarlem, Amsterdam and The Hague between 1833 and 1856, the majority of which were winter landscapes. Except for a short return to Haarlem, Kruseman lived in Brussels from 1841 until his death in 1882.
80 | Bonhams 19th Century European, Victorian and British Impressionist Art | 81 Johan Coenraad Hamburger (c.1809-1871), Portrait of Andreas Schelfhout, 1842 (Rijksmuseum, Amsterdam)
61 Andreas Schelfhout (Dutch, 1787-1870) Gathered on the ice at the end of a winter’s day signed ‘A. Schelfhout f’ (lower left) oil on panel 21 x 26.5cm (8 1/4 x 10 7/16in). £60,000 - 80,000 €74,000 - 98,000 US$100,000 - 130,000
Provenance Sale, Christie’s Amsterdam, 11 May 2011, lot 92
Initially working in the family framing business, Andreas Schelfhout’s in Antwerp, and made a Fourth Class Correspondent of the Royal father soon realised the artistic potential of his son, and sent him Dutch Institute in 1822. He travelled to France, England and Germany to be taught painting by Joannes Breckenheimer (1772–1856), a between 1833 and 1835, during which time he was influenced by stage designer, who also lived in The Hague. Inspired by the work the freer style of French Romantic landscape painters and his palette of great Dutch landscape painters before him, notably that of Jacob after this time became noticeably warmer in tone. The majority of his van Ruisdael (1628-1682), Schelfhout started his own workshop works were Dutch landscapes, both summer and winter scenes, with in 1815 and his reputation quickly grew beyond The Hague. In his style influencing the artists of generations to come, notably the 1818, he became a member of the Royal Academy for Visual Arts students of The Hague Academy, where his pupils included Charles of Amsterdam, was awarded a gold medal in 1819 at an exhibition Leickert (1816-1907) and Nicholas Johannes Roosenboom (1805- 1880).
82 | Bonhams 19th Century European, Victorian and British Impressionist Art | 83 Willem Steelink II (1856-1928), Portrait of Cornelis Springer (Rijksmuseum, Amsterdam)
62 Cornelis Springer (Dutch, 1817-1891) A crowded street signed with initials and dated ‘CS 53’ (lower left) oil on panel 35 x 41.5cm (13 3/4 x 16 5/16in).
£150,000 - 200,000 €180,000 - 250,000 US$250,000 - 340,000
Provenance with Kunsthandel Simonis and Buunk, Amsterdam Cornelis Springer was the fourth son of Willem Springer (1778-1857), with Kunsthandel W. de Boer, Alkmaar a carpenter from Amsterdam. He studied under Jacobus van der Private collection, Netherlands Stok (1795-1864) at the Amsterdam Academy of Fine Art and later a pupil of Kaspar Karsen (1810-1896). Springer was awarded two Literature gold medals in 1847 and 1865 by the Felix Meritis Society, founded in Willem Laanstra, Cornelis Springer Geschilderde Steden, Rokin 1776 in Amsterdam. Although he travelled around Northern Europe, Art Press B.V., Amsterdam, 1994, as Veel neringdoenden in een he spent most of his life in Amsterdam, renowned for his highly drukbevolkte straat in een Hollandse stad, illustrated in colour p.37 detailed townscapes, exhibited frequently in Amsterdam and The Hague between 1834 and 1890. In 1865, he was awarded the Order of Leopold, the highest order of Belgium. Together with Jozef Israëls (1824–1911), he was invited by the Dutch Ministry of Public Affairs to advise on plans for the Rijksmuseum, where, amongst other major museums, many of his works are displayed.
84 | Bonhams 19th Century European, Victorian and British Impressionist Art | 85 63 Cornelis Springer (Dutch, 1817-1891) Market day signed with initials and dated ‘CS 52.’ (lower right) oil on panel 35 x 42.5cm (13 3/4 x 16 3/4in). £130,000 - 180,000 €160,000 - 220,000 US$220,000 - 300,000
Provenance with Simonis and Buunk, Amsterdam with W. de Boer, Alkmaar
Literature Willem Laanstra, Cornelis Springer Geschilderde Steden, Rokin Art Press B.V., Amsterdam, 1994, as Marktdag op een plein voor een oud gebouw in een Hollandse stad, illustrated in colour p.38
86 | Bonhams 19th Century European, Victorian and British Impressionist Art | 87 Other properties
64 Jean (Jan) Michael Ruyten (Belgian, 1813-1881) View of Antwerp with the spire of Onze-Lieve-Vrouwekathedraal in the background signed and inscribed ‘Jn. Ruyten fct/Antwerpen’ (lower right), inscribed ‘Je soussigné declare/avoir peint ce tableau/Anvers/Ruyten’ on the reverse oil on panel 62.5 x 46.5cm (24 5/8 x 18 5/16in).
£6,000 - 8,000 €7,400 - 9,800 US$10,000 - 13,000
88 | Bonhams 65 Charles Leickert (Dutch, 1816-1907) The returning boats signed and indistinctly dated ‘Ch. Leickert f 53’ (lower left) oil on panel 34 x 46.5cm (13 3/8 x 18 5/16in).
£15,000 - 20,000 €18,000 - 25,000 US$25,000 - 34,000
For a similar composition see Harry J. Kraaij, Charles Leickert Painter of the Dutch Landscape (Schiedam, 1996), A Coastal Scene with Fisherfolk, 1855, illustrated p. 57, no. 34.
19th Century European, Victorian and British Impressionist Art | 89 66 Hendrik Willem Mesdag (Dutch, 1831-1915) Unloading the catch, Scheveningen signed ‘HW Mesdag’ (lower right) oil on canvas 50 x 40.5cm (19 11/16 x 15 15/16in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
90 | Bonhams 67 * Bernardus Johannes Blommers (Dutch, 1845-1914) Bringing in the catch signed ‘Blommers’ (lower right) watercolour and bodycolour 35.3 x 53cm (13 7/8 x 20 7/8in).
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
Provenance Private collection, Australia
19th Century European, Victorian and British Impressionist Art | 91 68 Petrus van Schendel (Belgian 1806-1870) The night market signed and dated ‘P. van Schendel. 1851’ (lower right) oil on canvas 64.4 x 50cm (25 3/8 x 19 11/16in).
£50,000 - 70,000 €61,000 - 86,000 US$84,000 - 120,000
Provenance Private collection, Belgium
For a similar composition, also painted in 1851, see Sotheby’s New York, 20 January 1978, lot 84. The background in that work is the ‘Groenmarkt’ in The Hague, The Netherlands with the old town hall to the left; however the background in the present lot appears to be a capriccio.
We are grateful to Jan de Meere for his assistance in cataloguing this lot.
92 | Bonhams 19th Century European, Victorian and British Impressionist Art | 93 69 Petrus van Schendel (Belgian 1806-1870) The orange seller signed and dated ‘P. van Schendel. 1866’ (lower left), inscribed ‘Je certifie que ce tableau est peint par moi dans l’année 1866. P. van Schendel’ on the reverse oil on panel 38 x 30cm (14 15/16 x 11 13/16in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
In the mid 1860s, van Schendel started to authenticate his work with a declaration on the reverse of his panels, to protect against imitators such as Johannes Rosierse (1818-1901).
We are grateful to Jan de Meere for his assistance in cataloguing this lot.
94 | Bonhams 70 Henriette Ronner-Knip (Dutch, 1821-1909) Two kittens signed and dated ‘Henriette Ronner./1903.’ (upper right) oil on panel 16 x 21cm (6 5/16 x 8 1/4in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
19th Century European, Victorian and British Impressionist Art | 95 71 Margaretha Roosenboom (Dutch, 1843-1896) Bloemstilleven signed ‘Marg:Vogel/RoosenBoom’ (lower right) watercolour and bodycolour 20 x 29.5cm (7 7/8 x 11 5/8in).
£3,000 - 5,000 €3,700 - 6,100 US$5,100 - 8,400
96 | Bonhams 72 Amalie Kaercher (German, died 1871) Still life with fruit and insects on a marble ledge signed and dated ‘Amalie Kaercher. 1866.’ (lower left) oil on canvas 40.5 x 50cm (15 15/16 x 19 11/16in).
£12,000 - 15,000 €15,000 - 18,000 US$20,000 - 25,000
19th Century European, Victorian and British Impressionist Art | 97 73 Isaac Israels (Dutch, 1865-1934) Naakt op divan voor de haard indistinctly signed (lower left); dated ‘1930’ in pencil (lower right) watercolour 34.5 x 49.5cm (13 9/16 x 19 1/2in).
£15,000 - 25,000 €18,000 - 31,000 US$25,000 - 42,000
Provenance Mrs M.A. Cohen Tervaert-Israels (sister of the artist) with Simonis & Buunk, where authenticated by Anna Wagner Private collection, Netherlands
98 | Bonhams 19th Century European, Victorian and British Impressionist Art | 99 74 AR Carl Moll (Austrian, 1861-1945) The Watermill signed and dated ‘Carl Moll 82’ (lower left) oil on panel 29 x 21cm (11 7/16 x 8 1/4in).
£5,000 - 8,000 €6,100 - 9,800 US$8,400 - 13,000
The present lot will be included in the catalogue raisonné for the artist, currently being compiled by Dr Cornelia Cabuk, to be published as part of the series Belvedere Werkverzeichnisse, edited by Agnes Husslein-Arco.
100 | Bonhams 75 AR Adriaan Herman Gouwe (Dutch, 1875-1965) A plough team at sunset signed ‘A.H.Gouwe’ (lower right) oil on canvas 49 x 62.5cm (19 5/16 x 24 5/8in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
19th Century European, Victorian and British Impressionist Art | 101 76 * Eugene de Blaas (Austrian, 1843-1931) The Flower Seller signed ‘Eugene de Blaas’ (upper right) oil on canvas 58.5 x 35.5cm (23 1/16 x 14in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
Provenance Private collection, Australia
102 | Bonhams 19th Century European, Victorian and British Impressionist Art | 103 77 AR W Hermann Angermeyer (German, 1876-1955) Im Atelier signed and dated ‘H.ANGERMEYER/DDF04’ (lower left) oil on canvas 121 x 97.5cm (47 5/8 x 38 3/8in).
£15,000 - 20,000 €18,000 - 25,000 US$25,000 - 34,000
Exhibited Düsseldorf, Internationale Kunstausstellung, Kunsthistorische Ausstellung, 1904 Munich, Münchener Jahresausstellung, Allgemeine Deutsche Kunstgenossenschaft, 1907
Hermann Angermeyer was born in Kirchdorf in 1876. He attended the School of Applied Arts in Hamburg and then studied at the Düsseldorf Art Academy under Peter Janssen and Arthur Kampf from 1892-1904.
This early work, exhibited the year that Angermeyer left the Düsseldorf Art Academy, is a rare and outstanding example. It is a bold yet intimate depiction of the artist’s atelier. The child depicted on the left appears to be the same model as shown in a work by Angermeyer which was offered by Sotheby’s in 1996.
Towards the latter part of his career Angermeyer settled in Fischerhude where his work took on a far looser quality. He died in 1955.
104 | Bonhams 19th Century European, Victorian and British Impressionist Art | 105 78 * AR W Victor Tischler (Austrian, 1890-1951) Preparing the skis signed ‘V.Tischler’ (lower right), indistinctly inscribed with the artist’s address on the reverse oil on canvas 120 x 89.5cm (47 1/4 x 35 1/4in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
Victor Tischler was born in Vienna in 1890. He studied under the artist Tischler did not subscribe to the artistic views of the Expressionists David Kohn, who taught many Viennese artists, both privately and at or the more radical movements that were sweeping the art scene the Volksheim. Between 1907 and 1912, Tischler studied Art at the of the time, such as Gesamtkunstwerk and abstraction. His was a Akademie der bildenen Künste in Vienna under the tutelage of Rudolf style based in realism and rooted in the hard earned observation of Bacher (1862-1945) and Franz Rumpler (1848-1922). Cezanne. The present lot is a good example of this. It shows Tischler’s excellent draughtsmanship, particularly in the hands, and also his The Vienna of Tischler’s youth was at the forefront of European strong confident brushstrokes. The period details of the clothes and modernism. It was a time when the artistic community of the city was the downward looking pose of the central figure all contribute to the well organised and divided into artistic groups. By the end of the 19th innovative effect. century there were a number of artistic societies that had seceded from the more conservative Association of Austrian Artists, based In 1938, after the Anshcluss of his native Austria with Nazi Germany, in the Vienna Künstlerhaus. By far the most famous was the Vienna Tischler moved to Paris. He stayed there until 1941, when he Secession, formed in 1897 and led by Gustav Klimt (1862-1918). emigrated to the USA. In 1949 he returned and lived in the South of France. Like Cezanne, Tischler focused more on landscapes and In 1920 Tischler joined another group of artists, the Hagenbund, which maritime scenes from his adopted home towards the end of his career. was formed in 1899 by other disenfranchised members of the Vienna He died in 1951 in Beaulieu-sur-Mer in France. Künstlerhaus. Tischler remained a member until 1938. He was also elected President of the Neue Vereinigung in 1918.
106 | Bonhams 19th Century European, Victorian and British Impressionist Art | 107 79 W Wilhelm Friedrich Kuhnert (German, 1865-1926) Moose in the Swedish Highlands signed and dated ‘Willy Kuhnert/1922’ (lower right) signed and inscribed ‘Wilhelm Kuhnert/ Berlin/ Elchaschaufler im Schwedischen/ Hochmoor’ on the reverse oil on canvas 141 x 285 cm. (55 1/2 x 112 3/16 in.)
£50,000 - 70,000 €61,000 - 86,000 US$84,000 - 120,000
Unlike many of his contemporaries, Wilhelm Kuhnert often worked directly from nature taking hours to track down his subjects and then sketching the animals in the wild rather than in zoos. He is best known for his striking pictures of lions and tigers, captured in their natural environment and portrayed in all their majesty. After graduating from Berlin University of the Arts in 1887, Kuhnert travelled widely to Scandanavia, Eygpt, East Africa and India. Kuhnert was an outstanding draughtsman and a prodigiously talented artist, equally at ease with a minutely detailed etching as he was working on a monumental scale such as the present lot. His work is characterised by a blend of rapid execution combined with anatomical accuracy - reputedly he never used an eraser on a single drawing, or made any corrections to any of his 137 etching plates. He died in Switzerland in 1926.
108 | Bonhams 19th Century European, Victorian and British Impressionist Art | 109 80 Frédéric Soulacroix (French, 1858-1933) Flirtation signed ‘F. Soulacroix’ (lower left) oil on canvas 49 x 77cm (19 5/16 x 30 5/16in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
110 | Bonhams 19th Century European, Victorian and British Impressionist Art | 111 81 Adolphe Alexandre Lesrel (French, 1839-1929) Les Amateurs signed and dated ‘A. A. LESREL 1902’ (lower right) oil on panel 62 x 52cm (24 7/16 x 20 1/2in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
112 | Bonhams 82 François Brunery (Italian, 1849-1926) Une partie d’echec signed ‘F Brunery’ (lower right) oil on panel 61 x 50cm (24 x 19 11/16in).
£15,000 - 20,000 €18,000 - 25,000 US$25,000 - 34,000
19th Century European, Victorian and British Impressionist Art | 113 83 Federico Andreotti (Italian, 1847-1930) The intercepted letter signed ‘F.Andreotti’ (lower right) oil on canvas 74.5 x 60.5cm (29 5/16 x 23 13/16in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
114 | Bonhams 84 * Vittorio Reggianini (Italian, 1858-1939) Welcome advances signed ‘VReggianini’ (lower right) oil on canvas 64 x 82cm (25 3/16 x 32 5/16in).
£30,000 - 40,000 €37,000 - 49,000 US$51,000 - 67,000
19th Century European, Victorian and British Impressionist Art | 115 85 AR W Eugenio Zampighi (Italian, 1859-1944) A first taste of the harvest signed ‘EZampighi’ (lower left) oil on canvas 65 x 85.5cm (25 9/16 x 33 11/16in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
116 | Bonhams 86 Gaetano Bellei (Italian, 1857-1922) The joker signed ‘G Bellei.’ (upper left) oil on canvas 42.5 x 58cm (16 3/4 x 22 13/16in).
£6,000 - 8,000 €7,400 - 9,800 US$10,000 - 13,000
Provenance with Costa & Company, Florence Private collection, UK
19th Century European, Victorian and British Impressionist Art | 117 87 AR Vincenzo Irolli (Italian, 1860-1945) Maternità signed ‘V. Irolli’ (lower right) oil on canvas 64.5 x 50cm (25 3/8 x 19 11/16in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
118 | Bonhams 19th Century European, Victorian and British Impressionist Art | 119 88 Giovanni Boldini (Italian, 1842-1931) Buste de femme nue stamped with signature ‘Boldini’ (lower right), indistinctly titled in pencil and authenticated ‘no.175 inv. atelier Boldini/E.Cardona Boldini./1931’ on the reverse watercolour 51 x 35.5cm (20 1/16 x 14in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
Provenance Private collection, Italy
120 | Bonhams 89 Giovanni Boldini (Italian, 1842-1931) Donna seduta, corsage blanc stamped with signature ‘Boldini’ (lower left), titled in pen and ink ‘no 26 Atelier Boldini-Emilia Boldini-Cardona/1931’ and also inscribed in pencil ‘22 - donna seduta, corsage blanc’ on the reverse pencil and wash, overall 56 x 38.5cm (22 1/16 x 15 3/16in). the upper 5cm of the sheet folded over
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
Provenance Private collection, Italy
19th Century European, Victorian and British Impressionist Art | 121 90 Eugène Delacroix (French, 1798-1863) Rencontre de Cavaliers Maures signed and dated ‘Eug Delacroix/1834’ (lower right) pen and brown ink 17.5 x 24cm (6 7/8 x 9 7/16in).
£30,000 - 50,000 €37,000 - 61,000 US$51,000 - 84,000
Provenance Haro collection Choquet collection Baron Joseph Vitta Private collection, Italy
Exhibited Nice, Palais des Arts Musée Jules Chéret, Exposition Eugène Delacroix, 1930, no.28, illustrated
We are grateful to the Comité Eugène Delacroix for confirming the authenticity of the present lot on first-hand inspection.
122 | Bonhams 19th Century European, Victorian and British Impressionist Art | 123 91 Gustave Courbet (French, 1819-1877) Still lifes of flowers a pair, each bears initials ‘G.C.’ (lower left) one oil on panel, the other oil on board, each 44 x 60cm (17 5/16 x 23 5/8in). in oval slip frames (2)
£30,000 - 50,000 €37,000 - 61,000 US$51,000 - 84,000
Provenance Antiquities Mme Bonnet, Le Pont-Chrétien, Indre Private collection, France
To be sold with a letter confirming the authenticity on the basis of photographs from the Institut Courbet, Ornans.
124 | Bonhams 19th Century European, Victorian and British Impressionist Art | 125 92 Jean-Baptiste-Camille Corot (French, 1796-1875) Esquisse de nu levant les bras, pour un personnage du tableau Le concert signed ‘COROT’ (lower right) oil on paper laid down on canvas 33.5 x 26cm (13 3/16 x 10 1/4in).
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
The present lot will be included in the sixth supplement to L’oeuvre de Le concert which the present lot is a study for, was painted in 1844, Corot by Alfred Robaut, prepared by Martin Dieterle and Clare Lebeau (A. Robaut, l’oeuvre de Corot, edition Floury, Paris, 1905, no.461, and will be sold with their certificate of authenticity issued 5 February exhibited at the Paris Salon, 1844, no. 400). According to Robaut, 2010. the work was significantly modified by the artist sometime after 1853, removing the standing boy in the foreground and replacing the field in the middle ground with a river. (A. Robaut, l’oeuvre de Corot, edition Floury, Paris, 1905, no.1098, exhibited at the Paris Salon, 1857, no. 595). The standing figure in the present lot is depicted in both versions of the work.
126 | Bonhams 93 Jules Alexis Muenier (French, 1863-1942) Checking the pots signed ‘J.A.MUENIER’ (lower right) oil on canvas 45.5 x 38cm (17 15/16 x 14 15/16in).
£7,000 - 10,000 €8,600 - 12,000 US$12,000 - 17,000
The present lot was most likely painted on Le Durgeon, a river that runs through the small village of Coulevon, near Vesoul, eastern France. Muenier was born here and spent most of his life living in his father’s mansion and painting village scenes and landscapes of the surrounding area. Photography was instrumental in his art, often using a camera to capture scenes and later painting from the images in his studio.
19th Century European, Victorian and British Impressionist Art | 127 94 W Edouard de Jans (Belgian, 1855-1919) Travelling musicians signed and dated ‘E Dejans/1878’ (lower right) oil on canvas 115 x 167cm (45 1/4 x 65 3/4in).
£8,000 - 10,000 €9,800 - 12,000 US$13,000 - 17,000
128 | Bonhams 95 Jacques Emile Edouard Brandon (French, 1831-1897) Shema Yisrael signed ‘Ed Brandon’ (lower left) oil on canvas 27 x 22.5cm (10 5/8 x 8 7/8in). £7,000 - 10,000 €8,600 - 12,000 US$12,000 - 17,000
Jacques Emile Edouard Brandon, also known as Jacob Emile Edouard In the present lot, a Rabbi appears to be in a synagogue, reciting the Pereijra, was born in Bordeaux, France, to parents of Sephardic Shema prayer and raising a tallit prayer shawl in his left hand. The Jewish descent. He studied under Jean-Baptiste Camille Corot at Shema prayer is a section of the Torah, said morning and evening, and the École des Beaux-Arts, Paris, before leaving for Rome in 1856, often considered to be the most important part of the prayer service in where he became acquainted with Edgar Degas. Returning to France Judaism. Additionally, the term Shema Yisrael is more broadly used as in 1863, his previously Christian choice of subject matter in his a declaration of faith. Salon works shifted towards Jewish themes, highlighting the cultural importance of Jewish heritage in France. For a similar composition, see Matsart Gallery, Tel Aviv, 30 November 2008, lot 140, which depicts an almost identical Rabbi figure, also holding up a tallit in his left hand, standing before a small desk inside a synagogue.
19th Century European, Victorian and British Impressionist Art | 129 96 W Frans Gailliard (Belgian, 1861-1932) Un Banc au Boulevard Anspach signed ‘F. GAILLIARD’ (lower right), also inscribed with the title on the stretcher oil on canvas 127 x 172cm (50 x 67 11/16in). £20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
Frans Gailliard studied at the Académie Royale des Beaux-Arts in Brussels under the masters Jean François Portaels (1818-1895), Joseph Stallaert (1825-1903), François Bossuet (1798-1889) and Paul Lauters (1806-1875) alongside notable contemporaries such as James Ensor (1860-1949), Léon Frédéric (1865-1940) and Fernand Khnopff (1858-1921).
Gailliard’s drawings were used by many magazines as illustrations and this social commentary found its way into his urban subjects such as the present lot. He uses the title to place the scene on a particular street, the Boulevard Anspach in Brussels. He is best known for his evocative depictions of his hometown.
130 | Bonhams 19th Century European, Victorian and British Impressionist Art | 131 97 W Pierre Bonirote (French, 1811-1891) On the balcony signed ‘P. Bonirote.’ (upper left) oil on canvas 92 x 74cm (36 1/4 x 29 1/8in).
£15,000 - 20,000 €18,000 - 25,000 US$25,000 - 34,000
The present lot is believed to depict the Duchess of Placentia (Sophie de Marbois-Lebrun) a Greek Philhellene who played a major role in Bonirote’s appointment at the Athens Art Department at the Polytechnic School in 1840-43. The other young woman is believed to be her daughter, Eliza.
132 | Bonhams 98 W Jules James Rougeron (French, 1841-1880) The dance signed and dated ‘Jules. Rougeron. 76’ (lower right) oil on canvas 93 x 127cm (36 5/8 x 50in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
19th Century European, Victorian and British Impressionist Art | 133 99 * W Guillaume Seignac (French, 1870-1924) Sonrisa signed ‘G-SEIGNAC’ (lower right) oil on canvas 92 x 66.5cm (36 1/4 x 26 3/16in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
134 | Bonhams 100 Guillaume Seignac (French, 1870-1924) Nymphe signed ‘G-SEIGNAC’ (lower right) oil on canvas 55 x 38cm (21 5/8 x 14 15/16in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
19th Century European, Victorian and British Impressionist Art | 135 101 Emile Eisman-Semenowsky (Polish/French, 1857-1911) Portrait of a lady in green signed, inscribed and dated ‘PARIS 1881./E. Eisman-Semenowsky’ (upper right) oil on panel 33 x 24cm (13 x 9 7/16in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
136 | Bonhams 102 AR W Paul Sieffert (French, 1874-1957) Reclining nude signed ‘P.Seiffert’ (lower right), signed and numbered ‘P.Sieffert No. 184’ on reverse oil on canvas 60 x 81.5cm (23 5/8 x 32 1/16in).
£6,000 - 8,000 €7,400 - 9,800 US$10,000 - 13,000
19th Century European, Victorian and British Impressionist Art | 137 103 AR Xavier de Poret (French, 1894-1975) Bois Roussel signed ‘X de Poret’ (lower left) and inscribed ‘BOIS ROUSSEL’ on the rug coloured chalks and pencil 63 x 50cm (24 13/16 x 19 11/16in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
The present lot depicts Bois Roussel, a French-bred thoroughbred Bois Roussel’s new owner sent him to England where he raced in the champion racehorse, famous for having won the Epsom Derby in Epsom Derby. Bois Roussel was victorious in just his second race, 1938. He was named Haras du Bois-Roussel after the breeding farm ridden by jockey Charlie Elliott with 20/1 odds. Although off to a slow in Alençon where he was foaled in 1935. After only one racing debut start, in the final quarter mile he produced what the Glasgow Herald in early 1938 at Longchamp Racecourse in Paris, his breeder Leon described as ‘an astonishing burst of speed’ to take lead in the final Volterra sold Bois Roussel for £8,000 to the Hon. Peter Beatty, son of furlong and finally winning by four lengths. In winning he earned more Admiral David Beatty. in prize money than his owner had paid for him.
138 | Bonhams 104
105
104 AR 105 Georges Stein (French, 1870-1955) Eugène Galien-Laloue (French, 1854-1941) The Alpine Express La Place Clichy signed ‘Georges Stein’ (lower left) signed ‘E.Galien Laloue’ (lower right) oil on canvas gouache 38 x 55cm (15 x 21 5/8in). 18.5 x 31cm (7 5/16 x 12 3/16in).
£5,000 - 8,000 £7,000 - 10,000 €6,100 - 9,800 €8,600 - 12,000 US$8,400 - 13,000 US$12,000 - 17,000
19th Century European, Victorian and British Impressionist Art | 139
Property from the estate of miss elizabeth creak Sold to benefit The Elizabeth Creak Charitable Trust Lots 106 - 119 Elizabeth Creak was born in 1926 and attended McGill University in Canada before working for Penguin Books in America. She returned to the UK to eventually work with her uncle, Clyde Higgs, who by then had built up a thriving 2000 acre dairy farm in Warwickshire. Prior to this, Clyde had also developed a 4000 acre farm in the foothills of Mount Kilamanjaro and held a number of other positions including: Managing Director of English Farms in Wiltshire; Agricultural correspondent of the BBC and Council Member of the Royal Agricultural Society. Clyde was a highly innovative and enterprising farmer who was well known for challenging the status quo and travelling the globe to cross fertilize best practices among farmers in the UK and around the world. He clearly recognized a similar passion and ability in Elizabeth and mentored her to become his successor.
In 1963 Elizabeth inherited Clyde’s farm in Warwickshire and Unlike some of his contemporaries, however, Cooke’s ran it with great success for a number of years. She was fascination with Venice was as much in the ‘intimate details a highly capable and well respected farmer and brought of Venetian water-craft’, as with the topography of the city. many creative ideas to the world of farming. She eventually He set off for his first trip in August 1850, a visit which would sold the bulk of the business, but maintained a substantial last 12 weeks, during which Cooke produced two-dozen acreage around Stratford. Elizabeth’s business acumen, oils, sketches and studies. Cooke recorded his first sight of determination and integrity were the reasons she was invited Venice in his diary entry for August 26th 1850: ‘entered the on to the boards of many local charitable organizations glorious Venice at ½ p 8. When the boat entered the Grand including the Royal Agricultural Society, the Stoneleigh Canal, after passing the Salute the Moon rose and revealed Abbey Trust and the Stratford Society. She was also a the glories of the scene, but the Piazza exceeded all that I supporter of local craftsmen, artists and the theatre. In 1998 could possibly have imagined.’ she was the first woman to hold the office of High Sheriff of Warwickshire. On arrival in Venice, Cooke hired a gondola, which was adapted and decorated for his purposes, enabling him Elizabeth sadly passed away in October 2013 and left the to ‘produce his own Venice... able to anchor among the bulk of her estate, including her valuable picture collection, shipping, to paint and return on subsequent occasions to the Elizabeth Creak Charitable Trust. Elizabeth created the having taken appropriate bearings’; he also hired the Trust to provide ‘Clyde Higgs Scholarships’ in agriculture, services of a gondolier, who he would use for each of his support and encourage new blood in farming and finance Venetian trips, and who taught Cooke a new vocabulary of projects to help farmers survive and ultimately thrive in their terms, names for the vessels, such as Traboccoli that would challenging modern environment. form the titles of his paintings (see lot 106). He would often add the inscription ‘Il Lagunetto’ to the stern of a vessel, or The present group of works, predominantly painted by beside his signature, a sobriquet chosen as an immodest Edward William Cooke, are an exceptional collection of homage to Giovanni Antonio Canale’s adoption of Canaletto, Venetian views, showing off the magnificence of the city. and a reference to the fact that, while many artists ‘looked Having already travelled a great deal in continental Europe, inwards, hardly venturing beyond the Bacino and Grand Edward William Cooke was inevitably drawn to the drama Canal...Cooke was continually looking out across the of Venice. As John Munday noted, ‘her waterways fringed lagoons’ (see lots 110 & 113). by palaces and churches of a unique style reflecting moving colour and light were thronged by a fascinating variety By the time of Cooke’s second visit in 1851 the artist had of working craft. Further, the islands in the lagoons were achieved a certain level of celebrity, receiving many visitors, set against a mountainous backdrop and were subject to among who were John and Effie Ruskin. Whether Cooke atmospheric effects which could be theatrical’. was persuaded by Ruskin’s ‘truth to nature’ dictate is un- Cooke would have viewed Venice through the eyes of recorded, but Ruskin certainly saw Cooke as something Canaletto and Guardi, whose Venetian views were to of an devotee, noting that ‘Cooke has taken great pains... be seen in many great British art collections. He would his painting will be more accurate in detail, than any that also have been familiar with the work of many of his have yet been taken. I have led him to look into the detail.’ contemporaries, such as Richard Parkes Bonington, (Ruskin’s Letters from Venice, 15 November 1851) Clarkson Stanfield, Samuel Prout, David Roberts, John Cooke undertook a further eight trips to ‘Dear old Venice’ Frederick Lewis, William Muller, James Holland, William between 1851 and 1864, making a final visit to the city in Wyld, and William Callow. Cooke also greatly admired September 1877. He produced a phenomenal body of work J.M.W. Turner’s Venetian works, and the two met at a dinner during these visits, totalling nearly two hundred oils and in 1841, the year in which Turner’s Guidecca, Salute & S. many hundreds of sketches. Cooke painted Venice with a Giorgio was shown at the Royal Academy. (RA, 1841, no.66, fresh palate of colours, often working from small sketches see illustration beside lot 107). of the sky, and making use of photographs, prints and calotypes to accurately depict the topography.
142 | Bonhams 106 Edward William Cooke, RA (British, 1811-1880) Venice, sunset after rain signed and dated ‘E.W.COOKE. ARA. 1862.’ (lower left) oil on paper laid down on canvas 27.5 x 45cm (10 13/16 x 17 11/16in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
Provenance Literature Sir Bruce W.Seton John Munday E.W.Cooke 1811-1880, A Man of his Time, Woodbridge, Sale, Christie’s London, 2-4 March 1912, lot 97, sold for 20 gns. 1996, Vesley cat no. 62/20, page 353, as Canal of S. Clemente, sunset, illustrated Mrs T.S.Kennedy, Wetherby in colour, plate 120, page 175. Listed in Cooke’s diary, No.10. Sale, Christie’s London, 26 July 1912, lot 14, sold for 8 1/2 gns. Country Life, 9 May 1974 Mitchell Owen Edgar Gallery, Master Paintings from Four Centuries illustrated R.Treherne pp. 76-7 (captions transposed) Unknown saleroom, 5 October 1973, lot 165 sold for £787 with Hartnoll and Eyre with Saffron Galleries, 1974 Sale, Sotheby’s Sussex, 12 December 1978, lot 7 Sale, Christie’s London, 24 October 1980, lot 75, as Sunset on Lagune Sale, Christie’s London, 5 November 1982, lot 43, as View on Giudecca with Redentore beyond with Owen Edgar Gallery
19th Century European, Victorian and British Impressionist Art | 143 © Christie’s Images / The Bridgeman Art Library © Christie’s Giudecca, La Donna della Salute and San Giorgio (oil on canvas), Turner, Joseph Mallord William (1775-1851)
107 W Edward William Cooke, RA (British, 1811-1880) Trabaccoli carrying wood, San Giorgio Maggiore and the Dogana beyond signed, inscribed and dated ‘E.W Cooke ARA. VENEZIA. 1859.’ (lower right) oil on canvas 62.5 x 104.5cm (24 5/8 x 41 1/8in).
£70,000 - 90,000 €86,000 - 110,000 US$120,000 - 150,000
Provenance Arthur Burnand Sir Merton Russell-Cotes Sale, Christie’s London, 24 November 1916, lot 20, sold for 95 gns. with Cooling Galleries Sale, Sotheby’s Belgravia, 27 March 1973, lot 161, sold for £8,000 with Oscar and Peter Johnson Sale, Sotheby’s Belgravia, 18th March 1980, lot 9, sold for £10,000 Private Collection Sale, Christie’s London, 14 March 1997, lot 85, sold for £44,000 with Richard Green Fine Paintings Ltd.
Exhibited London, Royal Academy, 1859, no.262, as Venice
Literature John Munday, E.W.Cooke 1811-1880, A Man of his Time, Woodbridge, 1996, cat. no. 58/21, page 351, as Venice, trabaccoli with wood, San Giorgio and the Dogana, illustrated in colour, plate 130, page 191 - ‘Fuel had to be imported into Venice in large quantities, giving Cooke serious subject matter in these bulky vessels’.
144 | Bonhams 19th Century European, Victorian and British Impressionist Art | 145 108 Edward William Cooke, RA (British, 1811-1880) Evening on the lagoon from Isola San Servolo, Venice signed, inscribed and dated ‘E W. Cooke. 1853./VENICE’ (lower left), inscribed ‘E.W.Cooke A.R.A. Venezia. 1853’ on the stretcher oil on canvas 39.5 x 66.5cm (15 9/16 x 26 3/16in).
£60,000 - 80,000 €74,000 - 98,000 US$100,000 - 130,000
Provenance The Arthur Ackerman and Peter Johnson sale, Christie’s South Kensington, 8 May 2008, lot 63, sold for £96,500
Literature John Munday E.W.Cooke 1811-1880, A Man of his Time, Woodbridge, 1996, cat. 53/14, page 348, as S.Servolo
Cooke’s visit to Venice in 1853 lasted eight weeks; his diary for the 1st September notes ‘Arrived at Dear old Venice’, and on the 26th October, ‘Left Venice by rail’. During this period Cooke produced 11 oils.
146 | Bonhams 19th Century European, Victorian and British Impressionist Art | 147 109 Edward William Cooke, RA (British, 1811-1880) The Venetian lagoon at Sunset signed and dated ‘E.W.Cooke ARA. 1862.’ (lower left) oil on paper laid down on canvas 27.5 x 45.5cm (10 13/16 x 17 15/16in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
Provenance with Hazlitt, Gooden & Fox, London Private collection Sale, Sotheby’s London, 13 July 2010, lot 92, sold for £6,250
Exhibited London, Hazlitt, Gooden & Fox, ‘The Lure of Rome, Some Northern Artists in Italy in the Nineteenth Century’, 1979, no.77
Literature John Munday, E.W.Cooke 1811-1880, A Man of his Time, Woodbridge, 1996. cat. no. 62/21, page 353 as Sunset Salute No 11, illustrated in black and white, plate 124, page 157: ‘The location, the time of day and the tender depiction of the topo with its fishing gear show “Il Laguneto” at his contemplative best’.
148 | Bonhams 110 Edward William Cooke, RA (British, 1811-1880) Part of the Island of San Pietro, Castello, Venice signed and dated ‘E.W.Cooke ARA 1858’ (lower right) oil on canvas 29 x 43cm (11 7/16 x 16 15/16in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
Provenance Sale, Sotheby Bearnes, Torquay, 12 June 1979, lot 73 as On the Lagoon, Venice with Spinks
Literature John Munday, E.W.Cooke 1811-1880, A Man of his Time, Woodbridge, 1996, cat. no. 58/5, page 351, illustrated in colour, plate 99, page 154: ‘A bragozzo in a calm among the islands with the impressive mountainous background not often visible today’.
19th Century European, Victorian and British Impressionist Art | 149 111 W Edward William Cooke, RA (British, 1811-1880) Venice from the lagoon signed and dated ‘E.W.COOKE. ARA. 1860’ (lower right), indistinctly inscribed ‘LAGUNETTO/VENEZIA’ (to the rowing boat lower centre) oil on canvas 54 x 107.5cm (21 1/4 x 42 5/16in).
£30,000 - 50,000 €37,000 - 61,000 US$51,000 - 84,000
Provenance John Kermack Sale, Christie’s, 18 May 1899, lot 18, sold for 165 gns. to Vokins Sale, Christie’s, 23 February 1940, lot 98, sold for 23 gns. to Mitchell Sale, Christie’s, 4 June 2009, lot 42, sold for £34,850 with MacConnal Mason & Son Ltd.
The present lot was examined by John Munday in 2009.
150 | Bonhams 19th Century European, Victorian and British Impressionist Art | 151 112 Edward William Cooke, RA (British, 1811-1880) Santa Maria della Salute, evening; Sunset on the lagoon of Venice, with the church of Isola di San Giorgio in Alga in the distance a pair, one signed ‘E.W.Cooke RA’ (lower left), the other signed and dated ‘E W Cooke 1864’ (lower left) oil on paper laid onto canvas, each 29.5 x 45cm (11 5/8 x 17 11/16in). (2)
£50,000 - 70,000 €61,000 - 86,000 US$84,000 - 120,000
Provenance For Santa Maria della Salute, evening: (possibly) Sale, Christie’s London, 26 November 1982, lot 246 Sale, Phillips London, 25 July 1987 with Owen Edgar Gallery
For both works: Sale, Christie’s London, 31 May 2012, lot 75 sold for £61,250
Literature For Santa Maria della Salute, evening: (possibly) John Munday E.W.Cooke 1811-1880, A Man of his Time, Woodbridge, 1996, cat. no. 64/16, page 354, as Santa Maria della Salute with the Giudecca beyond at Sunset.
152 | Bonhams
113 Edward William Cooke, RA (British, 1811-1880) The Canale della Giudecca with Redentore beyond; The Dogana di Mare with San Giorgio Maggiore beyond; a pair, the former signed and dated ‘E.W.COOKE. ARA 1863’ (lower left) the latter bears a signature and date (in pencil lower right) oil on paper laid on canvas, each 28 x 45cm (11 x 17 11/16in). (2)
£35,000 - 45,000 €43,000 - 55,000 US$59,000 - 76,000
Provenance Sale, Sotheby’s Belgravia, 22 February 1972, lot 17 churches of the Redentore, left, and the Gesuati on the Fondamenta with Oscar and Peter Johnson, London delle Zattere, right, this picture nevertheless shows the artist excited by Sale, Christie’s London, 13 December 2012, lot 36, sold for £43,250 work in progress. Sheers rigged on the sailing vessel in the centre are probably to replace a lower mast. There are some very miscellaneous Literature craft beyond and an unprepossessing riveted mooring buoy near at John Munday, E.W.Cooke 1811-1880, A Man of his Time, hand; who else but Cooke would have given significance to such an Woodbridge, 1996, the former, cat. no. 62/18, page 353; listed in object? His gondola was presumably anchored’. Cooke’s diary, No.8; illustrated in black and white, page 156, plate 125, the latter, cat. no. 62/19, page 353; listed in Cooke’s diary, No.9; Munday lists these two works as being recorded in Cooke’s diary illustrated in black and white, page 352, plate 287: ‘Sanctified by the for 1862, despite both being dated 1863, suggesting that this was presumably done once the works were sold.
154 | Bonhams 19th Century European, Victorian and British Impressionist Art | 155 114 Edward William Cooke, RA (British, 1811-1880) View across the lagoon, Venice, sunset signed ‘E.W.Cooke’ (lower right), inscribed and dated ‘IL LAGUNETTO. VENEZIA. 1850’ (lower left) oil on paper laid down on canvas 29.5 x 44cm (11 5/8 x 17 5/16in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
Provenance Richard Barrington, sold June 1851 Sale, Sotheby’s Belgravia, 25 November 1975, lot 91 as The Lagoon, Venice Sale, Christies London, 13 December 2012, lot 35, sold for £22,500
Literature John Munday, E.W.Cooke 1811-1880, A Man of his Time, Woodbridge, 1996, cat. no. 50/29, page 345, as Evening off Giardino, half-Trabaccolo, sunset.
156 | Bonhams 19th Century European, Victorian and British Impressionist Art | 157 115 Edward William Cooke, RA (British, 1811-1880) San Giorgio island with the church of San Giorgio Maggiore looking towards the lagoon signed and dated ‘E.W.Cooke. ARA. 1860’ (lower left) watercolour heightened with white 35 x 30cm (13 3/4 x 11 13/16in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
Provenance Sale, Bonhams London, 29 September 2010, lot 92, sold for £7,200
158 | Bonhams 116 Edward William Cooke, RA (British, 1811-1880) Looking from the lagoon towards the Giudecca signed and dated ‘E.W.COOKE. ARA. 1853.’ (lower left) oil on paper laid down on canvas 28 x 44.5cm (11 x 17 1/2in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
Provenance Sale, Christie’s London, 2 April 1910, lot 112 as Venice, general view of port Sold to Roe for 9gns with P & D Colnaghi & Co. Ltd., Old Bond Street, 1959, no.20, ex- collection Cyril H. Ayscough Private collection, UK Sale, Bonhams London, 21 March 2006, lot 73, sold for £16,000
Literature John Munday, E.W.Cooke 1811-1880, A Man of his Time Woodbridge, 1996, cat. no. 53/12, page 348
19th Century European, Victorian and British Impressionist Art | 159 117 W English School, 19th Century A panoramic view of Venice oil on canvas 91 x 153cm (35 13/16 x 60 1/4in).
£18,000 - 25,000 €22,000 - 31,000 US$30,000 - 42,000
160 | Bonhams 19th Century European, Victorian and British Impressionist Art | 161 118 W Peter Kornbeck (Danish, 1837-1894) Piazza San Marco, Venice signed and dated ‘P Kornbeck. 1887’ (lower left) oil on canvas 58 x 103.5cm (22 13/16 x 40 3/4in).
£12,000 - 16,000 €15,000 - 20,000 US$20,000 - 27,000
Provenance Sale, Bonhams London, 22 April 2010, lot 9, sold for £14,400
Exhibited Copenhagen, Danish Royal Academy, 1888
162 | Bonhams 19th Century European, Victorian and British Impressionist Art | 163 119 Edward William Cooke, RA (British, 1811-1880) Rembrandt’s father’s mill signed with initials, inscribed and dated ‘Rembrandt’s Mill/ was erected in the year 1593, as a/ magazine for powder-on the banks/ of the “Old Rhijn” at Koukert, near/ Leyden. It was soon after converted/ into a mill, and at a time of/ Rembrandt’s birth in 1606 was in/ possession of his father Herman Gerritz/ van Rhijn, from which period it has/ been constantly employed for the purpose/ of a corn mill. E.W.C. 1843’ on reverse oil on panel 19.75 x 20cm (7 3/4 x 7 7/8in).
£15,000 - 20,000 €18,000 - 25,000 US$25,000 - 34,000
Provenance Literature Thomas Garbe John Munday, E.W.Cooke 1811-1880, A Man of his Time Woodbridge, His sale, Christie’s London, 24 May 1962, lot 32, sold to Mrs A.D. 1996, cat. no. 38/4, page 329, illustrated in colour, plate 163, page Smith for 45 gns. 249 Mrs. A.D.Cowan with Agnews Cooke was drawn to this subject repeatedly and there are five Sale, Christie’s London, 25 January 1974, lot 116 known paintings depicting the interior of this mill that was owned by with J.S. Maas & Son, London Rembrandt’s father, with Cooke exhibiting four of them as a group Sir David Scott, purchased from the above, 1975 at the British Institute in 1839. It is this link with Rembrandt perhaps Sale, ‘A Great British Collection: The pictures collected by Sir David that made it such an attractive subject as not many other interiors are and Lady Scott’, Sotheby’s London, 19 November 2008, lot 18, sold known from his travels in the lowlands. for £31,250 The detail picked out by the light pouring in the window with the Exhibited shutter hanging precariously is a highly effective device and pulls the Edinburgh, National Gallery of Scotland, Sunshine and Shadow: the viewer through the composition as though one worked in the mill, the David Scott Collection, 1991, no.3 same view Rembrandt himself once had. The narrow but highly varied palette is resonant of Rembrandt but the lightness of touch and the range of different surfaces depicted with an economy of detail are all characteristics of Cooke at his best.
164 | Bonhams 19th Century European, Victorian and British Impressionist Art | 165 Other properties
120 John Atkinson Grimshaw (British, 1836-1893) View of Briggate with Dyson’s clock in the background, Leeds signed and numbered ‘ATKINSON GRIMSHAW F19’ (lower left) oil with sand over a photographic base 30 x 45.5cm (11 13/16 x 17 15/16in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
The present lot is a superb small townscape of the city looking south The present lot dates from the late 1880s and is painted over a from Briggate across the junction with Boar Lane to lower Briggate. photographic base. There are a limited number of such pictures. Quite A few familiar landmarks remain on either side of the crossing but the why Grimshaw chose to do this and to give them some sort of number most significant is the old Dyson’s Watch and Jewellery shop with its code (here F19) is unclear. Possibly it was a quicker way to produce famous clock and Greenwich Time Ball on the roof. city views but the actual painting is usually exquisitely done with a delicate signature and containing all the subtlety of the artist’s best The appeal of such a composition for Grimshaw was the juxtaposition work. of various light sources such as the hidden moon shedding its light from behind a building and the artificial light sources from shop Increasing urbanisation attracted those observers keen to show the windows, street lamps and the shimmering reflected light on the wet changing environment in the street fabric of the great towns and cities cobbles. and also how modern life could be portrayed. In her book Mary Barton Mrs Gaskell pointed out the pleasures of window shopping and seeing From the mid 1870s Grimshaw had developed an increasing interest the goods by night-time illumination. Charles Dickens and George in street scenes, particularly of dock-side subjects where various strata Gissing wrote of night time observations while the artist J.M. Whistler of society came together. Now instead of lonely country lanes with noted in his Ten ‘clock lecture how factory chimneys along the river a solitary figure we see the modern town and city bustling with life. became campanili by night. Here the carriages and horse drawn trams ply their trade and evening strollers wander by. It was such transformations which lay at the heart of Grimshaw’s night- time compositions, where he was able to cloak the grime of every day reality with its soot and industrial pollution with a sheen of poetic mystery and atmosphere providing the modern viewer with a nostalgic look back to our recent past.
We are grateful to Alex Robertson for his assistance in cataloguing this lot.
166 | Bonhams 19th Century European, Victorian and British Impressionist Art | 167 121AR Sir George Clausen, RA, RWS (British, 1852-1944) An evening in Spring signed ‘GCLAUSEN’ (lower left), inscribed with title and signed and dated ‘1888’ on reverse oil on canvas 36 x 26cm (14 3/16 x 10 1/4in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
Provenance H[erbert ?] Roberts Esq., 1888 Private collection, UK
Often in small pictures of the 1880s, George Clausen established However, for all the social significance of its theme, the present picture subjects that he would later elaborate in larger works. This is the case demonstrates the gradual process of stylistic change in Clausen’s with the present lot, in which an English ‘Hodge’ digs his vegetable work. He was, as can be seen, experimenting with the use of a palette patch at dusk. Tied labourers must work on their own account at the knife to achieve texture in areas of dense foliage, and the subtleties end of the day or in the early morning. It was a subject he resumed of colour that this produced led him in a few years from conventional when he painted Allotment Gardens for the Royal Academy of 1899, plein air painting to Impressionism. In this development, compositional and it returned with variations in Twilight, October c.1900 and A Frosty rigour and sound draughtsmanship remain unchallenged. March Morning, (1904, Tate Gallery). The canvas can be documented precisely: on 20 June 1888, Clausen When Clausen first tackled the theme in the present work however, noted in his account book that he had sent Evening in Spring to concern was just beginning to be expressed at the long slow decline Goupil, his dealer, priced at £35, describing the picture as ‘light in in British agriculture. The poor harvests of the 1870s brought severe cottage and man digging’. According to the Goupil stock-book, the hardship to field workers and efforts to retain them on the land picture was then promptly sold to ‘H Roberts’, presumably one of focussed upon the provision of labourers’ cottages and allotments. the first Clausen purchases of Herbert Roberts, later Lord Clwyd. Small plots in particular meant that a rural worker could effectively feed Thereafter, it disappeared from view and its rediscovery at this point his family from his own produce, and this ideal of self-sufficiency was sheds new light upon an important phase of the artist’s work. essentially being advocated in pictures such as the present lot. It was a call taken up by writers and social theorists - Richard Jeffries for We are grateful to Professor Kenneth McConkey for his assistance in instance, praising those rural clergy who turned over ‘glebe’ or church cataloguing this lot. lands to the local poor for allotments at nominal rents.
168 | Bonhams 19th Century European, Victorian and British Impressionist Art | 169 122 Albert Chevallier Tayler, RBC (British, 1862-1925) The letter signed and dated ‘A.CHEVALLIER TAYLER. 88’ (lower left) oil on canvas 39.5 x 50cm (15 9/16 x 19 11/16in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
170 | Bonhams 19th Century European, Victorian and British Impressionist Art | 171 (fig.1) (fig.4)
(fig.3)
(fig.2)
By 1888, Stanhope Forbes (1857-1947) began to realize that the The letter comes exactly at the moment when the Newlyn painters convivial Albert Chevallier Tayler, someone he described three years rose to prominence as an identifiable school, following the purchase of earlier as ‘the best friend I know’, had now found his métier. An early Bramley’s A Hopeless Dawn by the Chantrey Trustees. Within a year, convert to the ‘square brush’ technique, popularly associated with ‘Newlyn’ was being clearly identified as the location of some of the the work of Henry Herbert La Thangue (1859-1929), Chevallier Tayler most advanced painting in Britain and referring specifically to works was, in his unsuccessful Royal Academy submission of 1885, ‘just La of the present type, Alice Meynell wrote that, ‘it is in their studies of Thangue enough, but not too La Thangue’ according to Forbes. interiors no less than in their open air work that the [painters of the] Newlyn School prove their love of truth’. Bless, O God, these gifts The confidence that emerged three years later was the result of two ... she considered, was ‘removed from the fictions of the studio’ factors. The first was an extended painting expedition with Blandford and such paintings showed ‘all the delicate differences and subtle Fletcher (1858-1936) in 1886, when Chevallier Tayler left Newlyn distances of the grey day on the surfaces of this room’ (Alice Meynell, to work in the villages of Berkshire. The second, arguably more Newlyn, The Art Journal, 1889, p. 102). Meynell might almost invoke significant experience, was that of a trip to Venice, sponsored in 1887 the Dutch masters in praising such works. by the dealer, Arthur Tooth. On this second trip, far from painting familiar tourist views of the bacino di San Marco, Chevallier Tayler Chevallier Tayler’s probity is clearly evident in the present lot. Closely produced a number of carefully conceived genre scenes such as the related to A Council of Three, it focuses on the writing bureau in the Venetian Vegetable Market, 1887 (fig 1). These revealed a mastery corner of the room. Above the desk is a model of a fishing smack in the treatment of form and the manipulation of space, that came – one of those registered in Penzance and moored at the Gwavas directly from Fletcher, filtered through Venetian genre painters such as Slip, at Newlyn. Beside this on the wall is an undecipherable print, Eugène de Blaas (1843-1932), Ettore Tito (1859-1941), and Chevallier and beyond that, a brown curtain covering the window. The girl, Tayler’s British contemporary, Samuel Melton Fisher (1859-1939). who concentrates on her writing or drawing, is one of Chevallier Chevallier Tayler may well have heard of this international group from Tayler’s regular models, seen in The Yellow Ribbon (fig 3) and in his Frank Bramley (1857-1915) or William Logsdail (1859-1944), but his Royal Academy picture, A Dress Rehearsal, 1888, (Lady Lever Art own direct experience was crucial. Back in Newlyn by February 1888, Gallery, Port Sunlight) while the high-backed chair on which she sits, with the Academy success of Bless, O God, these gifts to our use, reappears in The House of Cards (fig 4). 1887 (unlocated) behind him, Forbes anticipated great things from his friend. This formidable sequence marks Chevallier Tayler as one of the major talents in British painting of the 1880s, his success confirmed with Stagey composition and stiff treatment of the figures had been The Departure of the Fishing Fleet, Boulogne, 1891 (Birmingham Art replaced by a suave naturalism. Chevallier Tayler’s interiors were now Gallery). When he ‘folded his sketching umbrella’ and stole silently ‘up inhabited by gossiping girls sewing, preparing a wedding dress, or to Kensington’ in 1895, it came as no surprise to Forbes, for Newlyn as in the present instance, seated alone at a writing bureau. One of was losing ground to the ‘London Impressionists’ and Glasgow the works from this sequence, possibly Tayler’s New English Art Club School painters. There is no doubt however, that for Chevallier Tayler, picture, A Council of Three (fig 2) (sold in these rooms 23 January the year 1888 was a watershed and with paintings such as The letter, 2013 for £118,850), or the present example, particularly appealed to he achieved an exceptional lucidity that lifts late Victorian painting into Forbes. direct comparison with that of Metsu and Terborch.
We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.
172 | Bonhams 123 Walter Langley, RI (British, 1852-1922) Old Grace signed ‘W.LANGLEY’ (upper right) oil on canvas 25.5 x 20.5cm (10 1/16 x 8 1/16in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
Provenance with Whitford Fine Art, London A possible match for the painting exists in Langley’s sale records as Private collection, Ireland ‘head, oil’, sold for £10 on 31 January 1895 to a dealer ‘Cheadle’, although this cannot be guaranteed. The current lot is thought to date from 1894, the same year that Langley exhibited his most famous painting Never morning wore to We are grateful to Roger Langley for his assistance in cataloguing this evening but some heart did break (Birmingham Art Gallery). The sitter lot. is identifiable as Grace, his most recognisable model, who appears in both paintings in different poses.
19th Century European, Victorian and British Impressionist Art | 173 124W Edwin Harris, RBSA (British, 1855-1906) The Limpet gatherer signed ‘Edwin Harris.’ (lower right) oil on canvas 92.5 x 61.5cm (36 7/16 x 24 3/16in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
Provenance Sale, Stephan Welz & Co., Johannesburg, 21 October 1997, lot 7 Private collection, UK
Exhibited Birmingham, Royal Birmingham Society of Artists, Spring exhibition, 1891, no. 50
Literature Roger Langley, Edwin Harris 1855-1906, An Introduction to his life and art, Truro, 2008, p. 27, illustrated in colour
174 | Bonhams 19th Century European, Victorian and British Impressionist Art | 175 125 Henry Scott Tuke, RA, RWS (British, 1858-1929) Bending on the grapple signed and dated ‘H.S Tuke 1893’ (lower left) watercolour 35 x 25cm (13 3/4 x 9 13/16in).
£3,000 - 5,000 €3,700 - 6,100 US$5,100 - 8,400
Provenance Sale, Harris’s Plymouth, 1895, sold for £12-12 less 10% In the current lot Tuke has painted Neddy at the stern of the boat – the painted green sides of the boat suggests it could have been Exhibited painted on the Julie, Tuke’s French brigantine which he converted Falmouth, Royal Cornwall Polytechnic Society, 1893 into a floating studio. He had sold her in 1892 for £13.10 and she was subsequently broken up in Penryn, however Tuke often painted pictures the year before he dated them so it could be that this work is Bending on the grapple is a fine example of Tuke’s watercolour one of the last he painted on the Julie in 1892 before selling her. technique featuring a sailor tying a rope on to a grapple or anchor. The knot used was called a Fisherman’s ‘hitch’ or ‘bend’ hence the title We are grateful to Catherine Wallace for her assistance in cataloguing ‘bending’ on the grapple. this lot.
The model is Neddy Hall, a frequent model of Tuke’s at this time. He features in the major oil of 1889 – 90 Euchre or Dog Watch (R122) in the Neue Pinakotheck, Munich as well as appearing in many other works.
176 | Bonhams 126 Henry Scott Tuke, RA, RWS (British, 1858-1929) On the beach oil on panel 20 x 29.5cm (7 7/8 x 11 5/8in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
Painted circa 1920-21
Provenance with The Fine Art Society, March 1970, no.3719 The signature and date seen faintly in the bottom left hand corner Private collection, UK have merged into the background. The date has been approximated by comparing it with a painting created using a similar technique, also This oil sketch of the model Charlie Mitchell demonstrates a particular a study of Charlie Mitchell on the beach, dated c.1921, which is in technique Henry Scott Tuke used for making rough oil sketches on the Royal Cornwall Polytechnic Tuke collection, no. A403 (illustrated location. on page 59 Henry Scott Tuke, Paintings from Cornwall by Catherine Wallace.) A dedicated plein air painter, Tuke always made his figure compositions from life and if possible on location rather than in the Charlie Mitchell (1885–1957) was Tuke’s model and boatman for many studio. For making oil studies, he used prepared boards made from years. He regularly rowed the artist with his easel and oil paints to wooden panels which were more robust than canvas. Usually the remote beaches around Falmouth to paint. panel would have a light background base colour on which he would paint; with the present lot, however, Tuke has painted straight on We are grateful to Catherine Wallace for her assistance in cataloguing to the wooden panel. This means the colour of the wood becomes this lot. part of the painting. The tanned skin of the model merges with the background and Tuke uses the white of the reflected light on the sea to create a silhouette of the models shape.
19th Century European, Victorian and British Impressionist Art | 177 127 AR W Samuel John Lamorna Birch, RA, RWS, RWA (British, 1869-1955) Lamorna Valley, late afternoon signed ‘S.J.Lamorna Birch’ (lower centre) oil on canvas 121 x 91.5cm (47 5/8 x 36in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
Provenance Exhibited Sale, Christie’s London, 29 July 1988, lot 23 Penzance, Penlee House Gallery and Museum, Summer in February, Sale, Bonhams London, ‘Under a Western Sky - The Art of Newlyn 16 March- 8 June 2013 and St Ives’, 19 November 2008, lot 32 Private collection, UK The present work was painted from the garden of the Lamorna Hotel where it previously hung.
178 | Bonhams 128 AR Stanhope Alexander Forbes, RA (British, 1857-1947) The end of the day’s work signed and dated ‘Stanhope. A. Forbes/1935’ (lower right) oil on canvas 62 x 76.5cm (24 7/16 x 30 1/8in).
£15,000 - 20,000 €18,000 - 25,000 US$25,000 - 34,000
Provenance Sale, Bonhams London, November 10 1983, lot 24 Private collection, UK
Exhibited London, Royal Academy, 1935, no. 250
19th Century European, Victorian and British Impressionist Art | 179 129 Harold Harvey (British, 1874-1941) Picking chrysanthemums signed and dated ‘Harold Harvey. 1915’ (lower left) oil on canvas 54 x 46.5cm (21 1/4 x 18 5/16in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
Provenance with George Trubeu, Cardiff Private collection, UK
Harold Harvey returned to the theme of flowers throughout his career. Picking chrysanthemums shows a range of influences, from Whether they depicted a life of leisure or work, flowers were central Impressionism to the informal garden paintings of John Singer Sargent to his imagery and are at the heart of many of his greatest works. such as Garden study of the Vickers children (Flint Institute of Arts, They were often used as a compositional or subject device such as Michigan), where the flowers envelop the children in the same way. The in The Donkey Meadow, 1924 (Penlee House Gallery and Museum, flowers are mostly chrysanthemums which were imported into Europe Penzance) or Anemones, 1926 (Private collection), both showing in the 1890s from Japan (Philip Kolb ed., Marcel Proust: Selected people collecting or harvesting flowers, but very rarely do the actual Letters, 1880-1903, 1985, Oxford University Press, p.31) It is for this flowers dominate the picture space such as in the present lot. reason that they have traditionally been linked to the Japonisme that was so prevalent in the late 19th century. It was French growers who Picking chrysanthemums was painted in 1915. It is hard to assess the cultivated the chrysanthemum so it is not surprising that they also effect of the Great War on Harvey. There is no immediate marked shift became a favourite subject for many Impressionist painters and their in subject matter in these war years although the private and peaceful circle, their dense and large colourful heads lending them to the pure world he was depicting at the time takes on a greater poignancy in colour and strong impasto that Harvey also deploys. the tragic circumstances of the wider context. Unlike many Newlyn artists Harvey did not serve, this is thought to have been on account Harvey’s teacher Norman Garstin described the Cornwall of Harvey of his health but it is not certain. The war encouraged a shift towards and Laura Knight as ‘a riot of brilliant sunshine, of opulent colour and interiors and to a more private sphere for all artists, especially those of sensuous gaiety’ (The Art of Harold and Laura Knight, The Studio, who were best known for painting en plein air such as Harvey. In 1915 vol.57, 1912, p.195). This ‘riot’ of the flowers is held in check by the the coastlines became out of bounds to artists for reasons of national uncertain expression of the girl, an expression that recalls many of security. It was now illegal to sketch from nature, which could result Harvey’s subjects, from early fishermen to his later figure paintings. Its in imprisonment. So Harvey, along with many of the artists who had passivity, as though just interrupted in a quiet corner of a garden, is a remained in Cornwall looked increasingly to interiors and domestic common thread in Harvey’s figure painting which runs from his earliest scenes for their subjects. Stanhope Forbes inspired Newlyn scenes to the carefully designed figures that would come to dominate his work, particularly from the 1915 was a difficult year for Harvey personally. There are very few 1920s onwards. paintings dated from this time, most probably due to the death of his father, Francis Harvey, who died aged 72. This tragic event and the We are grateful to Peter Risdon, who has confirmed the authenticity of atmosphere of suspicion that gripped the country and in particular the present lot on the basis of photographs. The work will appear in his men not in service must have proved difficult for the artist. The carefree online catalogue of Harold Harvey’s work, www.haroldharvey.info. days of the Newlyn artists, their parties and youthful ambitions must have seemed a distant memory. Harvey, the Cornishman, raised in the Cornish Methodist tradition in Penzance was perhaps better placed than many artists to turn this situation to his advantage and it was in these years, supported by his wife Gertrude that Harvey developed from a typical Newlyn landscape painter into a wholly original artist equally adept when painting interiors, portraits, genre scenes as well as landscapes.
The more socially charged subjects of the early twentieth century gradually gave way to stylised interiors or genre scenes in privileged settings such as Taking Dolly for a Walk, painted in the same year as the present lot. It is this private domestic world that we glimpse, between the chrysanthemums, their brilliant white emphasised by the rich impasto. However, here the sparse formality of many of his interiors of the war and post war period is replaced by an informal swirl of white and coloured flowers.
180 | Bonhams 19th Century European, Victorian and British Impressionist Art | 181 130 AR Harold Knight, RA, ROI, RP (British, 1874-1961) The Print signed ‘Harold Knight’ (lower right) oil on canvas 76.5 x 63.5cm (30 1/8 x 25in).
£15,000 - 20,000 €18,000 - 25,000 US$25,000 - 34,000
Provenance Purchased from the artist by Sir Harold Paton Mitchell Collection of Sir John Clark George Private Collection, UK
Exhibited London, Royal Academy, 1933, no. 70
Literature Royal Academy Illustrated, 1933, p. 64
The sitter is most likely the artist’s wife, Dame Laura Knight, depicted holding one of her own prints from the pile on the table which had probably only recently been published. Another of her works, Circus Dressing Room, 1925, can be seen hanging on the wall behind her.
A similar composition, entitled The Letter, was sold at Sotheby’s, London, 26 June 2001, lot 461, for £38,000. The Letter depicts Dame Laura Knight, RA wearing the same blouse as in the present lot, again pictured in an interior setting with framed drawings on the wall behind her. The light source in both compositions streams in from the left hand side, highlighting the side of her face, clothing and hands.
The present lot hung on the walls of Tulliallan Castle, Kincardine, Fife, which was used by the Free Polish Army during WWII, later becoming a Scottish Police Academy.
We are grateful to Mr R. John Croft FCA, great nephew of Dame Laura Knight, for his assistance in cataloguing this lot.
182 | Bonhams 19th Century European, Victorian and British Impressionist Art | 183 131 AR Dame Laura Knight, RA, RWS (British, 1877-1970) Finale, skating ballet signed ‘Laura Knight’ (lower left), inscribed on a label attached to the reverse gouache and coloured chalks 55 x 76cm (21 5/8 x 29 15/16in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
Provenance The artist, 1965 Dame Laura Knight’s fascination with ballet costume design is evident Sale, Sotheby’s London, 30 September 1999, lot 63 here, as is her interest in the human form. The spotlights beam down Private collection, UK onto the two figures, highlighting the outstretched arms of the dancers in their elegant arabesque position. The light reflects brightly off the Exhibited shimmering surface of the ice and casts dramatic dark shadows of London, Royal Society of Painters in Watercolours the figures across the ice, emphasising the excited atmosphere of the London, Royal Academy, Dame Laura Knight, DBE, RA, 1965, no. 113 arena as they perform their grand finale.
We are grateful to Mr R. John Croft FCA, great nephew of the artist, for his assistance in cataloguing this lot.
184 | Bonhams 132 AR W Dame Laura Knight, RA, RWS (British, 1877-1970) The Circus Horse signed ‘Laura Knight’ (lower right) watercolour and bodycolour 56.5 x 77cm (22 1/4 x 30 5/16in).
£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000
Provenance Sale, Sotheby’s London, 27 November 1986 Sale, Sotheby’s London, 27 November 1996, lot 23 Private collection, UK
In 1929 and 1930, after many years spent in both Staithes and Cornwall, Dame Laura Knight toured the south coast of England with Great Carmo’s Circus. The circus horse depicted in the present lot may be Pollux, who worked in the circus shows during this time. As discussed in Laura Knight’s autobiography, Oil Paint and Grease Paint, Pollux was generally paired with Apollo, another skewbald. Great Carmo’s Circus horse trainer, Captain Anker, originally purchased Apollo as lion meat, however grew too fond of Apollo to follow through with this plan.
We are grateful to Mr R. John Croft FCA, great nephew of the artist, for his assistance in cataloguing this lot.
19th Century European, Victorian and British Impressionist Art | 185 133 * AR Sir Herbert James Gunn, RA, PRP, RSW (British, 1893- 1964) Les Pêcheurs signed ‘Herbert Gunn’ (lower left) oil on canvasboard 45.5 x 35.5cm (17 15/16 x 14in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
Provenance Sale, Christie’s London, 11 June 1982, lot 171, property of V. Hamnett Private collection, Australia
Exhibited (possibly) Southport, 1933
186 | Bonhams 19th Century European, Victorian and British Impressionist Art | 187 134 W Philip Alexius de László (British, 1869-1937) Portrait of Audrey Winifred Radcliffe Battine, wife of Oswald James Battine signed and dated ‘de László/1935.X.’ (lower right) oil on canvas 116 x 92cm (45 11/16 x 36 1/4in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
Provenance By direct descent from the sitter
Literature Laib L19509 (507) / C2 (22a) NPG Album 1935, p. 34 Sitters’ Book II, f. 85: Audrey Battine Oct. 3rd 1935
This portrait was commissioned in July 1935 and Mrs Battine made Audrey Winifred Radcliffe Magee was born 15 May 1904, the daughter two visits to de László’s studio at 3 Fitzjohn’s Avenue in London of Joseph Magee, owner of the Magee-Marshall Brewery, based to decide on the composition and style of frame for her portrait. in Bolton, Lancashire, and his wife Annie Marshall. She married 14 Sittings began 24 September 1935 and de László clearly relished the August 1926, Oswald James Battine (1905-1938) at St George’s, commission, recording his impressions of the sitter in his diary: “very Hanover Square. Mrs Battine succeeded her mother as Chairman of interesting, attractive, strange & inspiring. Very beautiful figure, slender the Magee-Marshall Brewery in 1951. It was then the largest private & distinguished, deep black hear [sic, i.e. “hair”] & eyes...I will be able brewery in existence at the time. She died 12 December 1965, leaving to do something to my liking.” a considerable estate.
Mrs Battine chose to be painted in a gown of chiffon lamé shot with We are grateful to Katherine Field for writing the catalogue gold by the House of Worth. Eleven sittings were required before the entry for this lot, which will be included in the Philip de László picture was completed on 17 October, indicating de László took great catalogue raisonné, currently presented in progress online: www. care to produce an excellent likeness and elegant composition. The delaszlocatalogueraisonne.com price paid for the portrait was 900 guineas. The Hon. Mrs de Laszlo and a team of editors are compiling the catalogue raisonné of the artist’s entire oeuvre. Katherine Field is the British and North American Editor. Please see www. delaszloarchivetrust.com or contact [email protected] for more information or to offer any contribution.
188 | Bonhams 19th Century European, Victorian and British Impressionist Art | 189 135 * AR Sir William Russell Flint, RA, PRWS (British, 1880-1969) The Locket signed ‘W.RUSSELL FLINT’ (lower right), also signed, inscribed and dated ‘The Locket/Cecilia/Nov.5 1964/W Russell Flint’ in pencil on reverse watercolour 31.8 x 23.8cm (12 1/2 x 9 3/8in).
£25,000 - 35,000 €31,000 - 43,000 US$42,000 - 59,000
Provenance Private collection, South Africa
190 | Bonhams 19th Century European, Victorian and British Impressionist Art | 191 136 * AR Sir William Russell Flint, RA, PRWS (British, 1880-1969) La Source signed ‘W RUSSELL FLINT’ (lower right), also signed, inscribed and dated ‘La Source/W Russell Flint/May 1957-May 1959’ in pencil on reverse watercolour 49 x 66.7cm (19 5/16 x 26 1/4in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
Provenance Private collection, South Africa
192 | Bonhams 19th Century European, Victorian and British Impressionist Art | 193 137 AR Sir William Russell Flint, RA, PRWS (British, 1880-1969) The girl in the blue bathing cap signed ‘W.Russell Flint’ (lower right) watercolour 41 x 66cm (16 1/8 x 26in).
£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000
194 | Bonhams 138 AR W Rowland Wheelwright (British, 1870-1955) A secluded spot signed ‘R. Wheelwright’ (lower right) oil on canvas 101.6 x 76.2cm (40 x 30in).
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
19th Century European, Victorian and British Impressionist Art | 195 139 * AR W Rowland Wheelwright (British, 1870-1955) Holiday Time signed ‘RWHEELWRIGHT’ (lower right), indistinctly signed and inscribed with title and artist’s address on the reverse oil on canvas 72 x 92cm (28 3/8 x 36 1/4in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
Provenance Martha Wheelwright, the artist’s sister-in-law thence by direct descent Private collection, Australia
Rowland Wheelwright was born in Ipswich, Queensland, Australia into a sheep farming family. Following the drought of 1891, his family decided to return to England. After attending Tonbridge School, Wheelwright studied at St John’s Wood Art School and then at the Herkomer School in Bushey, alongside Lucy Kemp-Welch (1869–1958); like Kemp-Welch, Wheelwright settled in the area, first in Watford and then in Bushey itself, where he worked and remained for most of his life. He exhibited at the Royal Academy from 1895 until 1930.
Apart from historical and literary subjects which were treated in a realist manner, he was also an accomplished illustrator being commissioned to illustrate works by the great literary figures such as Charles Dickens, Sir Walter Scott and Alexander Dumas.
The present lot may well have been painted on the tiny island of Sark where Wheelwright produced some of most popular pictures often bringing models, like the Beacham sisters, over from the mainland to pose for him.
196 | Bonhams 19th Century European, Victorian and British Impressionist Art | 197 198 | Bonhams Edward Seago, RWS Lots 140 - 147
19th Century European, Victorian and British Impressionist Art | 199 140 AR Edward Seago, RWS (British, 1910-1974) Spritsail barges waiting for the tide signed ‘Edward Seago’ (lower left), indistinctly inscribed with title on the reverse oil on board 26 x 40.5cm (10 1/4 x 15 15/16in).
£8,000 - 12,000 €9,800 - 15,000 US$13,000 - 20,000
Provenance with P. & D. Colnaghi & Co. Ltd., London with E. Stacy-Marks Ltd, Eastbourne, stock no. S493, bought for 3,950 guineas Private collection, UK
To be sold with original invoices.
200 | Bonhams 141 AR Edward Seago, RWS (British, 1910-1974) Farm House at Piccolo Pevero signed ‘Edward Seago’ (lower left), inscribed with title on the reverse oil on board 30.5 x 41cm (12 x 16 1/8in).
£5,000 - 7,000 €6,100 - 8,600 US$8,400 - 12,000
Provenance with E. Stacy-Marks Ltd., Eastbourne, stock no. S420, bought for 1,240 guineas Private collection, UK
To be sold with original invoice.
The small cove of Piccolo Pevero in Golfo Pevero, Sardinia, is situated that he would later work from in his studio. Only 2km south of Porto just south of Porto Cervo, where Edward Seago purchased an Cervo, Seago may well have known the cove of Piccolo Pevero. apartment, Sa Conca, in 1968. Although the bustling harbour of Porto This period of his career was important, with his first exhibition at the Cervo provided Seago with ample artistic inspiration, he also made Marlborough Gallery in 1968; Porto Cervo not only provided stunning frequent excursions by motor boat with friends to nearby beaches vistas as subject matter, but also a place where he could relax. The and quiet villages. One such friend, Peter Seymour, would film local works he produced during this time reflect this happy and carefree scenes with a 16mm camera whilst Seago would take photographs mood, painting blissful, often unpopulated landscapes filled with olive greens, blues and warm yellows to recreate the unique golden light of the Mediterranean.
19th Century European, Victorian and British Impressionist Art | 201 142 AR W Edward Seago, RWS (British, 1910-1974) On the dunes signed ‘Edward Seago’ (lower left) oil on canvas 66 x 91.5cm (26 x 36in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
Provenance with P & D Colnaghi & Co. Ltd Purchased by the present owner’s aunt in the late 1940s Thence by descent
202 | Bonhams 19th Century European, Victorian and British Impressionist Art | 203 143 AR W Edward Seago, RWS (British, 1910-1974) Preparing to refloat a grounded trawler signed ‘Edward Seago’ (lower left), inscribed with title on the reverse oil on board 56.5 x 91.5cm (22 1/4 x 36in).
£40,000 - 60,000 €49,000 - 74,000 US$67,000 - 100,000
Provenance Sale, Christie’s London, 23 March 1995, lot 97 Private collection, UK
204 | Bonhams 19th Century European, Victorian and British Impressionist Art | 205 144 * AR Edward Seago, RWS (British, 1910-1974) Shrimp boats on the Suffolk Coast signed ‘Edward Seago’ (lower left), inscribed with title on the reverse oil on board 50.5 x 76cm (19 7/8 x 29 15/16in).
£30,000 - 40,000 €37,000 - 49,000 US$51,000 - 67,000
206 | Bonhams 19th Century European, Victorian and British Impressionist Art | 207 145 * AR Edward Seago, RWS (British, 1910-1974) Overlooking the Orwell signed ‘Edward Seago’ (lower left), inscribed with title on the reverse oil on board 30.5 x 41cm (12 x 16 1/8in).
£7,000 - 10,000 €8,600 - 12,000 US$12,000 - 17,000
Provenance with G. Blair Laing Ltd., Toronto Private collection, Canada
208 | Bonhams 146 * AR Edward Seago, RWS (British, 1910-1974) Thurne Mill signed ‘Edward Seago’ (lower left), inscribed with title on the reverse oil on board 30.5 x 40.5cm (12 x 15 15/16in).
£7,000 - 10,000 €8,600 - 12,000 US$12,000 - 17,000
Provenance with Laing Galleries, Toronto Private collection, Canada
19th Century European, Victorian and British Impressionist Art | 209 147 * AR Edward Seago, RWS (British, 1910-1974) Spritsail barges under sail signed ‘Edward Seago’ (lower left), inscribed with title on the reverse oil on board 50.5 x 76.5cm (19 7/8 x 30 1/8in).
£20,000 - 30,000 €25,000 - 37,000 US$34,000 - 51,000
Provenance with Pieter Wenning Gallery Private collection, South Africa
210 | Bonhams 19th Century European, Victorian and British Impressionist Art | 211 148 AR Charles Spencelayh, RMS, HRBSA (British, 1865-1958) A letter to father signed ‘C SPENCELAYH’ (lower right) oil on canvas 31 x 41cm (12 3/16 x 16 1/8in).
£4,000 - 6,000 €4,900 - 7,400 US$6,700 - 10,000
Provenance Sale, Hamptons Fine Art, Godalming, 29 May 2002, lot 471 with Willow Gallery, Weybridge Private collection
212 | Bonhams Index
A Knight, Harold 130 Allingham, Helen 3 Knight, Laura 131, 132 Andreotti, Federico 83 Knowles, George Sheridan 18 Angermeyer, Hermann 77 Koekkoek the Elder, Hermanus 59 Artz, David Adolf Constant 57 Kornbeck, Peter 118 Austrian School 49 Kruseman, Frederik Marinus 60 B Kuhnert, Wilhelm Friedrich 79 Bellei, Gaetano 86 L Birch, Samuel John Lamorna 127 Langley, Walter 123 Birger, Hugo 46 Làszlò, Philip Alexius de 134 Blommers, Bernardus Johannes 67 Leickert, Charles 56, 65 Boldini, Giovanni 88, 89 Lesrel, Adolphe Alexandre 81 Bonirote, Pierre 97 Lidderdale, Charles Sillem 19 Bossuet, François Antoine 32 Luker, William 51 Brandeis, Antonietta 30 M Brandon, Jacques Emile Edouard 95 Maestri, Michelangelo 27 Brunery, François 82 Margetson, William Henry 17 Burne-Jones, Bt., Sir Edward Coley 6 Marko, Andreas 43 C Marshall, William Elstob 13 Caffi, Ippolito 44 Menpes, Mortimer Luddington 52, 53, 54 Calderon, Charles Clément 35 Mesdag, Hendrik Willem 66 Chiarolanza, Giuseppe 31 Miguel, Cyprien Auguste 48 Clausen, George 121 Moll, Carl 74 Coleman, Francesco 47 Morgan, Frederick 22 Cooke, Edward William 23, 106, 107, 108, 109, 110, Muenier, Jules Alexis 93 111, 112, 113, 114, 115, 116, 119 N Corot, Jean-Baptiste-Camille 92 Newton, John Edward 9 Courbet, Gustave 91 P D Paoletti, Antonio Ermolao 36 Davis, Henry William Banks 14 Poret, Xavier de 103 Davis, William 8 Postiglione, Luca 37 de Blaas, Eugene 76 Power, Harold Septimus 16 Delacroix, Eugène 90 Pratella, Attilio 33 E Pritchett, Edward 25, 26 Eerelman, Otto 12 R Eisman-Semenowsky, Emile 101 Reggianini, Vittorio 84 English School 117 Ronner-Knip, Henriette 70 F Roosenboom, Margaretha 71 Fildes, Sir Samuel Luke 21 Rosello, Joaquin Luque 40 Flint, William Russell 135, 136, 137 Rougeron, Jules James 98 Forbes, Stanhope Alexander 128 Ruyten, Jean (Jan) Michael 64 Forti, Ettore 39 S Foster, Herbert Wilson 15 Schelfhout, Andreas 61 Foster, Myles Birket 1, 2, 4 Schendel, Petrus van 68, 69 G Seago, Edward 140, 141, 142, 143, 144, 145, 146, 147 Gabani, Giuseppe 41 Seignac, Guillaume 99, 100 Gailliard, Frans 96 Sieffert,P aul 102 Galien-Laloue, Eugène 105 Simmons, John 7 Gavin, Robert 50 Simoni, Gustavo 45 Gouwe, Adriaan Herman 75 Soulacroix, Frèdèric 80 Grimshaw, John Atkinson 120 Spencelayh, Charles 148 Grubacs, Carlo 28 Spohler, Jan Jacob 58 Grubacs, Giovanni 29 Springer, Cornelis 62, 63 Gunn, Herbert James 133 Stein, Georges 104 H Stok, Jacobus van der 55 Harris, Edwin 124 Tafuri, Raffaele 34 Harvey, Harold 129 Tayler, Albert Chevallier 122 Hayllar, Jessica 20 Tischler, Victor 78 Herring, Jnr., John Frederick 10, 11 Torre, Giulio del 38 Hicks, George Elgar 5 Tuke, Henry Scott 125, 126 I Wheelwright, Rowland 138, 139 Irolli, Vincenzo 87 Williams, Penry 42 Israels, Isaac 73 Woods, Henry 24 J Zampighi, Eugenio 85 Jans, Edouard de 94 K Kaercher, Amalie 72 contact 19th Century William adolphe inquiries the John robertson coLLection +44 (0) 207 468 8211 Bouguereau +1 (323) 436 5488 New Bond Street [email protected] european paintings A portrait of Eva and [email protected] Wednesday. July 9, 2014 5 November, New York Frances Johnston Consignments now invited sold for $485,000 Peter MonaMy (London 1681-1749) The Royal Yacht Peregrine and another yacht in the Medway off Gillingham, Kent, passing Upnor Castle (detail) signed oil on canvas 68.6 x 156.3cm (27 x 61 9/16in). $100,000 - 130,000
bonhams.com/oldmasters bonhams.com/europaintings contact 19th Century William adolphe inquiries the John robertson coLLection +44 (0) 207 468 8211 Bouguereau +1 (323) 436 5488 New Bond Street [email protected] european paintings A portrait of Eva and [email protected] Wednesday. July 9, 2014 5 November, New York Frances Johnston Consignments now invited sold for $485,000 Peter MonaMy (London 1681-1749) The Royal Yacht Peregrine and another yacht in the Medway off Gillingham, Kent, passing Upnor Castle (detail) signed oil on canvas 68.6 x 156.3cm (27 x 61 9/16in). $100,000 - 130,000
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YOU ARE Contractual Description of a Lot is any doubt as to the Hammer Price of, or whether you are the Appendix 1 at the back of the Catalogue. You will be liable to the Sale may also be given out orally before and during the STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT The Catalogue contains an Entry about each Lot. Each Lot successful Bidder of, a particular Lot, you must draw this to the pay the Purchase Price, which is the Hammer Price plus any In all other instances no VAT will be charged on the Hammer Sale without prior written notice. You should be alert to the EXAMINED ON YOUR BEHALF BEFORE THE SALE. is sold by its respective Seller to the Buyer of the Lot as attention of the Auctioneer before the next Lot is offered for applicable VAT. At the same time, a separate contract is also Price, but VAT at the prevailing rate will be added to Buyer’s possibility of changes and ask in advance of bidding if there corresponding only with that part of the Entry which is Sale. At the end of the Sale, or when you have finished bidding entered into between us as Auctioneers and the Buyer. This Premium which will be invoiced on a VAT inclusive basis. have been any. 4. CONDUCT OF THE SALE printed in bold letters and (except for the colour, which may please return your paddle to the Bidder registration desk. is our Buyer’s Agreement, the terms of which are set out in be inaccurately reproduced) with any photograph of the Lot Appendix 2 at the back of the Catalogue. Please read the terms 9. PAYMENT 1. OUR ROLE Our Sales are public auctions which persons may attend and in the Catalogue. The remainder of the Entry, which is not Bidding by telephone (only available on lots with a of the Contract for Sale and our Buyer’s Agreement contained you should take the opportunity to do so. We do reserve the printed in bold letters, represents Bonhams’ opinion (given on low estimate greater than £400) in the Catalogue in case you are the successful Bidder. We It is of critical importance that you ensure that you have readily In its role as Auctioneer of Lots, Bonhams acts solely for and right at our sole discretion to refuse admission to our premises behalf of the Seller) about the Lot only and is not part of the If you wish to bid at the Sale by telephone, please complete a may change the terms of either or both of these agreements available funds to pay the Purchase Price and the Buyer’s in the interests of the Seller. Bonhams’ job is to sell the Lot at or to any Sale without stating a reason. We have complete Contractual Description in accordance with which the Lot is Telephone Bidding Form, which is available from our offices or in advance of their being entered into, by setting out different Premium (plus VAT and any other charges and Expenses to us) the highest price obtainable at the Sale to a Bidder. Bonhams discretion as to whether the Sale proceeds, whether any Lot is sold by the Seller. in the Catalogue. Please then return it to the office responsible terms in the Catalogue and/or by placing an insert in the in full before making a bid for the Lot. If you are a successful does not act for Buyers or Bidders in this role and does not included in the Sale, the manner in which the Sale is conducted for the Sale at least 24 hours in advance of the Sale. It is your Catalogue and/or by notices at the Sale venue and/or by oral Bidder, payment will be due to us by 4.30 pm on the second give advice to Buyers or Bidders. When it or its staff make and we may offer Lots for Sale in any order we choose Estimates responsibility to check with our Bids Office that your bid has announcements before and during the Sale. You should be working day after the Sale so that all sums are cleared by statements about a Lot or, if Bonhams provides a Condition notwithstanding the numbers given to Lots in the Catalogue. In most cases, an Estimate is printed beside the Entry. Estimates been received. Telephone calls will be recorded. The telephone alert to this possibility of changes and ask if there have been the eighth working day after the Sale. Unless agreed by us in Report on a Lot it is doing that on behalf of the Seller of the You should therefore check the date and starting time of the are only an expression of Bonhams’ opinion made on behalf bidding facility is a discretionary service and may not be any. advance payments made by anyone other than the registered Lot. Bidders and Buyers who are themselves not expert in Sale, whether there have been any withdrawals or late entries. of the Seller of the range where Bonhams thinks the Hammer available in relation to all Lots. We will not be responsible for Buyer will not be accepted. Payment will have to be by one of the Lots are strongly advised to seek and obtain independent Remember that withdrawals and late entries may affect the Price for the Lot is likely to fall; it is not an Estimate of value. bidding on your behalf if you are unavailable at the time of 7. BUYER’S PREMIUM AND OTHER CHARGES the following methods (all cheques should be made payable to advice on the Lots and their value before bidding for them. time at which a Lot you are interested in is put up for Sale. We It does not take into account any VAT or Buyer’s Premium the Sale or if the telephone connection is interrupted during PAYABLE BY THE BUYER Bonhams 1793 Limited). Bonhams reserves the right to vary the The Seller has authorised Bonhams to sell the Lot as its agent have complete discretion to refuse any bid, to nominate any payable. Lots can in fact sell for Hammer Prices below and bidding. Please contact us for further details. terms of payment at any time. on its behalf and, save where we expressly make it clear to bidding increment we consider appropriate, to divide any Lot, above the Estimate. Any Estimate should not be relied on as an Under the Buyer’s Agreement, a premium (the Buyer’s the contrary, Bonhams acts only as agent for the Seller. Any to combine two or more Lots, to withdraw any Lot from a Sale indication of the actual selling price or value of a Lot. Estimates Bidding by post or fax Premium) is payable to us by the Buyer in accordance with the Sterling personal cheque drawn on a UK branch of a bank statement or representation we make in respect of a Lot is and, before the Sale has been closed, to put up any Lot for are in the currency of the Sale. Absentee Bidding Forms can be found in the back of this terms of the Buyer’s Agreement and at rates set out below, or building society: all cheques must be cleared before you made on the Seller’s behalf and, unless Bonhams sells a Lot auction again. Auction speeds can exceed 100 Lots to the hour Catalogue and should be completed and sent to the office calculated by reference to the Hammer Price and payable in can collect your purchases; as principal, not on our behalf and any Contract for Sale is and bidding increments are generally about 10%. However Condition Reports responsible for the Sale. It is in your interests to return your addition to it. Storage charges and Expenses are also payable between the Buyer and the Seller and not with us. If Bonhams these do vary from Sale to Sale and from Auctioneer to In respect of most Lots, you may ask for a Condition Report on form as soon as possible, as if two or more Bidders submit by the Buyer as set out in the Buyer’s Agreement. All the sums Bankers draft/building society cheque: if you can provide sells a Lot as principal this will either be stated in the Catalogue Auctioneer. Please check with the department organising the its physical condition from Bonhams. If you do so, this will be identical bids for a Lot, the first bid received takes preference. payable to us by the Buyer are subject to VAT. For this Sale the suitable proof of identity and we are satisfied as to the or an announcement to that effect will be made by the Sale for advice on this. Where a Reserve has been applied to a provided by Bonhams on behalf of the Seller free of charge. In any event, all bids should be received at least 24 hours following rates of Buyer’s Premium will be payable by Buyers genuineness of the draft or cheque, we will allow you to collect Auctioneer, or it will be stated in a notice at the Sale or an Lot, the Auctioneer may, in his absolute discretion, place bids Bonhams is not entering into a contract with you in respect before the start of the Sale. Please check your Absentee of Lots: your purchases immediately; insert in the Catalogue. (up to an amount not equalling or exceeding such Reserve) on of the Condition Report and accordingly does not assume Bidding Form carefully before returning it to us, fully completed behalf of the Seller. We are not responsible to you in respect of 25% up to £50,000 of the Hammer Price responsibility to you in respect of it. Nor does the Seller owe or and signed by you. It is your responsibility to check with our Cash: you may pay for Lots purchased by you at this Sale with Bonhams does not owe or undertake or agree to any duty the presence or absence of any Reserve in respect of any Lot. If 20% from £50,001 to £1,000,000 of the Hammer Price agree to owe you as a Bidder any obligation or duty in respect Bids Office that your bid has been received. This additional notes, coins or travellers cheques in the currency in which or responsibility to you in contract or tort (whether direct, there is a Reserve it will normally be no higher than the lower 12% from £1,000,001 of the Hammer Price of this free report about a Lot, which is available for your own service is complimentary and is confidential. Such bids are the Sale is conducted (but not any other currency) provided collateral, express, implied or otherwise). If you successfully bid figure for any Estimate in the Catalogue, assuming that the inspection or for inspection by an expert instructed by you. made at your own risk and we cannot accept liability for our that the total amount payable by you in respect of all Lots for a Lot and buy it, at that stage Bonhams does enter into an currency of the Reserve has not fluctuated adversely against On certain Lots, which will be marked “AR” in the Catalogue However, any written Description of the physical condition of failure to receive and/or place any such bids. All bids made purchased by you at the Sale does not exceed £3,000, or the agreement with the Buyer. The terms of that contract are set the currency of the Estimate. The Buyer will be the Bidder who and which are sold for a Hammer Price of €1,000 or greater the Lot contained in a Condition Report will form part of the on your behalf will be made at the lowest level possible equivalent in the currency in which the Sale is conducted, at out in our Buyer’s Agreement, which you will find at Appendix makes the highest bid acceptable to the Auctioneer for any Lot (converted into the currency of the Sale using the European Contractual Description of the Lot under which it is sold to subject to Reserves and other bids made for the Lot. Where the time when payment is made. If the amount payable by you 2 at the back of the Catalogue. This will govern Bonhams’ (subject to any applicable Reserve) to whom the Lot is knocked Central Bank Reference rate prevailing on the date of the Sale), any Buyer. appropriate your bids will be rounded down to the nearest for Lots exceeds that sum, the balance must be paid otherwise relationship with the Buyer. down by the Auctioneer at the fall of the Auctioneer’s hammer. the Additional Premium will be payable to us by the Buyer to amount consistent with the Auctioneer’s bidding increments. than in coins, notes or travellers cheques; Any dispute as to the highest acceptable bid will be settled by cover our Expenses relating to the payment of royalties under The Seller’s responsibility to you New Bidders must also provide proof of identity and address 2. LOTS the Auctioneer in his absolute discretion. All bids tendered will the Artists Resale Right Regulations 2006. The Additional The Seller does not make or agree to make any representation when submitting bids. Failure to do this will result in your bid Sterling travellers cheques: you may pay for Lots purchased relate to the actual Lot number announced by the Auctioneer. Premium will be a percentage of the amount of the Hammer of fact or contractual promise, Guarantee or warranty and not being placed. by you at this Sale with travellers cheques, provided the total Subject to the Contractual Description printed in bold letters An electronic currency converter may be used at the Sale. This Price calculated in accordance with the table below, and shall undertakes no obligation or duty, whether in contract or in amount payable by you in respect of all Lots purchased by you in the Entry about the Lot in the Catalogue (see paragraph 3 equipment is provided as a general guide as to the equivalent not exceed €12,500 (converted into the currency of the Sale tort (other than to the eventual Buyer as set out above), in Bidding via the internet at the Sale does not exceed £3,000. We will need to see your below), Lots are sold to the Buyer on an “as is” basis, with amount in certain currencies of a given bid. We do not accept using the European Central Bank Reference rate prevailing on respect of the accuracy or completeness of any statement Please visit our Website at http://www.bonhams.com for passport if you wish to pay using travellers cheques; all faults and imperfections. Illustrations and photographs any responsibility for any errors which may occur in the use of the date of the Sale). or representation made by him or on his behalf, which is in details of how to bid via the internet. contained in the Catalogue (other than photographs forming the currency converter. We may use video cameras to record any way descriptive of any Lot or as to the anticipated or Hammer Price Percentage amount Bank transfer: you may electronically transfer funds to our part of the Contractual Description) or elsewhere of any Lots the Sale and may record telephone calls for reasons of security likely selling price of any Lot. Other than as set out above, Bidding through an agent From €0 to €50,000 4% Trust Account. If you do so, please quote your paddle number are for identification purposes only. They may not reveal the and to assist in solving any disputes which may arise in relation no statement or representation in any way descriptive of a Bids will be accepted as placed on behalf of the person named From €50,000.01 to €200,000 3% and invoice number as the reference. Our Trust Account details true condition of the Lot. A photograph or illustration may not to bids made at the Sale. At some Sales, for example, jewellery Lot or any Estimate is incorporated into any Contract for Sale as the principal on the Bidding Form although we may refuse From €200,000.01 to €350,000 1% are as follows: reflect an accurate reproduction of the colour(s) of the Lot. Lots Sales, we may use screens on which images of the Lots will be between a Seller and a Buyer. to accept bids from an agent on behalf of a principal and will From €350,000.01 to €500,000 0.5% are available for inspection prior to the Sale and it is for you to projected. This service is provided to assist viewing at the Sale. Bank: National Westminster Bank Plc require written confirmation from the principal confirming Exceeding €500,000 0.25% satisfy yourself as to each and every aspect of a Lot, including The image on the screen should be treated as an indication Address: PO Box 4RY Bonhams’ responsibility to you the agent’s authority to bid. Nevertheless, as the Bidding its authorship, attribution, condition, provenance, history, only of the current Lot. It should be noted that all bids 250 Regent Street You have the opportunity of examining the Lot if you want to Form explains, any person placing a bid as agent on behalf 8. VAT background, authenticity, style, period, age, suitability, quality, tendered will relate to the actual Lot number announced by London W1A 4RY and the Contract for Sale for a Lot is with the Seller and not of another (whether or not he has disclosed that fact or the roadworthiness (if relevant), origin, value and estimated selling the Auctioneer. We do not accept any responsibility for any Account Name: Bonhams 1793 Limited Trust Account with Bonhams; Bonhams acts as the Seller’s agent only (unless identity of his principal) will be jointly and severally liable with The prevailing rate of VAT at the time of going to press is 20%, price (including the Hammer Price). It is your responsibility errors which may occur in the use of the screen. Account Number: 25563009 Bonhams sells the Lot as principal). the principal to the Seller and to Bonhams under any contract but this is subject to government change and the rate payable to examine any Lot in which you are interested. It should be Sort Code: 56-00-27 resulting from the acceptance of a bid. Subject to the above, will be the rate in force on the date of the Sale. remembered that the actual condition of a Lot may not be as 5. BIDDING IBAN Number: GB 33 NWBK 560027 25563009 Bonhams undertakes no obligation to you to examine, please let us know if you are acting on behalf of another good as that indicated by its outward appearance. In particular, investigate or carry out any tests, either in sufficient depth or person when bidding for Lots at the Sale. The following symbols are used to denote that VAT is due on parts may have been replaced or renewed and Lots may not We do not accept bids from any person who has not If paying by bank transfer, the amount received after the at all, on each Lot to establish the accuracy or otherwise of any the Hammer Price and Buyer’s Premium: be authentic or of satisfactory quality; the inside of a Lot may completed and delivered to us one of our Bidding Forms, deduction of any bank fees and/or conversion of the currency Descriptions or opinions given by Bonhams, or by any person Equally, please let us know if you intend to nominate another † VAT at the prevailing rate on Hammer Price and Buyer’s not be visible and may not be original or may be damaged, either our Bidder Registration Form, Absentee Bidding Form of payment to pounds sterling must not be less than the on Bonhams’ behalf, whether in the Catalogue or elsewhere. person to bid on your behalf at the Sale unless this is to be Premium as for example where it is covered by upholstery or material. or Telephone Bidding Form. You will be asked for proof of sterling amount payable, as set out on the invoice. carried out by us pursuant to a Telephone or Absentee Bidding Ω VAT on imported items at the prevailing rate on Hammer Given the age of many Lots they may have been damaged and/ identity, residence and references, which, when asked for, you You should not suppose that such examinations, investigations Form that you have completed. If we do not approve the Price and Buyer’s Premium or repaired and you should not assume that a Lot is in good must supply if your bids are to be accepted by us. Please bring Debit cards: there is no additional charge for purchases made or tests have occurred. agency arrangements in writing before the Sale, we are entitled * VAT on imported items at a preferential rate of 5% on condition. Electronic or mechanical parts may not operate your passport, driving licence (or similar photographic proof with personal debit cards, issued by a UK bank. Debit cards to assume that the person bidding at the Sale is bidding on his Hammer Price and the prevailing rate on Buyer’s Premium or may not comply with current statutory requirements. You of identity) and proof of address. We may request a deposit issued by an overseas bank, deferred and company debit cards Bonhams does not make or agree to make any representation own behalf. Accordingly, the person bidding at the Sale will should not assume that electrical items designed to operate from you before allowing you to bid. We may refuse entry and all credit cards will be subject to a 2% surcharge; of fact, and undertakes no obligation or duty (whether in be the Buyer and will be liable to pay the Hammer Price and on mains electricity will be suitable for connection to the to a Sale to any person even if that person has completed a contract or tort) in respect of the accuracy or completeness Buyer’s Premium and associated charges. If we approve the mains electricity supply and you should obtain a report from Bidding Form. of any statement or representation made by Bonhams or on
NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 Union Pay cards: these are now accepted at our Knightsbridge any Description or Estimate made of any Lot, or the conduct modern firearms specialist. All prospective Bidders are advised and New Bond Street offices, when presented in person by the of any Sale in relation to any Lot, whether in damages, for an to consult the ˚ of bore and wall-thickness measurements card holder. These cards are subject to a 2% surcharge. indemnity or contribution, or for a restitutionary remedy or posted in the saleroom and available from the department. otherwise, our and/or the Seller’s liability (combined, if both Bidders should note that guns are stripped only where there Credit cards: Visa and Mastercard only. Please note there is a we and the Seller are liable) will be limited to payment of a is a strong indication of a mechanical malfunction. Stripping 2% surcharge on the total invoice value when payments are sum which will not exceed by way of maximum the amount is not, otherwise, undertaken. Guns intended for use should made using credit cards. It may be advisable to notify your card of the Purchase Price of the Lot irrespective in any case of the be stripped and cleaned beforehand. Hammer guns should provider of your intended purchase in advance to reduce delays nature, volume or source of any loss or damage alleged to be have their rebound mechanisms checked before use. The caused by us having to seek authority when you come to pay. If suffered or sum claimed as due, and irrespective of whether safety mechanisms of all guns must be tested before use. you have any questions with regard to payment, please contact the liability arises from any negligence, other tort, breach All measurements are approximate. our Customer Services Department. of contract (if any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting Original Gun Specifications Derived from Gunmakers 10. COLLECTION AND STORAGE (whether directly or indirectly) our liability or excluding or The Sporting Gun Department endeavours to confirm a gun’s restricting any person’s rights or remedies in respect of (i) fraud, original specification and date of manufacture with makers The Buyer of a Lot will not be allowed to collect it until or (ii) death or personal injury caused by our negligence (or by who hold their original records. payment in full and in cleared funds has been made (unless the negligence of any person under our control or for whom we have made a special arrangement with the Buyer). For we are legally responsible), or (iii) acts or omissions for which Licensing Requirements collection and removal of purchased Lots, please refer to Sale we are liable under the Occupiers Liability Act 1957, or (iv) Firearms Act 1968 as amended Information at the front of the Catalogue. Our offices are any other liability to the extent the same may not be excluded Bonhams is constantly reviewing its procedures and would open 9.00am – 5pm Monday to Friday. Details relating to or restricted as a matter of law or (v) our undertakings under remind you that, in the case of firearms or shotguns subject to the collection of a Lot, the storage of a Lot and our Storage paragraphs 9 (in relation to specialist Stamp or Book Sales only) certification, to conform with current legislation, Bonhams is Contractor after the Sale are set out in the Catalogue. and 10 of the Buyer’s Agreement. The same applies in respect required to see, as appropriate, your original registered firearms of the Seller, as if references to us in this paragraph were dealer’s certificate / shot gun certificate / firearm certificate / 11. SHIPPING substituted with references to the Seller. museum firearms licence / Section 5 authority or import licence (or details of any exemption from which you may benefit, for Please refer all enquiries to our shipping department on: 15. BOOKS instance Crown servant status) for the firearm(s) you have Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 purchased prior to taking full payment of the amount shown Email: [email protected] As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially 12. EXPORT/TRADE RESTRICTIONS set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. import regulations relating to your purchases and also to obtain unframed maps and bound manuscripts are not liable to VAT any relevant export and/or import licence(s). Export licences are on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable to issued by Arts Council England and application forms can be produce the correct paperwork, the Lot(s) will be reoffered by obtained from its Export Licensing Unit. The detailed provisions 16. CLOCKS AND WATCHES Bonhams in the next appropriate Sale, on standard terms for of the export licencing arrangements can be found on the ACE Sellers, and you will be responsible for any loss incurred by website http://www.artscouncil.org.uk/what-we-do/supporting- All Lots are sold “as is”, and the absence of any reference Bonhams on the original Sale to you. museums/cultural-property/export-controls/export-licensing/ to the condition of a clock or watch does not imply that or by phoning ACE on +44 (0)20 7973 5188. The need for the Lot is in good condition and without defects, repairs or In the case of RFD certificates and Section 5 authorities, we import licences varies from country to country and you should restorations. Most clocks and watches have been repaired in wish to keep an up-to-date copy on file. Please supply us with acquaint yourself with all relevant local requirements and the course of their normal lifetime and may now incorporate a Fax or photocopy. It would be helpful if you could send us an provisions. The refusal of any import or export licence(s) or parts not original to them. Furthermore, Bonhams makes updated copy whenever your certificate or authority is renewed any delay in obtaining such licence(s) shall not permit the no representation or warranty that any clock or watch is in or changed. rescission of any Sale nor allow any delay in making full working order. As clocks and watches often contain fine and payment for the Lot. Generally, please contact our shipping complex mechanisms, Bidders should be aware that a general Lots marked ‘S1´ and bearing red labels are Section 1 firearms department before the Sale if you require assistance in service, change of battery or further repair work, for which the and require a valid British Firearms certificate, RFD Licence or relation to export regulations. Buyer is solely responsible, may be necessary. Bidders should import licence. be aware that the importation of watches such as Rolex, Frank 13. CITES REGULATIONS Muller and Corum into the United States is highly restricted. Lots marked ‘S2’ and bearing blue labels are Section 2 firearms These watches may not be shipped to the USA and can only be and require a valid British Shotgun certificate, RFD licence or Please be aware that all Lots marked with the symbol Y are imported personally. import licence. subject to CITES regulations when exporting these items outside the EU. These regulations may be found at 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 be requested from: Authority or import licence. Proof of Firearms Animal Health and Veterinary Laboratories Agency (AHVLA) The term “proof exemption” indicates that a firearm has Lots marked with a ‘S58´ and bearing yellow labels are for Wildlife Licencing been examined at a Proof House, but not proved, as either obsolete calibres and no licence is required unless ammunition Floor 1, Zone 17, Temple Quay House (a) it was deemed of interest and not intended for use, or (b) is held. 2 The Square, Temple Quay ammunition was not available. In either case, the firearm must BRISTOL BS1 6EB be regarded as unsafe to fire unless subsequently proved. Unmarked Lots require no licence. Tel: +44 (0) 117 372 8774 Firearms proved for Black Powder should not be used with smokeless ammunition. Please do not hesitate to contact the Modern Sporting Gun 14. THE SELLERS AND/OR BONHAMS’ LIABILITY Department should you have any queries. The term “Certificate of Unprovability” indicates that a firearm Other than any liability of the Seller to the Buyer of a Lot has been examined at a Proof House and is deemed both Taxidermy and Related Items under the Contract for Sale, neither we nor the Seller are unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply liable (whether in negligence or otherwise) for any error or such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to misdescription or omission in any Description of a Lot or any inform themselves of all such regulations and should expect Estimate in respect of it, whether contained in the Catalogue Guns Sold as Parts the exportation of items to take some time to arrange. or otherwise, whether given orally or in writing and whether Barrels of guns sold as parts will only be made available for given before or during the Sale. Neither we nor the Seller will sleeving and measurements once rendered unserviceable 18. FURNITURE be liable for any loss of Business, profits, revenue or income, or according to the Gun Barrel Proof Act of 1968 to 1978 and the for loss of reputation, or for disruption to Business or wasted Rules of Proof. Upholstered Furniture time on the part of management or staff, or for indirect losses Whilst we take every care in cataloguing furniture which has or consequential damages of any kind, irrespective in any Condition of Firearms been upholstered we offer no Guarantee as to the originality case of the nature, volume or source of the loss or damage Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery. alleged to be suffered, and irrespective of whether the said exceptional condition and to those defects that might affect loss or damage is caused by or claimed in respect of any the immediate safety of a firearm in normal use. An intending negligence, other tort, breach of contract (if any) or statutory Bidder unable to make technical examinations and assessments duty, restitutionary claim or otherwise. In any circumstances is recommended to seek advice from a gunmaker or from a where we and/or the Seller are liable in relation to any Lot or
NTB/MAIN/03.14/V2 Union Pay cards: these are now accepted at our Knightsbridge any Description or Estimate made of any Lot, or the conduct modern firearms specialist. All prospective Bidders are advised 19. JEWELLERY • The date given is that of the image (negative). Where no 24. WINE and New Bond Street offices, when presented in person by the of any Sale in relation to any Lot, whether in damages, for an to consult the ˚ of bore and wall-thickness measurements further date is given, this indicates that the photographic ˜ Ruby and Jadeite card holder. These cards are subject to a 2% surcharge. indemnity or contribution, or for a restitutionary remedy or posted in the saleroom and available from the department. print is vintage (the term “vintage” may also be included Lots which are lying under Bond and those liable to VAT may Ruby and jadeite gemstones of Burmese (Myanmar) origin otherwise, our and/or the Seller’s liability (combined, if both Bidders should note that guns are stripped only where there in the Lot Description). A vintage photograph is one which not be available for immediate collection. may not be imported into the US. Rubies and jadeite of Credit cards: Visa and Mastercard only. Please note there is a we and the Seller are liable) will be limited to payment of a is a strong indication of a mechanical malfunction. Stripping was made within approximately 5-10 years of the negative. non–Burmese origin require certification before import 2% surcharge on the total invoice value when payments are sum which will not exceed by way of maximum the amount is not, otherwise, undertaken. Guns intended for use should Where a second, later date appears, this refers to the date Examining the wines into the US and it is the Buyer’s responsibility to obtain all made using credit cards. It may be advisable to notify your card of the Purchase Price of the Lot irrespective in any case of the be stripped and cleaned beforehand. Hammer guns should of printing. Where the exact printing date is not known, but It is occasionally possible to provide a pre-Sale tasting for relevant and required export/import licences, certificates provider of your intended purchase in advance to reduce delays nature, volume or source of any loss or damage alleged to be have their rebound mechanisms checked before use. The understood to be later, “printed later” will appear in the Lot larger parcels (as defined below). This is generally limited to and documentation before shipping. Failure by the Buyer to caused by us having to seek authority when you come to pay. If suffered or sum claimed as due, and irrespective of whether safety mechanisms of all guns must be tested before use. Description. more recent and everyday drinking wines. Please contact the successfully import goods into the US does not constitute you have any questions with regard to payment, please contact the liability arises from any negligence, other tort, breach All measurements are approximate. • Unless otherwise specified, dimensions given are those of department for details. grounds for non payment or cancellation of Sale. Bonhams our Customer Services Department. of contract (if any) or statutory duty or otherwise. Nothing the piece of paper on which the image is printed, including will not be responsible for any additional costs in this regard set out above will be construed as excluding or restricting Original Gun Specifications Derived from Gunmakers any margins. Some photographs may appear in the It is not our policy to inspect every unopened case. In the case howsoever incurred. 10. COLLECTION AND STORAGE (whether directly or indirectly) our liability or excluding or The Sporting Gun Department endeavours to confirm a gun’s Catalogue without margins illustrated. of wines older than 20 years the boxes will usually have been restricting any person’s rights or remedies in respect of (i) fraud, original specification and date of manufacture with makers • All photographs are sold unframed unless stated in the Lot opened and levels and appearance noted in the Catalogue Gemstones The Buyer of a Lot will not be allowed to collect it until or (ii) death or personal injury caused by our negligence (or by who hold their original records. Description. where necessary. You should make proper allowance for Historically many gemstones have been subjected to a variety payment in full and in cleared funds has been made (unless the negligence of any person under our control or for whom variations in ullage levels and conditions of corks, capsules of treatments to enhance their appearance. Sapphires and we have made a special arrangement with the Buyer). For we are legally responsible), or (iii) acts or omissions for which Licensing Requirements 21. PICTURES and labels. rubies are routinely heat treated to improve their colour and collection and removal of purchased Lots, please refer to Sale we are liable under the Occupiers Liability Act 1957, or (iv) Firearms Act 1968 as amended clarity, similarly emeralds are frequently treated with oils or Explanation of Catalogue Terms Information at the front of the Catalogue. Our offices are any other liability to the extent the same may not be excluded Bonhams is constantly reviewing its procedures and would Corks and Ullages resin for the same purpose. Other treatments such as staining, The following terms used in the Catalogue have the following open 9.00am – 5pm Monday to Friday. Details relating to or restricted as a matter of law or (v) our undertakings under remind you that, in the case of firearms or shotguns subject to Ullage refers to the space between the base of the cork and irradiation or coating may have been used on other gemstones. meanings but are subject to the general provisions relating to the collection of a Lot, the storage of a Lot and our Storage paragraphs 9 (in relation to specialist Stamp or Book Sales only) certification, to conform with current legislation, Bonhams is the wine. Ullage levels for Bordeaux shaped bottles are only These treatments may be permanent, whilst others may need Descriptions contained in the Contract for Sale: Contractor after the Sale are set out in the Catalogue. and 10 of the Buyer’s Agreement. The same applies in respect required to see, as appropriate, your original registered firearms normally noted when below the neck and for Burgundy, special care or re-treatment over the years to retain their • “Jacopo Bassano”: in our opinion a work by the artist. of the Seller, as if references to us in this paragraph were dealer’s certificate / shot gun certificate / firearm certificate / Alsace, German and Cognac shaped bottles when greater than appearance. Bidders should be aware that Estimates assume When the artist’s forename(s) is not known, a series of 11. SHIPPING substituted with references to the Seller. museum firearms licence / Section 5 authority or import licence 4 centimetres (cm). Acceptable ullage levels increase with age; that gemstones may have been subjected to such treatments. asterisks, followed by the surname of the artist, whether (or details of any exemption from which you may benefit, for generally acceptable levels are as follows: A number of laboratories issue certificates that give more preceded by an initial or not, indicates that in our opinion Please refer all enquiries to our shipping department on: 15. BOOKS instance Crown servant status) for the firearm(s) you have detailed Descriptions of gemstones. However there may not be the work is by the artist named; Under 15 years old – into neck or less than 4cm Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 purchased prior to taking full payment of the amount shown consensus between different laboratories on the degrees, or • “Attributed to Jacopo Bassano”: in our opinion probably 15 to 30 years old – top shoulder (ts) or up to 5cm Email: [email protected] As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of types of treatment for any particular gemstone. In the event a work by the artist but less certainty as to authorship is Over 30 years old – high shoulder (hs) or up to 6cm to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially that Bonhams has been given or has obtained certificates expressed than in the preceding category; 12. EXPORT/TRADE RESTRICTIONS set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of for any Lot in the Sale these certificates will be disclosed in • “Studio/Workshop of Jacopo Bassano”: in our opinion a It should be noted that ullages may change between in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence the Catalogue. Although, as a matter of policy, Bonhams work by an unknown hand in a studio of the artist which publication of the Catalogue and the Sale and that corks may It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. endeavours to provide certificates from recognised laboratories may or may not have been executed under the artist’s fail as a result of transporting the wine. We will only accept import regulations relating to your purchases and also to obtain unframed maps and bound manuscripts are not liable to VAT for certain gemstones, it is not feasible to obtain certificates direction; responsibility for Descriptions of condition at the time of any relevant export and/or import licence(s). Export licences are on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable to for each Lot. In the event that no certificate is published in the • “Circle of Jacopo Bassano”: in our opinion a work by publication of the Catalogue and cannot accept responsibility issued by Arts Council England and application forms can be produce the correct paperwork, the Lot(s) will be reoffered by Catalogue, Bidders should assume that the gemstones may a hand closely associated with a named artist but not for any loss resulting from failure of corks either before or after obtained from its Export Licensing Unit. The detailed provisions 16. CLOCKS AND WATCHES Bonhams in the next appropriate Sale, on standard terms for have been treated. Neither Bonhams nor the Seller accepts any necessarily his pupil; this point. of the export licencing arrangements can be found on the ACE Sellers, and you will be responsible for any loss incurred by liability for contradictions or differing certificates obtained by • “Follower of Jacopo Bassano”: in our opinion a work by a website http://www.artscouncil.org.uk/what-we-do/supporting- All Lots are sold “as is”, and the absence of any reference Bonhams on the original Sale to you. Buyers on any Lots subsequent to the Sale. painter working in the artist’s style, contemporary or nearly Options to buy parcels museums/cultural-property/export-controls/export-licensing/ to the condition of a clock or watch does not imply that contemporary, but not necessarily his pupil; A parcel is a number of Lots of identical size of the same wine, or by phoning ACE on +44 (0)20 7973 5188. The need for the Lot is in good condition and without defects, repairs or In the case of RFD certificates and Section 5 authorities, we Estimated Weights • “Manner of Jacopo Bassano”: in our opinion a work in the bottle size and Description. The Buyer of any of these Lots has import licences varies from country to country and you should restorations. Most clocks and watches have been repaired in wish to keep an up-to-date copy on file. Please supply us with If a stone(s) weight appears within the body of the Description style of the artist and of a later date; the option to accept some or all of the remaining Lots in the acquaint yourself with all relevant local requirements and the course of their normal lifetime and may now incorporate a Fax or photocopy. It would be helpful if you could send us an in capital letters, the stone(s) has been unmounted and • “After Jacopo Bassano”: in our opinion, a copy of a known parcel at the same price, although such options will be at the provisions. The refusal of any import or export licence(s) or parts not original to them. Furthermore, Bonhams makes updated copy whenever your certificate or authority is renewed weighed by Bonhams. If the weight of the stone(s) is stated work of the artist; Auctioneer’s sole discretion. Absentee Bidders are, therefore, any delay in obtaining such licence(s) shall not permit the no representation or warranty that any clock or watch is in or changed. to be approximate and does not appear in capital letters, the • “Signed and/or dated and/or inscribed”: in our opinion the advised to bid on the first Lot in a parcel. rescission of any Sale nor allow any delay in making full working order. As clocks and watches often contain fine and stone(s) has been assessed by us within its/their settings, and signature and/or date and/or inscription are from the hand payment for the Lot. Generally, please contact our shipping complex mechanisms, Bidders should be aware that a general Lots marked ‘S1´ and bearing red labels are Section 1 firearms the stated weight is a statement of our opinion only. This of the artist; Wines in Bond department before the Sale if you require assistance in service, change of battery or further repair work, for which the and require a valid British Firearms certificate, RFD Licence or information is given as a guide and Bidders should satisfy • “Bears a signature and/or date and/or inscription”: in our Wines lying in Bond are marked Δ and VAT is payable by the relation to export regulations. Buyer is solely responsible, may be necessary. Bidders should import licence. themselves with regard to this information as to its accuracy. opinion the signature and/or date and/or inscription have purchaser, at the standard rate, on the Hammer Price, unless be aware that the importation of watches such as Rolex, Frank been added by another hand. the wines are to remain under Bond. Buyers requiring their 13. CITES REGULATIONS Muller and Corum into the United States is highly restricted. Lots marked ‘S2’ and bearing blue labels are Section 2 firearms Signatures wine to remain in Bond must notify Bonhams at the time of These watches may not be shipped to the USA and can only be and require a valid British Shotgun certificate, RFD licence or 1. A diamond brooch, by Kutchinsky 22. PORCELAIN AND GLASS the Sale. The Buyer is then himself responsible for all duty, Please be aware that all Lots marked with the symbol Y are imported personally. import licence. When the maker’s name appears in the title, in Bonhams’ clearance VAT and other charges that may be payable thereon. subject to CITES regulations when exporting these items opinion the piece is by that maker. Damage and Restoration All such Lots must be transferred or collected within two weeks outside the EU. These regulations may be found at 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are For your guidance, in our Catalogues we detail, as far as of the Sale. http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 2. A diamond brooch, signed Kutchinsky practicable, recorded all significant defects, cracks and be requested from: Authority or import licence. Has a signature that, in Bonhams’ opinion, is authentic but restoration. Such practicable Descriptions of damage cannot Buyers outside the UK must be aware that any forwarding Proof of Firearms Animal Health and Veterinary Laboratories Agency (AHVLA) may contain gemstones that are not original, or the piece may be definitive, and in providing Condition Reports, we cannot agent appointed to export their purchases must have a The term “proof exemption” indicates that a firearm has Lots marked with a ‘S58´ and bearing yellow labels are for Wildlife Licencing have been altered. Guarantee that there are no other defects present which movement certificate for Lots to be released under Bond. been examined at a Proof House, but not proved, as either obsolete calibres and no licence is required unless ammunition Floor 1, Zone 17, Temple Quay House have not been mentioned. Bidders should satisfy themselves (a) it was deemed of interest and not intended for use, or (b) is held. 2 The Square, Temple Quay 3. A diamond brooch, mounted by Kutchinsky by inspection, as to the condition of each Lot. Please see the Bottling Details and Case Terms ammunition was not available. In either case, the firearm must BRISTOL BS1 6EB Has been created by the jeweller, in Bonhams’ opinion, but Contract for Sale printed in this Catalogue. Because of the The following terms used in the Catalogue have the following be regarded as unsafe to fire unless subsequently proved. Unmarked Lots require no licence. Tel: +44 (0) 117 372 8774 using stones or designs supplied by the client. difficulty in determining whether an item of glass has been meanings: Firearms proved for Black Powder should not be used with repolished, in our Catalogues reference is only made to visible CB – Château bottled smokeless ammunition. Please do not hesitate to contact the Modern Sporting Gun 14. THE SELLERS AND/OR BONHAMS’ LIABILITY 20. PHOTOGRAPHS chips and cracks. No mention is made of repolishing, severe DB – Domaine bottled Department should you have any queries. or otherwise. EstB – Estate bottled The term “Certificate of Unprovability” indicates that a firearm Explanation of Catalogue Terms Other than any liability of the Seller to the Buyer of a Lot BB – Bordeaux bottled has been examined at a Proof House and is deemed both Taxidermy and Related Items • “Bill Brandt”: in our opinion a work by the artist. under the Contract for Sale, neither we nor the Seller are 23. VEHICLES BE – Belgian bottled unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply • “Attributed to Bill Brandt”: in our opinion probably a work liable (whether in negligence or otherwise) for any error or FB – French bottled such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to by the artist, but less certainty to authorship is expressed misdescription or omission in any Description of a Lot or any The Veteran Car Club of Great Britain GB – German bottled inform themselves of all such regulations and should expect than in the preceding category. Estimate in respect of it, whether contained in the Catalogue OB – Oporto bottled Guns Sold as Parts the exportation of items to take some time to arrange. • “Signed and/or titled and/or dated and/or inscribed”: in or otherwise, whether given orally or in writing and whether Dating Plates and Certificates UK – United Kingdom bottled Barrels of guns sold as parts will only be made available for our opinion the signature and/or title and/or date and/or given before or during the Sale. Neither we nor the Seller will When mention is made of a Veteran Car Club Dating Plate or owc – original wooden case sleeving and measurements once rendered unserviceable 18. FURNITURE inscription are in the artist’s hand. be liable for any loss of Business, profits, revenue or income, or Dating Certificate in thisCatalogue , it should be borne in mind iwc – individual wooden case according to the Gun Barrel Proof Act of 1968 to 1978 and the • “Signed and/or titled and/or dated and/or inscribed in for loss of reputation, or for disruption to Business or wasted that the Veteran Car Club of Great Britain using the services of oc – original carton Rules of Proof. Upholstered Furniture another hand”: in our opinion the signature and/or title time on the part of management or staff, or for indirect losses Veteran Car Company Ltd, does from time to time, review cars Whilst we take every care in cataloguing furniture which has and/or date and/or inscription have been added by or consequential damages of any kind, irrespective in any already dated and, in some instances, where fresh evidence Condition of Firearms been upholstered we offer no Guarantee as to the originality another hand. case of the nature, volume or source of the loss or damage becomes available, the review can result in an alteration of date. Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery. alleged to be suffered, and irrespective of whether the said Whilst the Club and Veteran Car Company Ltd make every exceptional condition and to those defects that might affect loss or damage is caused by or claimed in respect of any effort to ensure accuracy, the date shown on the Dating Plate or the immediate safety of a firearm in normal use. An intending negligence, other tort, breach of contract (if any) or statutory Dating Certificate cannot be guaranteed as correct and intending Bidder unable to make technical examinations and assessments duty, restitutionary claim or otherwise. In any circumstances purchasers should make their own enquiries as to the date of is recommended to seek advice from a gunmaker or from a where we and/or the Seller are liable in relation to any Lot or the car.
NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods THE FOLLOWING SYMBOLS ARE USED TO DENOTE 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality of the Lot or its fitness for any purpose. Y Subject to CITES regulations when exporting these items 2.1.1 the Seller is the owner of the Lot or is duly authorised outside the EU, see clause 13. to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE W Objects displayed with a w will be located in the Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked collection from this location. Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s ≈ Please note that as a result of recent legislation ruby and guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will not jadeite gem stones of Burmese (Myanmar) origin may liquidator, receiver or administrator, with whatever be responsible thereafter for the Lot prior to not be imported into the US. Rubies and jadeite of non- right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage Burmese origin require certification before import into the Contractor, with whom you have separate contract(s) US. 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the Δ Wines lying in Bond. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, AR An Additional Premium will be payable to us by the Buyer legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in to cover our Expenses relating to payment of royalties of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the under the Artists Resale Right Regulations 2006. See and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until clause 7 for details. the terms implied by the Sale of Goods Act 1979, you obtain full title to it. ○ The Seller has been guaranteed a minimum price for the Sections 12(1) and 12(2) (see the Definitions and Lot, either by Bonhams or a third party. This may take Glossary); 5.2 Title to the Lot remains in and is retained by the the form of an irrevocable bid by a third party, who may Seller until the Purchase Price and all other sums make a financial gain on a successful Sale or a financial 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot loss if unsuccessful. otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared ▲ Bonhams owns the Lot either wholly or partially or may and all duties and taxes in respect of the export or funds by, Bonhams. otherwise have an economic interest. import of the Lot have (unless stated to the contrary Ф This lot contains or is made of ivory. The United States in the Catalogue or announced by the Auctioneer) 6 PAYMENT Government has banned the import of ivory into been paid and, so far as the Seller is aware, all third the USA. parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises when the past; the Lot is knocked down to you on the fall of the •, †, *, G, Ω, a see clause 8, VAT, for details. Auctioneer’s hammer in respect of the Lot. 2.1.5 subject to any alterations expressly identified as such DATA PROTECTION – USE OF YOUR INFORMATION made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment or by the Notice to Bidders or by an insert in the of the Purchase Price and all other sums payable by Where we obtain any personal information about you, we shall Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you only use it in accordance with the terms of our Privacy Policy Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case (subject to any additional specific consent(s) you may have about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), given at the time your information was disclosed). A copy of letters and (except for colour) with any photograph all such sums must be paid to Bonhams by you in our Privacy Policy can be found on our Website www.bonhams. of the Lot in the Catalogue and the contents of the currency in which the Sale was conducted by com or requested by post from Customer Services Department, any Condition Report which has been provided to not later than 4.30pm on the second working day 101 New Bond Street, London, W1S 1SR or by email from the Buyer. following the Sale and you must ensure that the [email protected] funds are cleared by the seventh working day after 3 DESCRIPTIONS OF THE LOT the Sale. Payment must be made to Bonhams by one APPENDIX 1 of the methods stated in the Notice to Bidders unless 3.1 Paragraph 2.1.5 sets out what is the Contractual otherwise agreed with you in writing by Bonhams. If CONTRACT FOR SALE Description of the Lot. In particular, the Lot is not you do not pay any sums due in accordance with this sold as corresponding with that part of the Entry in paragraph, the Seller will have the rights set out in IMPORTANT: These terms may be changed in advance of the the Catalogue which is not printed in bold letters, paragraph 8 below. Sale of the Lot to you, by the setting out of different terms in which merely sets out (on the Seller’s behalf) the Catalogue for the Sale and/or by placing an insert in the Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT Catalogue and/or by notices at the Sale venue and/or by oral part of the Contractual Description upon which the announcements before and during the Sale at the Sale venue. Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by You should be alert to this possibility of changes and ask in than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your advance of bidding if there have been any. 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared funds as referred to in paragraph 2.1.5), including any to the amount of the full Purchase Price and all other Under this contract the Seller’s liability in respect of the quality Description or Estimate, whether made orally or in sums owed by you to the Seller and to Bonhams. of the Lot, it’s fitness for any purpose and its conformity with writing, including in the Catalogue or on Bonhams’ any Description is limited. You are strongly advised to examine Website, or by conduct, or otherwise, and whether 7.2 The Seller is entitled to withhold possession from you the Lot for yourself and/or obtain an independent examination by or on behalf of the Seller or Bonhams and of any other Lot he has sold to you at the same or of it before you buy it. whether made prior to or during the Sale, is not part at any other Sale and whether currently in Bonhams’ of the Contractual Description upon which the Lot is possession or not until payment in full and in cleared 1 THE CONTRACT sold. funds of the Purchase Price and all other sums due to the Seller and/or Bonhams in respect of the Lot. 1.1 These terms govern the Contract for Sale of the Lot 3.2 Except as provided in paragraph 2.1.5, the Seller by the Seller to the Buyer. does not make or give and does not agree to make 7.3 You will collect and remove the Lot at your own or give any contractual promise, undertaking, expense from Bonhams’ custody and/ or control or 1.2 The Definitions and Glossary contained in Appendix 3 obligation, guarantee, warranty, or representation from the Storage Contractor’s custody in accordance in the Catalogue are incorporated into this Contract of fact, or undertake any duty of care, in relation to with Bonhams’ instructions or requirements. for Sale and a separate copy can also be provided any Description of the Lot or any Estimate in relation by Bonhams on request. Where words and phrases to it, nor of the accuracy or completeness of any 7.4 You will be wholly responsible for packing, handling are used which are in the List of Definitions, they are Description or Estimate which may have been made and transport of the Lot on collection and for printed in italics. by or on behalf of the Seller including by Bonhams. complying with all import or export regulations in No such Description or Estimate is incorporated into connection with the Lot. 1.3 The Seller sells the Lot as the principal to the this Contract for Sale. Contract for Sale, such contract being made between 7.5 You will be wholly responsible for any removal, the Seller and you through Bonhams which acts in 4 FITNESS FOR PURPOSE AND SATISFACTORY storage or other charges or Expenses incurred the sole capacity as the Seller’s agent and not as QUALITY by the Seller if you do not remove the Lot in an additional principal. However, if the Catalogue accordance with this paragraph 7 and will states that Bonhams sells the Lot as principal, or such 4.1 The Seller does not make and does not agree indemnify the Seller against all charges, costs, a statement is made by an announcement by the to make any contractual promise, undertaking, including any legal costs and fees, Expenses and Auctioneer, or by a notice at the Sale, or an insert obligation, guarantee, warranty, or representation of losses suffered by the Seller by reason of your in the Catalogue, then Bonhams is the Seller for the fact in relation to the satisfactory quality of the Lot or failure to remove the Lot including any charges purposes of this agreement. its fitness for any purpose. due under any Storage Contract. All such sums due to the Seller will be payable on demand. 1.4 The contract is made on the fall of the Auctioneer’s hammer in respect of the Lot when it is knocked down to you. NTB/MAIN/03.14/V2 SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any 8 FAILURE TO PAY FOR THE LOT 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented undertaking, whether implied by the Sale of Goods from performing that party’s respective obligations THE FOLLOWING SYMBOLS ARE USED TO DENOTE 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality 8.1 If the Purchase Price for a Lot is not paid to Bonhams 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances beyond of the Lot or its fitness for any purpose. in full in accordance with the Contract for Sale damage caused by the Lot after the fall of the its reasonable control or if performance of its Y Subject to CITES regulations when exporting these items 2.1.1 the Seller is the owner of the Lot or is duly authorised the Seller will be entitled, with the prior written Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances outside the EU, see clause 13. to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE agreement of Bonhams but without further notice to give rise to a significantly increased financial W Objects displayed with a w will be located in the you, to exercise one or more of the following rights 9.2 Subject to paragraph 9.3 below, except for breach cost to it, that party will not, for so long as such Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked (whether through Bonhams or otherwise): of the express undertaking provided in paragraph circumstances prevail, be required to perform such collection from this location. Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s 2.1.5, the Seller will not be liable for any breach obligations. This paragraph does not apply to the ≈ Please note that as a result of recent legislation ruby and guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will not 8.1.1 to terminate immediately the Contract for Sale of the of any term that the Lot will correspond with any obligations imposed on you by paragraph 6. jadeite gem stones of Burmese (Myanmar) origin may liquidator, receiver or administrator, with whatever be responsible thereafter for the Lot prior to Lot for your breach of contract; Description applied to it by or on behalf of the Seller, not be imported into the US. Rubies and jadeite of non- right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage whether implied by the Sale of Goods Act 1979 or 10.4 Any notice or other communication to be given Burmese origin require certification before import into the Contractor, with whom you have separate contract(s) 8.1.2 to resell the Lot by auction, private treaty or any otherwise. under the Contract for Sale must be in writing US. 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the other means on giving seven days’ written notice to and may be delivered by hand or sent by first class Δ Wines lying in Bond. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, you of the intention to resell; 9.3 Unless the Seller sells the Lot in the course of a post or air mail or fax transmission, if to the Seller, AR An Additional Premium will be payable to us by the Buyer legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in Business and the Buyer buys it as a Consumer, addressed c/o Bonhams at its address or fax number to cover our Expenses relating to payment of royalties of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the 8.1.3 to retain possession of the Lot; in the Catalogue (marked for the attention of the under the Artists Resale Right Regulations 2006. See and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until 9.3.1 the Seller will not be liable (whether in negligence, Company Secretary), and if to you to the address or clause 7 for details. the terms implied by the Sale of Goods Act 1979, you obtain full title to it. 8.1.4 to remove and store the Lot at your expense; other tort, breach of contract or statutory duty or in fax number of the Buyer given in the Bidding Form ○ The Seller has been guaranteed a minimum price for the Sections 12(1) and 12(2) (see the Definitions and restitution or under the Misrepresentation Act 1967, (unless notice of any change of address is given in Lot, either by Bonhams or a third party. This may take Glossary); 5.2 Title to the Lot remains in and is retained by the 8.1.5 to take legal proceedings against you for any sum or in any other way) for any lack of conformity with, writing). It is the responsibility of the sender of the the form of an irrevocable bid by a third party, who may Seller until the Purchase Price and all other sums due under the Contract for Sale and/or damages for or inaccuracy, error, misdescription or omission in notice or communication to ensure that it is received make a financial gain on a successful Sale or a financial 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot breach of contract; any Description of the Lot or any Entry or Estimate in a legible form within any applicable time period. loss if unsuccessful. otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared in relation to the Lot made by or on behalf of ▲ Bonhams owns the Lot either wholly or partially or may and all duties and taxes in respect of the export or funds by, Bonhams. 8.1.6 to be paid interest on any monies due (after as well the Seller (whether made in writing, including in 10.5 If any term or any part of any term of the Contract otherwise have an economic interest. import of the Lot have (unless stated to the contrary as before judgement or order) at the annual rate the Catalogue, or on the Website, or orally, or by for Sale is held to be unenforceable or invalid, such Ф This lot contains or is made of ivory. The United States in the Catalogue or announced by the Auctioneer) 6 PAYMENT of 5% per annum above the base rate of National conduct or otherwise) and whether made before or unenforceability or invalidity will not affect the Government has banned the import of ivory into been paid and, so far as the Seller is aware, all third Westminster Bank Plc from time to time to be after this agreement or prior to or during the Sale; enforceability and validity of the remaining terms or the USA. parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises when calculated on a daily basis from the date upon which the remainder of the relevant term. the past; the Lot is knocked down to you on the fall of the such monies become payable until the date of actual 9.3.2 the Seller will not be liable for any loss of Business, •, †, *, G, Ω, a see clause 8, VAT, for details. Auctioneer’s hammer in respect of the Lot. payment; Business profits or revenue or income or for loss of 10.6 References in the Contract for Sale to Bonhams will, 2.1.5 subject to any alterations expressly identified as such reputation or for disruption to Business or wasted where appropriate, include reference to Bonhams’ DATA PROTECTION – USE OF YOUR INFORMATION made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment 8.1.7 to repossess the Lot (or any part thereof) which has time on the part of the Buyer or of the Buyer’s officers, employees and agents. or by the Notice to Bidders or by an insert in the of the Purchase Price and all other sums payable by not become your property, and for this purpose management or staff or, for any indirect losses or Where we obtain any personal information about you, we shall Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you (unless the Buyer buys the Lot as a Consumer from consequential damages of any kind, irrespective in 10.7 The headings used in the Contract for Sale only use it in accordance with the terms of our Privacy Policy Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case the Seller selling in the course of a Business) you any case of the nature, volume or source of the loss are for convenience only and will not affect its (subject to any additional specific consent(s) you may have about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), hereby grant an irrevocable licence to the Seller by or damage alleged to be suffered, and irrespective interpretation. given at the time your information was disclosed). A copy of letters and (except for colour) with any photograph all such sums must be paid to Bonhams by you in himself and to his servants or agents to enter upon of whether the said loss or damage is caused by our Privacy Policy can be found on our Website www.bonhams. of the Lot in the Catalogue and the contents of the currency in which the Sale was conducted by all or any of your premises (with or without vehicles) or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means com or requested by post from Customer Services Department, any Condition Report which has been provided to not later than 4.30pm on the second working day during normal Business hours to take possession of breach of contract, statutory duty, restitutionary “including, without limitation”. 101 New Bond Street, London, W1S 1SR or by email from the Buyer. following the Sale and you must ensure that the the Lot or part thereof; claim or otherwise; [email protected] funds are cleared by the seventh working day after 10.9 References to the singular will include reference to 3 DESCRIPTIONS OF THE LOT the Sale. Payment must be made to Bonhams by one 8.1.8 to retain possession of any other property sold to you 9.3.3 in any circumstances where the Seller is liable to you the plural (and vice versa) and reference to any one APPENDIX 1 of the methods stated in the Notice to Bidders unless by the Seller at the Sale or any other auction or by in respect of the Lot, or any act, omission, statement, gender will include reference to the other genders. 3.1 Paragraph 2.1.5 sets out what is the Contractual otherwise agreed with you in writing by Bonhams. If private treaty until all sums due under the Contract or representation in respect of it, or this agreement CONTRACT FOR SALE Description of the Lot. In particular, the Lot is not you do not pay any sums due in accordance with this for Sale shall have been paid in full in cleared funds; or its performance, and whether in damages, for 10.10 Reference to a numbered paragraph is to a sold as corresponding with that part of the Entry in paragraph, the Seller will have the rights set out in an indemnity or contribution or for a restitutionary paragraph of the Contract for Sale. IMPORTANT: These terms may be changed in advance of the the Catalogue which is not printed in bold letters, paragraph 8 below. 8.1.9 to retain possession of, and on three months’ written remedy or in any way whatsoever, the Seller’s liability Sale of the Lot to you, by the setting out of different terms in which merely sets out (on the Seller’s behalf) notice to sell, Without Reserve, any of your other will be limited to payment of a sum which will not 10.11 Save as expressly provided in paragraph 10.12 the Catalogue for the Sale and/or by placing an insert in the Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT property in the possession of the Seller and/or of exceed by way of maximum the amount of the nothing in the Contract for Sale confers (or purports Catalogue and/or by notices at the Sale venue and/or by oral part of the Contractual Description upon which the Bonhams (as bailee for the Seller) for any purpose Purchase Price of the Lot irrespective in any case of to confer) on any person who is not a party to the announcements before and during the Sale at the Sale venue. Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by (including, without limitation, other goods sold to the nature, volume or source of any loss or damage Contract for Sale any benefit conferred by, or the You should be alert to this possibility of changes and ask in than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your you) and to apply any monies due to you as a result alleged to be suffered or sum claimed as due, and right to enforce any term of, the Contract for Sale. advance of bidding if there have been any. 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared funds of such Sale in satisfaction or part satisfaction of any irrespective of whether the liability arises from any as referred to in paragraph 2.1.5), including any to the amount of the full Purchase Price and all other amounts owed to the Seller or to Bonhams; and negligence, other tort, breach of contract, statutory 10.12 Where the Contract for Sale confers an immunity Under this contract the Seller’s liability in respect of the quality Description or Estimate, whether made orally or in sums owed by you to the Seller and to Bonhams. duty, bailee’s duty, restitutionary claim or otherwise. from, and/or an exclusion or restriction of, the of the Lot, it’s fitness for any purpose and its conformity with writing, including in the Catalogue or on Bonhams’ 8.1.10 so long as such goods remain in the possession of responsibility and/or liability of the Seller, it will also any Description is limited. You are strongly advised to examine Website, or by conduct, or otherwise, and whether 7.2 The Seller is entitled to withhold possession from you the Seller or Bonhams as its bailee, to rescind the 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will operate in favour and for the benefit ofBonhams, the Lot for yourself and/or obtain an independent examination by or on behalf of the Seller or Bonhams and of any other Lot he has sold to you at the same or contract for the Sale of any other goods sold to be construed as excluding or restricting (whether Bonhams’ holding company and the subsidiaries of it before you buy it. whether made prior to or during the Sale, is not part at any other Sale and whether currently in Bonhams’ you by the Seller at the Sale or at any other auction directly or indirectly) any person’s liability or excluding of such holding company and the successors and of the Contractual Description upon which the Lot is possession or not until payment in full and in cleared or by private treaty and apply any monies received or restricting any person’s rights or remedies in assigns of Bonhams and of such companies and of 1 THE CONTRACT sold. funds of the Purchase Price and all other sums due to from you in respect of such goods in part or full respect of (i) fraud, or (ii) death or personal injury any officer, employee and agent of Bonhams and the Seller and/or Bonhams in respect of the Lot. satisfaction of any amounts owed to the Seller or to caused by the Seller’s negligence (or any person such companies, each of whom will be entitled to 1.1 These terms govern the Contract for Sale of the Lot 3.2 Except as provided in paragraph 2.1.5, the Seller Bonhams by you. under the Seller’s control or for whom the Seller is rely on the relevant immunity and/or exclusion and/or by the Seller to the Buyer. does not make or give and does not agree to make 7.3 You will collect and remove the Lot at your own legally responsible), or (iii) acts or omissions for which restriction within and for the purposes of Contracts or give any contractual promise, undertaking, expense from Bonhams’ custody and/ or control or 8.2 You agree to indemnify the Seller against all legal the Seller is liable under the Occupiers Liability Act (Rights of Third Parties) Act 1999, which enables the 1.2 The Definitions and Glossary contained in Appendix 3 obligation, guarantee, warranty, or representation from the Storage Contractor’s custody in accordance and other costs of enforcement, all losses and other 1957, or (iv) any other liability to the extent the same benefit of a contract to be extended to a person who in the Catalogue are incorporated into this Contract of fact, or undertake any duty of care, in relation to with Bonhams’ instructions or requirements. Expenses and costs (including any monies payable may not be excluded or restricted as a matter of law. is not a party to the contract, and generally at law. for Sale and a separate copy can also be provided any Description of the Lot or any Estimate in relation to Bonhams in order to obtain the release of the by Bonhams on request. Where words and phrases to it, nor of the accuracy or completeness of any 7.4 You will be wholly responsible for packing, handling Lot) incurred by the Seller (whether or not court 10 MISCELLANEOUS 11 GOVERNING LAW are used which are in the List of Definitions, they are Description or Estimate which may have been made and transport of the Lot on collection and for proceedings will have been issued) as a result of printed in italics. by or on behalf of the Seller including by Bonhams. complying with all import or export regulations in Bonhams taking steps under this paragraph 8 on a 10.1 You may not assign either the benefit or burden of All transactions to which the Contract for Sale applies No such Description or Estimate is incorporated into connection with the Lot. full indemnity basis together with interest thereon the Contract for Sale. and all connected matters will be governed by and 1.3 The Seller sells the Lot as the principal to the this Contract for Sale. (after as well as before judgement or order) at the construed in accordance with the laws of that part Contract for Sale, such contract being made between 7.5 You will be wholly responsible for any removal, rate specified in paragraph 8.1.6 from the date upon 10.2 The Seller’s failure or delay in enforcing or exercising of the United Kingdom where the Sale takes place the Seller and you through Bonhams which acts in 4 FITNESS FOR PURPOSE AND SATISFACTORY storage or other charges or Expenses incurred which the Seller becomes liable to pay the same until any power or right under the Contract for Sale will and the Seller and you each submit to the exclusive the sole capacity as the Seller’s agent and not as QUALITY by the Seller if you do not remove the Lot in payment by you. not operate or be deemed to operate as a waiver of jurisdiction of the courts of that part of the United an additional principal. However, if the Catalogue accordance with this paragraph 7 and will his rights under it except to the extent of any express Kingdom, save that the Seller may bring proceedings states that Bonhams sells the Lot as principal, or such 4.1 The Seller does not make and does not agree indemnify the Seller against all charges, costs, 8.3 On any resale of the Lot under paragraph 8.1.2, the waiver given to you in writing. Any such waiver will against you in any other court of competent a statement is made by an announcement by the to make any contractual promise, undertaking, including any legal costs and fees, Expenses and Seller will account to you in respect of any balance not affect the Seller’s ability subsequently to enforce jurisdiction to the extent permitted by the laws of Auctioneer, or by a notice at the Sale, or an insert obligation, guarantee, warranty, or representation of losses suffered by the Seller by reason of your remaining from any monies received by him or on any right arising under the Contract for Sale. the relevant jurisdiction. Bonhams has a complaints in the Catalogue, then Bonhams is the Seller for the fact in relation to the satisfactory quality of the Lot or failure to remove the Lot including any charges his behalf in respect of the Lot, after the payment of procedure in place. purposes of this agreement. its fitness for any purpose. due under any Storage Contract. All such sums all sums due to the Seller and to Bonhams, within due to the Seller will be payable on demand. 28 days of receipt of such monies by him or on his 1.4 The contract is made on the fall of the Auctioneer’s behalf. hammer in respect of the Lot when it is knocked down to you. NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date specified in the Notice to Bidders, you authorise us, acting BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as as your agent and on your behalf, to enter into a otherwise set out in the Notice to Bidders, you must contract (the “Storage Contract”) with the Storage IMPORTANT: These terms may be changed in advance of the pay to us by not later than 4.30pm on the second Contractor for the storage of the Lot on the then Sale of the Lot to you, by the setting out of different terms in working day following the Sale: current standard terms and conditions agreed the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the period referred to in paragraph 4.2. These storage 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. which is calculated and payable in accordance with 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage Contractor as agent on behalf of the Seller and 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. into this agreement and a separate copy can also be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the charges are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the (and all costs of moving the Lot into storage) due Reference is made in this agreement to information methods of payment set out in the Notice to under any Storage Contract. You acknowledge and printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the agree that you will not be able to collect the Lot from Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an the Storage Contractor’s premises until you have paid is referred to it is incorporated into this agreement. agent for a named principal and we have approved the Purchase Price, any Expenses and all charges due that arrangement, in which case we will address the under the Storage Contract. 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. also made between you and Bonhams on the terms all such sums. in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any event before any collection of the Lot by you or on 1.5 Our personal obligations to you are governed by this 3.6 Time will be of the essence in relation to any your behalf. agreement and we agree, subject to the terms below, payment payable to us. If you do not pay the to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT accordance with this paragraph 3, we will have the 1.5.1 we will, until the date and time specified in the rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your Notice to Bidders or otherwise notified to you, store removal of the Lot or until the time and date set out the Lot in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down to in the Notice to Bidders, on the Sale Information you, any monies we receive from you will be applied Page or at the back of the catalogue (or if no date 1.5.2 subject to any power of the Seller or us to refuse to firstly pro-rata to pay the Purchase Price of each Lot is specified, by 4.30pm on the seventh day after the release the Lot to you, we will release the Lot to you and secondly pro-rata to pay all amounts due to Sale) and, subject to paragraphs 6 and 10, to be in accordance with paragraph 4 once you have paid Bonhams. responsible as bailee to you for damage to or the loss to us, in cleared funds, everything due to us and the or destruction of the Lot (notwithstanding that it is Seller; 4 COLLECTION OF THE LOT not your property before payment of the Purchase Price). If you do not collect the Lot before the time 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us incorporated into this agreement between you and Notice to Bidders for collection on the days and times will title in the Lot pass to you. However under the us. Any such Description or Estimate, if made by us specified in the Notice to Bidders. Thereafter, the Contract for Sale, the risk in the Lot passed to you or on our behalf, was (unless Bonhams itself sells Lot may be removed elsewhere for storage and you when it was knocked down to you. the Lot as principal) made as agent on behalf of the must enquire from us as to when and where you can Seller. collect it, although this information will usually be set 6.2 You are advised to obtain insurance in respect of the out in the Notice to Bidders. Lot as soon as possible after the Sale. 2 PERFORMANCE OF THE CONTRACT FOR SALE
You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.
NTB/MAIN/03.14/V2 APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date specified 7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such 9.3 Paragraph 9 will not apply in respect of a Forgery if: in the Notice to Bidders, you authorise us, acting AND PART PAYMENTS payment shall be applied firstly to the Purchase Price BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as as your agent and on your behalf, to enter into a of the Lot (or where you have purchased more than 9.3.1 the Entry in relation to the Lot contained in the otherwise set out in the Notice to Bidders, you must contract (the “Storage Contract”) with the Storage 7.1 If all sums payable to us are not so paid in full at the one Lot pro-rata towards the Purchase Price of each Catalogue reflected the then accepted general IMPORTANT: These terms may be changed in advance of the pay to us by not later than 4.30pm on the second Contractor for the storage of the Lot on the then time they are due and/or the Lot is not removed in Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated Sale of the Lot to you, by the setting out of different terms in working day following the Sale: current standard terms and conditions agreed accordance with this agreement, we will without you have purchased more than one Lot pro-rata to that there was a conflict of such opinion or reflected the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any the then current opinion of an expert acknowledged Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot more of the following rights (without prejudice to other sums due to us. to be a leading expert in the relevant field; or announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current any rights we may exercise on behalf of the Seller): You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per 7.4 We will account to you in respect of any balance we 9.3.2 it can be established that the Lot is a Forgery only advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the 7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in by means of a process not generally accepted for period referred to in paragraph 4.2. These storage breach of contract; respect of any Sale of the Lot under our rights under use until after the date on which the Catalogue was 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. this paragraph 7 after the payment of all sums due to published or by means of a process which it was which is calculated and payable in accordance with 7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of unreasonable in all the circumstances for us to have 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any all such sums paid to us. employed. personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as 7.1.3 to remove, and/or store the Lot at your expense; a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage 8 CLAIMS BY OTHER PERSONS IN RESPECT OF 9.4 You authorise us to carry out such processes and Contractor as agent on behalf of the Seller and 7.1.4 to take legal proceedings against you for payment THE LOT tests on the Lot as we in our absolute discretion 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage of any sums payable to us by you (including the consider necessary to satisfy ourselves that the Lot is 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot or is not a Forgery. into this agreement and a separate copy can also contract; is the subject of a claim by someone other than be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any you and other than the Seller (or that such a claim 9.5 If we are satisfied that a Lot is a Forgery we will (as phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the charges 7.1.5 to be paid interest on any monies due to us (after can reasonably be expected to be made), we may, principal) purchase the Lot from you and you will are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the (and all costs of moving the Lot into storage) due as well as before judgement or order) at the annual at our absolute discretion, deal with the Lot in transfer the title to the Lot in question to us, with Reference is made in this agreement to information methods of payment set out in the Notice to under any Storage Contract. You acknowledge and rate of 5% per annum above the base lending rate any manner which appears to us to recognise the full title guarantee, free from any liens, charges, printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the agree that you will not be able to collect the Lot from of National Westminster Bank Plc from time to time legitimate interests of ourselves and the other parties encumbrances and adverse claims, in accordance Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an the Storage Contractor’s premises until you have paid to be calculated on a daily basis from the date upon involved and lawfully to protect our position and with the provisions of Sections 12(1) and 12(2) of is referred to it is incorporated into this agreement. agent for a named principal and we have approved the Purchase Price, any Expenses and all charges due which such monies become payable until the date of our legitimate interests. Without prejudice to the the Sale of Goods Act 1979 and we will pay to you that arrangement, in which case we will address the under the Storage Contract. actual payment; generality of the discretion and by way of example, an amount equal to the sum of the Purchase Price, 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. we may: Buyer’s Premium, VAT and Expenses paid by you in Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling 7.1.6 to repossess the Lot (or any part thereof) which has respect of the Lot. and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for not become your property, and for this purpose 8.1.1 retain the Lot to investigate any question raised or hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in (unless you buy the Lot as a Consumer) you hereby reasonably expected by us to be raised in relation to 9.6 The benefit of paragraph 9 is personal to, and down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. grant an irrevocable licence to us, by ourselves, our the Lot; and/or incapable of assignment by, you. also made between you and Bonhams on the terms all such sums. servants or agents, to enter upon all or any of your in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, premises (with or without vehicles) during normal 8.1.2 deliver the Lot to a person other than you; and/or 9.7 If you sell or otherwise dispose of your interest in the 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed business hours to take possession of any Lot or part Lot, all rights and benefits under this paragraph will 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our thereof; 8.1.3 commence interpleader proceedings or seek any cease. answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including other order of any court, mediator, arbitrator or breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of 7.1.7 to sell the Lot Without Reserve by auction, private government body; and/or 9.8 Paragraph 9 does not apply to a Lot made up of or unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any treaty or any other means on giving you three including a Chinese painting or Chinese paintings, a event before any collection of the Lot by you or on months’ written notice of our intention to do so; 8.1.4 require an indemnity and/or security from you in motor vehicle or motor vehicles, a Stamp or Stamps 1.5 Our personal obligations to you are governed by this 3.6 Time will be of the essence in relation to any your behalf. return for pursuing a course of action agreed to by or a Book or Books. agreement and we agree, subject to the terms below, payment payable to us. If you do not pay the 7.1.8 to retain possession of any of your other property in you. to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT our possession for any purpose (including, without 10 OUR LIABILITY accordance with this paragraph 3, we will have the limitation, other goods sold to you or with us for 8.2 The discretion referred to in paragraph 8.1: 1.5.1 we will, until the date and time specified in the rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your Sale) until all sums due to us have been paid in full; 10.1 We will not be liable whether in negligence, other Notice to Bidders or otherwise notified to you, store removal of the Lot or until the time and date set out 8.2.1 may be exercised at any time during which we have tort, breach of contract or statutory duty or in the Lot in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down to in the Notice to Bidders, on the Sale Information 7.1.9 to apply any monies received from you for any actual or constructive possession of the Lot, or at restitution or under the Misrepresentation Act 1967 you, any monies we receive from you will be applied Page or at the back of the catalogue (or if no date purpose whether at the time of your default or at any time after such possession, where the cessation or in any other way for lack of conformity with or 1.5.2 subject to any power of the Seller or us to refuse to firstly pro-rata to pay the Purchase Price of each Lot is specified, by 4.30pm on the seventh day after the any time thereafter in payment or part payment of of such possession has occurred by reason of any any inaccuracy, error, misdescription or omission in release the Lot to you, we will release the Lot to you and secondly pro-rata to pay all amounts due to Sale) and, subject to paragraphs 6 and 10, to be any sums due to us by you under this agreement; decision, order or ruling of any court, mediator, any Description of the Lot or any Entry or Estimate in accordance with paragraph 4 once you have paid Bonhams. responsible as bailee to you for damage to or the loss arbitrator or government body; and in respect of it, made by us or on our behalf or by to us, in cleared funds, everything due to us and the or destruction of the Lot (notwithstanding that it is 7.1.10 on three months’ written notice to sell, Without or on behalf of the Seller (whether made in writing, Seller; 4 COLLECTION OF THE LOT not your property before payment of the Purchase Reserve, any of your other property in our possession 8.2.2 will not be exercised unless we believe that there including in the Catalogue, or on the Bonhams’ Price). If you do not collect the Lot before the time or under our control for any purpose (including other exists a serious prospect of a good arguable case in Website, or orally, or by conduct or otherwise) and 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no goods sold to you or with us for Sale) and to apply favour of the claim. whether made before or after this agreement or prior paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day any monies due to you as a result of such Sale in to or during the Sale. in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another payment or part payment of any amounts owed to 9 FORGERIES 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out us; 10.2 Our duty to you while the Lot is at your risk and/or or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have 9.1 We undertake a personal responsibility for any your property and in our custody and/or control is to obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, 7.1.11 refuse to allow you to register for a future Sale or to Forgery in accordance with the terms of this exercise reasonable care in relation to it, but we will fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, reject a bid from you at any future Sale or to require paragraph 9. not be responsible for damage to the Lot or to other Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to you to pay a deposit before any bid is accepted by us persons or things caused by: completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the at any future Sale in which case we will be entitled 9.2 Paragraph 9 applies only if: may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with to apply such deposit in payment or part payment, as 10.2.1 handling the Lot if it was affected at the time of Sale or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. the case may be, of the Purchase Price of any Lot of 9.2.1 your name appears as the named person to whom to you by woodworm and any damage is caused as a writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. which you are the Buyer. the original invoice was made out by us in respect of result of it being affected by woodworm; or Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT the Lot and that invoice has been paid; and made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot 7.2 You agree to indemnify us against all legal and other 10.2.2 changes in atmospheric pressure; nor will we be during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us costs, all losses and all other Expenses (whether or 9.2.2 you notify us in writing as soon as reasonably liable for: incorporated into this agreement between you and Notice to Bidders for collection on the days and times will title in the Lot pass to you. However under the not court proceedings will have been issued) incurred practicable after you have become aware that the Lot us. Any such Description or Estimate, if made by us specified in the Notice to Bidders. Thereafter, the Contract for Sale, the risk in the Lot passed to you by us as a result of our taking steps under this is or may be a Forgery, and in any event within one 10.2.3 damage to tension stringed musical instruments; or or on our behalf, was (unless Bonhams itself sells Lot may be removed elsewhere for storage and you when it was knocked down to you. paragraph 7 on a full indemnity basis together with year after the Sale, that the Lot is a Forgery; and the Lot as principal) made as agent on behalf of the must enquire from us as to when and where you can interest thereon (after as well as before judgement or 10.2.4 damage to gilded picture frames, plaster picture Seller. collect it, although this information will usually be set 6.2 You are advised to obtain insurance in respect of the order) at the rate specified in paragraph 7.1.5 from 9.2.3 within one month after such notification has been frames or picture frame glass; and if the Lot is or out in the Notice to Bidders. Lot as soon as possible after the Sale. the date upon which we become liable to pay the given, you return the Lot to us in the same condition becomes dangerous, we may dispose of it without 2 PERFORMANCE OF THE CONTRACT FOR SALE same until payment by you. as it was at the time of the Sale, accompanied by notice to you in advance in any manner we think fit written evidence that the Lot is a Forgery and details and we will be under no liability to you for doing so. You undertake to us personally that you will of the Sale and Lot number sufficient to identify the observe and comply with all your obligations and Lot. undertakings to the Seller under the Contract for Sale in respect of the Lot.
NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are Business profits, revenue or income or for loss of reflected the then accepted general opinion of for convenience only and will not affect its Business reputation or for disruption to Business or scholars and experts or fairly indicated that there was interpretation. wasted time on the part of the Buyer’s management a conflict of such opinion; or or staff or, if you are buying the Lot in the course of 12.8 In this agreement “including” means “including, a Business, for any indirect losses or consequential it can be established that the Lot is a non-conforming without limitation”. damages of any kind, irrespective in any case of Lot only by means of a process not generally the nature, volume or source of the loss or damage accepted for use until after the date on which the 12.9 References to the singular will include reference to alleged to be suffered, and irrespective of whether Catalogue was published or by means of a process the plural (and vice versa) and reference to any one the said loss or damage is caused by or claimed which it was unreasonable in all the circumstances gender will include reference to the other genders. in respect of any negligence, other tort, breach of for us to have employed; or contract, statutory duty, bailee’s duty, a restitutionary 12.10 Reference to a numbered paragraph is to a claim or otherwise. the Lot comprises atlases, maps, autographs, paragraph of this agreement. manuscripts, extra illustrated books, music or 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or 12.11 Save as expressly provided in paragraph 12.12 circumstances where we are liable to you in nothing in this agreement confers (or purports to respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under confer) on any person who is not a party to this representation in respect of it, or this agreement “collections” or “collections and various” or the Lot agreement any benefit conferred by, or the right to or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain enforce any term of, this agreement. an indemnity or contribution or for a restitutionary a collection, issue or Books which are undescribed or remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the 12.12 Where this agreement confers an immunity from, limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles and/or an exclusion or restriction of, the responsibility by way of maximum the amount of the Purchase or advertisements. and/or liability of Bonhams, it will also operate in Price of the Lot plus Buyer’s Premium (less any sum favour and for the benefit of Bonhams’ holding you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- company and the subsidiaries of such holding irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the company and the successors and assigns of Bonhams source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot and of such companies and of any officer, employee or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from and agent of Bonhams and such companies, each the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse claims of whom will be entitled to rely on the relevant breach of contract, statutory duty, bailee’s duty, a and we will pay to you an amount equal to the sum immunity and/or exclusion and/or restriction within restitutionary claim or otherwise. of the Purchase Price and Buyer’s Premium paid by and for the purposes of Contracts (Rights of Third you in respect of the Lot. Parties) Act 1999, which enables the benefit of a You may wish to protect yourself against loss by contract to be extended to a person who is not a obtaining insurance. The benefit of paragraph 10 is personal to, and party to the contract, and generally at law. incapable of assignment by, you and if you sell or 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all 13 GOVERNING LAW or restricting (whether directly or indirectly) any rights and benefits under this paragraph will cease. person’s liability or excluding or restricting any All transactions to which this agreement applies person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS and all connected matters will be governed by and (ii) death or personal injury caused by our negligence construed in accordance with the laws of that part (or any person under our control or for whom we are 12.1 You may not assign either the benefit or burden of of the United Kingdom where the Sale takes (or legally responsible), or (iii) acts or omissions for which this agreement. is to take) place and we and you each submit to we are liable under the Occupiers Liability Act 1957, the exclusive jurisdiction of the courts of that part or (iv) any other liability to the extent the same may 12.2 Our failure or delay in enforcing or exercising any of the United Kingdom, save that we may bring not be excluded or restricted as a matter of law, or power or right under this agreement will not operate proceedings against you in any other court of (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights competent jurisdiction to the extent permitted by conditions. under it except to the extent of any express waiver the laws of the relevant jurisdiction. Bonhams has a given to you in writing. Any such waiver will not complaints procedure in place. 11 BOOKS MISSING TEXT OR ILLUSTRATIONS affect our ability subsequently to enforce any right arising under this agreement. DATA PROTECTION – USE OF YOUR INFORMATION Where the Lot is made up wholly of a Book or Books and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from Where we obtain any personal information about you, we shall either case referred to as a “non-conforming Lot”), performing that party’s respective obligations only use it in accordance with the terms of our Privacy Policy we undertake a personal responsibility for such a under this agreement by circumstances beyond (subject to any additional specific consent(s) you may have non-conforming Lot in accordance with the terms of its reasonable control or if performance of its given at the time your information was disclosed). A copy of this paragraph, if: obligations would by reason of such circumstances our Privacy Policy can be found on our Website www.bonhams. give rise to a significantly increased financial com or requested by post from Customer Services Department, the original invoice was made out by us to you in cost to it, that party will not, for so long as such 101 New Bond Street, London W1S 1SR, United Kingdom or respect of the Lot and that invoice has been paid; circumstances prevail, be required to perform such by email from [email protected]. and obligations. This paragraph does not apply to the obligations imposed on you by paragraph 3. APPENDIX 3 you notify us in writing as soon as reasonably practicable after you have become aware that the Lot 12.4 Any notice or other communication to be given DEFINITIONS AND GLOSSARY is or may be a non-conforming Lot, and in any event under this agreement must be in writing and may within 20 days after the Sale (or such longer period be delivered by hand or sent by first class post or Where these Definitions and Glossary are incorporated, the as we may agree in writing) that the Lot is a non- air mail or fax transmission (if to Bonhams marked following words and phrases used have (unless the context conforming Lot; and for the attention of the Company Secretary), to the otherwise requires) the meanings given to them below. The address or fax number of the relevant party given Glossary is to assist you to understand words and phrases within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change which have a specific legal meaning with which you may not such longer period as we may agree in writing) you of address is given in writing). It is the responsibility be familiar. return the Lot to us in the same condition as it was of the sender of the notice or communication to at the time of the Sale, accompanied by written ensure that it is received in a legible form within any LIST OF DEFINITIONS evidence that the Lot is a non-conforming Lot and applicable time period. details of the Sale and Lot number sufficient to “Additional Premium” a premium, calculated in accordance identify the Lot. 12.5 If any term or any part of any term of this agreement with the Notice to Bidders, to cover Bonhams’ Expenses is held to be unenforceable or invalid, such relating to the payment of royalties under the Artists Resale but not if: unenforceability or invalidity will not affect the Right Regulations 2006 which is payable by the Buyer to enforceability and validity of the remaining terms or Bonhams on any Lot marked [AR] which sells for a Hammer the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. Price which together with the Buyer’s Premium (but excluding indicates that the rights given by this paragraph do any VAT) equals or exceeds 1000 euros (converted into not apply to it; or 12.6 References in this agreement to Bonhams will, where the currency of the Sale using the European Central Bank appropriate, include reference to Bonhams’ officers, Reference rate prevailing on the date of the Sale). employees and agents. “Auctioneer” the representative of Bonhams conducting the Sale.
NTB/MAIN/03.14/V2 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are “Bidder” a person who has completed a Bidding Form. “Loss and Damage Warranty” means the warranty described “artist’s resale right”: the right of the creator of a work of art Business profits, revenue or income or for loss of reflected the then accepted general opinion of for convenience only and will not affect its “Bidding Form” our Bidding Registration Form, our Absentee in paragraph 8.2 of the Conditions of Business. to receive a payment on Sales of that work subsequent to the Business reputation or for disruption to Business or scholars and experts or fairly indicated that there was interpretation. Bidding Form or our Telephone Bidding Form. “Loss and Damage Warranty Fee” means the fee described original Sale of that work by the creator of it as set out in the wasted time on the part of the Buyer’s management a conflict of such opinion; or “Bonhams” Bonhams 1793 Limited or its successors or in paragraph 8.2.3 of the Conditions of Business. Artists Resale Right Regulations 2006. or staff or, if you are buying the Lot in the course of 12.8 In this agreement “including” means “including, assigns. Bonhams is also referred to in the Buyer’s Agreement, “Lot” any item consigned to Bonhams with a view to its Sale “bailee”: a person to whom goods are entrusted. a Business, for any indirect losses or consequential it can be established that the Lot is a non-conforming without limitation”. the Conditions of Business and the Notice to Bidders by the at auction or by private treaty (and reference to any Lot will “indemnity”: an obligation to put the person who has damages of any kind, irrespective in any case of Lot only by means of a process not generally words “we”, “us” and “our”. include, unless the context otherwise requires, reference to the benefit of the indemnity in the same position in which the nature, volume or source of the loss or damage accepted for use until after the date on which the 12.9 References to the singular will include reference to “Book” a printed Book offered for Sale at a specialist Book individual items comprised in a group of two or more items he would have been, had the circumstances giving rise to alleged to be suffered, and irrespective of whether Catalogue was published or by means of a process the plural (and vice versa) and reference to any one Sale. offered for Sale as one Lot). the indemnity not arisen and the expression “indemnify” is the said loss or damage is caused by or claimed which it was unreasonable in all the circumstances gender will include reference to the other genders. “Business” includes any trade, Business and profession. “Motoring Catalogue Fee” a fee payable by the Seller to construed accordingly. in respect of any negligence, other tort, breach of for us to have employed; or “Buyer” the person to whom a Lot is knocked down by the Bonhams in consideration of the additional work undertaken “interpleader proceedings”: proceedings in the Courts to contract, statutory duty, bailee’s duty, a restitutionary 12.10 Reference to a numbered paragraph is to a Auctioneer. The Buyer is also referred to in the Contract for by Bonhams in respect of the cataloguing of motor vehicles determine ownership or rights over a Lot. claim or otherwise. the Lot comprises atlases, maps, autographs, paragraph of this agreement. Sale and the Buyer’s Agreement by the words “you” and and in respect of the promotion of Sales of motor vehicles. “knocked down”: when a Lot is sold to a Bidder, indicated by manuscripts, extra illustrated books, music or “your”. “New Bond Street” means Bonhams’ saleroom at 101 New the fall of the hammer at the Sale. 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or 12.11 Save as expressly provided in paragraph 12.12 “Buyer’s Agreement” the contract entered into by Bonhams Bond Street, London W1S 1SR. “lien”: a right for the person who has possession of the Lot to circumstances where we are liable to you in nothing in this agreement confers (or purports to with the Buyer (see Appendix 2 in the Catalogue). “Notional Charges” the amount of Commission and VAT retain possession of it. respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under confer) on any person who is not a party to this “Buyer’s Premium” the sum calculated on the Hammer Price which would have been payable if the Lot had been sold at the “risk”: the possibility that a Lot may be lost, damaged, representation in respect of it, or this agreement “collections” or “collections and various” or the Lot agreement any benefit conferred by, or the right to at the rates stated in the Notice to Bidders. Notional Price. destroyed, stolen, or deteriorate in condition or value. or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain enforce any term of, this agreement. “Catalogue” the Catalogue relating to the relevant Sale, “Notional Fee” the sum on which the Consignment Fee “title”: the legal and equitable right to the ownership of a Lot. an indemnity or contribution or for a restitutionary a collection, issue or Books which are undescribed or including any representation of the Catalogue published on payable to Bonhams by the Seller is based and which is “tort”: a legal wrong done to someone to whom the wrong remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the 12.12 Where this agreement confers an immunity from, our Website. calculated according to the formula set out in the Conditions doer has a duty of care. limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles and/or an exclusion or restriction of, the responsibility “Commission” the Commission payable by the Seller to of Business. by way of maximum the amount of the Purchase or advertisements. and/or liability of Bonhams, it will also operate in Bonhams calculated at the rates stated in the Contract Form. “Notional Price” the latest in time of the average of the SALE OF GOODS ACT 1979 Price of the Lot plus Buyer’s Premium (less any sum favour and for the benefit of Bonhams’ holding “Condition Report” a report on the physical condition of a Lot high and low Estimates given by us to you or stated in the you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- company and the subsidiaries of such holding provided to a Bidder or potential Bidder by Bonhams on behalf Catalogue or, if no such Estimates have been given or stated, The following is an extract from the Sale of Goods Act 1979: irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the company and the successors and assigns of Bonhams of the Seller. the Reserve applicable to the Lot. source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot and of such companies and of any officer, employee “Conditions of Sale” the Notice to Bidders, Contract for Sale, “Notice to Bidders” the notice printed at the back or front of “Section 12 Implied terms about title, etc or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from and agent of Bonhams and such companies, each Buyer’s Agreement and Definitions and Glossary. our Catalogues. the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse claims of whom will be entitled to rely on the relevant “Consignment Fee” a fee payable to Bonhams by the Seller “Purchase Price” the aggregate of the Hammer Price and VAT (1) In a contract of sale, other than one to which subsection breach of contract, statutory duty, bailee’s duty, a and we will pay to you an amount equal to the sum immunity and/or exclusion and/or restriction within calculated at rates set out in the Conditions of Business. on the Hammer Price (where applicable), the Buyer’s Premium (3) below applies, there is an implied term on the part of restitutionary claim or otherwise. of the Purchase Price and Buyer’s Premium paid by and for the purposes of Contracts (Rights of Third “Consumer” a natural person who is acting for the relevant and VAT on the Buyer’s Premium and any Expenses. the seller that in the case of a sale he has a right to sell you in respect of the Lot. Parties) Act 1999, which enables the benefit of a purpose outside his trade, Business or profession. “Reserve” the minimum price at which a Lot may be sold the goods, and in the case of an agreement to sell he You may wish to protect yourself against loss by contract to be extended to a person who is not a “Contract Form” the Contract Form, or vehicle Entry form, as (whether at auction or by private treaty). will have such a right at the time when the property is to obtaining insurance. The benefit of paragraph 10 is personal to, and party to the contract, and generally at law. applicable, signed by or on behalf of the Seller listing the Lots “Sale” the auction Sale at which a Lot is to be offered for Sale pass. incapable of assignment by, you and if you sell or to be offered for Sale by Bonhams. by Bonhams. 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all 13 GOVERNING LAW “Contract for Sale” the Sale contract entered into by the “Sale Proceeds” the net amount due to the Seller from the (2) In a contract of sale, other than one to which subsection or restricting (whether directly or indirectly) any rights and benefits under this paragraph will cease. Seller with the Buyer (see Appendix 1 in the Catalogue). Sale of a Lot, being the Hammer Price less the Commission, any (3) below applies, there is also an implied term that- person’s liability or excluding or restricting any All transactions to which this agreement applies “Contractual Description” the only Description of the Lot VAT chargeable thereon, Expenses and any other amount due person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS and all connected matters will be governed by and (being that part of the Entry about the Lot in the Catalogue to us in whatever capacity and howsoever arising. (a) the goods are free, and will remain free until (ii) death or personal injury caused by our negligence construed in accordance with the laws of that part which is in bold letters, any photograph (except for the colour) “Seller” the person who offers the Lot for Sale named on the time when the property is to pass, from any (or any person under our control or for whom we are 12.1 You may not assign either the benefit or burden of of the United Kingdom where the Sale takes (or and the contents of any Condition Report) to which the Seller the Contract Form. Where the person so named identifies on charge or encumbrance not disclosed or known legally responsible), or (iii) acts or omissions for which this agreement. is to take) place and we and you each submit to undertakes in the Contract of Sale the Lot corresponds. the form another person as acting as his agent, or where the to the buyer before the contract is made, and we are liable under the Occupiers Liability Act 1957, the exclusive jurisdiction of the courts of that part “Description” any statement or representation in any person named on the Contract Form acts as an agent for a or (iv) any other liability to the extent the same may 12.2 Our failure or delay in enforcing or exercising any of the United Kingdom, save that we may bring way descriptive of the Lot, including any statement or principal (whether such agency is disclosed to Bonhams or not), (b) the buyer will enjoy quiet possession of the goods not be excluded or restricted as a matter of law, or power or right under this agreement will not operate proceedings against you in any other court of representation relating to its authorship, attribution, condition, “Seller” includes both the agent and the principal who shall be except in so far as it may be disturbed by the (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights competent jurisdiction to the extent permitted by provenance, authenticity, style, period, age, suitability, quality, jointly and severally liable as such. The Seller is also referred to owner or other person entitled to the benefit conditions. under it except to the extent of any express waiver the laws of the relevant jurisdiction. Bonhams has a origin, value, estimated selling price (including the Hammer in the Conditions of Business by the words “you” and “your”. of any charge or encumbrance so disclosed or given to you in writing. Any such waiver will not complaints procedure in place. Price). “Specialist Examination” a visual examination of a Lot by a known. 11 BOOKS MISSING TEXT OR ILLUSTRATIONS affect our ability subsequently to enforce any right “Entry” a written statement in the Catalogue identifying the specialist on the Lot. arising under this agreement. DATA PROTECTION – USE OF YOUR INFORMATION Lot and its Lot number which may contain a Description and “Stamp” means a postage Stamp offered for Sale at a (3) This subsection applies to a contract of sale in the case Where the Lot is made up wholly of a Book or Books illustration(s) relating to the Lot. Specialist Stamp Sale. of which there appears from the contract or is to be and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from Where we obtain any personal information about you, we shall “Estimate” a statement of our opinion of the range within “Standard Examination” a visual examination of a Lot by a inferred from its circumstances an intention that the either case referred to as a “non-conforming Lot”), performing that party’s respective obligations only use it in accordance with the terms of our Privacy Policy which the hammer is likely to fall. non-specialist member of Bonhams’ staff. seller should transfer only such title as he or a third we undertake a personal responsibility for such a under this agreement by circumstances beyond (subject to any additional specific consent(s) you may have “Expenses” charges and Expenses paid or payable by “Storage Contract” means the contract described in person may have. non-conforming Lot in accordance with the terms of its reasonable control or if performance of its given at the time your information was disclosed). A copy of Bonhams in respect of the Lot including legal Expenses, paragraph 8.3.3 of the Conditions of Business or paragraph this paragraph, if: obligations would by reason of such circumstances our Privacy Policy can be found on our Website www.bonhams. banking charges and Expenses incurred as a result of an 4.4 of the Buyer’s Agreement (as appropriate). (4) In a contract to which subsection (3) above applies there give rise to a significantly increased financial com or requested by post from Customer Services Department, electronic transfer of money, charges and Expenses for loss and “Storage Contractor” means the company identified as such is an implied term that all charges or encumbrances the original invoice was made out by us to you in cost to it, that party will not, for so long as such 101 New Bond Street, London W1S 1SR, United Kingdom or damage cover, insurance, Catalogue and other reproductions in the Catalogue. known to the seller and not known to the buyer have respect of the Lot and that invoice has been paid; circumstances prevail, be required to perform such by email from [email protected]. and illustrations, any customs duties, advertising, packing or “Terrorism” means any act or threatened act of terrorism, been disclosed to the buyer before the contract is made. and obligations. This paragraph does not apply to the shipping costs, reproductions rights’ fees, taxes, levies, costs of whether any person is acting alone or on behalf of or in obligations imposed on you by paragraph 3. APPENDIX 3 testing, searches or enquiries, preparation of the Lot for Sale, connection with any organisation(s) and/or government(s), (5) In a contract to which subsection (3) above applies you notify us in writing as soon as reasonably storage charges, removal charges, removal charges or costs committed for political, religious or ideological or similar there is also an implied term that none of the following practicable after you have become aware that the Lot 12.4 Any notice or other communication to be given DEFINITIONS AND GLOSSARY of collection from the Seller as the Seller’s agents or from a purposes including, but not limited to, the intention to will disturb the buyer’s quiet possession of the goods, is or may be a non-conforming Lot, and in any event under this agreement must be in writing and may defaulting Buyer, plus VAT if applicable. influence any government and/or put the public or any section namely: within 20 days after the Sale (or such longer period be delivered by hand or sent by first class post or Where these Definitions and Glossary are incorporated, the “Forgery” an imitation intended by the maker or any other of the public into fear. as we may agree in writing) that the Lot is a non- air mail or fax transmission (if to Bonhams marked following words and phrases used have (unless the context person to deceive as to authorship, attribution, origin, “Trust Account” the bank account of Bonhams into which all (a) the seller; conforming Lot; and for the attention of the Company Secretary), to the otherwise requires) the meanings given to them below. The authenticity, style, date, age, period, provenance, culture, sums received in respect of the Purchase Price of any address or fax number of the relevant party given Glossary is to assist you to understand words and phrases source or composition, which at the date of the Sale had a Lot will be paid, such account to be a distinct and separate (b) in a case where the parties to the contract intend within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change which have a specific legal meaning with which you may not value materially less than it would have had if the Lot had not account to Bonhams’ normal business bank account. that the seller should transfer only such title as a such longer period as we may agree in writing) you of address is given in writing). It is the responsibility be familiar. been such an imitation, and which is not stated to be such “VAT” value added tax at the prevailing rate at the date of the third person may have, that person; return the Lot to us in the same condition as it was of the sender of the notice or communication to an imitation in any description of the Lot. A Lot will not be a Sale in the United Kingdom. at the time of the Sale, accompanied by written ensure that it is received in a legible form within any LIST OF DEFINITIONS Forgery by reason of any damage to, and/or restoration and/ “Website” Bonhams Website at www.bonhams.com (c) anyone claiming through or under the seller or evidence that the Lot is a non-conforming Lot and applicable time period. or modification work (including repainting or over painting) “Withdrawal Notice” the Seller’s written notice to Bonhams that third person otherwise than under a charge details of the Sale and Lot number sufficient to “Additional Premium” a premium, calculated in accordance having been carried out on the Lot, where that damage, revoking Bonhams’ instructions to sell a Lot. or encumbrance disclosed or known to the buyer identify the Lot. 12.5 If any term or any part of any term of this agreement with the Notice to Bidders, to cover Bonhams’ Expenses restoration or modification work (as the case may be) does not “Without Reserve” where there is no minimum price at before the contract is made. is held to be unenforceable or invalid, such relating to the payment of royalties under the Artists Resale substantially affect the identity of the Lot as one conforming to which a Lot may be sold (whether at auction or by private but not if: unenforceability or invalidity will not affect the Right Regulations 2006 which is payable by the Buyer to the Description of the Lot. treaty). (5A) As regards England and Wales and Northern Ireland, the enforceability and validity of the remaining terms or Bonhams on any Lot marked [AR] which sells for a Hammer “Guarantee” the obligation undertaken personally by term implied by subsection (1) above is a condition and the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. Price which together with the Buyer’s Premium (but excluding Bonhams to the Buyer in respect of any Forgery and, in the GLOSSARY the terms implied by subsections (2), (4) and (5) above indicates that the rights given by this paragraph do any VAT) equals or exceeds 1000 euros (converted into case of specialist Stamp Sales and/or specialist Book Sales, a Lot are warranties.” not apply to it; or 12.6 References in this agreement to Bonhams will, where the currency of the Sale using the European Central Bank made up of a Stamp or Stamps or a Book or Books as set out The following expressions have specific legal meanings with appropriate, include reference to Bonhams’ officers, Reference rate prevailing on the date of the Sale). in the Buyer’s Agreement. which you may not be familiar. The following glossary is employees and agents. “Auctioneer” the representative of Bonhams conducting “Hammer Price” the price in the currency in which the Sale is intended to give you an understanding of those expressions the Sale. conducted at which a Lot is knocked down by the Auctioneer. but is not intended to limit their legal meanings:
NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected]
19th Century Paintings British & European Furniture & Works of Art Motor Cars Scientific Instruments UK Porcelain & Pottery UK UK Jon Baddeley Charles O’ Brien UK Fergus Lyons Tim Schofield +44 20 7393 3872 +44 20 7468 8360 John Sandon +44 20 7468 8221 +44 20 7468 5804 U.S.A. U.S.A +44 20 7468 8244 U.S.A U.S.A Jonathan Snellenburg Madalina Lazen U.S.A Jeffrey Smith Mark Osborne +1 212 461 6530 +1 212 644 9108 Peter Scott +1 415 503 3413 +1 415 503 3353 +1 415 503 3326 EUROPE Scottish Pictures 20th Century British Art Greek Art Philip Kantor Chris Brickley Matthew Bradbury California & Olympia Pappa +32 476 879 471 +44 131 240 2297 +44 20 7468 8295 American Paintings +44 20 7468 8314 Scot Levitt Automobilia Silver & Gold Boxes Aboriginal Art +1 323 436 5425 Golf Sporting UK UK Francesca Cavazzini Memorabilia Toby Wilson Michael Moorcroft +61 2 8412 2222 Carpets Kevin Mcgimpsey +44 8700 273 619 +44 20 7468 8241 UK +44 1244 353123 U.S.A U.S.A African, Oceanic Mark Dance Kurt Forry Aileen Ward & Pre-Columbian Art +44 8700 27361 Irish Art +1 415 391 4000 +1 800 223 5463 UK U.S.A. Penny Day Philip Keith Hadji Rahimipour +44 20 7468 8366 Motorcycles South African Art +44 2920 727 980 +1 415 503 3392 Ben Walker Giles Peppiatt U.S.A Impressionist & +44 8700 273616 +44 20 7468 8355 Fredric Backlar Chinese & Asian Art Modern Art Automobilia +1 323 436 5416 UK UK Adrian Pipiros Sporting Guns Asaph Hyman India Phillips +44 8700 273621 Patrick Hawes American Paintings +44 20 7468 5888 +44 20 7468 8328 +44 20 7393 3815 Alan Fausel U.S.A U.S.A Musical Instruments +1 212 644 9039 Dessa Goddard Tanya Wells Philip Scott Toys & Dolls +1 415 503 3333 +1 917 206 1685 +44 20 7393 3855 Leigh Gotch Antiquities HONG KONG +44 20 8963 2839 Madeleine Perridge +852 3607 0010 Islamic & Indian Art Native American Art +44 20 7468 8226 AUSTRALIA Claire Penhallurick Jim Haas Travel Pictures Yvett Klein +44 20 7468 8249 +1 415 503 3294 Veronique Scorer Antique Arms & Armour +61 2 8412 2222 +44 20 7393 3962 UK Japanese Art Natural History David Williams Clocks UK U.S.A Urban Art +44 20 7393 3807 UK Suzannah Yip Claudia Florian Gareth Williams U.S.A James Stratton +44 20 7468 8368 +1 323 436 5437 +44 20 7468 5879 Paul Carella +44 20 7468 8364 U.S.A +1 415 503 3360 U.S.A Jeff Olson Old Master Pictures Watches & Jonathan Snellenburg +1 212 461 6516 UK Wristwatches Art Collections, +1 212 461 6530 Andrew Mckenzie UK Estates & Valuations Jewellery +44 20 7468 8261 Paul Maudsley Harvey Cammell Coins & Medals UK U.S.A +44 20 7447 7412 +44 (0) 20 7468 8340 UK Jean Ghika Mark Fisher U.S.A. John Millensted +44 20 7468 8282 +1 323 436 5488 Jonathan Snellenburg Art Nouveau & Decorative +44 20 7393 3914 U.S.A +1 212 461 6530 Art & Design U.S.A Susan Abeles Orientalist Art HONG KONG UK Paul Song +1 212 461 6525 Charles O’Brien Nick Biebuyck Mark Oliver +1 323 436 5455 AUSTRALIA +44 20 7468 8360 +852 2918 4321 +44 20 7393 3856 Anellie Manolas U.S.A Contemporary Art +61 2 8412 2222 Photography Whisky Frank Maraschiello UK HONG KONG U.S.A UK +1 212 644 9059 Ralph Taylor Graeme Thompson Judith Eurich Martin Green +44 20 7447 7403 +852 3607 0006 +1 415 503 3259 +44 1292 520000 Australian Art U.S.A U.S.A Merryn Schriever Jeremy Goldsmith Marine Art Portrait Miniatures Joseph Hyman +61 2 8412 2222 +1 917 206 1656 UK Jennifer Tonkin +1 917 206 1661 Alex Clark Veronique Scorer +44 20 7393 3986 HONG KONG +61 3 8640 4088 Costume & Textiles +44 20 7393 3962 Daniel Lam Claire Browne U.S.A Prints +852 3607 0004 Australian Colonial +44 1564 732969 Gregg Dietrich UK Furniture and Australiana +1 917 206 1697 Rupert Worrall Wine +1 415 861 7500 Entertainment +44 20 7468 8262 UK Memorabilia Mechanical Music U.S.A Richard Harvey Books, Maps & UK Jon Baddeley Judith Eurich +44 (0) 20 7468 5811 Manuscripts Stephanie Connell +44 20 7393 3872 +1 415 503 3259 U.S.A UK +44 20 7393 3844 Doug Davidson Matthew Haley U.S.A Modern, Contemporary Russian Art +1 415 503 3363 +44 20 7393 3817 Catherine Williamson & Latin American Art UK HONG KONG U.S.A +1 323 436 5442 U.S.A Sophie Law Daniel Lam Christina Geiger Alexis Chompaisal +44 20 7468 8334 +852 3607 0004 +1 212 644 9094 +1 323 436 5469 U.S.A Yelena Harbick British & European Glass Modern Design +1 212 644 9136 UK Gareth Williams Simon Cottle +44 20 7468 5879 +44 20 7468 8383 U.S.A. Suzy Pai +1 415 503 3343
SD22/05/14 International Salerooms, Offices and Associated Companies ( • Indicates Saleroom) To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected] UNITED KINGDOM Representatives: Channel Islands Ireland - Dublin NOrTH AMErICA SOUTH AMErICA Dorset 31 Molesworth Street London Bill Allan Jersey Dublin 2 USA Argentina 19th Century Paintings British & European Furniture & Works of Art Motor Cars Scientific Instruments 101 New Bond Street • +44 1935 815 271 39 Don Street +353 (0)1 602 0990 Daniel Claramunt UK Porcelain & Pottery UK UK Jon Baddeley London W1S 1SR St.Helier +353 (0)1 4004 140 fax San Francisco • +54 11 479 37600 Charles O’ Brien UK Fergus Lyons Tim Schofield +44 20 7393 3872 +44 20 7447 7447 East Anglia JE2 4TR [email protected] 220 San Bruno Avenue +44 20 7468 8360 John Sandon +44 20 7468 8221 +44 20 7468 5804 U.S.A. +44 20 7447 7400 fax +44 1534 722 441 San Francisco Brazil Bury St. Edmunds +44 1534 759 354 fax Italy - Milan CA 94103 Thomaz Oscar Saavedra U.S.A +44 20 7468 8244 U.S.A U.S.A Jonathan Snellenburg Montpelier Street • 21 Churchgate Street Via Boccaccio 22 +1 (415) 861 7500 +55 11 3031 4444 Madalina Lazen U.S.A Jeffrey Smith Mark Osborne +1 212 461 6530 London SW7 1HH Bury St Edmunds Representative: 20123 Milano +1 (415) 861 8951 fax +55 11 3031 4444 fax +1 212 644 9108 Peter Scott +1 415 503 3413 +1 415 503 3353 +44 20 7393 3900 Suffolk IP33 1RG Guernsey +39 (0)2 4953 9020 +1 415 503 3326 EUROPE Scottish Pictures +44 20 7393 3905 fax +44 1284 716 190 +44 1481 722 448 +39 (0)2 4953 9021 fax Los Angeles • 20th Century British Art Greek Art Philip Kantor Chris Brickley +44 1284 755 844 fax [email protected] 7601 W. Sunset Boulevard ASIA Matthew Bradbury California & Olympia Pappa +32 476 879 471 +44 131 240 2297 South East Scotland Los Angeles +44 20 7468 8295 American Paintings +44 20 7468 8314 England Norfolk Italy - rome CA 90046 Hong Kong • The Market Place Edinburgh • Via Sicilia 50 +1 (323) 850 7500 Suite 2001 Scot Levitt Automobilia Silver & Gold Boxes Brighton & Hove Reepham 22 Queen Street 00187 Rome +1 (323) 850 6090 fax One Pacific Place Aboriginal Art +1 323 436 5425 Golf Sporting UK UK 19 Palmeira Square Norfolk NR10 4JJ Edinburgh +39 (0)6 48 5900 88 Queensway Francesca Cavazzini Memorabilia Toby Wilson Michael Moorcroft Hove, East Sussex +44 1603 871 443 EH2 1JX +39 (0)6 482 0479 fax New York • Admiralty +61 2 8412 2222 Carpets Kevin Mcgimpsey +44 8700 273 619 +44 20 7468 8241 BN3 2JN +44 1603 872 973 fax +44 131 225 2266 [email protected] 580 Madison Avenue Hong Kong UK +44 1244 353123 U.S.A U.S.A +44 1273 220 000 +44 131 220 2547 fax New York, NY +852 2918 4321 African, Oceanic Mark Dance Kurt Forry Aileen Ward +44 1273 220 335 fax Midlands Netherlands - Amsterdam 10022 +852 2918 4320 fax Glasgow De Lairessestraat 154 & Pre-Columbian Art +44 8700 27361 Irish Art +1 415 391 4000 +1 800 223 5463 +1 (212) 644 9001 [email protected] Guildford Knowle 176 St. Vincent Street, 1075 HL Amsterdam +1 (212) 644 9007 fax UK U.S.A. Penny Day Millmead, The Old House Glasgow +31 20 67 09 701 Beijing Philip Keith Hadji Rahimipour +44 20 7468 8366 Motorcycles South African Art Guildford, Station Road G2 5SG +31 20 67 09 702 fax Representatives: Hongyu Yu +44 2920 727 980 +1 415 503 3392 Ben Walker Giles Peppiatt Surrey GU2 4BE Knowle, Solihull +44 141 223 8866 [email protected] Arizona Suite 511 U.S.A Impressionist & +44 8700 273616 +44 20 7468 8355 +44 1483 504 030 West Midlands +44 141 223 8868 fax Terri Adrian-Hardy Chang An Club Fredric Backlar Chinese & Asian Art Modern Art Automobilia +44 1483 450 205 fax B93 0HT Spain - Madrid +1 (480) 994 5362 10 East Chang An Avenue +1 323 436 5416 UK UK Adrian Pipiros Sporting Guns +44 1564 776 151 Representatives: Nuñez de Balboa no.4 - 1A Beijing 100006 Isle of Wight +44 1564 778 069 fax Wine & Spirits Madrid California +86(0) 10 6528 0922 Asaph Hyman India Phillips +44 8700 273621 Patrick Hawes +44 1273 220 000 Tom Gilbey 28001 Central Valley +86(0) 10 6528 0933 fax American Paintings +44 20 7468 5888 +44 20 7468 8328 +44 20 7393 3815 Oxford • +44 1382 330 256 +34 91 578 17 27 David Daniel [email protected] Alan Fausel U.S.A U.S.A Musical Instruments Representative: Banbury Road [email protected] +1 (916) 364 1645 +1 212 644 9039 Dessa Goddard Tanya Wells Philip Scott Toys & Dolls Kent Shipton on Cherwell Wales Japan +1 415 503 3333 +1 917 206 1685 +44 20 7393 3855 Leigh Gotch George Dawes Kidlington OX5 1JH Switzerland - Geneva District of Columbia/ Akiko Tsuchida Antiquities HONG KONG +44 20 8963 2839 +44 1483 504 030 +44 1865 853 640 Cardiff Rue Etienne-Dumont 10 Mid-Atlantic Level 14 Hibiya Central Building +44 1865 372 722 fax 7-8 Park Place, 1204 Geneva Madeleine Perridge +852 3607 0010 Islamic & Indian Art Native American Art Martin Gammon 1-2-9 Nishi-Shimbashi West Sussex Cardiff CF10 3DP Switzerland +1 (202) 333 1696 +44 20 7468 8226 AUSTRALIA Claire Penhallurick Jim Haas Minato-ku Travel Pictures Jeff Burfield Yorkshire & North East +44 2920 727 980 +41 76 379 9230 Tokyo 105-0003 Yvett Klein +44 20 7468 8249 +1 415 503 3294 Veronique Scorer +44 1243 787 548 England +44 2920 727 989 fax [email protected] Southern California +81 (0) 3 5532 8636 Antique Arms & Armour +61 2 8412 2222 +44 20 7393 3962 Christine Eisenberg +81 (0) 3 5532 8637 fax UK Japanese Art Natural History South West Leeds Representatives: +1 (949) 646 6560 [email protected] David Williams Clocks UK U.S.A Urban Art England 30 Park Square West EUrOpE Denmark Leeds LS1 2PF Henning Thomsen Florida Singapore +44 20 7393 3807 UK Suzannah Yip Claudia Florian Gareth Williams +44 113 234 5755 Austria - Vienna U.S.A James Stratton +44 20 7468 8368 +1 323 436 5437 +44 20 7468 5879 Bath +45 4178 4799 +1 (305) 228 6600 Bernadette Rankine Queen Square House +44 113 244 3910 fax Tuchlauben 8 [email protected] 11th Floor, Wisma Atria Paul Carella +44 20 7468 8364 U.S.A Charlotte Street 1010 Vienna Georgia 435 Orchard Road +1 415 503 3360 U.S.A Jeff Olson Old Master Pictures Watches & Bath BA1 2LL North West England Austria Spain - Marbella Mary Moore Bethea Singapore 238877 Jonathan Snellenburg +1 212 461 6516 UK Wristwatches +44 1225 788 988 +43 (0)1 403 00 01 James Roberts +1 (404) 842 1500 +65 (0) 6701 8038 Art Collections, +1 212 461 6530 Andrew Mckenzie UK +44 1225 446 675 fax Chester [email protected] +34 952 90 62 50 +65 (0) 6701 8001 fax Estates & Valuations Jewellery +44 20 7468 8261 Paul Maudsley New House [email protected] Illinois bernadette.rankine@ 150 Christleton Road Harvey Cammell Coins & Medals UK U.S.A +44 20 7447 7412 Cornwall – Truro Belgium - Brussels Ricki Blumberg Harris bonhams.com Chester, Cheshire Boulevard portugal +44 (0) 20 7468 8340 UK Jean Ghika Mark Fisher U.S.A. 36 Lemon Street +1 (312) 475 3922 Truro CH3 5TD Saint-Michel 101 Filipa Rebelo de Andrade +1 (773) 267 3300 Taiwan John Millensted +44 20 7468 8282 +1 323 436 5488 Jonathan Snellenburg Cornwall +44 1244 313 936 1040 Brussels +351 91 921 4778 Summer Fang Art Nouveau & Decorative +44 20 7393 3914 U.S.A +1 212 461 6530 TR1 2NR +44 1244 340 028 fax +32 (0)2 736 5076 [email protected] Massachusetts 37th Floor, Taipei 101 Tower Art & Design U.S.A Susan Abeles Orientalist Art HONG KONG +44 1872 250 170 +32 (0)2 732 5501 fax Boston/New England Nor 7 Xinyi Road, Section 5 UK Paul Song +1 212 461 6525 Charles O’Brien Nick Biebuyck +44 1872 250 179 fax Carlisle [email protected] russia - Moscow Amy Corcoran Taipei, 100 Mark Oliver +1 323 436 5455 AUSTRALIA +44 20 7468 8360 +852 2918 4321 48 Cecil Street Anastasia Vinokurova +1 (617) 742 0909 +886 2 8758 2898 Carlisle, Cumbria France - paris +44 20 7393 3856 Anellie Manolas Exeter +7 964 562 3845 +886 2 8757 2897 fax The Lodge CA1 1NT 4 rue de la Paix [email protected] Nevada [email protected] U.S.A Contemporary Art +61 2 8412 2222 Photography Whisky Southernhay West Exeter, +44 1228 542 422 75002 Paris David Daniel Frank Maraschiello UK HONG KONG U.S.A UK Devon +44 1228 590 106 fax +33 (0)1 42 61 1010 russia - St petersburg +1 (775) 831 0330 +1 212 644 9059 Ralph Taylor Graeme Thompson Judith Eurich Martin Green EX1 1JG +33 (0)1 42 61 1015 fax Marina Jacobson AUSTrALIA +44 20 7447 7403 +852 3607 0006 +1 415 503 3259 +44 1292 520000 +44 1392 425 264 Manchester [email protected] +7 921 555 2302 New Mexico Australian Art U.S.A U.S.A +44 1392 494 561 fax The Stables [email protected] Leslie Trilling Sydney 213 Ashley Road Germany - Cologne +1 (505) 820 0701 76 Paddington Street Merryn Schriever Jeremy Goldsmith Marine Art Portrait Miniatures Joseph Hyman Hale WA15 9TB Albertusstrasse 26 +61 2 8412 2222 +1 917 206 1656 UK Jennifer Tonkin +1 917 206 1661 Winchester Paddington NSW 2021 The Red House +44 161 927 3822 50667 Cologne MIDDLE EAST Oregon Australia Alex Clark Veronique Scorer +44 20 7393 3986 HONG KONG Hyde Street +44 161 927 3824 fax +49 (0)221 2779 9650 Sheryl Acheson +61 (0) 2 8412 2222 +61 3 8640 4088 Costume & Textiles +44 20 7393 3962 Daniel Lam Winchester +49 (0)221 2779 9652 fax Israel +1(503) 312 6023 +61 (0) 2 9475 4110 fax Claire Browne U.S.A Prints +852 3607 0004 Hants SO23 7DX [email protected] Joslynne Halibard [email protected] Australian Colonial +44 1564 732969 Gregg Dietrich UK +44 1962 862 515 +972 (0)54 553 5337 Texas Furniture and Australiana +1 917 206 1697 Rupert Worrall Wine +44 1962 865 166 fax Germany - Munich [email protected] Amy Lawch Melbourne Maximilianstrasse 52 +1 415 861 7500 Entertainment +44 20 7468 8262 UK +1 (713) 621 5988 Como House Tetbury 80538 Munich Cnr Williams Road Memorabilia Mechanical Music U.S.A Richard Harvey 22a Long Street +49 (0) 89 2420 5812 Washington +44 (0) 20 7468 5811 & Lechlade Avenue Books, Maps & UK Jon Baddeley Judith Eurich Tetbury +49 (0) 89 2420 7523 fax Heather O’Mahony South Yarra VIC 3141 Manuscripts Stephanie Connell +44 20 7393 3872 +1 415 503 3259 U.S.A Gloucestershire [email protected] +1 (206) 218 5011 UK +44 20 7393 3844 Doug Davidson GL8 8AQ Matthew Haley U.S.A Modern, Contemporary Russian Art +1 415 503 3363 +44 1666 502 200 Greece - Athens CANADA AFrICA +44 20 7393 3817 Catherine Williamson & Latin American Art UK HONG KONG +44 1666 505 107 fax 7 Neofytou Vamva Street Daniel Lam 10674 Athens Toronto, Ontario • Nigeria U.S.A +1 323 436 5442 U.S.A Sophie Law +30 (0) 210 3636 404 Jack Kerr-Wilson Christina Geiger Alexis Chompaisal +44 20 7468 8334 +852 3607 0004 Neil Coventry [email protected] 20 Hazelton Avenue +234 (0)7065 888 666 +1 212 644 9094 +1 323 436 5469 U.S.A Toronto, ONT [email protected] Yelena Harbick M5R 2E2 British & European Glass Modern Design +1 212 644 9136 +1 (416) 462 9004 South Africa - Johannesburg UK Gareth Williams [email protected] Penny Culverwell Simon Cottle +44 20 7468 5879 +27 (0)71 342 2670 Montreal, Quebec [email protected] +44 20 7468 8383 David Kelsey U.S.A. +1 (514) 341 9238 Suzy Pai [email protected] +1 415 503 3343 G-NET/5/14
SD22/05/14 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.
Sale title: 19th Century European, Victorian Sale date: Wednesday 25 June and British Impressionist Art
Sale no. 21742 Sale venue: New Bond Street, London Paddle number (for office use only) If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. You should read the Conditions in conjunction with General Bid Increments: the Sale Information relating to this Sale which sets £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s out the charges payable by you on the purchases £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s you make and other terms relating to bidding and buying at the Sale. You should ask any questions you £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s have about the Conditions before signing this form. £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s These Conditions also contain certain undertakings £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion by bidders and buyers and limit Bonhams’ liability to £5,000 - 10,000 ...... by 500s bidders and buyers. The auctioneer has discretion to split any bid at any time.
Data protection – use of your information Customer Number Title Where we obtain any personal information about you, we shall only use it in accordance with the terms of our First Name Last Name Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was Company name (to be invoiced if applicable) disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post Address from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. City County / State Credit and Debit Card Payments There is no surcharge for payments made by debit cards Post / Zip code Country issued by a UK bank. All other debit cards and all credit cards are subject to a 2% surcharge on the total invoice price. Telephone mobile Telephone daytime
Notice to Bidders. Telephone evening Fax Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof Preferred number(s) in order for Telephone Bidding (inc. country code) of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on E-mail (in capitals) the company’s behalf. Failure to provide this may result in By providing your email address above, you authorise Bonhams to send you marketing material and news concerning Bonhams and partner your bids not being processed. For higher value lots you organisations. Bonhams does not sell or trade email addresses. may also be asked to provide a bank reference. I am registering to bid as a private client I am registering to bid as a trade client If successful If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before I will collect the purchases myself Please contact me with a shipping quote / - - (if applicable) Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Covering bid* Absentee (T / A) Please indicate Telephone or Absentee (T & VAT) / A)
FOR WINE SALES ONLY Please leave lots “available under bond” in bond I will collect from Park Royal or bonded warehouse Please include delivery charges (minimum charge of £20 + VAT)
BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS YOUR LEGAL RIGHTS.
Your signature: Date:
* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] UK/05/14 Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.
19th Century european, ViCtorian Bonhams 101 New Bond Street and British impressionist art London Wednesday 25 June 2014 W1S 1SR
+44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax 19th 19th C entury paintings entury
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New Bond Street, London London Street, Bond New Ӏ Wednesday 25 June 2014 2014 June 25 Wednesday 21742
International Auctioneers and Valuers – bonhams.com