Modern British and Irish Art Evening and Day Sale 17 and 18 November 2014

MODERN BRITISH AND IRISH ART Evening Sale Monday 17 November 2014, at 17:00 101 New Bond Street, London Day Sale Tuesday 18 November 2014, at 11:00 101 New Bond Street, London

London Viewing Bids Enquiries customer services New Bond Street, London +44 (0) 20 7447 7448 London Monday to Friday 08.30 to 18.00 Thursday 13 November +44 (0) 20 7447 4401 fax Matthew Bradbury +44 (0) 20 7447 7448 14:00 – 17:00 To bid via the internet please +44 (0) 20 7468 8295 Friday 14 November visit bonhams.com [email protected] As a courtesy to intending 9.00 - 19.00 bidders, Bonhams will provide a Saturday 15 November Please note that bids should be Penny Day written Indication of the physical 11.00 - 15.00 submitted no later than 4pm on +44 (0) 20 7468 8366 condition of lots in this sale if a Sunday 16 November the day prior to the sale. New [email protected] request is received up to 24 11.00 - 15.00 bidders must also provide proof hours before the auction starts. Monday 17 November of identity when submitting bids. Christopher Dawson This written Indication is issued 9.00 - 15.30 Failure to do this may result in +44 (0) 20 7468 8296 subject to Clause 3 of the Notice Tuesday 18 November your bid not being processed. [email protected] to Bidders. 9.00 - 10.00 Bidding by telephone will only Ingram Reid important information be accepted on a lot with a +44 (0) 20 7468 8297 Sale Number The United States Government lower estimateor of or in [email protected] 21770 has banned the import of ivory excess of £1000 into the USA. Lots containing Jonathan Horwich Catalogue ivory are indicated by the Live online bidding is Global Director, Picture Sales symbol Ф printed beside the £20.00 available for this sale +44 (0) 20 7468 8280 lot number in this catalogue. Please email [email protected] [email protected] with ‘live bidding’ in the subject line 48 hours before the auction Irish Representative to register for this service Jane Beattie +353 (0) 87 7765114 [email protected]

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Matthew Bradbury Penny Day Christopher Dawson Ingram Reid

Director, UK Board Department Director Senior Specialist Cataloguer and Head of Sale

Jane Beattie Jonathan Horwich

Irish Representative Global Director of Fine Art Foreword By Penny Day department Director & Head of Sale

Myself, Matthew, Chris and Ingram are very proud to present our latest Modern British & Irish art sale catalogue. This season, and for the first time, the auction forms two sections - Evening and Day - on 17 and 18 November at New Bond Street.

There are a number of diverse and exciting trends within both parts. These include a focus on sculpture, superior groups of work from both Camden Town and St Ives artists as well as a Northern emphasis. But the thing that strikes me most about the content of this specific sale is the theme of outstanding provenance that runs throughout. That, coupled with the overall quality of workmanship - in casting, carving, painting and drawing, means the following 102 lots are, we feel, some of the most desirable produced during the period and available today.

Of this group, the vast majority were acquired from exhibitions or galleries in the early to mid-20th Century and have not been seen since, disappearing into private hands only to resurface now, still in those very same families. And not just any private collections. Many have belonged to distinguished collectors such as Barbara & Arnold Burton, whose discerning eye can be appreciated in lots 2-8. Further notable names include A.E. Frape (9), George & Maura McClelland (13), Mrs George Swinton (21 & 22), T.G. Rosenthal (112) and Dr Michael Salz (155), among others. And indeed a number were acquired directly from the artist or artist’s family such as our first lot Bird Form by Barbara Hepworth (also see lot 15 by Frink, 103 by Gilman and 169-172 by Uglow etc.). This makes for an exciting auction full of previously hidden gems, all recorded but fresh to market.

One artist particularly well represented is that Modern British titan, Henry Moore. The imposing front cover Reclining Figure on Pedestal is an important and desirable example of the artists favoured reclining figure subject. Dr Alan Wilkinson discusses this preoccupation in more detail and places lot 17 in context on pages 56-59. This piece is accompanied by a further two bronze sculptures and two works on paper. One of these - lot 16 (Seated Figure: Armless) - is a perfect example of the aforementioned ‘one careful owner’ theme, having been purchased in 1956 (just one year following its creation) by the family of the present owner. Peoples’ favourite, L.S. Lowry, is included too through five works whilst the Irish contribution comes in the shape of early and exceptional canvases by Roderic O’Conor and Basil Blackshaw, alongside Lavery, Le Brocquy and Yeats.

In conclusion, we are delighted to be offering such a curated miscellany of known and discovered paintings, sculpture and works on paper. With prices ranging from £4,000-£2,000,000 and items measuring from just two inches up to an impressive nine feet, we hope there will be something for everyone and look forward to seeing you during the view. Evening Sale Monday 17 November 2014 at 17.00 Lots 1 - 22 1AR Dame Barbara Hepworth (1903-1975) Bird Form Literature signed, numbered and dated ‘Barbara Hepworth 1963/8/9’ and ‘Barbara Hepworth: The Artist and Her Work’, Bijustsu Techo, August stamped with Morris Singer Foundry stamp (on the base) 1970, p.6 (ill., another cast) bronze with a green patina Alan Bowness (ed), The Complete Sculpture of Barbara Hepworth 35.6 cm. (14 in.) high (including the base) 1960-69, Lund Humphries, London, 1971, p.36, pl.63 BH.336 (ill.b&w, another cast) Sophie Bowness, Barbara Hepworth, The Plasters, The Gift to Wakefield, Lund Humphries in association with The Hepworth £40,000 - 60,000 Wakefield, Farnham, 2011, p.136, cat.no.21 (col.ill., another cast, col. €50,000 - 75,000 ill., p.137, the plaster) US$64,000 - 96,000

Conceived in 1963, the origins of Bird Form can be traced back to Provenance a much earlier period. At her second only exhibition in 1928, of the The Artist’s Estate thirteen sculptures included at the Beaux-Arts Gallery, four were Thence by descent bird figures (Doves, Dying Bird, Fan-tail Pigeons and Goose). Henry Private Collection, U.K. Moore too was creating bird and animal forms in the 1920s, both artists taking their lead from Gaudier-Brzeska and Epstein who had Exhibited developed the theme during the Vorticist movement. But whilst the Wellingborough, Wellingborough Festival, 1962, cat.no.20 idea was not unique to Hepworth, it was deep rooted, resurfacing in (another cast) different shapes and mediums throughout her career. Indeed, it was Zurich, Gimpel-Hanover Galerie, Barbara Hepworth, 1963-4, cat.no.20 impossible for her to ignore, being so absorbed by the natural world as (another cast) she was. London, Gimpel Fils, Barbara Hepworth: Sculpture and Drawings, 1964, cat.no.20 (another cast) The present lot, Bird Form, is interesting in its progression of the Otterlo, Rijksmuseum, Kroller-Muller (Rietveld Pavilion), theme. Whereas Doves (1927, Manchester City Art Gallery) is a Beeldouwwerken en tekeningen van Barbara Hepworth, 1964 naturalistic carving with defined eyes and wings, here the bird is (another cast) described through suggestion. It is a simpler, more abstracted form Copenhagen, Kunstforeningen, Barbara Hepworth: Retrospective than its precedents, and in keeping with her stylistic evolution. Gentle 1935-64, organised by the British Council, 1964-5, cat.no.28 bronze curves and an upright silhouette impart the shape of the bird - (another cast); this exhibition travelled to Stockholm, plump and alert; whilst the roughly textured surface hints at a feathered Museet; Helsinki, Ateneum; Oslo, Kunsternes; Basil and Turin body. New York, Marlborough-Gerson Gallery, Barbara Hepworth, 1966, cat. no.12 (another cast ill.) A cast from this edition has not been offered at auction since the Bath, Festival Gallery, St Ives Group, 2nd Exhibition, Bath Festival, 1980s. The plaster for this work is in the collection of The Hepworth, 1969 Wakefield, and another cast is in the collection of the Hakone Open-Air Japan, Hakobe Open-Air Museum, Barbara Hepworth Exhibition, Museum, Hakone, Japan. 1970, cat.no.15 (another cast ill.) New York, Marlborough Gallery, Barbara Hepworth: Carvings and Bronzes, 1979, cat.no.11 (another cast ill.) New York, Pace Wildenstein, Barbara Hepworth: Sculpture from the Estate, 1996 (another cast ill.) London, Robert Sandelson, Barbara Hepworth, 9 November-5 January 2002, unnumbered (another cast, col.ill.)

10 | Bonhams Modern British and Irish Art | 11

The Barbara and Arnold Burton Collection

Bonhams are delighted to present for sale the following seven lots from the esteemed Yorkshire collection of the late Barbara and Arnold Burton.

Barbara was an enthusiastic collector of art. Having attended Les Beaux Arts in Paris, and then worked briefly as a graphic artist before the outbreak of World War II, she had a passionate enthusiasm for comtemporary art. She was a regular at many of the major London galleries, where she bought with discrimination but a complete disregard for anything but her personal taste.

Arnold was the youngest son of Sir Montague Burton, the founder of the tailoring empire which more recently became Burton Group and then Arcadia. Arnold was a director of the family business for his working lifetime. His interest in fine things had been more particularly manifest in a mechanical direction. He served as an engineer in the RAF during the War, initially working on bombers for Coastal Command before being posted to Burma. He was a lifelong lover of cars and had the good fortune to own a succession of the finest, including a Mercedes SSK, Bentleys, Aston Martins, Jaguars, ACs Ace and Cobra, Facel Vegas and others from less well known manufacturers such as Gordon Keeble and TVR, of which company he was Chairman for a while during the 1960s. These were all very much for transport and motor sport – he competed regularly in international rallies during the 1950s and 60s – and he was always happy to move on to the next car rather than being afflicted with nostalgia. A barn full of the cars that he had owned would have made a stellar collection.

Cantate Domino by Dame Barbara Hepworth is among the sculptor’s first works in bronze and anticipates a number of high profile and monumental commissioned sculptures she produced throughout the 1960s. Four out of the six casts are in museums, and it is arguably a once in a generation opportunity to acquire this highly significant and graceful statement by Britain’s most critically acclaimed female artist. The correspondence between Barbara Hepworth and Barbara Burton regarding the original sale of Cantate Domino, transcribed on page 18, illustrates just how involved and hands-on the latter became in building their collection.

Their early Roderic O’Conor, Paysage Breton (1894), unseen in public for over half a century, is an exciting and extremely significant emergence. Painted the year he met Paul Gauguin (1848-1903) in Pont-Aven, their friendship resulted in the Frenchman inviting O’Conor to accompany him on his second trip to Tahiti.

Keith Vaughan, Laurence S. Lowry and Dame Elisabeth Frink are also superbly represented within The Burton Collection, and we hope that you take this unique opportunity to see this assemblage of works together, for the final time. I only learned to love bronze when I found that it was gentle & I could file it & carve it & chisel it [the plaster]. Each one is a person to me – as much as a marble. (Dame Barbara Hepworth)

(fig. 2) Barbara Burton with Cantate Domino, Yorkshire, circa 1960

2AR W Dame Barbara Hepworth (1903-1975) Coventry, Coventry Cathedral Festival, Herbert Art Gallery, Artists Cantate Domino Serve the Church: An Exhibition of Modern Religious Work, 1962, cat. bronze with a green patina no.13 (another cast) 209.8 cm. (81 1/2 in.) high (including the base) Otterlo, Rijksmuseum Kröller-Müller, Rietveld Pavilion, Conceived in 1958, the present cast is number 2 from an edition of 6 Beeldhouwwerken en Tekeningen van Barbara Hepworth, May-July and was cast by the Art Bronze Foundry. 1965, cat.no.17 (ill., another cast) BH.244 London, Tate Gallery, Barbara Hepworth, April-May 1968, cat.no.91 (another cast exhibited, ill.b&w this cast) Yorkshire Sculpture Park, Bretton Hall, Barbara Hepworth, July- £500,000 - 700,000 October 1980, cat.no.2 (ill., another cast) €630,000 - 880,000

US$800,000 - 1,100,000 Literature ‘Barbara Hepworth’s New Sculpture’, Times, 3 June 1958 Provenance J.P. Hodin, Barbara Hepworth, Lund Humphries, London, 1961, p.22 Acquired directly from the Artist, from the 1958 Leeds City Art Gallery & p.170, cat.no.244 (ill.b&w p.132, another cast, ill.b&w p.133, this exhibition, by Barbara and Arnold Burton cast) Norbert Lynton, ‘London Letter’, Art International, vol.6, cat.no.7, Exhibited September 1962, p.47 London, Gimpel Fils, Recent Works by Barbara Hepworth, June 1958, Michael Shepherd, Barbara Hepworth, Methuen, London, 1963, p.39, cat.no.13 (another cast) (ill. pl.12, another cast) Leeds, City Art Gallery, Modern Sculpture, October-November 1958, Tate Gallery Report 1967-8, 1968, p.62 cat.no.58 (ill.b&w pl.9, this cast) Edwin Mullins, ‘Barbara Hepworth’ in Barbara Hepworth Exhibition Antwerp, Middelheimpark, 5e Biennale voor Beeldhouwkunst, 1959, 1970, exh.cat., Hakone Open-Air Museum, Japan 1970 (ill.b&w, cat.no.49 (another cast) another cast) São Paolo, Bienal do Museu de Arte Moderna, Paintings by Francis Judith Rich, ‘Barbara Hepworth’, The Guardian, 17 January, 1973, p.8 Bacon, Paintings & Etchings by S.W. Hayter, Sculpture & Drawings by Michael Davie, ‘By-laws bar Dame Barbara’s tombstone’, The Barbara Hepworth, September-December 1959, cat.no.19 (another Observer, 25 May 1975 cast) A.M. Hammacher, Barbara Hepworth, 1968, rev.ed. 1987, p.130 New York, Galerie Chalette, Hepworth, October-November 1959, cat. (ill.b&w p.129, pl.104, another cast) no.25 (ill., another cast) David Fraser Jenkins, Barbara Hepworth: A Guide to the Tate Gallery Washington D.C., Smithsonian Institute, British Artist Craftsmen: An Collection at London and St Ives, Cornwall, 1982, p.17 (ill. p.31, Exhibition of Contemporary Work, 1959-60, cat.no.10 (ill., another another cast) cast); this exhibition travelled throughout the United States Sally Festing, Barbara Hepworth: A Life of Forms, 1995, p.225, p.238 Montevideo, Comisión National de Bellas Artes, Barbara Hepworth, & p.305 (ill. p.280 and 281, pl.54, another cast) organised by the British Council, April-May 1960, cat.no.18 (another Matthew Gale and Chris Stephens, Barbara Hepworth, Works in the cast); this exhibition travelled to Buenos Aires, Museo Nacional Tate Collection and the Barbara Hepworth Museum St Ives, Tate de Bellas Artes, May-June, Santiago, Instituto de Arte Moderno, Publishing, London, 2001, p.179-181 (col.ill., another cast) September-October, Viña del Mar, Museo de Bellas Artes, October and Caracas, Museo de Bellas Artes, November 1960 We are grateful to Dr. Sophie Bowness for her assistance in Antwerp, Middelheimpark, 6e Biennale voor Beeldhouwkunst, July- cataloguing this lot. October 1959, cat.no.142 (another cast) London, Whitechapel Art Gallery, Barbara Hepworth: An Exhibition of Sculpture from 1952-1962, May-June 1962, cat.no.35 (ill., another cast)

14 | Bonhams Modern British and Irish Art | 15 (fig.1) Curved Form (Trevalgan),1956, (fig.5) Cantate Domino displayed in the grounds of the (fig.4) Garden Sculpture (Model for Meridian), 1958, Dame Barbara Hepworth © Tate, London 2014 Burton’s home, Yorkshire, circa 1960 Dame Barbara Hepworth © Tate, London 2014

Cantate Domino is a powerful and elegant sculpture by Dame Barbara The sculpture which is partly made up of two open diamond shapes, Hepworth, conceived in 1958, just two years after the sculptor had the smaller yet more robust of which forms the lower section, the begun to work with bronze; her first recorded piece using this medium upper component lighter and more open, have a rhythmic quality (from her professional career – at least one student bronze survives) is to them, like that of a spiritual song. This is accentuated by the Curved Form (Trevalgan) (see fig.1). The present sculpture, intended suspended ‘U’ shape between the upper ‘arms’ which appears to to be sited outdoors, is most successful when viewed in the context hang delicately in the balance. The ‘upstretched open hands’ which of its surrounding landscape as beautifully illustrated in plate 244 in Shepherd describes was expanded upon by Edwin Mullins, who has J.P. Hodin’s literature, Barbara Hepworth (1961) (see fig. 5). Tastefully interestingly likened these with raised arms and hands in prayer. And positioned in the Burton family’s old garden on a low wall, with the in Barbara Hepworth, Works in the Tate Collection and the Barbara undulating Yorkshire hills used as a backdrop, we can begin to Hepworth Museum St Ives (1999) by Matthew Gale and Chris understand the spiritual nature of this work as the ascending forms Stephens, comparisons have also been drawn to Albrecht Dürer’s reach into the limitless void of the sky above (see fig. 2). Praying Hands of 1508 (see fig.3). This concept was not new, but previously described by Hepworth in the aforementioned Curved Form A further and more accessible indication of this spirituality is found in (Trevalgan) dating from 1956, where the sides of the bronze ascend the sculpture’s title; Cantate Domino, when translated, means O Sing in a similarly graceful arc without joining at the top. However, with its unto the Lord, and is the opening phrase of Psalm 98: secular title referencing a small Cornish coastal village, the work’s inspiration firmly lies in the natural landscape that Hepworth enjoyed. Oh sing to the Lord a new song, The artist herself described this affiliation: For he has done marvellous things! His right hand and his holy arm ‘This Curved Form was conceived standing on the hill called Trevalgan Have worked salvation for him. between St Ives and Zennor where the land of Cornwall ends and the The Lord has made known his salvation; cliffs divide as they touch the sea facing west. At this point, facing the He has revealed his righteousness in the sight of the nations. setting sun across the Atlantic, where sky and sea blend with hills and He has remembered his steadfast love and faithfulness rocks, the forms seem to enfold the watcher and lift him towards the To the house of Israel. sky’ (quoted in Matthew Gale and Chris Stephens, Barbara Hepworth, All the ends of the earth have seen Works in the Tate Collection and the Barbara Hepworth Museum St The salvation of our God. Ives, Tate Publishing, 2001, p.150).

Whilst discussing Cantate Domino Michael Shepherd comments, ‘... Despite the literal associations with both the title and the artist’s the resilience of the metal, and the organic spring which recalls the explanation of the work’s genesis, Hepworth was also keen to stress uncurling tendrils from a seed, unite with the upward stretch like that that this first sculpture of hers in bronze was as much a vocalisation of of upstretched open hands. Thus a multiplicity of references from the sensations she felt whilst in a specific part of her local landscape. figurative associations, together with the work’s own essential and In this respect therefore, Curved Form (Trevalgan) anticipates Cantate abstract nature, come together to form an independent spiritual unity’ Domino’s acute connection with its maker’s mind. (Michael Shepherd, Barbara Hepworth, Methuen, London, 1963, p.39).

16 | Bonhams Modern British and Irish Art | 17 (fig.3) Hands of an Apostle, 1508 (brush drawing), Albrecht Dame Barbara Hepworth with Cantate Domino, St Ives, Dürer / Graphische Sammlung Albertina, Vienna, Austria / circa 1958 Bridgeman Images

Only one other Hepworth bronze uses the same basic ‘double a chisel to create surface texture, before being cast in bronze. The diamond’ outline as Cantate Domino; the smaller Ascending Form shapes unravel like a fern in its first stages of life, recalling the curving (Gloria). Datable to the same year but preceding it in Hepworth’s planes of Cantate Domino, and the space through the sculpture is as Catalogue of Sculptures by Sir Alan Bowness, the work also carries important and integral as the bronze which frames it. It is interesting to a spiritual title. However, Gloria is arguably less suited to an open note that the original plasters were held in high regard by Hepworth. air setting as the space between the armatures has been filled with Their colour lent them enormous aesthetic appeal and were solid bronze, preventing the viewer from appreciating the landscape sometimes used in her Gimpel Fils exhibitions if the bronzes were not beyond. yet cast, or, she simply liked them.

The process of making these late 1950s bronzes was one that Like Henry Moore’s 1959-60 Reclining Figure on Pedestal (see Lot Hepworth rapidly embraced after decades of carving. Furthermore, 17), the importance and popularity of Cantate Domino is illustrated it allowed her to work on a monumental scale and produce a greater by the number of casts currently held in museums on three different number of pieces at a time when her work was in huge demand. It continents: Tate Gallery in St Ives (cast 6); Middleheimpark, Antwerp was arguably the most productive and creative phase of her long (cast 4); Museum of Modern Art, São Paulo (cast 3) and the McNay career. Art Museum, San Antonio, Texas (cast 5, gift of Tom Slick, Texas). The cast in São Paulo is significant in that it was acquired shortly When discussing Hepworth’s transition to the production of bronzes after Cantate Domino was chosen by the British Council to represent Hodin comments: Hepworth at the prestigious 1959 São Paulo Bienalle. Hepworth went on to be awarded the coveted international prize. Only two casts of ‘The sensuous and organic qualities of marble, of stone and wood in Cantate Domino remain in private hands, with the current lot being the general fascinated her to such a degree that she never expected to first opportunity to acquire one on the open market. find, as she did in 1956, a way of working in metal which would give her the same feeling which she wanted to convey in her sculpture, A recorded letter from Barbara Burton to Barbara Hepworth in the feeling of innate tactile experiences. But by cutting sheets of the Tate Gallery Archive, dated November 1958, reads as follows: metal direct and working on them with files and abrasives so that the surfaces became personal, she was led on to a way of working directly in plaster which allowed her not only the fresh texture of paint Dear Miss Hepworth and colour but also the rubbed and carved forms in contrast, which were connected in her mind with the process of fire and molten metal After much thought & deliberation we have decided that we must have as well as the hardening process of its cooling. It was this that enabled ‘Cantate Domino’ in our Garden! And we hope that one day you will her to evoke in bronze those images which belonged to the pattern come see it in its new home. of her carving.’ (J.P. Hodin, Barbara Hepworth, Lund Humphries, Can you arrange it’s transport from Leeds to us when your other London, 1961, p.21). works are collected? Or do we need to organise its carriage ourselves? Even during this new shift in direction Hepworth still undertook pure carving, and from the late 1950s onwards the two co-existed side by Yes indeed, I can imagine how wonderful your things look in stereo. side until her death in 1975. My husband is mad on it, even my children look more exciting in 3 dimensional photography! We will certainly take the ‘Cantate’ when Following Cantate Domino in 1958-9, Meridian was among we have it and I’ll send you the results. Hepworth’s major commissions and was to be installed at State House in High Holborn, London. The finished bronze, colossal in Many thanks for your letter - let us know about transport scale (15 x 10 feet) uses a similar structure to Cantate Domino, as arrangements. does its predecessor, Garden Sculpture (Model for Meridian) (see fig.4), also from 1958. Like the present lot, the flat planes of expanded Sincerely yours aluminium were covered in plaster and worked upon by the artist with Barbara Burton

18 | Bonhams Cantate Domino, 1958, Dame Barbara Hepworth © Tate, London 2014 (Collection of Tate, St. Ives) Modern British and Irish Art | 19 Keith Vaughan with Study for Climbing, © Francis Goodman (1947)

3AR Keith Vaughan (1912-1977) Study for Climbing signed ‘K.Vaughan’ (lower right); titled and dated ‘Study for: Climbing 1944’ (on a label attached to the backboard) gouache, pen and ink 25.3 x 17.8 cm. (10 x 7 in.)

£8,000 - 12,000 €10,000 - 15,000 US$13,000 - 19,000

Provenance With The Redfern Gallery, London, 2 July 1965, where acquired by Barbara and Arnold Burton

Over the course of the 1940s Vaughan made a series of paintings The constraints of army life restricted Vaughan’s time and ability as an of figures in orchards (see Boys Fighting, (1944); Orchard Scene artist. Here, however, his handling of ink, gouache and wax-resist not with Boys Wrestling, (1945); Man Gathering Fruit, (1948); Green only demonstrates his considerable facility but also transcends the Pear Figure, (1948) etc.). The present work was made while he limitations of his mundane materials. War-time rationing meant that was stationed near Malton in Yorkshire. Having been brought up few materials of worth were available to Vaughan and his art supplies in London, Vaughan was deeply affected by the new landscape consisted of little more than, ‘bottles of ink, two pots of gouache and in which he found himself and the rural types who occupied and a few crayons. With these I hoped to be able to recover something tended it: farmers, harvesters, sowers, grass-cutters and in this case, of the solidity and depth of oil.’ (Keith Vaughan: Lefevre Catalogue, fruit-pickers. He perceived in their activities something wholesome, May 1944). As ever Vaughan’s use of colour is both economical and timeless and poetic. harmonious. By mixing only black Indian ink, with white and yellow gouache he was able to achieve a wide range of subtly related hues. Cut off from the artistic developments of Picasso, Braque and Matisse on the continent, artists such as Graham Sutherland, John Craxton, We are grateful to Gerard Hastings, author of Drawing to a Close: The John Minton and Vaughan were forced to find inspiration in their Final Journals of Keith Vaughan (Pagham Press) and Keith Vaughan own artistic heritage, while seeking tranquillity and comfort during an the Photographs (Pagham Press), for compiling this catalogue entry. age of anxiety. The small-scale works of Samuel Palmer and William Blake, with their visionary qualities and jewel-like intensity, provided inspiration for paintings such as this.

20 | Bonhams Modern British and Irish Art | 21 4AR Keith Vaughan (1912-1977) The Garden at Ashton Gifford signed and dated ‘Keith Vaughan. 1942.’ (lower right); titled and dated again ‘The Garden at Ashton Gifford 1942’ (on a label attached to the backboard) wash, crayon, gouache, pen and ink 34.3 x 47 cm. (13 1/2 x 18 1/2 in.)

£12,000 - 18,000 €15,000 - 23,000 US$19,000 - 29,000

Provenance With The Redfern Gallery, London, 8 November 1966, where acquired by Barbara and Arnold Burton

Vaughan served in the Royal Pioneer Corps during the war and was Vaughan not only recorded army life around him, but infused his stationed, for a time, at Codford in Wiltshire. Ashton Gifford House, a observations with a rare, expressive sensibility and poetic feeling. large Georgian residence that had been requisitioned as a school in The Garden at Ashton Gifford reflects his emotional isolation and 1940, was close by and the soldiers frequently worked in the grounds. loneliness at that time. The youthful central figure, standing next to The land had been neglected and had fallen into disrepair since the the recently felled tree, may well be a personification of the artist. He start of the war and was overrun with weeds, nettles and tangled ivy. stands in a moment of quiet reflection as his comrades continue to For a few hot summer months Vaughan, with his fellow conscripts work. Vaughan occasionally used the image of a felled tree, or lopped of 9th Company, were employed in the back-breaking labour of off branches, as a metaphor for a fallen soldier or a youth cut down in digging ditches, filling sandbags and clearing the walled garden and his prime. His brother had been shot down over France in 1940. This neighbouring woodland. It was the perfect Neo-Romantic setting and intensely atmospheric and romantic image looks forward to the major Vaughan made a series of broodingly atmospheric paintings inspired theme of figures in a landscape that was to preoccupy Vaughan for by Ashton Gifford House and its grounds (see The Working Party, the rest of his career. (1942); Tree Felling, Ashton Gifford, (1942-3), ill. p.71: Keith Vaughan, His Life and Work, Malcolm Yorke, Constable, London, 1990; The Wall We are grateful to Gerard Hastings, author of Drawing to a Close: The at Ashton Gifford, (1944, several versions), ill. p.161, Keith Vaughan, Final Journals of Keith Vaughan (Pagham Press) and Keith Vaughan Vann and Hastings, Lund Humphries, 2012, etc.). the Photographs (Pagham Press), for compiling this catalogue entry.

Over the course of his working day Vaughan recorded the daily activities of his fellow recruits in his sketchbooks during his cigarette breaks and rest periods. Then, on his return to the barracks in the evening, worked his sketches into more detailed images as in the present example. Cosmo Rodewald, a comrade in 9th Company at Codford, shared barracks with Vaughan and recalled him painting and drawing in uncomfortable surroundings whenever army duties permitted. ‘He was always at work in the evenings by candlelight or lamplight, lying on his straw paillasse, his back propped up by a pile of blankets.’ (Cosmo Rodewald, letter to Gerard Hastings: May, 1980). Rodewald also remembered Vaughan cadging candle stubs from his barrack room comrades, not so much to provide light by which to work, but to use in his wax-resists.

22 | Bonhams Modern British and Irish Art | 23 5AR Keith Vaughan (1912-1977) Green Kitchen Group signed and dated ‘Vaughan/49’ (lower right) and titled ‘GREEN KITCHEN GROUP’ (on the stretcher) oil on canvas 63.9 x 84.2 cm. (25 1/8 x 33 1/8 in.)

£100,000 - 150,000 €130,000 - 190,000 US$160,000 - 240,000

Provenance Robert Wraight With The Lefevre Gallery, London The Collection of Barbara and Arnold Burton

Exhibited Possibly New York, George Dix Gallery, 1950

Literature Anthony Hepworth and Ian Massey, Keith Vaughan, The Mature Oils The newly discovered stability in Vaughan’s personal circumstances 1946-1977, Sansom & Company, Bristol, 2012, p.60, cat.no.AH77 is clearly reflected in these paintings. He had recaptured, for the first (ill.b&w) time since leaving the army, some of the comforts and consolations that domestic life provided. In 1948 Vaughan moved into 37 Hamilton Green Kitchen Group belongs to a notable series of paintings made Terrace with fellow artist John Minton and the poet and writer Alan not long after the war in which Vaughan began to explore new Ross. In that year he also met Ramsay McClure (who was to become subjects, extend his formal and technical range and discover the rich his life-long companion) and John McGuinness, the model for Green possibilities that oil paint afforded. Kitchen Group. While professional optimism and self-confidence carried him forward, Vaughan was also introduced to the personal Over the course of the war he had endured life under canvas during tensions and realities that intimate relationships and domestic life the freezing winter months, backbreaking labour on the land and present. separation from his friends and family comforts. Moreover Vaughan had been unable to pursue large-scale artistic projects or easel Like many other painters in Britain at this time, Vaughan had been cut painting, not having the opportunity to set up studio or acquire the off from artistic developments in Europe and was deeply impressed necessary materials. Once he returned to civilian life he was able to by the formal visual languages he discovered at the Picasso/Matisse take up oil painting once again and, towards the end of the 1940s, exhibition, held at the Victoria and Albert Museum in December embarked on a series of major paintings depicting domestic scenes, 1945. Green Kitchen Group, with its flattening of form, distortion in an attempt to recapture something familiar and reassuring. and simplification of anatomy, reverse perspective and avoidance of naturalistic colour, marks a clear break from Vaughan’s previous Neo- Again and again Vaughan represented both isolated figures or groups Romantic allegiances. of figures acting out enigmatic relationships within the confines of sparsely furnished rooms. (see Interior with Figures at a Table, Vaughan has played off observational drawing and figuration (1948); Interior with Nude Figures, (1949); Interior with Nude, (1949), against a systematic organisation of the picture plane and a Man with a Glass of Milk, (1949); Figure at a Table, (1950), Interior rigorous management of his composition. Green Kitchen Group at Locmariaquer, (1950) and Supper at Worpeswede, (1951) etc.). reveals his growing awareness of the painted surface that began Frequently in such paintings, tables are laid with a variety of symbolic, to develop around this time, while he started to investigate the domestic objects such as coffee pots, candles, kitchen knives, artistic opportunities that oil paint offered and broaden its means cooking vessels and an assortment of fruit and vegetables, many of application. Tension developed between the importance of the of which had been difficult to come by during the war years. These subject matter and the value of the paint as an expressive medium supporting still lifes take on greater significance and tension because in its own right. This went on to become one of Vaughan’s central of their proximity to the emotionally charged figures. Here the boy, in preoccupations as a painter. the process of preparing food – bowl in hand and knife at the ready – throws a hesitating glance at something or someone outside the We are grateful to Gerard Hastings, author of Drawing to a Close: The picture plane. The intensity of his gaze makes us wonder for whom Final Journals of Keith Vaughan (Pagham Press) and Keith Vaughan the meal is being prepared and what its significance may be. the Photographs (Pagham Press), for compiling this catalogue entry.

24 | Bonhams Modern British and Irish Art | 25 The horse sculptures are nothing to do with the horses you see here in England – the hunter, the show horse, the race horse. They’re much more to do with the ancient spirit of the horse and with this its evolution in relation to man. The animals I make are far more what I feel for them than what they are in real life.

(Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p. 124)

6AR Dame Elisabeth Frink R.A. (1930-1993) Larger Lying Down Horse signed and numbered ‘Frink/4/6’ (on the right-hand shoulder) bronze with a brown patina 38.1 cm. (15 in.) wide Conceived in 1972

£100,000 - 150,000 €130,000 - 190,000 US$160,000 - 240,000

Provenance The Collection of Barbara and Arnold Burton

Exhibited London, Waddington Galleries, Elisabeth Frink: Sculpture and Frink’s affection for horses stemmed from her country childhood in Prints and Drawings from Chaucer, 11 October-4 November 1972, Suffolk; her father was a brilliant horseman, a good polo player and an unnumbered (ill.b&w, another cast) amateur jockey, which may well have added to an enthusiasm which London, Royal Academy, Elisabeth Frink: Sculpture and Drawings continued throughout her life. Frink though stated “The fact that I 1952-84, 8 February- 24 March 1985 (ill.b&w, another cast) was brought up with horses and taught to ride at an early age had no bearing on the horses I did in France. Those came about because I Literature discovered the Camargue. I actually bought a horse, not having ridden Marina Vaizy, ‘Elisabeth Frink’, Arts Review, 21 October 1972, p.647 myself for years – I bought one for my son to ride. So then I had a Bryan Robertson, Elisabeth Frink, Sculpture, Harpvale Books, horse about. I used to go down to the Camargue and ride with the Wiltshire, 1984, p.180, cat.no.203 (ill.b&w p.181, another cast) local cowboys.” (ibid, p.118) Annette Ratuszniak, Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Surrey, 2013, p.124, cat.no.FCR230 The Camargue horses are characterised by their large head, slight (ill.b&w, another cast) size, long limbs and small wide-set ears. They live in semi-feral conditions in the wild marshes and wetlands, where the local Gardian Elisabeth Frink’s subjective approach to sculpting lends her work ‘cowboys’ use them to herd the black Camargue bulls, used for a highly expressive and poignant quality. Larger Lying Down Horse bullfighting in the southern region of France. Traditionally the (now is poised to give an air of mysticism and grace that captures the protected) wild white horses are pictured galloping through the ‘spirit’ of the animal (Frink often referred to the ‘magic’ of her beloved shallow waters, conjuring up a majestic and romantic image, which horses). The supple muscular strength is highlighted by the boulder relates to Frink’s strong and elegant depiction of the animal in the smooth surface, whilst the relaxed pose accentuates the horse’s form. present lot.

26 | Bonhams Modern British and Irish Art | 27 Postcard of Le Bois d’Amour, Pont-Aven

7 Roderic O’Conor (1860-1940) Paysage Breton stamped verso ‘atelier/O’CONOR’ oil on board 54.2 X 73.7 cm. (21 1/4 x 29 in.) Painted in 1894

£150,000 - 200,000 €190,000 - 250,000 US$240,000 - 320,000

Provenance Studio of the Artist Sale; Hôtel Drouot, Paris, Vente O’Conor, 6 February 1956 With The Waddington Galleries, London, 1958, where acquired by Barbara and Arnold Burton

Exhibited London, The Waddington Galleries, House Exhibition, 17 April-10 May 1958, cat.no.9

28 | Bonhams Modern British and Irish Art | 29 (fig.1) The Talisman, the Aven River at the Bois d’Amour, October 1888, Paul Sérusier (1864-1927), Paris, Musée d’Orsay, © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski

This rare Pont-Aven landscape by Roderic O’Conor has not been All O’Conor’s landscapes dating from after his encounter with Gauguin seen in public for over half a century. It dates from 1894, the most in May 1894 and before his move to Rochefort-en-terre in 1895 are momentous year of the artist’s career when he met and befriended devoted to trees in the open or in woodland settings. The latter are Paul Gauguin, a liaison that would culminate in an invitation to partner noted for their contrejour lighting and their introduction of footpaths him on his second trip to Tahiti. O’Conor lent Gauguin his studio in or farm buildings to convey an implied human presence. The present the ramshackle Manoir de Lezaven on the slopes above Pont-Aven, work is no exception, its palette of colours, contrasting pink, orange only to discover that the French painter relied on one of his drawings and red with swathes of light and dark green, also being characteristic as the basis for part of one of his compositions. On 25 May, O’Conor of this body of work completed over the summer of 1894. The use joined the group of bohemian artists on an ill-fated excursion to the of vestigial ‘stripes’ in the mauve tree trunks of Paysage Breton fishing port of Concarneau, when a fight broke out with local sailors echoes those seen in the trees on the left hand side of O’Conor’s La and Gauguin’s ankle was broken by a well-aimed sabot. Laid up for ferme de Lezaven, Finistère (National Gallery of Ireland, Dublin), whilst two months, he still managed to work on monotypes and woodcuts the serpentine path is almost the mirror image of that featured in and hold court with fellow artists, characterising O’Conor as “one man L’approche de Lezaven (Private Collection). of Samoa.” Paysage Breton would appear to be a transitional work in that it The subject of Paysage Breton is most probably the slopes of the retains vestiges of the heavy impasto and alternating ‘stripes’ of Bois d’Amour, a well known beauty spot in Pont-Aven. The terrain complementary colours which O’Conor favoured during 1892-3, was described by Henry Blackburn: “The views in the neighbourhood when he took his cue from van Gogh’s 1889 paintings of wheat- of Pont-Aven are beautiful, and the cool avenues of beeches and fields and olive groves. On the other hand, the introduction of subtle chestnut trees, a distinctive feature of the country, extend for miles” colour harmonies, sweeping arabesques and painterly brushwork (Breton folk, an Artistic Tour in Brittany, 1881, p. 132). For another into Paysage Breton are sure signs of Gauguin’s influence or, more writer the Bois d’Amour was “a paradise in golden light and green accurately, his spoken advice: “Gauguin’s strength of character and shadows above the dark river” (Gustave Geffroy, La Bretagne, 1905). convincing style of talk made a deep impression on the young, or The beauty spot entered the annals of modern art in September 1888 youngish, Irishman” (Clive Bell, Old Friends, 1956, p.166). when Paul Sérusier chose it as the location for his seminal work, O’Conor is not, however, content to be a mere Gauguin imitator, as The Talisman (Musée d’Orsay, Paris) (see fig.1), painted under witness the strong light-dark contrasts and tunnel-like perspective of instruction from Gauguin who exhorted him to use the brightest the present work. His pink path snakes its way through the columnar colours on his palette. O’Conor for his part featured the wood tree trunks, aligned to left and right, leaving a clear void at the centre. in several etchings as well as in his 1892 oil painting, The Glade This upward movement is held in check by the dark fence or wall, (Museum of Modern Art, New York), in which dappled sunlight breaks which forms a gently undulating horizontal screen that traverses the through the leafy canopy. Subsequently the Irishman became fond canvas. The glimpse of a sun-drenched field on the far side of the of the quieter upper rides of the wood, where the trees give way to barrier gives an almost tropical feel to the scene, which reserves cornfields and there are panoramic views across the valley. centre-stage not for a three-dimensional feature such as a building, but rather for a pool of light falling on a turn in the path. The radiance here and on the green sward beckons us forward, towards the edge of the wood.

30 | Bonhams Modern British and Irish Art | 31 8AR Laurence Stephen Lowry R.A. (1887-1976) A Street in Clitheroe signed and dated ‘L.S. Lowry 1961.’ (lower left) oil on canvasboard 35.6 x 25.4 cm. (14 x 10 in.)

£80,000 - 120,000 €100,000 - 150,000 US$130,000 - 190,000

Provenance With The Lefevre Gallery, London Like in his depictions of the sea, Lowry uses his beloved thick white The Collection of Barbara and Arnold Burton paint to evoke wide open space. The distinctive hill peaks at just a point so as to create an almost limitless horizon, which seems Clitheroe proved an appealing subject for Lowry; in contrast to the to support the church. This technique is typical of Lowry, who bustling industrial cities he is famed for depicting, this small Lancashire often blurred the point between land and sky. Here though, the town offered a calmer alternative to northern life. This particular composition is broken by beautifully clean and sweeping lines which viewpoint certainly struck a chord with the artist, who painted it on are reminiscent of those seen in his Lancashire landscapes. The at least seven occasions between 1961-1966. He was a frequent composition is completed by Lowry’s characteristic figures ambling visitor to the area as his friends, Josef and Prudence Kunzel, lived at off into the distance; a patient figure waits for a running child, whose nearby Sawley. Mr Kunzel’s textile firm had an office in Church Street, bright red outfit provides a splash of colour in the otherwise quiet Clitheroe. street.

32 | Bonhams Modern British and Irish Art | 33 Various Properties

9AR Laurence Stephen Lowry R.A. (1887-1976) Yachts at Lytham signed and dated ‘L S Lowry 1920’ (lower right) pastel 26.4 x 38.4 cm. (10 3/8 x 15 1/8 in.)

£20,000 - 30,000 €25,000 - 38,000 US$32,000 - 48,000

Provenance Mr. A.E. Frape, former Director of the Salford City Art Gallery, Manchester Thence by family descent to the present owner Private Collection, U.K.

Please note that this work will be offered with three scrapbooks of documents relating to the artist including letters from the artist to Mr. A. E. Frape.

Lowry’s depictions of pleasure boats at Lytham St. Anne’s on the Lancashire coast form an important and well documented part of the artist’s output. By nature of their subject, they offer a sense of calm and a soothing quality which acts in contrast to the more typical and busy industrial scenes that are so familiar. It is perhaps little surprise that Lowry’s mother favoured these over his darker urban images, attracted perhaps to their calm, more neutral palette and the nostalgic memory of holidays at the coast with her son. A theme that began in 1902 and continued into the 1970s, the present work dates to 1920 with the artist relishing in depicting the character of the tranquil waters which are dotted with sails to the horizon.

The present work boasts superb provenance having originally been in the collection of A.E. (Ted) Frape, the distinguished former Director of the Salford City Art Gallery and friend of the artist. Other notable works formerly in the Frape collection include Agecroft Regatta (1942), sold in these rooms for £211,250 in May 2013 and the current world auction record for a pencil drawing by L.S. Lowry.

34 | Bonhams Modern British and Irish Art | 35 10AR Helen Bradley (1900-1979) Blackpool Beach signed with fly insignia (lower left); further signed, inscribed and dated At their finest, Helen Bradley’s paintings (not unlike those of L.S. ‘”Willie Murgatroyd”, cried Miss Carter (who wore pink)/”stop this Lowry) depict a world full of incident viewed with innocence. The minute”/George & I and the dogs Gyp & Barney, were at the back/ familiar characters obey a consistent code of conduct through watching the Punch & Judy man. Willie & Annie/Murgatroyd were symbolic events recalled with a rose-tinted sensibility. there also, when all at once he lifted/his spade and was about to whack the poor man/when Miss Carter saw him. His mother rushed/ It wasn’t until 1965 at the age of sixty five that Bradley had her first forward also, so I thought I had better get George/back to mother exhibition. Initially painted to convey her own Edwardian upbringing to and father before there was any/trouble. They had stood at the back her grandchildren, the pictures were instantly popular with the public of the crowd/to let Cousin Edward & Cousin Marion see the Punch and all works sold before the opening night. Bradley was announced &/Judy show. Father held them up in turn. Mother, Aunt/Charlotte & by the media as ‘England’s own Grandma Moses’ (although she notes Aunt Frances were chatting when Aunt Frances/noticed Bertie and her personal inspirations as Avercamp and Turner). There followed two Nellie Hope-Ainsworth standing/near. “Look who’s near you Jane”, decades of subsequent exhibitions in Britain, America and Japan and she said “Be careful what/you say”, for Nellie Hope-Ainsworth listened publication of many-and-much-loved books. What started as a simple to everyone’s/conversation and then passed it on to her mother who method of family storytelling from one generation to the next, has was/enjoying the show. She was wearing her Parma Violet outfit./ resulted in a legacy appreciated the world over. And the year was 1907 and it was late September at Blackpool/Helen Layfield Bradley 1971’ (on a label verso) It is the family trips taken to visit her paternal grandfather in Blackpool oil on canvasboard that proved amongst Bradley’s most fruitful childhood escapades. Of 76 x 96.5 cm. (30 x 38 in.) all her output it is these memories which have resulted in perhaps her most iconic and enduring works. Brimming with all of the fun of the £100,000 - 150,000 seaside and executed on an unusually ambitious scale, the present lot €130,000 - 190,000 is arguably the premier example of the Blackpool oils. US$160,000 - 240,000

Provenance With Windsor & Eton Fine Arts, Windsor, 9 March 1974, where acquired by the family of the previous owner, and by descent Their sale; Bonhams, London, 17 March 2010, lot 13, where acquired by the present owner

36 | Bonhams Modern British and Irish Art | 37 11* AR Laurence Stephen Lowry R.A. (1887-1976) The Lookers On signed and dated ‘L.S. Lowry 1965.’ (lower left) oil on canvas 45.7 x 35.6 cm. (18 x 14 in.)

£180,000 - 250,000 €230,000 - 310,000 US$290,000 - 400,000

Provenance With Lefevre Gallery, London, 1967, where acquired by the family of the present owner Private Collection, Channel Islands

Exhibited London, Lefevre Gallery, L.S. Lowry, 11 May-3 June 1967, cat.no.17

Lowry is often discussed as the great people watcher, who observed and closely studied those around him, just as the ‘lookers on’ here carefully scrutinise the elderly figure who stands separate from them, isolated by Lowry’s technically strategic division of a wall. The onlookers, who stare blankly out at the viewer, are bystanders, as Lowry considered himself to be. Indeed, even the isolated figure has her face turned towards us, creating the feeling that perhaps we are the ones being looked at.

Yet, whilst there is a clear parallel to be drawn between Lowry and the onlookers, it is the isolation of the elderly figure that best reflects the artist’s own persona. As he once said of his paintings: “they are ghostly figures which tenant these courts and laneways which seem to me so beautiful, they are symbols of my mood, they are myself.” (Michael Howard, Lowry a Visionary Artist, Lowry Press, Salford, 2000, p.13)

Michael Howard discusses Lowry’s self-reflective, ghoulish, figures: ‘[they] are often masked by their disturbed and starving faces, as familiar in the fantastical imaginings of the Belgian artist James Ensor as they are in the paintings of Edvard Munch, which appear as masks of intolerable suffering. Technically, they are among the artist’s most accomplished works, worthy of comparison with those artists of the eighteenth century he admired so much: Hogarth, Rowlandson and Gillray.’ (Op.Cit, p.173)

38 | Bonhams Modern British and Irish Art | 39 Christopher Wood, 1928

12 Christopher Wood (1901-1930) The brother and sister are described by Ingleby as follows: ‘Jean and Girl in a Blue Dress Jeanne were a striking couple. He was beautiful in the way of a large- oil on canvas limbed Adonis and she was slim, short haired and boyish. Her gamine 72.4 x 59.1 cm. (28 1/2 x 23 1/4 in.) beauty was exaggerated by the clothes she was asked to wear as a (unframed) mannequin for the dress maker Madame Vionet and Wood drew her Painted in 1926 several times in the fashion of ‘La Garçonne’ – girl dressed as a boy in tailored suit, shirt and tie’ (Richard Ingleby, Christopher Wood, An £80,000 - 120,000 English Painter, Allison & Busby, London, 1995, p. 120). €100,000 - 150,000 US$130,000 - 190,000 Listed by Eric Newton as being painted in 1926, when Wood had returned to Paris, Jeanne was the same age as the artist, and her description fits in perfectly with the young and elegant sitter in Girl Provenance in a Blue Dress. The hair is tightly cropped in boyish fashion, but we With The Redfern Gallery, London, where acquired by are left in no doubt as to her sexuality, with Wood emphasising her Anthony Denny Esq., London, 1938 deep red pouting lips, pale, almost translucent skin, and small but With The New Art Centre, London, 23 December 1976, where pronounced breasts. The amorous associations are continued through acquired by the family of the present owner the still life to the sitter’s left; three richly coloured red roses echo Private Collection, U.K. the girl’s sensual lips and are strongly suggestive of the relationship between artist and model. During this period she would pose on Literature a regular basis for Wood, sometimes without clothes, and it has Eric Newton, Christopher Wood, 1901-1930, Lund Humphries and been suggested the two entered into a sexual relationship. This is The Redfern Gallery, London, 1938, p.66, cat.no.136 supported by letters from the artist to Jeanne on Wood’s return to

England in July of the same year describing his intense feelings: Although the title of the present painting, Girl in a Blue Dress, offers no clue as to the identity of the sitter in this stylish, three quarter ‘Little Jean I love you terribly, I know because I have become so firm in length portrait with still life by Wood, it is quite possible she is Jeanne my mind about you. I do not hesitate to tell you that you are the only Bourgoint, the sister of Jean Cocteau’s friend, Jean Bourgoint. It woman for me, but despite my great love for you I do not want you to is thought the Bourgoints’ acquaintance with Wood and Cocteau spoil your life in any way because of me.’ (p.137 Op.Cit.). commenced in 1925, and this small but intimate circle of friends would preoccupy the artist’s time in Paris during 1926.

40 | Bonhams Modern British and Irish Art | 41 13AR Frederick Edward McWilliam (1909-1992) Cork, Crawford Art Gallery, July-August and Derry, Orchard Gallery, Woman with Folded Arms September-October carved hoptonwood stone London, Tate Gallery, F.E. McWilliam, 10 May-9 July 1989, cat.no.27 54.6 cm. (21 1/2 in.) high (ill.b&w) Executed in 1937 and reworked by the Artist in 1939, 1947 and Dublin, Irish Museum of Modern Art, 1999-2005 (on loan) 1981 Dublin, Irish Museum of Modern Art, Northern Artists from the McClelland Collection, 2004-2005; this exhibition traveled to £100,000 - 150,000 Drogheda, Co. Louth Droichead Arts Centre, 2005 €130,000 - 190,000 Dublin, Irish Museum of Modern Art, SIRA 50: 50 Years of US$160,000 - 240,000 Contemporary Irish Art, November 2005-February 2006 Banbridge, Co. Down, The F.E. McWilliam Gallery & Studio, F.E. McWilliam at Banbridge, September-February 2008, p.43 (ill.) Provenance Drogheda, Co. Louth, Highlanes Gallery, F.E. McWilliam at Banbridge, The Collection of the Artist (1937-1981) February-April 2009 The Collection of George & Maura McClelland, Ireland Banbridge, Co. Down, The F.E. McWilliam Gallery & Studio, 2014 (on Private Collection, Dublin loan) Private Collection, Northern Ireland

Literature Exhibited Roland Penrose, McWilliam, London, Alec Tiranti, 1964, cat.no.18 (ill.) London, Hanover Gallery, F.E. McWilliam: Recent Sculpture, Denise Ferran, McWilliam at Banbridge, F.E. McWilliam Gallery, October-November 1949, cat.no.8 Banbridge, Co. Down, 2008, p.43 (col.ill. & ill.b&w, p.3 & 35) London, Hamet Gallery, Britain’s Contribution to Surrealism of Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, the 30s and 40s, November 1971 Lund Humphries in association with the Henry Moore Foundation, Belfast, Ulster Museum, F.E. McWilliam, organised by Arts Farnham, 2012, p.29 & 92, cat.no.32 (ill.b&w) Councils of Ireland, April-May 1981, cat.no.12 (ill. p.19); this exhibition travelled to Dublin, Douglas Hyde Gallery, Trinity College, May-June;

42 | Bonhams Modern British and Irish Art | 43 The Artist with the present lot, circa 1981

This early work is highly revealing of the sculptor’s allegiances and McWilliam retained Woman with Folded Arms until the early 1980s, interests. Before he carved it, McWilliam had spent a year in Paris displaying it among other works in his Holland Park garden. Unusually, where he met, among other luminaries, Constantin Brancusi and he slightly reworked it three times, in 1939, 1947 and 1981 when he began to position himself in a modernist context. A significant aspect made the neck somewhat shorter, leaving a very faint line in evidence. of this was his thorough investigation of ethnographic art in what is However, the most distinctive feature of Woman with Folded Arms now the Musée de l’Homme. By the time he carved Woman with is the way in which her breasts are folded over one another, an Folded Arms he had spent several years learning his métier and had anatomical invention that the sculptor surely drew from Surrealism’s recently moved to Hampstead. Here he became acquainted with habitual liberties with the human body. This feature marks out the Herbert Read’s ‘nest of gentle artists’, the modernists who included sculpture and, perhaps, suggests why McWilliam reworked it in 1947 Barbara Hepworth, Henry Moore and Roland Penrose, the latter a link and retained it. Before demobilisation from the Royal Air Force in back to Paris by way of Surrealism. In 1938 McWilliam was invited to 1945, he had served in India where he was posted to New Delhi and join the nascent British surrealist group, attracted by the movement’s Calcutta. He developed a deep interest in Indian art of all periods and fusion of poetry and painting. took the opportunity to visit the richly carved historic temple sites in Orissa. While Woman with Folded Arms in no way ‘resembles’ Hindu In 1937 McWilliam visited the Hoptonwood stone quarry in Derbyshire sculpture, she certainly shares its joyous sensuality, which may have with Moore and A.H. Gerrard, his former tutor at the Slade. Evidently contributed to McWilliam’s decision to revisit and keep the piece. the stone, a limestone with a light, creamy-brown colour marked with small, dark flecks appealed both to Moore and McWilliam. Its texture McWilliam was a constantly inventive artist who worked in a vast range allows for the precise carving with fine, linear detail that is a distinctive of materials and was, as Roland Penrose famously noted, ‘an inventor feature of the face, hands and curious anatomy of Woman with Folded of styles’. By 1949, when he showed Woman with Folded Arms in his Arms. Moore soon produced four notable carvings in Hoptonwood first exhibition at the Hanover Gallery, he had considerably extended stone, while McWilliam gathered up blocks that had been rejected his reinventions of human anatomy, eliciting reviews that described him for commercial use, taking them back to his London studio. Woman as ‘ultra-modern’ and ‘a major sculptor’. He could not have achieved with Folded Arms was among the first three carvings that he made this status without the precedent of earlier, experimental pieces among from his booty, which lasted at least until 1948 when he made one which Woman with Folded Arms takes a distinguished place. further Hoptonwood stone carving before starting to experiment with an extraordinarily diverse range of materials. Woman with Folded Arms We are grateful to Margaret Garlake for compiling this catalogue entry. stands apart as a relatively small, indubitably beautiful early work with a generic resemblance to Moore’s example in the angle of the head and the arrangement of the hair.

44 | Bonhams Modern British and Irish Art | 45 14AR Basil Blackshaw (born 1932) It was a measure of the status enjoyed by Basil Blackshaw, still in his Crucifixion: Dromore twenties, that art connoisseur and poet Dr John Hewitt was willing to signed and dated ‘BLACKSHAW/58’ (upper right); further signed, promote Crucifixion: Dromore in a religiously themed exhibition at the inscribed and dated again twice ‘B. BLACKSHAW/CRUCIFIXION, Tate in the 1950s. DROMORE, 1958/EXHIBITED AT THE TATE GALLERY/ LONDON/1958’ (on the backboard) Blackshaw’s approach in locating his interpretation of the most oil on canvas immediately identifiable image in the world in a local village among 60.9 x 45.7 cm. (24 x 18 in.) the drumlins in South Down in Northern Ireland speaks for itself. What precisely informed his vision at that point in his artistic dénouement £30,000 - 50,000 is difficult to gauge. Did Crucifixion: Dromore presage the artist’s €38,000 - 63,000 ‘windows series’ in the 2000s when he appears to be asking himself US$48,000 - 80,000 big questions about the meaning of life? Was it the ubiquitousness of the figure of Christ in Blackshaw’s culture and background that decided for him to anchor his crucifixion painting in his own Provenance countryside? Or was it simply the influences of other artists like James Warwick Graham Sutherland or the 16th Century German painter Matthias With AVA Gallery, Co. Down Grünewald, a painter of religious works? Private Collection, Ireland

The fact too that this painting hung for over half a century in the Exhibited home of Professor Warwick, a former Head of Belfast Art lends to the London, Tate Gallery, 1958 importance and weight he attached to this early Blackshaw painting. Arts Council of Northern of Ireland

This was a theme to which Blackshaw returned a number of times. A small example hangs in Glebe House in Churchill County Donegal the home of deceased English born painter Derek Hill who was a Blackshaw aficionado down the decades.

We are grateful to Eamonn Mallie for compiling this catalogue entry.

46 | Bonhams Modern British and Irish Art | 47 15AR Dame Elisabeth Frink R.A. (1930-1993) Dog signed and numbered ‘AC/2/Frink’ and stamped with a Morris Singer Foundry stamp (on the hind right leg) bronze with a brown patina 29.2 cm. (11 1/2 in.) high Conceived in 1992

£60,000 - 80,000 €75,000 - 100,000 US$96,000 - 130,000

Provenance Gifted by the Artist’s mother to the present owner, May 1996 One of a number of late canine pieces sculpted by Frink in the final Private Collection, U.K. years of her prolific and illustrious career Dog is in fact her penultimate work. A subject that the artist first embarked upon in 1957, dogs Exhibited sit within a much wider lifelong preoccupation with animal form that Salisbury, Salisbury Library and Galleries, Elisabeth Frink: A Certain dominated her output. Classically composed in a pyramidal structure Unexpectedness, 1997 (another cast) Dog closely relates to Leonardo’s Dog (1990). Edward Lucie-Smith draws a parallel between these works and the Louvre’s Egyptian Literature Seated Scribe (4th dynasty) for the combined tone of patience and Edward Lucie-Smith, Elisabeth Frink; Sculpture Since 1984 And alertness. Lucie-Smith goes on to note that ‘Frink’s dogs are an Drawings, Art Books International, London, 1994, p.20 & p.191, cat. excellent example of the way in which she managed to remain a no.SC73 (ill.b&w, another cast) popular, communicative artist at a time when the visual arts, sculpture Annette Ratuszniak, Elisabeth Frink; Catalogue Raisonné of Sculpture in particular, were becoming increasingly esoteric’. (Edward Lucie- 1947-93, Lund Humphries, Farnham, 2013, p.188-189, cat.no.401 Smith, Elisabeth Frink, Sculpture Since 1984 And Drawings, Art Books (another cast ill.b&w) International, London, 1994, p.22)

This sculpture is cast two of six artist’s proofs, which were later cast in an edition of fifty as part of a project to raise funds for the Hospital of Sick Children, Great Ormond Street, London. Another Artist’s Proof (no.1) cast sold in these rooms for £133,250, 30 May 2012 (lot 99).

48 | Bonhams Modern British and Irish Art | 49 50 | Bonhams Modern British and Irish Art | 51 Henry Moore’s ‘King and Queen’ overlooking the Glenkiln Reservoir, Glenkiln Park, near Dumfries, Scotland (photo), . / Photo © Brian Seed / Bridgeman Images

16* AR Henry Moore O.M., C.H. (1898-1986) on a new life when viewed side on with the light streaming through Seated Figure: Armless the work’s eyes (see previous page). Indeed, one can argue that bronze with a green patina on a wooden base the sculpture is more successful when appreciated from this angle; 45.8 cm. (18 in.) high (including the base) not only does the natural light through the eyes bring the work alive, Conceived in 1955 in an edition of 10 but the sitter’s modest wooden seat then becomes visible, which is otherwise hidden when viewed full frontal (see opposite page). This £100,000 - 150,000 basic wooden support however, surely the work’s original, could not €130,000 - 190,000 be more removed from a royal throne (although interestingly King US$160,000 - 240,000 & Queen rest on nothing more than a bench-like structure). The female sitter, nevertheless, retains the Queen’s upright posture and flamboyant drapery covering her lower half, which is suggestive, using Provenance elegantly curved incised lines to depict the folds of cloth, of an opulent With The Leicester Galleries, London, 9 April 1956, where acquired by royal gown. the family of the present owner (£270) Private Collection, Canada Following King and Queen, but prior to Seated Figure: Armless, Moore made an intriguing bronze during 1953-54, Warrior with Shield. Literature Unusual in that it depicts a single male figure, the present lot in some Alan Bowness, Henry Moore; Sculpture and Drawings Volume 3, respects can be viewed as an amalgam of these two important early Sculpture 1955-64, Lund Humphries, London, 1986, cat.no.398, 1950s sculptures. Strongly reminiscent of a medieval helmet which pl.18 & 19 (ill.b&w, another cast) formed part of a soldier’s body armour, the profile of the Warrior’s Robert Melville, Henry Moore; Sculpture and Drawings 1921-1969, head echoes that of Seated Figure: Armless. Likewise, the omission Thames & Hudson, London, 1970, pl.500 & 501 (ill.b&w, another cast) of the figure’s arms from the present lot would indicate Moore still had Alan G. Wilkinson, Henry Moore Remembered, The Collection at the one eye on his Warrior from the previous year. In part these limbless Art Gallery of Ontario in Toronto, Key Porter Books, Toronto, 1988, figures were inspired by Moore’s inspirational and well documented p.168, cat.no.118 (col.ill, the plaster) trip to Greece in 1952, his first to the country at the age of fifty two. John Hedgecoe, A Monumental Vision, The Sculpture of Henry As Berthoud comments, ‘The Moores could not have been in better Moore, Collins & Brown, London, 1998, p.364, cat.no.690 (col.ill, hands, and Peter Norton soon whisked them up to the Acropolis. another cast) He found it “wonderful – more marvellous than ever I imagined. The Parthenon against a blue sky – the sunlight, and the scale it gets The plaster version of this work is in the collection of the Art Gallery of against the distant mountains can’t be given by any photograph. Ontario, Toronto. It is the greatest thrill I’ve ever had”’. (Roger Berthoud, The Life of Henry Moore, Giles de la Mere, London, 2003, p.269). Like Warrior This erect and proud sculpture by Henry Moore evolved from one of with Shield the present bronze is imbued with a strong sense of the the sculptor’s most enduring and popular bronzes from the post-war Classical; their broken limbs reminding us of ancient Greek sculptures period: King and Queen (1952-53) (see fig.1). The profile of the female which have been damaged and worn with the passage of time. Yet regal figure anticipates that of Seated Figure: Armless, conceived only with Seated Figure: Armless modernity is intelligently integrated by two years later. The invented head, essentially two flat, smooth planes Moore with the semi abstraction of the head and the tilting of the which meet in the centre of the sitter’s face to denote the nose, has torso to the sitter’s left so that the sculpture reads just as easily when been pierced from one side to the other so that the sculpture takes viewed side on.

52 | Bonhams Modern British and Irish Art | 53 Property from a Major U.K. Corporation

17AR W Henry Moore O.M., C.H. (1898-1986) Reclining Figure on Pedestal signed and numbered ‘Moore 6/9’ (on the base) bronze with a green patina 130 cm. (51 1/4 in.) high Conceived in 1959-60

£1,000,000 - 2,000,000 €1,300,000 - 2,500,000 US$1,600,000 - 3,200,000

Provenance Literature The Artist, Herbert Read, Henry Moore, Thames & Hudson, London, 1965, Acquired from the above by Longman Group, circa January 1972 pl.215 & pl.216 (ill.b&w, another cast) A Major U.K. Corporation Alan Bowness, Henry Moore; Sculpture and Drawings Volume 3, Sculpture 1955-64, Lund Humphries, London, 1986, cat.no.456, Exhibited pl.88 & 89 (ill.b&w, another cast) London, Marlborough Fine Art, Some Aspects of 20th Century Art, Robert Melville, Henry Moore; Sculpture and Drawings 1921-1969, July-August 1961, cat.no.47 (ill.b&w, another cast, as Reclining Figure Thames & Hudson, London, 1970, pl.600 & 601 (ill.b&w, another cast) (With Pedestal)) Alan G. Wilkinson, Henry Moore Remembered, The Collection at the New York, M. Knoedler & Co. Inc., Henry Moore, March-April 1962, Art Gallery of Ontario in Toronto, Key Porter Books, Toronto, 1988, cat.no.38 (ill.b&w, another cast, as Reclining Figure (With Pedestal)) p.191, cat.no.144 (col.ill, the plaster) Caracas, Museo de Bellas Artes, Henry Moore, organised by the British Council, 1964, unnumbered (ill.b&w, another cast) The plaster for this work is in the Collection of the Art Gallery of Rome, Marlborough Galleria d’Arte, Henry Moore, May 1965, cat.no.8 Ontario, Toronto. Other casts from this edition are in the Museo de (ill.b&w, another cast) Arte Contemporaneo, Caracas, University Art Gallery, Binghamton, Philadelphia, Philadelphia College of Art, Art and Idea: Henry Moore, New York and Didrichsen Art Museum, Helsinki. 12 March-April 9 1966, cat.no.95 (another cast, lent by Mt. N Richard Miller) Leigh, Turnpike Gallery, Henry Moore, Sculpture, Drawings, Graphics, 3 November-18 December 1971, cat.no.17 (ill.b&w, another cast) Perry Green, The Henry Moore Foundation, Henry Moore and the Challenge of Architecture, April-September 2005 (col.ill, this cast); this exhibition travelled to Kunsthal Rotterdam, Netherlands, 14 October-21 January 2007 Harlow, The Graham Collection, 30 October 2006-13 January 2007 (this cast)

54 | Bonhams Modern British and Irish Art | 55 Henry Moore, Reclining Figure on Pedestal 1959-60

The Reclining Figure: The “Fundamental Obsession” By Dr. Alan Wilkinson.

“I suppose the favourite form motives of any individual artist that the reclining figure was the fundamental obsession, and have are an inexplicable part of his make-up – (& could have a no hesitation in asserting that Moore’s greatest, most powerful, and psychological explanation). I might be able to give some sort dramatic carvings and bronzes found expression in the recumbent of convincing reason for my liking of the mother & child female figure. What I find so moving is the rich, poetic analogies with theme from knowledge of my own history. I should find it landscape, “Knees and breasts are mountains.”5 From the National more difficult to explain why so far I’ve found unending Gallery of Canada’s green Hornton stone Reclining Woman of 1930, possibilities & variations in the reclining figure theme.”1 originally called Mountains, the Tate’s Hornton stone Recumbent Figure of 1938, echoing the setting for which it was created, the Why Henry Moore’s obsession with the reclining figure? There can gently rolling hills of the south Downs of Sussex, to the rugged cliff be no doubt that the reclining figure along with the mother and child and rock formations embodied in the series of two and three piece theme were the two subjects that possessed Moore during his long reclining figures of 1959-62, Moore’s reclining figures have “All and prolific career. Which was the dominant motif? In 1943, writing changed, changed utterly” 6 our perception of landscape. On the about his first religious commission, the Hornton stone Madonna day of Henry’s death on 31 August 1986, a friend of mine was at and Child of 1943-44 for the Church of St Matthew, Northampton, her cottage among the barren, rocky islands of Georgian Bay, some he gives the slight edge to maternal subjects: 100 miles north-west of Toronto, and later told me how she was constantly reminded of his reclining figures; the islands and shoreline “There are two particular motives or subjects which I have cliffs had simply become Henry Moore sculptures. constantly used in my sculpture in the last twenty years; they are the “Reclining Figure” idea and the “Mother and Child” idea. While working on the first in the sequence, Two Piece Reclining (Perhaps of the two the “Mother and Child” has been the more Figure No. 1 of 1959 (see fig.1), with its rearing phallic leg, nature fundamental obsession.)”2 and art came together to inspire, in John Russell’s words, what “is probably the most dynamic incident in all Moore’s work: nor has the But in 1968 the balance had shifted when he maintained: “From the watchtower of the head ever been more regally poised.”7 Henry, very beginning the reclining figure has been my main theme. The first who has probably commented on his work, the creative process and one I made was around 1924, and probably more than half of my sources of inspiration in more detail than any other great twentieth- sculptures since then have been reclining figures.” 3 century artist, wrote:

I asked Archivist Michael Phipps of The Henry Moore Foundation “While I was making it, my Two Piece Reclining Figure [No.1] recalled if anyone has counted the number of sculptures of each motif. He for me Adel Rock 8 and the Rock at Etratat by Seurat (see fig.2)9 This replied: “The database indicates that there are 270 examples of the particular sculpture is a mixture of the human figure and landscape, Reclining Figure and 140 of the Mother and Child, motifs, which a metaphor of the relationship of humanity with the earth, just as a should be a useful guide.”4 Not many people know that. I believe poem can be.” 10

56 | Bonhams (fig.1) Two Piece Reclining Figure No.1, by Henry Moore, Glenkiln Sculptures (fig.2) Le Bec du Hoc, Grandcamp, Georges Seurat 1859-1891/Tate Collection/ Tate Images Walk, near Shawcross, Scotland (photo),./Photo © Brian Seed/ Bridgeman Images

As there are not, as far as I know, any direct art historical precedents about African sculpture, which prompted him to rework in early that inspired Reclining Figure on Pedestal, I will discuss very briefly July, three of the figures of Les Demoiselle d’Avignon. It was at the the origins of Moore’s obsession with the motif in earlier drawings Trocadéro that Moore encountered a plaster cast of the carving and sculptures, in order to provide a context for this unusual and in Mexico City. When we discussed Studies for Sculpture, Henry important bronze. Formal analysis, while an essential ingredient of commented: “The first bit of influence of the Mexican figure. I might the art historian’s profession, has its limitations. have seen a plaster cast of it in the Trocadéro.” Later, on reading that I had said it was “the reclining pose of the Chacmool that I have long considered that Moore’s notebooks of the 1920s are interested Moore”, he drew on a piece of paper a match stick figure the most valuable source for revealing the intimate workings of his in the same pose, adding that it was also the massiveness of the imagination, just as the diaries of Virginia Woolf illuminated and carving with “the legs coming down like columns.” The two sketches shaped her thoughts and characters. Not only are there drawings of reclining figures in Studies for Sculpture record Moore’s first from which a number of carvings were evolved, there is a record awareness of the work of art that was to have the most decisive and of the extraordinary array of sculptures, paintings and drawings profound influence on the reclining figure motif, including Reclining that gripped Moore’s imagination. The copies of works of art, done Figure on Pedestal. from books and on visits to museums in London and Paris, range from the very ample proportions of the upper Palaeolithic period, One of the features of the Chacmool sculpture that is particularly steatite Venus of Grimaldi of around 25,000 B.C., tribal sculpture relevant to the Leeds Reclining Figure of 1929, and the Hornton in the British Museum, to Paul Cézanne’s Les Grandes Baigneuses stone Reclining Woman of 1930 in the National Gallery of Canada, of 1898-1905, now in the Philadelphia Museum of Art. If I could Ottawa, the first sculptures directly inspired by it, and to many reproduce only one page from the five surviving sketchbooks of the subsequent works, none more so than the Bonhams 1959-60 1920s, showing the most profound and far reaching ramifications for bronze, is the importance of the base on which the figure reclines. Moore’s art, and in particular the reclining figure motif, I would not This prominent compositional device was not lost on Henry Moore in hesitate to select from Notebook No. 2, Studies for Sculpture 1921- the two small sketches in Studies for Sculpture 1921-22, which may 22 HMF 66 (see fig.3). have been drawn in situ in the Trocadéro, or perhaps in the evening from memory. Whereas in the smaller drawing, the proportions When I first noticed the two thumb-nail sketches of reclining figures of the figure in relation to the pedestal are roughly those of the at the bottom of the page, it represented one of those all too rare Pre-Columbian sculpture, in the larger sketch, the height of the Eureka moments, in contrast to the endless hum drum days and base is much greater in relation to that of the figure. I do not think weeks of research signifying nothing much. Here is the first evidence it is an exaggeration to say that from the Leeds Reclining Figure of Moore’s awareness of the Toltec-Maya 11th-12th century of 1929, to a work such as Reclining Figure on Pedestal of 1959- Chacmool sculpture from Chichén Itzá in the Museo Nacional de 60, and the drawings and sculptures of the early 1980s, the pose Anthropología, Mexico (see fig.4). This was akin to discovering of the Chacmool was not only never forgotten, it consciously or Picasso’s first drawing of an African mask made in May or June unconsciously resurfaced time and time again. of 1907 after a visit to the Palais de Trocadéro and his “revelation”

Modern British and Irish Art | 57 (fig.4) Chacmool, from Tzintzuntzan, Michoacana, 10th-13th century (stone), Pre-Columbian/ Museo Regional Michoacano, Morelia, Mexico/Giraudon/Bridgeman Images

(fig.3) Studies for Sculpture, 1922, by Henry Moore (1898-1986), Moore, Henry Spencer (fig.7) Cliffs, étretat (1898-1986) / Private Collection / (c) The Henry Moore Foundation. All Rights Reserved, DACS 2014 / www.henry-moore.org

Just as the drawings have provided the vital evidence that Moore support. Although the Roman Travertine marble UNESCO Reclining was aware of the Chacmool some seven years before its influence Figure of 1957-58 (see fig.6) rests on what Moore would describe erupted in the Leeds Reclining Figure of 1929, they illustrate as a base rather than a pedestal, the base in turn is raised from the variations on the motif of a large pedestal as a support for a ground by a series of supporting blocks. A pedestal for a sculpture sculpture long before its paramount, three-dimensional realisation in is similar to the Anita Brookner Look at Me principal used by the 1959-60 bronze Reclining Figure on Pedestal. Ideas for Wood jewellers to highlight a small but costly ring, by displaying it in the Constructions of 1934 (HMF 1136) is one of the earliest, in which shop window mounted atop a felt covered base or let’s call it a little the thirteen sculptural forms rest on bases of various shapes and pedestal, that is much larger than the item itself. heights. Could not the support in the central sketch of the five studies on the right of the sheet, given its height, be described “Perfect symmetry is death”, Henry Moore wrote in the notes for his as a pedestal? Two of the most relevant drawings to prefigure first published article “A View of Sculpture” 1930, and in Reclining Reclining Figure on Pedestal are the British Museum’s Two Studies Figure on Pedestal he has done everything to avoid it. The two of a Sarcophagus Form of 1936 (HMF 1238), and above all Three tiers of the pedestal are asymmetrical, as is every feature of the Reclining Stone Figures on Pedestals of 1954-56 (see fig.5). In the figure. Perhaps the dominant landscape references are the relatively larger of the two studies in the 1936 drawing, the way in which the flat, upper surface of the reclining figure, tilted towards the viewer, sarcophagus rises above the base or pedestal, as if a wedge has suggestive of a plateau, while the two spaces under the figure prised them apart, anticipates the two spaces beneath the reclining recall eroded coasts, such as at Etratat, where the sea has carved figure and the sarcophagus-like form beneath in the 1959-60 bronze. massive holes in the cliff (see fig.7). Yet again, the pose is descended If in the 1936 drawing there is a suggestion of a figure rising out from, could be called a distant relative of, the Chacmool, but the of a sarcophagus, in the Bonhams bronze, one might say that the head, with rudimentary eyes nose and mouth, instead turned at 90 reclining personage has been resurrected and has decided to have degrees, looks over the shoulder of the figure, as in the second pre- a look around! In the 1954-56 drawing, the supports in relation to Columbian inspired Ottawa Reclining Woman of 1930. As ever, the the sculptures are no longer the proportions of the shallow base of head is alert and watchful. the 1929 Leeds Reclining Figure, but massive pedestals. In the lower study, the proportions of the reclining figure in relation to what I read as two bases resting on a much larger pedestal are analogous to the two, asymmetrical tiers in the 1959-60 bronze. In both, the height of the pedestals is greater than that of the reclining figures they

58 | Bonhams (fig.5) Three Reclining Figures on Pedestals, 1966, by Henry Moore (1898-1986), Moore, (fig.6) UNESCO Reclining Figure 1957-58 by Henry Moore (1898-1986) (bronze), Moore, Henry Spencer (1898-1986) / Private Collection / (c) The Henry Moore Foundation. Henry Spencer (1898-1986) / UNESCO Collection / © The Henry Moore Foundation. All Rights Reserved, DACS 2014 / www.henry-moore.org/ Image courtesy of Bonhams All Rights Reserved, DACS 2014 / www.henry-moore.org

Of the three fundamental poses of the human figure, standing, ©Notes seated and reclining, the latter offers by far the most varied, formal possibilities. It gives, as Moore commented, “…the most freedom, 1. The notes are in the archive of The Henry Moore Foundation. compositionally and spatially.”11 The figure may recline on its front 2. Henry Moore, Church of St. Matthew, Northampton, with the head and upper torso propped up supported by the arms; 1893-1943, St. Matthew’s Church, Northampton, 1943. on its back like the Chacmool, with the torso and legs raised; or on 3. John Hedgecoe/Henry Moore, Henry Moore, its side, with half the body tilted towards the viewer, as in the Leeds London: Thomas Nelson, 1968, p. 151. Reclining Figure of 1929, leaving the non-supporting left arm and leg 4. Email, 18 September 2014. free to assume a variety of positions. This is the quintessential pose 5. Quoted in Alan Wilkinson, ed., Henry Moore, Writings and of Henry Moore’s reclining figures. Conversations, Aldershot, Lund Humphries, 2002, p. 288. 6. W. B. Yeats, “Easter 1916”. Moore justified his fascination with the fundamental 7. John Russell, Henry Moore, London, Allen Lane, obsession as follows: The Penguin Press, 1968, p. 181. 8. Moore described Adel Rock as “the first big, bleak lump of “The vital thing for an artist is to have a subject that allows [him] to stone set in a landscape and surrounded by marvellous gnarled try out all kinds of formal ideas – things that he doesn’t yet know prehistoric trees. It had no feature of recognition, no element of about for certain but wants to experiment with, as Cézanne did in copying naturalism, just a bleak, powerful form, very impressive.” his “Bathers” series. In my case the reclining figure provides chances Quoted in Wilkinson, p. 36. of that sort. The subject-matter is given. It’s settled for you, and you 9. The painting Moore is referring to, is Georges Seurat’s know it and like it, so that within it, within the subject that you’ve Le Bec du Hoc, Grandcamp, 1885, Tate. done a dozen times before, you are free to invent a 10. Quoted in Wilkinson, p. 289. completely new form idea.”12 11. Ibid, p. 218. 12. Russell, p. 28. Alan Wilkinson Coleshill, Oxfordshire September, 2014 ©Alan Wilkinson, 2014

Modern British and Irish Art | 59 60 | Bonhams Reclining Figure on Pedestal, 1959-60, by Henry Moore (1898-1986) (bronze), Moore, Henry Spencer (1898-1986) / Private Collection / © The Henry Moore Foundation. All Rights Reserved, DACS 2014 / www.henry-moore.org / Bridgeman Images Modern British and Irish Art | 61 Various Properties

18AR Henry Moore O.M., C.H. (1898-1986) The reclining figure was an obsession throughout Moore’s career, Reclining Torso spanning over seven decades (see Dr. Wilkinson’s essay for signed and numbered ‘Moore 1/9’ (on the base) the previous lot); the subject was revisited and reworked, often bronze with a brown patina on a stone base moving effortlessly back and forth between new and old stylistic 21.6 cm. (8 1/2 in.) long (excluding the stone base) preoccupations. Almost all of Moore’s figurative sculpture is based Conceived in 1981 on the female form; the recumbent pose, which accentuates the sensuous undulating curves of the hip bone, seems a natural choice £40,000 - 60,000 for a sculptor concerned with celebrating womankind. In Reclining €50,000 - 75,000 Figure on Pedestal (lot 17), for example, the legs have been pulled US$64,000 - 96,000 together and forwards, drawing the hip more prominently upwards. On the contrary, the legs in the present lot are parted, not splayed suggestively as in other works, but positioned to create a pincer- Provenance like shape. The wide pelvis and beautiful curve of the waist and hip Acquired directly from the artist by the present owner’s father in the allude to womanhood, accentuated by the way the light catches and early 1980s highlights the smooth surface of the bronze. This is offset though, by Thence by descent the shinbone sharpness of the leg and the clean severing of the foot. Private Collection, U.K.

Whilst the lower half of the body is undoubtedly female, the taught Exhibited and slender torso could belong to either gender. The breast-less chest London, Tate, Henry Moore at 85: Some Recent Sculpture and bears a prominent hollow, near the heart, suggesting a wound or Drawings, 23 June-14 August 1983, unnumbered (ill.b&w, another infliction. Propped up by one arm, the figure seems to be in transition, cast) trying to raise itself from the ground. The insinuation of movement

had been explored previously in Moore’s Warrior sculptures of the Literature early 1950s, which were also wounded figures. Interestingly, his Alan Bowness (ed), Henry Moore, Complete Sculpture 1980-86, first figures on this subject were reclining. Given the recentness of Volume 6, Lund Humphries, London, 1988, p.43, cat.no.816 (ill.b&w, the war, the fallen figures seem especially poignant and emotionally another cast) charged. Unusually for the artist, they depict single and separate male John Hedgecoe, A Monumental Vision, The Sculpture of Henry Moore, figures; as he commented it `was almost like the discovery of a new Collins & Brown, London, 1998, p.244, cat.no.690 (col.ill., another subject matter; the bony, edgy, tense forms were a great excitement cast) to make...’ (Henry Moore in a letter dated 15 January 1955; quoted

in Philip James (ed.), Henry Moore on Sculpture: a Collection of the Another cast from this edition is in the Miller Art Center, Wisconsin. Sculptor’s Writings and Spoken Words, Macdonald, London, 1966, p.250).

Moore has stated that the influence for his depiction of truncated thin limbs and fallen figures stems more explicitly from classical sculpture, rather than wartime experiences. He visited Athens and other parts of Greece in 1951, shortly before starting Reclining Warrior, his first exploration of the theme, towards the end of 1952. Rodin, another important influence on Moore, shared an interest in classical and medieval art. Some of Rodin’s most famous sculptures show truncated, partial figures or ‘fragments’; Cyblee, 1904-05 (Victoria & Albert Museum) famously shows a headless figure, with only one arm. Moore had been familiar with the artist’s work from a young age, but his significance became more apparent to Moore later on in life, as he stated `as time has gone on, my admiration for Rodin has grown and grown’ (Alan Wilkinson, Writings and Conversations, Lund Humphries, Aldershot, 2002, p. 177).

62 | Bonhams Modern British and Irish Art | 63 Raymond Leppard with Duncan Grant’s Self-Portrait

19* AR Duncan Grant (1885-1978) Dating to 1925, the present work is a striking and confident depiction Self-portrait of the pre-eminent painter of the Bloomsbury group. Having travelled signed with initials ‘dg’ (on the stretcher) extensively, Duncan Grant eventually settled in Sussex at Charleston oil on canvas and Self-portrait would appear to have been painted in the artist’s 76.2 x 55.8 cm. (30 x 22 in.) bedroom at the house which features terracotta surrounds to the two Painted in 1925 doors in the room – the one shown here being the entrance into a dressing room. This being the case, it would indicate that the painting £50,000 - 70,000 was completed just before the creation of the artist’s large studio €63,000 - 88,000 later that year. As in earlier self-portraits such as Self Portrait (1910) US$80,000 - 110,000 (The Charleston Trust), the artist fixes us with a firm gaze which was an important feature of Bloomsbury art whereby gestures ‘speak’ to the viewer, as if to impart an enigmatic meaning. Like Self-portrait Provenance in a Mirror (1920) (Scottish National Portrait Gallery), the present Acquired from the 1973 exhibition by Raymond Leppard work shows Grant as a mature man, clearly less self-conscious, Private Collection, U.S.A. who is able to coolly take stock of himself at a critical period. As in

the aforementioned work, the colours are warm yet subdued, from Exhibited the blue of the artist’s shirt to considered subtleties such as the rich King’s Lynn, Fermoy Art Gallery, Recent Paintings, Duncan Grant, 9-27 orange of the handkerchief picked up at the end of a paint brush. January 1973, cat.no.3 (ill.b&w)

In his book, Music Made Me, Raymond Leppard fondly recalls his meetings with members of the Bloomsbury group. Of particular interest are his recollections of the run up to the Fermoy Gallery exhibition in which the present work was exhibited as the earliest example by the nearing ninety year old Grant. Following an eventful evening the night before the exhibition was opened by the Queen Mother, who purchased an oil of Westminster Abbey, Mr Leppard recalls how he ‘extravagantly bought a self-portrait of (Grant) in his 30s, which he had allowed to be sold. It still hangs in my sitting room to remind me of a moving Bloomsbury moment, and of a talent that never lost its innocent vision no matter what complications of life assailed him’ (Raymond Leppard, Music Made Me, Matador, Leicester, 2010, p.71).

We are grateful to Richard Shone for his assistance in cataloguing this lot.

64 | Bonhams Modern British and Irish Art | 65 20AR Paul Nash (1889-1946) Paul Nash explained his decision to leave London and ‘go in for A Drawing nature’ by returning to his family home at Wood Lane House, Iver signed ‘Nash’ and with monogram (lower right); further signed Heath, Buckinghamshire, in his autobiography Outline in 1911. This and inscribed ‘A Drawing/Paul Nash/Iver Heath/Bucks’ (on a label individually designed residence had been built in 1901 and came attached to the backboard) with a plot of about an acre and a half amidst a rural idyll of maturing watercolour, pen, ink, pencil, crayon and chalk shrubbery and dramatic great elm trees. Within the house was a 55.9 x 38.1 cm. (22 x 15 in.) morning room, which the artist used as a studio looking over what he Executed in 1913 described as the ‘bird garden’. This room provided a suitable platform for Nash to quietly interpret the rich array of nature at his fingertips in a £50,000 - 70,000 unique manner. €63,000 - 88,000 US$80,000 - 110,000 Executed in 1913, the humble nature of this period in Nash’s development as an artist is reflected in the ultimate simplicity of the title, A Drawing. The bare branches of the tall elm trees that marked Provenance the garden’s boundary coupled with the light and colour of the Dr. & Mrs R.D. Brinton, 1913 composition indicate the end of a cool winter day. Indeed, the present Thence by descent to W.R. Brinton work is remarkable both for its generous size and vivid colours that are Thence by family descent to the present owner rare in a period that was dominated by ink drawing with mild washes Private Collection, U.K. of predominantly blue. Trees in particular had always held a spiritual

quality for the artist who was drawn to them as a child on visits to Exhibited Kensington Gardens. Stripped of their leaves and foliage, the structure London, Dorien Leigh Gallery, Drawings by Paul Nash, November of the trees in A Drawing are fully exposed for us to appreciate their 1913, cat.no.3 eccentric growth. The shadows that are cast across the land from Brighton, Public Art Galleries, The Camden Town Group and Others, the foreground of the composition add an element of mystery to the 16 December 1913–14 January, cat.no.99 scene whilst the arrival of a group of birds into the pictorial space from London, Tate Gallery, Paul Nash, November-December 1975, cat. outside celebrates life and freedom. The serenity of the scene and that no.18 (where lent by W.R. Brinton); this exhibition travelled to of the few others from this period is juxtaposed with Nash’s imminent Plymouth, City Art Gallery, Colchester, The Minories, Bradford, City Art enlisting as part of the war effort and subsequent deployment to the Gallery and Manchester, City Art Gallery front. Literature Andrew Causey, Paul Nash, Clarendon Press, Oxford, 1980, p.350, cat.no.56

66 | Bonhams Modern British and Irish Art | 67 Property formerly in the Collection Mrs. George Swinton, Lots 21 and 22

Mrs George Swinton (née Elizabeth Ebsworth), known as ‘Elsie’, the party: Sickert was smitten, declaring to his hostess: ‘I must know was born in 1874 in St Petersburg, where her father had extensive that superb Russian’. They enjoyed an intense friendship. He gave business interests. She married Captain George Sitwell Swinton of her prints, drawings and paintings; she bought others at the Saturday Kimmerghame in Scotland (1859-1937) in 1895. He was 15 years afternoon ‘At Homes’ of the Fitzroy Street Group hosted by Sickert. older than his wife, a cultivated man, cousin of the Sitwells, amateur She also bought paintings by Spencer Gore whom she commissioned artist and distinguished member (in 1912 Chairman) of the London to give drawing lessons to her daughter Mary (see lot 107). County Council. They had three children, Alan (b.1896), Mary (b.1899) and Elizabeth (b.1904). Elsie’s beauty of face and figure, her erect In 1906, to the dismay of her husband and her mother, Mrs Swinton carriage, proud head and sensual lips, were drawn and painted by relinquished her amateur status and became a professional singer. Sargent, Orpen and Conder. But it was Sickert who best captured her Hamilton Harty was her favourite accompanist and close friend. fiery spirit in three memorable portraits, two set against the imaginary However, after some six years, the strain of touring at home and background of the Venetian lagoon and one in which, wearing a vivid abroad became too much and she all but gave up performing. David red evening dress, she is silhouetted against a storm-tossed sea. Greer, in his perceptive biography, A Numerous and Fashionable Audience: the story of Elsie Swinton (London 1997), used much Sickert met Mrs Swinton in 1904, at a party given by Mrs Charles unpublished material to document her musical career and her Hunter to introduce the French sculptor Rodin to the most beautiful friendships with, among many others, Gabriel Fauré and Dame Ethel women in London. Mrs Swinton had a rich and glorious singing voice Smyth. She lived through two world wars and died, aged 91, in 1966. which was especially moving when she sang in Russian. She did so at

21 Walter Richard Sickert A.R.A. (1860-1942) Sickert used the evocative title Londra Benedetta for several prints Londra Benedetta and drawings, but it was especially apposite in the case of this oil on canvas unusual and complex interior. He explained the subject in a letter to 50.8 x 45.7 cm. (20 x 18 in.) the American painter Nan Hudson, written in late July or August 1907 Painted in 1907 just before he left for his annual summer visit to Dieppe: ‘I have put a hansom outside in the stained glass window picture, & a London £25,000 - 30,000 directory inside with yellow blue & red stripes for “commercial” €31,000 - 38,000 “streets” & “trades” strips. Impossible to be more “London” than that. US$40,000 - 48,000 “Ce Londres que les Anglais appellent London”.’ A painting called ‘Ce Londres que les Anglais appellent London’ was sold in the auction of Sickert’s work at the Hotel Drouot, Paris in 1909, but that was in Provenance horizontal, not upright, format. A painting called The London Directory The Artist, by whom gifted to was exhibited with the London Group in 1926 (29). The Yorkshire Mrs. George Swinton, and by descent to Post (5 June 1926) clarified its content in terms which suggest it Brigadier A.H.C Swinton was the present work: ‘The book is shown lying on a table against a Thence by descent to the present owner mullioned window, through which nothing is clearly visible’. However, Private Collection, U.K. the catalogue did not list the painting as being in private ownership.

Fifteen years later, when the present painting was lent to the Sickert Exhibited exhibition at the National Gallery, it was catalogued as a loan from Mrs Possibly Berlin, Grosse Berliner Kunst-Ausstellung, 1909 Swinton. London, London Group, 1926, cat.no.29 (as The London Directory)

London, National Gallery, Sickert, 1941, cat.no.51 We know the location of the painting is London, but where in London? London, Islington Public Libraries, Sickert Exhibition, 16 June-29 The terraced houses in Mornington Crescent, where Sickert lived and September 1951, cat.no.11 worked in 1907, had no such windows. The architecture suggests it

might be a pub, a rare subject for Sickert. He was at this time, late Literature July or early August 1907, working with great intensity on two parallel Wendy Baron, Sickert, Paintings & Drawings, Yale University Press, series of what he called ‘studies of illumination’ set in Mornington New Haven and London, 2006, p.350, cat.no.312 (ill.b&w) Crescent (nudes on a bed and interiors featuring his model ‘Little Rachel’), all characterised by the crusty texture and closely-worked handling of paint. In Londra Benedetta Sickert has moved his stage outside the studio to study the oblique fall of light on the stained glass and the wood-panelled wall. If such it is, it remains to identify the pub.

We are grateful to Dr. Wendy Baron for compiling this catalogue entry.

68 | Bonhams Modern British and Irish Art | 69 22 Walter Richard Sickert A.R.A. (1860-1942) Red Patterned Blouse (or Siesta) signed ‘Sickert.’ (lower right) oil on canvas 45.7 x 38.1 cm. (18 x 15 in.) Painted circa 1907

£30,000 - 50,000 €38,000 - 63,000 US$48,000 - 80,000

Provenance The Artist, by whom gifted to Mrs. George Swinton, circa 1907, and by descent to Brigadier A.H.C Swinton Thence by descent to the present owner Private Collection, U.K.

Literature Wendy Baron, Sickert, Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.364, cat.no.343.2 (ill.b&w)

There are two paintings of this fully-clothed model, each remarkable Sickert’s interest in painting commonplace models in bedrooms had for the sheer attack and bravura of Sickert’s handling. In one (Fogg developed in Venice during 1903 and 1904 and continued unabated in Art Museum, Cambridge, Mass., USA) she is seated on the bed London from 1905 until the outbreak of war in 1914. However, when confronting the spectator with a bold smile. In the present painting she he went to Dieppe each summer, Sickert set aside intimate interior lies back, asleep – hence the invented title Siesta. In both she wears subjects in order to paint ‘landscapes for the weaker brethren’. The a full skirt or apron and a red blouse with white linear patterning. three interiors with the French ebony bed are thus uncommon. The The wooden bedstead, with solid head and foot boards and a fabric two red-patterned blouse paintings were probably done in 1906. They canopy above, appears again in a dated painting, The Ebony Bed share with Sickert’s London interiors the vivid, shorthand notation, the (Arts Council of Great Britain), inscribed ‘Dieppe 1907’. The model slashed highlights and the lively surface; the palette, embracing olive seated on the bed in the dated painting is slim, upright and demure. greens and scarlet, is similar. In their turn, these two paintings led on, She is not wearing the vivid red blouse sported by the buxom young stylistically, to the sequence of nudes done in the autumn of 1906 in woman in the present painting. The recurrence of the bed does not Sickert’s room at the Hotel du Quai Voltaire, Paris. imply that the two red-patterned blouse paintings were also works of 1907; it does imply that they were done in Dieppe. We are grateful to Dr. Wendy Baron for compiling this catalogue entry.

70 | Bonhams Modern British and Irish Art | 71

Day Sale Tuesday 18 November 2014 at 11.00 Lots 101 - 180 101AR Algernon Cecil Newton R.A. (1880-1968) Provenance Summer Storm Clouds Probably acquired from the 1958 exhibition by the present owner’s signed with monogram (lower left) family oil on canvas Thence by descent 60.9 x 91.4 cm. (24 x 36 in.) Private Collection, U.K.

£20,000 - 30,000 Exhibited €25,000 - 38,000 London, Royal Academy, 1958, cat.no.531 US$32,000 - 48,000 Literature The Royal Academy Illustrated 1958, William Clowes & Sons, 1958, p.55 (ill.b&w)

74 | Bonhams 102AR Algernon Cecil Newton R.A. (1880-1968) Provenance In Chilham Valley, Kent Probably acquired from the 1956 exhibition by the present owner’s signed with monogram (lower left) family oil on canvas Thence by descent 68.5 x 91.4 cm. (27 x 36 in.) Private Collection, U.K. Painted in 1955 Exhibited £20,000 - 30,000 London, Royal Academy, 1956, cat.no.494 €25,000 - 38,000 Sheffield, Graves Art Gallery, Algernon Newton R.A. 1880-1968, 26 US$32,000 - 48,000 July-26 August 1980, cat.no.57; this exhibition travelled to Plymouth, City Art Gallery and Museum, 13 September-12 October and London, Royal Academy of Arts, 1 November -7 December

Modern British and Irish Art | 75 103 Harold Gilman (1876-1919) The quality of the portrait fails to support an attribution to Sylvia who Portrait of a lady was not known to be a particularly gifted pupil. Moreover she gave up oil on canvas painting altogether at the end of 1917, before she married Harold - 46.3 x 35.6 cm. (18 1/8 x 14 in.) and took his name - in April 1918. The later inscription on the stretcher Painted circa 1916-17 probably means no more than that she owned the portrait.

£15,000 - 20,000 On the other hand, as regards style, handling, palette and €19,000 - 25,000 presentation, the portrait is absolutely convincing as a work by US$24,000 - 32,000 Harold Gilman of around 1916-17. The crisp differentiation of each element in the composition, its taut design, the modelling of the face in angular planes of bright colours (a hot red with lilac shadows and Provenance creamy umber highlights) and the tender characterisation are typical Sylvia Gilman (née Meyer, wife of the artist), thence by descent to of Gilman’s portraits of women at this date. The abiding mystery of the Barbara Gilman, portrait is who it represents. Thence by direct descent to the present owner

While we do not know who the sitter was, it is probable that she Exhibited is linked to another mysterious painting of 1916-17 by Gilman, The Fine Art Society, London, The Camden Town Group, Centenary Tea in a Bedsitter. This subject, known in two versions, represents Exhibition, 2011, cat.no.41 (col.ill and detail, as by Sylvia Gilman) Gilman’s living quarters at 47 Maple Street, Fitzrovia, London. A round

tea table set for four people occupies the foreground. The larger This portrait was exhibited and published in 2011 as by Sylvia Gilman, version (Huddersfield Art Gallery) shows Sylvia Hardy on the right, wife of Harold Gilman. Harold died of influenza in 1919 and two years an unidentified young woman in the centre and an empty chair on later his widow married his brother Leofric. She outlived Harold by the left. In the smaller version (Sotheby’s, 4 December 2002, lot 20, over 50 years. The painting came by direct descent from the family of col.ill) the empty chair is occupied, almost certainly by the woman Sylvia and Leofric Gilman. It seems that the portrait was not discussed represented in the present portrait. The narrative behind both versions in the family prior to its exhibition in 2011 but, because ‘S Gilman’ of Tea in a Bedsitter has yet to be disentangled. A mood of dejection was inscribed on the stretcher, it was assumed Sylvia had painted it. pervades the whole; the women sit in isolation, each wrapped in her Sylvia Gilman (née Meyer, a surname changed by her family to Hardy own thoughts, not communicating with each other; there is no food c.1914) was a pupil at the Westminster School of Art where Gilman on the plates; the fourth place at table is unoccupied. Is it set for the taught from 1912-15. We do not know when she enrolled in his class artist? Or for someone (perhaps Gilman’s elder brother) lost in the but she was probably there in 1915 when Harold sought a divorce war? Why are there knives on the plates in the three-figure version but from his first wife, Grace Canedy, who had gone with their children to not in the two-figure? Are the young women rivals or friends; are they her native America in 1909, never to return again to England. mourning together or separately? In what order did Gilman paint the two versions? Was the larger Huddersfield painting a declaration that the third young woman, represented in the present portrait, had been exiled and that Sylvia had won?

We are grateful to Dr. Wendy Baron for compiling this catalogue entry.

76 | Bonhams Modern British and Irish Art | 77 104 Walter Richard Sickert A.R.A. (1860-1942) most poetically by Virginia Woolf. In her elegant review of a Sickert Girl on a bed sewing exhibition at Agnews in 1933, Mrs Woolf wove a narrative around signed ‘Sickert.’ (lower left) Yvonne which, like the present painting, shows a woman in a short oil on canvas shift, black shoes and stockings, eyes downcast, concentrating on a 38.5 x 31 cm. (15 1/4 x 12 1/4 in.) scrap of something she is holding in her hands: Painted circa 1911-12 ‘Do you remember the picture of the girl sitting on the edge of her £20,000 - 30,000 bed half naked? Perhaps it is called Nuit d’Amour. Anyhow, the night €25,000 - 38,000 is over. The bed, a cheap iron bed, is tousled and tumbled; she has US$32,000 - 48,000 to face the day, to get her breakfast, to see about the rent. (Walter Sickert: A Conversation, Hogarth Press, 1934, p.15).

Provenance The present work, hitherto unknown to me, may be the first of With The Mayor Gallery, London Sickert’s paintings on the theme. The model in this tender and intimate Acquired by the father of the present owner circa 1950 painting also figures in Woman with Ringlets of c.1911 (Fitzwilliam Private Collection, U.K. Museum, Cambridge;Op.Cit cat.co.381). The dating of Girl Sewing to 1911 is substantiated by its style and handling, a year when Sickert A woman seated on her bed sewing was a subject which Sickert conducted bold experiments designed to develop a looser and found especially appealing. Naturalistic, requiring no elaborate leaner paint surface. He strove to get rid of the clogged impasto of presentation or framework, it satisfied Degas’s precept of observing recent years while retaining a varied and broken touch. He eschewed his subject as if looking through a keyhole. In each case the woman narrative in favour of an intense focus on the model in front of him, pictured is utterly absorbed in her task and oblivious of her audience. often presented in an unexpected, even quirky, manner. His colours However, the nature of that task is not easily deciphered. lightened, to embrace ochres, greens, pinks deepening to carmine, rusty orange, creams and browns. These qualities of touch, colour Turning to the present painting, does it indeed portray a woman and style are the essence of Girl Sewing. sewing? If not, what else might she be doing with the scrap of orange stuff she is holding; is she knitting; could she be looking in her We are grateful to Dr. Wendy Baron for compiling this catalogue entry. reticule? Other paintings on this theme have been misinterpreted,

78 | Bonhams 105AR Henry Lamb (1883-1960) Oliver Strachey CBE (1874-1960), son of Sir Richard Strachey and Portrait of Oliver Strachey Lady Jane Strachey, was a notable civil servant with the Foreign Office signed and dated ‘Lamb/30’ (lower right) during and between the wars. In The Great War he worked in MI1 oil on canvas moving to the Government Code and Cypher School in peacetime. 68.7 x 58.4 cm. (27 x 23 in.) In World War II Strachey was based at Bletchley Park heading up the ISOS section (standing for ‘Illicit Services, Oliver Strachey’), deciphering intercepted messages from the Abwehr network. Oliver’s £7,000 - 10,000 brother Lynton, a writer, critic and painter, was an integral member of €8,800 - 13,000 the Bloomsbury Group. Lamb painted both brothers and their sister US$11,000 - 16,000 Pernel. The portrait of Lynton Strachey (1914) is in the collection of the Tate Gallery, London and is amongst Lamb’s most celebrated works. Provenance Mr. Oliver & Mrs. Ray Strachey Thence by family descent Private collection, U.K.

Exhibited Venice, XVIII Biennial International Art Exhibition, 1932

Modern British and Irish Art | 79 106 Walter Richard Sickert A.R.A. (1860-1942) Provenance Farmhouse, Dieppe The Artist, by whom gifted to signed with initials ‘Rd.St’ (lower left) Marjorie Lilly oil on board With Thomas Agnew & Sons, London 20.9 x 25.1 cm. (8 1/4 x 9 7/8 in.) The Collection of Columbus Museum of Art, Ohio Painted circa 1919-20 Their sale; Christie’s, South Kensington, 6 September 2001, lot 47 With Duncan Miller Fine Arts, London £5,000 - 7,000 Private Collection, U.K. €6,300 - 8,800 US$8,000 - 11,000 Exhibited London, da Vinci Gallery, Paintings and Drawings by Sickert, 6 May-30 June 1947, cat.no.14 Probably London, Beaux Art Gallery, Paintings by Sickert, 21 September-10 October 1953, cat.no.14

Literature Wendy Baron, Sickert, Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.462, cat.no.516

80 | Bonhams 107 Spencer Frederick Gore (1878-1914) Between 1907 and 1909 Mrs Swinton (see lot 21 for a note on A Farm Mrs Swinton) bought four landscapes by Gore. In 1909 she also signed ‘S.F.GORE’ (lower right) commissioned Gore to give drawing lessons to her daughter Mary. oil on canvas The present painting remained in Gore’s studio after his premature 45.7 x 50.8 cm. (18 x 20 in.) death from pneumonia in March 1914 and was included in the Painted in 1907 memorial exhibition held at the Carfax Gallery in 1916 (no.22) where it was catalogued simply as A Farm 1907. It was unsold and reappeared £10,000 - 15,000 at the Leicester Galleries in 1928 where Lord William Percy bought it €13,000 - 19,000 as a present for his wife, the former Mary Swinton. US$16,000 - 24,000 A Farm is no.67 in the notebook compiled by Harold Gilman and Provenance the widowed Mrs Gore which lists and numbers, in chronological Lord William Percy, by whom acquired from the 1928 exhibition order, all the paintings left in Gore’s studio. It is flanked on either Thence by descent to the present owner side by landscapes of Yorkshire where Gore spent the summer of Private Collection, U.K. 1907 painting alongside his Fitzroy Street Group colleagues, Albert Rothenstein and Walter Russell. The assumption must be that this too Exhibited is a Yorkshire view but where is not known. London, Carfax Gallery, 1916 (cat.no.22) London, The Leicester Galleries, Exhibition of Works by Spencer We are grateful to Dr. Wendy Baron for compiling this catalogue entry. Frederick Gore, April 1928, cat.no.40

Modern British and Irish Art | 81 108 Lucien Pissarro (1863-1944) Exhibited Matinée de Décembre, Le Lavandou Paris, Galerie Marcel Bernheim, Pissarro et ses fils, 21 January-2 signed with monogram and dated ‘1922’ (lower right); titled ‘Matinee February 1924, cat.no.5 de Decembre/Le Lavandou’ (verso) and further partially titled ‘Matinee London, Leicester Galleries, Lucien Pissarro, October 1924, cat.no.90 de/Lavendou’ (on the stretcher) Liverpool, Walker Art Gallery, 1936, cat.no.917 oil on canvas Bradford, Cartwright Memorial Hall, 1937, cat.no.113 60.4 x 73 cm. (23 3/4 x 28 3/4 in.) London, Leicester Galleries, A Collection of Paintings by Lucien Pissarro, June-July 1950, cat.no.17 £30,000 - 50,000 London, Leicester Galleries, Lucien Pissarro, February-March 1963, €38,000 - 63,000 cat.no.17 (ill.b&w) US$48,000 - 80,000 Literature Art News and Review, 23 February 1963, p.2 (ill.) Provenance Anne Thorold, A Catalogue of the Oil Paintings of Lucien Pissarro, The Brook, 1949 (the Artist’s Studio) Athelney Books, London, 1983, p.162, cat.no.373 (ill.b&w, p.163) With The Leicester Galleries, London, 3 April 1963, where acquired by the family of the present owner Private Collection, U.K.

82 | Bonhams 109 Lucien Pissarro (1863-1944) Exhibited A Chiswick Back Garden London, Leicester Galleries, Lucien Pissarro, October 1924, cat. signed with monogram and dated ‘1923’ (lower left); titled ‘a Chiswick no.101 back garden’ (on the stretcher), numbered and titled again ‘no.18 - a Birmingham, Ruskin Gallery, Lucien Pissarro, 12-31 May 1928, cat. Chiswick back/garden’ (on a label attached to the stretcher) no.18 oil on canvas 53.3 x 43.2 cm. (21 x 17 in.) Literature Anne Thorold, A Catalogue of the Oil Paintings of Lucien Pissarro, £25,000 - 35,000 Athelney Books, London, 1983, p.170, cat.no.376 (ill.b&w) €31,000 - 44,000 US$40,000 - 56,000

Provenance Acquired by the family of the present owner from the 1928 exhibition Thence by descent Private Collection, U.K.

Modern British and Irish Art | 83 110 Ernest Procter (1886-1935) Provenance “Bathers” A Summer Beach Scene With Pyms Gallery, London, 1981, where acquired by the family of the signed ‘ERNEST PROCTER’ (lower left); further signed and inscribed present owner ‘BATHERS/Ernest Procter/23 Elsworthy Road/London/NW3’ (on the Private Collection, U.K. canvas overlap) oil on canvas Exhibited 25.4 x 30.4 cm. (10 x 12 in.) Possibly London, Royal Academy, 1932, cat.no.536

£6,000 - 8,000 €7,500 - 10,000 US$9,600 - 13,000

84 | Bonhams 111AR Eliot Hodgkin (1905-1987) Provenance Peaches and Leaves in a Green Glass With Thomas Agnews & Sons., London, where acquired by the family signed and dated ‘Eliot Hodgkin 20 IX 65’ (lower left) of the present owner oil on board Private Collection, U.K. 41.9 x 29.2 cm. (16 1/2 x 11 1/2 in.) Exhibited London, Thomas Agnews & Sons, Eliot Hodgkin, Painting in Oil and £6,000 - 8,000 Tempera, 1966, cat.no.33 €7,500 - 10,000 US$9,600 - 13,000 The present work was painted in Florence.

We are grateful to Mark Hodgkin, the artist’s grandson, for his assistance in cataloguing this lot.

Modern British and Irish Art | 85 (1)

112AR Jack Butler Yeats (1871-1957) Simply Eloped variously signed and inscribed and dated ‘96’ pen, ink and watercolour 11.7 x 25.4 cm. (4 5/8 x 10 in.) each (7)

£15,000 - 20,000 €19,000 - 25,000 The fifth: inscribed ‘The Squire He Followed/The Post Boys US$24,000 - 32,000 And/”Hollered’ Them/To Yield.’ (lower right)

The first: partially signed (lower right) and inscribed ‘When the The sixth: signed ‘Jack B. Yeats’ (centre right) and inscribed ‘And Beautiful Miss Holdhard/eloped with Timothy Spinaway/In The Yield They Did’ (upper right) Moonlight’ (centre left) The seventh: signed and dated ‘Jack/B/Yeats/96’ (lower right) and The second: signed ‘Jack/B/Yeats’ (lower left) and inscribed ‘As inscribed ‘Rattled/Off To/Gretna Green.’ (lower left) Dawn Was/Breaking/They Found They Were Pursued’ (lower right) Provenance The third: signed ‘J/ack/B/Yeats’ (lower left) and partially inscribed T.G. Rosenthal ‘And Would Have/Been Caught If Tim/Hadn’t Induced The Post/From Thence by descent to the present owner ‘The Doves’/To Change Coats ...’ (lower left) Private Collection, London

The fourth: signed, inscribed and dated ‘Jack. B/Yeats/96/While Literature The Young Folk Took The/Curricle From The Doves/And/ By Another Hilary Pyle, The Different Worlds of Jack B. Yeats, Irish Academic Road’ (lower left) Press, Dublin, 1994, p.111, cat.no.635-41

86 | Bonhams (2) (5)

(3) (6)

(4) (7)

Jack B. Yeats’s sequence of seven pen and ink drawings, Simply laws from1754. One of the first representations of the subject in art is Eloped, tells the romantic story of an elopement to Gretna Green by Thomas Rowlandson’s Filial Affection (1783) which rather like Yeats’s a dashing young man, Timothy Spinaway and his beautiful bride- version, focuses on a wealthy father in pursuit of his errant daughter. to-be, Miss Holdard. While it may illustrate an as yet unidentified By the late 19th century the theme had become one of sentimental text, it is just as likely to have been invented by Yeats himself who nostalgia rather that providing writers with more serious warnings of was an imaginative story teller. He frequently devised narratives for the dangers of impetuous marriage that feature, for example, in the his cartoon works which were published in contemporary illustrated novels of Jane Austen. According to Lisa O’Connell changes in the periodicals such as Judy, Chums and Sporting Sketches. This series marriage law and the advent of the railways in the mid 19th century was not published and is part of a range of drawings of the 1890s in ‘rendered obsolete the whole assemblage of Gretna romance.’ which, emulating successful illustrators of the day such as George Although dressed in late Victorian attire, Yeats’s couple make their way Cruikshank and Phil May, Yeats experimented with different styles north using the traditional mode of riding on horseback. It is their hasty and humorous subjects. (Lisa O’Connell, ‘Gretna Green Novels’, in clandestine chase across the country that drives the story rather than ed. D. Scott Kastan, Oxford Encyclopedia of British Literature, Oxford any detailed depiction of love or anger. University Press, 2006, pp.477-81). Although these early drawings were made before Yeats had developed The couple set off by moonlight and by dawn are pursued by the his individual style, they reveal his astute sense of character and squire, the bride’s father. Having persuaded some post-boys to take humour and, of course, his facility at drawing horses. The figure of the their horses and capes, the young couple proceed by carraige to little boy, depicted in the first and last of the scenes, features in many Scotland. Here they are married at the anvil of the famous forge in of the artist’s later drawings and paintings. Above all the warmth, wit Gretna Green, where, according to myth, the blacksmith conducted and drama that is conveyed in the series is typical of the tactics that the wedding ceremonies. Their pursuers’ attempts to stop them are Yeats uses throughout his oeuvre to draw the viewer into the work. foiled by the decoy of the disguised post-boys, which is discovered too late to prevent the marriage from taking place. We are grateful to Dr. Róisín Kennedy for compiling this catalogue entry. The Gretna Green romance grew to be a popular subject in English drama and literature after the Scottish border town became a favourite destination for couples fleeing England’s strict matrimonial

Modern British and Irish Art | 87 113 Sir John Lavery R.A. (1856-1941) Lavery met Mrs. Arthur Heseltine (née Celie Caroline Guillet) and Portrait of Mrs. Heseltine her husband at Grez-sur-Loing in 1883, during his first visit to the signed, inscribed and dated ‘To Mrs Heseltine/J. Lavery 1883’ (lower celebrated artists’ colony. Celie was the sister of Marie Cazin, wife of left) Jean-Charles Cazin. The Heseltines were married in 1882, and later charcoal took up residence nearby at Marlotte where Lavery visited them in 27.2 x 22.3 cm. (10 3/4 x 8 3/4 in.) 1897-8 and 1900. Mrs. Heseltine for instance posed for the artist in A Garden in France, 1898 (Private Collection) and her husband’s portrait £5,000 - 7,000 was painted in 1900 (Castle Museum, Norwich). €6,300 - 8,800 US$8,000 - 11,000 We are grateful to Professor Kenneth McConkey for compiling this catalogue entry. Provenance Gifted by the Artist to the Sitter, thence by family descent Private Collection, U.K.

88 | Bonhams 114 Gwen John (1876-1939) Edgar Quinet is a street in the fourteenth arrondissement of Paris Sleeping Tortoise Shell Cat, Edgar Quinet where Gwen John and Dorelia McNeill stayed in the Hôtel du Mont stamped with estate stamp ‘Gwen John’ (lower left) and bears estate Blanc for a brief period from the end of February 1904. On arrival in number ‘EJ1070’ (verso) Paris the pair acquired a white breasted tortoise shell cat and named pencil and watercolour it after the street. Edgar Quinet features in a number of John drawings 16.1 x 25.4 cm. (6 1/2 x 10 in.) and records suggest that he was quite prone to disappearing for Executed circa 1905-8 extended periods.

£5,000 - 7,000 €6,300 - 8,800 US$8,000 - 11,000

Provenance The Artist’s Estate With Anthony d’Offay, London, 27 November 1987, where acquired by the family of the present owner Private Collection, U.K.

Exhibited London, Anthony d’Offay, Gwen John, 5-28 November 1987, cat.no.4

Modern British and Irish Art | 89 115* Gwen John (1876-1939) Three congregation studies each stamped with estate stamp ‘Gwen John’ (recto); and each variously inscribed (verso) pencil and gouache 7.4 x 5.5 cm. (2 7/8 x 2 1/8 in) each (3)

£6,000 - 8,000 €7,500 - 10,000 US$9,600 - 13,000

Provenance Private Collection, South Africa

90 | Bonhams 116AR Ivor Roberts-Jones (1916-1966) Sir Winston Churchill, maquette for the monument in Parliament Square numbered ‘128’ (on the bronze base) bronze with a brown patina on a concrete base 52.1 cm. (20 1/2 in.) high (excluding the base)

£12,000 - 18,000 €15,000 - 23,000 US$19,000 - 29,000

Provenance With The Royal Windsor Group, New York, 28 April 1977, where acquired by the present owner

Modern British and Irish Art | 91 117* AR Sir Jacob Epstein (1880-1959) Sir Winston Churchill bronze with a green patina on a marble base 30.4 cm. (12 in.) high (excluding the base) Conceived in 1946

£50,000 - 80,000 €63,000 - 100,000 US$80,000 - 130,000

Provenance Private Collection, Channel Islands

Exhibited London, Leicester Galleries, Landscapes by Ethelbert White and New In November of 1946 Epstein was commissioned by the War Artists Sculpture by Jacob Epstein, February-March 1947, cat.no.40 (another Advisory Committee to sculpt the present work. He recollects: cast) London, Leicester Galleries, Fifty Years of Bronzes and Drawings by ‘The Ministry of Information were naturally eager for me to work from Sir Jacob Epstein, June-July 1960, cat.no.43 (another cast) Churchill but the opportunity did not come up until after the war London, The Arts Council, Epstein Memorial Exhibition, 1961, cat. when he was living opposite me. He arrived at my studio complete no.53 (another cast) with secretary, and a plain clothes man who planted himself at the Edinburgh, Waverley Market, Epstein, organised by the Edinburgh door intending to remain on guard throughout the sitting. I offered Festival Society, 19 August-18 September, cat.no.127 (another cast) this gentleman a chair whereupon Churchill abruptly dismissed Rutherford, Fairleight Dickinson University, The Works of Sir Jacob him. Lighting his cigar, with his secretary seated behind me for Epstein From the Collection of Mr Edward P.Schinman, 1967 (ill.b&w, dictation, we were all set for a fair start. After an hour this secretary another cast) was dismissed and a second appeared for further dictation to the accompaniment of a second cigar. After three somewhat restless Literature sittings Churchill decided to stay at Chartwell where he gave me three Jacob Epstein, Epstein: An Autobiography, Hulton, London, 1955, further sittings.’ (Jacob Epstein in Epstein, exh.cat, Edinburgh Festival p.230 (ill.b&w, another cast) Society, 1961, unnumbered). Richard Buckle, Jacob Epstein, Sculptor, Faber and Faber, London, 1963, p.302, pl.463 & 464 (ill.b&w, another cast) Further casts are held in the collection of the Imperial War Museum, E.P. Schinman and B.A. Schinman (ed), Jacob Epstein, A Catalogue London, National Gallery of South Africa, Cape Town, Churchill of the Collection of Edward P. Schinman, Farleight Dickinson College, Cambridge, Centre Georges Pompidou, Paris and The University Press, 1970, p.52 (ill.b&w, another cast) Evelyn Silber, Whitehouse, Washington D.C. The Sculpture of Epstein, Phaidon, Oxford, 1986, p.198, cat.no.371 (ill.b&w, another cast)June Rose, Demons and Angels, A Life of Jacob Epstein, Carroll & Graf, New York, 2002, p.130-131

92 | Bonhams Modern British and Irish Art | 93 118AR Sir Jacob Epstein (1880-1959) Literature First Portrait of Miriam Plichte (bust) A. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. stamped with ‘A.VALUANI’ foundry stamp (on the back of the right- A Series of Conversations on Art, Heinemann, 1931, p.178, (ill.b&w, hand shoulder) another cast) bronze with a green patina R. Black, The Art of Jacob Epstein, World Publishing Company, New 38.2 cm. (15 in.) high York and Cleveland, 1942, p.233, cat.no.86 Conceived in 1921 Richard Buckle, Jacob Epstein, Sculptor, Faber and Faber, London, 1963, p.106, pl.168 (ill.b&w, the plaster) £6,000 - 8,000 Evelyn Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, cat. €7,500 - 10,000 no.120, p.148 (ill.b&w p.149, the plaster) US$9,600 - 13,000 Peter Forster, “Life with an Epstein”, Observer Magazine, 30 November 1980, pp.53-54 (ill.b&w, this cast)

Provenance This lot is accompanied by a copy of the 1980 Observer Magazine The Family of the Artist, by whom gifted to article detailing the acquisition of this cast by journalist Peter Forster Peter Foster from the Artist’s daughter, and his investigations into the life of Miriam Acquired from the above by the present owner Plichte, a young and beautiful Russian émigré who married an Private Collection, U.K. importer of Bohemian glass to London.

Exhibited London, Leicester Galleries, Recent Sculpture by Jacob Epstein, January-February 1924, cat.no.14 (another cast)

94 | Bonhams 119AR Sir Jacob Epstein (1880-1959) Literature Yehudi Menuhin Richard Buckle, Jacob Epstein, Sculptor, Faber and Faber, London, signed ‘Epstein’ (at the back of the neck) 1963, p.438, pl.284 (ill.b&w, another cast) bronze with a brown patina on a wooden base Evelyn Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, p.192, 35.5 cm. (14 in.) high (excluding the base) cat.no.337 (ill.b&w, another cast) Conceived in 1943 June Rose, Demons and Angels, A Life of Jacob Epstein, Carroll & Graf, New York, 2002, p.232 £15,000 - 20,000 €19,000 - 25,000 American born Yehudi Menuhin is widely considered one of the US$24,000 - 32,000 greatest violinists of the 20th century. In his first post-war exhibition with the Leicester Galleries, Epstein took the unusual decision to show, alongside a selection of paintings, just two bronzes; the Exhibited monumental bronze archangel Lucifer (Birmingham Art Gallery) and a London, Leicester Galleries, Jacob Epstein “Lucifer” and other cast of Yehudi Menuhin. paintings of flowers and landscapes of Epping Forest, October-

November 1945, cat.no.2 (another cast) The plaster version of this work is in the collection of the Jewish Edinburgh, Waverley Market, Epstein, organised by the Edinburgh Museum, New York. Festival Society, 19 August-18 September, cat.no.201 (another cast)

Modern British and Irish Art | 95 120AR W Graham Sutherland O.M. (1903-1980) Complex over Rock II signed and dated ‘Sutherland 1973’ (lower right) oil on canvas 175.8 x 172.1 cm. (69 1/4 x 67 3/4 in.)

£60,000 - 80,000 €75,000 - 100,000 US$96,000 - 130,000

Provenance With Galleria Bergamini, Milan, where purchased by the family of the present owner in the 1970s Thence by descent Private Collection, Italy.

Sutherland was immediately drawn to the distinctive Pembrokeshire coast at Picton and Sandy Bay after revisiting the area in 1967. He returned the following year for a longer visit and enthusiastically set out to depict the organic twists of the landscape, which he visualised as animated anthropomorphic forms. By chance encounter he discovered a u-shape tree form at Picton Beach that would inspire several pictures, including the present lot and Form Over River, 1971- 72 (Tate, London). Sutherland saw an equilibrium in the bends of the tree and landscape which straight away found a response in his own make up. The intense and vivid colours are a result of Sutherland’s heightened response to the Welsh landscape; as he discussed, the colours were used `to emphasise the ambience but only in certain aspects was it the actual colour of the object’ (exh.cat, Graham Sutherland, Tate, London, 1982, p. 158).

96 | Bonhams Modern British and Irish Art | 97 121AR Graham Sutherland O.M. (1903-1980) Provenance Study for ‘Entrance to a Lane’ Acquired from the Artist by the father of the present owner, October 1961 signed and dated ‘Sutherland 1944’ (lower left) Private Collection, U.K. pencil, ink and gouache 17.8 x 14 cm. (7 x 5 1/2 in.) Literature Douglas Cooper, The Work of Graham Sutherland, Lund Humphries, £5,000 - 7,000 London, 1961, pl.16d (ill.b&w) €6,300 - 8,800 US$8,000 - 11,000 A note from the original owner of this work states that the signature and date were added retrospectively by Sutherland in 1961. The work . features in Cooper in its unsigned state, where dated July 1939. Given the similarities to the 1939 Tate Gallery oil, Entrance to a Lane, the earlier date may well be accurate.

98 | Bonhams 122* AR Percy Wyndham Lewis (1882-1957) Throughout his career Lewis produced images of figures on a stage; Untitled (Figures on a Stage) examples contemporary to the present lot are Armless Man on signed and dated ‘Wyndham Lewis/1941’ (lower right) Stage and Hamlet and Horatio; and from 1942, Three Actors. The pencil, wash, pastel and gouache figures shown here are crowded in by columns, creating a feeling 40.9 x 28.2 cm. (16 1/2 x 11 1/8 in.) of confinement that mirrors Lewis’s situation in Canada (he was poverty-stricken and marooned there owing to war). Despite these £15,000 - 20,000 difficult circumstances Lewis entered into a phase of intense creativity, €19,000 - 25,000 producing highly imaginative and brilliant watercolours between 1941- US$24,000 - 32,000 42.

Lewis movingly searched inside himself to find a brightness, yet the Provenance horrors of war and isolation can still be felt in his work from this period. Acquired by the family of the present owner in 1941 As he wrote to Augustus John, the figures could be seen as either Private Collection, Canada “man or monster” (Walter Michael, Wyndham Lewis, Paintings and Drawings, Univeristy of California Press, Berkley, 1971, p.143); the Exhibited performers are at once both heroic and menacing. The abstracted Ontario, Art Gallery of Windsor, The Talented Intruder; Wyndham Lewis figures remind us, within Lewis’s oeuvre, of his work before World War in Canada, 1939-1945, August 1992-March 1994, cat.no.20 I; though, whereas his youthful machine-age abstraction embraced modernity, here it can be seen as a more playful and assured rejection of a move towards Surrealism.

We are grateful to Paul Edwards for his assistance in cataloguing this lot.

Modern British and Irish Art | 99 123AR John Minton (1917-1957) Moonlit tree and undergrowth signed ‘John Minton’ (upper left) wash, pen and ink 36.2 x 46.4 cm. (14 1/14 x 18 1/4 in.) Executed circa 1950

£4,000 - 6,000 €5,000 - 7,500 US$6,400 - 9,600

Provenance Private Collection, U.K.

We are grateful to Frances Spalding for her assistance in cataloguing this lot.

100 | Bonhams 124AR John Craxton R.A. (1922-2009) Goat, Crete signed and dated ‘Craxton 73’ (lower right) crayon and gouache 23.2 x 31.4 cm. (9 1/8 x 12 3/8 in.)

£4,000 - 6,000 €5,000 - 7,500 US$6,400 - 9,600

Provenance With Christopher Hull Gallery, London

Modern British and Irish Art | 101 125AR John Piper C.H. (1903-1992) Painted Boats signed ‘John Piper’ (lower left) pen, ink, collage and gouache 47 x 65.4 cm. (18 1/2 x 25 3/4 in.) Executed circa 1945

£6,000 - 8,000 €7,500 - 10,000 US$9,600 - 13,000

Provenance Commissioned from the Artist by the father of the present owner circa 1945, thence by family descent Private Collection, U.K.

Literature David Wilson, Projecting Britain Ealing Studios Film Posters, London, BFI Publishing, 1982, p.49 (col.ill., the film poster) Gregory J. Edwards, The Book Of The International Film Poster, London, Tiger Press, 1985, p.109 (col.ill., the film poster) David Fraser Jenkins, John Piper, The Forties, London, Philip Wilson Publishers, 2000, p.74, cat.no.74 (col.ill., the film poster)

The present work was produced for adaption to a poster for the 1945 film Painted Boats.

102 | Bonhams 126* AR John Piper C.H. (1903-1992) Mill and Hill Tower signed ‘John Piper’ (lower right) oil on canvas 63.5 x 76.2 cm. (25 x 30 in.)

£15,000 - 20,000 €19,000 - 25,000 US$24,000 - 32,000

Provenance With The Leicester Galleries London, where acquired by L.D. Rothschild, Esq. Raymond Leppard Private Collection, U.S.A.

Literature London, The Leicester Galleries, Exhibition of Works by John Piper, November 1957, cat.no.5

Modern British and Irish Art | 103 127* AR Henry Moore O.M., C.H. (1898-1986) Provenance Sketchbook study With The Zwemmer Gallery, London, cat.no.470 signed and dated ‘Moore/37.’ (lower left) Private Collection, Canada wash, pencil, pen and ink 25 x 19.7 cm. (7 3/4 x 9 3/4 in.)

£10,000 - 15,000 €13,000 - 19,000 US$16,000 - 24,000

104 | Bonhams 128AR Henry Moore O.M., C.H. (1898-1986) Provenance Two Reclining Figures Sale; Sotheby’s, London, 26 April 1972, lot 191 signed and dated ‘Moore/54’ (lower right) With Roland, Browse & Delbanco, London pencil Private Collection, U.K. 29.1 x 24 cm. (11 1/2 x 9 1/2 in.) This work is registered with the Henry Moore Foundation as HMF Literature 2852 Ann Garrould (ed.), Henry Moore, Volume 4, Complete Drawings 1950-76, The Henry Moore Foundation in association with Lund £15,000 - 25,000 Humphries, Aldershot, 2003, p.68, cat.no.AG.54-56.18 (ill.b&w) €19,000 - 31,000 US$24,000 - 40,000 The present work is a page from a disbanded sketchbook dating from 1954-56.

Modern British and Irish Art | 105 129AR Dame Elisabeth Frink R.A. (1930-1993) Horse and rider signed and dated ‘Frink 70’ (lower left) pencil and wash 76.2 x 101.6 cm. (30 x 40 in.)

£7,000 - 10,000 €8,800 - 13,000 US$11,000 - 16,000

Provenance Probably with Beaux Arts, London Acquired by the family of the present owner in the 1970s Private Collection, U.K.

130AR Dame Elisabeth Frink R.A. (1930-1993) Dog signed and dated ‘Frink ‘81’ (lower left) pencil and watercolour 55.9 x 74.9 cm. (22 x 29 1/2 in.)

£8,000 - 12,000 €10,000 - 15,000 US$13,000 - 19,000

Provenance Acquired by the former owner circa 1981, from whom acquired by the present owner

106 | Bonhams 131AR Dame Elisabeth Frink R.A. (1930-1993) Figure in a landscape signed and dated ‘Frink 75’ (lower right) pencil and watercolour 75 x 54.6 cm. (29 1/2 x 21 1/2 in.)

£6,000 - 8,000 €7,500 - 10,000 US$9,600 - 13,000

Provenance Gifted by the Artist to the family of the present owner Thence by descent Private collection, U.K.

Modern British and Irish Art | 107 132AR Sheila Fell R.A. (1931-1979) King Street, Aspatria, Under Snow signed ‘FELL’ (lower right) oil on canvas 31.7 x 47.6 cm. (12 1/2 x 18 3/4 in.)

£4,000 - 6,000 €5,000 - 7,500 US$6,400 - 9,600

Provenance With Beaux Arts Gallery, London, 11 January 1962, where acquired by the present owner Private Collection, U.K.

108 | Bonhams 133AR Sheila Fell R.A. (1931-1979) Men in Field, Evening signed ‘FELL’ (lower right); further signed, partially inscribed and dated ‘1965. SHEILA/FELL...FIELD II’ (on the canvas overlap) oil on canvas 71.7 x 92.1 cm. (28 1/4 x 36 1/4 in.)

£8,000 - 12,000 €10,000 - 15,000 US$13,000 - 19,000

Provenance With Queen Square Gallery, Leeds With The Scottish Gallery, Edinburgh, 9 June 1983 Private Collection, U.K.

Modern British and Irish Art | 109 134AR Laurence Stephen Lowry R.A. (1887-1976) St. Gabriel’s, Erskine Street, Hulme signed and dated ‘L S Lowry 1958’ (lower left) pencil 25.4 x 35.7 cm. (10 x 14 in.)

£25,000 - 35,000 €31,000 - 44,000 US$40,000 - 56,000

Provenance With The Lefevre Gallery, London With The Tib Lane Gallery, Manchester, circa 1965, where purchased by the family of the present owner Private Collection, U.K.

Lowry was a regular visitor to Hulme, located just outside Manchester city centre, and spent most Tuesdays there as a rent collector for the Pall Mall Property Company. Although not considered a particularly religious man, Lowry took great pleasure in incorporating churches into his art as they were a prominent feature of the urban landscape he was so involved with. In the present work, the heavily shaded St Gabriel’s church dominates the composition, standing proud in the centre amongst the people it watches over. Despite having been focal points of the community for so long, attendance at churches was on the wane with fewer families visiting and St Gabriel’s closed its doors permanently in 1969.

110 | Bonhams Modern British and Irish Art | 111 135AR Laurence Stephen Lowry R.A. (1887-1976) Crowther Street signed with initials and dated ‘L S L 62’ (lower left) charcoal 18.8 x 15.1 cm. (7 3/8 x 5 7/8 in.)

£12,000 - 18,000 €15,000 - 23,000 US$19,000 - 29,000

Provenance Harold Riley, by whom gifted to the present owner in 1977 Private Collection, U.K.

Please note that this work is inscribed on the back board by Harold Riley; ‘This drawing was made by Mr L. S. Lowry whilst sitting in my car on the 22nd March 1962 ... Harold Riley 1977’.

We are grateful to Harold Riley for his assistance in cataloguing this lot.

112 | Bonhams 136AR Helen Bradley (1900-1979) Provenance Sobraon Acquired by the present owner in 1988 signed ‘HELEN BRADLEY’ and with fly insignia (lower right); further Private Collection, U.K. signed, inscribed and dated ‘Sobraon/Built as a passenger ship in 1866/for Blackwall. Length 317ft/Beam 40ft/Helen Layfield Bradley HMS Sobraon (later HMAS Tingira) was built by Alexander Hall & 1970’ (verso) and inscribed again ‘Whilst staying with Grandpa in/the Co. of Aberdeen. Between September 1866 and October 1890 she Isle-of-Man we loved to look/out for the schooners coming into/the sailed the migration route between England and Australia. In January Bay at Douglas from Russia./When George and I saw a ship/a long 1891 the vessel was sold to the New South Wales Government and way off we rushed in to/Grandpa who took both our hands/and along assigned to the State Welfare Department for use as a reformatory we went down to the/docks to watch it sail slowly/and beautifully to ship where delinquent boys were trained in the skills for a maritime its berth. We/watched the sailors fasten up the sails/The next day career. Grandpa took us down/again and we saw that the ship was/full of thick, heavy planks of wood, they/stayed for a week then away they sailed back/to their land and the year was 1909’ (on a label attached to the verso) oil on panel 31.7 x 35.8 cm. (12 1/2 x 14 1/8 in.)

£10,000 - 15,000 €13,000 - 19,000 US$16,000 - 24,000

Modern British and Irish Art | 113 137AR Helen Bradley (1900-1979) Provenance Adam and Eve - The Picnic Sale; Bonhams, London, 17 March 2003, lot 163, where acquired by signed ‘HELEN BRADLEY’ and with fly insignia (lower right); inscribed the present owner ‘”Of course “, said great Aunt Jane, when next we saw/her, “I was Private Collection, U.K. telling you about God making Earth with all/its flowers, he liked it so much he rebuilt his shed on it, so/that he could water everything, Literature but so much of everything/grew, that his beautiful place was getting Helen Bradley, ‘In the Beginning’ Said Great Aunt Jane, Jonathan overgrown, so/God thought he’d better do something about it, so he Cape, London, 1975, p.9 (col.ill) next/made animals, all sorts of animals, elephants, horses/and cows, and geese because they liked grass, and lots/of little pigs to turn the soil over. He liked dogs, big dogs/and little dogs, and big cats and little cats, but people/ he hadn’t thought about until he saw how lonely some/of the little animals were – they needed love, so he made/a rough looking girl called Eve and a fine lad called/Adam. When we took our picnic tea onto the sand hills/at Blackpool we met them. Aunt Francis said to/Mother, “Jane and I don’t like that wild looking pair”. “No”/ said Mother, “We shall have to find somewhere else”./Mr Taylor (the Bank Manager) was very kind. He took Miss/Carters basket and found us another nice place for our/picnic and the year was 1905.” (on a label verso) oil on canvasboard 40.6 x 45.7 cm. (16 x 18 in.)

£20,000 - 30,000 €25,000 - 38,000 US$32,000 - 48,000

114 | Bonhams 138AR Helen Bradley (1900-1979) Provenance Ruth & Naomi With W.H. Patterson, London, circa 1980, where acquired by the signed ‘HELEN BRADLEY’ and with fly insignia (lower right); titled present owner ‘Ruth & Naomi’ (on a label attached verso) and inscribed ‘After so Private Collection, Belgium much rain, the weather improved at/Easter, but a sad thing happened, Poor Mrs Clark/lost both her sons. They were killed in a mine/so Literature Grandma, feeling very sorry for her Grandma/said “let us all take Helen Bradley, ‘In the Beginning’ Said Great Aunt Jane, Jonathan bunches of Daffodils up to their/grave in Greenacres Cemetery”. It Cape, London, 1975, p.15 (col.ill) was a lovely day/as we walked up the hillside and there we met/poor Mrs Clark and Ruth, her youngest son’s wife./”How are you, dear Mrs Clark”, said Grandma,/”I shall not be lonely now”, said Mrs Clark “look/who’s come to live with me, our dear Ruth”, “why/that is nice” said Grandma, “its just like the lovely/story of Naomi and Ruth, isn’t it” “Ruth who came/to her mother-in-law Naomi and said”, “wither thou/goest, I go also”, Mrs Clark and Ruth came to/live in Lees and were very happy. Ruth married/again and had three little boys, so Mrs Clark’s life/was full and happy and the year was 1906’ (on a second label attached verso) oil on canvasboard 45.7 x 61.1 cm. (18 x 24 in.)

£30,000 - 50,000 €38,000 - 63,000 US$48,000 - 80,000

Modern British and Irish Art | 115 139AR Helen Bradley (1900-1979) Provenance On Saturday Evenings Mother Sang With Mercury Gallery, London, 4 January 1967, where acquired by the signed with fly insignia (lower right); further signed, inscribed and present owner dated ‘On Saturday Evenings Mother Sang-/”Her Father he has Private Collection, U.K. locked the door/Her Mother Keeps the Key/but neither locks nor bolts/Shall part my own true love from me-/George and I, Aunt Mary and the dogs are/waiting for Father to say “Ho, ho, Jane/you are wrong”. “Was I Frederick”, Mother said/with a twinkle in her eye, knowing/Father couldn’t play that bit on his violin,/Then Grandmother awoke and said-/”Come, let us all sing Excelsior-/and the year was 1906-/Helen Layfield Bradley (1966)’ (on a label attached to the backboard) oil on canvasboard 50.8 x 60.9 cm. (20 x 24 in.)

£25,000 - 35,000 €31,000 - 44,000 US$40,000 - 56,000

116 | Bonhams 140AR Sir Kyffin Williams R.A. (1918-2006) Provenance Light Above Crib Goch Acquired by the present owner from the 1993 exhibition signed with initials ‘KW’ (lower right) Private Collection, U.K. oil on canvas 50.8 x 60.9 cm. (20 x 24 in.) Exhibited London, Thackeray Gallery, Kyffin Williams, An Exhibition of Recent Paintings and Watercolours, 19 May-4 June 1993, cat.no.10 £8,000 - 12,000 €10,000 - 15,000 US$13,000 - 19,000

Modern British and Irish Art | 117 141AR Sir Matthew Smith (1879-1959) Provenance Var, South of France With The Redfern Gallery, London oil on canvas The Collection of Wyndham T. Vint 38.2 x 45.7 cm. (15 x 18 in.) Sale; Christie’s, South Kensington, 14 July 2011, lot 38, where acquired by the present owner £7,000 - 10,000 €8,800 - 13,000 Exhibited US$11,000 - 16,000 London, The British Institute of Adult Education, June 1939 London, Whitechapel Art Gallery, April-May 1939, cat.no.112 Leeds, Temple Newsam, 1950

118 | Bonhams 142 Roderic O’Conor (1860-1940) Provenance Seascape with sunset Sale; Christie’s, London, 12 May 2005, lot 14, where acquired by the oil on canvas present owner 64.7 x 54.6 cm. (25 1/2 x 21 1/2 in.) Painted circa 1898 Of this work Benington has noted ‘a boldly abbreviated handling of paint, with calligraphic strokes of thicker pigment applied on top £10,000 - 15,000 of thin colour washes … To arrive at such effects O’Conor had to €13,000 - 19,000 increase the intensity of the colour found in nature, and in so doing he US$16,000 - 24,000 emerged as a sort of proto Fauve’ (Jonathan Benington, 2005)

We are grateful to Jonathan Benington for his assistance in cataloguing this lot.

Modern British and Irish Art | 119 143AR Duncan Grant (1885-1978) Flowers in a vase against a green background signed and dated ‘d grant. 35.’ (lower right) oil on canvas 62.7 x 50.8 cm. (24 5/8 x 20 in.)

£5,000 - 7,000 €6,300 - 8,800 US$8,000 - 11,000

Provenance Acquired by the grandfather of the present owner Thence by descent Private Collection, U.K.

The summer flowers are depicted in a vase not known amongst the artist’s London or Charleston studio artefacts suggesting that the present work was probably painted whilst Grant was living in Rome between May and September of 1935. The studio he rented there had a green painted wall as depicted in other works from the period.

We are grateful to Richard Shone for his assistance in cataloguing this lot.

144AR Duncan Grant (1885-1978) Boats on the Thames in West London signed and dated ‘d. Grant. 44’ (lower left) oil on canvas 50.8 x 60.9 cm. (20 x 24 in.)

£5,000 - 7,000 €6,300 - 8,800 US$8,000 - 11,000

Provenance Acquired by Philip Whitten (A.R.C.A., F.R.C.A.) from the 1951 exhibition Thence by family descent Private Collection, U.K.

Exhibited Probably Eastbourne, Towner Art Gallery, 1951

The present lot is accompanied by a copy of an open letter from the Artist, dated 24 May 1957, in praise of the artist and teacher Philip Whitten.

120 | Bonhams 145AR Mary Newcomb (1922-2008) The Golden Leaf signed and dated ‘Mary Newcomb/October 53’ (lower right) and titled ‘The Golden Leaf’ (on a label attached verso) oil on board 81.3 x 53.3 cm. (32 x 21 in.)

£8,000 - 12,000 €10,000 - 15,000 US$13,000 - 19,000

Provenance Gifted by the Artist to the present owner Private Collection, U.K.

Modern British and Irish Art | 121 146AR David Bomberg (1890-1957) Bomberg left for Palestine with his wife Alice in April of 1923 on an Irrigation, Zionist Development, Palestine extended painting trip following the turmoil of WWI. oil on canvasboard 31.9 x 40.2 cm. (12 1/2 x 15 7/8 in.) The work produced stemmed from an immediate enchantment with Painted in 1923 (according to a label verso) the exotic landscape and dazzling light. The formal compositions of his early abstractions were carried over into structural simplification, £25,000 - 35,000 but not the dominant figural subject matter of previous works, which €31,000 - 44,000 was almost entirely lost with most positive results. He painted strictly US$40,000 - 56,000 outside, in confidently applied, structured strokes, reminiscent of the earlier abstractions and pre-empting the later views of Ronda and Cyprus. Provenance With Marlborough Fine Art, London Immediately after his return in Autumn of 1927 a selection from this Sale; Christie’s, London, 11 June 1982, lot 60 (as Farm Irrigation, body of work was shown at the Leicester Galleries. This was met by Zionist Development) rapturous applause by way of glowing reviews in The Observer, Daily Private Collection, U.K. Telegraph, Sunday Times and The Times. However, for Bomberg these years were tinged slightly with personal sadness; it was over this period that his marriage to Alice broke down, but as is so often the case personal turmoil led to artistic gain as Cork concludes; ‘Palestine gave Bomberg an enduring love of landscape painting in the open air, and it also gave him a life-long partiality for the heat and brilliance of Mediterranean countries. More important still, throughout the rest of his life he rarely forsook the habit developed in Jerusalem of scrutinizing his subjects first hand ... He had learned how to look during his years of intense lonely observation ... and this ardour discipline stood him in good stead ... infusing the objective study with his own passionately subjective response’ (Richard Cork, David Bomberg, Yale University Press, New Haven, 1987, p.174).

122 | Bonhams 147AR John Duncan Fergusson (1874-1961) Fergusson embarked on a series of larger-scale landscapes during Becheron his ‘Highland Tour’ in 1922, and this was followed by similar French signed and dated ‘J.D. FERGUSSON SEPT./1931’ (verso) works. The artist started exhibiting these in New York in 1924, and oil on canvas moved back to Paris in 1929. The year he painted this picture, 54.5 x 66 cm. (21 1/2 x 26 in.) Fergusson contributed to Les Peintres Ecossais exhibition at Galerie Georges Petit, the Colourists’ second group show in Paris, and the £30,000 - 50,000 French Government bought his Déesses de la Rivière. €38,000 - 63,000 US$48,000 - 80,000

Provenance Acquired by the present owners from the 1964 exhibition

Exhibited Bradford, Corporation Art Gallery, Cartwright Memorial Hall, cat. no.708 London, The Leicester Galleries, Exhibition of Works by J.D. Fergusson, May-June 1964, cat.no.75

Modern British and Irish Art | 123 148AR Ivon Hitchens (1893-1979) Algerian Courtyard signed ‘Hitchens’ (lower right); further signed, inscribed and dated ‘Algerian Courtyard/1960/by IVON HITCHENS/Greenleaves Petworth. Sussex’ (on a label attached to the stretcher) oil on canvas 55.9 x 83.8 cm. (22 x 33 in.)

£40,000 - 60,000 €50,000 - 75,000 US$64,000 - 96,000

Provenance With The Waddington Galleries, London, 12 October 1961, where acquired by the family of the present owner Private Collection, U.K.

124 | Bonhams Modern British and Irish Art | 125 149AR Ivon Hitchens (1893-1979) Grey Sky over Grey Willows signed ‘Hitchens’ (lower right); further signed, inscribed and dated ‘”Grey Sky over Grey Willows”/about 1960/by IVON HITCHENS/ Greenleaves Petworth Sussex’ (on a label attached to the stretcher) oil on canvas 51.7 x 105.5 cm. (20 3/8 x 41 1/2 in.) Painted circa 1960

£30,000 - 50,000 €38,000 - 63,000 US$48,000 - 80,000

Provenance With The Waddington Galleries, London, where acquired by the family of the present owner Private Collection, U.K.

126 | Bonhams Modern British and Irish Art | 127 150AR Ivon Hitchens (1893-1979) Floral still life oil on canvas 76.2 x 50.8 cm. (30 x 20 in.)

£18,000 - 25,000 €23,000 - 31,000 US$29,000 - 40,000

Provenance Gifted by the artist’s wife to the present owner in the 1980s

Please note that this work has been authenticated by John Hitchens, the artist’s son, and bears studio stamp (verso)

128 | Bonhams 151* AR Ivon Hitchens (1893-1979) Distant Coaster signed ‘Hitchens’ (lower right); further signed, inscribed and dated ‘”Distant Coaster” 1966/IVON HITCHENS. Greenleaves Petworth/ Sussex’ (on a label attached to the stretcher) oil on canvas 40.7 x 74.9 cm. (16 x 29 1/2 in.)

£20,000 - 30,000 €25,000 - 38,000 US$32,000 - 48,000

Provenance With The Waddington Galleries, London, where acquired by Mr. & Mrs. Langden Down Private Collection, Canada

Modern British and Irish Art | 129 152AR Edward Burra (1905-1976) The 1950s were a period of change for Edward Burra as the family Vase of Leaves moved from Springfield Lodge, a large early Victorian house on watercolour the outskirts of Rye, to Chapel House which commanded stunning 105.4 x 73.6 cm. (41 1/2 x 29 in.) views over the levels of Romney Marsh. Many of the artist’s earliest Executed 1957-9 landscapes and outdoor studies had been produced at the former residence and a change of location provided new opportunities £40,000 - 60,000 despite the death of his father in 1957. By 1955 Burra had struck out €50,000 - 75,000 in an entirely new direction and was producing a highly original yet US$64,000 - 96,000 unexpected group of still lifes.

Dating to between 1957-9, Vase of Leaves is semi-abstract in style Provenance as it displays a botanically identifiable plant (a laurel) whose properties With The Lefevre Gallery, London have to a certain extent been simplified. The work, as with other

examples from the period, is characterised by an intensity of colour Exhibited which gives a liveliness to the composition. It has been noted that London, The Lefevre Gallery, Watercolours by Edward Burra, 7-30 these still lifes sometimes appear like flowers from a dream or seen May 1959, cat.no.2 (ill.b&w) under the influence of drugs, taking on an almost lifelike quality in some instances. In the present work the foliage spills out and Literature dominates the foreground almost as if it is growing and moving Andrew Causey, Edward Burra, Complete Catalogue, Phaidon, towards us the viewer. Oxford, 1985, cat.no.262 (ill.b&w)

130 | Bonhams

153AR William Gear (1915-1997) Yellow Fossil, no.1 signed and dated ‘Gear ‘57’ (lower right); further signed, titled and dated again ‘Gear/”YELLOW FOSSIL” no.1./May ‘57’ (verso) oil on canvas 50.7 x 60.9 cm. (20 x 24 in.)

£4,000 - 6,000 €5,000 - 7,500 US$6,400 - 9,600

Provenance With Howard Wise Gallery of Present Day Painting, Cleveland, Ohio The Artist’s Estate With Fosse Gallery, Stow-on-the-Wold, 2002, where acquired by the present owner Private Collection, U.K.

132 | Bonhams 154AR W Ceri Richards (1903-1971) Cathédrale Engloutie signed and dated ‘Ceri/Richards 60’ (lower right) oil on canvas 152.3 x 76.2 cm. (60 x 30 in.)

£10,000 - 15,000 €13,000 - 19,000 US$16,000 - 24,000

Provenance Sale; Bonhams, London, 24 June 2003, lot 104 Private Collection, U.K.

The present work sits within a wider series of lyrical oils variously titled after Claude Debussy’s piano prelude La Cathédrale Engloutie (The Sunken Cathedral), including the Tate Gallery’s 1961 example La Cathedrale Engloutie (Arabesque 3).

Modern British and Irish Art | 133 Property from the Collection of Mr & Mrs Michael Salz F.R.C.S.

Born in Breslau, Germany, Michael Salz was the only child of an eminent lawyer and was educated at St John’s College, Cambridge. Following university, he went to Middlesex Hospital for his clinical studies, qualifying with the conjoint diploma in 1940. Michael worked with Norman Capener in Exeter where he met his wife Veronica ‘Bunty’ Hall, whom he married in 1948. The family eventually moved to Plymouth where he enjoyed a successful career as an orthopaedic surgeon until his retirement in 1981. Michael served as president of the Plymouth Medical Society in 1977 and a founder member of the Rheumatoid Arthritis Surgical Society.

Michael and Bunty began collecting Post War St Ives art from Ruth Jones and her husband at the Sheviock Gallery in the 1960s and then later, during the 1970s, from the Barbican Gallery, Plymouth. During his time working alongside Norman Capener at the Princess Elizabeth Hospital in Exeter, Michael came into contact with Barbara Hepworth who would later sit in on one of his operations and draw his hands. Hepworth had formed a particularly close relationship with Capener who had arranged treatment for her daughter Sarah and whose assistants referred to her 1949 sculpture, The Cosdon Head, as an ‘elegy to Capener’. The present lot and lots 157, 158 and 160 form part of the collection of Mr. and Mrs. Salz.

155AR Paul Feiler (1918-2013) Portheras Ochre signed and dated ‘FEILER 62’ (lower left); further signed, titled and dated again ‘PAUL FEILER/PORTHERAS OCHRE/1960-62’ (verso) oil on canvas 59.7 x 50.2 cm. (23 1/2 x 19 3/4 in.)

£40,000 - 60,000 €50,000 - 75,000 US$64,000 - 96,000

Provenance Probably a commission from the Artist by the family of the present Portheras Ochre is unmistakably influenced by the beautiful Cornish owner landscape, not least because the title refers directly to Portheras Thence by descent Cove in St Just. The hidden sandy stretch of coast, located between Private Collection, U.K. Pendeen and Morvah, is at the end of a shallow valley with sheer cliffs at the northern end. Although naturally influenced by his immediate Paul Feiler first became entranced by the rugged Cornish landscape surroundings, Feiler himself pointed out his childhood experiences whilst a teacher at the West England College of Art, Bristol. His climbing and skiing in the Bavarian Alps in the early 1930s as an love affair with the area was cemented in 1953 when he bought inspiration for the whiteness and openness of his Cornish paintings. and permanently settled in a Chapel at Kerris, near Penzance. He The coolness of the present lot is broken up by earthy rich ochre quickly became associated with the fellow modernist artists working tones that reflect the artist’s response to the forms and textural marks in Cornwall, including the locally born Peter Lanyon, who became a of the landscape. close and influential friend. This lot forms part of a series, one of which can be seen in the Tate There are distinct comparisons to be drawn between Feiler’s work Gallery collection, London: Portheras Grey, (1959-61). Both works and that of the ‘second generation’ St Ives painters, who all shared a use extremely thick layers of paint applied with wide brushes and gestural and painterly style (notably Bryan Wynter, Patrick Heron, Peter palette knives to create an intense impasto texture and surface depth, Lanyon and William Scott). Feiler’s background though, distinguishes which recalls the layered cliff-faces where the land meets the wild his from his contemporaries; born in Frankfurt to a cosmopolitan Atlantic Ocean at this point in the Cornish coast. These two examples family, he was sent to England in 1933 following the Nazi takeover and show subtle variations in tone and colour, reflected in the titles, but soon became completely anglicised during his British public school it is the deployment of the canvas which stands these works apart. education and later training at the Slade. During the war he was Whereas the example in the Tate collection is painted in the traditional interned on the Isle of Man and then in Canada, before taking up an landscape format, the present lot uses a more deliberately lyrical art-teaching position at Radley. portrait format, which reflects Feiler’s highly personal and perceptual experience of the land.

134 | Bonhams Modern British and Irish Art | 135 Various Properties

156AR Paul Feiler (1918-2013) Until the mid 1960s Feiler’s primary concern was the faithful Italian Town, Spring representation of his selected landscape. His romantic engagement signed and dated ‘FEILER 55’ (lower left); further signed, titled and with his environment echos that of his countryman Caspar David dated again ‘PAUL FEILER/ITALIAN TOWN, SPRING/20.2.55’ (verso) Friedrich. However he would often select unconventional views and signed again ‘PAUL FEILER’ (on the frame) such as that dictated by a window frame or partly obscured by oil on board objects. He favoured elevated or unfamiliar aerial perspectives, 45.6 x 66 cm. (17 7/8 x 26 in.) resulting in compositions which although recognisable are somewhat disconcerting in their reading. Although Feiler’s eye was often focused £10,000 - 15,000 on the craggy Atlantic coast of Cornwall he relished the opportunity to €13,000 - 19,000 look further afield. US$16,000 - 24,000 As 1954 drew to a close, Feiler travelled to the Italian lakes painting in Gandria and Isola Bella then onto the cities of Florence and Venice. Provenance Here he produced a number of works, a selection of which he would Acquired by Mr. Keith Steadman in the late 1950s show at his 1956 exhibition at the Redfern Gallery. As is apparent in Thence by family descent to the present owner Italian Town, Spring, Feiler reacted to the Alpine and northern Italian Private Collection, U.K. light by employing warm and soft hues that are not so prevalent in his Atlantic works.

136 | Bonhams Property from the Collection of Mr & Mrs Michael Salz F.R.C.S.

157AR Peter Lanyon (1918-1964) Woodhouse signed and dated ‘Lanyon 63’ (lower right); further signed, titled and dated again ‘WOODHOUSE/Lanyon 63’ (verso) gouache and ink 58.7 x 78.8 cm. (23 x 31 in.)

£15,000 - 20,000 €19,000 - 25,000 US$24,000 - 32,000

Provenance With Catherine Viviano Gallery, New York Acquired during the 1960s by the family of the present owner Private Collection, U.K.

Modern British and Irish Art | 137 158AR Roger Hilton (1911-1975) Untitled signed with initials and dated ‘R.H/73’ (lower centre) oil on paper 39.4 x 55.3 cm. (15 1/2 x 21 3/4 in.)

£4,000 - 6,000 €5,000 - 7,500 US$6,400 - 9,600

Provenance With Barbican Gallery, Plymouth, where acquired by the family of the present owner Private Collection, U.K.

138 | Bonhams Various Properties

159AR Patrick Heron (1920-1999) January 15:83:1 gouache 52.2 x 41.9 cm. (20 1/2 x 16 1/2 in.) Painted in 1983

£10,000 - 15,000 €13,000 - 19,000 US$16,000 - 24,000

Provenance With Waddington Galleries, London Sale; Christie’s, London, 21 November 2003, lot 185 With Anthony Hepworth, Bath, where acquired by the present owner Private Collection, U.K.

Modern British and Irish Art | 139 Property from the Collection of Mr & Mrs Michael Salz F.R.C.S.

160AR William Scott R.A. (1913-1989) Brown & White, Brown Linear no.1 signed and dated ‘W. SCOTT 68’ (lower right) charcoal, gouache and wash 55.7 x 76.2 cm. (22 x 30 in.)

£7,000 - 10,000 €8,800 - 13,000 US$11,000 - 16,000

Provenance With Sheviock Gallery, Cornwall, where acquired by the family of the present owner Private Collection, U.K.

140 | Bonhams Various Properties

161* AR William Scott R.A. (1913-1989) Still Life with Bottles gouache 52.5 x 74.8 cm. (20 3/4 x 29 1/2 in.) Executed in 1957

£18,000 - 25,000 €23,000 - 31,000 US$29,000 - 40,000

Provenance Acquired from the Artist by the present owner

Exhibited New York, Denise Bibro Fine Art, Inc., William Scott Works on Paper, 28 April-11 June 2005 New York, McCaffrey Fine Art, William Scott, 27 February–17 April 2010 Los Angeles, Deneberg Fine Arts, William Scott Works on Paper, 19 May-13 July 2013

Modern British and Irish Art | 141

162AR William Scott R.A. (1913-1989) Poem for a Jug, no. 8 signed and dated ‘W.SCOTT/79-80’ (verso) oil on canvas 25.4 x 29.9 cm. (10 x 11 3/4 in.)

£20,000 - 30,000 €25,000 - 38,000 US$32,000 - 48,000

Provenance Acquired by the present owner from the 1980 exhibition Private Collection, U.K.

Exhibited London, Gimpel Fils, William Scott: Poem for a Jug, 20 May-21 June 1980, cat.no.8

Literature Sarah Whitfield (ed.), William Scott, Catalogue Raisonné of Oil Paintings, Volume 4, Thames & Hudson, London, 2013, p.278, cat. no.896, (col.ill., listed as whereabouts unknown)

142 | Bonhams 163AR William Scott R.A. (1913-1989) Untitled oil on canvas 31 x 35.9 cm. (12 1/4 x 14 1/4 in.) Probably painted in 1967 or 1968

£20,000 - 25,000 €25,000 - 31,000 US$32,000 - 40,000

Provenance Acquired from the Artist by the present owner

Literature Sarah Whitfield (ed.), William Scott, Catalogue Raisonné of Oil Paintings, Volume 3, Thames & Hudson, London, 2013, p.286, cat. no.649 (col.ill)

Modern British and Irish Art | 143 164AR Ben Nicholson (1894-1982) March 79 (Aegean) signed, titled and dated ‘(AEGEAN) March 79/NICHOLSON’ (on the backboard) mixed media on paper, on the artist’s prepared board 47 x 49.8 cm. (18 1/2 x 19 5/8 in.) (the whole)

£20,000 - 30,000 €25,000 - 38,000 US$32,000 - 48,000

Provenance With The Waddington Galleries, London, November 1980, where acquired by the present owner Private Collection, U.K.

The present work’s fluid and confident lines suggesting kitchen items; a jug, or creamer, a mug or a teapot with a rolling landscape or shoreline beyond, place March 79 (Aegean) within a wider body of late still-lifes that occupied Nicholson’s practice from the 1970s right up until his death in 1982. This concern with still-life and landscape recalls much of his work from the 1950s and earlier, yet the abstractions of his 1960s reliefs remain tangible within the deft layering of wash and line. Although most likely executed in his Hampstead studio, the work’s title (which it shares with an earlier series of etchings from 1967) suggests a dialogue with the Mediterranean landscape and the ancient history associated with the Aegean Sea.

144 | Bonhams Modern British and Irish Art | 145 165* AR Reg Butler (1913-1981) Exhibited Study for Figure Bending London, Hanover Gallery, Reg Butler: Sculpture, June-July 1960, cat. signed with monogram and numbered ‘4/8’ (on top of the bronze no.20 (another cast) base) New York, Pierre Matisse Gallery, Reg Butler: Recent Sculpture: 1959- bronze with a brown patina on a revolvable wooden base 1962, 30 October-17 November 1962, cat.no.35 (another cast) 37.1 cm. (14 1/2 in.) high (excluding the wooden base) Conceived in 1959 Literature Margaret Garlake, The Sculpture of Reg Butler, The Henry Moore £8,000 - 12,000 Foundation in association with Lund Humphries, Much Hadham & €10,000 - 15,000 Aldershot, 2006, p.152, cat.no.186 (ill.b&w, another cast) US$13,000 - 19,000

Provenance With Blair Laing Gallery, Toronto With Dunkelman Gallery, Toronto

146 | Bonhams 166AR Frederick Edward McWilliam (1909-1992) Provenance YNEOS Acquired directly from the Artist by the family of the present owner signed with initials and numbered ‘MCW 1/5’ (on the top of the base) Private Collection, Northern Ireland bronze with a brown patina 45.7 cm. (18 in.) high Literature Conceived in 1975 Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, £10,000 - 15,000 Farnham, 2012, p.161, cat.no.420 (ill.b&w) €13,000 - 19,000 US$16,000 - 24,000 The plaster maquette for this work is in the collection of the F.E. McWilliam Gallery and Studio, Banbridge, Northern Ireland.

Modern British and Irish Art | 147 167AR Louis Le Brocquy H.R.H.A. (1916-2012) Provenance Studies Towards an Image of W.B. Yeats With The Dawson Gallery, Dublin signed with initials and dated ‘le B 75’ (lower left) Melanie Stewart watercolour The family of the Artist 21.8 x 17.7 cm. (8 5/7 x 7 in.) Private Collection, U.K.

£8,000 - 12,000 Exhibited €10,000 - 15,000 Paris, Musee d’Art de la Ville, Louis Le Brocquy, A La Recherche De US$13,000 - 19,000 Yeats, 15 October-28 November 1976, cat.no.71 Albany, New York, New York State Museum, 1976 Edinburgh, Richard Demarco Gallery, Festival Exhibition, 1977, cat. no.46 Sligo, Sligo Art Gallery, Yeats Memorial Building, 12 August 1980

148 | Bonhams 168AR Louis Le Brocquy H.R.H.A. (1916-2012) Peach signed twice, titled and dated twice ‘Le Brocquy 68/PEACH/L Le Brocquy 1968’ (verso) oil on board 14.9 x 17.4 cm. (5 7/8 x 6 7/8 in.)

£8,000 - 12,000 €10,000 - 15,000 US$13,000 - 19,000

Provenance The family of the Artist Private Collection, U.K.

Modern British and Irish Art | 149 169AR Euan Uglow (1932-2000) In the present work Uglow employs a loose and energetic Baroque Head brushstroke and although rigorously conceived (the depiction of the inscribed ‘19 3/4 x 21 3/4’ (upper right) head measures precisely 14 inches, rendering it an exact life size oil on panel transcription of a cast taken from a bust painted by Claude Rogers 55.8 x 50.7 cm. (22 x 20 in.) in the 1940s) there is a sense of freedom and movement in the Painted in 1968 execution. Uglow notes that this and a second cast painting were ‘Completely one-offs. I wanted to paint them as freely and rhythmically £12,000 - 18,000 as I could, just for a change. I never sold one. I had a Camberwell €15,000 - 23,000 student to make casts from the school. I had her on a wooden stand US$19,000 - 29,000 but she never looked good on the stand, much better flying in the air.’ (Euan Uglow in Catherine Lampert, Euan Uglow, The Complete Provenance Paintings, Yale University Press, New Haven and London, 2007, The Artist’s Estate p.102). Exhibited London, Browse & Darby, Euan Uglow: Ideas, 1952-1991, 12 July-5 August 1991, cat.no.13 (ill.b&w) Literature Catherine Lampert, Euan Uglow, The Complete Paintings, Yale University Press, New Haven and London, 2007, p.102, cat.no.233 (col.ill)

150 | Bonhams 170AR Euan Uglow (1932-2000) This crisp, crepuscular vista was painted side-by-side with Claude Snow at Somerton Rogers in the fields surrounding Rogers’ Somerset home and is one signed twice, titled and dated ‘Euan Uglow/Snow at Sommerton of the largest of Uglow’s Somerton pictures. 1976/E UGLOW’ [sic] (on a label attached to the stretcher) oil on canvas 50.8 x 60.9 cm. (20 x 24 in.) Painted on Boxing Day 1975-1976 £15,000 - 20,000 €19,000 - 25,000 US$24,000 - 32,000 Provenance Anthony Rowe The Artist’s Estate Exhibited London, Art Space Gallery, Order and Event - Landscape Now: Berg, Camp, Craxton, Eyton, Kiff, Perry, Rowlett, Uglow, Weschke, Yhap, 1-30 September 2000 Literature Catherine Lampert, Euan Uglow, The Complete Paintings, Yale University Press, New Haven and London, 2007, p.130, cat.no.280 (col.ill)

Modern British and Irish Art | 151 171AR Euan Uglow (1932-2000) Girl in a Green Dress (The Beret) oil on canvas 76.3 x 50.8 cm. (30 x 20 in.) Painted 1950-51 Please note that there is a painting by another hand verso

£25,000 - 35,000 €31,000 - 44,000 US$40,000 - 56,000

Provenance The Artist’s Estate

Literature Catherine Lampert, Euan Uglow, The Complete Paintings, Yale University Press, New Haven and London, 2007, p.12, cat.no.32 (col. ill)

Rigorously and attentively worked Girl in a Green Dress (The Beret) is an early demonstration of the exacting nature of Uglow’s eye which would underpin much of his output for the next 50 years. Executed whilst Uglow was a student at the Slade School of Art, it retains elements from the teachings of his Camberwell instructors William Coldstream and Claude Rogers. The work was painted in the Slades’ life drawing rooms and is recorded as the first portrait Uglow made after arriving there in October 1951. Uglow excelled at and relished these classes (when not being disrupted by fellow student Lucian Freud who, to Uglow’s annoyance, had a habit of causing the models to blush altering the tone of their cheeks). As was tradition, easel positions were determined by drawing straws. Uglow and fellow student Myles Murphy devised a method of cheating to ensure they always picked a prime location. Following a break, the group would rely on Uglow to verify the position of the model. The measured and controlled environment of the room, inherent in works such as the present lot and Standing Nude 1951-52, remain apparent in much of Uglows work right up to his final painting ‘S’ Picture, 2000.

152 | Bonhams Modern British and Irish Art | 153 172AR Euan Uglow (1932-2000) Still life with Model Marks signed and inscribed ‘EUAN UGLOW/BLUE STILL/LIFE/1’ (on a label verso) oil on canvas laid on panel (oval) 41.2 x 115.5 cm. (16 1/4 x 45 1/2 in.) Painted 1971-2

£25,000 - 35,000 €31,000 - 44,000 US$40,000 - 56,000

Provenance Jill Phillips The Artist’s Estate

Exhibited London, Whitechapel Art Gallery, Euan Uglow, organised by the Still Life with Model Marks relates closely to Summer Picture, also Arts Council of Great Britain, 18 April-19 May 1974, cat.no.66; this 1971-1972. The two oils were painted in tandem, Summer Picture exhibition travelled to Truro, Royal Institution of Cornwall, 7-28 June, featuring a model, Susanne Braun, sat atop a wide pedestal, knee’s Middlesbrough, Teesside Art Gallery, 20 July-24 August, Manchester, raised, head bowed and back arched whereas Still Life with Model Peterloo Gallery, 3-28 October and Brighton, Gardner Centre for the Marks depicts the pedestal alone with residual trace of the sitter. Of Arts, University of Sussex, 5-27 October (where titled Oval Still Life this work the Artist comments; ‘I used to stare at this table for hours with Model Marks) after the model had gone, looking at the marks of her feet and her Liverpool, Walker Art Gallery, Body and Soul, 23 October 1975-4 bum, and then the marks that were around her torso and at the top. January 1976, cat.no.12 (where titled Oval Still Life) It just used to look so beautiful. That seems to me one of the reasons New Haven, Connecticut, Yale Centre for British Art, Eight Figurative for wanting to paint something.’ (Euan Uglow in Catherine Lampert, Painters: Michael Andrews, Frank Auerbach, Francis Bacon, William Euan Uglow, The Complete Paintings, Yale University Press, New Coldstream, Lucian Freud, Patrick George, Leon Kossoff, Euan Uglow, Haven and London, 2007, p.112). 14 October 1981-January 1982, cat.no.64; this exhibition travelled to California, Santa Barbara Museum of Art, 29 January-28 March 1982 Aside from the visible body marks Uglow has further emphasized the London, Browse & Darby, Euan Uglow: Ideas, 1952-1991, 12 July-5 implied presence, yet actual absence, of the sitter by purposefully August 1991, cat.no.81 (ill.b&w, where titled Oval Still Life) curving the platform under the imagined burden of a model. Braun Cambridge, Kettle’s Yard, A Measure of Reality: Dan Graham, Mona recalls that Uglow weighed her and placed weights at points across Hatoum, Lizzie Hughes, Richard Long, Robert Morris, Euan Uglow, the pedestal in her absence. The oval composition employed draws Gary Woodley, 9 March-28 April 2002 (col.ill, on the cover) the eye to the curve of the board and thus reinforces the notion of an absent sitter. Literature Andrew Lambirth, ‘A State of Emergency’, Modern Painters, summer Uglow was most particular in selecting the colours used in the present 1993, p.32 (col.ill) work. The blue specifically was first arrived at in this period (theesult r Euan Uglow, London, Browse & Darby, 1998 (col.ill) of lengthy experiments with various pigments, it is a combination of Catherine Lampert, Euan Uglow, The Complete Paintings, Yale linseed oil, white pigment and Reckitt’s Blue laundry detergent) and University Press, New Haven and London, 2007, p.112, cat.no.254 from this point forward would be utilised in many of his most ambitious (col.ill) pictures. Without the sitter, the present still life becomes an analogy for a world beyond the studio for Uglow -’The yellow is sand, the blue is sky or sea’ (Op.Cit).

154 | Bonhams Modern British and Irish Art | 155 173* AR W Alan Davie C.B.E. (born 1920) Bashful Woman with A Fan signed and dated ‘Alan Davie/DEC 66’ (verso); titled and dated again ‘(BASHFUL WOMAN WITH A FAN) NOV 66 DEC 66 JULY 66’ [SIC] (on the stretcher) oil on canvas 121.8 x 152.8 cm. (48 x 60 in.)

£20,000 - 30,000 €25,000 - 38,000 US$32,000 - 48,000

Provenance With Gimpel Fils Gallery, London, December 1968, where acquired by During the 1960s there was a shift in Davie’s work, with a greater Ray Stark, Esq. emphasis on the systematic and conceptual. He sought to create Sale; Sotheby’s, New York, 9 May 1990, lot 165 ($45,000) a more intuitive and impulsive language which encompassed his Acquired by the present owner circa 1994 other passions: writing, music, gliding and sailing. Bashful Woman with a Fan is a key example of this, it is painted with a spontaneity By 1966, Davie was at the forefront of the avant-garde scene. It was reminiscent of the jazz music that famously engrossed Davie; the the year he delivered an acclaimed lecture to a congress in Norway extemporaneous flicks of paint associated with action-painting (Davie and the year his work was featured in the seminal Swinging Sixties met Pollock in New York) embody the music and burst with energy. film, Blow Up. The film, directed by Michelangelo Antonioni, used Davie’s paintings as a visual reminder of the futility of searching for Bashful Woman with a Fan displays key recurring motifs from Davie’s rational truth in images, a subject which increasingly concerned Davie. work: the fan-like mask, the primitive imagery and the phallic shapes. Bashful Woman with a Fan is visually akin to the works featured Robert Melville commented on the particular kind of explicit illusionism in the film, colours explode with the confidence and instinct of an that Davie repeatedly adopted “these important and unusual events artist at ease with their material. As Davie stated in his 1966 lecture: have the nature of remote commentaries on the more orgiastic “manipulation and feeling of the material is very important, because aspects of human behaviour, for the pictorial treatment of the signs only when the possibilities and restrictions imposed by the media gives them the potency of compulsive substitutions.” (Robert Melville, are completely accepted without strain can there be a unity of artist Contemporary British Painters: Alan Davie, Gimpel Fils, London, 1961, with materials.” (Alan Davie, from a lecture at the Nordisk Brukskunst p.6). Kongress, Lillehammer, Norway, 1966). However, just as Antonioni heeded in Blow Up, Davie warned against the attribution of fixed meaning to his symbols: “Certain images reappear in my work – they become obsessive symbols but are never used consciously for any purpose or conveyance of special meaning. Mainly, I feel, many of them are primordial symbols which have many and varying meanings at different times but unknown to mankind.” (Op.Cit).

156 | Bonhams Modern British and Irish Art | 157 174AR Alan Davie C.B.E. (born 1920) Snake Dream signed, inscribed and dated twice ‘Alan Davie 63/SNAKE DREAM/ FEB 1963/OPUS 0.514A’ (verso) oil on canvas 101.6 x 123.2 cm. (40 x 48 1/2 in.)

£25,000 - 35,000 €31,000 - 44,000 US$40,000 - 56,000

Provenance Private Collection With Anthony Hepworth Fine Art, Bath, where acquired by the present owner Private Collection, U.K.

Alan Davie’s expressive work often stems from an intrinsic the esoteric heart of the mystery of form and content, signifier and experience with music, spirituality and the world of dreams. A signified. It is at this point that, to paraphrase Kandinsky, mystery talented improvisational jazz musician, Davie sought to express should be spoken of in terms of mystery’ (Douglas Hall and Michael himself spontaneously and instinctively, often calling on his deeper Tucker, Alan Davie, Lund Humphries, London, p.86). subconscious to freely command his creative output. Indeed, Davie’s whole way of working can be compared to the manner in which he Davie warned against attributing meaning to his recurring motifs, played jazz, taking a theme and intuitively creating an aesthetic piece which he stated were painted obsessively but never consciously (see with rhythms, harmony, texture and sections. note for lot 173). Instead the motifs could have different meanings at different times. Snakes recur throughout Davie’s oeuvre, sometimes The influence of free-form jazz can be clearly seen in Davie’s ‘dream’ clearly visible and at other times, as with the present lot, suggested paintings. During the development of free jazz, during the 1950s by sinuous forms and markings. In Freudian beliefs snake dreams and 60s, Davie was playing in north London pubs with the pianist represent a phallic symbol that could relate to a male figure, male Tony Lawrence (Chris Lawrence’s father), whilst working at the London energy or how you experience your sexuality. However, snake dreams Central Schools. He was employed there by William Johnstone, a are one of the most common of all and can be interpreted in a number fellow Scot, who was interested in surrealism and the liberation of of ways. Rather fittingly for Davie’s work, snakes in dreams have the unconscious. The rhythms of dream became, as Michael Tucker different meanings according to different religions or mythologies. discusses, ‘both grander and more intimate in Davie’s work, and One of the more appropriate common readings is that snakes dreams somehow, and in their freely imaginative splendour, ‘abstract’ and represent your intuition or spiritual aspects of yourself, your instinctual ‘concrete’ in equal degree. Fuelled, above all, by intuition – that aspect drive or what moves you from the depths of your soul. This could of the self which [Henri] Bergson believed could lead us to ‘the very hardly be closer to Davie’s belief that “One must learn to have faith in inwardness of life’ – Davie’s shaman-like quest for the replenishing, the intuition which “knows” without knowledge’ (ibid p.87). healing power of rhythmical metamorphosis and reverie has led him to

158 | Bonhams Modern British and Irish Art | 159 175AR W Sir Eduardo Paolozzi (1924-2005) The Artist as Hephaestus signed ‘Eduardo Paolozzi’ (on the base of the right foot); further signed, inscribed and dated ‘LONDON 1987/Eduardo Paolozzi’ (on the back of the neck) bronze with a brown patina 264 cm. (104 in.) high

£100,000 - 150,000 €130,000 - 190,000 US$160,000 - 240,000

Provenance Commissioned by The London and Paris Property Group As was his usual practice, Paolozzi made two preliminary works related to The Artist as Hephaestus. The first is a bronze figure titled The Artist as Hephaestus was commissioned by the London and Selfportrait with a Strange Machine, 85.1cm./ 33 1/2 in. high, and Paris Property Group for the front facade of their new offices at 34‐36 the second is another bronze figure called Portrait of the Artist as High Holborn, London, WC1. The commission stipulated that the Vulcan, which is 149.9cm./59 in. high, both of which were shown at work should incorporate a self‐portrait of the artist. Celia Scott, the the Royal Academy Summer Exhibition in 1987. Selfportrait with a portrait sculptor, made a bronze portrait bust of Paolozzi in 1983, as Strange Machine was bought by the National Portrait Gallery in 1987, a commission from the architect Charles Jencks. A good friend of and another version of this cast is in the Scottish National Gallery of Paolozzi, Jencks was decorating his London house, and installing Modern Art, Edinburgh, presented by the artist in 1998. Portrait of the fireplaces incorporating busts. He asked Scott to make the bust Artist as Vulcan was sold at Christie’s London on 17 November 2006. of Paolozzi personifying Vulcan/Hephaestus, for the fireplace of his ‘winter’ room. The bust was given a beard, a hairy chest and the Since the beginning of his career, Paolozzi has been interested in folds of a chiton. Scott gave Paolozzi a plaster cast of this (collection classical Greek sculpture, and in 1946 made collages which combined Scottish National Gallery of Modern Art, Edinburgh) and Paolozzi images of renowned Greek sculptures with machine parts, marking turned to this to assist him in making a small plaster self‐portrait, a the beginning of his interest in the fusion of man and machine. One of copy of which the National Portrait Gallery purchased in 1988, at the Hephaestus’s great innovations was that he built bronze automatons time of their exhibition Paolozzi Portraits. to work for him, a legend that would have delighted Paolozzi, and would be a major reason why he presented himself in this guise. Paolozzi made the life‐size model for The Artist as Hephastus from From the mid-1980s Paolozzi treated the human figure rather like an plaster and polystyrene. This is 264 cm./104 in. high, and shows the automaton, composing it as a collection of fragmented geometric figure adopting a slightly more upright confrontational pose than that shapes, and The Artist as Hephaestus is no exception. The figure found in the two earlier bronzes. Paolozzi gave this plaster/polystyrene does not carry the traditional symbols for the Greek God, but instead model to the National Portrait Gallery in 1990. Hephaestus was the holds two sievelike objects and an openwork sphere, with the larger Greek god of technology, sculptors, blacksmiths, fire and metals. His sieve sourced from the used part of a washing machine. Roman equivalent was Vulcan. As a metalworker, Hephaestus made all the weapons and other items for the other gods, such as Eros’s Paolozzi returned to the mythic figure of Hephastus/Vulcan in 1999, bow and arrows, Achilles’s armour and Hermes winged helmet and creating a huge figure of Vulcan from welded steel, which stands 730 sandals. When depicted in earlier art, his symbols are a blacksmith’s cm. high in the double height gallery in Modern Two at the Scottish hammer and tongs, and an anvil. He was described as of unsightly National Gallery of Modern Art, Edinburgh. He made it for this space appearance, and was lame, with crippled feet. and in response to a commission from the gallery and its Patrons group.

We are grateful to Dr Judith Collins for compiling this catalogue entry.

160 | Bonhams Modern British and Irish Art | 161 176AR Sir Eduardo Paolozzi (1924-2005) Provenance Sculpture for the Charles Chaplin Award Acquired by the present owner in 1991 signed and dated ‘E. PAOLOZZI 1991’ (at the back) Private Collection, U.K. bronze with a brown patina on a wooden base 23.4 cm. (9 1/4 in.) wide (excluding the wooden base) The present work was first commissioned in 1989 as the Charles Conceived in 1989 and cast in an edition of four (1989-1991) Chaplin Award for the Edinburgh Film Festival. The Award, to be presented to an outstanding new film maker, was inaugurated by Lady £6,000 - 8,000 Oona Chaplin to commemorate the centenary of Chaplin’s birth. It €7,500 - 10,000 was awarded three times, each of the three casts dated appropriately, US$9,600 - 13,000 to the directors Shaji (India), Kaizo Hayashi (Japan) and Jozsef Pacskovski (Hungary). The present fourth cast was commissioned for presentation to the retiring Festival Director in 1991 and is the final cast.

162 | Bonhams 177AR W Patrick Hughes (born 1939) Literature Book Look John Slyce, Patrick Hughes, Perverspective, Flowers, London, 2011, signed, titled and dated ‘Book Look/Patrick Hughes/1997’ (on the p.93 (col.ill & detail p.62) backboard) oil on board construction In his literature on the artist Slyce states; ‘The library is the ideal closed 78.6 x 147 x 24.2 cm. (31 x 58 x 9 1/2 in.) space in Hughes’s world. As a lover of books, Hughes has made a fetish of the library – it suits him well, both as a perspective device and £12,000 - 18,000 a metaphor’ (John Slyce, Patrick Hughes, Pervespective, Flowers, €15,000 - 23,000 London, 2011, p.85). Slyce continues with, ‘The closed space of the US$19,000 - 29,000 library has opened up to insistent vistas as if we returned to the space of Volumes [the earliest Library work, 1992, Collection of the British Council] and extended it to wander in the landscape behind its walls Provenance of books’ (Op.Cit p.91). With Flowers Gallery, London Corporate Collection, U.K.

Modern British and Irish Art | 163 178AR Tony Bevan (born 1951) Wall signed and inscribed ‘Bevan/PC 9720’ (verso) mixed media on canvas 43.7 x 48.3 cm. (17 1/4 x 19 in.)

£5,000 - 7,000 €6,300 - 8,800 US$8,000 - 11,000

Provenance Private Collection, France

164 | Bonhams 179AR Tony Bevan (Born 1951) Head signed and inscribed ‘Bevan/PC042’ (verso) mixed media on canvas 52.1 x 52.1 cm. (20 1/2 x 20 1/2 in.)

£6,000 - 8,000 €7,500 - 10,000 US$9,600 - 13,000

Provenance With Galerie Vidal-Saint Phalle, Paris Private Collection, France

Modern British and Irish Art | 165 180AR Tony Bevan (born 1951) Provenance Self-portrait after Messerschmidt With Galerie Vidal-Saint Phalle, Paris signed and inscribed twice ‘Bevan/PC 0919’ (verso) Private Collection, France mixed media on canvas 99.1 x 80.7 cm. (39 x 31 3/4 in.) Franz Xaver Messerschmidt (1736-1783) was a German-Austrian Painted in 2009 sculptor whose famous ‘Character Heads’ display what Messerschmidt deemed as the full 64 expressions within the human range. £7,000 - 10,000 Bevan elected to draw on the heads in his 2009-2010 series After €8,800 - 13,000 Messerschmidt, employing his familiar wrought skeletal imagery and US$11,000 - 16,000 rich surface textures. A number of the series were featured in the 2012 exhibition Messerschmidt and Modernity at the Getty Centre, Los Angeles, 2012.

End of Sale

166 | Bonhams Artist Lot No B N Bevan, Tony 178, 179, 180 Nash, Paul 20 Blackshaw, Basil 14 Newcomb, Mary 145 Bomberg, David 146 Newton, Algernon Cecil 101, 102 Bradley, Helen 10, 136, 137, 138, 139 Nicholson, Ben 164 Burra, Edward 152 O Butler, Reg 165 O’Conor, Roderic 7, 142 C P Craxton, John 124 Paolozzi, Eduardo 175, 176 D Piper, John 125, 126 Davie, Alan 173, 174 Pissarro, Lucien 108, 109 Procter, Ernest 110 E Epstein, Jacob 117, 118, 119 R Richards, Ceri 154 F Roberts-Jones, Ivor 116 Feiler, Paul 155, 156 Fell, Sheila 132, 133 S Fergusson, John Duncan 147 Scott, William 160, 161, 162, 163 Frink, Elisabeth 6, 15, 129, 130, 131 Sickert, Walter Richard 21, 22, 104, 106 Smith, Matthew 141 G Sutherland, Graham 120, 121 Gear, William 153 Gilman, Harold 103 U Gore, Spencer Frederick 107 Uglow, Euan 169, 170, 171, 172 Grant, Duncan 19, 143, 144 V H Vaughan, Keith 3, 4, 5 Hepworth, Barbara 1, 2 W Heron, Patrick 159 Williams, Kyffin 140 Hilton, Roger 158 Wood, Christopher 12 Hitchens, Ivon 148, 149, 150, 151 Hodgkin, Eliot 111 Y Hughes, Patrick 177 Yeats, Jack Butler 112 J John, Gwen 114, 115 L Lamb, Henry 105 Lanyon, Peter 157 Lavery, John 113 Le Brocquy, Louis 167, 168 Lewis, Percy Wyndham 122 Lowry, Laurence Stephen 8, 9, 11, 134, 135 M McWilliam, Frederick Edward 13, 166 Minton, John 123 Moore, Henry 16, 17, 18, 127, 128 Modern British Henry Moore O.M., C.H. enquiries iMPrEssiOnisT LÉOn DE sMET (1881-1966) EnquiriEs (1898-1986) +44 (0) 20 7467 8295 Piccadilly Circus +44 (0) 20 7468 5816 And Irish Art Six Standing Figures [email protected] & MODErn ArT oil on canvas [email protected] Monday 10 June 2015 pencil, wax crayon, Tuesday 3 February 2015 71 x 102.3cm (27 15/16 x 40 1/4in). New Bond Street, London coloured crayon, Closing date for entries New Bond Street, London Painted in 1918 Closing date for entries watercolour wash and gouache Friday 24 April 2015 £80,000 - 120,000 Monday 1 December 2014 39.4 x 57 cm. (15 1/2 x 22 1/2 in.) Sold for £146,000

© Estate of Leon De Smet. All rights reserved, DACS 2014

bonhams.com/modernbritish bonhams.com/impressionists Prices shown include buyer’s premium. Details can be found at bonhams.com LÉOn DE sMET (1881-1966) EnquiriEs iMPrEssiOnisT Piccadilly Circus +44 (0) 20 7468 5816 & MODErn ArT oil on canvas [email protected] Tuesday 3 February 2015 71 x 102.3cm (27 15/16 x 40 1/4in). New Bond Street, London Painted in 1918 Closing date for entries £80,000 - 120,000 Monday 1 December 2014

© Estate of Leon De Smet. All rights reserved, DACS 2014

bonhams.com/impressionists LUCIAN FREUD Enquiries Prints and Multiples (1922-2011) +44 (0) 20 7468 8212 Tuesday 9 December 2014 Pluto Aged Twelve [email protected] New Bond Street, London Etching printed with tone, 2000, initialled and numbered 12/46, 432 Closing date for entries x 596mm (PL) Thursday 30 October 2014 Sold for £91,000

bonhams.com/prints 170 | Bonhams Prices shown include buyer’s premium. Details can be found at bonhams.com Dorothea Sharp, RBA, ROI Enquiries 19th Century European, (1874-1955) +44 (0) 207 468 8201 Victorian and British The Wind on the Hill [email protected] oil on canvas Impressionist Art 106 x 91.5cm (41 3/4 x 36in). Wednesday 21 January 2015 Closing date for entries £60,000 - 80,000 New Bond Street, London Friday 28 November 2014

bonhams.com/19thcentury Anne Redpath Enquiries Scottish Art (1895-1965) London Thursday 4 December Monastery Hillside, Spain +44 (0) 20 7468 8296 Edinburgh signed ‘anne redpath’ (lower right) [email protected] oil on board 50.8 x 76.7 cm. (20 x 30 1/4 in.) Edinburgh Painted circa 1962 +44 (0) 13 1240 2297 £15,000 - 20,000 [email protected]

bonhams.com/scottishart John Northcote Nash R.A. Enquiries Modern British, Irish (1893-1977) +44 (0) 20 7393 3949 and East Anglian Art View from the artist’s [email protected] Tuesday 18 November 2014 at 2pm window, Bottengoms Knightsbridge, London oil on canvas 51 x 76cm £12,000 - 18,000

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Fergus Lyons +1 212 644 9136 +1 (212) 644 9001 Suzy Pai +44 20 7468 8221 Italy - Rome Thomaz Oscar Saavedra Via Sicilia 50 +1 (212) 644 9007 fax +55 11 3031 4444 +1 415 503 3343 U.S.A 00187 Rome +55 11 3031 4444 fax Jeffrey Smith +39 (0)6 48 5900 +1 415 503 3413 +39 (0)6 482 0479 fax [email protected]

G-NET/9/14 Bonhams Specialist Departments International Salerooms, Offices and Associated Companies( • Indicates Saleroom) UNITED KINGDOM Representatives: Scotland Netherlands - Amsterdam Representatives: ASIA Dorset De Lairessestraat 154 Arizona • London Bill Allan Edinburgh • 1075 HL Amsterdam Terri Adrian-Hardy Hong Kong 101 New Bond Street • +44 1935 815 271 22 Queen Street +31 20 67 09 701 +1 (480) 994 5362 Suite 2001 London W1S 1SR Edinburgh +31 20 67 09 702 fax One Pacific Place +44 20 7447 7447 East Anglia EH2 1JX [email protected] California 88 Queensway +44 20 7447 7400 fax +44 131 225 2266 Central Valley Admiralty Bury St. Edmunds +44 131 220 2547 fax Spain - Madrid David Daniel Hong Kong Montpelier Street • 21 Churchgate Street Nuñez de Balboa no.4 - 1A +1 (916) 364 1645 +852 2918 4321 London SW7 1HH Bury St Edmunds Glasgow Madrid +852 2918 4320 fax +44 20 7393 3900 Suffolk IP33 1RG 176 St. Vincent Street, 28001 Southern California [email protected] Christine Eisenberg +44 20 7393 3905 fax +44 1284 716 190 Glasgow +34 91 578 17 27 +44 1284 755 844 fax G2 5SG [email protected] +1 (949) 646 6560 Beijing +44 141 223 8866 Hongyu Yu South East Colorado Suite 511 England Norfolk +44 141 223 8868 fax Switzerland - Geneva Rue Etienne-Dumont 10 Julie Segraves Chang An Club The Market Place +1 (720) 355 3737 Reepham Representatives: 1204 Geneva 10 East Chang An Avenue Brighton & Hove Beijing 100006 Norfolk NR10 4JJ Wine & Spirits Switzerland 19 Palmeira Square Florida +86(0) 10 6528 0922 +44 1603 871 443 Tom Gilbey +41 76 379 9230 Palm Beach Hove, East Sussex +86(0) 10 6528 0933 fax +44 1603 872 973 fax +44 1382 330 256 [email protected] +1 (561) 651 7876 BN3 2JN [email protected] Miami +44 1273 220 000 Representatives: +44 1273 220 335 fax Midlands Wales +1 (305) 228 6600 Denmark Japan Ft. Lauderdale Akiko Tsuchida Knowle Cardiff Henning Thomsen +1 (954) 566 1630 Guildford +45 4178 4799 Level 14 Hibiya Central Millmead, The Old House 7-8 Park Place, Building Guildford, Station Road Cardiff CF10 3DP [email protected] Georgia Mary Moore Bethea 1-2-9 Nishi-Shimbashi Surrey GU2 4BE Knowle, Solihull +44 2920 727 980 Minato-ku West Midlands +44 2920 727 989 fax Spain – Bilbao +1 (404) 842 1500 +44 1483 504 030 Teresa Ybarra Tokyo 105-0003 +44 1483 450 205 fax B93 0HT +81 (0) 3 5532 8636 +44 1564 776 151 +34 680 34 76 06 Illinois Ricki Blumberg Harris +81 (0) 3 5532 8637 fax +44 1564 778 069 fax EuropE [email protected] Isle of Wight +1 (312) 475 3922 [email protected] +44 1273 220 000 • Spain - Marbella +1 (773) 267 3300 Oxford Austria - Vienna James Roberts Banbury Road Singapore Representative: Tuchlauben 8 +34 952 90 62 50 Massachusetts Shipton on Cherwell 1010 Vienna Bernadette Rankine Kent [email protected] Boston/New England 11th Floor, Wisma Atria George Dawes Kidlington OX5 1JH Austria Amy Corcoran +44 1865 853 640 +43 (0)1 403 00 01 435 Orchard Road +44 1483 504 030 Portugal +1 (617) 742 0909 +44 1865 372 722 fax [email protected] Singapore 238877 Filipa Rebelo de Andrade +65 (0) 6701 8038 Nevada West Sussex +351 91 921 4778 +65 (0) 6701 8001 fax Jeff Burfield Yorkshire & North East David Daniel Belgium - Brussels [email protected] bernadette.rankine@ +44 1243 787 548 England +1 (775) 831 0330 Boulevard bonhams.com Saint-Michel 101 Russia - Moscow New Mexico South West Leeds 1040 Brussels Anastasia Vinokurova 30 Park Square West Leslie Trilling Taiwan England +32 (0)2 736 5076 +7 964 562 3845 +1 (505) 820 0701 Summer Fang Leeds LS1 2PF +32 (0)2 732 5501 fax +44 113 234 5755 [email protected] 37th Floor, Taipei 101 Tower Bath [email protected] Oregon Nor 7 Xinyi Road, Section 5 Queen Square House +44 113 244 3910 fax Russia - St Petersburg Sheryl Acheson Taipei, 100 Charlotte Street France - Paris Marina Jacobson +1(503) 312 6023 +886 2 8758 2898 Bath BA1 2LL North West England 4 rue de la Paix +7 921 555 2302 +886 2 8757 2897 fax +44 1225 788 988 75002 Paris [email protected] Pennsylvania summer.fang@ +44 1225 446 675 fax Chester +33 (0)1 42 61 1010 Margaret Tierney bonhams.com New House +33 (0)1 42 61 1015 fax +1 (610) 644 1199 150 Christleton Road Cornwall – Truro [email protected] MIDDLE EAST 36 Lemon Street Chester, Cheshire Texas AuSTrALIA Truro CH3 5TD Germany - Cologne Amy Lawch Cornwall +44 1244 313 936 Albertusstrasse 26 Dubai +1 (713) 621 5988 +44 1244 340 028 fax Deborah Najar Sydney TR1 2NR 50667 Cologne +971 (0)56 113 4146 76 Paddington Street +44 1872 250 170 +49 (0)221 2779 9650 Washington [email protected] Paddington NSW 2021 +44 1872 250 179 fax Carlisle +49 (0)221 2779 9652 fax Heather O’Mahony Australia 48 Cecil Street [email protected] +1 (206) 218 5011 +61 (0) 2 8412 2222 Carlisle, Cumbria Israel Exeter +61 (0) 2 9475 4110 fax The Lodge CA1 1NT Joslynne Halibard Washington DC Germany - Munich +972 (0)54 553 5337 [email protected] Southernhay West Exeter, +44 1228 542 422 Maximilianstrasse 52 Mid-Atlantic Region Devon +44 1228 590 106 fax joslynne.halibard@ Martin Gammon 80538 Munich bonhams.com +1 (202) 333 1696 Melbourne EX1 1JG +49 (0) 89 2420 5812 Como House +44 1392 425 264 Manchester +49 (0) 89 2420 7523 fax Como Avenue +44 1392 494 561 fax The Stables [email protected] NorTh AMErIcA CANADA South Yarra 213 Ashley Road Melbourne VIC 3141 Winchester Hale WA15 9TB • +61 (0) 3 8640 4088 +44 161 927 3822 Greece - Athens USA Toronto, Ontario The Red House 7 Neofytou Vamva Street Jack Kerr-Wilson +61 (0) 2 9475 4110 fax +44 161 927 3824 fax Hyde Street 10674 Athens San Francisco • 20 Hazelton Avenue Winchester +30 (0) 210 3636 404 220 San Bruno Avenue Toronto, ONT Hants SO23 7DX [email protected] San Francisco M5R 2E2 AfrIcA +44 1962 862 515 Channel Islands CA 94103 +1 (416) 462 9004 +44 1962 865 166 fax Ireland - Dublin +1 (415) 861 7500 [email protected] Nigeria Jersey 31 Molesworth Street +1 (415) 861 8951 fax Neil Coventry Tetbury 39 Don Street Dublin 2 Montreal, Quebec +234 (0)7065 888 666 22a Long Street St.Helier +353 (0)1 602 0990 Los Angeles • David Kelsey [email protected] Tetbury JE2 4TR +353 (0)1 4004 140 fax 7601 W. Sunset Boulevard +1 (514) 341 9238 Gloucestershire +44 1534 722 441 [email protected] Los Angeles [email protected] South Africa - GL8 8AQ +44 1534 759 354 fax CA 90046 Johannesburg +44 1666 502 200 +1 (323) 850 7500 Penny Culverwell Italy - Milan +27 (0)71 342 2670 +44 1666 505 107 fax Representative: Via Boccaccio 22 +1 (323) 850 6090 fax SouTh AMErIcA [email protected] Guernsey 20123 Milano +44 1481 722 448 +39 (0)2 4953 9020 New York • Argentina +39 (0)2 4953 9021 fax 580 Madison Avenue Daniel Claramunt +54 11 479 37600 [email protected] New York, NY 10022 Brazil Italy - Rome +1 (212) 644 9001 Thomaz Oscar Saavedra Via Sicilia 50 +1 (212) 644 9007 fax +55 11 3031 4444 00187 Rome +55 11 3031 4444 fax +39 (0)6 48 5900 +39 (0)6 482 0479 fax [email protected]

G-NET/9/14 NOTICE TO BIDDERS Bidding in person identity of your client in advance, we will be in a position to G Gold bullion exempt from VAT on the Hammer Price This notice is addressed by Bonhams to any person who may a qualified electrician on their status before doing so. Such Bonhams’ behalf which is in any way descriptive of any Lot You should come to our Bidder registration desk at the Sale address the invoice to your principal rather than you. We will and subject to VAT at the prevailing rate on the Buyer’s be interested in a Lot, including Bidders and potential Bidders items which are unsuitable for connection are sold as items of or as to the anticipated or likely selling price of any Lot. No venue and fill out a Bidder Registration Form on (or, if possible, require proof of the agent’s client’s identity and residence in Premium (including any eventual Buyer of the Lot). For ease of reference interest for display purposes only. If you yourself do not have statement or representation by Bonhams or on its behalf in any before) the day of the Sale. The bidding number system is advance of any bids made by the agent on his behalf. Please • Zero rated for VAT, no VAT will be added to the Hammer we refer to such persons as “Bidders” or “you”. Our List of expertise regarding a Lot, you should consult someone who way descriptive of any Lot or any Estimate is incorporated into sometimes referred to as “paddle bidding”. You will be issued refer to our Conditions of Business and contact our Customer Price or the Buyer’s Premium Definitions and Glossary is incorporated into this Notice to does to advise you. We can assist in arranging facilities for you our Buyer’s Agreement. with a large card (a “paddle”) with a printed number on it. Services Department for further details. a Buyers from within the EU: VAT is payable at the Bidders. It is at Appendix 3 at the back of the Catalogue. to carry out or have carried out more detailed inspections and This will be attributed to you for the purposes of the Sale. prevailing rate on just the Buyer’s Premium (NOT the Where words and phrases are used in this notice which are in tests. Please ask our staff for details. Alterations Should you be a successful Bidder you will need to ensure that 6. CONTRACTS BETWEEN THE BUYER AND SELLER Hammer Price). Buyers from outside the EU: VAT is the List of Definitions, they are printed in italics. Descriptions and Estimates may be amended at Bonhams’ your number can be clearly seen by the Auctioneer and that it AND THE BUYER AND BONHAMS payable at the prevailing rate on both Hammer Price Any person who damages a Lot will be held liable for the discretion from time to time by notice given orally or in is your number which is identified as the Buyer’s. You should and Buyer’s Premium. If a Buyer, having registered under IMPORTANT: Additional information applicable to the Sale loss caused. writing before or during a Sale. not let anyone else use your paddle as all Lots will be invoiced On the Lot being knocked down to the Buyer, a Contract for a non-EU address, decides that the item is not to be may be set out in the Catalogue for the Sale, in an insert in to the name and address given on your Bidder Registration Sale of the Lot will be entered into between the Seller and exported from the EU, then he should advise Bonhams the Catalogue and/or in a notice displayed at the Sale venue 3. DESCRIPTIONS OF LOTS AND ESTIMATES THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST Form. Once an invoice is issued it will not be changed. If there the Buyer on the terms of the Contract for Sale set out in immediately. and you should read them as well. Announcements affecting FORM YOUR OWN OPINION IN RELATION TO IT. 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 NOTICE TO BIDDERS Bidding in person identity of your client in advance, we will be in a position to G Gold bullion exempt from VAT on the Hammer Price This notice is addressed by Bonhams to any person who may a qualified electrician on their status before doing so. Such Bonhams’ behalf which is in any way descriptive of any Lot You should come to our Bidder registration desk at the Sale address the invoice to your principal rather than you. We will and subject to VAT at the prevailing rate on the Buyer’s be interested in a Lot, including Bidders and potential Bidders items which are unsuitable for connection are sold as items of or as to the anticipated or likely selling price of any Lot. No venue and fill out a Bidder Registration Form on (or, if possible, require proof of the agent’s client’s identity and residence in Premium (including any eventual Buyer of the Lot). For ease of reference interest for display purposes only. If you yourself do not have statement or representation by Bonhams or on its behalf in any before) the day of the Sale. The bidding number system is advance of any bids made by the agent on his behalf. Please • Zero rated for VAT, no VAT will be added to the Hammer we refer to such persons as “Bidders” or “you”. Our List of expertise regarding a Lot, you should consult someone who way descriptive of any Lot or any Estimate is incorporated into sometimes referred to as “paddle bidding”. You will be issued refer to our Conditions of Business and contact our Customer Price or the Buyer’s Premium Definitions and Glossary is incorporated into this Notice to does to advise you. We can assist in arranging facilities for you our Buyer’s Agreement. with a large card (a “paddle”) with a printed number on it. Services Department for further details. a Buyers from within the EU: VAT is payable at the Bidders. It is at Appendix 3 at the back of the Catalogue. to carry out or have carried out more detailed inspections and This will be attributed to you for the purposes of the Sale. prevailing rate on just the Buyer’s Premium (NOT the Where words and phrases are used in this notice which are in tests. Please ask our staff for details. Alterations Should you be a successful Bidder you will need to ensure that 6. CONTRACTS BETWEEN THE BUYER AND SELLER Hammer Price). Buyers from outside the EU: VAT is the List of Definitions, they are printed in italics. Descriptions and Estimates may be amended at Bonhams’ your number can be clearly seen by the Auctioneer and that it AND THE BUYER AND BONHAMS payable at the prevailing rate on both Hammer Price Any person who damages a Lot will be held liable for the discretion from time to time by notice given orally or in is your number which is identified as the Buyer’s. You should and Buyer’s Premium. If a Buyer, having registered under IMPORTANT: Additional information applicable to the Sale loss caused. writing before or during a Sale. not let anyone else use your paddle as all Lots will be invoiced On the Lot being knocked down to the Buyer, a Contract for a non-EU address, decides that the item is not to be may be set out in the Catalogue for the Sale, in an insert in to the name and address given on your Bidder Registration Sale of the Lot will be entered into between the Seller and exported from the EU, then he should advise Bonhams the Catalogue and/or in a notice displayed at the Sale venue 3. DESCRIPTIONS OF LOTS AND ESTIMATES THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST Form. Once an invoice is issued it will not be changed. If there the Buyer on the terms of the Contract for Sale set out in immediately. and you should read them as well. Announcements affecting FORM YOUR OWN OPINION IN RELATION TO IT. 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 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 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 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 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 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 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 “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 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 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Modern British and Irish Art Sale date: 17 - 18 November 2014

Sale no. 21770 Sale venue: New Bond Street 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 to this address information relating to Sales, marketing material and news your bids not being processed. For higher value lots you concerning Bonhams. 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 buyer I am registering to bid as a trade buyer 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 SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT 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/06/14 Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Sale date: 17 - 18 November 2014

Sale no. Sale venue: New Bond Street 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 to this address information relating to Sales, marketing material and news your bids not being processed. For higher value lots you concerning Bonhams. 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 buyer I am registering to bid as a trade buyer 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 SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT 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/06/14 Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.

Bonhams 101 New Bond Street London W1S 1SR

+44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax

International Auctioneers and Valuers – bonhams.com