OLD MASTER PAINTINGS Wednesday 4 July 2018

Home , Antonio Bellucci, Bellamont House, Dorotheum, FitzGerald dynasty, Henry Bone, Hugh Douglas Hamilton

BONHAMS OLD MASTERS DEPARTMENT

Andrew McKenzie Caroline Oliphant Lisa Greaves Director, Head of Department, Group Head of Pictures Department Director London London and Head of Sale London – – –

Poppy Harvey-Jones Brian Koetser Bun Boisseau Junior Specialist Consultant Junior Cataloguer, London London London

– – –

Mark Fisher Madalina Lazen Director, European Paintings, Senior Specialist, European Paintings Los Angeles New York Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors – – Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Grant MacDougall Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright. OLD MASTER PAINTINGS Wednesday 4 July 2018, at 2pm 101 New Bond Street, London

VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Saturday 30 June, 11am - 5pm +44 (0) 20 7447 7447 Specialists Monday to Friday Sunday 1 July, 11am - 5pm +44 (0) 20 7447 7401 fax Andrew McKenzie 8.30am to 6pm Monday 2 July, 9am - 4.30pm To bid via the internet please visit +44 (0) 20 7468 8261 +44 (0) 20 7447 7447 Tuesday 3 July, 9am - 4.30pm www.bonhams.com [email protected] Wednesday 4 July, 9am - 12pm Please see back of catalogue Bidding by telephone will only Caroline Oliphant for important notice to bidders SALE NUMBER be accepted on lots with a lower +44 (0) 20 7468 8271 estimate in excess of £1,000. [email protected] ILLUSTRATIONS 24650 Front cover: Lot 111 Please note that bids should be Lisa Greaves CATALOGUE Back cover: Lot 62 submitted no later than 4pm on +44 (0) 20 7468 8325 Inside front cover: Lot 100 (detail) £25.00 the day prior to the sale. New [email protected] Inside back cover: Lot 37 bidders must also provide proof of identity when submitting bids. Poppy Harvey-Jones Failure to do this may result in +44 (0) 20 7468 8308 IMPORTANT INFORMATION your bid not being processed. [email protected] The United States Government has banned Bun Boisseau the import of ivory into the Live online bidding is USA. Lots containing ivory are available for this sale +44 (0) 20 7468 8307 [email protected] indicated by the symbol Ф Please email [email protected] printed beside the lot number with ‘live bidding’ in the subject Consultants in this catalogue. line 48 hours before the auction Brian Koetser to register for this service.

Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Grant MacDougall Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright. SALE Central Middlesex Acton Ln Hospital Park Royal INFORMATION Acton Ln Cadogan Tate

Coronation Road W e d s P a te a o r r n R k A v e R e s A o 40 a y h a Park l C

Royal iWestern Ave A40 R o Station a 0 d 0 Acton 0 North 4 Cemetery A

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BIDS BUYERS COLLECTION & STORAGE AND HANDLING VAT +44 (0) 20 7447 7447 STORAGE AFTER SALE CHARGES ON SOLD LOTS Will be applied at the current +44 (0) 20 7447 7401 fax LOTS MARKED TP RETURNED TO CADOGAN TATE rate on all above charges To bid via the internet please visit www.bonhams.com All sold lots marked TP will be Storage The following symbol is removed to Cadogan Tate, 241 Storage will be free of charge for used to denote that VAT PAYMENTS Acton Lane, London, NW10 7NP the first 14 calendar days from & is due on the hammer price Buyers from 9am Thursday 5 July 2018 including the sale date Wednesday and buyer’s premium +44 (0) 20 7447 7447 and will be available from 12pm 4 July 2018. +44 (0) 20 7447 7401 fax Friday 6 July 2018 and then every † VAT 20% on hammer price working day between 9am and Charges will apply from and buyer’s premium Sellers 4.30pm by appointment only. Thursday 19 July 2018. Payment of sale proceeds * VAT on imported items at +44 (0) 20 7447 7447 A booking email or phone call are Large Paintings: a preferential rate of 5% on +44 (0) 20 7447 7401 fax required in advance to ensure lots £5.70 per day + VAT hammer price and the are ready at time of collection. All other Paintings: prevailing rate on buyer’s premium VALUATIONS, Photographic ID will be required £2.85 per day + VAT TAXATION & HERITAGE at time of collection. If a third (Note: Charges apply every day Y These lots are subject to +44 (0) 20 7468 8340 party is collecting for you written including weekends and Public CITES regulations, please +44 (0) 20 7468 5860 fax authorisation is required in advance Holidays) read the information in the [email protected] from you and photographic ID of back of the catalogue. the third party is requested at the Handling CATALOGUE SUBSCRIPTIONS time of collection. After the first 14 calendar days Payment To obtain any Bonhams following the sale, the following All charges due to Cadogan catalogue or to take out To arrange a collection time handling charges apply per Lot: Tate may be paid to them in advance an annual subscription: please send a booking email to Large Paintings £42.00+ VAT or at the time of collection from their Subscriptions Department [email protected] or All other Paintings £21.00+ VAT warehouse. Payment may be made +44 (0) 1666 502200 telephone call to +44 (0)800 9886 by cash, cheque with banker’s card, +44 (0) 1666 505107 fax 100 to unsure lots are ready at Loss and Damage credit, or debit card (Please note: [email protected] time of collection. Extended Liability cover to the value Amex is not accepted). of the Hammer price will be charged SHIPPING All other sold lots will remain in the at 0.6% but capped at the total Information on charges For information and estimates collections room at New Bond value of all other charges due is available by email at on domestic and international Street without charge until 5.30pm [email protected] shipping as well as export Wednesday 18 July 2018. Lots or telephone on licenses please contact Alban not collected by this time will be +44 (0) 800 988 6100 Shipping on +44 (0) 1582 493 099 removed to Cadogan Tate, 241 [email protected] Acton Lane, London, NW10 7NP Payment in Advance & will be available from 9am Friday (Telephone to ascertain amount due) 20 July 2018 handling and storage by: cash, cheque with banker’s charges will apply. card, credit or debit card.

Payment at time of collection by: cash, cheque with banker’s card, credit or debit card. 1 * WILLEM VERELST (LONDON 1704-1752) Provenance Portrait of Elizabeth Horton, full-length, in a silver and red riding habit, The Collection of Paul Mellon standing in a landscape with her horse, dogs and a groom His sale, Sotheby’s, London, 18 November 1981, lot 95 oil on canvas With Richard Green Fine Paintings, London, where purchased by the 76.4 x 63.8cm (30 1/16 x 25 1/8in). present owner in January 1984

Exhibited £8,000 - 12,000 London, Royal Academy, Painting in England 1700-1850, from the €9,100 - 14,000 Collection of Mr and Mrs Paul Mellon, Virginia, 1964-5, cat. no. 25 US$11,000 - 16,000

The sitter (d. 1740) was the daughter of Christopher Horton of Catton, Derbyshire. She married Bowyer Adderely of Hams Hall, Warwickshire, in 1726. They had three children. The identity of the sitter comes from an early inscription on a label attached to the reverse.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 5 2 FOLLOWER OF HUGO VAN DER GOES The present composition is related to a drawing attributed to the (GHENT CIRCA 1440-1482 OUDERGEM) Workshop of Rogier van der Weyden in the Museum Boijmans van The Virgin and Child in a landscape Beuningen in Rotterdam (inv. no. 9). A print after this drawing in the oil on panel Metropolitan Museum, New York, is attributed to Johannes Wierix 20.5 x 15.2cm (8 1/16 x 6in). and a very similar Virgin and Child, signed by Hieronymus Wierix and published by Hans van Luyck, is in the Royal Library of Belgium, Brussels. Joris van Grieken further observes that the latter print is £8,000 - 12,000 closer in style to Hugo van der Goes, whose influence can also be €9,100 - 14,000 detected in the present lot (see: J. van Grieken, ‘Rogier van der US$11,000 - 16,000 Weyden’s Late Reception in Prints (c. 1500-1600)’, in Rogier van der Weyden in Context, eds. L. Campbell et al., Paris-Leuven-Walpole, 2012, pp. 358-360).

For details of the charges payable in addition to the final Hammer Price of each Lot 6 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 3 CIRCLE OF AMBROSIUS BENSON (CIRCA 1495-1550 BRUGES) The Bust of a woman with a jewelled headdress inscribed ‘IA. 15.Z0.R’ (upper left and upper right) oil on panel 34.6 x 26.6cm (13 5/8 x 10 1/2in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 7 4 VENETIAN SCHOOL, 16TH CENTURY Portrait of a gentleman, half-length, in brown costume oil on canvas 74.6 x 57cm (29 3/8 x 22 7/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot 8 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 5 BERGAMO SCHOOL, 16TH CENTURY Portrait of a gentleman, three-quarter-length, in black costume, standing before a green curtain, a view to a landscape beyond oil on canvas 129.7 x 95.7cm (51 1/16 x 37 11/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 9 6 TP STUDIO OF SIR PETER LELY (SOEST 1618-1680 LONDON) The primary version of the present portrait is in the National Portrait A double portrait of Arthur Capel, 1st Earl of Essex and Elizabeth, Gallery, London (inv. no. NPG 5461). Countess of Essex, seated before a landscape oil on canvas The sitters, Arthur (1631-1683), the son of Arthur Capel, 1st Baron 102.7 x 127.9cm (40 7/16 x 50 3/8in). Capel of Hadham and Elizabeth Morrison, the sole heir of Cassiobury House, Watford, and Lady Elizabeth Percy, daughter of Algernon £15,000 - 20,000 Percy, 10th Earl of Northumberland and Lady Anne Cecil, married at €17,000 - 23,000 Petworth in 1653. US$20,000 - 27,000 Under Charles II Arthur conducted a prominent career as a statesman; he was made 1st Earl of Essex in 1661, served as Lord Lieutenant of Provenance Ireland 1672-77 and First Lord of the Treasury in 1679. Around 1680, In the collection of the present owner’s family since the late 1960s his political attitude changed dramatically, most likely caused by the

prospect of a Catholic monarch, and he became implicated in the Rye House Plot in 1683 against the King and his brother, James Duke of York. Subsequently he was imprisoned in the Tower of London and while awaiting execution was discovered there with his throat cut. Although inconclusive the evidence suggests suicide as most likely.

For details of the charges payable in addition to the final Hammer Price of each Lot 10 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 7 TP MARY BEALE (BARROW 1633-1699 LONDON) Charles Beale was the devoted husband and studio manager of Portrait of Charles Beale (1632-1705), half-length, Mary Beale. They married in 1652. Having been deputy-clerk of the seated in a brown gown Patents Office from circa 1660-64 he moved his family to Albrook, oil on canvas (now Allbrook), Otterbourne, Hampshire, to escape the plague. While 126.5 x 103.2cm (49 13/16 x 40 5/8in). his ‘Dearest & Most Indefatigable Heart’ (to quote from his notebook) was industriously employed, Charles Beale assumed responsibility for organising the commissions and payments and preparing £10,000 - 15,000 artists’ colours. His notebooks provide an exceptional amount of €11,000 - 17,000 documentation for an artist of this period. They tell us how by 1681 US$13,000 - 20,000 Mary’s commissions were beginning to diminish but she busied herself with producing pictures for ‘study and improvement’, experimenting Provenance with informal poses, and using alternatives to artists’ canvas. Mary’s With Sidney Sabin, London portraits of her husband are noted for their informality and are amongst her finest works. The present painting seems to be painted on a type of coarse twill-weave fabric identical to that of the portrait of Charles Beale Jnr., of circa 1681, and the pensive and introspective, albeit affectionate, nature of the two compositions suggests strongly that they were painted at about the same time.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 11 8 CORNELIS CORNELISZ. VAN HAARLEM (HAARLEM 1562-1638) Provenance The Last Supper Sale, Bonhams, London, 5 July 2006, lot 14, where purchased by the signed with monogram and dated ‘CH 1636’ (lower right, the C and H present owner in ligature) oil on panel The present composition is similar to that listed in Pieter J.J van Thiel, 37.5 x 44.3cm (14 3/4 x 17 7/16in). Cornelis Cornelisz van Haarlem, Doornspijk, 1999, no. 75, pl. 363, as whereabouts unknown. £6,000 - 8,000 €6,800 - 9,100 US$8,100 - 11,000

For details of the charges payable in addition to the final Hammer Price of each Lot 12 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 9 CIRCLE OF PIETER BALTENS (ANTWERP CIRCA 1526- Provenance CIRCA 1584) With L. Koetser, London, from whom purchased on 16 June 1959 for A busy market scene £400, probably by Mr Court bears signature and date ‘BS 1625’ (lower right) Sale, Sotheby’s, Olympia, 4 December 2004, lot 479 oil on panel Private Collection, Europe 37.5 x 49.5cm (14 3/4 x 19 1/2in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 13 10 TP GASPAR PIETER VERBRUGGHEN THE YOUNGER (ANTWERP 1664-1730) A lady standing beside a sculpted stone urn adorned with roses, tulips, crown imperials, convolvulus and other flowers oil on canvas 114 x 148.5cm (44 7/8 x 58 7/16in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance Private Collection, Belgium, acquired by the 1960s (as by Jan Baptist Bosschaert) and thence by descent

We are grateful to Dr. Fred Meijer for confirming the attribution of the still life in the present composition to Verbrugghen. Verbrugghen was known to collaborate with the Antwerp artist, Peeter-Frans Bailliu (1644-1727), who painted the vases, figures and grisailles in some of his compositions; Verbrugghen also collaborated with the figure painters, Jacob Leyssens (1661-1710), Mattheus Terwesten (1670-1757) and Peeter Ykens (1648-1695), the latter having been suggested for the present work, which would further suggest a date of the first half of the 1690s for this work.

For details of the charges payable in addition to the final Hammer Price of each Lot 14 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 15 11 ATTRIBUTED TO MICHIEL JANSZ. VAN MIEREVELDT (DELFT 1567-1641) Portrait of Pieter Van Der Meer, bust-length, in black costume and a white ruff bears inscription ‘AETAT:SUAE. **/.ANNO 1610.’ (upper left) oil on panel 61.1 x 49cm (24 1/16 x 19 5/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Engraved Willem Jacobsz. Delff, 1610

For details of the charges payable in addition to the final Hammer Price of each Lot 16 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 12 STUDIO OF MICHIEL JANSZ. VAN MIEREVELDT (DELFT 1567-1641) Portrait of Elizabeth of Bohemia, bust-length, in black and gold costume with a white lace ruff oil on panel 60.9 x 48.9cm (24 x 19 1/4in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

The present painting appears to use as its source Miereveldt’s portrait of Elizabeth of Bohemia, aged 27, now in the Collection of Her Majesty the Queen (Royal Collection inv. no. 404006).

£18,000 - 25,000 €21,000 - 29,000 US$24,000 - 34,000

Provenance Frederick Mont Collection, New York, before 1967 (according to Fondazione Zeri entry 45043) Sale, Dorotheum, Vienna, 10 June 1998, lot 7 (as Friedrich Sustris)

Literature M. Falomir (ed.) with the participation of Paul Joannides and Elisa These elements in the sky, however, can be found in an engraving Mora,’Dánae y Venus y Adonis, las primeras “poesías” de Tiziano para of upright format by what is thought to be an anonymous Flemish Felipe II’ in Boletín del Museo del Prado, numero extraordinario, 2014 printmaker possibly after Gillis Coignet of circa 1580; although this C. Hope, ‘Titian’s Danae for Philip II of Spain: a clarification’, in also incorporates a shower of gold coins. A further version, thought to Burlington Magazine, CLVII, October 2015, pp. 672-677, ill., fig. 3 be partly by Titian, in the Hermitage, St. Petersburg, includes golden coins along with the other distinctive elements of the Apsley House The three best known versions of this subject are what was most likely version, as well as the head of Jupiter in the clouds but no eagle. Titian’s original, now in the Museo del Prado, Madrid (oil on canvas, 129.8 x 181.2 cm.); that in the National Museum of Capodimonte, In their 2014 article Falomir and Joannides draw attention to a statement Naples (oil on canvas 120 x 172 cm.), and the version which in his of Karel van Mander that Anthonis Mor made various copies for Philip, article of 2015 Charles Hope believes to be partly after Titian, which is including one of Titian’s ‘wonderfully well painted’ Danaë. They suggest in the Wellington Collection, Apsley House, London (oil on canvas, 115 that this happened ‘probably soon after it arrived in Flanders’; and they x 194 cm.). The present work, although evidently by a northern hand, suppose that the present copy, which certainly does not seem to be comes closest to the Apsley House version in terms of its composition Spanish, was based on the one by Mor, which must therefore itself have and differs from the Prado and Capodimonte versions most notably: been full-size. Hope’s subsequent article, on the other hand, argues that since Danae’s left leg is draped; the shower of gold is of golden rain; Philip II’s Danaë was recorded in Spain by the end of 1553, and had not gold coins; in the pose of the maid (the Naples versions includes a presumably been sent there directly from Venice, suggesting that Mor Cupid here); and in the presence of the head of Jupiter and the eagle. must therefore have made his copy in Spain, most probably when he Although the latter are not present in the Apsley House version, this is was working there for Philip in or about 1559–61. most likely because it has been cut down at some point.

For details of the charges payable in addition to the final Hammer Price of each Lot 18 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 19 14 GIUSEPPE DE GOBBIS (ACTIVE VENICE 1772-1783) Often coupled with images of the Ridotto, the present composition Il Parlatorio delle Monache clearly enjoyed great popularity as attested to by the numerous oil on canvas versions which exist. In his book on Pietro Longhi, Pignatti was the first 81.8 x 114.4cm (32 3/16 x 45 1/16in). to suggest the hand of Giuseppe de Gobbis in several works of this particular composition: see for example those formerly in the collection £20,000 - 30,000 of Dr. Olof Sundin and sold at Sotheby’s on 15 May 1929, lot 28 and €23,000 - 34,000 291. A further version of the present composition and its companion, US$27,000 - 40,000 Il Ridotto, is in the San Diego Museum of Art, California (accession no. 1950.96 and 97).

Provenance The scene depicted in the current work is the Parlatorio delle Monache With Brame & Lorenceau, Paris or Nun’s Parlour in San Zaccaria. It shows the day on which the novices, Sale, Christie’s, London, 23 March 1973, lot 99 (4,200 gns. to pictured here crowding behind the grated windows, wait to receive a Eisenbeiss) visit from their family and friends. A string quartet is on hand, far left, to Sale, Christie’s, London, 17 July 1981, lot 33 (£6,500) entertain the visitors. This particular subject had been treated earlier, Sale, Christie’s, New York, 18 January 1983, lot 131 (for $15,000) by Francesco Guardi (1712-1793) in a work, similarly paired with a The Collection of Rudolf Nureyev depiction of the Ridotto, which are both now in Ca’ Rezzonico, Venice. Sold by Order of the Rudolf Nureyev Dance Foundation and Ballet

Promotion Foundation, Christie’s, New York, 13 January 1995, lot 116 One of the principal followers of Pietro Longhi, the Veronese artist Sale, Christie’s, New York, 29 January 1999, lot 20 Giuseppe de Gobbis has been identified as the author of a group

of paintings in Ca’ Rezzonico, the Philadelphia Museum of Art and the Salom Collection, Segromigno Monte, on the basis of Anna Pallucchini’s study of paintings formerly in Palazzo Stucky. His works, like Longhi before him, are classic depictions of the Venetian contemporary life to which fashionable Europe was so attracted during the latter years of the Serene Republic.

For details of the charges payable in addition to the final Hammer Price of each Lot 20 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 15 * TP ATTRIBUTED TO PIETER MULIER THE YOUNGER, CALLED TEMPESTA (HAARLEM CIRCA 1637-1701 MILAN) Shipping in stormy seas oil on canvas 114 x 175.2cm (44 7/8 x 69in).

£6,000 - 8,000 €6,800 - 9,100 US$8,100 - 11,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 21 16 ENGLISH SCHOOL, 17TH CENTURY This rare English icon is a unique posthumous image of the beheaded Eikon Basilike: Portrait of King Charles I, full-length, wearing robes monarch. On the 9 February 1649, only ten days after King Charles of State and an ermine-lined cloak, kneeling was executed at Whitehall, the Eikon Basilike was published. It was a inscribed ‘SPLENDIDAM AT GRAVEM / VANITAS/ MVNDI CALCO’ masterstroke of Royalist propaganda and immediately re-inforced the (lower right); inscribed ‘ASPERAM AT LEVEM/ GRATIA/ CHRISTI image of Charles as a martyr. At the Restoration, a commemoration of TRACTO/ IN VERBO TVOSPES MEA’ (centre right); inscribed ‘COELI the king on 30 January was added to the Book of Common Prayer. SPECTO/ BEATAM ET AETERNAM’ (upper right); inscribed ‘CLAR MENS MENTIS/ IMMOTA TRIVMPHANS/ CRESIT SUE PONDERE The frontispiece of the original Eikon Basilike was illustrated with an VIRUS’ (upper left); and inscribed with text from from the Eikon engraving by William Marshall (fig.1) and, in a subsequent edition, by ‘Though clogged with weights of miserys / As palme deprest I higher Wenceslaus Hollar (fig.2). The present painting clearly relates to these rise / And as the unmoored rock outbraves / The boisterous winds & printed images. However, there are multiple compositional as well raging waves / Soe Triumph I & in dark night / Of sad afflictions shine as textual differences and this is the only image of the Eikon Basilike more bright / That splendid, but yett toilesome crowne / Regardlesly I currently recorded in oil. trample downe / With joy I take this crown of thorne / Though sharpe yett easie to be borne / That glorious happie crowne I see / Deprived Although it must remain hypothesis, it is possible that the oil painting where of I cannot be / Grace/ I slight varie thinges I take what / Doth was commissioned by James Dalrymple, 1st Viscount Stair, who freely give in glorie place’ (on pillar, centre left) served as Secretary to the commission which was sent to The Hague oil on canvas by the Scottish Parliament in order to negotiate with the future Charles 86.5 x 65cm (34 1/16 x 25 9/16in). II. Immediately after the Restoration in 1660, James Dalrymple was appointed as a judge in the Court of Session indicating a reward for his strong royalist loyalty. If this hypothesis is correct, the work is likely to £7,000 - 10,000 have been commissioned in the 1660s. €6,800 - 9,100 US$8,100 - 11,000

Provenance Possibly commissioned by James Dalyrmple, 1st Viscount Stair (1619-1695) Probably by descent to Sir John Dalrymple, 5th Baronet and 8th Earl of Stair (1771-1853) Thence certainly by descent at Oxenfoord Castle to John Dalrymple, 13th Earl of Stair (1906-1996), by whom offered Sale, Christie’s, London, 12 May 1978, lot 78 Later acquired by Ronald and Dani Riches, Monmouth Plantation, Mississippi, USA

Fig. 1 William Marshall, King Charles I, 1649, Fig. 2 Wenceslaus Hollar, King Charles I, 1649, Etching Line engraving

For details of the charges payable in addition to the final Hammer Price of each Lot 22 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 23 17 DOMENICO PULIGO (FLORENCE 1492-1527) Provenance The Madonna and Child with attendant angels Sale, Sotheby’s, London, 18 February 1987, lot 3 oil on panel With The Walpole Gallery, London, 1991 (cat. no. 9) 75.3 x 53.3cm (29 5/8 x 21in). Sale, Christie’s, London, 7 July 2006, lot 138

Another version of the present lot is in the museum of Palazzo Martelli, £15,000 - 20,000 Florence. A black chalk study for this composition, by Puligo, was €17,000 - 23,000 offered at Sotheby’s, New York, 26 January 2005, lot 89. US$20,000 - 27,000

For details of the charges payable in addition to the final Hammer Price of each Lot 24 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. LOTS 18 - 20 TO BE SOLD ON BEHALF OF THE FONDAZIONE BORIS CHRISTOFF

18 MASTER OF THE STOCKHOLM PIETÀ Federico Zeri was the first to construct a corpus of work by the Master (ACTIVE LOMBARDY 16TH CENTURY) of the Stockholm Pietà, identifying a group of paintings, which in The Holy Family with the Infant Saint John the Baptist general had previously been given to Giovanni Antonio Bazzi, called oil on panel Sodoma or his circle. Naming them after the work that he considered 93.5 x 64.3cm (36 13/16 x 25 5/16in). the most important – the Pietà in the Nationalmuseum, Stockholm - Zeri assembled a group of paintings with a highly individual and distinctive style. Clearly influenced by the youthful work of Sodoma, the £10,000 - 15,000 artist appears to have eschewed the more conventional, classicizing €11,000 - 17,000 forms of the Italian Renaissance; indeed the present work was US$13,000 - 20,000 previously given to both Sodoma and Rosso Fiorentino1. The figure types in the present Holy Family with the Infant Saint John the Baptist, Provenance and other works given to the Master, also find inspiration in Leonardo’s Possibly the Collection of Giovanni Battista Visconti (1722-1784), Milan Milanese models. This Lombard influence, combined with the presence With A. Morandotti, Rome, circa 1945 of works by the Master in prominent collections from Milan, such as Collection of the Fondazione Boris Christoff, Italy those of Manfredo Settala and Giovan Battista Visconti, as may be the case with this work, strongly suggest that the artist was active there2. Literature F. Zeri, ‘The Master of the Stockholm Pietà’, in The Burlington Notes Magazine, vol. 92, no. 565, April, 1950, pp.108, 110-111, ill. fig. 21 1. F. Zeri, “The Master of the Stockholm Pietà”, in Burlington Magazine, M. Bona Castellotti, Collezionisti a Milano nel ‘700. Giovanni Battista 92, no. 565, April 1950, p. 111. Visconti, Gian Matteo Pertusati, Giuseppe Pozzobonelli, Florence, 2. F. Frangi, in Pinacoteca Ambrosiana. Dipinti dalla metà del 1991, p.52, note 42 (as possibly the work by ‘Sordo’) Cinquecento alla metà del Seicento, Milan 2006, pp. 238-241, n. 298-299.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 25 19 GIACOMO FRANCESCO CIPPER, CALLED IL TODESCHINI Provenance (FELDKIRCH 1667-1738 MILAN) With Morandotti, Rome, 1950s or 1960s A boy holding two ducks Collection of the Fondazione Boris Christoff, Italy oil on canvas 114 x 88.8cm (44 7/8 x 34 15/16in). Literature unframed F. Arisi, Natura morta tra Milano e Parma in età barocca, Piacenza, 1995, p. 475 and p. 485, ill. pl. 681

£7,000 - 10,000 Arisi suggests an approximate date of 1730 for the present painting. €8,000 - 11,000 US$9,400 - 13,000

For details of the charges payable in addition to the final Hammer Price of each Lot 26 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 20 TP JOHANN ANTON EISMANN (SALZBURG 1604-1698 VENICE) Literature A harbour with figures on the quayside in the foreground and ships Possibly B. dal Pozzo, Le vite de’ pittori, de gli scultori, et architetti at anchor in the bay beyond veronesi, 1718 p.298 ( sei pezzi di Paefi di Eifmann contenenti vno vn oil on canvas fualiglio; vn’ altro Porto di Mare, e gli altri quatro, antichita’ e figure) 96.5 x 153cm (38 x 60 1/4in). ‘Notable Works of Art now on the Market’ supplement in The Burlington Magazine, CXI 1969, no. 795, pl. XLII (as Francesco Simonini) £25,000 - 35,000 E. A. Safarik, ‘Johann Anton Eismann’, in Saggi e Memorie di Storia €29,000 - 40,000 dell’Arte, X, 1976, p. 73, cat. no. 53, and p. 132, ill. fig. 26 US$34,000 - 47,000

In his article on Eismann, Safarik suggests that the present work may Provenance have formed part of a larger group of five works seen at the house of Possibly the Collection of Conte Ercole Giusti, SS Apostoli, the Conte Ercole Giusti in SS Apostoli in Verona. The stylistic affinities Verona, 1718 together with the particularly large proportions of the present work With A. Morandotti, Rome, 1969 and the four others of similar dimensions suggests that they may Collection of the Fondazione Boris Christoff, Italy have been intended to hang together (see E. A, Safarik, ‘Johann Anton Eismann’, in Saggi e Memorie di Storia dell’Arte, X, 1976, p. 73, cat. nos 47, 48, 52, 53, and 56). By 1663, Eismann had settled permanently in Venice, where he had found great success. Many of the works which Safarik identifies as earlier than this date, tend to be found in locations outside of Italy, suggesting that Eismann was active both within and outside the country. He therefore dates the group of ‘Veronese’ pictures to a much later point in the artist’s career.

21 TP NICOLAS REGNIER (MAUBEUGE 1590-1667 VENICE) Literature The Punishment of Midas A. Lemoine, Nicolas Régnier: Peintre, collectionneur et marchand d’art, oil on canvas Paris, 2007, p. 264, no. 71 123.5 x 162cm (48 5/8 x 63 3/4in). In her catalogue entry for the work, Lemoine suggests that the present painting was executed during Régnier’s Venetian period, the artist having £20,000 - 30,000 moved to the Republic in 1626. She suggests that there may be studio €23,000 - 34,000 participation, particularly in the right-hand section of the composition. US$27,000 - 40,000 Régnier has used the figure of Guido Reni’s Saint John the Baptist in the Wilderness for the Church of the Eremitani, Padua, as his inspiration Provenance for Apollo in the present painting. This figure of the Paduan Saint John Sale, Algranti, Bologna, 18 March 1989, lot 52 served as a model on numerous occasions for Régnier. Sale, Semenzato, 10 December 1989, no. 40 Sale, Étude Tajan, 12 June 1995, lot 38 Sale, Sotheby’s, London, 4 December 1997, lot 215, where purchased by the present owners

For details of the charges payable in addition to the final Hammer Price of each Lot 28 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 22 MATTHIAS STOM (AMERSFOORT CIRCA 1600- Provenance CIRCA 1652 SICILY OR NORTHERN ITALY) Sale, Christie’s, London, 25 April 2001, lot 52 Saint Matthew by candlelight oil on canvas We are grateful to Prof. Wayne Franits for confirming the attribution 76.5 x 64.1cm (30 1/8 x 25 1/4in). to Matthias Stom, upon inspection of colour photographs. unframed

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 29

LOTS 23 - 26 THE PROPERTY OF THE DUKE OF LEINSTER THE LEINSTER FAMILY

The Fitzgerald Earls and Marquesses of Kildare and Dukes of Leinster

From the time of their progenitor, Maurice FitzGerald, Lord of normally kept chained, holding the baby in his arms. In memory and Lanstephan, and his sons the FitzGeralds who played a major role gratitude the Earl adopted the Ape as his supporter. in the Norman invasion of Ireland in 1169, the FitzGerald dynasty continued to be central to Irish history. Indeed, it is of no small The main branch of the FitzGerald family were Earls of Kildare from significance that the family’s coat-of-arms, showing a red saltire on 1316 and as cousins of the Royal House of Tudor through their a white field was the precursor for Saint Patrick’s flag which was descent from Maurice’s mother, Nesta (the daughter of Rhys ap incorporated into the Union Jack to represent the Union with Ireland Tewdr) the family came to yet further prominence in the late 15th in 1800. With regard to the supporters in the FitzGerald’s heraldic and 16th centuries when Gearóid Mór, 8th Earl of Kildare, and his achievement there are two legends about how the Chained Ape son Gearóid Óg, 9th Earl of Kildare, were Lords Deputy of Ireland. came to supplant the bear. The more likely one describes a fire at From 1761 they were Marquesses of Kildare and from 1766 Dukes Woodstock Castle, near Athy in Co. Kildare, which was a square- of Leinster (and Premier Peers of Ireland). Yet beside having such a keeped Norman stronghold that the Irish were endlessly besieging in prominent position in the British establishment they also became so the early 14th century. John Fitz Thomas, afterwards Earl of Kildare intermingled with the native Gaelic Irish that they were later described was an infant in the Castle at the time of the fire. In the smoke and as ‘more Irish than the Irish themselves.’ Gerald FitzGerald. 3rd confusion, the inhabitants fled the castle abandoning the children. Earl of Desmond, who was also known by the Irish Gaelic, Gearóid When the servants returned and searched for the baby, his room was Iarla (Earl Gerald), while being Lord Chief Justice of Ireland in 1367, in smouldering ruins. However, soon after, a strange noise was heard wrote poetry in the Gaelic tongue, most famously the poem Mairg from the battlements and on looking up, they saw the Ape, who was adeir olc ris na mnáibh (“Speak not ill of womenkind”). Thomas

Leinster House

Leicester House

32 | BONHAMS FitzGerald, 10th Earl of Kildare, who died in 1537 and was known as House, facing Merrion Square. When it was first built in 1745–48 as ‘Silken Thomas’, led an unsuccessful insurrection in Ireland, while Kildare House it was located on the isolated south side of the city, far Lord Edward FitzGerald, the fifth son of James FitzGerald, 1st Duke from the main locations of fashionable residences at that time, but of Leinster and Lady Emily Lennox was a leading figure in the 1798 the Earl predicted that others would follow and indeed in succeeding Irish Rebellion. Considered to be a martyr to Irish nationalism, Lord decades Merrion Square and FitzWilliam Square became the Edward’s subsequent reputation as a romantic nationalist rather primary location of choice for the residences of the aristocracy, with than a true revolutionary belies the reality that he was a committed many of their northside properties being sold (many subsequently republican. While not allying himself with his son’s radicalism, the 1st deteriorating and ending up as slums). No mansion in Dublin ever Duke was himself a focus of Irish national sentiment in the eighteenth matched it for its sheer size or status; its first and second floors century and is remembered in particular for his petition to the king in were used as the floor model for none other than the White House in 1754 which gave offence by its assumption that he had a hereditary Washington DC, while the house itself was used as a model for the right to be in the Irish government. original stone-cut White House exterior. From 1922 Leinster House was used as the parliament building of the Irish Free State and is The original seat of the family was Maynooth Castle in County Kildare now the meeting place of Dáil Éireann and Seanad Éireann, the two until it was replaced by the 1st Duke with Carton House, a grand houses of the Oireachtas: thus, as the present day seat of the Irish and elegant classical country house in Waterford designed by the Parliament the term ‘Leinster House’ has become a metonym for Irish acclaimed architect, Richard Cassels in 1739. The 1st Duke also political activities employed Cassels to build his palatial Dublin residence, Leinster

Carton House

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 33 23 HUGH DOUGLAS HAMILTON (DUBLIN 1740-1808) The Hon. Emilia Olivia Usher (c.1755-1798) was the daughter of Lord Portrait of Emilia Olivia, Duchess of Leinster St George of Headford Castle, Co. Galway, and she married William signed ‘H.Hamilton Pinx’ (lower left) Robert FitzGerald (1749-1804), 2nd Duke of Leinster, in 1775 (fig. 1). pastel on paper Her husband had inherited debts which her dowry of £68,000 did 82 x 64.2cm (32 5/16 x 25 1/4in). much to alleviate, but theirs was by no means simply a marriage of convenience, they are known to have been genuinely fond of each other and in due course they had ten children together. The young £40,000 - 60,000 couple makes an appearance in one of the set of four demesne €46,000 - 68,000 landscapes of Carton painted by Thomas Roberts in 1774-6, The US$54,000 - 81,000 sheet of water shows them approaching a boat in the idyllic park created by William’s father in the style of Capability Brown (see: W. Provenance Laffan & B. Rooney, Thomas Roberts, Tralee, 2009, p.277, cat. 64- The sitter and thence by descent to the present owner 67). They most probably commissioned the pair of full-length pastel portraits from Hugh Douglas Hamilton, of which the present lot is one, Literature in the late 1770s. The Duke is shown standing beside draped columns Notes on the pictures & at Carton, Kilkea Castle, 13 Dominick and opening a book of Leinster estate maps in his library at Carton, Street, Dublin and 6 Carlton House Terrace, London, 1885, p. 39 by contrast his wife is standing beside a balustrade on a terrace with (as in the Duke’s Dressing Room) a park as backdrop. The two portraits are recorded as hanging in the W.G. Strickland, ‘Hugh Douglas Hamilton, portrait-painter’, Duke’s Dressing Room in the Carton inventory of 1885 (p.39) and they in Walpole Society, vol. II, 1912-13, p. 108 remain among the most spectacular examples of Hamilton’s pastels. B. FitzGerald, ‘Carton’, in Country Life, 14 November 1936, p. 519, ill., fig. 10 The Duke was a major patron of Hugh Douglas Hamilton, no fewer A. Crookshank, ‘Irish artists and their portraiture’, in Connoisseur, than 38 pastel portraits were listed in Carton and other FitzGerald December 1969, vol. 172, pp. 240-43, ill., fig. 9 properties, 28 of which hung as a display around the walls of the W.G. Strickland, A Dictionary of Irish Artists, Shannon, 1969, Study. The Duchess also sat to Hamilton for an oil portrait, on panel, vol. I, p. 441 25.1 x 20.9 cm., that was sold at Christie’s New York, 26 January N.Jeffares, Dictionary of Pastellists before 1800, London, 2006, 2012, lot 279. p. 228, ill N.Jeffares, Dictionary of Pastellists before 1800, online, Hugh Douglas Hamilton began his career apprenticed to a pattern- no. J.375.1647 drawer in Dublin; however, soon after his move to London in 1764 he began to specialise in small-scale oval pastel portraits on paper which clearly enjoyed some success as in 1769 he was commissioned to draw King George III and four of his sons. Hamilton’s pastels are recognisable for the detail and modelling they convey despite their small size and for the hatching and overdrawn outlines that he added in fine graphite. By the late 1770s he was back in Ireland and was producing pastel portraits of a number of aristocratic patrons including the Duke of Leinster. In 1779 he left for Italy, spending 13 years in Rome and Florence portraying many of the visiting grand-tourists both in pastel and oil. One of the most impressive pastels from this period was that which he sent to the Royal Academy for the 1791 exhibition showing his friend Antonio Canova (1757-1822) with Henry Tresham (1751-1791) and Canova’s sculpture Cupid and Psyche. © National Gallery of Ireland

Fig. 1 Hugh Douglas Hamilton, Portrait of William Robert Fitzgerald, later 2nd Duke of Leinster

For details of the charges payable in addition to the final Hammer Price of each Lot 34 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 35 24 SIR JOSHUA REYNOLDS P.R.A. (PLYMPTON 1723-1792 Exhibited LONDON) London, Royal Academy, 1879, no. 16 (incorrectly described as Portrait of Emily Mary, Duchess of Leinster, bust-length, ‘Emily, wife of 2nd Duke’) in a pink dress and ermine shawl, within a painted oval Dublin, Municipal Gallery of Modern Art, Paintings from Irish oil on canvas Collections, 1957, no. 145 86.2 x 62.6cm (33 15/16 x 24 5/8in). Literature Notes on the pictures & at Carton, Kilkea Castle, 13 Dominick Street, £60,000 - 80,000 Dublin and 6 Carlton House Terrace, London, 1885, p. 25 (as in the €68,000 - 91,000 Dining Room) US$81,000 - 110,000 A. Graves and W. Cronin, A History of the Works of Joshua Reynolds, P.R.A,, London, 1898, vol. II, p. 575, ill. opposite p. 744 Provenance E.K. Waterhouse, Reynolds, London, 1941, p. 66 The sitter and thence by descent to the present owner Paintings from Irish Collections, exh. cat., Dublin, 1957, p. 30, no. 145 D. Mannings, Sir Joshua Reynolds, A Complete Catalogue of His Paintings, New Haven and London, 2000, cat. no. 621, p. 191

Engraved Richard Josey, 1879

‘Thought the most handsomest woman in England’

- Sir Joshua Reynolds, 1753

Portrait of Emily Mary, Duchess of Leinster, 1753, after Sir Joshua Reynolds

For details of the charges payable in addition to the final Hammer Price of each Lot 36 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 37 The present painting was dated by Waterhouse to circa 1775 but Emilia Mary was born on 6 October 1731, the second of the seven in fact the sitter was in London only from the end of February to the surviving children of Charles Lennox, 2nd Duke of Richmond and Lennox beginning of May 1774 (visiting her dying sister, Caroline, Lady Holland) and Sarah, daughter of William Cadogan, Earl Cadogan. Lady Emily so the portrait must have been painted then (the Pocket Books for Lennox, as she was known, was also a god-daughter of George II. She 1774-76 are missing). A payment of 35 guineas is recorded in the spent her early years at Goodwood House in Sussex, before her marriage. Ledger in October 1775. At that time the Duchess was living in France so this payment must have been made by a third party, perhaps her Emily could not have been a better match for the holder of Ireland’s son the second Duke (who paid 70 guineas for his own portrait in May most ancient peerage who was to become its premier Duke. She 1775). James Northcote, who worked in Reynolds’s studio between had what the artist of the present portrait termed a ‘sweetness of 1771-1775, recalled that the artist painted ‘an excellent head of the expression’, accompanied by outstanding intelligence (she had a Duchess of Leinster’ which Edmund Burke also praised highly but with standing order in London for all the new books, as well as reading which the artist expressed dissatisfaction. political pamphlets, novels, poetry, and plays) and influential political contacts. Not only was her father a prominent courtier, her sister, (Georgiana) Caroline was married to the brilliant Whig politician, Henry Fox. A political hostess, it is believed that Emily carefully steered Kildare towards decisions or actions he later adopted as his own. On a visit to London in 1753 she arranged to pay a Mr Jones at White’s Club 2 guineas per annum to keep Kildare informed of events. During an acrimonious phase in her husband’s political career she owned that she enjoyed a ‘good fight’ and corresponded with Henry Fox concerning politics. It was because of her involvement in these spheres that for many years Emily was known as ‘the Queen of Ireland’. Her advice and connections played their part in obtaining Kildare a Marquessate in 1761, and the Dukedom of Leinster in 1766.

Leinster died in 1773 leaving Emily a jointure of £3,000, and £1,000 for the children still in her care, together with Carton and its furnishings, provided she did not remarry. However, it is widely believed that by 1771 Emily was in love with her children’s tutor, the Scotsman William Ogilvie. At first she had asked the philosopher Jean-Jacques Rousseau to come to her home in Ireland to educate her children, but when he refused she employed Ogilvie instead. It is believed that Emily may have married Ogilvie, who was nine years younger than her, in August 1774. Certainly there was a public scandal when Charles Coote, Earl of Bellamont, nearly refused to marry her daughter Emily on this account. Her biographer, Mary Delany recorded: ‘People wonder at her marriage, as she is reckoned one of the proudest and most expensive women in the world but perhaps she thought it incumbent (as Lady Brown says of her Grace) to marry and make an honest man of him. There were three children by this second alliance, two of whom survived to adulthood. In all Emily had twenty-two

38 | BONHAMS

25 WILLIAM ASHFORD P.R.H.A. (BIRMINGHAM 1746-1824 DUBLIN) It seems likely that William Ashford’s first commission from the 2nd Views of Maynooth Castle Duke of Leinster was to complete the set of six views in the Carton the former signed and dated ‘W. Ashford/1779’ (lower left); and the Demesne left unfinished by the death of Thomas Roberts in 1778. latter signed and dated ‘W. Ashford/1780’ (lower left) a pair, oil on canvas Ashford, in a remarkably short space of time, had advanced from 61.1 x 83.1cm (24 1/16 x 32 11/16in). (2) being a slightly pedestrian flower painter in the manner of Monnoyer to becoming one of the most accomplished and sought-after view painters in Ireland, culminating in his election as the first President of £80,000 - 120,000 the Royal Hibernian Academy in 1823, the year before his death. €91,000 - 140,000

US$110,000 - 160,000 This fine pair of views of Maynooth Castle, painted in the Anglo-Irish Romantic tradition, were commissioned two years after Ashford first Provenance met the 2nd Duke. They are both listed in the Carton inventory of 1885 Commissioned by William FitzGerald, 2nd Duke of Leinster, and thence (p. 31) as hanging in the passage by the principle staircase. Maynooth by descent to the present owner Castle was the family seat until its destruction. The original keep, which was constructed in circa 1203, was enlarged in the 15th century Literature and became the centre of FitzGerald power until 1534, when ‘Silken Notes on the pictures & at Carton, Kilkea Castle, 13 Dominick Street, Thomas’ (Offaly), the son of the 9th Earl of Kildare, led a rebellion to Dublin and 6 Carlton House Terrace, London, 1885, p. 31 (as in the Dublin Castle, where he threw down the sword of state. A ten day passage by the main staircase) siege of Maynooth by the English under William Skeffington ensued, W.G. Strickland, A Dictionary of Irish Artists, Shannon, 1969, vol. I, p. 11 during which much of the fabric of the building was destroyed by A. Crookshank and The Knight of Glin, The Painters of Ireland c.1660- heavy siege ordnance and ‘Silken Thomas’ and his five uncles were 1920, London, 1979, p. 136 captured. They were executed for treason at Tyburn in 1537.

For details of the charges payable in addition to the final Hammer Price of each Lot 40 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 41

26 ARTHUR DEVIS (PRESTON 1712-1787 BRIGHTON) James, 20th Earl of Kildare and his wife Emily Mary in the grounds of Carton, seated at a table in the garden, she holding plans for a new bridge signed and dated ‘Art: Devis fe. 1753’ (lower centre) oil on canvas 63.4 x 76.6cm (24 15/16 x 30 3/16in).

£80,000 - 120,000 €91,000 - 140,000 US$110,000 - 160,000

Provenance The sitter, Emily Mary, Duchess of Leinster, who bequeathed the picture to her sister Caroline, Lady Holland By descent until bequeathed by a subsequent Lady Holland in 1845 to William, 3rd Duke of Leinster, and thence by family descent to the present owner

Exhibited Dublin, Municipal Gallery of Modern Art, Paintings from Irish Collections, May-August 1957, no. 118

Literature Notes on the pictures & at Carton, Kilkea Castle, 13 Dominick Street, Dublin and 6 Carlton House Terrace, London, 1885, p. 39 (as in the Duchess’s Siting Room) Paintings from Irish Collections, exh. cat., Dublin, 1957, p. 25, no. 118 E. Mallins and the Knight of Glin, Lost Demesnes: Irish landscape gardening, London, 1976, pp.56-57, ill., pl. 58 E. D’Oench, Arthur Devis (1712-1787): Master of the Georgian Conversation Piece, unpublished PhD dissertation, Yale University, May 1979, p. 329, no. 62 E. D’Oench, The Conversation Piece: Arthur Devis and His Contemporaries, New Haven, 1980, p. 83, no. 62 W. Laffan and B. Rooney, Thomas Roberts. Landscape and patronage in eighteenth-century England, Tralee, 2009, p. 288

For details of the charges payable in addition to the final Hammer Price of each Lot 44 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 45 It is appropriate that the Countess of Kildare is holding the plans in Emilia Mary Lennox married James FitzGerald, 20th Earl of Kildare Devis’s portrait since she played an important role in the development and the future 1st Duke of Leinster, at Richmond House, her parents’ of the house and estate of Carton as it now is: in particular, she London residence. Their wedding was said to be the most magnificent, created the Chinese Room (later the bedroom to Queen Victoria) talked of, and exaggerated of the time. At first Emily’s parents, the and decorated the famous Shell Cottage on the estate with shells Duke and Duchess of Richmond, opposed the match preferring an from around the world. Carton is held to have become the model on Englishman, and her marriage settlement gained renown since, in the which all Irish gardens were based after the grounds were redesigned words of Horace Walpole, her parents had not ‘given her a shilling’. in the naturalistic style of Lancelot ‘Capability’ Brown, incorporating However, this was evidently exaggerated: Emily in fact received an informal park, artificial lake, and island; roads were re-routed, £10,000, the same as her two younger sisters — and even if she field boundaries removed, and a kitchen garden, melon ground, and had come without money she had significant other attractions, as are hothouses added. The bridge itself was built by Thomas Ivory to noted in the footnote for lot 24. The marriage was happy and Kildare designs inspired by drawings by Isaac Ware that had appeared in his and Emily had nineteen children. Complete Body of Architecture of 1755 (fig. 1).

Fig. 1 A Plan and Elevation of a Bridge in Carton Park

46 | BONHAMS For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OTHER PROPERTIES

27 TP FOLLOWER OF ANTONIO BELLUCCI (PIEVE DI SOLIGO 1654-1726) The Rape of Europa oil on canvas 156.5 x 129.5cm (61 5/8 x 51in).

£12,000 - 18,000 €14,000 - 21,000 US$16,000 - 24,000

For details of the charges payable in addition to the final Hammer Price of each Lot 48 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 28 * TP VENETIAN SCHOOL, LATE 17TH CENTURY Diana and Endymion oil on canvas 147.2 x 196cm (57 15/16 x 77 3/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 49 29 TP FLORENTINE SCHOOL, 16TH CENTURY The Madonna and Child with the Infant Saint John the Baptist and angels oil on panel, tondo 84.8 cm. (33 3/8 in.) diameter

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance Sale, Dorotheum, Vienna, 21 October 2014, lot 79 (EUR 79,000), where purchased by the present owners

The composition of the present lot clearly enjoyed some popularity in 16th Century Tuscany. It takes as its source the Madonna and Child with the Infant Saint John the Baptist with Angels by Lorenzo di Credi now in the Uffizi, Florence (inv. no. 1890, n. 3244). Other painters also followed this basic compositional structure such as the artist known as ‘Tommaso’ in his Madonna and Child with the Infant Saint John the Baptist with Angels now in the Petit Palais, Musée des Beaux Arts de la Ville de Paris (inv. PPP2525).

At the time of the sale at the Dorotheum in 2014, Filippo Todini suggested an attribution to the Master of the Naumburg Madonna (active Florence circa 1485–1550) for the present painting.

For details of the charges payable in addition to the final Hammer Price of each Lot 50 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 51 30 TP ATTRIBUTED TO JOHANN KUPETZKI (PEZINOK CIRCA 1667-1740 NUREMBERG) Portrait of a gentleman, three-quarter-length, in a fur-trimmed cloak, holding a letter oil on canvas 152.8 x 103.4cm (60 3/16 x 40 11/16in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

For details of the charges payable in addition to the final Hammer Price of each Lot 52 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 31 * TP CIRCLE OF GIUSEPPE BONITO (CASTELLAMMARE 1707-1789 NAPLES) An artists’ studio oil on canvas 110.3 x 184.6cm (43 7/16 x 72 11/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 53 32 ATTRIBUTED TO FREDERICK VAN VALKENBORCH (ANTWERP CIRCA 1570-1623 NUREMBERG) A nocturnal river landscape with a castle and peasants near a campfire oil on copper 30.5 x 41.3cm (12 x 16 1/4in).

£6,000 - 8,000 €6,800 - 9,100 US$8,100 - 11,000

Provenance Sale, Sotheby’s, London, 28 October 1987, lot 21 (as Paul Bril) Sale, Sotheby’s, Olympia, 8 April 2003, lot 140 (as Circle of Frederick van Valkenborch) Sale, Dorotheum, Vienna, 29 September 2004, lot 135 (as Frederick van Valkenborch, sold for 40,000 EUR) Private Collection, Europe

For details of the charges payable in addition to the final Hammer Price of each Lot 54 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 33 PALAMEDES PALAMEDESZ. I (LONDON 1607-1638 DELFT) A cavalry skirmish indistinctly signed and dated ‘Pal***163*’ (lower right) oil on panel 60.1 x 81.2cm (23 11/16 x 31 15/16in).

£4,000 - 6,000 €4,600 - 6,800 US$5,400 - 8,100

Provenance Lt. Col. Henry Courtney Brocklehurst (1888-1942), Swythamley Park, near Macclesfield

Exhibited On loan to West Park Museum, Macclesfield, circa 1936-2017

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

For details of the charges payable in addition to the final Hammer Price of each Lot 56 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 35 * TP FLORENTINE SCHOOL, 17TH CENTURY Portrait of a gentleman, standing three-quarter-length, in green embroidered costume, holding a plumed hat and a spear oil on canvas 129.4 x 95.8cm (50 15/16 x 37 11/16in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 57 36 TP EMILIAN SCHOOL, EARLY 17TH CENTURY First published in 1977 by Erich Schleier, the author of the present Tancred baptising Clorinda painting’s former pendant Erminia and Vafrino mourning the death of oil on canvas Tancred (now in the Sarah Campbell Blaffer Foundation, Museum of 133.5 x 206.5cm (52 9/16 x 81 5/16in). Fine Arts, Houston, Texas), has been under discussion ever since.

In his 1977 article Erich Schleier proposed an attribution to Pier £30,000 - 50,000 Francesco Mola for the Erminia and Vafrino1. The pair was then €34,000 - 57,000 offered on the art market the following year as by Giuseppe Caletti, US$40,000 - 67,000 called il Cremonese (c. 1600-c.1660), an artist of Cremonese origins active mainly in Ferrara. When the pair was later sold by Christie’s Provenance on 8 December 1989, lot 121, as the work of Pier Francesco Mola, Sale, Sotheby’s, 12 July 1978, lot 76 (as Giuseppe Caletti, called il an alternative attribution to the Bolognese Emilio Savonanzi (1580- Cremonese, one of a pair) 1666) was suggested. In his most recent monograph on Mola, Sale, Christie’s London, 11 December 1981, lot 2 (as Pier Francesco Mola) Francesco Petrucci does not accept the attribution of the Erminia Sale, Christie’s London, 8 December 1989, lot 121 (as Pier Francesco Mola) and Vafrino mourning the death of Tancred and lists it under ‘Doubtful and Rejected works2. Whilst the landscape in the present painting Literature does certainly recall those of Pier Francesco Mola, such as that in T. Pignatti, Five Centuries of Italian Painting, 1300-1800, from the his Bacchus and Ariadne, now in the Herzog Anton Ulrich Museum, Collection of the Sarah Campbell Blaffer Foundation, Texas, 1985, p. 134 Brunswick, the figures are less like his.

Notes 1. See E. Schleier, ‘Pier Francesco Mola and S. Maria della Quercia’, in Antichita’ viva, vol. 16, no. 6 (1977), pp. 21-22 2. See F. Petrucci, Pier Francesco Mola (1612-1666) Materia e colore nella pittura del ‘600, Rome 2012, p. 493, cat. no. E35 (Doubtful and Rejected works)

For details of the charges payable in addition to the final Hammer Price of each Lot 58 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 59 37 THOMAS ROWLANDSON (LONDON 1756-1827) A Master of the Ceremonies introducing a partner pen, brown ink and grey wash on laid paper 25.6 x 36.5cm (10 1/16 x 14 3/8in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance With Leger Gallery, London, 1976 Private Collection, UK

Literature J. Grego, Rowlandson the Caricaturist, London, 1880, p.326, ill

Engraved Etching published by Samuel William Fores, 1795

The satirical appeal of Rowlandson’s work still strikes home today but there would have been an added piquancy for his contemporaries who would have recognised the people featured in some of his more significant drawings. We know the subject of the present watercolour which dates from 1785 from the print published by Samuel Fores (fig. 1), one of a group of Rowlandson works from the 1780s that were issued as etchings in 1795. The scene shows the Master of Ceremonies introducing an elderly dandy to a pair of ladies who are themselves far from in the first flush of youth, but what they lack in looks they make up for in improbably large wigs and feathered headdresses; to the right a group of robust ladies are dancing with rather more enthusiasm than grace. This is Bath, where throughout the 18th century polite society went for ‘the season’ to take the waters, socialise, attend balls, gamble and generally to see and be seen.

Fig. 1 Thomas Rowlandson, A Master of the Ceremonies, hand Fig. 2 Portrait of James King, coloured etching, published by Samuel William Fores in 1795 Master of the Ceremonies

For details of the charges payable in addition to the final Hammer Price of each Lot 60 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 61 The role of the Master of Ceremonies was a key one. It had grown out of the need, at the start of the century, for someone to organise entertainment for those who had come to the city seeking the curative properties of the spa waters and before long he had become a kind of social ringmaster. The most celebrated Master of Ceremonies was ‘Beau’ Nash who reigned over Bath from 1704 to 1761 but by the time of Rowlandson’s drawing, the two Masters of Ceremonies were Richard Tyson and James King, the latter being the likely subject of the present watercolour. King (fig. 2) had served in the British army during the American war and took up his role in Bath in 1785 where he was elected M.C. of the Lower (Assembly) Rooms. In 1805 he became M.C. of the more prestigious Upper Rooms where he managed proceedings until his death in 1816 and even made a fictional appearance in Jane Austen’s novel Northanger Abbey when he introduced Henry Tilney to Catherine Morland. King’s lucrative job involved visiting new arrivals in the city, partly to vet them and assess their suitability to join the 500 or so people who had pre-booked tables, but also to collect a subscription which would permit them to attend the balls, gambling tables and baths. This would have allowed him to get to know everyone in the city and gather the intelligence essential for someone who was expected to make the most appropriate introductions and even to match-make. Part concierge, part diplomat, King was tasked not only with introducing newcomers but also with managing the dance floor, overseeing the smooth running of proceedings and diffusing situations at risk of combustion.

The beau monde who congregated in Bath every year provided perfect material for Rowlandson’s pen and the gouty gentlemen, ageing ladies and quack doctors were immortalised in a set of 12 prints published from his drawings in 1798 under the title of The Comforts of Bath. He was not the first to draw on the city as a source of comic satire, Christopher Anstey’s book The New Bath Guide or the Memoirs of the Blunderhead Family of 1766 described Bath through the prism of two social ingénues fresh from the country and it enjoyed huge popular success over the last decades of the century.

Rowlandson’s prodigious output included landscapes and scenes of everyday life which he sketched with remarkable speed and facility, but his name will always be synonymous with social satire thanks to the wide circulation of prints made from his watercolours. The present example embodies the skillfully-drawn, humorous social commentary for which he is so well known and dates from the decade in which he produced his finest work. Among his greatest achievements were the large-scale, sophisticated compositions painted in the 1780s which he exhibited at the Royal Academy and were intended to rival oil paintings. Some of the most memorable are Vauxhall Gardens (see: J. Baskett and D. Snellgrove, The drawings of Thomas Rowlandson in the Paul Mellon Collection no 12, pp 13-14), Box Lobby Loungers (Getty Museum, 84. GG. 645) An English Review and A French Review (Collection of Her Majesty the Queen, inv. no. R.L.13720 and 13721).

38 GEORGE STUBBS ARA (LIVERPOOL 1724-1806 LONDON) Men loading sheaves of corn onto a cart, with two young girls gleaning signed and dated ‘Geo: Stubbs pinxit/1785’ (lower right) oil on millboard 67.8 x 97.7cm (26 11/16 x 38 7/16in).

£350,000 - 450,000 €400,000 - 510,000 US$470,000 - 610,000

Provenance Possibly Stubbs’s studio sale, 26 May 1807, lot 76, as Landscape, a View from Nature during the Corn Harvest; Men loading a Cart with Corn, and Women and Children gleaning, (sold for £43. 1s) Revd R.L. Barker, Charlbury, 1886 The Collection of Major Roller Tadley By whom sold, Christie’s, London, 10 December 1910, lot 88 (as The Harvest-Wagon, sold for 6? gns to Renton) Col. G.M.Barnett, Glympton Park, 1939 With Leggatt Brothers, from whom purchased by a private collector Sale, Christie’s, London, 22 March 1974, lot 36 (bt Roy Miles) Private Collection, UK With Anthony Mould, London, 2006, from whom purchased by the present private collector

Literature Possibly Index of Paintings sold in the British Isles, during the Nineteenth Century (IPSBI), subtitled The Provenance Index of the Getty Art History Information Program, Santa Barbara, California, as vols. I-IV, 1988-99 J. Egerton, George Stubbs, Painter, Catalogue Raisonné, London, 2007, pp. 478-9, cat. no. 252, ill.

For details of the charges payable in addition to the final Hammer Price of each Lot 64 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 65 ‘This subject remains among the most celebrated images of Stubbs’s output and indeed of the entire canon of great British art’

Seven harvesting paintings by Stubbs are known: four oils, including the skilled, intent and unselfconscious demeanour of his labourers in the present work, painted in the 1780s, followed a decade later the fields; but these remain details in larger compositions. Only in his by three enamels. This subject which the artist turned to at this compositions of 1785 do such figures take centre-stage and occupy time reflects a deliberate pause in his output in which he sought it as fully, though less self-consciously, as do the upper-class sitters in to diversify his subject-matter and make it more appealing to the The Milbanke and Melbourne Families, for example. public; an approach that most evidently paid off since his Reapers and Haymakers, which now hang in Tate Britain, remain among the That he made his original observations for this composition at first- most celebrated images of Stubbs’s output and indeed of the entire hand is evident from the preliminary drawings made from nature. The canon of great British art. In many ways they anticipate a bucolic first day of Stubbs’s sale included ‘Six studies of the Reapeer [sic], perception of rural England that Constable went on to cement in the and two finished drawings of ditto’ (lot 17), ‘A capital Drawing, the nation’s identity. In his choice of subject Stubbs may have been partly original design for the Corn Field with Reapers’ (lot 28) and ‘Ditto, influenced by the current popularity of picturesque rural subjects by ditto, the original design for the Painting of the Hay Field and Men Gainsborough, Wheatley and Morland, as well as some of the many loading a Hay Cart’ (lot 30). How far such drawings related to the illustrators of James Thomson’s Seasons (first published 1726-30). finished compositions of these subjects, or what clues they might have Nonetheless, the lyrical yet realistic manner with which Stubbs here contained to the precise location for the original studies, however, depicts the skilled movements of the labourers loading hay is entirely is impossible to tell since all the drawings in Stubbs’s sale have unique to his abilities. disappeared without trace.

Perhaps one crucial reason why Stubbs continues to appeal The earliest of Stubbs’s harvesting paintings are Haymakers and to modern values is his rare empathy with the more humble Reapers, each dated 1783 (in oil on panel, 91.5 x 137.2 cm.), now in representatives of humanity. It has been remarked that many details in the Berstead Collection, Upton House (The National Trust), which were Stubbs’s earlier pictures, notably the groups of grooms and stable-lads then developed into the Haymakers and Reapers, each dated 1785 rubbing down a horse after exercise in the Goodwood Racing picture and on panel, 89.5 x 132.5 and 90 x 137 cm. respectively, now in of the early 1760s or in the 1765 Gimcrack on Newmarket Heath seem Tate Britain. These were exhibited at the Royal Academy in 1786 and to anticipate the dispassionate sympathy with which he portrayed engraved by the artist in 1791.

66 | BONHAMS Judy Egerton believes that the present painting can be accepted as man seen from behind pitchforking sheaves on to the cart is fairly either the picture in the artist’s posthumous sale in 1807 (size given in close to that in the Haymakers of 1785. The present composition an annotated copy of the catalogue,according to Egerton, ‘as “2 1/2 x further conflates motifs from both Stubbs’s harvesting pictures of 3”, i.e. 27 x 36 in. [noted in the IPSBI reprint of the sale catalogue]), or a 1785, including the haycart from the 1785 Haymakers (see fig. 1), study for it. Lot 74 in the same sale, “Landscape painted from Nature, at the two already harnessed draught-horses waiting to draw it and the the time of the Hay Harvest, with Mowers and Haymakers”, annotated foreground detail of the sheaves of wheat sheltering a jug and a bottle as the same size, and bought by anon. for £31.10s., may have been from the 1785 Reapers (see fig. 2). The poses of some of the labourers the pendant picture, but is now untraced’. Egerton further writes that (particularly that of the man on top of the cart, seen from behind) ‘Perhaps Stubbs’s purpose in painting this (?and the pendant picture) also appear to anticipate those in the artist’s oval Haymaking scene on the comparatively insubstantial support of millboard was to try out painted in enamel in 1794 (Lady Lever Art Gallery, National Museums designs using some of the preliminary studies not used for his larger Liverpool; see fig.3). Like the present work, this omits the female figure paintings, producing something more than a sketch, but less than his that appears to the left of the 1783 version and in the centre of that of highly finished harvesting scenes of 1785. Stubbs used millboard of 1785. much the same size for his painting of two monkeys for John Hunter (now in the Hunterian Museum of the Royal College of Surgeons). Stubbs painted two further oval versions of the Reapers in enamels: the companion to the aforementioned work in the Lady Lever Art The two figures of younger girls gleaning do not appear in Stubbs’s Gallery; and that in the Yale Center for British Art, Paul Mellon earlier harvesting scenes; nor do the figures of the labourers replicate Collection), both dated 1795, which are fairly closely based on the those in the paintings of 1783 and 1785, although the pose of the 1785 pair, albeit with fewer figures. Image Courtesy of National Museums Liverpool, Lady Lever Museum Fig. 3 George Stubbs, Haycarting. Image Courtesy of National Museums Liverpool, Lady Lever Museum

OLD MASTER PAINTINGS | 67 39 PHILIPS WOUWERMAN (HAARLEM 1619-1668) Literature A hawking party with figures resting by a fountain, an extensive W. Lormier, Magazine Catalogue Willem Lormier, The Hague, landscape beyond December 1754, no. 337 signed with monogram ‘PLS.W’ (lower centre) G. Hoet, Catalogus of Naamlijst van schilderijen met derzelver oil on panel prijzen..., The Hague, 1752-70, vol. II, p. 446 47.6 x 64.7cm (18 3/4 x 25 1/2in). P. Terwesten, Catalogus of Naamlijst van Schilderijen, met derzelver pryzen zedert den 22. August 1752 tot der 21. November 1768 verkogt, The Hague, 1770, no. 335 £15,000 - 20,000 J. Smith, A Catalogue Raisonné of the Works of the Most Eminent €17,000 - 23,000 Dutch, Flemish and French Painters, London, 1829, no. 53; and 1842, US$20,000 - 27,000 no. 53 G.F. Waagen, Treasures of Art in Great Britain, London, 1854, vol. III, Provenance p. 261 (as ‘A rich, attractive, and very careful composition, executed in (Possibly) Stadholder of Brussels, circa 1700 (according to literature) the master’s second manner, but heavy and cold in tone’) With Jan Peter Snijers, Antwerp, from whom acquired for 514 florins C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most by the following Eminent Dutch, Flemish and French Painters, Esslingen and Paris, Willem Lormier (1682-1758), The Hague, by 1752 1909, pp. 417-8, no. 539 His sale, Franken, The Hague, 4 July 1763, lot 324 (900fl. to Yver) B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter Possibly, sale, Amsterdam, 17 September 1766, lot 73 or 106 (as ‘Dit of the Golden Age, Doornspijk, 2006, vol. I, p. 261, no. A225a Stuk is uit het Cabient van den Heer Lormier’, sold for 1145fl. to Puthof) Acquired by Captain Baillie for the following Sir James Lowther, 1st Earl of Lonsdale (1736-1802), Lowther Castle, Cumbria, (inv. no. 235) and thence by descent to the Trustees of the 7th Earl of Lonsdale

For details of the charges payable in addition to the final Hammer Price of each Lot 68 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 40 JACQUES COURTOIS, CALLED IL BORGOGNONE (SAINT-HYPPOLITE 1621-1676 ROME) A cavalry battle before the walls of a town oil on canvas 60.2 x 99.4cm (23 11/16 x 39 1/8in).

£6,000 - 8,000 €6,800 - 9,100 US$8,100 - 11,000

We are grateful to Prof. Giancarlo Sestieri who has confirmed the attribution to Courtois on the basis of colour photographs.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 69 41 TP JACQUES D’ARTHOIS (BRUSSELS 1613-1686) A wooded landscape with Diana and her nymphs hunting a stag oil on canvas 207 x 274cm (81 1/2 x 107 7/8in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

A pair of paintings that are loosely related to the present work and to the following lot, attributed to Jacques d’Arthois which were previously in the Liechtenstein Collection, Schloss Vaduz, were sold at Christie’s London,9 July 2008, lot 118 (oil on canvas, 101.4 x 108 cm., depicting Meleager and Atalanta leading the hunt for the Calydonian boar; and Meleager dealing the death blow to the boar).

Provenance Private Collection, UK

For details of the charges payable in addition to the final Hammer Price of each Lot 70 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 42 TP JACQUES D’ARTHOIS (BRUSSELS 1613-1686) A wooded landscape with a boar hunt oil on canvas 207 x 274cm (81 1/2 x 107 7/8in).

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

The staffage in the present composition is close in style to David Teniers the Younger (1610-1690), who was known to have collaborated with Jacques d’Arthois.

Provenance Private Collection, UK

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 71 43 * TP CHARLES-ANDRÉ, CALLED CARLE VAN LOO Possibly, A. Dezallier d’Argenville, Voyage pittoresque de Paris; ou (NICE 1705-1765 PARIS) indication de tout ce qu’il y a de plus beau dans cette grande ville en Fortitude peinture, sculpture & architecture, 5th ed., Paris, 1770, p. 131 (where oil on canvas the painting is described as in Blondel de Gagny’s collection) 159.3 x 127.8cm (62 11/16 x 50 5/16in). Possibly l. Reau, ‘Carle Vanloo (1705-1765)’, in Archives de l’art Français, vol. xix, 1935-37, pp. 39 and 77, no. 14 (under lost paintings)

£15,000 - 20,000 Two other unsigned versions of the present composition by Vanloo €17,000 - 23,000 are known: an unsigned version in the Musée Cheret, Nice (see M.- US$20,000 - 27,000 C. Sahut, Carle Vanloo: Premier Peintre du Roi, 1977, p. 56, cat. no. 87); and Sale, Sotheby’s London, 16 December, 1999, lot 191. Both Provenance paintings have been tentatively linked with the painting listed in the Possibly Carle Vanloo (listed in his posthumous inventory, artist’s possession at the time of his death, and later in the collection of dated 5 August 1765, no. 91, priced 36 livres) the eminent statesman Blondel de Gagny, although the measurements Possibly his sale, Paris, Basan, 12 September 1765, lot 3, of none of the versions correspond precisely with those given in the for 632 livres catalogue of the 1776 De Gagny sale. Cleaning of the Sotheby’s Possibly The Collection of Augustin Blondel de Gagny, Paris, version revealed pentimenti on the left shoulder, on the right leg, and his sale, Paris, Remy, 10-24 December 1776, lot 239, for 1200 on the leash, as if the artist altered the position of the lion. Interestingly livres to Colignon (circa 168 x 141 cm.) from that perspective, the present composition extends further to the right to allow the lion to be positioned further to the right and includes Exhibited a tree above the lion’s head. Possibly Paris, Salon, 1742, no. 17

Literature Possibly Abbé P.-F. Guyot Desfontaines, ‘Expositions des Tableaux de l’Académie de peintures et de Sculptures’, in Observations sur les écrits modernes. vol. xxix, 29 August 1742, letter ccccxxxv, p. 354 (ms. in the Bibliothèque Nationale Impr., Z56955) Possibly ‘Catalogue abregé des ouvrages .. exposés dans le Salon du Louvre, le 25 Août dernier ...’, in Mercure de France, 1742, p. 2056, no. 2

For details of the charges payable in addition to the final Hammer Price of each Lot 72 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 73 THE SOPRINTENDENZA ALLE BELLE ARTI ITALIANA CONSIDERS THIS PAINTING TO BE A WORK OF NATIONAL IMPORTANCE AND REQUIRES IT TO REMAIN IN ITALY; IT CANNOT THEREFORE BE EXPORTED FROM ITALY.

THE WORK WILL BE AVAILABLE TO VIEW IN ROME BETWEEN 18-21 JUNE

44 CIRCLE OF MICHELANGELO MERISI DA CARAVAGGIO The present work is the only known period copy, with differences, after (CARAVAGGIO 1573-1610 PORTO ERCOLE) Caravaggio’s original Saint Francis in Meditation now in the Museo Saint Francis in contemplation di Ala Ponzone in Cremona. The original composition is generally oil on canvas, unlined considered to have been executed at some point towards the very end 115.5 x 93cm (45 1/2 x 36 5/8in). of Caravaggio’s time in Rome or possibly to his stay in Paliano, where he had taken refuge under the protection of the Colonna family.

£50,000 - 70,000 Little is known of the history of the original San Francesco in Cremona. €57,000 - 80,000 A Saint Francis in meditation was recorded in the collection of US$67,000 - 94,000 Monsignor Benedetto Ala, Governor of Rome between 1604 and Literature 1610. Ala is most likely to have come into possession of the painting M. Marubbi, Da Lotto a Caravaggio. La collezione e le ricerche di before 1610, the year in which he moved to Urbino as bishop, the Roberto Longhi, exh. cat., Venice, 2016, p. 97 (under cat. no. 18) city where he remained until his death in 1620. The most likely date of execution for the original at Cremona is generally thought to be 1606. Most probably painted shortly after the artist’s departure from Rome as a consequence of Caravaggio’s murder of Ranuccio Tomassoni (28 May 1606), the artist has used his own features to depict the Saint in penitence, perhaps as a reflection of his own state of mind at that moment, or even as an offering to the Governor of Rome at the time, Monsignor Ala, the first known owner of the painting. An inscription on the frame of the Cremona San Francesco (‘Con. S.ti Franci) suggests that at some point later, the work may have been deposited at the Cistercian convent of Santa Maria in Monte Oliveto at Castell’Arquato. The existence of the only other known copy of the San Francesco, dating to the second half of the 17th Century, now at the Museo della Collegiata di Castell’Arquato, near Piacenza, seems to confirm that the original was in Cremona within decades of it being painted. In his catalogue entry for the original, Mario Marubbi also refers to the present painting. He suggests that Caravaggio’s San Francesco may already have also enjoyed some notoriety in Rome, given the presence of this painting, which is believed to be contemporary in date to the original (see M. Marubbi, ibid p.97). The original then found its way back into the Ala collection, presumably through inheritance to the marchese Filippo Ala Ponzone who donated it in 1879, as an anonymous work, to his native city of Cremona.

The present painting has approximately the same proportions in the figure as the Cremona work but the dimensions differ, with the current San Francesco being shorter and very slightly wider. Differences between the two canvases are discernible such as the absence of the halo in the present work and in the detail of the book, lower left, but the greatest difference is in the trunk of the tree and the leaves themselves, which are oak leaves in the present painting as opposed to laurel in the original. Infra-red imaging does not reveal any kind of grid for transfer and the artist of the current painting also appears to have rethought the position of one of the fingers on the Saint’s clasped hands suggesting that the present work was conceived as an © 2018. Photo Scala, Florence © 2018. Photo Scala, Florence independent work and not simply as a slavish copy. Fig. 1 Caravaggio, Saint Francis, Museo Civico, Cremona

For details of the charges payable in addition to the final Hammer Price of each Lot 74 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 75 45 JOHANN AMANDUS WINCK (EICHSTÄTT 1748-1817 MUNICH) Peaches, pears, an apple, plums and grapes in a porcelain bowl with other fruit on a stone ledge with a Robin and various insects; and Apples, grapes, pears and strawberries in a porcelain bowl and other fruit on a stone ledge with a goldfinch and various insects the former signed and dated ‘Joan.Amand. Winck. 1802’ (lower left) and the latter signed with initials ‘JW’ (lower centre) a pair, oil on copper 30.5 x 42.2cm (12 x 16 5/8in). (2)

£40,000 - 60,000 €46,000 - 68,000 US$54,000 - 81,000

Provenance Sale, Christie’s, New York, 16 January 1992, lot 3 (as property of a private collector) With Robbig, Munich, before October 1992, where purchased by the present owner’s father

Little is known of Johann Amandus Winck’s life. He was the son of Johann Chrysostomus (1725-1795), and nephew of Christian Winck (1738-1797), both of whom were popular artists at this time. He is thought to have trained in Antwerp and the influence of Dutch still life painters, such as Abraham Mignon and Jan van Huysum, is clearly evident in his works.

For details of the charges payable in addition to the final Hammer Price of each Lot 76 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 77 46 COENRAET ROEPEL (THE HAGUE 1678-1748) Provenance Peaches, plums, grapes and other fruit in a landscape Formerly in the collection of the Belgian architect Jules Dormal oil on canvas (1846–1924) 67.1 x 51.7cm (26 7/16 x 20 3/8in). Private Collection, South America

We are grateful to Dr. Fred Meijer for confirming the present painting to £8,000 - 12,000 be an autograph work by Coenrat Roepel (private communication). €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot 78 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 47 JAN PAUWEL GILLEMANS THE ELDER (ANTWERP 1618-1675) Provenance A still life of fruit with a monkey and parrot Private Collection, Paris signed ‘J.P. Gillemans’ (lower right) Sale, Europauction, Paris, 21 June 2013, lot 6 (as Jan Pauwel oil on panel Gillemans the Younger), where purchased by the present owner 47.8 x 65.5cm (18 13/16 x 25 13/16in). We are grateful to Dr. Fred Meijer for confirming the attribution to Gillemans the Elder, upon inspection of colour photographs. £8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 79 48 FRANCIS COTES (LONDON 1726-1770) Sir Robert Burdett, 4th Baronet, was the posthumous son of Sir Portrait of Robert Francis Burdett, 4th bt., three-quarter length in a red Robert Burdett, 3rd Baronet of Bramcote Warwickshire, and his wife coat and standing before a green brocade curtain the Hon. Elizabeth, daughter of William Tracy, 4th Viscount Tracy. signed and dated ‘FCotes px.t/ 1767’ (lower right) and bears His grandfather had died four months before his father so Burdett inscription ‘Sir Robert Burdett IV. Bt/ B. 1716- D. 1797/ F. COTES, succeeded the baronetcy at his birth. Having completed his education R.A.’ (on reverse) at New College, Oxford, he served as High Sheriff of Derbyshire and oil on canvas then, in 1748, he was returned as Member of Parliament for Tamworth, 126.3 x 100.2cm (49 3/4 x 39 7/16in). a position he held for the next 20 years. In 1759, Robert Burdett commissioned the London architect David Hiorns to design Foremarke Hall in Derbyshire intended as a stately home for his son, Francis £25,000 - 35,000 Burdett. €29,000 - 40,000

US$34,000 - 47,000 The present portrait was executed by Francis Cotes at a point when his work was very much in demand. In 1767, two years after he was Provenance appointed Director of the Society of Artists, Cotes completed two The sitter and thence by descent to Sir Francis Burdett, 7th Bt., royal commissions in oil - Queen Charlotte with Charlotte, Princess Ramsbury Manor, Ramsbury, Wiltshire, by whom offered Royal (Royal Collection inv. no. 452805) and Princess Louisa and Sale, Sotheby’s, London, 2 December 1953, lot 41 (bt. Leggatt) Princess Caroline (Royal Collection inv. no. 404334) - and was also With Leggatt Brothers, London charged by Sir Robert Burdett to carry out portraits of his family. Two With Gooden and Fox, London three-quarter length depictions of his son (Francis Burdett, 1743-1794) and his daughter (Elizabeth, died 1804) were sold in these rooms on Literature 6 December 2006, lots 38 and 39, the latter signed and also dated C.H. Collins Baker, British Painting, London, 1933, opposite p. 96, 1767. Cotes also portrayed Burdett’s first wife, Elizabeth, daughter of pl. 61 (incorrectly identified as ‘Sir Francis Burdett’) Charles Sedley, in the same year and the portrait was sold by the 7th E.M. Johnson, Francis Cotes: Complete Edition with a Critical Essay Baronet in 1953, at the same time as the current work. The following and a Catalogue, London, 1976, pp. 84-85, no. 214, ill. fig. 62 year, 1768, Cotes was invited to become one of the founder members of the Royal Academy but died just two years later aged 44.

For details of the charges payable in addition to the final Hammer Price of each Lot 80 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 81 49 ENGLISH SCHOOL, CIRCA 1630 Portrait of a child, full-length, standing, holding a toy lance, with his dog inscribed and dated ‘ETATIS.SVI. XXI, Mo. Ao 1630’ (upper right) oil on canvas 111.1 x 92.4cm (43 3/4 x 36 3/8in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance The Collection of Charles Kirkpatrick Sharpe (1781-1851), Hoddam, Dumfriesshire, and thence by descent to his nephew Rev. William Kirkpatrick Riland Bedford (1826-1905), of Sutton Coldfield, and thence by descent to his son Rev. William Campbell Riland-Bedford (died 1922), Kennilworth Road, Leamington Spa, before 1919 (all according to a label on the reverse)

Literature S. Hoppen, Picture Perfect, London, 2004, ill. p. 51

While the style of the composition, and the fashion of the costume of the present portrait would appear to indicate an English origin for the painting, the painterly technique is reminiscent of the works of some of the provincial artists working in North Holland (Friesland) at this date.

For details of the charges payable in addition to the final Hammer Price of each Lot 82 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 83 50 TP STUDIO OF FRANS SNYDERS (ANTWERP 1579-1657) A fish stall with a view to fishermen unloading their catch on the beach beyond oil on canvas 163 x 239cm (64 3/16 x 94 1/8in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

For details of the charges payable in addition to the final Hammer Price of each Lot 84 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

51 ANGLO-DUTCH SCHOOL, LATE 16TH/EARLY 17TH CENTURY Portrait of Sir Francis Drake (circa 1540-1596), three-quarter-length, in half-armour, blackened and gilded, ornately decorated with depictions of trophies of arms, holding a baton in his right hand and a rapier in his left, standing beside a plumed helmet on a table draped with a green cloth oil on canvas 104.6 x 79.7cm (41 3/16 x 31 3/8in).

£300,000 - 500,000 €340,000 - 570,000 US$400,000 - 670,000

Provenance Private Collection, UK until 1972 Subsequently acquired by the current private collector

Exhibited Devon, Buckland Abbey, April 2016 - April 2018

Literature A. Haldane, ‘A portrait of Sir Francis Drake? A belief in the possible’, in The British Art Journal, vol. XIV, no. 3, 2013 - 2014, pp. 42-44

Fig. 1 Infrared Reflectography of the present lot

For details of the charges payable in addition to the final Hammer Price of each Lot 86 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 87 ‘A merchant, a pirate and hero of the Armada’

Plate 3. Macro detailFollowing of the recto its publication, in The British Art Journal, the present portrait has visible light, eye showingsince been the grey widely accepted by the leading scholars on English portraiture colouring and detail.of this period as depicting the great Elizabethan seafarer, Sir Francis Drake, painted possibly before his successful circumnavigation of the globe in 1577. The portrait has spent the last two years in the Drake Chamber of Buckland Abbey, Drake’s home and now a National Trust property. Scientific analysis confirms that the technique and materials are consistent with those used in the 1570s; while also showing that the painting must have been well-planned prior to execution and includes a few minor pentimenti, such as the change of contour of the breast plate of the armour to the right (the sitter’s left shoulder; fig. 1). All of this, along with the age of the sitter, the fashion of his armour and the dress allows the possibility that this portrait is one of the earliest known images in the iconography of this English national hero. Fig. 2 Detail of eye Plate 4. Macro detailIn ofAugust the recto, 1573 Drake had returned from the Spanish West Indies with visible light, showingconsiderable the wart on plunder.the He had entered the service of Walter Devereux, nose of the sitter, whichEarl ofis clearlyEssex, anand this portrait, showing him as a man of worth, wealth original element of theand painting, social standing, clearly would be appropriate for this moment in his life. traversed by the craquelure.Indeed, Essex himself is shown in similar attire in his portrait dated 1572 which is now in the National Portrait Gallery in London. The style of armour depicted here, like that shown in the portrait of Sir Philip Sidney at Blickling Hall (see fig. 6) is of a north Italian fashion, probably made in Milan to judge from the form of the breastplate which emulated the “peascod” form of doublet then in vogue. The pattern of the etching is a common one for such armour and is usually referred to as ‘Pisan’ by the collector because so much of it was kept in Pisa into Plate 3. Macro detailthe of 19th the recto century, for use in the city’s annual ‘Gioco del Ponte’. In visible light, eye showinggeneral, the the grey armour was white (that is polished bright) with white colouring and detail.etching on a stipple black background. The armours in this and the Plate 5. Macro detailSidney of the portrait recto, are exceptional in being blued or blackened with gilt visible light, showingetching. the fading It is andthought likely that the armour in both these portraits was loss of the red lake glazeowned of orthe borrowed as a studio-prop by the artist, rather than having plumage in the helmet.been The painted pigment from is life since the articulation of the couters (or elbow- best preserved in thedefences) depths of ofthe the armour depicted would not work in real life and the brush strokes. helmet is depicted with three gorget-plates front and back when two would have been typical. The armour, ornately designed and clearly expensive, displays a number of armorial emblems which seem intended to convey a strong message, displaying trophies of arms

© National Maritime Museum, Greenwich, London © National Maritime Museum, Greenwich, relating to the military success, prowess or aspiration of the sitter. Fig. 3 Marcus Gheerhardts (c. 1561/2-1636), Drake himself was not granted a coat-of-arms until 1581, in grateful Portrait of Sir Francis Drake recognition of his circumnavigation, and these generic symbols would Plate 4. Macro detailat ofthis the date recto, have been the best way to project an image of status. The visible light, showinghelmet the wart is of on the the type intended for the tilt and since Drake bears a lady’s nose of the sitter, whichfavour is onclearly his arman the armour depicted here is most probably intended original element of tothe be painting, tournament clearly armour. 12 traversed by the craquelure. There is a number of portraits, the earliest of which would appear to be from the 17th century, which had hitherto identified the sitter in the present work as Drake’s military rival, Sir John Norreys. The basis for this identification was a portrait which carries an identifying inscription ‘Sr Jehan Nooris’, by George Perfect Harding, executed in 1818. The image from which Harding was working, and from which he copied the inscription exactly, is a portrait in a private collection in Ireland. Drake and Norreys were keen rivals in the court of Elizabeth I and their paths as military figures often coincided and collided. Both Drake and Norreys were in Ireland in 1575 and, after the attack of the Spanish Fig. 4 Detail of wart Plate 5. Macro detail of the recto, 88 | BONHAMS visible light, showing the fading and loss of the red lake glaze of the plumage in the helmet. The pigment is best preserved in the depths of the brush strokes.

12 Armada in 1588, Drake and Norreys were given a dual command to destroy the remaining ships from the Armada, to support the rebels in Lisbon against Philip II of Spain, and to take the Azores. It is not surprising, therefore, that the figures of Drake and Norreys should have often been viewed in parallel.

However, not only does the inscription of the portrait in Ireland seem to have been added, and compressed into a narrow band above the sitter’s head, but the portrait bears little facial resemblance to Norreys, most importantly in the respect that he is not known to have had a skin tag, or wart. It is this crucial factor when coupled with the overall likeness which now confirms that both the present portrait and the portrait in the private collection in Ireland in fact depict Drake.

In the general physiognomical perspective Drake is known to have had light coloured eyes (fig. 2), as can be seen in Marcus Gheeraerts the Younger’s portrait in the National Maritime Museum (fig. 3). He also seems to have had tightly curled brown hair, as can be found in his portraits by Nicholas Hilliard, Jean Rabel and Jodocus Hondius. More specifically, however, Drake is known to have had two warts: one of these was on the left hand side of his nose and was clearly illustrated in a number of lifetime images of Drake, including the Gheeraerts portrait, painted in 1591, as well as the portrait by an unknown hand in the National Portrait Gallery, painted circa 1581. The engraving by Jodocus Hondius is also known, executed circa 1583, which shows Drake with this wart, mole or skin tag. London © National Portrait Gallery, Hondius is recorded as having known Drake personally and it would seem Fig 5 Thomas de Leu (1560-1612), Sir Francis Drake, probable that the artist based his 1583 engraving on an ad vivum after Jean Rabel (1545–1603). Line engraving knowledge of his sitter. While the present portrait is the only one known that is painted from the sitter’s right hand side, close examination of this and the Gheeraerts portrait, however, both also show a second wart on the bridge of Drake’s nose (fig. 4). The existence of this second wart is reinforced by a pen and ink sketch by Henry Bone, executed in 1813, which clearly shows the dot of a second wart between the eyes. Bone wrote beneath his pen and ink sketch that he had used the portrait of Drake at Knole as the basis for his work. The Knole portrait is clearly derived from the Gheeraerts portrait, which now therefore seems to be the primary evidence for Drake’s second wart. Furthermore, the engraving by Thomas de Leu, after the portrait by Jean Rabel, also clearly shows the two warts (fig. 5) and, although there are portraits of Drake which do not show the second wart, it remains a crucial physiognomic factor in favour of the identification of the present sitter as Drake.

While the author of the present portrait has not been identified it has been suggested that it has close affinities with the portrait of Sir Philip Sidney at Blickling Hall (fig. 6) in which the sitter is wearing almost identical armour. As well as being a poet and scholar, Sidney was General of Horse and Governor of Flushing; he conducted a successful raid on the Spanish forces near Axe in 1583 and it is thought that these two works were probably part of a series of depictions of military heroes from the court of Elizabeth I of England. A further comparable portrait is that of Sir Richard Grenville in the Images © National Trust National Portrait Gallery (fig. 7). A cousin of Drake, Grenville was a Fig 6 Portrait of Sir Philip Sidney (1554-1586) soldier, an armed merchant fleet owner, privateer, colonizer, and explorer who took part in the early English attempts to settle the New World, while also later participating in the fight against the Spanish Armada. A proposed patent to Grenville for activities against the Spanish was initially granted, but was rescinded a year later on the

OLD MASTER PAINTINGS | 89 grounds that England was still usually attributed to Marcus Gheeraerts and dated 1591, shows a using diplomacy with Spain and decidedly older Drake, heavy of body and thin of hair, with a beard going had been at great pains to grey and a somewhat sinking chin. rebuild her relations with Philip II after the tensions of 1568–71. It was almost inevitable that a man so popular would be named to sit It was these plans that were in parliament, which Drake did in 1581 (for an unknown constituency) usurped and were eventually and again in 1584 (for Bossiney); in the latter parliament he was executed by Drake when he appointed to a committee considering a bill for Walter Raleigh’s circumnavigated the globe in colonization in America. In 1593 he was elected one of the members 1577. This caused some bad for the significant constituency of Plymouth, and took a more active blood between the two role in the Commons than previously. Not a parliamentary leader, Drake Devonians and is the reason nonetheless had the opportunity to serve on committees with such why Grenville refused to ever men as Philip Sidney, Christopher Hatton, and Richard Grenville, serve with his cousin in any whose friendship and influence he was glad to have. capacity. Interestingly and rather ironically it was from this arch- Drake’s first wife, Mary rival of his that, acting through Newman, died just 12 years © National Portrait Gallery, London © National Portrait Gallery, two intermediaries and after they married but in 1585, Fig. 7 Portrait of unbeknownst to Grenville, he married again, to Elizabeth Sir Richard Grenville Drake purchased Grenville’s Sydenham, who was 20 years former seat of Buckland Abbey younger than him and a in Devon, further cementing his status at that time and later establishing wealthy heiress. With their it as his longstanding family seat (fig. 8). combined fortune, they lived in Buckland Abbey. Drake was born in Tavistock, Devon, the eldest of the twelve sons of Edmund Drake, a farmer and Protestant preacher and early on came to In his raids of 1586 on Santo live in Plymouth with his kinsman, William Hawkins. This association had Domingo on the island of a lasting influence on the young Francis: as he grew up, he served for Española, moving on to several years under William’s second son, John and seemed to model Cartegena, across to Cuba and himself on this older relative who had established a reputation in trading then up the coast to Florida, and seafaring. First enlisted by Elizabeth I in 1572 as a privateer in the Drake proved himself once Americas, Francis Drake was key to gaining much of England’s riches again to be brave and and naval successes, taking the treasure the Spanish had brought back unrelenting in battle, but he from the Americas. Hence to the Spanish he was ‘El Draque’ (The Fig. 8 Buckland Abbey, Devon displayed little understanding of Dragon), a pirate and a constant threat. King Philip II of Spain was said the command process, and his to have offered the huge sum of 20,000 ducats (£4 million) for Drake’s idea of capturing isolated towns to hold for ransom was a complete life. Although vital to the British government and the Queen herself, even failure. Even so his reputation in Spain grew yet further as an the English were ambivalent in their view of Drake: the Queen’s minister, embarrassment to the king and an object of fear in every colonial town Lord Burghley, was highly critical of Drake’s behaviour but did concede and the greatest threat in the English arsenal. Drake was later involved in that he was a good weapon against the Spanish. Queen Elizabeth had the destruction of a Spanish fleet at Cadiz in 1587, in what became to maintain a public attitude of disapproval for his unlawful methods, to known as ‘singeing the King of Spain’s beard’. The attacked fleet was to try and prevent hostile relations with Spain, but she quietly approved of be part of the Armada, and this action delayed it for a year. the treasure he returned. Very famously Drake was then given the position of Vice Admiral to After Magellan Drake was the second man to ever voyage round the Lord Howard of Effingham in 1588, to fight the Spanish Armada. world and the first Englishman to do so. The trip lasted 3 years from Broadside positioning, devised by Drake, was a success. He ordered 1577-1580. Six ships in total, with Drake onboard the Pelican – renamed the British ships to sail in a line further away from the Spanish ships the Golden Hind- headed for Brazil and then round the Strait of Magellan than would normally be advised. They would then shoot from this in 1578 for the Pacific. Coming to moor in 1579 at what today is San position, which proved very effective in defeating the Spanish. Francisco, he did not hesitate in claiming the territory for England, naming it ‘Nova Albion’, before crossing the Pacific, passing through the Drake’s voyage in 1596 was to be his last. His attempts to attack Indian Ocean, past Indonesia and all the way back to England. Following Spanish vessels in San Juan, Puerto Rico were failing and he then this remarkable achievement, Queen Elizabeth honoured Drake, not only contracted what we now know to be dysentery which killed him on 28 with £10,000, but also with a knighthood, making a gentleman of the January, on board the Defiance. His body, dressed in armour in one-time pirate. That same year Nicholas Hilliard painted his portrait, a accordance with his request, was encased in a lead coffin and lowered miniature that can be seen at the National Portrait Gallery, and the best into the sea near Panama, a fitting end for a man so celebrated for his of several likenesses made just after his return. As time passed Drake maritime exploits: a merchant, a pirate and hero of the Armada. became more thick set: the painting in the National Maritime Museum,

90 | BONHAMS 52 ATTRIBUTED TO DAVID BAILLY (LEIDEN 1584-1657) Provenance Portrait of Jacoba van Erp (1608-1664), bust-length, in black The Collection of A. Holzman, by whom sold costume and lace collar C. F. Roos, Amsterdam, 31 October 1905, lot 102 charged with the sitter’s coat-of-arms (upper right) Hendriks sale, C. F. Roos, Amsterdam, 17-18 November, 1908, lot 47 oil on panel (both as by Dirck Dircksz. van Santvoort) 71.8 x 61cm (28 1/4 x 24in). The Estate of Herbert L Pratt II (1900-1974), USA, and thence by descent to the present owner

£10,000 - 15,000 A portrait of the sitter’s husband, Guillielmo Bartolotti van den Heuvel €11,000 - 17,000 (1602-1658), also attributed to David Bailly, was offered at Sotheby’s US$13,000 - 20,000 New York on 30 January 2015, lot 445.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 91 53 MATTHEUS WYTMANS (GORINCHEM CIRCA 1640- 1689 UTRECHT?) Portrait of a young man, three-quarter-length, seated in a garden with a peacock signed ‘M. wytmans’ (on table, lower right) oil on panel 28.7 x 22.7cm (11 5/16 x 8 15/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot 92 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 54 GERMAN SCHOOL, 17TH CENTURY Provenance Portrait of a gentleman, half-length, in black and white costume, before With Sydney van der Bergh, before 1968 a red curtain; and Portrait of a lady, half-length, in black and white Sale, Christie’s, Laren, 18 October 1975, lot 273 costume, before a red curtain the first monogrammed, inscribed and dated ‘JRS/ NAT. D.18.AVG/ Exhibited ANO 1635/ PIC.D.6.APR/ANO 1660’ (centre right); and the second Laren, Singer Museum, Two Collections of Dutch Paintings, from the monogrammed, inscribed and dated ‘HRS/ PICTA ANO 1661/ 10 fifteenth to the seventeenth Century, 1959, no. 75a and b APRIL’ (lower left) Leiden, Stedelijk Museum de Lakenhal, Old Masters, 1965, no. 40 and 41 a pair, oil on copper, ovals 12.4 x 10.7cm (4 7/8 x 4 3/16in). (2) Given the biographical details that appear beneath the monograms, they may denote the initials of those people portrayed. £4,000 - 6,000 €4,600 - 6,800 US$5,400 - 8,100

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 93 55 TP The present work is derived from Cigoli’s vertical composition of STUDIO OF LODOVICO CARDI, CALLED IL CIGOLI Jacob’s dream, of which four autograph versions exist: in the Musée (CASTELLO DI CIGOLI, NEAR SAN MINIATO 1559-1613 ROME) Jacob’s dream des Beaux-Arts, Nancy, signed and dated 1593, (oil on panel oil on canvas transferred to canvas, 173 x 134cm); at Burghley House, Lincolnshire 115.2 x 142cm (45 3/8 x 55 7/8in). (on canvas, 150.5 x 130cm); a work offered at Parke-Bernet, New York, 2 November 1978, lot 156 (on canvas, 179 x 140cm); and in the Uffizi Gallery, Florence (on canvas, 186 x 129cm). £10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance A noble family, Lombardy, from whom acquired by the present owner

For details of the charges payable in addition to the final Hammer Price of each Lot 94 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 56 FOLLOWER OF MARCELLO VENUSTI (MAZZO DI VALTELLINA 1512-1579 ROME) The Madonna and Child with the Infant Saint John the Baptist oil on canvas 50.2 x 41.2cm (19 3/4 x 16 1/4in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance Sale, Dorotheum, 16 April 2008, lot 204 (EUR 24,000), where purchased by the present owner

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 95 57 FLORENTINE SCHOOL, EARLY 17TH CENTURY A theatre scene with an audience watching a performance of the commedia dell’arte, with Columbina and her maid, Scaramucia, il Capitano, il Dottore and two Zanni oil on panel 19.1 x 38.2cm (7 1/2 x 15 1/16in).

£5,000 - 7,000 €5,700 - 8,000 US$6,700 - 9,400

For details of the charges payable in addition to the final Hammer Price of each Lot 96 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 58 ATTRIBUTED TO FRANCESCO RIZZO DA SANTACROCE (ACTIVE VENICE, 1507-CIRCA 1545) The Madonna and Child with Saints Catherine of Alexandria and Joseph oil on panel 56.4 x 75.5cm (22 3/16 x 29 3/4in). unframed

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Private Collection, Northern Italy Sale, Dorotheum, Vienna, 6 October 2009, lot 45, where purchased by the present owner

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 97 59 SCHOOL OF DELFT, 17TH CENTURY A still life with strawberries, pears and cherries in porcelain bowls, together with a bread roll on a silver plate, a roemer, a tazza, a jug, two pipes and burning taper, all on a draped table-top oil on panel 41.8 x 78.8cm (16 7/16 x 31in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance Private Collection, Europe, since 1930s, by whom offered Sale, Sotheby’s, Amsterdam, 7 May 2008, lot 34 (as Attributed to Gillis de Bergh)

The four-pointed bread roll appears to be a Delft feature, found with Cornelis Jacobsz. Delff (1570-1643) and the early works of his pupil, Gillis de Bergh (1600-1669), as well as in still lifes by Abraham van Beijeren from around the time when he was working in Delft (between 1657 and 1663).

For details of the charges payable in addition to the final Hammer Price of each Lot 98 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 99 60 * ARNOLD HOUBRAKEN (DORDRECHT 1660-1719 AMSTERDAM) Provenance Diana and Actaeon Sale, Phillips, London, 16 February 1993, lot 121 signed ‘A. Houbraken.’ (centre left) oil on canvas 48.2 x 63.7cm (19 x 25 1/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot 100 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 61 CAREL VAN SAVOY (ANTWERP 1619-1665 AMSTERDAM) Provenance Portrait of a lady, three-quarter-length, in a black dress holding a Collection of A. Troubnikoff, Paris (according to Witt Library mount) fan and standing before a column Sale, Paris, 18 February 1914, lot 99 (according to the RKD) signed and dated ‘C.v. Savoy/ 1657’ (lower left) Reputedly, Fontaneda Collection, Spain, from whom acquired by the oil on canvas present owner’s father, approximately 20 years ago 104.4 x 89.4cm (41 1/8 x 35 3/16in).

£12,000 - 18,000 €14,000 - 21,000 US$16,000 - 24,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 101 62 WORKSHOP OF JAN BRUEGHEL THE YOUNGER The present composition would appear to be of equal merit to two (ANTWERP 1601-1678) other known versions: a smaller version that was offered as Jan An extensive bouquet of mixed spring and summer flowers Brueghel II by Sotheby’s Monaco, 2 July 1993, lot 79, on panel, in a wooden tub beside a squirrel 64.5 x 49.5 cm.; and a version at Musée des Beaux Arts, Strasbourg oil on panel (traditionally described as Jan Brueghel the Elder). The present work 106.2 x 75.6cm (41 13/16 x 29 3/4in). differs from the latter in particular with the incorporation of the squirrel, lower left, and the iris, amaryllis and lilies in the place of a white rose, £70,000 - 100,000 top left. A lesser quality copy which combined elements of both €80,000 - 110,000 compositions was offered at Marc-Arthur Kohn, Paris, 10 June 1997, US$94,000 - 130,000 lot 10. While the quality of the present work is comparable to a number of impressive compositions on this scale which had traditionally been attributed to Jan Brueghel the Younger, current scholarship now takes Provenance a more cautious approach to the output of this artist’s studio from With Kunsthandel Van Diemen, Amsterdam which the extent of the master’s participation cannot be known with With Walter Paech, Amsterdam, 1936 (his catalogue as by certainty in those works which are not signed. The unusually large size Jan Brueghel I) is comparable to the most ambitious and monumental productions of With the Schlichter Gallery, London, 1937 Jan Brueghel the Younger’s workshop, such as the still life of flowers Private Collection, Middleton Park, Middleton Stoney, Oxfordshire, in a sculpted vase, on panel, 123.2 x 94 cm., which was offered at since at least 1955 Christie’s, 10 December, 2012, lot 20. We are grateful to Fred Meijer

for his assistance in the cataloguing of this work. Literature The Illustrated London News, 10 April 1937, p. 34 (as by Jan Brueghel ‘de velours’)

Middleton Park, Middleton Stoney, Oxfordshire The Drawing Room, Middleton Park

For details of the charges payable in addition to the final Hammer Price of each Lot 102 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 103 63 TP JOSEPH TEAL COOPER (BURFORD 1682-1743 KINGS LYNN) Joseph Teal Cooper was the first significant professional native painter Melons, grapes, peaches and other fruit in landscape of fruit and flower still-lifes in England. George Vertue recognised that signed ‘Teal Cooper.’ (lower right) he was ‘very skilful in painting fruit and flowers’. Given the similarity oil on canvas of Cooper’s fruit pieces to the work of such Neapolitan painters as 86.7 x 131.6cm (34 1/8 x 51 13/16in). Luca Forte, Paolo Porpora and the Netherlandish immigrant Abraham Brueghel, it has been suggested that Cooper received some training in Naples. His work, especially signed examples, is rare to come on £8,000 - 12,000 to the market and only one attributed work (an unsigned still of fruit €9,100 - 14,000 on a shelf at Plas Newydd, Anglesey), is in any public collection in the US$11,000 - 16,000 United Kingdom. Provenance Private Collection, Dorset

For details of the charges payable in addition to the final Hammer Price of each Lot 104 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 64 ROBERT FAGAN (CORK CIRCA 1745-1816) This unfinished sketch depicts the artist’s daughter, Estina (c.1790-1859) Portrait of the artist’s daughter, Estina Fagan held by her nurse, held by her nurse before an Italianate landscape. Fagan moved to Italy a mountainous landscape beyond in 1784 and married here twice, both times to Italian women. Estina, the oil on canvas daughter of the artist and his first wife, Anna Maria Aloisa Rosa Ferri, 88.2 x 74.2cm (34 3/4 x 29 3/16in). married William Bayfordbury in 1809. The present work was offered for sale in 1945, along with three other portraits catalogued as ‘L.Fagan’, by William Lewis Clinton, Estina’s great grandson. £10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Presumably Estina Fagan, the artist’s daughter, who married William Baker of Bayfordbury, Hertfordshire, in 1809, and thence by descent to Lieut. William Lewis Clinton-Baker, R.N., of Bayfordbury, by whom offered Sale, Christie’s, London, 1 June 1945, lot 87 (as by ‘L. Fagan’, 20 gns. to Wolf)

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 105 65 ATTRIBUTED TO JACOPO DEL CONTE (FLORENCE 1510- 1598 ROME) Portrait of a lady, half-length, seated by a table, in black costume oil on slate 88.7 x 69.2cm (34 15/16 x 27 1/4in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot 106 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 66 GIULIO RAIBOLINI, CALLED GIULIO FRANCIA We are grateful to Prof. Emilio Negro and Dottssa Nicosetta Roio for (BOLOGNA 1487-1540) confirming the attribution to Giulio Francia upon inspection of a colour The Holy Family with Saint Catherine of Alexandria photograph. oil on panel 76.4 x 63.6cm (30 1/16 x 25 1/16in). The figure of the Madonna repeats that in the Mystic Marriage of Saint Catherine with Saint Joseph, now in the Collection of Michele Tossani, Bologna, and the present Saint Catherine also appears in Giulio £25,000 - 35,000 Francia’s work of the same subject, offered at Sotheby’s 18 May 1978, €29,000 - 40,000 lot 319 (see E. Negro and N. Roio, Francesco Francia e la sua Scuola US$34,000 - 47,000 1998, pp 307-308, cat. nos 294 and 296 respectively).

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 107 67 THOMAS GAINSBOROUGH (SUDBURY 1727-1788 LONDON) The great granddaughter of King Charles II and Nell Gwyn, through Portrait of Lady Caroline Draper (circa 1730-1769), half-length, in the first duke of St Albans, Caroline Beauclerk presented her a blue dress with a white lace cap held with blue ribbons, within a husband, William Draper, with more social than financial benefits upon painted oval their marriage in 1756. By this time Draper had already enjoyed a oil on canvas successful military career, seeing action at both the Battle of Falkirk 77 x 63.2cm (30 5/16 x 24 7/8in). and Culloden. The year after his marriage, he was commissioned as in a hollow-carved frame a Lieutenant Colonel and commanded to raise a regiment of Foot for service in the East Indies. His regiment played a crucial role at £20,000 - 30,000 the siege of Madras in September 1758 and he was later offered €23,000 - 34,000 command of the British forces on the Coromandel coast, although he US$27,000 - 40,000 declined the offer, pleading ill-health and returned to England.

At the outbreak of war with Spain in 1762, Draper was promoted Provenance Brigadier-General ‘in the East Indies only’ and sent to the Philippines to By family descent from the sitter’s sister to Lady Catherine Drummond coordinate a pre-emptive strike against the Spanish in Manila. Draper With Agnews, London, 1919 and Vice-Admiral Samuel Cornish, his joint commander, seized the C.W.Cargill, Stanmore, Lanark city on 6 October 1762 but by the time they had returned to England A.J. Sulley Collection the following April with news of the victory, the treaty of Paris, ending His sale, Christie’s, London, 1 June 1934, lot 6 (bought in) the Seven Years War, was already signed and Manila restored to Spain Sale, Christie’s, London, 3 May 1936, lot 36, (bt. Hughes) without compensation. With the prize money from his military success, Charlotte Drummond Collection he built Manila Hall at Clifton near Bristol, to which he retired with Her sale, Sotheby’s, London, 27 June 1962, lot 97 Caroline, and two years later, was made a Knight Companion of the Private Collection, USA Order of the Bath. With Trosby Art Galleries, Palm Beach, 1960s

Private Collection, USA, by whom offered He later came back to public attention with the public correspondence Sale, Bonhams, London, 4 July 2007, lot 61 he exchanged with the anonymous writer Junius, a political insider

intent on savaging the government of King George III. The public Literature humiliation that this exchange caused, Sir William having published E. Waterhouse, Gainsborough, London, 1958, cat. no. 209, p. 64 his letters under his own name, is said to have contributed to the early

death of Caroline in the autumn of that year. She, whom Sir William

referred to as ‘sweet spirit-lulling Caroline’ in his poem to his friend Christopher Anstey in 1767, had never been very robust and she died childless. She had made her will in 1769 and was buried in St Augustine-the-Less on August 19th.

A portrait by Gainsborough of Sir William, on a larger scale than that of his wife, can now be seen in the De Young Memorial Museum, San Francisco (acc. no. 60.29).

At the time of the 2007 sale Hugh Belsey confirmed the attribution to Gainsborough upon firsthand inspection of the painting and suggested a date of the early 1760s. The portrait will be included in his forthcoming catalogue raisonné of the artist. Waterhouse dates both of the Draper portraits to the later part of the 1760s.

For details of the charges payable in addition to the final Hammer Price of each Lot 108 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 109 68 FOLLOWER OF DOMENICO BECCAFUMI Provenance (MONTAPERTI NEAR SIENA CIRCA 1486-1551 SIENA) With Agnews and Sons, London (according to a label on the reverse) The Marriage of the Virgin Collection of Major E. O Kay oil on panel, with extensions Sale, Sotheby’s, London, 16 November 1955, lot 143 (bt. Thorogood) 29 x 82.5cm (11 7/16 x 32 1/2in). Sale, Sotheby’s, London, 9 December 1959, lot 4 Sale, Christie’s, London, 13 December 2000, lot 79 (as circle of Beccafumi) £25,000 - 35,000 €29,000 - 40,000 US$34,000 - 47,000

For details of the charges payable in addition to the final Hammer Price of each Lot 110 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 69 ATTRIBUTED TO DOMENICO PULIGO (FLORENCE 1492-1527) Provenance Portrait of a young woman as a Sibyl The Collection of Dr. Ludwig Mond, London (before 1909) oil on panel By descent to Sir Alfred Moritz Mond, 1st Lord Melchett of Landford 48.3 x 36.5cm (19 x 14 3/8in). (until 1930) Private Collection, England With the Arcade Gallery, London, 1969 £25,000 - 35,000 Private Collection, England €29,000 - 40,000 By whom sold, Bonhams London, 13 April 2011, lot 13 US$34,000 - 47,000 Sale, Dorotheum, Vienna, 12 October 2011, lot 493, where purchased by the present owner

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 111 70 ATTRIBUTED TO APOLLONIO DOMENICHINI (VENICE CIRCA 1740-1760), FORMERLY KNOWN AS THE MASTER OF THE LANGMATT FOUNDATION VIEWS The Grand Canal with the Palazzo Balbi seen from the east oil on canvas 38.7 x 57cm (15 1/4 x 22 7/16in). in a carved and gilt wood frame

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

In frame

For details of the charges payable in addition to the final Hammer Price of each Lot 112 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 71 TP JACOPO AMIGONI (VENICE 1682-1752 MADRID) The fourth daughter of King George II and Queen Caroline, Princess Portrait of Princess Mary (1723-1772), full-length, in a pink dress, Mary was born at Leicester House in 1723. She married the Landgrave seated in an interior Frederick of Hesse-Kassel, only son and heir of William VIII, Landgrave oil on canvas of Hesse-Kassel, by proxy at the Chapel Royal, St. James’s Palace, 126.8 x 97.2cm (49 15/16 x 38 1/4in). and then in person at Cassel in 1740. The marriage proved an unhappy one although the couple did go on to have three surviving sons. In 1756 Mary moved with her children to Denmark to take care £20,000 - 30,000 of the children of her sister, Louise, Queen of Denmark who had died €23,000 - 34,000 five years previously. US$27,000 - 40,000

Jacopo Amigoni came to England in 1729 and remained for the Provenance following ten years, his stay interrupted only by a brief visit to France in Sale, Sotheby’s, London, 18 November 1987, lot 34 1736. In the early 1730s he turned to portraiture and is known to have The Collection of Barry Byrne, by whom offered carried out several royal commissions, including portraits of at least 4 Sale, Christie’s, Sydney, 16 July 1992, lot 752 of the King’s daughters.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 113 72 GIOVANNI BATTISTA SALVI, CALLED IL SASSOFERRATO Provenance (SASSOFERRATO 1609-1685 ROME) AND STUDIO Probably, Rev. Sir Cavendish H. Foster, Bt. (1817-1890), Co. Louth, Mater Dolorosa Ireland, before 1873 oil on canvas Acquired by the present owner’s mother in Bournemouth in 1974 and 48.8 x 37.3cm (19 3/16 x 14 11/16in). thence by family descent

Exhibited £10,000 - 15,000 Probably, Dublin, Industrial Exhibition Palace, Loan Museum of Art €11,000 - 17,000 Treasures, 1873, cat. no. 319 (as ‘Carlo Dolci (old copy)’, according to US$13,000 - 20,000 a label on the reverse)

We are grateful to François Macé de Lépinay for confirming the attribution upon inspection of colour photographs.

For details of the charges payable in addition to the final Hammer Price of each Lot 114 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 73 ANTON RAPHAEL MENGS (AUSSIG 1728-1779 ROME) The Rest on the Flight into Egypt oil on panel 42.6 x 32.2cm (16 3/4 x 12 11/16in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance With Derek Johns, London, from whom acquired by Collection of Bernard C. Solomon, USA, by whom offered Sale, Christie’s, New York, 26 January 2005, lot 43

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 115 74 TP JEAN-BAPTISTE PILLEMENT (LYON 1728-1808) Literature Chinoiserie figures in a boat beside a garden pavilion M. Gordon-Smith, ‘The Influence of Jean Pillement on French and oil on canvas English Decorative Art’, in Artibus et Historiae, n. 41 241 x 212.5cm (94 7/8 x 83 11/16in). M. Gordon-Smith, Pillement, Krakow, 2006, pp. 54-55, fig. 36, ill. p. 58

The present work was probably commissioned by David Garrick, the £10,000 - 15,000 famous Shakespearean actor. It was part of a large-scale decorative €11,000 - 17,000 scheme that adorned the drawing room of Fuller House, the actor’s US$13,000 - 20,000 residence in Hampton, near London. Garrick acquired Fuller House in 1755 and commissioned Robert Adam, Thomas Chippendale and Provenance Capability Brown to redesign and redecorate the house and gardens. Probably David Garrick, Fuller House, Hampton, near London Garrick was introduced to Pillement by Charles Leviez, another well- With Galerie Gildas Guédel, Paris known actor, in 1757. An invoice, dated 16 July 1757, records that Private Collection, Europe Garrick paid the artist £150 to decorate several rooms in his new home.

For details of the charges payable in addition to the final Hammer Price of each Lot 116 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 75 TP Five further chinoiserie wall panels of varying sizes, now in private CIRCLE OF NICOLAS BAUDESSON (TROYES CIRCA 1611- collections in France, are also thought to have formed part of the same 1680 PARIS) decorative scheme. The measurements of each of these six large works A basket of poppies, roses tulips and other flowers with fruit on a closely matches the window and wall designs of the original building stone ledge plans for the drawing room at Fuller House. Furthermore, the inventory oil on canvas of Garrick’s estate, produced after his death in 1779, states that the 86.8 x 125.6cm (34 3/16 x 49 7/16in). drawing room was ‘fitted up entirely in the Chinese taste hung round with Canvas and ornamented with paintings formed by panels in borders £12,000 - 18,000 of papier Machee’. Each of this set of six works shows similar markings €14,000 - 21,000 around the edges which Gordon-Smith suggests are the traces of the US$16,000 - 24,000 earlier papier mache borders (see: M. Gordon-Smith, ibid, p. 55).

The present picture was engraved by P.C. Canot in 1759, with a few differences, for Pillement’s series Scènes chinoises.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 117 76 CLAUDE JOSEPH VERNET (AVIGNON 1714-1789 PARIS) Provenance A cove on a rocky Mediterranean coast, with small vessels and The Earls of Bessborough, Stanstead Park, Sussex (according to a fishermen label on the reverse) signed and dated ‘Joseph Vernet/f. Romae/ 1747’ (lower right) Sale, Sotheby’s, London, 10 April 2003, lot 100 oil on canvas 32 x 49.5cm (12 5/8 x 19 1/2in). The attribution to Vernet was endorsed by Dr. Philip Conisbee at the time of the last sale. The architecture in the present work bears a resemblance to the Villa Costaguti (now Borghese) in Anzio. £20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

For details of the charges payable in addition to the final Hammer Price of each Lot 118 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 77 TP JOHN SINGLETON COPLEY (BOSTON 1737-1815 LONDON) Portrait of a lady, said to be Charlotte Pochin of Barkby Hall, Leicestershire, three-quarter-length, in a blue dress with a lace bonnet, holding an ivory knotting-shuttle oil on canvas 127.8 x 101.7cm (50 5/16 x 40 1/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance By descent in the Packe-Drury-Lowe family of Prestwold Hall, Leicestershire, until acquired by the present owner in May 1998

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 119 78 CIRCLE OF PAOLO CALIARI, CALLED PAOLO VERONESE Exhibited (VERONA 1528-1588 VENICE) London, Royal Academy, Winter exhibition, 1872, no. 223 (as Paolo Susannah and the Elders Veronese) oil on panel London, The New Gallery, Exhibition of Venetian Art, 1894-5, no. 274 45.3 x 53.2cm (17 13/16 x 20 15/16in). (as Paolo Veronese) in a carved and gilt Sansovino style frame Literature £8,000 - 12,000 Catalogo dei quadri esistenti nella Galleria Manfrin in Venezia, Venice, €9,100 - 14,000 1856, no. 236 US$11,000 - 16,000 R. Marini Tutta la pittura di Paolo Veronese, Milan, 1968, no. 424 (as attributed to Veronese) T. Pignatti, Veronese, Venice, 1976, p. 190, no. A156, v. II, fig. 856 Provenance (erroneously given as on canvas) The Manfrin Collection (a family of Venetian tobacco merchants who owned Giorgione’s Tempest) Two other paintings of this subject by Veronese himself are known; one The Collection of the Cavendish-Bentinck family by 1872, by descent to in the Palazzo Bianco, Genoa, the other in the Musée du Louvre, Paris. George Augustus Frederick Cavendish Bentinck M.P., sold by his executors Sale, Christie’s, London, 11 July 1891, lot 608 (as P. Veronese) The Collection of Sir William Farrer, London, after 1894 His granddaughter, the Hon. Mrs Helen Bruce, and thence by descent Sale, Sotheby’s, London, 16 March 1966, lot 62 Sale, Sotheby’s, London, 5 July 1967, lot 81 (bt. Mr Fordham) Private Collection, UK, thence by descent to the present owners

For details of the charges payable in addition to the final Hammer Price of each Lot 120 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 79 * VERONESE SCHOOL, LATE 16TH CENTURY Saint Sebastian oil on canvas 105.6 x 79.2cm (41 9/16 x 31 3/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 121 80 ANGELICA KAUFFMANN (COIRE 1740-1807 ROME) Portrait of Elizabeth Kerr, née Fortescue, Marchioness of Lothian, half-length, in a white muslin dress and headdress with gold embroidery, a pearl necklace and a green shawl oil on canvas 77.3 x 64cm (30 7/16 x 25 3/16in).

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

Provenance By descent from the sitter to her son, Vice Admiral Lord Mark Robert Kerr (1776-1840) To his son Hugh Seymour McDonnell, 4th Earl of Antrim (1812-1855) To his daughter Lady Helen Laura McDonnell (d.1922), wife of Rear- Admiral Sir Malcolm MacGregor, 4th Bt, and thence by descent until acquired by the present owner

Dr. Bettina Baumgärtel has seen this painting first-hand and has confirmed the attribution. She will be including it in her forthcoming monograph on the artist. Professor Wendy Wassying Roworth has corroborated this opinion.

Elizabeth Kerr (1745-1780) was the daughter of Chichester Fortescue of Dromeskin, Co. Louth, and his wife The Hon Elizabeth Wesley. She married General William John Kerr, 5th Marquess of Lothian, in 1762 and together they had seven children. No fewer than four portraits of her were painted by Kauffmann’s friend and fellow artist Sir Joshua Reynolds between 1769 and 1771, one of which hangs at Blickling Hall in Norfolk and another at Fyvie Castle, Scotland.

Angelica Kauffmann was Swiss by birth but she moved to London in 1766 where she became a founding member of the Royal Academy. Her portraits, poetical and mythological subjects were in great demand and she collaborated on decorative schemes with architects such as Robert Adam and James ‘Athenian’ Stuart. Her enormous popularity gave rise to prints after her works by Bartolozzi and Cipriani and her influence as an artist was felt well into the 19th century.

For details of the charges payable in addition to the final Hammer Price of each Lot 122 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 123 81 JAN BAPTIST WEENIX (AMSTERDAM 1621-CIRCA 1660 DEUTECUM) An Italianate landscape with a Moorish rider conversing with a shepherdess resting on the roadside, a ruined Roman aqueduct beyond signed ‘Gio Batta Weenix’ (on ground, lower left) oil on canvas 60 x 69cm (23 5/8 x 27 3/16in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance With Sala Peres, Barcelona, 1954 (according to a label on the reverse)

For details of the charges payable in addition to the final Hammer Price of each Lot 124 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 82 JAN VAN HUCHTENBURG (HAARLEM 1647-1733 AMSTERDAM) A military encampment signed and dated ‘JHuchtenburg */1694’ (lower left) oil on canvas 58.2 x 74.2cm (22 15/16 x 29 3/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Sale, Charlton Hall Galleries, Paris, 11 June 1959, lot 122

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 125 83 TP LUIS TAPIA (ACTIVE MEXICO, EARLY 19TH CENTURY) Cortés was one of the most important historical figures of the Portrait of Hernan Cortés, full-length, wearing armour and holding a sixteenth-century. He was born in Medellin and pursued a remarkable baton, standing beside his gloves and helmet on a draped table life as a conquistador in Cuba and Mexico. He was responsible for signed ‘L. Tapia pinto Hernan’ (on the reverse of the original canvas, defeating the Aztec Empire and bringing Mexico under the control of see fig. 1) and charged with the sitter’s coat-of-arms (upper left) Charles V. oil on canvas 193 x 110cm (76 x 43 5/16in). For his great success in Mexico, Cortés was created Marqués del Valle de Oaxaca by Charles V and granted the coat-of-arms which is prominently displayed in the present portrait. As well as the double- £10,000 - 15,000 headed black eagle of the Emperor himself, the arms also incorporate €11,000 - 17,000 in the second quarter the three crowns representing the three US$13,000 - 20,000 Aztec emperors of the conquest era (Montezuma, Cuitlahuac, and Cuauhtémoc) and in the third quarter the Aztec capital of Tenochtitlan Provenance transformed into the 16th century city which Cortés renamed as Private Collection, USA Mexico City. Encircling the central shield are symbols of the seven city-states around Lake Texcoco which Cortés defeated, with the lords

Fig. 1 For details of the charges payable in addition to the final Hammer Price of each Lot 126 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 84 “to be shown as prisoners bound with a chain which shall be closed CIRCLE OF WILLEM KEY (BREDA CIRCA 1515-1568 ANTWERP) with a lock beneath the shield”. The motto in Latin translates as “The Portrait of a gentleman, traditionally identified as the Duke of judgment of the lord apprehends them and his strength strengthens Montmorency (1493-1567), bust-length, in fur-trimmed, black costume my arm”. oil on panel, tondo 18.2cm (7 3/16in). diameter This portrait is one of a very small number of portraits recorded by the artist. In this instance Tapia was clearly copying the portrait of Cortés £6,000 - 8,000 which was commissioned for the Church and Hospital de Jesús €6,800 - 9,100 Nazareno in Mexico City. This hospital was founded by Cortés on the US$8,100 - 11,000 spot where he and the Aztec King, Montezuma II, met for the first time in 1519. Cortés’s bones were eventually moved there in the late A version of the present portrait (oil on panel, 19.1 cm. diam.) which eighteenth century. The original composition is directly related to the had been traditionally identified as the Duke of Montmorency, was in a portrait of Charles V by Titian. This portrait was destroyed by a fire in El sale at Christie’s South Kensington, 10 July 2009, lot 90 (as Follower Pardo Palace in 1604 and Juan Pantoja de la Cruz painted a copy now of Jean Clouet). in the Museo del Prado, Madrid.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 127 85 * TP CIRCLE OF PETER VAN LINT (ANTWERP 1609-1690) Christ in the House of Mary and Martha oil on canvas 129.3 x 134.4cm (50 7/8 x 52 15/16in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

Provenance Acquired by the present owners’ family in Johannesburg, South Africa in the late 1960s and thence by descent

For details of the charges payable in addition to the final Hammer Price of each Lot 128 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. LOTS 86 - 94 PROPERTY OF A PRIVATE AMERICAN COLLECTOR

18th century Sèvres porcelain from the same collection will be offered in our sale of Fine European Ceramics on 5 July, lots 158-190 86 * FRANÇOIS DE NOMÉ (METZ 1593-CIRCA 1644 NAPLES) A capriccio view of an Italian piazza with a royal procession oil on canvas 50.6 x 75.3cm (19 15/16 x 29 5/8in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance With Knoedler, New York, by 1961 The Collection of Harry Brooks, New York, by whose family offered Sale, Christie’s, New York, 30 January 2014, lot 247, where purchased by the present owner

Literature F. Sluys, Didier Barra et François de Nomé dits Monsu Desiderio, Paris, 1961, pp. 60-1, no. 16, ill (listed under works by Didier Barra and his studio, with incorrect dimensions) M.R. Nappi, François de Nomé e Dider Barra: l’enigma Monsù Desiderio, Milan, 1991, p. 192, no. A112, ill. (with incorrect dimensions)

Exhibited Dallas, The Dallas Museum for Contemporary Arts, The Art that Broke the Looking Glass, 14 November-31 December 1961, no. 46, as ‘Monsù Desiderio’

In her entry for the present work, Maria Rosaria Nappi notes how the artist has created an idealized view constructed from buildings taken from the Piazzetta San Marco, Venice, and the Piazza Reale, Naples. Dr. Sluys suggests that the figures are by Belisario Corenzio (Peloponnese circa 1558-1643 Naples).

For details of the charges payable in addition to the final Hammer Price of each Lot 130 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 131 87 * SCHOOL OF MANTUA, 16TH CENTURY Provenance Saint John the Baptist Private Collection, Italy oil on panel Sale, Christie’s, South Kensington, 29 March 2017, lot 30, 50.1 x 35.3cm (19 3/4 x 13 7/8in). where purchased by the present owner

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

For details of the charges payable in addition to the final Hammer Price of each Lot 132 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 88 TP ITALIAN SCHOOL, MID 16TH CENTURY Provenance The Virgin and Child with Saint Anne and the Infant Saint John The Collection of Robert de Balkany, Rome & the Côte d’Azur, the Baptist by whom offered oil on panel Their Sale, Christie’s, London, 22 March 2017, lot 62, where 112 x 89.8cm (44 1/8 x 35 3/8in). purchased by the present owner

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 133 89 * JAN BRUEGHEL THE YOUNGER (ANTWERP 1601-1678) Numerous variations on the present figure composition are known. The AND HENDRICK VAN BALEN (ANTWERP CIRCA 1575-1632) staffage of the present Feast of Bacchus approximately repeats that in Venus, Bacchus and Ceres feasting in a wooded glade the work, signed by van Balen and offered at Christie’s London on 6 oil on copper July 2010, lot 14, previously with the Müllenmeister Gallery, Solingen 30.9 x 35.3cm (12 3/16 x 13 7/8in). (see: ibid p. 377, cat. no. 211, ill. pl. 45), but with a distant view to a lake-side landscape on the left. Dr. Klaus Ertz dates the Müllenmeister version to the late 1620s but at the time of the 2005 sale, he £40,000 - 60,000 suggested a slightly later date of circa 1630 for the present copper. A €46,000 - 68,000 further version, signed by Abraham Govaerts was offered at Sotheby’s, US$54,000 - 81,000 London, on 16 December 1999, lot 151. A related sketch of the figure group, by van Balen, is in the collection at Yale University Art Gallery Provenance (inv. no. 1961.63.85, fig. 1). With Siegfried Kuhnke, Munich, 1982 Sale, Christie’s, London, 9 December 2005, lot 114 At the time of publishing his monograph on Jan Brueghel the Younger Sale, Sotheby’s, London, 7 July 2016, lot 119, where purchased in 1984, Dr Ertz tentatively suggested that the figures in the present by the present owner Feast of Bacchus were by Hendrick van Balen although he had not had the opportunity to inspect the painting first-hand. By the time Literature of the 2005 sale, however, he had seen the picture in the flesh and Weltkunst, 52, 15 October 1982, p. 2773, advertisement, ill confirmed the attribution to van Balen although noting that the artist (as by Hendrick van Balen) had employed the help of a studio assistant in parts. In the 2005 K. Ertz, Jan Breughel de Jüngere, Freren, 1984, p. 382, cat. auction, the present copper was offered with a certificate from Ertz, no. 217, ill. dated 14 October 2005, confirming his attribution to Jan Brueghel the Younger and Hendrick van Balen. Image courtesy of Yale University Art Gallery Image courtesy of Yale Fig 1. Hendrick Van Balen, Venus, Bacchus and Ceres

For details of the charges payable in addition to the final Hammer Price of each Lot 134 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 135 90 * SÉBASTIEN BOURDON (MONTPELLIER 1616-1671 PARIS) Almost certainly identifiable as the painting by Sébastien Bourdon King Solomon sacrificing to the Idols described as a ‘Sacrifice’, of these dimensions and showing 14 oil on canvas, extended by approximately 3cm. down the left edge figures, the present work was offered in the Paris sale of the Collection 74.1 x 91.3cm (29 3/16 x 35 15/16in). of a Monsieur Verrier in 1776. A sketch in the margin of the sale catalogue, annotated by Gabriel St-Aubin, shows that it was indeed of the same composition. The following year the painting was certainly £40,000 - 60,000 already in the collection of François Tronchin of Waldkirch when it €46,000 - 68,000 was mentioned in a letter to him from J. R. Sinner who was preparing US$54,000 - 81,000 his Voyage historique et litteraire dans la Suisse occidentale, later published in 1781. The work then remained in the Tronchin collection Provenance at the family’s Château de Bessinge in Cologny, near Geneva and was Probably, Verrier Collection, France, by whom offered part of the group of works sold, along with the Château, to Xavier Sale, Paris, 18-23 November 1776, lot 62 (sold 1,201 livres to Joly) Givaudan in whose family it stayed until the sale last year. The Tronchin Collection, Château de Bessinge, Cologny, before 1777, from whom acquired by The dating of the present King Solomon sacrificing to the Idols has not Xavier Givaudan, in 1938 and thence by descent to his grandson, by been fully established although in his entry for the work in his oeuvre whom offered complet, Thullier places it very early on in the artist’s career, between Sale, Christie’s, New York, 27 April 2017, lot 182, where purchased by 1636 and 1638 during his early years in Rome. Bourdon is first the present owner recorded in the city in 1636 and remained there for three years; the stay proved a formative experience in the young artist’s development. Literature Whilst in Rome he studied the works not just of Claude Lorrain and J. Crosnier, ‘Bessinge’, in Nos Anciens et leurs oeuvres, Geneva, Nicolas Poussin, but also of Caravaggio and the Bamboccianti such 1908, pp. 93-94 as Pieter van Laer. This eclectic, wide-ranging study in Rome informed R. Loche, De Genève à l’Ermitage: Les collections François Tronchin, Bourdon’s mature style, the origins of which can be seen in the present exh. cat., Geneva, 1974, pp. 197-8, no. 1, ill. p. 197 (as in the painting. Givaudan Collection, under ‘Quelques tableaux ayant appartenu à la famille Tronchin’) J. Thuillier, Sébastien Bourdon 1616-1671: catalogue critique et chronologique de l’œuvre complet, Paris, 2000, p. 151, no. 3

Exhibited Montpellier, Musée Fabre, and Strasbourg, Galerie de l’Ancienne Douane, Sébastien Bourdon 1616-1671, 7 July 2000-4 February 2001, cat. no. 3

For details of the charges payable in addition to the final Hammer Price of each Lot 136 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 137 91 * HENDRIK VAN BALEN THE ELDER (ANTWERP 1575-1632) The Feast of the Gods is a subject that Hendrick van Balen turned AND JAN BRUEGHEL THE ELDER (BRUSSELS 1568 - 1625 to many times in his career, often in collaboration with Jan Brueghel ANTWERP) the Elder, as is the case with the present work. Other examples can The Feast of the Gods, possibly the Wedding of Peleus and Thetis be found in his more elaborate Gathering of the Gods at the National oil on copper Gallery of Denmark, Copenhagen (inv. No. Sp. 744) and the much 11.4 x 15.2cm (4 1/2 x 6in). larger panel of the Feast of the Gods now in the Alte Pinakothek, Munich (inv. No. 848). Both of these latter works were also the product of an artistic collaboration between Hendrick van Balen the Elder and £70,000 - 100,000 Jan Brueghel the Elder. €80,000 - 110,000

US$94,000 - 130,000 Ertz attributes the present Feast of the Gods to van Balen but suggests that Brueghel completed the small landscape and still Provenance life details. He believes it could be a preliminary work for the larger The Collection of Don Alfonso de Rojas, Alicante, 1928 copper of the same subject now in a Swiss private collection (29.5 Private Collection, Switzerland, 1998 x 41.3 cm.; see Ertz 2008-10, p. 811, cat. no. 405, ill. p. 812) albeit Private Collection, France, 2004 with differences in the choice of background and a slightly reduced With Galerie Bernheimer, Munich, by 2007 number of participants. For both the present and the Swiss work, Ertz Sale, Sotheby’s, London, 6 July 2017, lot 104, where purchased suggests a date of circa 1608 and places it after another collaborative by the present owner work between Brueghel and van Balen, The Marriage Feast of Bacchus now at the Gemäldegalerie, Dresden (inv. No. 919). Literature K. Ertz and C. Nitze-Ertz, Pieter Brueghel il Giovane (1564–1637/8): Jan Brueghel il Vecchio (1568–1625): tradizione e progresso: una famiglia di pittori fiamminghi tra Cinque e Seicento, exh. cat., Lingen 1998, p. 196, under cat. no. 57, ill, fig. 1 K. Ertz and C. Nitze-Ertz, Jan Brueghel der Ältere (1568–1625). Kritischer Katalog der Gemälde, Lingen 2008–10, vol. II, p. 811, cat. no. 406, ill., p. 813

For details of the charges payable in addition to the final Hammer Price of each Lot 138 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 139 92 * JAN MYTENS (THE HAGUE CIRCA 1614-1670) The present painting takes as its subject Granida and Daifilo from Daifilo pours Granida a drink of water Pieter Cornelisz. Hooft’s popular pastoral play Granida published in oil on panel 1615. It shows the moment when the Persian princess Granida, having 73.3 x 60.2cm (28 7/8 x 23 11/16in). become separated from her hunting party, meets the shepherd Daifilo who fetches her water and falls in love with her. Overcoming a number of obstacles, they are eventually permitted to marry. The subject was £15,000 - 20,000 clearly popular and provided inspiration for numerous Dutch painters of €17,000 - 23,000 the period such as Gerrit van Honthorst. US$20,000 - 27,000

Jan Mytens treated this subject on another occasion in a signed Provenance double portrait dateable to 1660 now in the Rijksmuseum (inv. no. SK- Sale, Christie’s, New York, 6 April 2006, lot 255 A-1856). The pair of putti in the present painting appears in a further Sale, Sotheby’s, London, 8 December 2016, lot 140, where purchased work by the artist, signed and dated 1646, of Bacchus and Ariadne, by the present owner now in the Hermitage St. Petersburg (inv. no. 3422).

. At the time of 2016 sale, Dr. Fred Meijer endorsed the attribution to Mytens, and suggested a date of before 1660. At the time of the 2006 sale, Dr. Rudi Eckart also confirmed the attribution.

For details of the charges payable in addition to the final Hammer Price of each Lot 140 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

93 * GIUSEPPE ZOCCHI (FLORENCE 1711-1767) Whilst he was perhaps best known for views of the city of Florence The Flaying of Marsyas; and The Judgment of Midas and its surroundings, Giuseppe Zocchi’s output, was both prodigious a pair, oil on canvas and varied. As a young man, he came under the protection of the 59.2 x 47cm (23 5/16 x 18 1/2in). (2) Marchese Andrea Gerini (1691 – 1766), an intellectual and patron of the arts from a noble Florentine family, who sent the artist to study the works of his contemporaries in Bologna, Rome, Milan and Venice £100,000 - 150,000 during which time Zocchi was exposed to the work of artists such €110,000 - 170,000 as Canaletto, Marieschi and Panini. On his return to Florence, the US$130,000 - 200,000 Marchese commissioned Zocchi to produce the Selection of XXIV Views of the principal Districts, Squares, Churches, and Palaces of Provenance the City of Florence and of Views of Villas and of Places in Tuscany; Private Collection, Genoa a two fold series of engravings of the city and its environs intended Sale, Cambi, Genoa, 17-20 September 2007, lot 1052 (as Giovanni to give to visitors as a memento of their stay in the city. In the years Paolo Panini) following publication of this series in 1744, Zocchi embarked on one of Sale, Bonhams, London, 6 July 2016, lot 44, where purchased by the the most industrious periods of his career. He produced drawings and present owners engravings for various printed works such as the Azioni gloriose degli

For details of the charges payable in addition to the final Hammer Price of each Lot 142 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 143 uomini illustri fiorentini espresso co’loro ritratti nelle volte della Real the artist and show him at his most Panini-like. Other works which Galleria di Toscana, amongst others, he took part in the decorative reveal the influence of the earlier artist can be found in his Triumph of scheme of the church of San Carlo dei Barnabiti, and completed David, now in a private collection but perhaps the painting in which he numerous other public and private commissions throughout Tuscany comes closest to Panini is his Predica di una sibilla in the Musée de la including the decoration of the archbishop’s palace in Pisa and the Chartreuse, Douai (see A. Tosi, Inventare la Realta’. Giuseppe Zocchi Palazzo Rinuccini in Florence. From 1750 onwards, Zocchi was taken e la Toscana del Settecento, Florence, 1997, ill. p. 118 and p.264 on by the ‘Galleria dei Lavori in Pietre Dure’ in Florence to supply respectively). Further comparisons may be drawn with his designs drawings and painted models for the Grand ducal workshop. He of the early 1750s for the Opificio delle Pietre Dure in Florence (for remained in this position until his death from the plague in 1767. example, fig. 1) although the present pair show a greater degree of refinement and polish than these latter paintings with the figures more The present pair of paintings offers a potentially important and compact and finer in quality than the Pietre Dure studies. interesting addition to the oeuvre of Giuseppe Zocchi from the late 1740s or early 1750s. The distinctive, silvery palette of the present Whilst there are small changes in the composition, the source for works along with the softer treatment of the foliage suggest the hand the Judgment of Midas is surely the pen and ink sketch of the same of Giuseppe Zocchi. However, the type and subject are unusual for subject at the Uffizi, Florence (Santarelli 6407, fig. 2). The same distinctive loose hand, with a strong diagonal bent used to describe the foliage, can be identified with a further pen and ink study, also showing figures amongst ruins (Santarelli 6408). This latter drawing was attributed by Edward Maser to Giuseppe Zocchi (see: E. Maser, ‘Drawings by Giuseppe Zocchi for works in Florentine Mosaics’, in Master Drawings 5, 1967, no. 1, p. 47-53). Both of these drawings are clearly by the same hand; however, no final work in the Opificio delle Pietre Dure exists for either drawing.

The same distinctive diagonal hatching for the foliage can also be seen in Zocchi’s preparatory sketches for Smell and Touch and Taste in the Opificio delle Pietre Dure (see: A. Tosi, Inventare la realta’. Giuseppe Zocchi e la Toscana nel Settecento, Florence, 1997 p. 142, ill.). A further comparative example could be found in his study La Moscacieca, also in the Uffizi, done in preparation for a work that was never executed. This latter drawing shows not only the diagonal hatching but also the pools of dark wash used to create the shadows and form the figures. Given the very close stylistic affinities between the Judgment of Midas sketch in the Uffizi and the studies by Zocchi for his completed works at the Opificio delle Pietre Dure an attribution to Zocchi for the former is entirely plausible. With the clear relationship between the pen and ink sketch and the current Judgment of Midas on canvas, the present pair of paintings can be considered a

© 2016. Photo Scala, Florence - © 2016. Photo Scala, Florence Beni e Att. Cultural courtesy of the Ministero significant addition to the work of Giuseppe Zocchi. Fig. 2 Giuseppe Zocchi The Judgement of Midas, Gabinetto dei Disegni e delle Stampe degli Uffizi

144 | BONHAMS OLD MASTER PAINTINGS | 145 94 GIUSEPPE ZOCCHI (FLORENCE 1711-1767) Provenance Architectural capricci with figures amongst classical ruins The Collection of Dimitri Sursock, Beirut and London a pair, oil on canvas Thence by descent until offered 88.3 x 119.2cm (34 3/4 x 46 15/16in). (2) Sale, Sotheby’s, New York, 27 January 2017, lot 439, where purchased by the present owner £18,000 - 25,000 €21,000 - 29,000 US$24,000 - 34,000

For details of the charges payable in addition to the final Hammer Price of each Lot 146 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OTHER PROPERTIES

95 PIETER JACOB HOREMANS (ANTWERP 1700-1776 MUNICH) Provenance Elegant figures dining in a landscape; The Musical recital Sale, Christie’s, New York, 10 January 1980, lot 100 the former signed and dated ‘P.Horemans./ 1745.’ (lower right) and the Sale, Sotheby’s, London, 17 April 1996, lot 30, where purchased latter signed and dated ‘P.Horemans./ 1745.’ (lower left) by the present owners a pair, oil on canvas 75.5 x 101cm (29 3/4 x 39 3/4in). (2)

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 147 96 JEAN-BAPTISTE VANMOUR (VALENCIENNES 1671- Dr. Olga Nefedova believes the present painting to be a late work by 1737 CONSTANTINOPLE) the artist and has drawn comparison with a drawing in the Akademie Study of a young lady in Ottoman dress in an interior der Bildenden Kunste in Vienna, dating to 1727; it shows a woman in oil on canvas similar contrapposto stance with one arm extended, in mirror image 40.6 x 29.2cm (16 x 11 1/2in). of the present composition. Vanmour travelled to Constantinople as a result of his association with Charles, Marquis de Ferriol. Ferriol £12,000 - 18,000 was appointed French ambassador to the Sublime Porte in 1699 and €14,000 - 21,000 asked Vanmour to accompany him to record the locals. The resulting US$16,000 - 24,000 costume studies were published by Ferriol as engravings when he returned to France in 1711 under the title of Recueil de cent estampes représentant différentes nations du Levant. The present work may show a European: a number of travellers had themselves portrayed in Ottoman dress as a souvenir of their time in the Levant.

For details of the charges payable in addition to the final Hammer Price of each Lot 148 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 97 * TP VENETIAN SCHOOL, 16TH CENTURY Diana with her hounds oil on canvas 115.5 x 152.7cm (45 1/2 x 60 1/8in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 149 98 ADRIAEN VAN DE VELDE (AMSTERDAM 1636-1672) Provenance Drovers resting with their flock in a landscape Earl of Portarlington (his seal on reverse) signed and dated ‘A.V. velde f/ 1668’ (lower right) The Collection of G.H. Tite, London, before 1912 oil on panel Purchased by the present owner’s grandfather, most probably in the 48.3 x 39.2cm (19 x 15 7/16in). 1920s

Literature £15,000 - 20,000 H. de Groot, A catalogue raisonné of the works of the most eminent €17,000 - 23,000 Dutch painters of the seventeenth century, London, 1912, vol. IV, p. US$20,000 - 27,000 518, cat. no. 217

For details of the charges payable in addition to the final Hammer Price of each Lot 150 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 99 DUTCH SCHOOL, 17TH CENTURY Portrait of a child, full-length, standing holding a rose oil on canvas 95.1 x 61.8cm (37 7/16 x 24 5/16in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 151 100 WILLEM VAN MIERIS THE ELDER (LEYDEN 1662-1747) Bacchus and Ariadne signed and dated ‘WVan Mieris. Fec. Ano. 1730’ (lower left) oil on canvas 76.2 x 83.8cm (30 x 33in).

£60,000 - 80,000 €68,000 - 91,000 US$81,000 - 110,000

Provenance A private castle in Flanders for several generations, from which acquired by the present owner’s family in this century

While Willem’s early works followed the technique and subject-matter of his father, Frans van Mieris’s late paintings, in his later works especially Willem concentrated more than his father had on history, classical and pastoral scenes. In this unusually large work of 1730 which shows the master at the height of his technical virtuosity before the decline that has been detected in some of his later works, we find him applying the aesthetic ideals of classical late 17th century art theory, in combination with the technique of the Leiden ‘Fine’ Painters.

For details of the charges payable in addition to the final Hammer Price of each Lot 152 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 153 101 TP JOHN OPIE RA (TREVELLAS 1761-1807 LONDON) A girl slumbering under a tree in a landscape oil on canvas 127 x 101.6cm (50 x 40in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Exhibited Possibly, London, Royal Academy, 1795, no. 124 (titled A Country Girl)

For details of the charges payable in addition to the final Hammer Price of each Lot 154 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 102 TP STUDIO OF JOHN WOOTTON (SNITTERFIELD 1682-1764 Marshall Sewall, USA, by whom bequeathed to LONDON) The Samuel P. Harn Museum of Art, University of Florida, Gainsville, by Flying Childers and other horses being rubbed down at Newmarket whom offered with William, 2nd Duke of Devonshire looking on Sale, Christie’s, New York, 6 December, 1996, lot 14, where purchased oil on canvas by the present owner 101.8 x 126.8cm (40 1/16 x 49 15/16in). Flying Childers, bred by Colonel Leonard Childers, sired by the Darley Arabian and out of Betty Leedes, was foaled in 1715 and sold to £10,000 - 15,000 the Duke of Devonshire as a yearling. He went on to become one of €11,000 - 17,000 the most celebrated horses in early racing history and was famously US$13,000 - 20,000 undefeated.

Provenance Flying Childers ran a trial run over the 3 mile 6 furlong and 93 yard Probably, The Collection of John Jolliffe, MP., UK, circa 1720, and Round Course at Newmarket in 1721. Childers, carrying the most thence by descent to weight, defeated Almanzor (also a son of the Darley Arabian) and the The Collection of the Lords Hylton, Ammerdown Park (according to a Duke of Rutland’s Brown Betty and is said to have covered the course label on the reverse) in a remarkable time of 6 minutes 40 seconds, which is almost a mile With Pawsey and Payne, London, 1924, where probably purchased by a minute.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 155 103 * TP CIRCLE OF BARTOLOMEO PASSAROTTI (BOLOGNA 1529-1592) The Madonna and Child enthroned with Saints Francis of Assisi and Dominic oil on panel 161.7 x 128.1cm (63 11/16 x 50 7/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

For details of the charges payable in addition to the final Hammer Price of each Lot 156 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 104 ANTWERP SCHOOL, EARLY 17TH CENTURY Three comparable versions of the present composition are held The Holy Trinity by Belgian museums, alternatively attributed to: Artus Wollfort oil on panel, stamped with panelmaker’s mark of the hands and (1581-1641) (123 x 94.5 cm., Groeningemuseum, Bruges), Pieter II castle of the city of Antwerp and LS of Lambrecht Steens I Claeissens (1601-1625) (height 125 cm., Taxandriamuseum Turnhout) 122.8 x 93.2cm (48 3/8 x 36 11/16in). and Nicolas De Liemacker (1601-1646) (116 x 91 cm. the Ghent Museum voor Schone Kunsten); while a further, unattributed version (100 x 130 cm.), is in the church of Sint-Clemens, Watermaal- £12,000 - 18,000 Bosvoorde. €14,000 - 21,000 US$16,000 - 24,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 157 105 JOSÉ DE ARELLANO (MADRID 1665-CIRCA 1710) Many elements of the still life in the former painting were repeated in A still life of roses, poppies, chrysanthemums and other flowers in a a work by the artist, signed ‘Joseph dearrellano, fa’, on canvas 66 x basket on a stone ledge; and A still life of roses, a tulip, a carnation 66 cm., which was offered at the Dorotheum. 11 June 2012, lot 246. and other flowers in a basket on a stone ledge both bear signature ‘J. de Arellano’ (lower right, one possibly over an earlier signature) a pair, oil on canvas 32.2 x 45cm (12 11/16 x 17 11/16 in). (2)

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

For details of the charges payable in addition to the final Hammer Price of each Lot 158 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 106 GIUSTINO MENESCARDI (MILAN 1720-1776 VENICE) The present painting was first recognised as the work of Menescardi by Alexander paying homage to Jupiter at the Temple of Jupiter Filippo Pedrocco, while Egidio Martini then pointed out that it belongs to oil on canvas the painter’s early period when his compositions were strongly influenced 66.1 x 82.8cm (26 x 32 5/8in). by those of Sebastiano Ricci. Professor George Knox dated the present painting to the 1740s. Although Knox proposed that this painting may have been intended as an overdoor, it may also conceivably have been £5,000 - 7,000 one of a group of modelli for a decorative scheme based on the Life of €5,700 - 8,000 Alexander the Great. Another work from the same series is The Family US$6,700 - 9,400 of Darius before Alexander (Trafalgar Galleries - Anniversary Exhibition, 1996, no. 13). Also very possibly from the same series, according Exhibited to Knox, are Menescardi’s Alexander and Diogenes (57 x 82 cm.) Thessalonika, Alexander the Great in European Art: Thessalonika ‘97, reproduced in Helbing, Kunsthaus Zürich, 25/6.2. 1924, fig. 469 (which Cultural Capital of Europe, 22 September 1997- 11 January 1998, no. 11 bore an attribution to Domenico Tiepolo at that time), and two drawings, respectively at the Boijmans van Beuningen Museum, Rotterdam, and the Literature Pinacoteca Ambrosiana in Milan, which portray Alexander and Diogenes N. Hadjinicolaou (ed.), Alexander the Great in European Art, and The Meeting of Alexander with Thalestris, Queen of the Amazons. Thessalonika, 1997, no. 11, pp. 183-184, ill. (catalogue entry written by George Knox) When Alexander determined to visit the Temple of Jupiter Ammon in the Libyan desert, a trip of some 400 miles, he was guided by Jupiter and a flock of crows. On arriving at the temple he learnt from an oracle that his father was immortal, which allowed him henceforth to claim semi-divine status. According to Knox this subject is extremely rare and there is apparently no other example of it in 18th century Venetian art.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 159 107 PIETRO FACCHETTI (MANTUA 1535-1619 ROME) Portrait of the architect, Domenico Fontana (1543-1607), three- quarter-length, seated beside a desk with a book in one hand and a pair of dividers in the other, a view of the dome of Saint Peter’s, Rome, beyond oil on canvas 119.7 x 102.6cm (47 1/8 x 40 3/8in).

£50,000 - 70,000 €57,000 - 80,000 US$67,000 - 94,000

Provenance King Umberto II of Italy (1904-1983), by whom given to the present owner’s uncle, Marchese Cesare Alberto Godi di Godio, Minister Plenipotentiary in the Italian diplomatic service, and thence by descent

For details of the charges payable in addition to the final Hammer Price of each Lot 160 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 161

‘Without Fontana’s numerous contributions Rome would lack much of its striking present day visual identity’

The celebrated Piazza del Popolo, the Piazza di Santa Maria Maggiore, and the Renaissance architect, Piazza di San Giovanni in Laterano - to universal acclaim at the time Domenico Fontana was and celebrated today as classic elements of Rome’s topography. born at Melide, a village Indeed, without Fontana’s numerous contributions Rome would lack on Lake Lugano which much of its striking present day visual identity. was at that time a joint possession of the Swiss Of more architectural importance were the alterations he made to cantons of the old Swiss the Basilica di San Giovanni in Laterano, around 1586, where he Confederacy. He went to introduced into the loggia of the north façade an imposing double Rome in 1563, before the arcade of wide span and ample sweep, and probably added the death of Michelangelo, two-story portico of the Scala Santa. to join his elder brother, Giovanni, who was also His secular buildings included the Lateran Palace, also begun in an architect. Here he won 1586, the monumental, unembellished style of which he repeated in the confidence of Cardinal his design for the later part of the Vatican, which contains the present Montalto, later Pope Sixtus papal residence. The same general style was employed again in V, who entrusted him in the additions to the Quirinal Palace. Fontana furthermore designed 1584 with the erection of the transverse arms separating the courtyards of the Vatican and the Cappella del Presepio collaborated with his brother in the design of fountains, for example, in the Basilica di Santa the Fontana dell’Acqua Paola and the Fontana di Termini. Maria Maggiore which is based on a Greek Cross Facchetti was a Mantuan artist who was long active in Rome under the and has been admired patronage of Pope Sixtus V. He painted a mural in the Sala Sistina of the Fig. 1 for its remarkably well- Vatican Library which depicts a multiple portrait of Domenico Fontana balanced structure. For presenting the plans of the Library to Sixtus V. Fontana’s portrait was the Cardinal he then constructed the Palazzo Montalto near Santa Maria also painted by Federico Zuccaro, formerly in the collection of Giuseppe Maggiore. Following Cardinal Montalto’s election as Sixtus V, the Pope Bossi and now in the Pinacoteca di Brera, Milan. We are grateful to appointed Fontana Architect of Saint Peter’s, bestowing upon him, among Antonio Vannugli, Associate Professor University of Eastern Piedmont, other distinctions, the title of Knight of the Golden Spur. He added the for his assistance in cataloguing this portrait. lantern to the dome of Saint Peter’s and proposed the prolongation of the interior in a well-defined nave. Hence the prominence of the great basilica in the present portrait.

In 1586 Fontana erected the 327 tonne obelisk in the Square of Saint Peter’s. This feat of engineering took the concerted effort of 900 men, 75 horses and countless pulleys and metres of rope. Fontana himself gave a detailed account of the event in Della transportatione dell’obelisco Vaticano e delle fabriche di Sisto V (Rome, 1590; see figs. 1 and 2).

Fontana also used his remarkable engineering skills in order to erect three other ancient obelisks: on the Fig. 2

OLD MASTER PAINTINGS | 163 108 * TP ATTRIBUTED TO BERNHARD KEIL, CALLED MONSÙ Literature BERNARDO (ELSINORE 1624-1687 ROME) W. Sumowski, Gemälde der Rembrandt-Schüler, vol. III, Landau/ Pfalz, A boy and a girl playing in an orchard with a dog 1986, p. 1462, no. 955, ill., p. 1465 (as Bernard Keil) oil on canvas M. Heimbürger, Bernardo Keilhau, detto Monsù Bernardo, Rome, 164.5 x 122.2cm (64 3/4 x 48 1/8in). 1988, p. 282, no. AR1, ill (under ‘Attribuzioni Respinte’)

Sumowski, loc. cit., regarded the present lot as an autograph work £8,000 - 12,000 by Keil and dated it to circa 1660, a period in which the artist was €9,100 - 14,000 transitioning to a more Italian style. Although stylistically the work does US$11,000 - 16,000 not fit with much of Keil’s later works, he notes comparisons to Man and woman playing instruments and Boy and a girl teasing a sleeping Provenance youth (ibid, p. 1463, nos. 966 and 967). Private Collection, Scotland With Kunsthandel P. de Boer, Amsterdam, 1950s Heimburger rejects the attribution to Keil in her 1988 monograph and Collection of F.J Sandbergen, The Netherlands, before 1986 suggests, with corrobation from the RKD and Rijksmuseum, that the Thence by descent until artist is unlikely to be Dutch. She proposes that the artist might be Sale, Christie’s, London, 2 November 2001, lot 98 Spanish and suggests that it could be by Pedro Nuñez de Villavicencio (1635-1700).

For details of the charges payable in addition to the final Hammer Price of each Lot 164 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 109 ANDREA LOCATELLI (ROME 1693-CIRCA 1741) Classical figures resting in an Italianate landscape with a figure drawing water at a waterfall oil on canvas 75.2 x 106.2cm (29 5/8 x 41 13/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance Acquired by the present owner’s grandfather in the 1920s and thence by descent

An almost identical version of the present composition by Andrea Locatelli, oil on canvas, 72.3 x 96.5 cm., was sold at Christie’s, 10 December. 1982, lot 35.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 165 110 GIOVANNI BALDUCCI, CALLED IL COSCI (FLORENCE 1560-1603 NAPLES) The Last Supper; The Calling of Saints Peter and Andrew; Saint Peter Baptising the Centurion; Saints Peter and John healing the Lame Man; Saint Peter healing with his shadow a set of five, oil on panel the first 19.8 x 76.6 cm. (7 7/8 x 30 1/8 in.); the second two 19.8 x 56.2 cm. ( 7 7/8 x 22 1/8 in.); the last two 19.7 x 47.1 cm. (7 3/4 x 18 1/2 in.) (5)

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

For details of the charges payable in addition to the final Hammer Price of each Lot 166 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 167 111 * TP LAVINIA FONTANA (BOLOGNA 1552-1614 ROME) Gerardo Giavarini was among those young Bolognese men in their Portrait of Gerardo Giavarini, three-quarter-length, standing in an twenties whom Pope Clement VIII created Knights Palatine, Counts interior beside a table covered with a carpet on which rests a knight’s and Pages during his stay in Bologna in 1598 and when he was back helmet with his right hand showing a chiaroscuro monochrome in Rome after having subjugated Ferrara, in gratitude for the welcome drawing depicting Venus and Cupid he had received from the city. This event was a matter of pride which inscribed ‘AETATIS SUAE ANNORUM XXV’ (on edge of table, inspired some of these young men to commemorate their investiture lower left) and bears inscription and date ‘GERARDO GIAVARI/ NI by having their portraits painted. Another such portrait of one of these CAVALLIERE/ CONTE PALATINO/ E PAGGIO DI PAPA/ CLEMENTE young Bolognese men that is known is that of Lattanzio Graffi, created VIII/ MENTRE DIMORO/ IN BOLOGNA L’ANNO/ 1598’ (upper right) a page in the same circumstances, which is attributed to Bartolomeo oil on canvas Cesi (Genus Bononiae Collection, Bologna). 130 x 103.5cm (51 3/16 x 40 3/4in). The painting shows a compositional approach that has been £80,000 - 120,000 repeatedly used by Lavinia Fontana in male portraits: the style of €91,000 - 140,000 drawing and the colour scheme are very close to those of the painter US$110,000 - 160,000 who by the late 1590s was a well-known professional in her city, known for having made numerous portraits of men and women of good Bolognese society. The drawing with its amorous subject which Provenance the young man shows to us probably indicates that this painting was Private Collection, Wales, since at least 1927 and thence by descent dedicated to his betrothed love. The theme of the Venus and Cupid to the present owners was treated by Fontana in other paintings, such as the canvas, 215

x 134 cm., dated 1585 in a private collection, Venice, and the design reproduced here resumes these models. Stylistic comparison with other known works by the artist suggests that the present portrait may have been realised by Lavinia Fontana a few years before her transfer to Rome in 1603 at the invitation of Pope Clement VIII. Much praised ‘Much praised in her in her lifetime, Fontana is now regarded as the first woman to achieve financial and critical success as a painter in Counter-Reformation Italy. lifetime, Fontana is We are grateful to Dottssa. Maria Theresa Cantaro and Antonio now regarded as the Vannugli, Associate Professor, University of Eastern Piedmont, for their assistance in cataloguing this portrait and confirming the attribution first woman to achieve based on digital photographs. financial and critical success as a painter in Counter-Reformation Italy’

Fig. 1 Guido Reni: Facade of a triumphal monument with three Fig. 2 Guido Reni: The Porta Galliera, the entrance scenes depicting deeds of Pope Clement VIII, a temporary gate to Bologna and drawbridge with temporary decoration for the entry of Pope Clement VIII in Bologna in 1598 decorations for the entry of Pope Clement VIII

For details of the charges payable in addition to the final Hammer Price of each Lot 168 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 169 112 JOHN CONSTABLE R.A. (SUFFOLK 1776-1837 HAMPSTEAD) View on the Orwell near Ipswich inscribed and dated ‘Ipswich/5 Aug 1815’ (lower right) pencil on laid paper 14.3 x 20.6cm (5 5/8 x 8 1/8in). with a second landscape sketch verso

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Seago Collection, UK, by whom offered Sale, Christie’s, London, 8 June 1976, lot 172 Collection of William Jenkins Esq, and thence by descent to the present owner

Literature G. Reynolds, The Early Paintings and Drawings of John Constable, New Haven and London, p.207, nos. 15.14, 15.15, ill., pl. 1225

Constable made another study on the same day: Shipping near Ipswich, now in the collection of the Victoria and Albert Museum, London (inv. no. 308-1888), was part of the large bequest made to the museum by Minna Constable, the artist’s daughter. Both drawings were sketched while Constable was returning from visiting the Rev. F.H. Barnwell at Brightwell where he painted the small oil painting of Brightwell Church and Village now in the collection of Tate Britain (inv. no. 3121).

When the present drawing was offered at Christie’s in 1976 it came from the property of a Mr Seago. Edward Seago (1910-1974) was a Norwich-born landscape artist whose paintings of East Anglian waterways, characterized by low horizons and billowing skies, show a clear debt to Constable and it seems very likely that he was the previous owner of this atmospheric pencil sketch.

Verso

For details of the charges payable in addition to the final Hammer Price of each Lot 170 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 171 113 JEAN BAPTISTE GREUZE (TOURNUS 1725-1805 PARIS) Provenance Study of the head of a girl Anonymous 18th century French mounter of drawings (Frits Lugt. 172: red chalk on laid paper, laid down on card laid down on characteristic mount) 39.3 x 31.8cm (15 1/2 x 12 1/2in). Collection of Rudolf von Gutmann Sale, Sotheby’s, London, 5 July 1993, lot 66, where purchased by the £8,000 - 12,000 present owner €9,100 - 14,000 US$11,000 - 16,000 The present work is clearly a study that appealed strongly to Greuze as he used it as the basis for a number of oil paintings including The Morning Prayer in the Musée Fabre, Montpellier and Last Breath of Innocence with Adam Williams Fine Art, New York, but the finished work that most closely reflects it is that titled The Souvenir in the Wallace Collection, London.

For details of the charges payable in addition to the final Hammer Price of each Lot 172 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 114 FRANÇOIS BOUCHER (PARIS 1703-1770) Provenance Two studies of a young man’s head Charles E. Slatkin Galleries, New York bears early inscription ‘f.Boucher’ (lower right) Collection of David Daniels, USA black and white chalk on blue paper His sale, Sotheby’s, London, 25 April 1975, lot 67 22.2 x 30.5cm (8 3/4 x 12in). Sale, Sotheby’s, London, New York, 12 January 1994, lot 61

Exhibited £7,000 - 10,000 Minneapolis, The Minneapolis Institute of Arts, Drawings and €8,000 - 11,000 Watercolors from Minnesota Private Collections, 13 May- 13 June US$9,400 - 13,000 1971, cat. no. 10

We are grateful to Alistair Laing for confirming the attribution to Boucher, upon inspection of colour photographs.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 173 NOTICE TO BIDDERS This notice is addressed by Bonhams to any person who are sold as items of interest for display purposes only. If you or as to the anticipated or likely selling price of any Lot. No may be interested in a Lot, including Bidders and potential yourself do not have expertise regarding a Lot, you should statement or representation by Bonhams or on its behalf in any Bidders (including any eventual Buyer of the Lot). For ease of consult someone who does to advise you. We can assist in way descriptive of any Lot or any Estimate is incorporated into reference we refer to such persons as “Bidders” or “you”. Our arranging facilities for you to carry out or have carried out more our Buyer’s Agreement. 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Such bids are Storage and handling charges may also be payable by the other than the registered Buyer will not be accepted. Bonhams made at your own risk and we cannot accept liability for our Buyer as detailed on the specific Sale Information page at the reserves the right to vary the terms of payment at any time. failure to receive and/or place any such bids. All bids made front of the catalogue. on your behalf will be made at the lowest level possible Bonhams’ preferred payment method is by subject to Reserves and other bids made for the Lot. Where The Buyer’s Premium and all other charges payable to us by bank transfer. appropriate your bids will be rounded down to the nearest the Buyer are subject to VAT at the prevailing rate, currently amount consistent with the Auctioneer’s bidding increments. 20%. You may electronically transfer funds to our Trust Account. New Bidders must also provide proof of identity and address If you do so, please quote your paddle number and invoice when submitting bids. Failure to do this will result in your bid VAT may also be payable on the Hammer Price of the Lot, number as the reference. Our Trust Account details are as not being placed. where indicated by a symbol beside the Lot number. See follows: paragraph 8 below for details. Bidding via the internet Bank: National Westminster Bank Plc Please visit our Website at http://www.bonhams.com for On certain Lots, which will be marked “AR” in the Catalogue Address: PO Box 4RY details of how to bid via the internet. and which are sold for a Hammer Price of €1,000 or greater 250 Regent Street (converted into the currency of the Sale using the European London W1A 4RY Bidding through an agent Central Bank Reference rate prevailing on the date of the Sale), Account Name: Bonhams 1793 Limited Trust Account Bids will be accepted as placed on behalf of the person named the Additional Premium will be payable to us by the Buyer to Account Number: 25563009 as the principal on the Bidding Form although we may refuse cover our Expenses relating to the payment of royalties under Sort Code: 56-00-27 to accept bids from an agent on behalf of a principal and the Artists Resale Right Regulations 2006. The Additional IBAN Number: GB 33 NWBK 560027 25563009 will require written confirmation from the principal confirming Premium will be a percentage of the amount of the Hammer the agent’s authority to bid. Nevertheless, as the Bidding Price calculated in accordance with the table below, and shall If paying by bank transfer, the amount received after the Form explains, any person placing a bid as agent on behalf not exceed €12,500 (converted into the currency of the Sale deduction of any bank fees and/or conversion of the currency of another (whether or not he has disclosed that fact or the using the European Central Bank Reference rate prevailing on of payment to pounds sterling must not be less than the identity of his principal) will be jointly and severally liable with the date of the Sale). sterling amount payable, as set out on the invoice. the principal to the Seller and to Bonhams under any contract resulting from the acceptance of a bid. Subject to the above, Hammer Price Percentage amount Payment may also be made by one of the following methods: please let us know if you are acting on behalf of another From €0 to €50,000 4% person when bidding for Lots at the Sale. From €50,000.01 to €200,000 3% Sterling personal cheque drawn on a UK branch of a bank From €200,000.01 to €350,000 1% or building society: all cheques must be cleared before you Equally, please let us know if you intend to nominate another From €350,000.01 to €500,000 0.5% can collect your purchases and should be made payable to person to bid on your behalf at the Sale unless this is to be Exceeding €500,000 0.25% Bonhams 1793 Limited. carried out by us pursuant to a Telephone or Absentee Bidding Form that you have completed. If we do not approve the Cash: you may pay for Lots purchased by you at this Sale agency arrangements in writing before the Sale, we are entitled with notes or coins in the currency in which the Sale is to assume that the person bidding at the Sale is bidding on his conducted (but not any other currency) provided that the total own behalf. Accordingly, the person bidding at the Sale will be amount payable by you in respect of all Lots purchased by the Buyer and will be liable to pay the Hammer Price and you at the Sale does not exceed £3,000, or the equivalent in the currency in which the Sale is conducted, at the time when payment is made. If the amount payable by you for Lots exceeds that sum, the balance must be paid otherwise than in coins or notes; this limit applies to both payment at our premises and direct deposit into our bank account.

NTB/MAIN/1.2018/V2 Debit cards (including China Union Pay (CUP) cards and otherwise, whether given orally or in writing and whether given sleeving and measurements once rendered unserviceable debit cards issued by Visa and MasterCard only). There is no before or during the Sale. Neither we nor the Seller will be according to the Gun Barrel Proof Act of 1968 to 1978 and the limit on payment value if payment is made in person using Chip liable for any loss of Business, profits, revenue or income, or Rules of Proof. & Pin verification. for loss of reputation, or for disruption to Business or wasted time on the part of management or staff, or for indirect losses Condition of Firearms Payment by telephone may also be accepted up to £5,000, or consequential damages of any kind, irrespective in any Comment in this Catalogue is restricted, in general, to subject to appropriate verification procedures, although this case of the nature, volume or source of the loss or damage exceptional condition and to those defects that might facility is not available for first time buyers. If the amount alleged to be suffered, and irrespective of whether the said affect the immediate safety of a firearm in normal use. An payable by you for Lots exceeds that sum, the balance must loss or damage is caused by or claimed in respect of any intending Bidder unable to make technical examinations be paid by other means. negligence, other tort, breach of contract (if any) or statutory and assessments is recommended to seek advice from a duty, restitutionary claim or otherwise. In any circumstances gunmaker or from a modern firearms specialist. All prospective Credit cards (including China Union Pay (CUP) cards and where we and/or the Seller are liable in relation to any Lot or Bidders are advised to consult the ˚ of bore and wall-thickness credit cards issued by Visa and MasterCard only). There is any Description or Estimate made of any Lot, or the conduct measurements posted in the saleroom and available from the a £5,000 limit on payment value if payment is made in person of any Sale in relation to any Lot, whether in damages, for department. Bidders should note that guns are stripped only using Chip & Pin verification. an indemnity or contribution, or for a restitutionary remedy or where there otherwise, our and/or the Seller’s liability (combined, if both is a strong indication of a mechanical malfunction. Stripping It may be advisable to notify your debit or credit card provider we and the Seller are liable) will be limited to payment of a sum is not, otherwise, undertaken. Guns intended for use should of your intended purchase in advance to reduce delays caused which will not exceed by way of maximum the amount of the be stripped and cleaned beforehand. Hammer guns should by us having to seek authority when you come to pay. Purchase Price of the Lot irrespective in any case of the nature, have their rebound mechanisms checked before use. The volume or source of any loss or damage alleged to be suffered safety mechanisms of all guns must be tested before use. Note: only one debit or credit card may be used for payment or sum claimed as due, and irrespective of whether the liability All measurements are approximate. of an account balance. If you have any questions with arises from any negligence, other tort, breach of contract (if regards to card payments, please contact our Customer any) or statutory duty or otherwise. Nothing set out above will Original Gun Specifications Derived from Services Department. be construed as excluding or restricting (whether directly or Gunmakers indirectly) our liability or excluding or restricting any person’s The Sporting Gun Department endeavours to confirm a gun’s 10. COLLECTION AND STORAGE rights or remedies in respect of (i) fraud, or (ii) death or original specification and date of manufacture with makers who personal injury caused by our negligence (or by the negligence hold their original records. The Buyer of a Lot will not be allowed to collect it until payment of any person under our control or for whom we are legally in full and in cleared funds has been made (unless we have responsible), or (iii) acts or omissions for which we are liable Licensing Requirements made a special arrangement with the Buyer). For collection and under the Occupiers Liability Act 1957, or (iv) any other liability Firearms Act 1968 as amended removal of purchased Lots, please refer to Sale Information at to the extent the same may not be excluded or restricted as Bonhams is constantly reviewing its procedures and would the front of the Catalogue. Our offices are open 9.00am – 5pm a matter of law or (v) our undertakings under paragraphs 9 (in remind you that, in the case of firearms or shotguns subject to Monday to Friday. Details relating to the collection of a Lot, the relation to specialist Stamp or Book Sales only) and 10 of the certification, to conform with current legislation, Bonhams is storage of a Lot and our Storage Contractor after the Sale are Buyer’s Agreement. The same applies in respect of the Seller, required to see, as appropriate, your original registered firearms set out in the Catalogue. as if references to us in this paragraph were substituted with dealer’s certificate / shot gun certificate / firearm certificate / references to the Seller. museum firearms licence / Section 5 authority or import licence 11. SHIPPING (or details of any exemption from which you may benefit, for For information and estimates on domestic and international 15. BOOKS instance Crown servant status) for the firearm(s) you have shipping as well as export licenses please contact purchased prior to taking full payment of the amount shown Alban Shipping on +44 (0) 1582 493 099 As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of [email protected] to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially 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 12. EXPORT/TRADE RESTRICTIONS in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. It is your sole responsibility to comply with all export and unframed maps and bound manuscripts are not liable to VAT import regulations relating to your purchases and also to on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable obtain any relevant export and/or import licence(s). Export to produce the correct paperwork, the Lot(s) will be reoffered licences are issued by Arts Council England and application 16. CLOCKS AND WATCHES by Bonhams in the next appropriate Sale, on standard terms forms can be obtained from its Export Licensing Unit. The for Sellers, and you will be responsible for any loss incurred by detailed provisions of the export licencing arrangements can All Lots are sold “as is”, and the absence of any reference to Bonhams on the original Sale to you. be found on the ACE website http://www.artscouncil.org.uk/ the condition of a clock or watch does not imply that the Lot is what-we-do/supporting-museums/cultural-property/export- in good condition and without defects, repairs or restorations. In the case of RFD certificates and Section 5 authorities, we controls/export-licensing/ or by phoning ACE on +44 (0)20 Most clocks and watches have been repaired in the course of wish to keep an up-to-date copy on file. Please supply us with 7973 5188. The need for import licences varies from country their normal lifetime and may now incorporate parts not original a Fax or photocopy. It would be helpful if you could send us an to country and you should acquaint yourself with all relevant to them. Furthermore, Bonhams makes no representation or updated copy whenever your certificate or authority is renewed local requirements and provisions. The refusal of any import or warranty that any clock or watch is in working order. As clocks or changed. export licence(s) or and watches often contain fine and complex mechanisms, any delay in obtaining such licence(s) shall not permit the Bidders should be aware that a general service, change of Lots marked ‘S1´ and bearing red labels are Section 1 firearms rescission of any Sale nor allow any delay in making full battery or further repair work, for which the Buyer is solely and require a valid British Firearms certificate, RFD Licence or payment for the Lot. Generally, please contact our shipping responsible, may be necessary. Bidders should be aware import licence. department before the Sale if you require assistance in that the importation of watches such as Rolex, Frank Muller relation to export regulations. and Corum into the United States is highly restricted. These Lots marked ‘S2’ and bearing blue labels are Section 2 watches may not be shipped to the USA and can only be firearms and require a valid British Shotgun certificate, RFD 13. CITES REGULATIONS imported personally. licence or import licence.

Please be aware that all Lots marked with the symbol Y are 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are subject to CITES regulations when exporting these items CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 outside the EU. These regulations may be found at Authority or import licence. http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or Proof of Firearms may be requested from: The term “proof exemption” indicates that a firearm has been Lots marked with a ‘S58´ and bearing yellow labels are for examined at a Proof House, but not proved, as either (a) it was obsolete calibres and no licence is required unless ammunition Animal Health and Veterinary Laboratories Agency (AHVLA) deemed of interest and not intended for use, or (b) ammunition is held. Wildlife Licencing was not available. In either case, the firearm must be regarded Floor 1, Zone 17, Temple Quay House as unsafe to fire unless subsequently proved. Firearms Unmarked Lots require no licence. 2 The Square, Temple Quay proved for Black Powder should not be used with smokeless BRISTOL BS1 6EB ammunition. Please do not hesitate to contact the Modern Sporting Gun Tel: +44 (0) 117 372 8774 Department should you have any queries. The term “Certificate of Unprovability” indicates that a firearm 14. THE SELLERS AND/OR BONHAMS’ LIABILITY has been examined at a Proof House and is deemed both Taxidermy and Related Items unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply Other than any liability of the Seller to the Buyer of a Lot such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to under the Contract for Sale, neither we nor the Seller are inform themselves of all such regulations and should expect liable (whether in negligence or otherwise) for any error or the exportation of items to take some time to arrange. misdescription or omission in any Description of a Lot or any Guns Sold as Parts Barrels of guns sold as parts will only be made available for Estimate in respect of it, whether contained in the Catalogue or

NTB/MAIN/1.2018/V2 18. FURNITURE • Unless otherwise specified, dimensions given are those of 24. WINE the piece of paper on which the image is printed, including Upholstered Furniture any margins. Some photographs may appear in the Lots which are lying under Bond and those liable to VAT may Whilst we take every care in cataloguing furniture which has Catalogue without margins illustrated. not be available for immediate collection. been upholstered we offer no Guarantee as to the originality • All photographs are sold unframed unless stated in the Lot of the wood covered by fabric or upholstery. Description. Examining the wines It is occasionally possible to provide a pre-Sale tasting for 19. JEWELLERY 21. PICTURES larger parcels (as defined below). This is generally limited to more recent and everyday drinking wines. Please contact the Explanation of Catalogue Terms department for details. Gemstones The following terms used in the Catalogue have the following Historically many gemstones have been subjected to a variety meanings but are subject to the general provisions relating to of treatments to enhance their appearance. Sapphires and 0It is not our policy to inspect every unopened case. In the Descriptions contained in the Contract for Sale: rubies are routinely heat treated to improve their colour and case of wines older than 20 years the boxes will usually • “Jacopo Bassano”: in our opinion a work by the artist. clarity, similarly emeralds are frequently treated with oils have been opened and levels and appearance noted in When the artist’s forename(s) is not known, a series of or resin for the same purpose. Other treatments such as the Catalogue where necessary. You should make proper asterisks, followed by the surname of the artist, whether staining, irradiation or coating may have been used on other allowance for variations in ullage levels and conditions of corks, preceded by an initial or not, indicates that in our opinion gemstones. These treatments may be permanent, whilst capsules and labels. the work is by the artist named; others may need special care or re-treatment over the years • “Attributed to Jacopo Bassano”: in our opinion probably to retain their appearance. Bidders should be aware that a work by the artist but less certainty as to authorship is Corks and Ullages Estimates assume that gemstones may have been subjected Ullage refers to the space between the base of the cork expressed than in the preceding category; to such treatments. A number of laboratories issue certificates and the wine. Ullage levels for Bordeaux shaped bottles are • “Studio/Workshop of Jacopo Bassano”: in our opinion a that give more detailed Descriptions of gemstones. However only normally noted when below the neck and for Burgundy, work by an unknown hand in a studio of the artist which there may not be consensus between different laboratories on Alsace, German and Cognac shaped bottles when greater may or may not have been executed under the artist’s the degrees, or types of treatment for any particular gemstone. than 4 centimetres (cm). Acceptable ullage levels increase with direction; In the event that Bonhams has been given or has obtained age; generally acceptable levels are as follows: • “Circle of Jacopo Bassano”: in our opinion a work by certificates for any Lot in the Sale these certificates will be a hand closely associated with a named artist but not Under 15 years old – into neck or less than 4cm disclosed in the Catalogue. Although, as a matter of policy, necessarily his pupil; 15 to 30 years old – top shoulder (ts) or up to 5cm Bonhams endeavours to provide certificates from recognised • “Follower of Jacopo Bassano”: in our opinion a work by a Over 30 years old – high shoulder (hs) or up to 6cm laboratories for certain gemstones, it is not feasible to obtain painter working in the artist’s style, contemporary or nearly certificates for each Lot. In the event that no certificate is contemporary, but not necessarily his pupil; It should be noted that ullages may change between published in the Catalogue, Bidders should assume that the • “Manner of Jacopo Bassano”: in our opinion a work in the publication of the Catalogue and the Sale and that corks may gemstones may have been treated. Neither Bonhams nor style of the artist and of a later date; fail as a result of transporting the wine. We will only accept the Seller accepts any liability for contradictions or differing • “After Jacopo Bassano”: in our opinion, a copy of a known responsibility for Descriptions of condition at the time of certificates obtained by Buyers on any Lots subsequent to work of the artist; publication of the Catalogue and cannot accept responsibility the Sale. • “Signed and/or dated and/or inscribed”: in our opinion the for any loss resulting from failure of corks either before or after signature and/or date and/or inscription are from the hand this point. Estimated Weights of the artist; If a stone(s) weight appears within the body of the Description • “Bears a signature and/or date and/or inscription”: in our in capital letters, the stone(s) has been unmounted and Options to buy parcels opinion the signature and/or date and/or inscription have A parcel is a number of Lots of identical size of the same wine, weighed by Bonhams. If the weight of the stone(s) is stated been added by another hand. bottle size and Description. The Buyer of any of these Lots has to be approximate and does not appear in capital letters, the the option to accept some or all of the remaining Lots in the stone(s) has been assessed by us within its/their settings, 22. PORCELAIN AND GLASS parcel at the same price, although such options will be at the and the stated weight is a statement of our opinion only. This Auctioneer’s sole discretion. Absentee Bidders are, therefore, information is given as a guide and Bidders should satisfy Damage and Restoration advised to bid on the first Lot in a parcel. themselves with regard to this information as to its accuracy. For your guidance, in our Catalogues we detail, as far as practicable, recorded all significant defects, cracks and Wines in Bond Signatures restoration. Such practicable Descriptions of damage cannot Wines lying in Bond are marked Δ. All Lots sold under Bond,

1. A diamond brooch, by Kutchinsky be definitive, and in providing Condition Reports, we cannot and which the Buyer wishes to remain under Bond, will be When the maker’s name appears in the title, in Bonhams’ Guarantee that there are no other defects present which have invoiced without VAT or Duty on the Hammer Price. If the opinion the piece is by that maker. not been mentioned. Bidders should satisfy themselves by Buyer wishes to take the Lot as Duty paid, UK Excise Duty and inspection, as to the condition of each Lot. Please see the VAT will be added to the Hammer Price on the invoice.

2. A diamond brooch, signed Kutchinsky Contract for Sale printed in this Catalogue. Because of the Has a signature that, in Bonhams’ opinion, is authentic but difficulty in determining whether an item of glass has been Buyers must notify Bonhams at the time of the sale whether may contain gemstones that are not original, or the piece may repolished, in our Catalogues reference is only made to visible they wish to take their wines under Bond or Duty paid. If a have been altered. chips and cracks. No mention is made of repolishing, severe Lot is taken under Bond, the Buyer will be responsible for all or otherwise. VAT, Duty, clearance and other charges that may be payable

3. A diamond brooch, mounted by Kutchinsky thereon. Has been created by the jeweller, in Bonhams’ opinion, but 23. VEHICLES using stones or designs supplied by the client. Buyers outside the UK must be aware that any forwarding The Veteran Car Club of Great Britain agent appointed to export their purchases must have a 20. PHOTOGRAPHS movement certificate for Lots to be released under Bond. Explanation of Catalogue Terms Dating Plates and Certificates • “Bill Brandt”: in our opinion a work by the artist. When mention is made of a Veteran Car Club Dating Plate or Bottling Details and Case Terms • “Attributed to Bill Brandt”: in our opinion probably a work by Dating Certificate in this Catalogue, it should be borne in mind The following terms used in the Catalogue have the following the artist, but less certainty to authorship is expressed than that the Veteran Car Club of Great Britain using the services of meanings: in the preceding category. Veteran Car Company Ltd, does from time to time, review cars CB – Château bottled • “Signed and/or titled and/or dated and/or inscribed”: in already dated and, in some instances, where fresh evidence DB – Domaine bottled our opinion the signature and/or title and/or date and/or becomes available, the review can result in an alteration of EstB – Estate bottled inscription are in the artist’s hand. date. Whilst the Club and Veteran Car Company Ltd make BB – Bordeaux bottled • “Signed and/or titled and/or dated and/or inscribed in every effort to ensure accuracy, the date shown on the Dating BE – Belgian bottled another hand”: in our opinion the signature and/or title and/ Plate or Dating Certificate cannot be guaranteed as correct and FB – French bottled or date and/or inscription have been added by intending purchasers should make their own enquiries as to the GB – German bottled another hand. date of the car. OB – Oporto bottled • The date given is that of the image (negative). Where no UK – United Kingdom bottled further date is given, this indicates that the photographic owc – original wooden case print is vintage (the term “vintage” may also be included in iwc – individual wooden case the Lot Description). A vintage photograph is one which oc – original carton was made within approximately 5-10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be later, “printed later” will appear in the Lot Description.

NTB/MAIN/1.2018/V2 SYMBOLS 1.4 The contract is made on the fall of the Auctioneer’s 4.2 The Seller will not be liable for any breach of any hammer in respect of the Lot when it is knocked undertaking, whether implied by the Sale of Goods THE FOLLOWING SYMBOLS ARE USED TO down to you. Act 1979 or otherwise, as to the satisfactory quality DENOTE of the Lot or its fitness for any purpose. 2 SELLER’S UNDERTAKINGS Y Subject to CITES regulations when exporting these items 5 RISK, PROPERTY AND TITLE outside the EU, see clause 13. 2.1 The Seller undertakes to you that: TP Objects displayed with a TP will be located at the 5.1 Risk in the Lot passes to you when it is knocked Cadogan Tate warehouse and will only be available for 2.1.1 the Seller is the owner of the Lot or is duly authorised down to you on the fall of the Auctioneer’s collection from this location. to sell the Lot by the owner; hammer in respect of the Lot. The Seller will W Objects displayed with a w will be located in the not be responsible thereafter for the Lot prior to Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the you collecting it from Bonhams or the Storage collection from this location. Catalogue, the Seller sells the Lot with full title Contractor, with whom you have separate contract(s) Δ Wines lying in Bond. guarantee or, where the Seller is an executor, trustee, as Buyer. You will indemnify the Seller and keep the AR An Additional Premium will be payable to us by the Buyer liquidator, receiver or administrator, with whatever Seller fully indemnified from and against all claims, to cover our Expenses relating to payment of royalties right, title or interest he may have in the Lot; proceedings, costs, expenses and losses arising in under the Artists Resale Right Regulations 2006. See respect of any injury, loss and damage caused to the clause 7 for details. 2.1.3 except where the Sale is by an executor, trustee, Lot after the fall of the Auctioneer’s hammer until you ○ The Seller has been guaranteed a minimum price for the liquidator, receiver or administrator the Seller is both obtain full title to it. Lot, either by Bonhams or a third party. This may take the legally entitled to sell the Lot, and legally capable form of an irrevocable bid by a third party, who may make of conferring on you quiet possession of the Lot 5.2 Title to the Lot remains in and is retained by the a financial gain on a successful Sale or a financial loss if and that the Sale conforms in every respect with Seller until the Purchase Price and all other sums unsuccessful. the terms implied by the Sale of Goods Act 1979, payable by you to Bonhams in relation to the Lot ▲ Bonhams owns the Lot either wholly or partially or may Sections 12(1) and 12(2) (see the Definitions and have been paid in full to, and received in cleared otherwise have an economic interest. Glossary); funds by, Bonhams. Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into 2.1.4 the Seller has complied with all requirements, legal or 6 PAYMENT the USA. otherwise, relating to any export or import of the Lot, and all duties and taxes in respect of the export or 6.1 Your obligation to pay the Purchase Price arises Ω a •, †, *, G, , see clause 8, VAT, for details. import of the Lot have (unless stated to the contrary when the Lot is knocked down to you on the fall of in the Catalogue or announced by the Auctioneer) the Auctioneer’s hammer in respect of the Lot. DATA PROTECTION – USE OF YOUR INFORMATION been paid and, so far as the Seller is aware, all third parties have complied with such requirements in 6.2 Time will be of the essence in relation to payment of Where we obtain any personal information about you, we the past; the Purchase Price and all other sums payable by shall only use it in accordance with the terms of our Privacy you to Bonhams. Unless agreed in writing with you Policy (subject to any additional specific consent(s) you may 2.1.5 subject to any alterations expressly identified as such by Bonhams on the Seller’s behalf (in which case have given at the time your information was disclosed). A made by announcement or notice at the Sale venue you must comply with the terms of that agreement), copy of our Privacy Policy can be found on our Website www. or by the Notice to Bidders or by an insert in the all such sums must be paid to Bonhams by you bonhams.com or requested by post from Customer Services Catalogue, the Lot corresponds with the Contractual in the currency in which the Sale was conducted Department, 101 New Bond Street, London, W1S 1SR or by Description of the Lot, being that part of the Entry by not later than 4.30pm on the second working email from [email protected] about the Lot in the Catalogue which is in bold day following the Sale and you must ensure that letters and (except for colour) with any photograph of the funds are cleared by the seventh working day APPENDIX 1 the Lot in the Catalogue and the contents of after the Sale. Payment must be made to Bonhams any Condition Report which has been provided to by one of the methods stated in the Notice to CONTRACT FOR SALE the Buyer. Bidders unless otherwise agreed with you in writing by Bonhams. If you do not pay any sums due in IMPORTANT: These terms may be changed in advance of 3 DESCRIPTIONS OF THE LOT accordance with this paragraph, the Seller will have the Sale of the Lot to you, by the setting out of different terms the rights set out in paragraph 8 below. in the Catalogue for the Sale and/or by placing an insert in the 3.1 Paragraph 2.1.5 sets out what is the Contractual Catalogue and/or by notices at the Sale venue and/or by oral Description of the Lot. In particular, the Lot is not 7 COLLECTION OF THE LOT announcements before and during the Sale at the Sale venue. sold as corresponding with that part of the Entry in You should be alert to this possibility of changes and ask in the Catalogue which is not printed in bold letters, 7.1 Unless otherwise agreed in writing with you by advance of bidding if there have been any. which merely sets out (on the Seller’s behalf) Bonhams, the Lot will be released to you or to your Bonhams’ opinion about the Lot and which is not order only when Bonhams has received cleared Under this contract the Seller’s liability in respect of the quality part of the Contractual Description upon which the funds to the amount of the full Purchase Price and of the Lot, it’s fitness for any purpose and its conformity with Lot is sold. Any statement or representation other all other sums owed by you to the Seller and to any Description is limited. You are strongly advised to examine than that part of the Entry referred to in paragraph Bonhams. the Lot for yourself and/or obtain an independent examination 2.1.5 (together with any express alteration to it of it before you buy it. as referred to in paragraph 2.1.5), including any 7.2 The Seller is entitled to withhold possession from you Description or Estimate, whether made orally or in of any other Lot he has sold to you at the same or 1 THE CONTRACT writing, including in the Catalogue or on Bonhams’ at any other Sale and whether currently in Bonhams’ Website, or by conduct, or otherwise, and whether possession or not until payment in full and in cleared 1.1 These terms govern the Contract for Sale of the Lot by or on behalf of the Seller or Bonhams and funds of the Purchase Price and all other sums due by the Seller to the Buyer. whether made prior to or during the Sale, is not part to the Seller and/or Bonhams in respect of the Lot. of the Contractual Description upon which the Lot is 1.2 The Definitions and Glossary contained in Appendix sold. 7.3 You will collect and remove the Lot at your own 3 in the Catalogue are incorporated into this Contract expense from Bonhams’ custody and/ or control or for Sale and a separate copy can also be provided 3.2 Except as provided in paragraph 2.1.5, the Seller from the Storage Contractor’s custody in accordance by Bonhams on request. Where words and phrases does not make or give and does not agree to with Bonhams’ instructions or requirements. are used which are in the List of Definitions, they are make or give any contractual promise, undertaking, printed in italics. obligation, guarantee, warranty, or representation 7.4 You will be wholly responsible for packing, handling of fact, or undertake any duty of care, in relation to and transport of the Lot on collection and for 1.3 The Seller sells the Lot as the principal to the any Description of the Lot or any Estimate in relation complying with all import or export regulations in Contract for Sale, such contract being made to it, nor of the accuracy or completeness of any connection with the Lot. between the Seller and you through Bonhams which Description or Estimate which may have been made acts in the sole capacity as the Seller’s agent and not by or on behalf of the Seller including by Bonhams. 7.5 You will be wholly responsible for any removal, as an additional principal. However, if the Catalogue No such Description or Estimate is incorporated into storage or other charges or Expenses incurred states that Bonhams sells the Lot as principal, or this Contract for Sale. by the Seller if you do not remove the Lot in such a statement is made by an announcement accordance with this paragraph 7 and will by the Auctioneer, or by a notice at the Sale, or an 4 FITNESS FOR PURPOSE AND indemnify the Seller against all charges, costs, insert in the Catalogue, then Bonhams is the Seller SATISFACTORY QUALITY including any legal costs and fees, Expenses and for the purposes of this agreement. losses suffered by the Seller by reason of your 4.1 The Seller does not make and does not agree failure to remove the Lot including any charges to make any contractual promise, undertaking, due under any Storage Contract. All such sums obligation, guarantee, warranty, or representation of due to the Seller will be payable on demand. fact in relation to the satisfactory quality of the Lot or its fitness for any purpose. NTB/MAIN/1.2018/V2 8 FAILURE TO PAY FOR THE LOT 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented from performing that party’s respective obligations 8.1 If the Purchase Price for a Lot is not paid to 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances Bonhams in full in accordance with the Contract for damage caused by the Lot after the fall of the beyond its reasonable control or if performance of its Sale the Seller will be entitled, with the prior written Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances agreement of Bonhams but without further notice to give rise to a significantly increased financial you, to exercise one or more of the following rights 9.2 Subject to paragraph 9.3 below, except for breach of cost to it, that party will not, for so long as such (whether through Bonhams or otherwise): the express undertaking provided in paragraph 2.1.5, circumstances prevail, be required to perform such the Seller will not be liable for any breach of any term obligations. This paragraph does not apply to the 8.1.1 to terminate immediately the Contract for Sale of the that the Lot will correspond with any Description obligations imposed on you by paragraph 6. Lot for your breach of contract; applied to it by or on behalf of the Seller, whether implied by the Sale of Goods Act 1979 or otherwise. 10.4 Any notice or other communication to be given 8.1.2 to resell the Lot by auction, private treaty or any under the Contract for Sale must be in writing and other means on giving seven days’ written notice to 9.3 Unless the Seller sells the Lot in the course of a may be delivered by hand or sent by first class you of the intention to resell; Business and the Buyer buys it as a Consumer, post or air mail or fax transmission, if to the Seller, addressed c/o Bonhams at its address or fax 8.1.3 to retain possession of the Lot; 9.3.1 the Seller will not be liable (whether in negligence, number in the Catalogue (marked for the attention of other tort, breach of contract or statutory duty or in the Company Secretary), and if to you to the address 8.1.4 to remove and store the Lot at your expense; restitution or under the Misrepresentation Act 1967, or fax number of the Buyer given in the Bidding Form or in any other way) for any lack of conformity with, (unless notice of any change of address is given in 8.1.5 to take legal proceedings against you for any sum or inaccuracy, error, misdescription or omission in writing). It is the responsibility of the sender of the due under the Contract for Sale and/or damages for any Description of the Lot or any Entry or Estimate in notice or communication to ensure that it is received breach of contract; relation to the Lot made by or on behalf of the Seller in a legible form within any applicable time period. (whether made in writing, including in the Catalogue, 8.1.6 to be paid interest on any monies due (after as well or on the Website, or orally, or by conduct or 10.5 If any term or any part of any term of the Contract as before judgement or order) at the annual rate otherwise) and whether made before or after this for Sale is held to be unenforceable or invalid, of 5% per annum above the base rate of National agreement or prior to or during the Sale; such unenforceability or invalidity will not affect the Westminster Bank Plc from time to time to be enforceability and validity of the remaining terms or calculated on a daily basis from the date upon which 9.3.2 the Seller will not be liable for any loss of Business, the remainder of the relevant term. such monies become payable until the date of actual Business profits or revenue or income or for loss of payment; reputation or for disruption to Business or wasted 10.6 References in the Contract for Sale to Bonhams will, time on the part of the Buyer or of the Buyer’s where appropriate, include reference to Bonhams’ 8.1.7 to repossess the Lot (or any part thereof) which has management or staff or, for any indirect losses or officers, employees and agents. not become your property, and for this purpose consequential damages of any kind, irrespective in (unless the Buyer buys the Lot as a Consumer from any case of the nature, volume or source of the loss 10.7 The headings used in the Contract for Sale are for the Seller selling in the course of a Business) you or damage alleged to be suffered, and irrespective convenience only and will not affect its interpretation. hereby grant an irrevocable licence to the Seller by of whether the said loss or damage is caused by himself and to his servants or agents to enter upon or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means “including, all or any of your premises (with or without vehicles) breach of contract, statutory duty, restitutionary claim without limitation”. during normal Business hours to take possession of or otherwise; the Lot or part thereof; 10.9 References to the singular will include reference to 9.3.3 in any circumstances where the Seller is liable to the plural (and vice versa) and reference to any one 8.1.8 to retain possession of any other property sold to you in respect of the Lot, or any act, omission, gender will include reference to the other genders. you by the Seller at the Sale or any other auction statement, or representation in respect of it, or or by private treaty until all sums due under the this agreement or its performance, and whether in 10.10 Reference to a numbered paragraph is to a Contract for Sale shall have been paid in full in damages, for an indemnity or contribution or for paragraph of the Contract for Sale. cleared funds; a restitutionary remedy or in any way whatsoever, the Seller’s liability will be limited to payment of a 10.11 Save as expressly provided in paragraph 10.12 8.1.9 to retain possession of, and on seven days written sum which will not exceed by way of maximum the nothing in the Contract for Sale confers (or purports notice to sell, Without Reserve, any of your other amount of the Purchase Price of the Lot irrespective to confer) on any person who is not a party to the property in the possession of the Seller and/or of in any case of the nature, volume or source of Contract for Sale any benefit conferred by, or the Bonhams (as bailee for the Seller) for any purpose any loss or damage alleged to be suffered or sum right to enforce any term of, the Contract for Sale. (including, without limitation, other goods sold to claimed as due, and irrespective of whether the you) and to apply any monies due to you as a result liability arises from any negligence, other tort, breach 10.12 Where the Contract for Sale confers an immunity of such Sale in satisfaction or part satisfaction of any of contract, statutory duty, bailee’s duty, restitutionary from, and/or an exclusion or restriction of, the amounts owed to the Seller or to Bonhams; and claim or otherwise. responsibility and/or liability of the Seller, it will also operate in favour and for the benefit of Bonhams, 8.1.10 so long as such goods remain in the possession 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will Bonhams’ holding company and the subsidiaries of the Seller or Bonhams as its bailee, to rescind be construed as excluding or restricting (whether of such holding company and the successors and the contract for the Sale of any other goods sold to directly or indirectly) any person’s liability or excluding assigns of Bonhams and of such companies and of you by the Seller at the Sale or at any other auction or restricting any person’s rights or remedies in any officer, employee and agent of Bonhams and or by private treaty and apply any monies received respect of (i) fraud, or (ii) death or personal injury such companies, each of whom will be entitled to from you in respect of such goods in part or full caused by the Seller’s negligence (or any person rely on the relevant immunity and/or exclusion and/or satisfaction of any amounts owed to the Seller or to under the Seller’s control or for whom the Seller is restriction within and for the purposes of Contracts Bonhams by you. legally responsible), or (iii) acts or omissions for which (Rights of Third Parties) Act 1999, which enables the the Seller is liable under the Occupiers Liability Act benefit of a contract to be extended to a person who 8.2 You agree to indemnify the Seller against all legal 1957, or (iv) any other liability to the extent the same is not a party to the contract, and generally at law. and other costs of enforcement, all losses and other may not be excluded or restricted as a matter of law. Expenses and costs (including any monies payable 11 GOVERNING LAW to Bonhams in order to obtain the release of the 10 MISCELLANEOUS Lot) incurred by the Seller (whether or not court All transactions to which the Contract for Sale proceedings will have been issued) as a result of 10.1 You may not assign either the benefit or burden of applies and all connected matters will be governed Bonhams taking steps under this paragraph 8 on the Contract for Sale. by and construed in accordance with the laws of a full indemnity basis together with interest thereon that part of the United Kingdom where the Sale (after as well as before judgement or order) at the 10.2 The Seller’s failure or delay in enforcing or exercising takes place and the Seller and you each submit to rate specified in paragraph 8.1.6 from the date upon any power or right under the Contract for Sale will the exclusive jurisdiction of the courts of that part which the Seller becomes liable to pay the same until not operate or be deemed to operate as a waiver of of the United Kingdom, save that the Seller may payment by you. his rights under it except to the extent of any express bring proceedings against you in any other court of waiver given to you in writing. Any such waiver will competent jurisdiction to the extent permitted by 8.3 On any resale of the Lot under paragraph 8.1.2, the not affect the Seller’s ability subsequently to enforce the laws of the relevant jurisdiction. Bonhams has a Seller will account to you in respect of any balance any right arising under the Contract for Sale. complaints procedure in place. remaining from any monies received by him or on his behalf in respect of the Lot, after the payment of all sums due to the Seller and to Bonhams, within 28 days of receipt of such monies by him or on his behalf. NTB/MAIN/1.2018/V2 APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date 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: specified in the Notice to Bidders, you authorise us, 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 acting as your agent and on your behalf, to enter 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 into a contract (the “Storage Contract”) with the 7.1 If all sums payable to us are not so paid in full at 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 pay to us by not later than 4.30pm on the second Storage Contractor for the storage of the Lot on the the time they are due and/or the Lot is not removed Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated the Sale of the Lot to you, by the setting out of different terms working day following the Sale: then current standard terms and conditions agreed in 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 in 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 any 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 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 on each lot, 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 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 OF 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 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 is is or is not a Forgery. into this agreement and a separate copy can also contract; the subject of a claim by someone other than you 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 and other than the Seller (or that such a claim can 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 7.1.5 to be paid interest on any monies due to us (after reasonably be expected to be made), we may, at our 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 charges (and all costs of moving the Lot into storage) as well as before judgement or order) at the annual absolute discretion, deal with the Lot in any manner 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 due under any Storage Contract. You acknowledge rate of 5% per annum above the base lending rate which appears to us to recognise the legitimate 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 and agree that you will not be able to collect the Lot of National Westminster Bank Plc from time to time interests of ourselves and the other parties involved encumbrances and adverse claims, in accordance Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an from the Storage Contractor’s premises until you to be calculated on a daily basis from the date upon and lawfully to protect our position and our legitimate 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 have paid the Purchase Price, any Expenses and all which such monies become payable until the date of interests. Without prejudice to the generality of the the Sale of Goods Act 1979 and we will pay to you that arrangement, in which case we will address the charges due under the Storage Contract. actual payment; discretion and by way of example, we may: 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. 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 8.1.1 retain the Lot to investigate any question raised or 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 reasonably expected by us to be raised in relation to 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 the Lot; and/or 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 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 8.1.2 deliver the Lot to a person other than you; and/or in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, premises (with or without vehicles) during normal 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 8.1.3 commence interpleader proceedings or seek any 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; other order of any court, mediator, arbitrator or 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 government body; and/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 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 8.1.4 require an indemnity and/or security from you in 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; return for pursuing a course of action agreed to by motor vehicle or motor vehicles, a Stamp or Stamps 1.5 Our personal obligations to you are governed by 3.6 Time will be of the essence in relation to any your behalf. you. or a Book or Books. this agreement and we agree, subject to the terms payment payable to us. If you do not pay the 7.1.8 to retain possession of any of your other property in below, 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 8.2 The discretion referred to in paragraph 8.1: 10 OUR LIABILITY accordance with this paragraph 3, we will have the limitation, other goods sold to you or with us for Sale) 1.5.1 we will, until the date and time specified in the Notice rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your until all sums due to us have been paid in full; 8.2.1 may be exercised at any time during which we have 10.1 We will not be liable whether in negligence, other to Bidders or otherwise notified to you, store the Lot removal of the Lot or until the time and date set out actual or constructive possession of the Lot, or at tort, breach of contract or statutory duty or in in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down in the Notice to Bidders, on the Sale Information 7.1.9 to apply any monies received from you for any any time after such possession, where the cessation restitution or under the Misrepresentation Act 1967 to you, any monies we receive from you will be Page or at the back of the catalogue (or if no date purpose whether at the time of your default or at any of such possession has occurred by reason of any 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 applied firstly pro-rata to pay the Purchase Price of is specified, by 4.30pm on the seventh day after the time thereafter in payment or part payment of any decision, order or ruling of any court, mediator, any inaccuracy, error, misdescription or omission in release the Lot to you, we will release the Lot to you each Lot and secondly pro-rata to pay all amounts Sale) and, subject to paragraphs 6 and 10, to be sums due to us by you under this agreement; arbitrator or government body; and any Description of the Lot or any Entry or Estimate in accordance with paragraph 4 once you have paid due to Bonhams. responsible as bailee to you for damage to or the in respect of it, made by us or on our behalf or by to us, in cleared funds, everything due to us and the loss or destruction of the Lot (notwithstanding that it 7.1.10 on three months’ written notice to sell, Without 8.2.2 will not be exercised unless we believe that there or on behalf of the Seller (whether made in writing, Seller; 4 COLLECTION OF THE LOT is not your property before payment of the Purchase Reserve, any of your other property in our exists a serious prospect of a good arguable case in including in the Catalogue, or on the Bonhams’ Price). If you do not collect the Lot before the time possession or under our control for any purpose favour of the claim. 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 (including other goods sold to you or with us for 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 Sale) and to apply any monies due to you as a result 9 FORGERIES to or during the Sale. in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another of such Sale in payment or part payment of any 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 amounts owed to us; 9.1 We undertake a personal responsibility for any 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 Forgery in accordance with the terms of this 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 paragraph 9. 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 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 9.2 Paragraph 9 applies only if: 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 us at any future Sale in which case we will be entitled 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, 9.2.1 your name appears as the named person to whom 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. as the case may be, of the Purchase Price of any Lot the original invoice was made out by us in respect of to you by woodworm and any damage is caused as writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. of which you are the Buyer. the Lot and that invoice has been paid; and a result of it being affected by woodworm; or Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot 7.2 You agree to indemnify us against all legal and other 9.2.2 you notify us in writing as soon as reasonably 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 practicable after you have become aware that the liable for: incorporated into this agreement between you and Notice to Bidders for collection on the days and will title in the Lot pass to you. However under the not court proceedings will have been issued) incurred Lot is or may be a Forgery, and in any event within us. Any such Description or Estimate, if made by us times specified in the Notice to Bidders. Thereafter, Contract for Sale, the risk in the Lot passed to you by us as a result of our taking steps under this one year after the Sale, that the Lot is a Forgery; and 10.2.3 damage to tension stringed musical instruments; or or on our behalf, was (unless Bonhams itself sells the Lot may be removed elsewhere for storage and when it was knocked down to you. paragraph 7 on a full indemnity basis together with the Lot as principal) made as agent on behalf of the you must enquire from us as to when and where you interest thereon (after as well as before judgement or 9.2.3 within one month after such notification has been 10.2.4 damage to gilded picture frames, plaster picture Seller. can collect it, although this information will usually be 6.2 You are advised to obtain insurance in respect of the order) at the rate specified in paragraph 7.1.5 from given, you return the Lot to us in the same condition frames or picture frame glass; and if the Lot is or set out in the Notice to Bidders. Lot as soon as possible after the Sale. the date upon which we become liable to pay the as it was at the time of the Sale, accompanied by becomes dangerous, we may dispose of it without 2 PERFORMANCE OF THE CONTRACT FOR same until payment by you. written evidence that the Lot is a Forgery and details notice to you in advance in any manner we think fit SALE of the Sale and Lot number sufficient to identify the and we will be under no liability to you for doing so. Lot. You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.

NTB/MAIN/1.2018/V2 NTB/MAIN/1.2018/V2 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: AND PART PAYMENTS payment shall be applied firstly to the Purchase Price of the Lot (or where you have purchased more than 9.3.1 the Entry in relation to the Lot contained in the 7.1 If all sums payable to us are not so paid in full at one Lot pro-rata towards the Purchase Price of each Catalogue reflected the then accepted general the time they are due and/or the Lot is not removed Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated in 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 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 more of the following rights (without prejudice to any other sums due to us. to be a leading expert in the relevant field; or rights we may exercise on behalf of the Seller): 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 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 breach of contract; respect of any Sale of the Lot under our rights under use until after the date on which the Catalogue was this paragraph 7 after the payment of all sums due to published or by means of a process which it was 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 all such sums paid to us. employed. 7.1.3 to remove, and/or store the Lot at your expense; 8 CLAIMS BY OTHER PERSONS IN RESPECT 9.4 You authorise us to carry out such processes and 7.1.4 to take legal proceedings against you for payment OF THE LOT tests on the Lot as we in our absolute discretion of any sums payable to us by you (including the consider necessary to satisfy ourselves that the Lot Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot is is or is not a Forgery. contract; the subject of a claim by someone other than you and other than the Seller (or that such a claim can 9.5 If we are satisfied that a Lot is a Forgery we will (as 7.1.5 to be paid interest on any monies due to us (after reasonably be expected to be made), we may, at our principal) purchase the Lot from you and you will as well as before judgement or order) at the annual absolute discretion, deal with the Lot in any manner transfer the title to the Lot in question to us, with rate of 5% per annum above the base lending rate which appears to us to recognise the legitimate full title guarantee, free from any liens, charges, of National Westminster Bank Plc from time to time interests of ourselves and the other parties involved encumbrances and adverse claims, in accordance to be calculated on a daily basis from the date upon and lawfully to protect our position and our legitimate with the provisions of Sections 12(1) and 12(2) of which such monies become payable until the date of interests. Without prejudice to the generality of the the Sale of Goods Act 1979 and we will pay to you actual payment; discretion and by way of example, we may: an amount equal to the sum of the Purchase Price, Buyer’s Premium, VAT and Expenses paid by you in 7.1.6 to repossess the Lot (or any part thereof) which has 8.1.1 retain the Lot to investigate any question raised or respect of the Lot. not become your property, and for this purpose reasonably expected by us to be raised in relation to (unless you buy the Lot as a Consumer) you hereby the Lot; and/or 9.6 The benefit of paragraph 9 is personal to, and grant an irrevocable licence to us, by ourselves, our incapable of assignment by, you. servants or agents, to enter upon all or any of your 8.1.2 deliver the Lot to a person other than you; and/or premises (with or without vehicles) during normal 9.7 If you sell or otherwise dispose of your interest in the business hours to take possession of any Lot or part 8.1.3 commence interpleader proceedings or seek any Lot, all rights and benefits under this paragraph will thereof; other order of any court, mediator, arbitrator or cease. government body; and/or 7.1.7 to sell the Lot Without Reserve by auction, private 9.8 Paragraph 9 does not apply to a Lot made up of or treaty or any other means on giving you three 8.1.4 require an indemnity and/or security from you in including a Chinese painting or Chinese paintings, a months’ written notice of our intention to do so; return for pursuing a course of action agreed to by motor vehicle or motor vehicles, a Stamp or Stamps you. or a Book or Books. 7.1.8 to retain possession of any of your other property in our possession for any purpose (including, without 8.2 The discretion referred to in paragraph 8.1: 10 OUR LIABILITY limitation, other goods sold to you or with us for Sale) until all sums due to us have been paid in full; 8.2.1 may be exercised at any time during which we have 10.1 We will not be liable whether in negligence, other actual or constructive possession of the Lot, or at tort, breach of contract or statutory duty or in 7.1.9 to apply any monies received from you for any any time after such possession, where the cessation restitution or under the Misrepresentation Act 1967 purpose whether at the time of your default or at any of such possession has occurred by reason of any or in any other way for lack of conformity with or time thereafter in payment or part payment of any decision, order or ruling of any court, mediator, any inaccuracy, error, misdescription or omission in sums due to us by you under this agreement; arbitrator or government body; and any Description of the Lot or any Entry or Estimate in respect of it, made by us or on our behalf or by 7.1.10 on three months’ written notice to sell, Without 8.2.2 will not be exercised unless we believe that there or on behalf of the Seller (whether made in writing, Reserve, any of your other property in our exists a serious prospect of a good arguable case in including in the Catalogue, or on the Bonhams’ possession or under our control for any purpose favour of the claim. Website, or orally, or by conduct or otherwise) and (including other goods sold to you or with us for whether made before or after this agreement or prior Sale) and to apply any monies due to you as a result 9 FORGERIES to or during the Sale. of such Sale in payment or part payment of any amounts owed to us; 9.1 We undertake a personal responsibility for any 10.2 Our duty to you while the Lot is at your risk and/or Forgery in accordance with the terms of this your property and in our custody and/or control is to 7.1.11 refuse to allow you to register for a future Sale or to paragraph 9. exercise reasonable care in relation to it, but we will reject a bid from you at any future Sale or to require not be responsible for damage to the Lot or to other you to pay a deposit before any bid is accepted by 9.2 Paragraph 9 applies only if: persons or things caused by: us at any future Sale in which case we will be entitled to apply such deposit in payment or part payment, 9.2.1 your name appears as the named person to whom 10.2.1 handling the Lot if it was affected at the time of Sale as the case may be, of the Purchase Price of any Lot the original invoice was made out by us in respect of to you by woodworm and any damage is caused as of which you are the Buyer. the Lot and that invoice has been paid; and a result of it being affected by woodworm; or

7.2 You agree to indemnify us against all legal and other 9.2.2 you notify us in writing as soon as reasonably 10.2.2 changes in atmospheric pressure; nor will we be costs, all losses and all other Expenses (whether or practicable after you have become aware that the liable for: not court proceedings will have been issued) incurred Lot is or may be a Forgery, and in any event within by us as a result of our taking steps under this one year after the Sale, that the Lot is a Forgery; and 10.2.3 damage to tension stringed musical instruments; or paragraph 7 on a full indemnity basis together with interest thereon (after as well as before judgement or 9.2.3 within one month after such notification has been 10.2.4 damage to gilded picture frames, plaster picture order) at the rate specified in paragraph 7.1.5 from given, you return the Lot to us in the same condition frames or picture frame glass; and if the Lot is or the date upon which we become liable to pay the as it was at the time of the Sale, accompanied by becomes dangerous, we may dispose of it without same until payment by you. written evidence that the Lot is a Forgery and details notice to you in advance in any manner we think fit of the Sale and Lot number sufficient to identify the and we will be under no liability to you for doing so. Lot.

NTB/MAIN/1.2018/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 for Business profits, revenue or income or for loss of reflected the then accepted general opinion of convenience only and will not affect its interpretation. Business reputation or for disruption to Business or scholars and experts or fairly indicated that there wasted time on the part of the Buyer’s management was a conflict of such opinion; or 12.8 In this agreement “including” means “including, or staff or, if you are buying the Lot in the course of without limitation”. a Business, for any indirect losses or consequential it can be established that the Lot is a non- damages of any kind, irrespective in any case of conforming Lot only by means of a process not 12.9 References to the singular will include reference to the nature, volume or source of the loss or damage generally accepted for use until after the date on the plural (and vice versa) and reference to any one alleged to be suffered, and irrespective of whether which the Catalogue was published or by means gender will include reference to the other genders. the said loss or damage is caused by or claimed of a process which it was unreasonable in all the in respect of any negligence, other tort, breach of circumstances for us to have employed; or 12.10 Reference to a numbered paragraph is to a contract, statutory duty, bailee’s duty, a restitutionary paragraph of this agreement. claim or otherwise. the Lot comprises atlases, maps, autographs, manuscripts, extra illustrated books, music or 12.11 Save as expressly provided in paragraph 12.12 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or nothing in this agreement confers (or purports to circumstances where we are liable to you in confer) on any person who is not a party to this respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under agreement any benefit conferred by, or the right to representation in respect of it, or this agreement “collections” or “collections and various” or the Lot enforce any term of, this agreement. or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain a an indemnity or contribution or for a restitutionary collection, issue or Books which are undescribed or 12.12 Where this agreement confers an immunity remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the from, and/or an exclusion or restriction of, the limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles responsibility and/or liability of Bonhams, it will also by way of maximum the amount of the Purchase or advertisements. operate in favour and for the benefit of Bonhams’ Price of the Lot plus Buyer’s Premium (less any holding company and the subsidiaries of such sum you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- holding company and the successors and assigns irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the of Bonhams and of such companies and of any source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot officer, employee and agent of Bonhams and such or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from companies, each of whom will be entitled to rely the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse on the relevant immunity and/or exclusion and/or breach of contract, statutory duty, bailee’s duty, a claims and we will pay to you an amount equal to restriction within and for the purposes of Contracts restitutionary claim or otherwise. the sum of the Purchase Price and Buyer’s Premium (Rights of Third Parties) Act 1999, which enables the paid by you in respect of the Lot. benefit of a contract to be extended to a person who You may wish to protect yourself against loss by is not a party to the contract, and generally at law. obtaining insurance. The benefit of paragraph 10 is personal to, and incapable of assignment by, you and if you sell or 13 GOVERNING LAW 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all rights or restricting (whether directly or indirectly) any and benefits under this paragraph will cease. All transactions to which this agreement applies person’s liability or excluding or restricting any and all connected matters will be governed by and person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS construed in accordance with the laws of that part (ii) death or personal injury caused by our negligence of the United Kingdom where the Sale takes (or (or any person under our control or for whom we 12.1 You may not assign either the benefit or burden of is to take) place and we and you each submit to are legally responsible), or (iii) acts or omissions for this agreement. the exclusive jurisdiction of the courts of that part which we are liable under the Occupiers Liability Act of the United Kingdom, save that we may bring 1957, or (iv) any other liability to the extent the same 12.2 Our failure or delay in enforcing or exercising any proceedings against you in any other court of may not be excluded or restricted as a matter of law, power or right under this agreement will not operate competent jurisdiction to the extent permitted by or (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights the laws of the relevant jurisdiction. Bonhams has a conditions. under it except to the extent of any express waiver complaints procedure in place. given to you in writing. Any such waiver will not affect 11 BOOKS MISSING TEXT OR ILLUSTRATIONS our ability subsequently to enforce any right arising DATA PROTECTION – USE OF YOUR INFORMATION under this agreement. Where the Lot is made up wholly of a Book or Books Where we obtain any personal information about you, we and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from shall only use it in accordance with the terms of our Privacy either case referred to as a “non-conforming Lot”), performing that party’s respective obligations Policy (subject to any additional specific consent(s) you may we undertake a personal responsibility for such a under this agreement by circumstances beyond its have given at the time your information was disclosed). A non-conforming Lot in accordance with the terms of reasonable control or if performance of its obligations copy of our Privacy Policy can be found on our Website www. this paragraph, if: would by reason of such circumstances give rise bonhams.com or requested by post from Customer Services to a significantly increased financial cost to it, that Department, 101 New Bond Street, London W1S 1SR, United the original invoice was made out by us to you in party will not, for so long as such circumstances Kingdom or by email from [email protected]. respect of the Lot and that invoice has been paid; prevail, be required to perform such obligations. This and paragraph does not apply to the obligations imposed APPENDIX 3 on you by paragraph 3. you notify us in writing as soon as reasonably DEFINITIONS AND GLOSSARY practicable after you have become aware that the 12.4 Any notice or other communication to be given Lot is or may be a non-conforming Lot, and in any under this agreement must be in writing and may Where these Definitions and Glossary are incorporated, the event within 20 days after the Sale (or such longer be delivered by hand or sent by first class post or following words and phrases used have (unless the context period as we may agree in writing) that the Lot is a air mail or fax transmission (if to Bonhams marked otherwise requires) the meanings given to them below. The non-conforming Lot; and for the attention of the Company Secretary), to the Glossary is to assist you to understand words and phrases address or fax number of the relevant party given which have a specific legal meaning with which you may not within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change be familiar. such longer period as we may agree in writing) you of address is given in writing). It is the responsibility return the Lot to us in the same condition as it was of the sender of the notice or communication to LIST OF DEFINITIONS at the time of the Sale, accompanied by written ensure that it is received in a legible form within any evidence that the Lot is a non-conforming Lot and applicable time period. “Additional Premium” a premium, calculated in accordance details of the Sale and Lot number sufficient to with the Notice to Bidders, to cover Bonhams’ Expenses identify the Lot. 12.5 If any term or any part of any term of this agreement relating to the payment of royalties under the Artists Resale is held to be unenforceable or invalid, such Right Regulations 2006 which is payable by the Buyer to but not if: unenforceability or invalidity will not affect the Bonhams on any Lot marked [AR] which sells for a Hammer enforceability and validity of the remaining terms or Price which together with the Buyer’s Premium (but excluding the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. any VAT) equals or exceeds 1000 euros (converted into indicates that the rights given by this paragraph do the currency of the Sale using the European Central Bank not apply to it; or 12.6 References in this agreement to Bonhams will, where Reference rate prevailing on the date of the Sale). appropriate, include reference to Bonhams’ officers, “Auctioneer” the representative of Bonhams conducting employees and agents. the Sale.

NTB/MAIN/1.2018/V2 “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 “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 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 “Bonhams” Bonhams 1793 Limited or its successors or in paragraph 8.2.3 of the Conditions of Business. Artists Resale Right Regulations 2006. 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. 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 the words “we”, “us” and “our”. include, unless the context otherwise requires, reference to benefit of the indemnity in the same position in which he would “Book” a printed Book offered for Sale at a specialist Book individual items comprised in a group of two or more items have been, had the circumstances giving rise to the indemnity Sale. offered for Sale as one Lot). not arisen and the expression “indemnify” is construed “Business” includes any trade, Business and profession. “Motoring Catalogue Fee” a fee payable by the Seller to accordingly. “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 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. 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 “your”. “New Bond Street” means Bonhams’ saleroom at 101 New the fall of the hammer at the Sale. “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 with the Buyer (see Appendix 2 in the Catalogue). “Notional Charges” the amount of Commission and VAT retain possession of it. “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, at the rates stated in the Notice to Bidders. Notional Price. destroyed, stolen, or deteriorate in condition or value. “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. 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 our Website. calculated according to the formula set out in the Conditions doer has a duty of care. “Commission” the Commission payable by the Seller to of Business. 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 “Condition Report” a report on the physical condition of a Lot high and low Estimates given by us to you or stated in the 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: of the Seller. the Reserve applicable to the Lot. “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 Buyer’s Agreement and Definitions and Glossary. our Catalogues. “Consignment Fee” a fee payable to Bonhams by the Seller “Purchase Price” the aggregate of the Hammer Price and (1) In a contract of sale, other than one to which subsection calculated at rates set out in the Conditions of Business. VAT on the Hammer Price (where applicable), the Buyer’s (3) below applies, there is an implied term on the part of “Consumer” a natural person who is acting for the relevant Premium 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 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 “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 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. to be offered for Sale by Bonhams. by Bonhams. “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 Seller with the Buyer (see Appendix 1 in the Catalogue). Sale of a Lot, being the Hammer Price less the Commission, (3) below applies, there is also an implied term that- “Contractual Description” the only Description of the Lot any VAT chargeable thereon, Expenses and any other amount (being that part of the Entry about the Lot in the Catalogue due to us in whatever capacity and howsoever arising. (a) the goods are free, and will remain free until 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 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 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 “Description” any statement or representation in any person named on the Contract Form acts as an agent for a way descriptive of the Lot, including any statement or principal (whether such agency is disclosed to Bonhams or (b) the buyer will enjoy quiet possession of the representation relating to its authorship, attribution, condition, not), “Seller” includes both the agent and the principal who goods except in so far as it may be disturbed by provenance, authenticity, style, period, age, suitability, quality, shall be jointly and severally liable as such. The Seller is also the owner or other person entitled to the benefit origin, value, estimated selling price (including the Hammer referred to in the Conditions of Business by the words “you” of any charge or encumbrance so disclosed or Price). and “your”. known. “Entry” a written statement in the Catalogue identifying the “Specialist Examination” a visual examination of a Lot by a Lot and its Lot number which may contain a Description and specialist on the Lot. (3) This subsection applies to a contract of sale in the illustration(s) relating to the Lot. “Stamp” means a postage Stamp offered for Sale at a case of which there appears from the contract or is “Estimate” a statement of our opinion of the range within Specialist Stamp Sale. to be inferred from its circumstances an intention that which the hammer is likely to fall. “Standard Examination” a visual examination of a Lot by a the seller should transfer only such title as he or a third “Expenses” charges and Expenses paid or payable by non-specialist member of Bonhams’ staff. person may have. Bonhams in respect of the Lot including legal Expenses, “Storage Contract” means the contract described in banking charges and Expenses incurred as a result of paragraph 8.3.3 of the Conditions of Business or paragraph (4) In a contract to which subsection (3) above applies there an electronic transfer of money, charges and Expenses 4.4 of the Buyer’s Agreement (as appropriate). is an implied term that all charges or encumbrances for loss and damage cover, insurance, Catalogue and “Storage Contractor” means the company identified as such known to the seller and not known to the buyer have other reproductions and illustrations, any customs duties, in the Catalogue. been disclosed to the buyer before the contract is advertising, packing or shipping costs, reproductions rights’ “Terrorism” means any act or threatened act of terrorism, made. fees, taxes, levies, costs of testing, searches or enquiries, whether any person is acting alone or on behalf of or in preparation of the Lot for Sale, storage charges, removal connection with any organisation(s) and/or government(s), (5) In a contract to which subsection (3) above applies charges, removal charges or costs of collection from the Seller committed for political, religious or ideological or similar there is also an implied term that none of the following as the Seller’s agents or from a defaulting Buyer, plus VAT if purposes including, but not limited to, the intention to influence will disturb the buyer’s quiet possession of the goods, applicable. any government and/or put the public or any section of the namely: “Forgery” an imitation intended by the maker or any other public into fear. person to deceive as to authorship, attribution, origin, “Trust Account” the bank account of Bonhams into which all (a) the seller; authenticity, style, date, age, period, provenance, culture, sums received in respect of the Purchase Price of any 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 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 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; an imitation in any description of the Lot. A Lot will not be a Sale in the United Kingdom. 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 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 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 restoration or modification work (as the case may be) does not “Without Reserve” where there is no minimum price at which before the contract is made. substantially affect the identity of the Lot as one conforming to a Lot may be sold (whether at auction or by private treaty). the Description of the Lot. (5A) As regards England and Wales and Northern Ireland, the “Guarantee” the obligation undertaken personally by GLOSSARY term implied by subsection (1) above is a condition and Bonhams to the Buyer in respect of any Forgery and, in the the terms implied by subsections (2), (4) and (5) above case of specialist Stamp Sales and/or specialist Book Sales, a The following expressions have specific legal meanings with are warranties.” Lot made up of a Stamp or Stamps or a Book or Books as set which you may not be familiar. The following glossary is out in the Buyer’s Agreement. intended to give you an understanding of those expressions “Hammer Price” the price in the currency in which the Sale is but is not intended to limit their legal meanings: conducted at which a Lot is knocked down by the Auctioneer.

NTB/MAIN/1.2018/V2 To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected]

19th Century Paintings British Ceramics Furniture Modern, Contemporary Russian Art UK UK UK & Latin American Art UK Charles O’ Brien John Sandon Thomas Moore U.S.A Daria Chernenko +44 20 7468 8360 +44 20 7468 8244 +44 20 8963 2816 Alexis Chompaisal +44 20 7468 8334 U.S.A U.S.A +1 323 436 5469 U.S.A Madalina Lazen California & Andrew Jones Yelena Harbick +1 212 644 9108 American Paintings +1 415 503 3413 Modern & Contemporary +1 212 644 9136 Scot Levitt Middle Eastern Art 20th Century British Art +1 323 436 5425 European Sculptures Nima Sagharchi Scientific Instruments Matthew Bradbury & Works of Art +44 20 7468 8342 Jon Baddeley +44 20 7468 8295 Carpets UK +44 20 7393 3872 UK Michael Lake Modern & Contemporary U.S.A. Aboriginal Art [email protected] +44 20 8963 6813 South Asian Art Jonathan Snellenburg Francesca Cavazzini U.S.A. Tahmina Ghaffar +1 212 461 6530 +61 2 8412 2222 +1 415 503 3392 Greek Art +44 207 468 8382 Anastasia Orfanidou Scottish Pictures African, Oceanic Chinese & Asian Art +44 20 7468 8356 Modern Design Chris Brickley & Pre-Columbian Art UK Gareth Williams +44 131 240 2297 U.S.A Asaph Hyman Golf Sporting +44 20 7468 5879 Fredric Backlar +44 20 7468 5888 Memorabilia Silver & Gold Boxes +1 323 436 5416 U.S.A Kevin McGimpsey Motor Cars UK Dessa Goddard +44 131 240 2296 UK Ellis Finch American Paintings +1 415 503 3333 Tim Schofield +44 20 7393 3973 Liz Goodridge HONG KONG Irish Art +44 20 7468 5804 U.S.A +1 917 206 1621 Xibo Wang Penny Day U.S.A Aileen Ward +852 3607 0010 +44 20 7468 8366 Mark Osborne +1 323 436 5463 Antiquities AUSTRALIA +1 415 503 3353 Francesca Hickin Yvett Klein Impressionist & EUROPE South African Art +44 20 7468 8226 +61 2 8412 2222 Modern Art Philip Kantor Giles Peppiatt UK +32 476 879 471 +44 20 7468 8355 Antique Arms & Armour Clocks India Phillips UK UK +44 20 7468 8328 Automobilia Sporting Guns David Williams James Stratton U.S.A UK Patrick Hawes +44 20 7393 3807 +44 20 7468 8364 Nathania Nisonson Toby Wilson +44 20 7393 3815 U.S.A U.S.A +1 917 206 1617 +44 8700 273 619 Paul Carella Jonathan Snellenburg Adrian Pipiros Travel Pictures +1 415 503 3360 +1 212 461 6530 Indian, Himalayan & +44 8700 273621 Veronique Scorer Southeast Asian Art +44 20 7393 3962 Art Collections, Coins & Medals H.K. Motorcycles Estates & Valuations UK Edward Wilkinson Ben Walker Urban Art Harvey Cammell John Millensted +852 2918 4321 +44 8700 273616 Gareth Williams +44 (0) 20 7468 8340 +44 20 7393 3914 U.S.A +44 20 7468 5879 U.S.A Mark Rasmussen Native American Art Art Nouveau & Decorative Paul Song +1 917 206 1688 Ingmars Lindbergs Watches & Art & Design +1 323 436 5455 +1 415 503 3393 Wristwatches UK Islamic & Indian Art UK Mark Oliver Contemporary Art Oliver White Natural History Jonathan Darracott +44 20 7393 3856 UK +44 20 7468 8303 U.S.A +44 20 7447 7412 U.S.A Ralph Taylor Claudia Florian U.S.A. Benjamin Walker +44 20 7447 7403 Japanese Art +1 323 436 5437 Jonathan Snellenburg +1 212 710 1306 U.S.A UK +1 212 461 6530 Dan Tolson Jeremy Goldsmith Suzannah Yip Old Master Pictures H.K. +1 917 206 1611 +1 917 206 1656 +44 20 7468 8368 UK Tim Bourne U.S.A Andrew Mckenzie +852 3607 0021 Australian Art Entertainment Jeff Olson +44 20 7468 8261 Merryn Schriever Memorabilia +1 212 461 6516 U.S.A Whisky +61 2 8412 2222 UK Mark Fisher UK Alex Clark Katherine Schofield Jewellery +1 323 436 5488 Martin Green +61 3 8640 4088 +44 20 7393 3871 UK +44 (0) 131 225 2266 U.S.A Jean Ghika Orientalist Art U.S.A Australian Colonial Catherine Williamson +44 20 7468 8282 Charles O’Brien Erin McGrath Furniture and Australiana +1 323 436 5442 U.S.A +44 20 7468 8360 +1 415 503 3363 +61 2 8412 2222 Caroline Morrissey HONG KONG European Ceramics +1 212 644 9046 Photography Daniel Lam Books, Maps & UK HONG KONG U.S.A +852 3607 0004 Manuscripts Sebastian Kuhn Graeme Thompson Laura Paterson UK +44 20 7468 8384 +852 3607 0006 +1 917 206 1653 Wine Matthew Haley U.S.A UK +44 20 7393 3817 +1 415 503 3326 Marine Art Prints and Multiples Richard Harvey U.S.A UK UK +44 (0) 20 7468 5811 Catherine Williamson Veronique Scorer Lucia Tro Santafe U.S.A +1 323 436 5442 +44 20 7393 3962 +44 20 7468 8262 Kate Wollman U.S.A +1 415 503 3221 British & European Glass Mechanical Music Morisa Rosenberg Erin McGrath UK Jon Baddeley +1 323 447 9374 +1 415 503 3363 John Sandon +44 20 7393 3872 HONG KONG +44 20 7468 8244 Daniel Lam U.S.A. +852 3607 0004 Suzy Pai +1 415 503 3343 SD26/04/18 International Salerooms, Offices and Associated Companies( • Indicates Saleroom)

UNITED KINGDOM Midlands EUROPE Sweden Georgia ASIA Ingrid Bjäringer Mary Moore Bethea London Knowle Austria +46 (0)709 79 90 07 +1 (404) 842 1500 Hong Kong • 101 New Bond Street • The Old House Thomas Kamm [email protected] [email protected] Suite 2001 London W1S 1SR Station Road +49 (0) 89 2420 5812 One Pacific Place +44 20 7447 7447 Knowle, Solihull [email protected] Switzerland - Geneva Illinois 88 Queensway Ricki Blumberg Harris +44 20 7447 7400 fax West Midlands Rue Etienne-Dumont 10 Admiralty B93 0HT 1204 Geneva +1 (773) 267 3300 Hong Kong Belgium [email protected] Montpelier Street • +44 1564 776 151 Boulevard +41 (0) 22 300 3160 +852 2918 4321 +44 1564 778 069 fax [email protected] +852 2918 4320 fax London SW7 1HH Saint-Michel 101 Massachusetts +44 20 7393 3900 1040 Brussels Amy Corcoran [email protected] +44 20 7393 3905 fax Oxford +32 (0) 2 736 5076 Switzerland - Zurich +1 (617) 742 0909 Beijing Banbury Road [email protected] Andrea Bodmer [email protected] Shipton on Cherwell Dreikönigstrasse 31a Jessica Zhang Suite 511 South East Kidlington OX5 1JH France 8002 Zürich +44 1865 853 640 +41 44 281 9535 Nevada Chang An Club England 4 rue de la Paix David Daniel +44 1865 372 722 fax 75002 Paris [email protected] 10 East Chang An Avenue +1 (775) 831 0330 Beijing 100006 Guildford +33 (0) 1 42 61 10 10 [email protected] Millmead, [email protected] +86(0) 10 6528 0922 Guildford, Yorkshire & North East MIDDLE EAST +86(0) 10 6528 0933 fax Surrey GU2 4BE England New Mexico [email protected] Germany - Cologne Terri Adrian-Hardy +44 1483 504 030 Katharina Schmid Israel +1 (602) 859 1843 +44 1483 450 205 fax Leeds +49 (0) 221 9865 3419 Joslynne Halibard Singapore The West Wing +972 (0)54 553 5337 [email protected] Bernadette Rankine +49 (0) 1579 2346 717 11th Floor, Wisma Atria Isle of Wight Bowcliffe Hall [email protected] joslynne.halibard@ Bramham bonhams.com Oregon 435 Orchard Road +44 1273 220 000 Sheryl Acheson Leeds Singapore 238877 Germany - Munich +1 (971) 727 7797 LS23 6LP +65 (0) 6701 8038 Representative: Maximilianstrasse 52 [email protected] +65 (0) 6701 8001 fax Brighton & Hove +44 113 234 5755 80538 Munich NORTH AMERICA +44 113 244 3910 fax bernadette.rankine@ Tim Squire-Sanders +49 (0) 89 2420 5812 Texas bonhams.com +44 1273 220 000 [email protected] USA Amy Lawch +1 (713) 621 5988 Taiwan North West England San Francisco • West Sussex Germany - Stuttgart 220 San Bruno Avenue [email protected] 37th Floor, Taipei 101 Tower +44 (0) 1273 220 000 Neue Brücke 2 San Francisco No. 7 Xinyi Road, Section 5 Chester New Bridge Offices CA 94103 Virginia Taipei, 100 2 St Johns Court, 70173 Stuttgart +1 (415) 861 7500 Gertraud Hechl +886 2 8758 2898 Vicars Lane, +49 (0) 711 2195 2640 South West +1 (415) 861 8951 fax +1 (202) 422 2733 +886 2 8758 2897 fax England Chester, [email protected] [email protected] [email protected] CH1 1QE +44 1244 313 936 Los Angeles • Bath Greece Washington +44 1244 340 028 fax 7601 W. Sunset Boulevard Queen Square House 7 Neofytou Vamva Street Los Angeles Heather O’Mahony AUSTRALIA Charlotte Street Athens 10674 CA 90046 +1 (206) 566 3913 Bath BA1 2LL Manchester +30 (0) 210 3636 404 [email protected] Sydney The Stables +1 (323) 850 7500 +44 1225 788 988 [email protected] +1 (323) 850 6090 fax 97-99 Queen Street, +44 1225 446 675 fax 213 Ashley Road Washington DC Woollahra, NSW 2025 Hale WA15 9TB Mid-Atlantic Region Ireland • Australia +44 161 927 3822 31 Molesworth Street New York Gertraud Hechl Cornwall – Truro 580 Madison Avenue +61 (0) 2 8412 2222 36 Lemon Street +44 161 927 3824 fax Dublin 2 +1 (202) 422 2733 New York, NY +61 (0) 2 9475 4110 fax Truro +353 (0) 1 602 0990 washingtonDC 10022 [email protected] Cornwall [email protected] @bonhams.com +1 (212) 644 9001 TR1 2NR Channel Islands +1 (212) 644 9007 fax Melbourne +44 1872 250 170 Italy - Milan Como House +44 1872 250 179 fax Jersey Via Boccaccio 22 Representatives: CANADA Como Avenue La Chasse 20123 Milano Arizona Toronto, Ontario • South Yarra Exeter La Rue de la Vallee +39 0 2 4953 9020 Melbourne VIC 3141 St Mary Terri Adrian-Hardy Kristin Kearney The Lodge [email protected] +1 (602) 859 1843 Australia Southernhay West Exeter, Jersey JE3 3DL 340 King St East [email protected] 2nd Floor, Office 213 +61 (0) 3 8640 4088 Devon +44 1534 722 441 Italy - Rome +61 (0) 2 9475 4110 fax EX1 1JG +44 1534 759 354 fax Via Sicilia 50 Toronto ON California M5A 1K8 [email protected] +44 1392 425 264 00187 Roma Central Valley +44 1392 494 561 fax Representative: +39 06 485 900 +1 (416) 462 9004 David Daniel [email protected] Guernsey [email protected] +1 (916) 364 1645 +44 1481 722 448 AFRICA Tetbury [email protected] Montreal, Quebec Eight Bells House The Netherlands David Kelsey Nigeria Neil Coventry 14 Church Street De Lairessestraat 154 California +1 (514) 894 1138 +234 (0)8110 033 792 Tetbury Scotland 1075 HL Amsterdam Palm Springs [email protected] Gloucestshire +31 (0) 20 67 09 701 Brooke Sivo +27 (0)7611 20171 GL8 8JG Edinburgh • [email protected] +1 (760) 350 4255 [email protected] 22 Queen Street +44 1666 502 200 [email protected] SOUTH AMERICA +44 1666 505 107 fax Edinburgh Portugal South Africa - EH2 1JX Johannesburg Rua Bartolomeu Dias California Brazil Representatives: +44 131 225 2266 nº160. 1º +55 11 3031 4444 Penny Culverwell San Diego +27 (0)71 342 2670 Dorset +44 131 220 2547 fax Belem +55 11 3031 4444 fax Brooke Sivo [email protected] Bill Allan 1400-031 Lisbon +1 (760) 567 1744 +44 1935 815 271 Bonhams West +351 218 293 291 [email protected] of Scotland [email protected] Kirkhill House East Anglia and Colorado Bury St. Edmunds Broom Road East Spain - Barcelona Lance Vigil Michael Steel Newton Mearns Teresa Ybarra +1 (720) 355 3737 +44 1284 716 190 Glasgow +34 930 156 686 [email protected] G77 5LL +34 680 347 606 Norfolk +44 141 223 8866 [email protected] Florida The Market Place April Matteini Reepham Spain - Madrid +1 (305) 978 2459 Norfolk NR10 4JJ Wales Núñez de Balboa no 4-1C [email protected] +44 1603 871 443 28001 Madrid +44 1603 872 973 fax Representatives: +34 915 78 17 27 Cardiff [email protected] Jeff Muse +44 2920 727 980

G-NET02/05/18 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Old Master Paintings Sale date: Wednesday 4 July 2018

Sale no. 24650 Sale venue: New Bond Street, London Paddle number (for office use only) If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. You should read the Conditions in conjunction with General Bid Increments: the Sale Information relating to this Sale which sets £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s out the charges payable by you on the purchases £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s you make and other terms relating to bidding and £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s buying at the Sale. You should ask any questions you £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s have about the Conditions before signing this form. £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion These Conditions also contain certain undertakings £5,000 - 10,000 ...... by 500s by bidders and buyers and limit Bonhams’ liability to The auctioneer has discretion to split any bid at any time. bidders and buyers. Customer Number Title Data protection – use of your information Where we obtain any personal information about you, First Name Last Name we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific Company name (to be invoiced if applicable) consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy Address can be found on our website (www.bonhams.com) or requested by post from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom City County / State or by e-mail from [email protected]. Post / Zip code Country Notice to Bidders. Clients are requested to provide photographic proof of Telephone mobile Telephone daytime ID - passport, driving licence, ID card, together with proof Telephone evening Fax of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their Preferred number(s) in order for Telephone Bidding (inc. country code) articles of association / company registration documents, together with a letter authorising the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you E-mail (in capitals) may also be asked to provide a bank reference. By providing your email address above, you authorise Bonhams to send to this address information relating to Sales, marketing material and news concerning Bonhams. Bonhams does not sell or trade email addresses. If successful I am registering to bid as a private buyer I am registering to bid as a trade buyer I will collect the purchases myself If registered for VAT in the EU please enter your registration here: Please contact me with a shipping quote Please tick if you have registered with us before (if applicable) / - -

Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Absentee (T / A) Covering bid & VAT) *

FOR WINE SALES ONLY

Please leave lots “available under bond” in bond 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] Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. UK/01/18 INDEX

A L Amigoni, Jacopo 71 Lely, Sir Peter 6 Anglo-Dutch School 51 Lint, Peter van 85 Antwerp School 104 Locatelli, Andrea 109 Arellano, José de 105 Loo, Charles-André, called Carle van 43 Arthois, Jacques d’ 41, 42 Ashford, William 25 M Mantua, School of 87 B Menescardi, Giustino 106 Bailly, David 52 Mengs, Anton Raphael 73 Balducci, called il Cosci, Giovanni 110 Miereveldt, Michiel Jansz. van 11, 12 Balen the Elder, Hendrik van 91 Mieris the Elder, Willem Van 100 Baltens, Pieter 9 Mulier the Younger, called Tempesta, Pieter 15 Baudesson, Nicolas 75 Mytens, Jan 92 Beale, Mary 7 Beccafumi, Domenico 68 N Bellucci, Antonio 27 Neapolitan School 34 Benson, Ambrosius 3 Netherlandish School 13 Bergamo School 5 Nomé, François de 86 Bonito, Giuseppe 31 Boucher, François 114 O Bourdon, Sébastien 90 Opie, John 101 Brueghel the Younger, Jan 62, 89 P C Palamedesz. I, Palamedes 33 Caravaggio, Michelangelo Merisi da 44 Passarotti, Bartolomeo 103 Cardi, called il Cigoli, Lodovico 55 Pillement, Jean-Baptiste 74 Cipper, Giacomo Francesco 19 Puligo, Domenico 17, 69 Constable, John 112 Conte, Jacopo del 65 R Cooper, Joseph Teal 63 Raibolini, called Giulio Francia, Giulio 66 Copley, John Singleton 77 Regnier, Nicolas 21 Cotes, Francis 48 Reynolds, Sir Joshua 24 Courtois, Jacques 40 Roepel, Coenraet 46 Rowlandson, Thomas 37 D Devis, Arthur 26 S Domenichini, Apollonio 70 Santacroce, Francesco Rizzo da 58 Dutch School 99 Sassoferrato, Giovanni Battista Salvi, called il 72 Savoy, Carel van 61 E School of Delft 59 Eismann, Johann Anton 20 Snyders, Frans 50 Emilian School 36 Stockholm Pietà, Master of the 18 English School 49 Stom, Matthias 22 Stubbs, George 38 F Facchetti, Pietro 107 T Fagan, Robert 64 Tapia, Luis 83 Florentine School 29, 35, 57 Fontana, Lavinia 111 V Valkenborch, Frederick van 32 G Vanmour, Jean-Baptiste 96 Gainsborough, Thomas 67 Velde, Adriaen van de 98 German School 54 Venetian School 4, 28, 97 Gillemans the Elder, Jan Pauwel 47 Venusti, Marcello 56 Gobbis, Giuseppe de 14 Verbrugghen the Younger, Gaspar Pieter 10 Goes, Hugo van der 2 Verelst, Willem 1 Greuze, Jean Baptiste 113 Vernet, Claude Joseph 76 Veronese School 79 H Veronese, Paolo Caliari, called Paolo 78 Haarlem, Cornelis Cornelisz. van 8 Hamilton, Hugh Douglas 23 W Horemans, Pieter Jacob 95 Weenix, Jan Baptist 81 Houbraken, Arnold 60 Winck, Johann Amandus 45 Huchtenburg, Jan van 82 Wootton, John 102 Wouwerman, Philips 39 I Wytmans, Mattheus 53 Italian School 88 Z K Zocchi, Giuseppe 93, 94 Kauffmann, Angelica 80 Keil, called Monsù Bernardo, Bernhard 108 Key, Willem 84 Kupetzki, Johann 30

Bonhams 101 New Bond Street London W1S 1SR

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International Auctioneers and Valuers – bonhams.com