Modern British and Irish Art Wednesday 28 May 2014

MODERN BRITISH AND IRISH ART Wednesday 28 May 2014 at 14.00 101 New Bond Street, London

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Live online bidding is available Ingram Reid Illustrations Sale Number for this sale +44 (0) 20 7468 8297 Front cover: lot 108 21769 Please email [email protected] [email protected] Back cover: lot 57 with ‘live bidding’ in the subject Inside front cover: lot 13 Catalogue line 48 hours before the auction Jonathan Horwich Inside back cover: lot 105 £20.00 to register for this service Global Director, Picture Sales Opposite: lot 84 +44 (0) 20 7468 8280 [email protected] Please note that we are closed Monday 26 May 2014 for the Irish Representative Spring Bank Holiday Jane Beattie +353 (0) 87 7765114 important information [email protected] The United States Government has banned the import of ivory into the USA. Lots containing ivory are indicated by the symbol Ф printed beside the lot number in this catalogue.

Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Andrew McKenzie, Simon Mitchell, Jeff Muse, Registered Office: Montpelier Galleries Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Mike Neill, Charlie O’Brien, Giles Peppiatt, Montpelier Street, London SW7 1HH Malcolm Barber Group Managing Director, Harvey Cammell, Simon Cottle, Andrew Currie, Peter Rees, Julian Roup, Iain Rushbrook, Matthew Girling CEO UK and Europe, David Dallas, Paul Davidson, Jean Ghika, John Sandon, Tim Schofield, Veronique Scorer, +44 (0) 20 7393 3900 Geoffrey Davies, Jonathan Horwich, Charles Graham-Campbell, Miranda Grant, James Stratton, Roger Tappin, Ralph Taylor +44 (0) 20 7393 3905 fax James Knight, Patrick Meade, Robin Hereford, Asaph Hyman, Charles Lanning, Shahin Virani, David Williams, Caroline Oliphant, Hugh Watchorn. Sophie Law, Camilla Lombardi, Fergus Lyons, Michael Wynell-Mayow, Suzannah Yip. Paul Maudsley, Gordon McFarlan, Central Middlesex Sale Hospital Information Park Royal

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All the above charges are exclusive of VAT. 1 AR Vaughan had always been interested in the theme of assembling Keith Vaughan (1912-1977) groups of figures and had been particularly struck by the exotic Group of Figures crowds he discovered gathering in the markets at Marrakech and signed ‘Keith Vaughan’ (lower right); titled and dated ‘Group of Taroudannt in 1965. The intensity of mood, light and, in particular, the Figures/1965’ (on a label attached to the backboard) concentration of rich Moroccan colours impressed him: gouache, ink and wax resist 15.2 x 13.9 cm. (6 x 5 1/2 in.) The cotton djellabas start a deep indigo blue and bleach in the sun through every tone of the colour until they reach a bluish white. The £6,000 - 8,000 same dye must be used in the paint on all the shutters in Essaouira €7,300 - 9,700 which are indigo inside and pale cobalt outside (Keith Vaughan: US$10,000 - 13,000 Journals & Drawings, Alan Ross, 1966, p.212).

Provenance 1965 was a veritable gouache year for Vaughan and he produced Private Collection, U.K. a huge number of them. He described his gouache technique as a ‘volatile medium’ and combined his pigment with ink, pastels and wax-resist.

We are grateful to Anthony Hepworth for his assistance in cataloguing this lot and to Gerard Hastings, author of Keith Vaughan: The Photographs (Pagham Press, 2013), for compiling the catalogue entry.

Modern British and Irish Art | 7 2 AR Keith Vaughan (1912-1977) This work, in mixed media, is closely related to Winter Landscape, Winter Landscape one of eight lithographic prints that Vaughan made during the late signed and inscribed ‘Lithograph in 3 colours/From: Keith 1940s and early 1950s. It appears to be a trial run for the lithograph Vaughan/37 Hamilton Terrace/N.W.8/CUN:8836’ (verso) or an experimental attempt to resolve the composition, balance gouache, crayon and collage out the forms and work out how the coloured ink overlays could be 28.9 x 38.1 cm. (11 3/8 x 15 in.) managed. Making a collage, mixed media piece before producing Executed circa 1951 his drawing on the lithographic stone seems to be Vaughan’s usual method of working. A comparable example, using collage, gouache £7,000 - 10,000 and lithographic pencil, exists for his lithograph Figure with Boat, €8,500 - 12,000 made the same year (see Keith Vaughan: Figure and Landscape, US$12,000 - 17,000 Victoria Art Gallery, Bath, 2007, p.20). The original composition for this work derives from a small gouache, ink and wax crayon painting Provenance made a little earlier (see Keith Vaughan: Gouache, Drawings and Dr. Patrick Woodcock Paintings, Osborne Samuel, 2011, p.30). Gifted by the above to the present owner Private Collection, U.K. Vaughan’s economical use of colour, blocked in forms and reduction of pictorial elements remind us that he began his career as a layout artist in an advertising agency and was familiar with printing processes and various graphic techniques.

The influence of Sutherland, who had encouraged and befriended Vaughan, perhaps, lingers here. However we can already see a greater move towards achieving a balance between abstraction and figuration, a distillation of the pictorial elements and a formal organization of the painted surface.

Patrick Woodcock was Vaughan’s doctor and a long time friend, over the years the artist gave him or sold him many works.

We are grateful to Anthony Hepworth for his assistance in cataloguing this lot and to Gerard Hastings, author of Keith Vaughan: The Photographs (Pagham Press, 2013), for compiling the catalogue entry.

8 | Bonhams Modern British and Irish Art | 9 3 AR Keith Vaughan (1912-1977) This work was made after Vaughan returned from a road trip around Two Figures on a Red Ground Morocco in 1965. He hired a car and drove all over the country, signed and dated ‘Keith Vaughan/66’ (lower right) noting the changes in the quality of the terrain and recording the gouache, ink and oil pastel journey in his journal. The ochre-coloured landscape of the Atlas 31.4 x 26.1 cm. (12 3/8 x 10 1/4 in.) mountains and hot beaches made a deep impression on him:

£7,000 - 10,000 Marvellous landscape driving up the coastal road from Agadir. Dry, €8,500 - 12,000 luminous, scrubby foothills – cinnamon pink to ochre – white dotted US$12,000 - 17,000 with dark olives & patches of glowing saturated colour....Tremendous intensity of light, burning sun (Keith Vaughan, Journals (unpublished), Provenance April 19, 1965). With The Tib Lane Gallery, Manchester Private Collection, U.K. On his return, Vaughan’s palette intensified and became warmer. The two figures presented here are probably bathers on a beach at Exhibited sunset, and are traced with a characteristically summary outline. The Probably Manchester, The Tib Lane Gallery, 1967 combination of ink, wax pastel and gouache, is typical of Vaughan’s preference for a rich and varied surface.

We are grateful to Anthony Hepworth for his assistance in cataloguing this lot and to Gerard Hastings, author of Keith Vaughan: The Photographs (Pagham Press, 2013), for compiling the catalogue entry.

10 | Bonhams 4 AR Keith Vaughan (1912-1977) No longer incorporated in the church or any codified system of belief, Study for Crowd Assembling the Assemblies are deprived of literary significance or illustrative signed and dated ‘Keith Vaughan/66’ (lower right) meaning. The participants have not assembled for any particular gouache and ink purpose such as a virgin birth, martyrdom, or inauguration of a new 54 x 43.7 cm. (21 1/4 x 17 1/4 in.) power station. In so far as their activity is aimless and their assembly pointless they might be said to symbolize an age of doubt against £12,000 - 18,000 an age of faith. But that is not the point. Although the elements €15,000 - 22,000 are recognisably human their meaning is plastic. They attempt a US$20,000 - 30,000 summary and condensed statement of the relationship between things, expressed through a morphology common to all organic and Provenance inorganic matter (Keith Vaughan, Painter’s Progress from Studio, With The Redfern Gallery, London, where acquired by August 1958, p.53). The Arthur Andersen & Co. Art Collection, 1991 Private Collection, U.K. We are grateful to Anthony Hepworth for his assistance in cataloguing this lot and to Gerard Hastings, author of Keith Vaughan: Between 1952 and 1976 Vaughan produced nine major paintings The Photographs (Pagham Press, 2013), for compiling the catalogue which he called ‘Assemblies of Figures’. Over the course of 1967/68 entry. he also painted two large canvases on the theme of an assembling crowd; this gouache may well be a preparation study or trial run for those compositions. The coming together of an anonymous crowd was a central theme in his work. Vaughan was interested in the manner in which separate human forms jostled against, overlapped and interpenetrated one another once they coalesced into a gathering or an assembly:

Modern British and Irish Art | 11 5 AR John Craxton R.A. (1922-2009) Estuary Landscape relates directly to an oil of the same year, Tree Estuary Landscape Root in an Estuary, and a number of further studies on paper of the signed and dated ‘3.5.44 Craxton’ (upper left) same subject. These works were completed during and after Craxton charcoal and pastel visited Pembrokeshire on a working trip in 1943 with fellow artist 23 x 30.3 cm. (9 1/8 x 12 in.) Graham Sutherland.

£6,000 - 8,000 This work and related compositions were included in Craxton’s first €7,300 - 9,700 one man show at the Leicester Galleries in 1944. US$10,000 - 13,000 We are grateful to Ian Collins for his assistance in cataloguing this lot. Provenance With The Leicester Galleries, London, where acquired by Eric Alport, Esq. Private Collection, U.K.

Exhibited London, The Leicester Galleries, Paintings and Drawings by John Craxton, May-June 1944, cat.no.15

12 | Bonhams 6 AR John Minton (1917-1957) John Minton visited the West Indies between September and Jamaican view with figures December 1950. Over this period he became acquainted with William signed, inscribed and dated ‘John Minton/S.S.Eros.DEC.1950’ Simpson, an electro-technical officer aboard the SS Eros. When the (upper right) ship was in harbour Simpson would take evening walks on the shore gouache occasionally stopping to drink rum with the artist. 38.1 x 27.9 cm. (15 x 11 in.) It is interesting that even here, in a Jamaican picture, there is a £10,000 - 15,000 possible reminiscence of Minton’s earlier neo-romanticism. The €12,000 - 18,000 road disappearing into the distance is a motif within Recollections of US$17,000 - 25,000 Wales (1944, British Council Collection), and in the artist’s illustrations for Le Grand Meaulnes, published by Paul Elek under the title The Provenance Wanderer in 1947. The Artist, by whom gifted to Mr. William Simpson We are grateful to Frances Spalding for her assistance in cataloguing Thence by family descent this lot. Private Collection, U.K.

Modern British and Irish Art | 13 7 AR John Piper C.H. (1903-1992) Provenance A church in a landscape The Artist’s Studio signed ‘John Piper’ (lower right); further signed ‘John Piper’ (on the Sale; Sotheby’s, London, 25 May 1983, lot 194A canvas overlap) Mr. & Mrs. W.K. Gibson, North Yorkshire oil on canvas laid on board Their sale; Bonhams, London, 8 November 2009, lot 81, where 25.5 x 36 cm. (10 x 14 in.) acquired by the present owner Painted circa 1967 Private Collection, U.K.

£10,000 - 15,000 The present work is thought to depict a church in Marignac in the €12,000 - 18,000 Charente district of France. There is a related lithograph by the artist US$17,000 - 25,000 entitled Sunflowers at Marignac (Levinson 103).

14 | Bonhams 8 AR John Piper C.H. (1903-1992) Portholland, Cornwall signed and inscribed indistinctly ‘John Piper’ (lower left); titled and dated ‘Portholland, cornwall/1956’ (verso) mixed media 33.4 x 48.3 cm. (13 1/4 x 19 in.)

£4,000 - 6,000 €4,900 - 7,300 US$6,700 - 10,000

Provenance A Belgian Corporate Collection

Modern British and Irish Art | 15 9 AR W John Piper C.H. (1903-1992) Reims Cathedral, Marne, France signed ‘John Piper’ (lower right); inscribed ‘REIMS (Marne)’ (verso) oil on canvas laid on panel 152.4 x 121.9 cm. (60 x 48 in.) Painted 1969-70

£40,000 - 60,000 €49,000 - 73,000 US$67,000 - 100,000

Provenance With Marlborough Fine Art, London & New York The Artist Thence by family descent

Exhibited Cardiff, National Museum of Wales, John Piper and English Neo- Romanticism, 1982-3, cat.no.65

In contrast to the purely abstract pictures of the 1930s, John Piper’s focus switched to the recording of important and historical architectural sites from the 1940s onwards. Frequently travelling to obscure locations at home and abroad, he intended on finding buildings of extraordinary character and representing them with his own unique technique. Piper had a particular affinity with France and in the present work depicts one of the country’s most important landmarks, Notre-Dame de Reims, where the kings of France were crowned. Architecturally arresting, the three portals are laden with statues and statuettes with the central portal, as visible in the present work, dedicated to the Virgin Mary. Dating to 1969-70, Piper’s application is impressionistic in style and recounts the famous Rouen Cathedral series painted in the 1890s by the celebrated French impressionist Claude Monet.

16 | Bonhams Modern British and Irish Art | 17 10 AR John Piper C.H. (1903-1992) Valle Abbey, Nr Llangollen pen, ink and watercolour 39.3 x 52.1 cm. (15 1/2 x 20 1/2 in.)

£5,000 - 7,000 €6,100 - 8,500 US$8,400 - 12,000

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

18 | Bonhams 11 AR Graham Sutherland O.M. (1903-1980) In 1939, Sutherland’s friend and mentor, Sir Kenneth Clark, became Zennor the founding Director of the War Artists Advisory Committee. Official signed ‘Sutherland’ (lower right) War Artists were expected to record specific aspects of the war watercolour, crayon, wax resist and ink on paper laid on panel effort thus creating an enduring historical record whilst at the same 46.9 x 48.2 cm. (18.5 x 19 in.) time protecting them from combat at the front. Initially, Sutherland was commissioned to portray the Blitz in London and Swansea but £15,000 - 20,000 Clark was also keen to document industrial production. As a trained €18,000 - 24,000 engineer with an unquestionable artistic talent Sutherland had the US$25,000 - 34,000 perfect eye for limestone quarrying, opencast coal mining, steel manufacture and tin mining. The artist was sent to several locations Provenance in Cornwall including Geevor Tin Mine located just down the road With The Lefevre Gallery, London from Zennor, the title and location of the present work. Private Collection, U.K.

Modern British and Irish Art | 19 12 AR Henry Moore O.M., C.H. (1898-1986) The Sundial idea started this way, - I was asked to do a piece of Sundial sculpture to put in front of a new building in London where The signed ‘Moore’ and stamped ‘M. NOACK BERLIN’ (on the base) Times newspaper has its headquarters. I thought about it, but polished bronze eventually decided that The Times is too much a part of the English 53.3 cm (21 in.) high (including base) Establishment, and that a Henry Moore sculpture would not be right there, but something more recognisable as a Henry Moore sculpture, £40,000 - 60,000 would be more suitable. In discussing all this with the owner of €49,000 - 73,000 The Times and the architect of the new building, they agreed with US$67,000 - 100,000 my idea, and that, a sundial might be appropriate. Fortunately the position for the sculpture faced practically dead-south which also Provenance made a sundial workable, and being able to tell the time, had a Private Collection, U.K. connection with the name The Times. The architect sent me a book on sundials and the principals on which they work.... There are Exhibited innumerable different types of sundials, but the simplest is the bow London, Tate Gallery, Henry Moore, July-September 1968, cat. type and this is the type we chose (Henry Moore in a letter to Harry no.135 (another cast) Brooks of Wildenstein & Co, 7 January 1970). New Delhi, National Gallery of Modern Art, Henry Moore: Sculptures, Drawings and Graphics, 1 October-15 November 1987, cat.no.84 We are grateful to The Henry Moore Foundation for their assistance (another cast) in cataloguing this lot.

Literature Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, Vol.4, 1964-73, Lund Humphries, London, 1977, cat.no.527 (ill.b&w, another cast) David Mitchinson, Celebrating Moore, Works from the Collection of The Henry Moore Foundation, Lund Humphries, London, 1998, p.290, cat.no.207 (ill.b&w, another cast)

20 | Bonhams Modern British and Irish Art | 21 Fig 1. Les Demoiselles d'Avignon, 1907 (oil on canvas), Picasso, Pablo (1881-1973) / Museum of Modern Art, New York, USA / Giraudon / The Bridgeman Art Library © Succession Picasso/DACS, London 2014.

13 AR * Dated circa 1954 in Lund Humphries’ Henry Moore, Volume 4, Henry Moore O.M., C.H. (1898-1986) Six Standing Figures Complete Drawings 1950-74 (edited by Ann Garrould), Six Standing signed and dated ‘Moore/50’ (lower right) Figures, upon close scrutiny, is actually datable to 1950. This is also pencil, wax crayon, coloured crayon, watercolour wash and gouache evident by other Moore drawings from the 1950-51 period, especially 39.4 x 57 cm. (15 1/2 x 22 1/2 in.) Four Standing Figures (HMF2656), which bears a remarkable This work is registered with the Henry Moore Foundation as HMF similarity to the present lot. 2855 Standing figures are a recurring motif throughout Moore’s work £120,000 - 180,000 during the late 1940s and early 1950s; they appear frequently in €150,000 - 220,000 both his sculptural output as well as his works on paper. Among US$200,000 - 300,000 the more iconic images is Battersea Park’s monumental Darley Dale stone carving, Three Standing Figures (1947-48). However, they were first presented by Moore, albeit with less regularity, in Provenance his drawings from the 1930s, such as Ideas for Bronze Standing With Galerie Czwiklitzer, Cologne, 1957 Figure. Even in these early pre-war depictions, the naked male and Sale; Sotheby’s, London, 7 December 1983, lot 393 female bodies are ordered in rows, at times stacked one of top of With Waddington Galleries, London the other, in a multitude of poses; a template he favoured for this Private Collection, South Africa, particular fascination with the human form. As the title suggests, they With Joseph Wolpe, South Africa often facilitated Moore’s transition from two dimensions into three, Acquired from the above by the mother of the present owner, 20 a process which continued into the post-war years. Whilst this is February 1985 true also of Six Standing Figures, whose two central components Thence by descent accurately and beautifully mirror Moore’s bronze Standing Figure Private Collection, U.S.A. No.1, datable to 1952, both the scale and highly worked surface of the present lot clearly indicate the artist approached it as an Exhibited exhibition piece from the outset. This feeling of exhibitionism is Cape Town, South African National Gallery, 24 March 1987 (on loan) cleverly accentuated by the raised positioning of the figures on top of their own pedestals, giving them the impression of museum exhibits. Literature Only the two bodies, far left share the same platform, their sense of Ann Garrould (ed.), Henry Moore, Volume 4, Complete Drawings unity heightened by the male tenderly stretching his arm around the 1950-76, The Henry Moore Foundation in association with Lund shoulder of his female companion. Furthermore, all six individuals are Humphries, Aldershot, 2003, p.63, cat.no.AG.54.21 (ill.b&w) neatly aligned along the same plane; none taking greater precedence over the others. They are showcased in front of a dark backdrop, using just the natural colour of the paper and white heightening crayon, with touches of orange to their limbs. This intelligent use of spotlighting imbues what is essentially a flat design with a sculptural three dimensionality.

22 | Bonhams Modern British and Irish Art | 23 Fig 2. Standing Figure, 1950 (bronze), Moore, Henry Spencer (1898-1986) / Private Collection / © The Henry Moore Foundation. All Rights Reserved, DACS 2014 / www.henry-moore.org / The Bridgeman Art Library

As the recent exhibition, Picasso and Modern British Art (15 Six Standing Figures was created by Moore the same year as one February-15 July 2012) at Tate Britain demonstrated, Moore’s of his most radical bronzes from 1950, Standing Figure (See Fig.2). response and interpretation to the works of Pablo Picasso was Roger Berthoud comments on this sculpture: complex. The British avant-garde artist did not actually meet the Spaniard until 1937, at a now well documented event involving ‘Nothing he had previously done prepares us for the ferocious, wiry himself, Alberto Giacometti and Roland Penrose among others, with energy of the Standing Figure (originally called Striding Man) of 1950. Picasso in his studio accompanied by Guernica. Yet even prior to The barely recognisable human frame is split into three sections this physical coming together, at a time when surrealism was leading joined at shoulder, hip and knee, with shield-like triangular wedges the way, Moore had already absorbed the fledgling cubist imagery in place of shoulders and two reptilian heads on stalk-like necks in of Picasso from the earlier part of the twentieth century. He said place of one.’ (Roger Berthoud, The Life of Henry Moore, Giles de la as much in a BBC Radio 4 interview in 1973 following the death Mare Publishers, London, 2003, p.263). of Picasso. Taking Picasso’s 1907 masterpiece, Les Demoiselles d’Avignon (see fig.1), it is impossible not to recall the two central Whilst this may well be the case, especially considering the prostitutes when looking at the two centre figures displaying monumental scale of the sculpture which stands well over two themselves in Moore’s Six Standing Figures. In the latter, the female metres tall, its basic bodily form noted by Berthoud has been bodies are presented full frontal and exposed, with their arms, too, described by Moore in the figure third from the right in the present lot. raised above and behind their heads, the elbows jutting out forming The sculpture was instrumental in cementing Moore’s professional right angles, neatly framing their anonymous faces. There is nothing, friendship with William Keswick: of course, to suggest Moore’s assemblage of figures are located in a bordello, as the setting of the present lot retains a greater ambiguity. ‘When he [Keswick] saw the Standing Figure outside the studio, he was so taken by it that he commissioned another cast after a During his formative years Henry Moore remained relatively silent pleasant conversation with its creator: a surprising decision, since on which artistic figureheads from the past and present influenced it is a relatively ‘difficult’ work...Henry and Keswick became firm the direction his art would take. Although clear evidence of an early friends, and at Easter 1954 the director of Jardine, Matheson, of the appreciation of Picasso’s standing figures can be found in a drawing Hudson’s Bay Company, and later of the Bank of England took the by Moore datable to 1922-4, Figure Studies (Collection of The Henry miner’s son up to Glenkiln [where it had been positioned on a grouse Moore Foundation). Boldly inscribed beside the pencil sketch of a moor in Dumfries in Scotland]. Henry was thrilled to see his figure standing figure (interestingly enough also with one arm raised above standing there like a sentinel on the bleak moor. He reported back to and behind its head) is the simple name, ‘Picasso’. Keswick’s old school friend from Winchester School days, Kenneth Clark [Director of The National Gallery]: “it’s a most glorious place for As Tate’s accompanying catalogue to their exhibition states: it, very wild and surprisingly right for that particular piece”’. (op.cit, pp.263-66). It was in Picasso’s image-making, drawings as well as paintings, and only rarely his sculptures, that he found something his sculptural It is easy to appreciate when looking at this important and impressive imagination could take over and develop. It is significant that his work on paper by Moore just how significant to him these pieces sources were so often black and white photographs in reproduction; were in developing his sculptural forms. Six Standing Figures is images without colour, even where paintings were concerned.’ steeped in creativity and variety and is evidence of an imagination (Christopher Green, Picasso and Modern British Art, Tate Publishing, which was capable of reinventing a motif that he himself had tackled London, 2012, pp 130-131). decades before.

24 | Bonhams Modern British and Irish Art | 25 14 AR Frederick Edward McWilliam (1909-1992) The present work relates to a monumental version first shown Maquette for Witch of Agnesi in the 1960 Open Air Sculpture Exhibition staged in London’s signed with initials and numbered ‘2/3/MCW’ (on the base) Battersea Park. In an interview given to The Times, published 17 bronze with a black patina March 1960, the artist notes ‘I wanted a name for the concave- 27.2 cm. (10 3/4 in.) high convex combination and discovered that the mathematician Maria Conceived in 1959 Asegni [sic] had invented a curve so called’ (Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries £6,000 - 10,000 in association with the Henry Moore Foundation, Farnham, 2012, €7,300 - 12,000 p.126). The scale plaster version of the present cast is held in the US$10,000 - 17,000 collection of the F.E. McWilliam Gallery and Studio, Down.

Provenance Sale; Christie’s, London, 4 June 1999, lot 175 Sale; Christie’s, London, 10 June 2005, lot 152 Private Collection, Ireland

26 | Bonhams 15 AR * Literature Frederick Edward McWilliam (1909-1992) Study Patriarch I Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, signed with initials and numbered ‘MCW/3/3’ (on the base) Lund Humphries in association with the Henry Moore Foundation, bronze with a brown patina Farnham, 2012, p.114, cat.no.105 (ill.b&w, another cast) 46.4 cm. (18 1/4 in.) high Conceived in 1953 The present work is a maquette for the larger finished piece (measuring 96 in. high) called Patriarch and represents a father figure, which holds forth a male and a female. Mel Gooding £15,000 - 20,000 comments that during the fifties McWilliam moved “towards €18,000 - 24,000 more abstract standing relief forms, somewhat like heraldic US$25,000 - 34,000 and symbolic devices. Eve and Patriarch are among the finest examples of his work in the earlier mode” (Mel Gooding, F.E. Provenance McWilliam Sculpture 1932-1989, Tate Gallery, London, 1989, Private Collection, U.S.A. p.47).

Exhibited Chicago, Young British Sculptors, organised by the British Council, 1955 (another cast); this exhibition travelled to Minneapolis, Cincinnati, Buffalo and Toronto London, Hanover Gallery, F.E. McWilliam, February-March 1956, cat.no.20 (another cast) Newcastle, Hatton Gallery, Five Sculptors, 1957 (another cast) Bristol, Royal West of England Academy, Painting and Sculpture: Robert Medley, Ruskin Spear, Philip Sutton, Keith Vaughan, F.E. McWilliam, May 1958 (another cast) Edinburgh, Royal Scottish Academy, 151st Annual Exhibition, 23 April-7 August 1977, cat.no.329 (another cast)

Modern British and Irish Art | 27 16 AR Paul Henry R.H.A. (1876-1958) Boats at Sea is a striking and unusual example by Paul Henry, an Boats at sea artist better known for his West of Ireland landscapes with cottages, signed ‘PAUL HENRY’ (lower left) turfstacks and mountains. A peaceful scene, it depicts two sailboats oil on canvas leaning into a breeze with a further three vessels distant on the 45.5 x 38 cm. (18 x 15 in.) horizon. The ocean is calm and contrasts with another marine Painted 1930-36 painting by the artist sold in these rooms - Running for Shelter (£175,250, November 2011). £60,000 - 80,000 €73,000 - 97,000 The present work is possibly the same picture as Quiet Waves (S.B. US$100,000 - 130,000 Kennedy, Paul Henry: with a Catalogue of the Paintings, Drawings, Illustrations, New Haven & London, Yale University Press, 2007, Provenance cat.no. 908). There is a framing label on the reverse from William Acquired in Dublin in the 1930s, thence by descent to the present Rodman & Co., Belfast and the work can be dated to 1930-6 on owner stylistic grounds. Private Collection, U.K. Boats at Sea is numbered 1282 in S.B. Kennedy’s ongoing Exhibited cataloguing of Paul Henry’s oeuvre and we are grateful to him for his Possibly Dublin, Ritchie Hendriks Gallery, Paul Henry: Retrospective assistance. Exhibition, May-July 1957, cat.no.52 (as Quiet Waves); this exhibition travelled to Belfast, Museum & Art Gallery

Literature Possibly S.B. Kennedy, Paul Henry; Paintings, Drawings, Illustrations, Yale University Press, New Haven & London, 2007, p.279, cat. no.908 (as Quiet Waves)

28 | Bonhams Modern British and Irish Art | 29 17 AR * Viewed across the edge of a stone quay two currachs set off through Jack Butler Yeats (1871-1957) Island Men Returning the dark Atlantic waves. Looking down onto the nearer boat, its signed ‘JACK B YEATS’ (lower right) structure of interlacing wooden slats is clearly visible. The simplicity oil on panel of its construction adds to the sense of vulnerability of the three 23 x 36 cm. (9 x 14 1/4 in.) men as they make their way into the open sea. A second boat is Painted in 1919 turned vertical as it pushes through the swell, leaving a huge splash of grey seawater beneath its prow. Their destiny is the landmass £60,000 - 80,000 that dominates the horizon. They are probably setting off from a €73,000 - 97,000 Connemara harbour to the Aran Islands. The distance is not great US$100,000 - 130,000 but as J.M. Synge made clear in his widely read Aran Islands, the seas were treacherous.

Provenance Yeats pays close attention to the water, turning the brushstrokes in Mrs. Robert Gregory all directions to evoke its power and inconsistency. This is matched With Waddington Galleries, London, 11 December 1964, where by a similarly complex mixture of grey and white in the stormy skies purchased by the family of the present owner above. The determined expressions of the sailors and their rigid grip Private Collection, Canada on the oars demonstrate their skill and familiarity with handling the currach in these difficult conditions. The grey tonalities of the painting Exhibited are relieved by glimpses of yellow and orange where the light reflects Dublin, Mills Hall, Drawings and Pictures of Life in the West of back on the waves and on the details of the boat, the men and the Ireland, 26 April-10 May 1919, cat.no.11; this exhibition travelled to quayside. Oireachtas and Belfast, 1920 As can be seen in this painting, Yeats was both passionate about Literature boats and about life in the West of Ireland. He visited the Aran Hilary Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil Paintings, Islands and Galway many times as a young man and in the period Volume I, Andre Deutsch Limited, London, 1992, p.115, cat.no.130 in which this work was painted. His sketchbooks record peculiarities of costume, strange sights and details of landscape and people. He was always fascinated by sailing and paid particular attention to the construction of the currach, the design of which changes from place to place along the West coast. He shared this interest with Synge, with whom he travelled in Mayo and Galway in 1905, and whose Aran Islands, he illustrated with a similar subject to this, A Four Oared Currach, (1906, National Gallery of Ireland). Island Men Returning was in the collection of Mrs. Robert Gregory, who was, with her husband a close friend of Yeats and Synge and in living in Co. Galway was familiar with the traditional way of life depicted so avidly in Yeats’s work.

We are grateful to Dr. Róisín Kennedy for compiling this catalogue entry.

30 | Bonhams Modern British and Irish Art | 31 Two piers, Inishlacken Island, © Karen Reihill, 2014

18 AR Gerard Dillon (1916-1971) In the foreground a currach is cut off at the picture plane. A symbol The Currach of island life, a currach was the only way to get across to the signed ‘Gerard Dillon’ (lower right) mainland. It consisted of a light framework of timber laths covered oil on board by tarred canvas. Without a keel, it was specifically designed for 35.6 x 45.7 cm. (14 x 18 in.) heavy weather, the bow and stern rising clear above the water enabling it to ride any wave. It’s lightness made it manageable but £20,000 - 30,000 it’s frail construction made it liable to damage on rocky shores. In the €24,000 - 36,000 summer when Roundstone harbour was busy, Islanders would have US$34,000 - 51,000 been returning from the Monastery or Ervallagh piers with their post and supplies. Provenance The Artist, from whom acquired by the family of the present owner Several friends visited Dillon on the Island, George Campbell, Private Collection, U.K. Nano Reid and James MacIntyre. Years later, MacIntyre recalled humourous tales with illustrations of how he adapted to island life Exhibited with Dillon and Campbell in Three Men on an Island (The Black Possibly San Francisco, Maxwell Galleries, 1954 Staff Press, 1996). MacIntyre noted how the Islanders repaired their currachs, “One of the men explained that they were boiling up In 1951 in preparation for his solo exhibitions with Victor Waddington lumps of tar to recoat the currach...then a long-handled brush like and the Maxwell Galleries, Gerard Dillon rented a cottage for almost a floor mop was swirled around the pot and a dollop of molten tar a year on Inishlacken Island three miles from the popular holiday dumped onto the currach, and in no time a thick skin spread quickly village of Roundstone, Connemara. The artist and the daily lives of the length of the boat...the shiny black skin was all that had been the Islanders were dictated by the weather. In strong winds the small between us and a watery grave.” number of families could be marooned for over a week. Two thirds of a mile long from North to South and over a third of a mile wide, the We are grateful to Karen Reihill, who is currently researching the life Island is made up of a pattern of stonewalls with small green fields. and work of Gerard Dillon & Friends, for compiling this catalogue entry. This composition depicts currachs by the ‘new’ and ‘old’ piers on Inishlacken Island. Built in the 1870s, a figure on the right in a navy sweater is towing a currach into the harbour along the original pier. It was repaired and a new one built perpendicular to the first in 1950. Similar to another work, Inishlacken in the Ulster Museum, both paintings depict views of the pier on a fine day with a figure carrying an anchor. Keen on pictorial effects Dillon has used limited colour and arranged the currachs in different angles to incorporate pattern, shape and design. In the distance, a group in a currach is approaching the harbour. Islanders arranged their trips to and from the mainland according to tidal times. The group are most likely children and their parents returning in a small four or six-oar currach with supplies from the grocery store or be making their daily return trip from school on the mainland.

32 | Bonhams Modern British and Irish Art | 33 19 AR Laurence Stephen Lowry R.A. (1887-1976) It was not just people but also animals that inhabited the urban fabric Two cats and Lowry would have seen them roaming the streets on a regular signed with initials and dated ‘L S L 71’ (lower right) basis. His depictions of cats, dogs and other ‘creations’ are regarded pencil as one of the most appealing aspects of his work and helped endear 21 x 17 cm. (8 1/4 x 6 5/8 in.) him to the British public. Two Cats, executed in 1971, bears a striking resemblance to the oil painting Two Dogs (1961) and communicates £12,000 - 18,000 great humour and wit. €15,000 - 22,000 US$20,000 - 30,000

Provenance Harold Riley, by whom gifted to the present owner circa 1987 Private Collection, U.K.

34 | Bonhams 20 AR Laurence Stephen Lowry R.A. (1887-1976) The present work relates to L.S. Lowry’s 1957 oil A House in House on a Hillside Cornwall (Private Collection, see Andras Kalman & Andrew Lambirth, signed and dated ‘L S Lowry 1955’ (lower right) L.S. Lowry, Conversation Pieces, Chaucer Press, London, 2003, pencil p.130-131). Of this work Lambirth notes: 25.1 x 32.7 cm. (9 7/8 x 12 7/8 in.) “The building’s railing and size and architectural design are all most £12,000 - 18,000 unusual, and the stark wall that Lowry placed around it is typical of €15,000 - 22,000 the affinity that he felt with anything solitary or isolated or lonely. Even US$20,000 - 30,000 the telegraph poles are somehow echoing Lowry’s solitariness. And the further up, there’s the beginning of another habitation. But there Provenance is something haughty, almost arrogant about the first house, as if it Acquired by the father of the present owner circa 1970 could have no neighbours, nor tolerate them if it had” (op.cit). Private Collection, U.K. The father of the present owner was good friends with the artist Harold Riley who assisted him in the formation of his art collection.

Modern British and Irish Art | 35 A Landmark, 1936 (oil on canvas), Lowry, Laurence Stephen (1887- 1976) /The Lowry, Salford © The Estate of L.S. Lowry. All Rights Reserved, DACS 2014.

21 AR Laurence Stephen Lowry R.A. (1887-1976) Despite his most immediate association with the urban townscape, A Landmark Lowry must also be considered as a dedicated landscape artist. A signed and dated ‘L S Lowry 1936’ (lower left) constant theme within his work, these rarely topographically accurate pencil compositions (as in the urban scenes), can be considered some of 25.4 x 35.6 cm. (10 x 14 in.) his most memorable images. Possibly brought about as a result of his traumatic domestic situation in the 1930s, Lowry often referred £20,000 - 30,000 to these works as ‘lonely landscapes’, a description which can be €24,000 - 36,000 clearly understood in the context of the present work. US$34,000 - 51,000 A Landmark relates to the famous oil of the same title and date Provenance (1936, The Lowry, Salford) and is almost identical with the exception Acquired by the father of the present owner of a lack of water in the foreground. Executed with the trademark Private Collection, U.K. heavy shading of the period and simple at first glance, this quiet drawing is open to interpretation and perhaps reveals more complexities than are initially apparent. Several of these landscapes have an erotic presence (here the hill and obelisk) which arguably shows the adolescent nature of Lowry’s sexual humour whilst at the same time reinforcing that much of his output was rooted in those things seen. Devoid of human activity and seemingly unaffected by seasonal changes of light and growth, these landscapes were drawn from excursions in Lancashire, Derbyshire and the Yorkshire moors.

36 | Bonhams Modern British and Irish Art | 37 Street Scene, Berwick upon Tweed, 1958 (oil on canvas), Lowry, Laurence Stephen (1887-1976) / Private Collection / The Bridgeman Art Library © The Estate of L.S. Lowry. All Rights Reserved, DACS 2014.

22 AR Laurence Stephen Lowry R.A. (1887-1976) Street Scene, Berwick-upon-Tweed signed with initials and dated ‘LSL 1935’ (lower right) pencil 26.7 x 18.3 cm. (10 1/2 x 7 1/4 in.)

£30,000 - 40,000 €36,000 - 49,000 US$51,000 - 67,000

Provenance With Crane Kalman Gallery, London, 1963 Dr. Lewson Sale; Sotheby’s, London, 30 September 1999, lot 96, where acquired by the present owner Private Collection, U.K.

The small market town of Berwick-upon-Tweed was a particular favourite with Lowry who first visited there in 1935, the year of the present work. Positioned between Newcastle and Edinburgh, the historic town acted as a gateway for his trips to Scotland and he returned often, even expressing interest in a permanent move at one point. Closely related to the oil, Street Scene, Berwick-upon-Tweed, shows West Street, looking from the bridge end. The town hall clock tower is depicted in the distance with the ‘home of Original Berwick cockles’ visible on the right.

38 | Bonhams Modern British and Irish Art | 39 23 AR Laurence Stephen Lowry R.A. (1887-1976) At the Seaside signed and dated ‘L S Lowry 1960’ (lower left) pencil 33.7 x 24.8 cm. (13 1/4 x 9 3/4 in.)

£40,000 - 60,000 €49,000 - 73,000 US$67,000 - 100,000

Provenance With The Lefevre Gallery, London Sale; Christie’s, London, 2 May 1991, lot 104 Private Collection, U.K. Sale; Bonhams, London, 26 June 2007, lot 54 With Grove Fine Art, Manchester With Cornwater Fine Art, Nottingham Private Collection, U.K.

Exhibited London, The Lefevre Gallery, Drawings by L.S. Lowry, 8 February-2 March 1968, cat.no.37 (ill.b&w) Salford, The Lowry, August 2007-January 2010 (on loan)

Asides from the title, there is little to indicate that the present work depicts the seaside. Lowry’s only visual hint comes from the railings behind the three figures and so we assume they are positioned on the promenade with the water beyond. This lack of direct context serves to focus us, the viewer, solely on the figures and their character. This is not unusual for the time as during the 1960s Lowry was particularly interested in exploring single figures and the relationship between groups of figures in his art. The three men in At the Seaside are not necessarily communicating as a group with one another but appear as individual studies brought together and presented in a trio. The feint inclusion of a head peering out mischievously in the background adds a degree of humour and curiosity to the work.

40 | Bonhams Modern British and Irish Art | 41 A Footbridge, 1938 (oil on canvas), Lowry, Laurence Stephen (1887-1976) / Private Collection / Photo © Christie's Images / The Bridgeman Art Library © The Estate of L.S. Lowry. All Rights Reserved, DACS 2014.

The Property of the late Professors Sir Kenneth Executed in 1935, A Footbridge demonstrates Lowry’s extraordinary and Lady Noreen Murray, sold to benefit The ability as a draughtsman. The classic heavy shading that the artist Darwin Trust of Edinburgh adopted during the 1930s creates an instantly powerful image, accentuated further by the structure of the composition which 24 AR includes clean lines and a dramatic perspective that begins in the Laurence Stephen Lowry R.A. (1887-1976) immediate foreground. The 1930s were a challenging period for A Footbridge Lowry whose father had died in 1932 leaving him to care for his signed and dated ‘L.S Lowry 1935.’ (lower left) bed-ridden mother who was prone to neurosis and depression. pencil A certain solitude was felt as a result of these circumstances and 37.4 x 32.4 cm. (14 3/4 x 12 3/4 in.) Lowry himself referred to several pictures of the period as ‘lonely landscapes’. Whilst not overtly desolate, the placement of the figures £70,000 - 100,000 in A Footbridge and in particular the two positioned rigidly at the top €85,000 - 120,000 of the stairs, seemingly with nowhere to go, give a sense of isolation. US$120,000 - 170,000 Steps and footbridges were popular themes in Lowry’s work throughout his career. There are further pencil studies which very Provenance The Artist, from whom acquired by closely relate to the present work including, Footbridge, Droylsden, Dame Mabel Tylecote, 1942 (4 gns.), thence by descent to which gives a specific location. The composition was also worked Private Collection, Torquay into oil with A Footbridge dating to 1938 and Steps 1940. Their sale; Bearnes Hampton & Littlewood, Exeter, 2 July 2008 (as Colyhurst Footbridge) Professor Sir Kenneth Murray FRS FRSE FRCPath (30 December With Richard Green, London, where acquired by 1930–7 April 2013) and his wife Lady Noreen Elizabeth Murray (née Professors Sir Kenneth and Lady Noreen Murray Parker) CBE, FRS FRSE (26 February 1935–12 May 2011) were both molecular biologists. They and their team developed the vaccine against hepatitis B, the first genetically-engineered vaccine approved for human use. Together they founded the Darwin Trust of Edinburgh, a charity supporting young biologists in their doctoral studies. This charity, of which Sir Kenneth was Chairman, will benefit from the sale of this lot.

42 | Bonhams Modern British and Irish Art | 43 Various Properties

25 AR Laurence Stephen Lowry R.A. (1887-1976) Lowry was equally confident working on a small scale as he was Industrial Scene on expansive canvases which is particularly impressive given the signed and dated ‘L S Lowry 1951’ (lower right) busy nature of his compositions. The present work was painted in oil on panel 1951, the year of the artist’s retrospective exhibition at the City Art 24.8 x 18.1 cm. (9 3/4 x 7 1/8 in.) Gallery in Salford. As with other examples of the period, Industrial Scene portrays a thriving urban panorama with the figurative focus £100,000 - 150,000 on or around the factory gates. Their positioning at the centre of the €120,000 - 180,000 composition is symbolic of the dominant role industry played within US$170,000 - 250,000 Lowry’s community with everything else emanating as a result of it.

Provenance As with several of the more bijou pictures, the present work takes on With The Lefevre Gallery, London, where acquired by a truly impressionistic air which is not only apparent in the application the family of the present owner of the paintwork but also in the structure of the figures whose free Thence by descent flowing movement is barely recognisable towards the top of the Private Collection, U.K. road. The influence of Adolphe Valette (1876-1942), Lowry’s teacher at the Manchester Municipal School of Art from 1905-7 cannot be disregarded. The artist himself commented ‘I cannot over-estimate the effect on me at that time of the coming into this drab city of Adolphe Valette, full of the French Impressionists, aware of everything that was going on in Paris. He had a freshness and a breadth of experience that was a very wonderful thing, as I saw it done by himself and his friends’ (Cecilia Lyon, Adolphe Valette, Phillimore & Co., Chichester, 2006, p.116).

44 | Bonhams Modern British and Irish Art | 45 26 AR Helen Bradley (1900-1979) On 13 October 1905 suffragette militancy was launched in a historic Votes for Women moment. Annie Kenney and Christabel Pankhurst interrupted a signed ‘HELEN BRADLEY’ and with fly insignia (lower right); further political meeting in Manchester to repeatedly ask Sir Edward Grey signed and inscribed ‘”Please mother don’t let us/leave aunt Mary, and Winston Churchill whether they would, if elected, make women’s aunt Frances/ and Miss Carter (who wore pink)”/but mother said that suffrage a government measure. Receiving no answer, they unfurled she wasn’t/going to take George and I and/the dogs Gyp and Barney a flag inscribed with the now notorious slogan ‘Votes for Women’. amongst/all those woman who had/followed Annie Kenney to the/ Town Hall to meet Winston/Churchill. They were going to/tell him that It is surely the aftermath of this moment, transported to Oldham they wanted/’Votes for Women’ and the year/was 1908’ (on a label town hall and viewed through rose tinted spectacles, that Helen verso) Bradley has here placed her childhood alter ego and familiar cast of oil on board accomplices in. Throughout her work the strong female characters 45.7 x 60.9 cm. (18 x 24 in.) of Grandmother, Mother, the four Aunts and of course Mrs. Carter (who wore Pink) and their modern behaviour are clear indicators of £50,000 - 70,000 Bradley’s sympathies to the suffragette cause. €61,000 - 85,000 US$84,000 - 120,000

Provenance With W.H. Patterson, London, 1979, where acquired by the family of the present owner Private Collection, U.K.

Literature Helen Bradley, The Queen Who Came to Tea, Jonathan Cape, London, 1978

46 | Bonhams Modern British and Irish Art | 47 27 AR Sir Kyffin Williams R.A. (1918-2006) The Chateau signed with initials ‘KW.’ (lower right) oil on canvas 50.9 x 76.3 cm. (20 x 30 in.)

£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000

Provenance With Ceri Richards Gallery, Swansea, 4 November 1989, where acquired by the present owner Private Collection, U.K.

The Ceri Richards Gallery (now part of the Taliesin arts complex) was part of University College, Swansea. Kyffin Williams was made an Honorary Fellow to the establishment in 1989.

48 | Bonhams 28 AR Sir Kyffin Williams R.A. (1918-2006) The Maentwrog Valley, Snowdonia signed with initials ‘KW.’ (lower left) oil on hessian 51.4 x 76.2 cm. (20 1/4 x 30 in.)

£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000

Provenance The Artist, circa 1980 Sale; Bonhams, Bath, 25 June 2007, lot 530, where acquired by the present owner Private Collection, U.K.

Modern British and Irish Art | 49 29 AR Sir Kyffin Williams R.A. (1918-2006) Sun Above Nant Peris (no. 2) signed with initials ‘KW.’ (lower left) oil on canvas 91.4 x 91.4 cm. (36 x 36 in.) Painted in 1982

£15,000 - 20,000 €18,000 - 24,000 US$25,000 - 34,000

Provenance With Thackeray Gallery, London, 17 May 1983, where acquired by the family of the present owner Private Collection, U.K.

Exhibited Cardiff, National Museum of Wales, Kyffin Williams, March-May 1987, cat.no.58; this exhibition travelled to Llandudno, Mostyn Art Gallery, May-July 1987 and Swansea, Glynn Vivian Museum and Art Gallery, August-September 1987

50 | Bonhams 30 AR W Sir Kyffin Williams R.A. (1918-2006) Cows in Moonlight signed with initials ‘KW.’ (lower right) oil on canvas 90.7 x 121.4 cm. (35 3/4 x 47 3/4 in.)

£20,000 - 30,000 €24,000 - 36,000 US$34,000 - 51,000

Provenance With The Albany Gallery, Cardiff Private Collection, U.K.

Modern British and Irish Art | 51 31 AR W Sir Kyffin Williams R.A. (1918-2006) Coast at Fedw Fawr signed with initials ‘KW.’ (lower right) oil on canvas 91.4 x 91.4 cm. (36 x 36 in.)

£15,000 - 20,000 €18,000 - 24,000 US$25,000 - 34,000

Provenance With Ceri Richards Gallery, Swansea, 4 November 1989, where acquired by the present owner Private Collection, U.K.

52 | Bonhams 32 AR Sir Kyffin Williams R.A. (1918-2006) It is likely that the present work was painted in the 1950s. Following North Wales his graduation from the Slade in 1944 Williams lived and worked on oil on hessian restricted means and he took to painting on hessian or hardboard 61 x 76.2 cm. (24 x 30 in.) rather than the more expensive but preferred support of canvas.

£20,000 - 30,000 We are grateful to Nicholas Sinclair for his assistance in cataloguing €24,000 - 36,000 this lot. US$34,000 - 51,000

Provenance Private Collection, U.K.

Exhibited London, The Artists’ International Association Gallery

Modern British and Irish Art | 53 33 AR Alan Lowndes (1921-1978) The Swings signed ‘Alan Lowndes’ (lower left) and dated ‘1965’ (lower right); inscribed and dated again ‘THE SWINGS/St Ives Jan 1965’ (verso) oil on board 31 x 41.8 cm. (12 1/4 x 16 3/4 in.)

£8,000 - 12,000 €9,700 - 15,000 US$13,000 - 20,000

Provenance With Crane Kalman Gallery, London, March 1965, where acquired by Mr. Bannister Sale; Christie’s, London, 21 September 1989, lot 150, where acquired by the present owner Private Collection, U.K.

54 | Bonhams 34 AR * Ina Taylor notes that within Bradley’s pictorial world Biddy Murphy Helen Bradley (1900-1979) Biddy Murphy’s Tiger is ‘an elderly Irish woman with numerous children, lives close to signed ‘HELEN BRADLEY’ and with fly insignia (lower right); further the Murgatroyds. She loves children and will tell them yarns about signed, inscribed and dated ‘We came home through the little/wood leprechauns as she doles out home-made bread. She also tells far off Peddars Lane, Blackpool. It/was a short cut across the fields to/ more scary stories involving a tiger who lives down a local alleyway Grandpa’s house. As we walked along/a little wind came and down/ and can be heard roaring’ (Ina Taylor, Helen Bradley’s Lancashire, came the first golden leaves of/autumn. Cousin Alice came to meet/ Halsgrove, Devon, 2002, p.22). us but George and I ran down a/little path and I heard a rustle and/ peeping over the patch of blackberries was/Biddy Murphy’s Tiger. Mother said/when we told her “come along children,/there aren’t any Tigers here”, and the year/was 1907./Helen Layfield Bradley 1975” (on a label attached to the backboard) watercolour 26.7 x 36.7 cm. (10 1/2 x 14 1/2 in.)

£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000

Provenance With MacConnal-Mason & Son, London Private Collection, U.S.A.

Modern British and Irish Art | 55 35 AR Lucien Pissarro (1863-1944) Exhibited Phippens Cottage, Hewood Green London, R.B.A. Galleries, The New English Art Club, 23 October-14 signed with monogram, dated ‘42’ (lower left) and inscribed November 1942, cat.no.193 ‘Hewood’ (on the canvas overlap) London, Royal Academy of Arts, 1943, cat.no.176 oil on canvas London, Anthony D’Offay Gallery 45.7 x 54.6 cm. (18 x 21 1/2 in.) Literature £15,000 - 20,000 Anne Thorold, A Catalogue of the Oil Paintings of Lucien Pissarro, €18,000 - 24,000 Athelney Books, London, 1983, p.230, cat.no.553 (ill.b&w, p.231) US$25,000 - 34,000 Pissarro moved to Hill Cottage, Hewood, Somerset in June 1942 and Provenance remained there until his death in 1944. Although he was beginning to The Brook, 1949 (the Artist’s Studio) feel his age and was troubled by increasing deafness, he continued Private Collection, U.K. to paint a little and sent works on exhibition throughout the U.K. and Sale; Christie’s, London, 4 March 1988, lot 204 abroad. He kept in touch with his old friends by letter, particularly Sale; Phillips, London, 7 March 2000, lot 28, where acquired by the the painter and curator James Bolivar Manson. The present work present owner is Pissarro’s penultimate painting. After the New English show in Private European Collection autumn of 1941 Manson wrote to Pissarro’s wife Esther: ‘I was delighted with Lucien’s new pictures. They are beautiful... no decline of power there! Give congratulations to the Master.’

56 | Bonhams 36 AR Lucien Pissarro (1863-1944) Literature Epping, April W.S Meadmore, Lucien Pissarro, Un Coeur Simple, Constable, bears signature and date ‘Pissarro 83’ (lower left) London, 1962, p.213-216 oil on canvas Anne Thorold, A Catalogue of the Oil Paintings of Lucien Pissarro, 45.7 x 55.2 cm. (18 x 21 3/4 in.) Athelney Books, London, 1983, p.64, cat.no.66 Painted in 1893 In 1938 the present lot was discovered in the window of a £25,000 - 35,000 Shaftesbury Avenue gallery by Lucien Pissarro’s nephew David €30,000 - 43,000 Bensusan-Burr, masquerading as a work by Lucien’s father US$42,000 - 59,000 the famed Impressionist Camille Pissarro. David sent a detailed description of the picture to Lucien who found it strange that he Provenance could not recall such a composition amongst his father’s oils, The Artist, by whom gifted to especially as the family were in the process of compiling a catalogue Dr. Th. Gaillard of Camille’s works. Lucien made the trip to London to view the work Sale; Sotheby’s, London, 9 December 1936, lot 9 and instantly recognised it, not as one of Camille’s paintings, but as With H.H Clark, Shaftesbury Gallery, London, 1938 one of his own with an added spurious signature and date. Furious, Sale; Christie’s, London, 6 December 1957, lot 66 (as Landscape he compiled the necessary evidence and requested that the Imperial with three figures walking) Arts League take legal action against the dealer in question. Despite With The Fine Art Society, London five repeated attempts to seek legal recourse no progress was Private Collection, U.K. made as the picture, now sold to a private collection, could not be Sale; Phillips, London, 17 November 1998, lot 91, where acquired by produced as evidence. In reaction Lucien wrote an article published the present owner in The New Statesman outlining the difficulties facing artists wishing Private European Collection to protect their work from misuse. The picture did not reappear again until the late 1950s when a young émigré man approached Lucien’s Exhibited daughter Orovida Pissarro. His mother had been forced to abandon London, Whitechapel Art Gallery, Spring Exhibition, 8 February-3 April her home in Czechoslovakia and take the long journey, with other 1907, cat.no.118 refugees, to Palestine. One of the few possessions she had deemed London, New English Art Club, Winter Exhibition, 1909, cat.no.9 precious enough to flee with was the rolled canvas which Orovida at Southport, Atkinson Art Gallery, Spring Exhibition, 1912, cat.no.320 once identified as Epping, April. London, Redfern Gallery, Pointillists and Their Period, 2 Novemeber-9 December 1950, cat.no.46

Modern British and Irish Art | 57 The Property of the late Professors Sir Kenneth and Lady Noreen Murray, sold to benefit The Darwin Trust of Edinburgh

37 AR Exhibited Christopher Richard Wynne Nevinson (1889-1946) London, The Leicester Galleries, Watercolours from Nature by C.R.W. On the Adriatic Nevinson, March-April 1932, cat.no.94 signed ‘C.R.W. Nevinson’ (lower right) pencil, watercolour and gouache Professor Sir Kenneth Murray FRS FRSE FRCPath (30 December 34.6 x 24.4 cm. (13 5/8 x 9 5/8 in.) 1930–7 April 2013) and his wife Lady Noreen Elizabeth Murray (née Parker) CBE, FRS FRSE (26 February 1935–12 May 2011) were both £6,000 - 8,000 molecular biologists. They and their team developed the vaccine €7,300 - 9,700 against hepatitis B, the first genetically-engineered vaccine approved US$10,000 - 13,000 for human use. Together they founded the Darwin Trust of Edinburgh, a charity supporting young biologists in their doctoral studies. This Provenance charity, of which Sir Kenneth was Chairman, will benefit from the sale With The Leicester Galleries, London of this lot. Miss Swan With Ewan Mundy Fine Art, Glasgow, where acquired by Professors Sir Kenneth and Lady Noreen Murray

58 | Bonhams Various Properties

38 AR Christopher Richard Wynne Nevinson (1889-1946) Exhibited Newhaven London, The Redfern Gallery, 25 Years of Paintings by C.R.W. signed ‘C.R.W. Nevinson.’ (lower right) Nevinson, 4-27 February 1937, cat.no.24 oil on canvas Russia, Exhibition of Contemporary British Art, 1943, cat.no.61 30.5 x 40.6 cm. (12 x 16 in.)

£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000

Provenance Sale; Christie’s, London, 8 June 2001, lot 148 Private Collection, U.K.

Modern British and Irish Art | 59 39 AR Lucien Pissarro (1863-1944) Pissarro selected the present work, painted at his family home in The Brook, Sunny Weather Chiswick, for inclusion in his first one man exhibition in 1913. It is signed with monogram and dated ‘1911’ (lower left); further signed also one of just twelve works exhibited by the artist with the Camden and titled ‘Lucien Pissarro/The Brook, Sunny weather’ (on the Town Group. stretcher) oil on canvas Geoffrey Blackwell (1884–1943) was the principal collector of 56.2 x 46.3 cm. (22 1/8 x 18 1/8 in.) paintings by the British impressionist Philip Wilson Steer. Notes of his friend J.B. Manson also list five works by Pissarro in Blackwell’s £40,000 - 60,000 collection, including the Tate Gallery’s Ivy Cottage, Coldharbour: €49,000 - 73,000 Sun and Snow (1916). Additionally he purchased a number of works US$67,000 - 100,000 by members of the New English Art Club, such as Henry Tonks, Augustus John, C.J. Holmes, George Clausen, Ambrose McEvoy Provenance and Glyn Philpot. With Carfax & Co., London, 1915, where acquired by Geoffrey Blackwell, O.B.E Sale; Christie’s, London, 4 June 2004, lot 10, where acquired by the present owner

Exhibited London, Carfax & Co., 2nd Camden Town Group Show, December 1911, cat.no.45 London, Carfax & Co., Lucien Pissarro, May 1913, cat.no.23 London, Whitechapel Art Gallery, 20th Century Art, May-June 1914, cat.no.446

Literature Wendy Baron, The Camden Town Group, Scolar Press, London, 1979, p.268 Anne Thorold, A Catalogue of the Oil Paintings of Lucien Pissarro, Athelney Books, London, 1983, p.86, cat.no.133 Wendy Baron, Perfect Moderns, A History of the Camden Town Group, Ashgate, Aldershot, 2000, p.197

60 | Bonhams Modern British and Irish Art | 61 The Property of the late Professors Sir Kenneth and Lady Noreen Murray, sold to benefit The Darwin Trust of Edinburgh

40 AR Augustus Edwin John O.M. (1878-1961) Professor Sir Kenneth Murray FRS FRSE FRCPath (30 December The Little Canal 1930–7 April 2013) and his wife Lady Noreen Elizabeth Murray (née signed ‘John’ (lower left) Parker) CBE, FRS FRSE (26 February 1935–12 May 2011) were both oil on canvas molecular biologists. They and their team developed the vaccine 46.4 x 55.2 cm. (18 1/4 x 21 3/4 in.) against hepatitis B, the first genetically-engineered vaccine approved for human use. Together they founded the Darwin Trust of Edinburgh, £10,000 - 15,000 a charity supporting young biologists in their doctoral studies. This €12,000 - 18,000 charity, of which Sir Kenneth was Chairman, will benefit from the sale US$17,000 - 25,000 of this lot.

Provenance The red earth and the silvery grey olive trees in the present With Arthur Tooth & Sons, London composition enable us to locate the work to the south of France. Sale; Sotheby’s, Olympia, 7 June 2007, lot 44 With Messum’s Fine Art, London, where acquired by We are grateful to Rebecca John for her assistance in cataloguing Professors Sir Kenneth and Lady Noreen Murray this work.

Exhibited London, Messum’s Fine Art, From Camden Town to St Ives: Twentieth-Century British Art, 2007, cat.no.11

62 | Bonhams Various Properties

41 AR Sir William Nicholson (1872-1949) Exhibited La Rochelle, the Harbour London, Arts Council, Exhibition of British Paintings 1925-1950; signed with initial ‘N’ (lower left) and inscribed ‘No.1/HARBOUR/La Second Anthology, 1951, cat.no.93 (as The Harbour, La Rochelle) Rochelle’ (verso) oil on panel Literature 37.8 x 46.3 cm. (14 7/8 x 18 1/4 in.) Lillian Browse, William Nicholson, Rupert Hart-Davis, London, 1956, Painted in 1939 p.109, cat.no.484 (where dated 1938) Patricia Reed, William Nicholson; a Catalogue Raisonné of the Oil £20,000 - 30,000 Paintings, Modern Art Press, London, 2011, p.623, cat.no.837 (col.ill) €24,000 - 36,000 US$34,000 - 51,000 The present work is one of four known paintings of the view from Nicholson’s apartment looking across the Course des Dames Provenance quayside to La Rochelle harbour. These works were painted between November 1938 and Spring 1939 and the present work is closest in With Roland, Browse & Delbanco, London composition to Harbour in Snow, La Rochelle now in the collection Captain Sir Malcom Bullock, Bt., and by descent to of the Tate Gallery. In each of the paintings it is the maritime activities Mrs. Peter Hastings that have captured the artist’s attention. In early March (the month Her sale; Christie’s, London, 1 March 1974, lot 128, where acquired in which the present work was probably painted) Nicholson wrote by to his son Ben to describe the joyful view; ‘Harbour full of Sailing James Kirkman, on behalf of Fleet with sails from the brightest blue to aggressive red rust and Simon Sainsbury peroxide blonde and pale flesh’ (quoted in A. Nicholson (ed.), William His sale; Christie’s, London, 18 June 2008, lot 108, where acquired Nicholson Painter, London, 1996, p.261). Of the present work by the present owner Patricia Reed writes that ‘the air seems heavy with warm moisture and the pellucid quality of the light suggests the promise of spring.’ (Patricia Reed, William Nicholson; a Catalogue Raisonné of the Oil Paintings, Modern Art Press, London, 2011, p.623).

Modern British and Irish Art | 63 42 Walter Richard Sickert A.R.A. (1860-1942) Dieppe was Sickert’s second home. He visited and painted in Dieppe Rue de la Boucherie with St Jacques nearly every summer from 1883 until autumn 1898 when he left signed ‘Sickert’ (lower right) London to live in Dieppe permanently. He did not return to live in oil on canvas London until 1905. Interrupted only by several long visits to Venice, 45.9 x 54.9 cm. (18 1/8 x 21 5/8 in.) Sickert spent his time in Dieppe painting its architecture, its churches Painted circa 1902 and its harbour. As the French painter Jacques-Emile Blanche acknowledged: ‘No other artist has so perfectly felt and expressed £50,000 - 80,000 the character of the town, whose Canaletto he has become’. €61,000 - 97,000 US$84,000 - 130,000 Sickert drew and painted the subject of the present work many times. Informally called Place de l’Église, it shows rue de la Boucherie Provenance behind an open space closed on the left by the south flank of St With Galerie Bernheim-Jeune, Paris Jacques, the major church of Dieppe. The main market was – and Arthur Clifton (of the Carfax Gallery, London) and by descent to still is – set up in the Place Nationale, just behind the rue de la Mrs. Madeline Clifton (née Knox) Boucherie, but a few fishwives, flower sellers and other traders sold With Agnew’s Gallery, London their produce in the space painted here by Sickert. Seven paintings Sale; Christie’s, London, 19 October 1979, lot 24 are catalogued by Baron, one of which (York Art Gallery) is dated Private Collection, Paris 1903. All but the present work feature young trees dotted around the With Crane Kalman Gallery, London, 30 April 1985, where acquired open space. This indicates that the present work was painted before by the planting, probably around 1902. Lord Jeffrey Archer His sale; Christie’s, South Kensington, 21 June 2011, lot 77, where We are grateful to Dr. Wendy Baron for compiling this catalogue acquired by the present owner entry. Private Collection, U.K.

Exhibited London, Agnew’s Gallery, Sickert; Centenary Exhibition of Pictures from Private Collections, March-April 1960, cat.no.37 (as Place St Jacques, Dieppe)

Literature Wendy Baron, Sickert, Phaidon, London, 1973, p.329, no.151.1 Wendy Baron, Sickert, Paintings and Drawings, Yale University Press, London & New Haven, 2006, p.257-58, cat.no.154.1

64 | Bonhams Modern British and Irish Art | 65 painter Palma il Giovane (1544-1628). Outside the Frari can now be identified as derived from a late 18th century engraving, Veduta del Campo detto de’ Frari (Fig.1), by Andrea Zucchi after Giuseppe Valeriani (c.1720-1762, draughtsman and painter who worked in Venice and St Petersburg), published in Venice by Teodoro Viero.

A key quality of Sickert’s late work is his intense concentration on design. This is more easily appreciated when we can see exactly how he manipulated his source image. Just as he used cropping to great effect in his full-length portraits, reducing the original context to a mere cipher and bringing the subject right up to the surface of his canvas, so he has radically cropped Zucchi’s image, taking off a little at the top, more on the right (two bays of the flanking building) and about a third of the total on the left (excising much of the campo beside the campanile). By honing in on a tighter area, the sense of bustle and the impact of the monumental architecture which dwarfs the figures are hugely reinforced. The lively incidents are all imported from the engraving. They include in the foreground a man in a wheelchair being pushed from the back and towed by a man with a Veduta del Campo ditto de’ Frari, circa 1720 (engraving) Andrea rope in the front, women selling vegetables or fruit from baskets on Zucchi / The British Museum © The Trustees of the British Museum the bridge, a dog sniffing another in the right foreground, and in the middle ground a man in a boat being helped ashore while behind them another man walks gracefully while balancing a filled sack on his head. The visible squaring-up, used to facilitate the transfer from 43 * the engraving to a much larger canvas, strengthens rather than Walter Richard Sickert A.R.A. (1860-1942) detracts from the monumental design. Outside the Frari, Venice signed ‘Sickert’ (lower centre) Venice meant much to Sickert. He lived and painted there in 1895, oil on canvas 1896, 1900, 1901 and 1903-4. One wife left him in Venice and he 76.3 x 63.9 cm. (30 1/8 x 25 1/8 in.) (unsuccessfully) wooed another. He not only painted its great and Painted in the late 1930s lesser sites, but first developed his characteristic interiors with figures there, posing local prostitutes in his rooms at Calle dei Frati. His £40,000 - 60,000 command of Italian - and the Venetian dialect - was fluent. He visited the city for the last time in December 1929, perhaps in advance €49,000 - 73,000 of the one-man showing of his work in the British Section at the US$67,000 - 100,000 Biennale in 1930 (he had shown a few works at the Venice Biennale in 1903 and 1912, and was to show a few more in 1932 and 1936). Provenance It is safe to assume that the print from which he derived Outside the Dr. Robert Emmons Frari was his own and had been bought in Venice. His sale; 1 June 1956, lot 124 Wolf Mankowitz Robert Emmons, this painting’s first owner, Sickert’s first biographer Lawrence Harvey and one-time pupil, cited its date (when it was sold in 1950) as 1939. Michael Parkin, 1974 It is indeed exceptionally close in style, handing and presentation to Sale; Sotheby’s, London, 2 November 1983, lot 34 Temple Bar (Baron 2006, cat.no.680), painted circa 1940 from an Private Collection, Asia engraving owned by Sickert and said by Helen Lessore, the artist’s sister-in-law as well as his dealer at the Beaux Arts Gallery, to be

Sickert’s last painting. She compared Temple Bar to a very late Exhibited Titian, a comparison which also holds good for Outside the Frari. London, The Leicester Galleries, Paintings and Drawings by W.R. The freedom with which the paint has been applied as an interwoven Sickert from the Collection of Dr Robert Emmons, May-June 1950, pattern of broad brushmarks on a coarsely-woven canvas, the cat.no.21 dominance of ochres with flickering creamy highlights, above all Sickert’s sheer energy and creativeness are indeed Titianesque. Literature Wendy Baron, Sickert, Paintings and Drawings, Yale University Press, When Sickert was painting the façade of the Franciscan basilica, New Haven and London, 2006, p.559, cat.no.774 (ill.b&w) Santa Maria Gloriosa dei Frari, he could not have failed to remember it is dedicated to the Assumption and houses, over the high altar, Sickert, ever inventive and experimental, turned his lifelong Titian’s early masterpiece, the Assumption of the Virgin. The Frari, approach to painting on its head during his final ten years as an begun circa 1330 was not finished until over a century later; its artist. Beginning with his friendship with Degas during the mid campanile (seen in the background on the left of Sickert’s painting) 1880s, he had spent a lifetime painting from drawings - and urgently is the second tallest in Venice. The stepped footbridge in Zucchi’s advocating the practice. However, after 1927 his reliance on drawing engraving and in Sickert’s painting is open at the sides, without the decreased as his delight in secondary sources increased. Newspaper balustrade added, presumably for safety, certainly not for aesthetic, photographs were the basis of his striking life-size portraits; publicity reasons in more modern times. photographs and cinema stills the basis of his powerful, often close- up, cinema and theatre paintings; snapshots taken by his third wife, Outside the Frari has had a distinguished provenance, including actor Thérèse Lessore, the basis of his 1930s landscapes in Thanet and Lawrence Harvey and playwright Wolf Mankowitz. They may well Bath; black-and-white woodcuts and engravings by his favourite have been attracted not only by the sheer beauty of its colour and Victorian illustrators the basis of his colourful ‘Echoes’. texture and brushwork, but also by its dramatic qualities: it is not hard to see it as a set for The Merchant of Venice. It is testimony to Occasionally engravings by earlier masters caught his eye. A notable Sickert’s unflagging sense of adventure when painting. example is his painting Lucretia of 1932-3 (Baron 2006, cat.no.639), inscribed ‘After Palma’, taken directly from an early 18th century We are grateful to Dr. Wendy Baron for compiling this catalogue etching by Bernard Picart after a Rape of Lucretia by the Venetian entry.

66 | Bonhams Modern British and Irish Art | 67 44 Sir William Orpen, R.A., H.R.H.A. (1878-1931) If this striking artefact, along with the other porcelain figurines Still life, pottery figure of the Chinese war god Kuan-Ti, and a crystal found in Orpen’s still life paintings after 1906 are likely to have ball been part of Lane’s miscellany, it must also be recognised that the signed with cipher (lower right) painter’s consciousness of the art of the Orient probably predates oil on canvas his friendship with the collector and was in place prior to the 76.8 x 63.6 cm. (30 1/4 x 25 1/8 in.) establishment of the ‘Oriel’ studio in the ‘Boltons’. The first blanc-de- chine figure for instance, seen in juxtaposition with a Japanese doll in Reflections, China and Japan, (1902-3, Dublin City Gallery, The £10,000 - 15,000 Hugh Lane) Orpen’s first important still-life, shown at the New English €12,000 - 18,000 Art Club in 1903, is likely to have been prompted by his brother-in- US$17,000 - 25,000 law, William Rothenstein. A similar porcelain figurine returns around 1907 in the magisterial Still Life, Blanc-de-Chine Figure (1907, Private Provenance Collection), one of a small sequence of still life paintings produced in Mrs Evelyn St. George rapport with those of William Nicholson, with whom Orpen shared a Her sale; Sotheby’s, London, 26 July 1939, where acquired by studio. Here the object is moved to a central position and placed on Geoffrey Hutchinson, later Baron Ilford a stand against a dark background, as though demanding an act of Private Collection U.K. worship.

Although occasionally fractious, William Orpen’s friendship with The present bold multi-coloured statuette, similarly placed, coming Hugh Lane was highly influential. The magpie collector, prior to his probably at the end of the series, poses a different, more complex move to Lindsey House in Chelsea at the end of 1909 had stored his challenge, with a different derivation. In 1905, the Scots painter, possessions at Orpen’s studio in South Bolton Gardens, Kensington, John Duncan Fergusson staged his first solo exhibition at the much to his friend’s irritation, and this included oriental ceramics, Baillie Gallery, and among the exhibits was a canvas depicting a assorted statuary and objects d’art, as well as pictures. The Old polychrome Japanese Statuette (1903, Perth and Kinross Council). Master dealer was no expert in Chinese and Japanese vases and This picture, reproduced in The Studio in 1907, was freely painted in figurines, but he amassed these for their decorative appeal and, a manner that anticipates Fergusson’s later experiments with ‘Fauve’ regardless of their age or worth, would sometimes give choice pieces colour. Its confident handling would have impressed Orpen, an artist away to friends if they particularly admired them. When he finally whose eye was tuned and receptive to qualities found in the work moved they formed a guard of honour for guests in the hallway of of others and it is unlikely that he would not at least have seen the his ‘veritable museum’. As Thomas Bodkin recalled, ‘one passed picture in reproduction. between a double rank of stone Ming statues of Chinese Immortals, ranged across a black and white chequered marble floor’. If Orpen’s expressive handling derived in part from an awareness of the work of the Scots painter, its development was undoubtedly As their temporary custodian up to this point, the artist could pick encouraged by the painting’s first owner, Mrs Florence Evelyn St and choose from these objects and in a number of notable instances, George. Daughter of “The Sphinx of Wall Street”, George F. Baker, they made their way into his paintings. One example is likely to be the celebrated New York banker, Mrs St George was married to a the colourful pottery figure of Kuan-Ti, more familiarly known as distant cousin of Orpen’s. From 1908 until the onset of war in 1914, Guan Yu, the Chinese God of War, the subject of the present canvas. the two were in close contact, she acting as patron, procurer of Unlike his other still-life paintings depicting blanc-de-chine deities, commissions and general advisor. It was with her encouragement this bold polychrome figure prompted a decorative approach which that the artist began to embrace the bravura of the present Still Life. is emphasised in the painted zig-zag frame which encloses the His regular summer holidays at Howth among his adoring Dublin composition. It is a predecessor of the ornate mirror frames that students after 1909 inevitably involved visits to Mrs St George’s villa Orpen frequently included in later self-portraits. The statuette itself near Galway. On one occasion in 1912 he illustrated a letter to her is loosely painted with slashes of emerald, cobalt and red oxide that showing the Chinese war god with arms raised, wielding a sword accentuate its dramatic character. Kuan-Ti is traditionally presented (Private Collection) and asking her to ‘forgive the drawing as usual in an aggressive pose, with flowing beard and frowning red face. it shows nothing of the beauty of the original’. The extended Irish Where Orpen might adopt a suave, studied approach to the milk sojourns and intense discussion on artistic matters inevitably boosted white Dehua porcelain of a Guan Yin goddess, this threatening his confidence and carried Orpen forward to the remarkable ‘Irish warrior demanded a vigorous handling that contrasts with the trilogy’ and landscapes of the Western Front. We may even recall this precision of the crystal globe that lies at his feet. warrior god as we study the Aran Islander guarding the ‘Holy Well’ in Orpen’s most complex allegory. Kuan-Ti (162-219 AD) was a character of history and myth. Prior to his deification, he was a famous general during the late Eastern Searching the glazed surfaces of this ancient figure around 1908, Han Dynasty and Three Kingdoms era of China (206 BC - 220 AD). Orpen was reaching back into the art of the past and to an exotic A mighty warrior of great renown, he was the brother of the first culture – one that was barely understood in Britain at the time. As emperor, Liu Bei, of the Kingdom of Shu, and played a significant role the Opium Wars became a distant memory, travellers noted that of establishing his reign. His exploits were later romanticised in fables China was opening up to the West, and with this came dismay that and popular drama during the Ming dynasty, especially in the Sanguo ‘Chinese beauty’ was made to co-exist with ‘western ugliness’. Yanyi, or “Romance of the Three Kingdoms”, in which he is portrayed The trade in Chinese artefacts begun in the seventeenth century, as a sort of Chinese Robin Hood. Kuan-Ti remains respected as gathered pace in the Edwardian years. Great collections were formed the epitome of loyalty, moral qualities and righteousness by Chinese and bequeathed to British museums, but few viewed these trophies people today and modern statues abound. with greater curiosity than the Irish painter who placed the stoneware War God statuette in front of a blue-black curtain and painted its In order to accentuate its oriental and decorative lineage, Orpen portrait. has signed the present picture in an unusual way with a monogram formed from his initials. Giving the impression of a chinese ‘chop’ We are grateful to Christopher Pearson of The Orpen Research or stamp, its use by Orpen is rare, but not unique. It appears for Project and Professor Kenneth McConkey for compiling this instance in an illustrated letter dated 18 January 1908, congratulating catalogue entry. Lane on the opening of the Municipal Gallery of Modern Art in Dublin, which now bears his name. The appearance of the cipher on both a letter to Lane and the present work may be more than mere coincidence as it tends to confirm our supposition that the pottery figure belonged to the collector. It may even give a vital clue to the approximate date of the present work.

68 | Bonhams Modern British and Irish Art | 69 45 AR Lawrence Holofcener (born 1926) Maquette for Allies signed, dated and numbered ‘L holofcener 97 22/50’; further signed with monogram (on the back of the base) and titled (on the front of the base) bronze with a brown patina on a wooden base 52 cm. (20 1/2 in.) long (including the base)

£30,000 - 50,000 €36,000 - 61,000 US$51,000 - 84,000

Provenance The Artist, from whom acquired by the family of the present owner Private Collection, U.K.

“I normally create a maquette before attempting life-size, but I was impetuous. Besides, I had already created several sketches in clay at the King Edward VI School in Southampton where I was artist-in- residence, plus a half-life size in the States.

Allies sat on Bond Street for several years when Gill Catto of the Catto Gallery in Hampstead asked me for a maquette, thinking to sell them. It didn’t exist, I told her. She asked if I would consider creating one, marketing an edition of 50. I thought she would be lucky to sell 2 or 3, then Gill’s husband offered to buy #1. Immediately, I started on it with their caveat that it be exactly 1/4 life-size of the one on Bond Street, no variations, no improvements. I agreed. Barlow Tyrie, which had supplied the big bench, created an exact 1/4 size bench. I modelled two unclothed clay figures and paused, stumped: how was I to create an exact 1/4 life-size without having my life-size in front of me?

Simple: Julia and I drove to Bond Street from our Isle of Wight home, plus table, chair, tools, clay and the little bench. We set it all before the life-size sculpture and I got to work. “Are you an art-student? (Do I look like a student?). Have you the artist’s permission? (The artist is dead). How about the City of Westminster? (I’ll be gone before they catch me).”

(In conversation with the artist, April 2013)

70 | Bonhams Modern British and Irish Art | 71 46 AR Edward Wadsworth (1889-1949) St Tropez III belongs to a series of six similarly titled variations all alike St Tropez III in construct and painted in 1925, with five of the grouping exhibited signed and dated ‘Edward Wadsworth 1925’ (lower left) and the following November at the Leicester Galleries. Each of these inscribed and dated again ‘For WWW 1933’ (lower centre) compositions guide the viewer’s attention from a private enclosed tempera on gesso prepared panel sanctum, through tasselled and baroque curtains to the dazzling 53.3 x 38.1 cm. (21 x 15 in.) quayside beyond. Dating from a period in which the artist’s method altered considerably (employing photography rather than preliminary £40,000 - 60,000 sketches and the introduction of home-prepared tempera) these €49,000 - 73,000 works combine two key components of Wadsworth’s concern; US$67,000 - 100,000 nautical subject matter (first explored in vorticist compositions of 1914 and 1915 and later returning to it for the long running series Provenance collectively known as ‘The Marine Still-Lives’) and theatrical staging. The Artist, from whom acquired by Walter William Wadsworth, 1933 This series is amongst the fruits borne from a particularly interesting Thence by family descent to the present owner period in Wadsworth’s life and one which was to prove fundamental Private Collection, U.K. to his work henceforth. Following the death of his father in 1921 Wadsworth received a substantial inheritance which gave him the Exhibited financial means to paint on a full time basis and to travel extensively. London, The Leicester Galleries, Tempera Paintings by Edward In April of 1923 Wadsworth, accompanied by his wife Fanny and Wadsworth, November 1926, cat.no.13 their chauffeur ‘Nobby’, set off in their Delage Tourer for an extended London, Tate Gallery, Edward Wadsworth Memorial Exhibition, 2 trip south through France, along the Côte d’Azur and into Italy. The February-19 March 1951, cat.no.10 (as Quayside) couple established favourite towns and ports such as La Rochelle Bradford, Cartwright Hall, Edward Wadsworth 1889-1949, 12 and Marseilles, which they would return to again in years to come. October 1989-14 January 1990, cat.no.90 (as Quayside/St. Tropez One such discovery was the port of St. Tropez, not to become III); this exhibition travelled to London, Camden Arts Centre, 14 fashionable until the end of the decade it was one of the first places March-22 April Wadsworth made a repeat visit to in the summer of 1924. It was this second experience of the town that would, upon his return to Literature London, result in the St. Tropez series, of which the present example Barbara Wadsworth, Edward Wadsworth, A Painter’s Life, Michael is the first to be presented at auction. Russell, Wiltshire, 1989, cat.no.W/A73 Jonathan Black, Edward Wadsworth; Form, Feeling and Calculation, Walter William Wadsworth (the ‘WWW’ of the inscription) was Philip Wilson, London, 2005, p.177, cat.no.216 (ill.b&w, as St Tropez the artist’s first cousin on his father’s side and an avid collector III/Quayside/Mimi) of Wadsworth’s work. He and his wife Theo remained close with Edward and Fanny for many years and would play host to the couple for extended visits. In the biography of her father, Barbara Wadsworth remarks that ‘Walter was a warm-hearted, intelligent and enthusiastic man ... he had interests, mostly intellectual, in all sorts of spheres, including the publication of The New Age Encyclopaedia’ (Barbara Wadsworth, Edward Wadsworth, A Painter’s Life, Michael Russell, Wiltshire, 1989, p.109).

72 | Bonhams Modern British and Irish Art | 73 47 AR Sir Matthew Smith (1879-1959) Provenance Pink Roses Sale; Sotheby’s, London, 4 June 2001, lot 49 oil on canvas With E & R Cyzer, London 46.4 x 38.1 cm. (18 1/4 x 15 in.) Private Collection, U.K. Painted in 1934 Literature £10,000 - 15,000 John Gledhill, Matthew Smith, Catalogue Raisonné of the Oil €12,000 - 18,000 Paintings, Lund Humphries, Farnham, 2009, p.274, cat.no.765 US$17,000 - 25,000 (ill.b&w)

74 | Bonhams 48 AR Vanessa Bell (1879-1961) Provenance Pink, Blue and White Flowers in a Vase R.A.P. King Esq., London signed and dated ‘V Bell/1928’ (lower right) Private Collection, U.K. oil on canvas 53.3 x 43.2 cm. (21 x 17 in.) Exhibited London, The London Artists’ Association £10,000 - 15,000 London, New Grafton Gallery, English Painting 1900-1940, 18 €12,000 - 18,000 October-21 November 1973, cat.no.3 US$17,000 - 25,000

Modern British and Irish Art | 75 49 Ernest Procter (1886-1935) Ernest Procter was one of the prodigious talents from the Newlyn Aeroplane Chairs tradition of painters. He first came to the region to study at the signed ‘ERNEST/PROCTER’ (lower right); further signed and Forbes’ School of Painting in 1907. After leaving Newlyn temporarily, inscribed ‘Aeroplane Chairs/Ernest Procter/Newlyn PZ’ (verso) following his marriage to Dod Procter in 1912, the couple returned oil on canvas after the Great War when he co-established the Procter-Harvey 54.6 x 67.9 cm. (21 1/2 x 26 3/4 in.) School of Painting. It is from this period that Aeroplane Chairs most probably dates. £20,000 - 30,000 €24,000 - 36,000 The delights of the fair were a recurrent subject matter amongst the US$34,000 - 51,000 Newlyn artists. Not just because of the cheerful colours and colourful characters, but also as a move to represent the perceived vanishing Provenance aspects of ‘folk art’. As well as Procter his fellow artist’s Laura Knight, Acquired by the family of the present owners in the 1940s Lamorna Birch, Alfred Munnings and Harold Harvey all grappled with Thence by descent the thrilling yet challenging subject. Private Collection, Ireland In 1946 the art critic J. Wood Palmer praised Procter for his ‘flawless sense of design’ and for the ‘rhythm and strange detached purity and grace of his work’. It is this emphasis on pictorial design which renders the fairground pictures so successful. Two further examples of which, are, All the Fun of the Fair (1926/27, Worthing Museum and Art Gallery) and The Merry-Go-Round (1924), sold in these rooms for £70,000 (21 November 2000).

76 | Bonhams Modern British and Irish Art | 77 Verso

50 AR Cecil Collins (1908-1989) Paula Morel née Dorothy Carter (1905-1996) was a friend of Leonard Flowers and Dorothy Elmhirst, the founders of Dartington Hall, Devon. She signed and dated ‘Cecil Collins/1932’ (upper left); further signed, moved to Dartington in 1927 to take the position of housekeeper titled and dated again ‘Cecil Collins/1932/Flowers’ (verso) and later married the manager of the hall’s orchards and cider press, oil on panel Roger Morel. The couple made Dartington their home and during her 36.2 x 27.4 cm. (14 1/4 x 10 3/4 in.) years there Paula also undertook the roles of model, dancer, actress, Please note that this work is double-sided librarian and wardrobe mistress for the Estate’s College of Arts.

£6,000 - 8,000 €7,300 - 9,700 US$10,000 - 13,000

Provenance Mrs. Paula Morel Thence by descent to the present owner Private Collection, U.K.

78 | Bonhams 51 W Roy De Maistre (1894-1968) Roy de Maistre originally moved to Paris from Australia upon Paris Studio obtaining a scholarship in 1923. De Maistre would exhibit throughout signed ‘R. de Maistre.’ (lower right) his career in France and also London where he lived and held his first oil on canvas one man show at the studio of friend Francis Bacon in 1929. Further 112.2 x 67.4 cm. (44 1/8 x 26 5/8 in.) exhibitions would follow at the Mayor Gallery, Hanover Gallery and a retrospective at the acclaimed Whitechapel Art Gallery in 1960. £15,000 - 20,000 €18,000 - 24,000 Throughout his career, de Maistre was particularly focused on the US$25,000 - 34,000 nature of colour in art, even creating a disc to enable harmonious colour schemes to be chosen from a scale using a standard principle. As in the case with Paris Studio his work shows a strong sense of design and debt to the Cubist movement which he fully absorbed during his time in the French capital.

Modern British and Irish Art | 79 Property from the Estate of Miss Elizabeth Creak Sold to benefit The Elizabeth Creak Charitable Trust Lots 52 - 67 Elizabeth Creak was born in 1926 and attended McGill University The majority of Hitchens’ output can be regarded as ‘pure in Canada before working for Penguin Books in America. She landscape’, which is perhaps little surprise given he rarely travelled returned to the UK to eventually work with her uncle, Clyde from his home in West Sussex and worked throughout the year Higgs, who by then had built up a thriving 2000 acre dairy farm in outside with the elements. Despite being only fifty miles from London, Warwickshire. Prior to this, Clyde had also developed a 4000 acre he was enclosed by thick woodland with the peace and silence of farm in the foothills of Mount Kilimanjaro and held a number of other the Downs above and beyond. There can be little doubt that pictures positions including: Managing Director of English Farms in Wiltshire; such as Foliage by Water, No.5 and Arched Bridge over a River were Agricultural correspondent of the BBC and Council Member of created out of a total absorption in nature and a true understanding the Royal Agricultural Society. Clyde was a highly innovative and and respect for his surroundings. The evocation of water, as featured enterprising farmer who was well known for challenging the status in both of these pictures, was a speciality of Hitchens. Overlapping quo and travelling the globe to cross fertilize best practices among screens of colour, both horizontal and vertical, are used as ‘building farmers in the UK and around the world. He clearly recognized a blocks’ to suggest movement in a deceptively simple manner. similar passion and ability in Elizabeth and mentored her to become his successor. Hitchens remained prolific until his death in 1979 and a number of pictures within the Creak Collection are from the 1970s. Hitchens In 1963 Elizabeth inherited Clyde’s farm in Warwickshire and ran it often painted his pictures in series’ with Tree, Sky and Ragwort with great success for a number of years. She was a highly capable relating to the Giant Oak group and completed in his penultimate and well respected farmer and brought many creative ideas to year of 1978. From 1965, the Hitchens family had acquired a the world of farming. She eventually sold the bulk of the business, seaside cottage at Selsey on the Sussex coast which was a short but maintained a substantial acreage around Stratford. Elizabeth’s twenty-mile drive over the Downs at Duncton. The view along the business acumen, determination and integrity were the reasons she shoreline and over Pagham Harbour provided further opportunities was invited on to the boards of many local charitable organizations for the exploration of water, foliage and reflected light. Yellow Cloud, including the Royal Agricultural Society, the Stoneleigh Abbey South Shore and Heathland by the Sea, No.1 both date to the Trust and the Stratford Society. She was also a supporter of local early 1970s and demonstrate great assurance from the artist who craftsmen, artists and the theatre. In 1998 she was the first woman had begun to deploy more economical brushwork with areas of to hold the office of High Sheriff of Warwickshire. white primed canvas visible. These works evoke a particular scene and atmosphere with the aim of creating the maximum expression Elizabeth sadly passed away in October 2013 and left the bulk of through the minimum means. her estate, including her valuable picture collection, to the Elizabeth Creak Charitable Trust. Elizabeth created the Trust to provide ‘Clyde The Creak Collection of pictures by Ivon Hitchens enjoys exceptional Higgs Scholarships’ in agriculture, support and encourage new blood provenance with many works having passed through his esteemed in farming and finance projects to help farmers survive and ultimately dealers, The Waddington Galleries, amongst others. Rarely does thrive in their challenging modern environment. one have the opportunity to view such an extensive and diverse group together and in doing so we are able to fully appreciate Patrick The Creak Collection of paintings by Ivon Hitchens is remarkable Heron’s shrewd early summation that Hitchens was ‘the most in that it provides a conspectus of the artist’s work in almost all important English painter now living’. genres at several stages of his career. Born into a family of painters in London in 1893, Hitchens studied at the Royal Academy Schools Personal Recollections of Peter Khoroche, and became heavily influenced by the French Post-Impressionists author of Ivon Hitchens including Cezanne, Matisse and Braque. This influence and the importance of still life painting within the artist’s oeuvre is finely “Elizabeth Creak surely fulfilled every artist's ideal of the collector in demonstrated from some of the earliest examples in the collection. the way she responded to paintings with an immediate, instinctive White Gladioli and Spring Mood, No.2, in their striking and complex understanding of the painter's idea. Her sure grasp of Ivon Hitchens' compositions illustrate why Hitchens was considered as a forerunner aims is demonstrated by the way she was able to keep pace with and appreciate his development right through to the end of his in the development of English Modernism and along with his career. She could, so to say, follow him out of the dusky woodland contemporaries Ben Nicholson and Henry Moore a pioneer of into the open air and bright sunshine. Rather than come to a halt abstraction in this country. with the comparatively safe paintings of the 1940s and early 50s, she positively welcomed the artist's increasing adventurousness in the Flowers, with their vibrancy of colour gave much scope for 1960s and 70s. Over half of her collection dates from these last two abstraction which became increasingly important to the artist as decades of Hitchens' life. his style matured. By 1940 Hitchens had moved to the country and was living at Greenleaves in Lavington Common, an idyllic location It is entirely in keeping with her openness to their purely abstract that is frequently inscribed on the labels attached to the verso of qualities that she was so often attracted to Hitchens' flower pieces, his pictures (as in several of the Creak Collection). Initially the house where his particular gifts found unfettered expression. The verve and was just a studio that Hitchens and his family lived alongside in a sureness with which he applied paint to canvas—the boldness of his brightly coloured gypsy caravan but as the years progressed he colour harmonies, the prodigal variety of his brush marks—together was able to create a permanent abode. Some of Hitchens’ most with an ever more free, more apparently spontaneous, approach to successful and sought after compositions incorporate flowers composition were exactly what most appealed to her. within a landscape format and the Creak Collection boasts some To visit Miss Creak at Old Town Cottage in Stratford was to share in particularly fine examples. Poppies against a Grey Background and her ever youthful enthusiasm for the latest acquisition, though she A Spray of Poppies and Marguerites both combine intense vibrancy was tough-minded about reselling paintings that in her view did not of colour and confident rhythmic brushwork to create truly expressive live up to their initial promise. Just as Hitchens went on painting till canvases. within a few weeks of his death, so Miss Creak continued to add to or, as she would have put it, 'upgrade' her collection until the end.” (April 2014) The artist at work

52 AR W Ivon Hitchens (1893-1979) Flowers signed ‘Hitchens’ (lower right) oil on canvas 83.8 x 60 cm. (33 x 23 5/8 in.)

£50,000 - 70,000 €61,000 - 85,000 US$84,000 - 120,000

Provenance With Waddington Galleries, Montreal Sale; Christie’s, London, 10 November 1989, lot 356 Miss Elizabeth Creak

82 | Bonhams Modern British and Irish Art | 83 53 AR W Ivon Hitchens (1893-1979) Provenance Yellow Cloud, South Shore With Waddington Galleries, London, 11 February 1988, where signed with initials and dated ‘iH 73’ (lower left); further signed, acquired by inscribed and dated again ‘Yellow Cloud. South Shore./1973/IVON Miss Elizabeth Creak HITCHENS/Greenleaves. Petworth, Sussex’ (on a label attached to the stretcher) oil on canvas 50.8 x 104.1 cm. (20 x 41 1/2 in.)

£25,000 - 35,000 €30,000 - 43,000 US$42,000 - 59,000

84 | Bonhams Modern British and Irish Art | 85 54 AR Ivon Hitchens (1893-1979) Potting Shed signed ‘IVON HITCHENS’ (lower right) oil on canvas 45.4 x 50.4 cm. (17 7/8 x 19 7/8 in.) Painted circa 1930

£15,000 - 20,000 €18,000 - 24,000 US$25,000 - 34,000

Provenance The Artist’s Estate With Jonathan Clark Fine Art, London, 13 December 2012, where acquired by Miss Elizabeth Creak

86 | Bonhams 55 AR Ivon Hitchens (1893-1979) Exhibited Autumn Flowers London, Austin Desmond Fine Art, Modern British Art; Newlyn signed and titled ‘Autumn Flowers/Ivon Hitchens’ (on a label attached Through St. Ives to the Present, November 1985, cat.no.20 (col.ill) to the stretcher); further signed and titled again ‘Ivon Hitchens/ Autumn Flowers’ (verso) Please note that this work has been authenticated by John Hitchens, oil on canvas the artist’s son, and bears a studio stamp (verso). 59.8 x 71.1 cm. (23 1/2 x 28 in.)

£18,000 - 22,000 €22,000 - 27,000 US$30,000 - 37,000

Provenance With Waddington Galleries, London Sale; Christie’s, London, 7 March 1986, lot 344A With Austin Desmond Fine Art, London Miss Elizabeth Creak

Modern British and Irish Art | 87 56 AR W Ivon Hitchens (1893-1979) Provenance Arched Bridge Over a River Private Collection signed ‘Hitchens’ (lower right); further signed, inscribed and Sale; Christie’s, London, 24 May 2012, lot 153, where acquired by dated ‘”Arched Bridge over a River”/1965/by IVON HITCHENS/ Miss Elizabeth Creak Greenleaves. Petworth, Sussex England’ (on a label attached to the stretcher) Exhibited oil on canvas New York, Poindexter Gallery, Ivon Hitchens, 1-19 February 1966, 53.4 x 132.1 cm. (21 x 52 in.) cat.no.10

£50,000 - 70,000 €61,000 - 85,000 US$84,000 - 120,000

88 | Bonhams Modern British and Irish Art | 89 57 AR W Ivon Hitchens (1893-1979) White Gladioli signed ‘Hitchens’ (lower right); further signed and titled ‘IVON HITCHENS/White Gladioli’ (on a label attached to the stretcher) oil on canvas 104.1 x 69.8 cm. (41 x 27 1/2 in.) Painted circa 1940-42

£60,000 - 80,000 €73,000 - 97,000 US$100,000 - 130,000

Provenance Neville Rawlinson, Manchester Sale; Sotheby’s, London, 9 November 1988, lot 124, where acquired by Miss Elizabeth Creak

Exhibited Pittsburgh, Carnegie Institute, The Pittsburgh International Exhibition of Contemporary Painting & Sculpture, 5 December-8 February 1959, cat.no.211 (where lent by Neville Rawlinson)

90 | Bonhams Modern British and Irish Art | 91 58 AR W Ivon Hitchens (1893-1979) Provenance Foliage by Water, No.5 With Waddington Galleries, Montreal signed ‘Hitchens’ (lower left); further signed, inscribed and dated Sale; Christie’s, London, 3 March 1989, lot 462 ‘”Foliage by water No.5”/1962/by Ivon Hitchens/Greenleaves/ With Bernard Jacobson Gallery, London Petworth, Sussex’ (on a label attached to the stretcher) With Annandale Galleries, Sydney oil on canvas With Robert Sandelson, London, 5 February 2002, where acquired by 53.7 x 129.9 cm. (21 1/8 x 51 1/8 in.) Miss Elizabeth Creak

£30,000 - 50,000 Exhibited €36,000 - 61,000 London, Tate Gallery, Ivon Hitchens, A Retrospective Exhibition, US$51,000 - 84,000 organised by the Arts Council, 11 July-18 August 1963, cat.no.154 (ill.b&w); this exhibition travelled to Bradford, City Art Gallery, 31 August-22 September and Birmingham, City Museum and Art Gallery, 28 September-20 October (where lent by Waddington Galleries)

92 | Bonhams

“For Hitchens the truest mark of recognition was the retrospective exhibition of his work at the Tate Gallery, organised by the Arts Council to mark his seventieth birthday... The exhibition concluded with no fewer than seven versions of the same subject, Foliage by Water, hanging beside each other... Eight thousand people saw the show in the five weeks before it was reassembled, in a reduced form, first at Bradford and then Birmingham.” (Peter Khoroche, Ivon Hitchens, Lund Humphries, Aldershot and Burlington, 2007, p.149- 150)

Modern British and Irish Art | 93 59 AR W Ivon Hitchens (1893-1979) A Spray of Poppies and Marguerites oil on canvas 48.2 x 142.2 cm. (19 x 56 in.) Painted circa 1959

£60,000 - 80,000 €73,000 - 97,000 US$100,000 - 130,000

Provenance The Artist’s Estate With Jonathan Clark, London Miss Elizabeth Creak

Exhibited London, Jonathan Clark, Ivon Hitchens, The Flower Paintings, 2007, cat.no.10 (col.ill & cover detail)

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

94 | Bonhams Modern British and Irish Art | 95 60 AR Ivon Hitchens (1893-1979) Provenance Heathland by the Sea, No.1 With Waddington Galleries, London signed and dated ‘Hitchens/70’ (lower right); further signed, inscribed Sale; Christie’s, London, 8 November 1985, lot 313 and dated again ‘”Heathland by the Sea”/1970/by IVON HITCHENS/ With New Grafton Gallery, London, 1986, where acquired by Greenleaves. Petworth. Sussex.’ (on a label attached to the stretcher) Miss Elizabeth Creak oil on canvas 50.8 x 61 cm. (20 x 24 in.) Exhibited London, New Grafton Gallery, Ivon Hitchens, Patrick Heron, 26 £12,000 - 18,000 February-4 April 1986, cat.no.9 €15,000 - 22,000 US$20,000 - 30,000

96 | Bonhams 61 AR Ivon Hitchens (1893-1979) Provenance Colour of Flowers With William Pall Gallery, New York signed and dated ‘Hitchens 72’ (lower right); further signed, inscribed With Waddington Galleries, London, where acquired by and dated again ‘Colour of Flowers/1972/by IVON HITCHENS/ Miss Elizabeth Creak Greenleaves Petworth, Sussex’ (on a label attached to the stretcher) oil on canvas Exhibited 59 x 72.4 cm. (23 1/4 x 28 1/2 in.) London, Waddington Galleries, Ivon Hitchens, 16 May-9 June 1973, cat.no.38 £15,000 - 25,000 €18,000 - 30,000 Literature US$25,000 - 42,000 Alan Bowness, Ivon Hitchens, Lund Humphries, London, 1973, cat. no.114 (col.ill)

Modern British and Irish Art | 97 62 AR W Ivon Hitchens (1893-1979) Spring Mood no.2 signed, titled and dated ‘Spring Mood 2 1933/Ivon Hitchens’ (on a label attached to the stretcher) oil on canvas 71.3 x 101.6 cm. (28 1/8 x 40 in.)

£50,000 - 70,000 €61,000 - 85,000 US$84,000 - 120,000

Provenance The Artist With Waddington Galleries, London Sale; Sotheby’s, London, 11 November 1987, lot 112 With Waddington Galleries, London A. Herbage Sale; Christie’s, London, 8 November 1991, lot 234 (as Spring Mood) Miss Elizabeth Creak

Exhibited London, Waddington Galleries, Ivon Hitchens, Paintings from 1930- 1974, 3-27 February 1982, unnumbered (col.ill and cover detail)

Literature Peter Khoroche, Ivon Hitchens, Lund Humphries, Aldershot and Burlington, 2007, p.54 (col.ill)

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

The 1963 Arts Council exhibition catalogue notes that the related composition Spring Mood was ‘Painted looking out of the window of the artist’s studio in Adelaide Road, Hampstead’.

98 | Bonhams Modern British and Irish Art | 99 63 AR W Ivon Hitchens (1893-1979) Exhibited A White House Surrounded by Trees, No. 1 London, Royal Academy of Arts, Ivon Hitchens, A Retrospective signed and dated ‘Hitchens 75’ (lower left); further signed, inscribed Exhibition, 21 March-25 April 1979, cat.no.52 (ill.b&w, p.28, where and dated again ‘”a white House Surrounded by trees, NO.1”/1975/ lent by the artist); this exhibition travelled to Cambridge, Fitzwilliam by IVON HITCHENS Greenleaves, Petworth, Sussex’ (on a label Museum, 10 May-3 June, Penzance, Newlyn Art Gallery, 16 June-18 attached to the stretcher) July, Kingston-upon-Hull, Ferens Art Gallery, 4 August-2 September oil on canvas and Nottingham, Castle Museum, 8 September-14 October 53.4 x 132.1 cm. (21 x 52 in.) London, Waddington Galleries, Ivon Hitchens, 19 June-13 July 1996, cat.no.13 (col.ill) £25,000 - 35,000 €30,000 - 43,000 Literature US$42,000 - 59,000 Peter Khoroche, Ivon Hitchens, Lund Humphries, Aldershot and Burlington, 2007, p.175 (col.ill) Provenance The Artist’s Estate With Waddington Galleries, London, 4 June 1996, where acquired by Miss Elizabeth Creak

100 | Bonhams Modern British and Irish Art | 101 ‘Ivon Hitchens’ by Ida Kar, circa 1959 (vintage bromide print) / National Portrait Gallery © National Portrait Gallery, London

64 AR W Ivon Hitchens (1893-1979) Poppies Against a Grey Background signed ‘Hitchens’ (lower left); further signed, inscribed and dated ‘”Poppies Against a Grey Background”/1961-63/by IVON HITCHENS/Greenleaves, Petworth, Sussex’ (on a label attached to the stretcher) oil on canvas 58.6 x 109.2 cm. (23 x 43 in.)

£60,000 - 80,000 €73,000 - 97,000 US$100,000 - 130,000

Provenance Howard Bliss, Esq., 1963 With New Grafton Gallery, London, 1976 Sale; Christie’s, London, 9 June 2006, lot 99 With Richard Green, London, 13 November 2006, where acquired by Miss Elizabeth Creak

102 | Bonhams Modern British and Irish Art | 103 65 AR W Ivon Hitchens (1893-1979) Poppies and Black Tulips signed ‘Hitchens’ (lower left); further signed, inscribed and dated ‘”Poppies and Black Tulips”/1962/by Ivon Hitchens/Greenleaves, Petworth, Sussex’ (on a label attached to the stretcher) oil on canvas 104.2 x 50.8 cm. (41 x 20 in.)

£30,000 - 40,000 €36,000 - 49,000 US$51,000 - 67,000

Provenance With The Leicester Galleries, London Sale; Sotheby’s, London, 30 June 1993, lot 123 With Galerie Michael Haas, Berlin With Waddington Galleries, London With Jonathan Clark, London, 15 May 2000, where acquired by Miss Elizabeth Creak

Exhibited London, The Leicester Galleries Berlin, Galerie Michael Haas, Ivon Hitchens, 1893 bis 1979; Gemälde, 23 September-29 October 1994, cat.no.10 (col.ill) Chichester, Pallant House Gallery, Flower Paintings at Pallant House, 28 May-8 June 1996, cat.no.9 (col. ill) London, Waddington Galleries, Ivon Hitchens, 19 June-13 July 1996, cat.no.9 (col.ill) London, Jonathan Clark, Ivon Hitchens, 10 May-9 June 2000, cat. no.14 (col.ill)

104 | Bonhams Modern British and Irish Art | 105 66 AR W Ivon Hitchens (1893-1979) Exhibited Tree, Sky & Ragwort (Giant Oak Series) London, Waddington Galleries, Ivon Hitchens, A Retrospective of oil on canvas Paintings, 3 March-3 April 1993, cat.no.14 (col.ill and cover detail) 40 x 106.2 cm. (15 5/8 x 41 3/4 in.) Painted in 1978 Literature Peter Khoroche, Ivon Hitchens, Andre Deutsch, London, 1990, pl.98 £12,000 - 18,000 (col.ill) €15,000 - 22,000 US$20,000 - 30,000 Please note that this work has been authenticated by John Hitchens, the artist’s son, and bears a studio stamp (verso). Provenance The Artist’s Estate With Waddington Galleries, London (as Tree, Sky & Ragwort (Giant Oak Series) aka Open Country with Ragwort), 25 March 1993, where acquired by Miss Elizabeth Creak

106 | Bonhams 67 AR W John Piper C.H. (1903-1992) San Giorgio Maggiore signed ‘John Piper’ (lower right) watercolour and gouache 73.7 x 53.2 cm. (29 x 21 1/2 in.)

£6,000 - 8,000 €7,300 - 9,700 US$10,000 - 13,000

Provenance Miss Elizabeth Creak

Modern British and Irish Art | 107 Various Properties

68 AR W John Piper C.H. (1903-1992) In 1959 Piper accepted a commission to paint Venice for his first The Scuola di San Marco and S.S. Giovanni e Paolo exhibition with the Arthur Jeffress Gallery (having formally shown with signed ‘John Piper’ (lower left) The Leicester Galleries). The present work was one of two large scale oil and wax on canvas oils within the show, Robert Melville reviewed it most favorably; “with 152.4 x 122 cm. (60 x 48 in.) its rich sombre colour, its free textures which so effectively associate Painted in 1960 themselves with architectural ornament, and its measurable yet mysterious space, takes its place among the most splendid tributes £50,000 - 80,000 that English painters and writers have paid to the loveliest of cities”. €61,000 - 97,000 (The Architectural Preview, September, 1960). US$84,000 - 130,000 The present work was bought at the exhibition by the celebrated Provenance Canadian psychoanalyst Elliott Jacques (1917-2003) who most Acquired by Mr. & Mrs. Elliott Jaques from the 1960 exhibition, famously coined the phrase ‘mid-life crisis’. thence by descent to Private Collection Their sale; Christie’s, London, 21 May 2009, lot 80, where acquired by the present owner

Exhibited London, The Arthur Jeffress Gallery, Paintings and Watercolours of Venice by John Piper, May–June 1960, cat.no.4 London, Marlborough Fine Art, John Piper Retrospective Exhibition, March 1965, cat.no.120 (ill.)

Literature Robert Melville, The Architectural Preview, September 1960 (ill.) Studio, April 1961 (ill. on front cover)

108 | Bonhams Modern British and Irish Art | 109 69 AR * Park Place is a lavish 18th century private residence in the parish John Piper C.H. (1903-1992) Park Place of Remenham, Berkshire, near Henley-on-Thames. Piper lived signed ‘John Piper’ (lower right); further signed, inscribed and dated nearby and painted rural Oxfordshire often, most notably for the ‘PARK PLACE/oil(1944)/John Piper/Fawley Bottom/Nr Henley-on- Shell Guide to Oxfordshire in 1938. The present oil depicts the Thames/Oxon’ (verso) boathouse and ‘Conway’ bridge on the estate, with a fittingly moody oil on canvas laid on panel wartime atmosphere. Piper’s visionary approach to landscape 45.1 x 61 cm. (17 3/4 x 24 in.) extends the 18th century Romantic tradition, championed by artists such as Joseph Mallord William Turner, John Constable and £40,000 - 60,000 Thomas Gainsborough. Indeed Piper was most probably aware that €49,000 - 73,000 Gainsborough’s brother Humphrey designed the bridge depicted in US$67,000 - 100,000 the present lot, a fact that very well may have drawn the artist to this particular subject. His reference to a distinctly English landscape and artistic tradition was a fitting response to the instability that Britain Provenance was suffering under the attack of Nazi Germany. Mr. C.S. Collinson, Dublin, 1957, from whom acquired by Private Collection, and by descent There is a lithograph of the same title illustrated in English, Scottish Their sale; Christie’s, London, 26 May 2011, where acquired by the and Welsh Landscape, and a second oil painted in 1941, Park Place, present owner Henley-on-Thames (Aberdeen Art Gallery & Museums).

110 | Bonhams Modern British and Irish Art | 111 70 AR Dame Elisabeth Frink R.A. (1930-1993) Man with Goggles signed and numberd ‘Frink/1/7’ (on the base) bronze with a brown patina 49.5 cm. (19 1/2 in.) high Conceived in 1968

£30,000 - 50,000 €36,000 - 61,000 US$51,000 - 84,000

Provenance Private Collection, U.K.

Literature Jill Willder (ed.), Elisabeth Frink Sculpture, Catalogue Raisonné, Harpvale Books, Salisbury, 1984, p.175, cat.no.174 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.114, cat. no.FCR201 (ill.b&w, another cast)

112 | Bonhams Modern British and Irish Art | 113 71 AR Dame Elisabeth Frink R.A. (1930-1993) Elisabeth Frink’s animal bronzes – by the sculptor’s own admission Horse in the Rain – are more concerned with representing her emotional response signed and numberd ‘Frink 1/9’ (underneath) to, and spiritual identification with, the subject in question than with bronze with a brown patina literal physical form. In view of this particularly subjective approach, 26.7 cm. (10 1/2 in.) long Frink denied being an animal sculptor in the true sense of the notion, Conceived in 1976 stating her principal interest to lie ‘in the spirit of the animal’ (Edward Lucie-Smith & Elisabeth Frink, Frink: A Portrait, London, Bloomsbury, £70,000 - 100,000 1994, p.123). Her horse bronzes are especially representative of a €85,000 - 120,000 particular sensitivity to the subject, Frink’s father having been a keen US$120,000 - 170,000 horseman during her childhood in rural Suffolk.

Provenance Horse in the Rain forms part of a series of variations on the same With Waddington & Tooth Galleries, London, where acquired by the theme completed between the mid-1970s and mid-1980s. Frink’s previous owner interest in representing the horse in bronze on a similarly small scale Their sale; Christie’s, London, 12 November 2009, lot 22, where seems to have originated during three years spent with her husband acquired by the present owner in France between 1967 and 1970, when she first tackled the subject of Horse and Rider. Having abandoned any representation Exhibited of the human figure for her Horse in the Rain series, however, Frink London, Waddington & Tooth Galleries, Elisabeth Frink; Recent encourages a more direct contemplation of the essence of the animal Sculpture, November-December 1976 (another cast) in question. Here, the creature’s restful pose goes hand-in-hand with a subtle and graceful sense of movement that is enhanced by Literature reflections of light springing from the object’s irregular and dynamic Jill Willder (ed.), Elisabeth Frink Sculpture, Catalogue Raisonné, bronze surface. Harpvale Books, Salisbury, 1984, p.186, cat.no.232 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.135, cat. no.FCR261 (ill.b&w, another cast)

A cast from this edition is in the collection of Sheffield City Art Gallery.

114 | Bonhams Modern British and Irish Art | 115 72 AR Dame Elisabeth Frink R.A. (1930-1993) Literature Lying Down Water Buffalo Maquette Edward Lucie-Smith (ed.), Elisabeth Frink; Sculpture since 1984 signed and numbered ‘Frink/AC’ (underneath) and Drawings, Art Books International, London, 1994, p.37 & bronze with a brown patina p.187, cat.no.SC39 (ill.b&w, another cast) 31.4 cm. (12 3/8 in.) long Annette Ratuszniak (ed.), Elisabeth Frink; Catalogue Raisonné of Conceived in 1988, an artist’s cast aside from an edition of 9 Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.178, cat. no.365 (ill.b&w, another cast) £12,000 - 18,000 €15,000 - 22,000 The present work closely relates to one of a pair of monumental US$20,000 - 30,000 works, Standing Buffalo and Lying Down Buffalo (1987-88), commissioned by the Hong Kong and Shanghai Bank for their Provenance Hong Kong headquarters. As was often the case in the artist’s The Artist, by whom gifted to the present owner, February 1991 approach Frink looked back to an ancient artifact as a source of Private Collection, U.K. inspiration, in this instance a large carved jade recumbent buffalo from the Song Dynasty. Exhibited Exchange Square, Hong Kong, Elisabeth Frink: Sculpture & Although true to the overall form of the monumental works, the Drawing, 31 January-31 March 1989, as part of the Hong Kong maquettes are more impressionistic in their moulding, retaining Festival (another cast) the finger and tool marks of their crafting in keeping with Frink’s familiar style. As Edward Lucie-Smith suggests, the larger works seem to have been tamed in style for the Hong Kong audience who were relatively unfamiliar with Frink’s work.

116 | Bonhams 73 AR Dame Elisabeth Frink R.A. (1930-1993) Literature Chinese Horse III (Standing) Edward Lucie-Smith (ed.), Elisabeth Frink; Sculpture Since 1984 signed and numbered ‘2/8/Frink’ (on the rear left hoof) and Drawings, Art Books International, London, 1994, p.188, cat. bronze with a light green patina no.SC47 (ill.b&w, another cast) 47.6 cm. (18 3/4 in.) high Annette Ratuszniak (ed.), Elisabeth Frink; Catalogue Raisonné of Conceived in 1989 Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.181, cat. no.376 (ill.b&w, another cast) £50,000 - 70,000 €61,000 - 85,000 Another cast of Chinese Horse III (Standing) is currently held in the US$84,000 - 120,000 collection of The New Art Gallery, Walsall.

Provenance Although surrounded by racing horses at her home in Wolland, With The Alwin Gallery, London, 28 June 1990, where acquired by Frink instead turned to primitive depictions of horses for the the present owner majority of her sculptures from this period. Drawing inspiration Private Collection, Monaco from her time spent with the horses of Camargue, Frink here displays the steady, stocky reliability reminiscent of the cave Exhibited paintings at Lascaux. As seen in her Water Buffalo sculptures, London, Fischer Fine Art, Elisabeth Frink; Recent Sculpture and here too we are able to see Frink turning to Chinese art as a Drawings, 5 October-9 November 1989, cat.no.17 (another cast) source of inspiration, drawing on numerous depictions as well as Glasgow, Compass Gallery, Elisabeth Frink; Sculpture, Drawings, terracotta models of horses in varying positions. Etchings, 4-31 August 1990 (another cast) Washington D.C., The National Museum of Women in the Arts, Elisabeth Frink; Sculpture and Drawings 1950-90, 1990 (another cast) Salisbury, Salisbury Cathedral & Close, Elisabeth Frink; A Certain Unexpectedness, 1997 (another cast) Dorset, Bournemouth University, Elisabeth Frink...This Fleeting World, 2011-12 (another cast)

Modern British and Irish Art | 117 74 AR Dame Elisabeth Frink R.A. (1930-1993) Exhibited Winged Beast I London, Waddington Galleries, Elisabeth Frink, Sculpture, 28 signed ‘Frink’ and numbered ‘5/8’ (on the base) November-21 December 1963, cat.no.13 (another cast) bronze with a brown patina London, Waddington Galleries, Elisabeth Frink, Sculpture and 38.1 cm. (15 in.) high (including the base) Prints and Drawings from Chaucer, 11 October- 4 November Conceived in 1962 1972, unnumbered (another cast)

£15,000 - 20,000 Literature €18,000 - 24,000 The Times, Miss Elisabeth Frink and the Eternal Hero, 29 US$25,000 - 34,000 November 1963 Jill Willder (ed.), Elisabeth Frink Sculpture, Catalogue Raisonné, Provenance Harpvale Books, Salisbury, 1984, p.155, cat.no.86 (ill.b&w, The Artist, another cast) From whom acquired by the present owner, Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Private Collection, South Africa Sculpture 1947-93, Lund Humphries, London, 2013, p.82, cat. no.FCR107 (ill.b&w, another cast)

118 | Bonhams 75 AR Dame Elisabeth Frink R.A. (1930-1993) Provenance Cat With Beaux Arts, London, 10 March 2005, where acquired by the signed and numbered ‘Frink 5/8’ (on the base) present owner bronze with a brown patina Private Collection, Monaco 37 cm. (14 1/2 in.) high Exhibited £50,000 - 70,000 London, Beaux Arts, Frink, 7 June-8 July 2006 (another cast) €61,000 - 85,000 US$84,000 - 120,000 Literature Annette Ratuszniak (ed.), Elisabeth Frink; Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.41, cat. no.18 (col.ill another cast)

Modern British and Irish Art | 119 76 AR Dame Elisabeth Frink R.A. (1930-1993) Rolling over horse signed and dated ‘Frink ‘80’ (lower right) pencil and watercolour 56.5 x 76.2 cm. (22 1/4 x 30 in.)

£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000

Provenance Acquired by the father of the present owner circa 1980s Private Collection, U.K.

120 | Bonhams 77 AR Dame Elisabeth Frink R.A. (1930-1993) Horse lying down signed and dated ‘Frink 78’ (lower right) pencil and watercolour 56.4 x 80.2 cm. (22 1/4 x 31 1/2in.)

£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000

Provenance Sale; Christie’s, London, 8 March 1991, where purchased by the present owner Private Collection, U.K.

Modern British and Irish Art | 121 78 AR Dame Elisabeth Frink R.A. (1930-1993) Horse sitting signed and dated ‘Frink 76’ (lower right) pencil and watercolour 72.4 x 55.8 cm. (28.5 x 22 in.)

£8,000 - 12,000 €9,700 - 15,000 US$13,000 - 20,000

Provenance Acquired by the father of the present owner circa 1980s Private Collection, U.K.

122 | Bonhams 79 AR Frederick Edward McWilliam (1909-1992) Literature Cave Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, carved beech wood on a metal base Lund Humphries, Farnham, p.89, cat.no.15 (ill.b&w) 20.3 cm. (8 in.) high (including base) Conceived in 1935 Whilst a student at The Slade, McWilliam had met Henry Moore through a mutual friend and by the mid-1930s he was creating a £18,000 - 25,000 range of works based around a motherhood theme from natural €22,000 - 30,000 materials such as stone and wood. In the same year as the US$30,000 - 42,000 present work he carved the perhaps more obvious Matriarch in cherry wood and whilst the example here (in beech) cannot be Provenance said to display this theme as overtly, the sensuous curves and With Waddington Galleries, London pierced form are decidedly feminine. Similarly, the evocative title With Mayor Gallery, London, 23 April 1986, where acquired by of Cave brings to mind a feeling of safety and warmth, clear Dr. Terry Friedman associations of the mother figure. Private Collection, U.K.

Exhibited London, Waddington Galleries, F.E. McWilliam, 31 May-23 June 1984, cat.no.2 (ill.b&w) London, Mayor Gallery, British Surrealism Fifty Years On, March- April 1986, cat.no.76 (ill.b&w) London, Tate Gallery, F.E. McWilliam Sculpture 1932-1989, 10 May-9 July 1989, cat.no.8 (ill.b&w, where lent by Dr. Terry Friedman)

Modern British and Irish Art | 123 80 AR Bernard Meadows (1915-2005) Provenance Head of Cock Acquired directly from the artist by the present owner bronze with a green patina on a steel and mineral base 42.6 cm. (16 3/4 in.) high (excluding the base) Literature Conceived circa 1950, cast in 1994 Alan Bowness, Bernard Meadows, Sculpture and Drawings, The Henry Moore Foundation in association with Lund Humphries, £10,000 - 15,000 London, 1995, p.136, cat.no.BM12 €12,000 - 18,000 US$17,000 - 25,000 Further examples of the present cast are in the collections of the City Museum, Leeds and the Royal College of Art, London.

124 | Bonhams 81 AR W Michael Ayrton (1921-1975) Literature Triptych III: Emerging Figure C.P. Snow, Drawings and Sculpture by Michael Ayrton, Cory, each part numbered ‘2/6’ (at the base) Adams & Mckay, London, 1962, rev.ed. 1966, pl.206 (ill.b&w, bronze with a brown patina another cast) 160 cm. (63 in.) wide (overall) Jacob Nyenhuis, Myth and the Creative Process; Michael (in three parts) Ayrton and the Myth of Daedalus, the Maze Maker, Wayne State Conceived in 1966-7 in an edition of 6 of which only 3 were cast University Press, Detroit, 2003, p.274, cat.no.618

£15,000 - 20,000 The Emerging Figure series was part of Ayrton’s exploration of €18,000 - 24,000 the Maze and the condition of being “mazed” which preoccupied US$25,000 - 34,000 him through the later part of the 1960s, culminating in the novel “The Maze Maker” (1967), and the building of the full-scale Arkville Provenance Maze in the Catskills in 1969. The figures are patinated to move Private Collection, U.K. from dark, almost black, for the first figure to golden-brown for the final, fully emerged man, who holds back the walls of the maze Exhibited from which he has, at least temporarily, struggled free. Ayrton London, Grosvenor Gallery, Michael Ayrton, 7 June-2 July 1966, saw the maze as a metaphysical as well as a physical construct; cat.no.24 (another cast) something which ‘each man builds around himself in the course Chicago, Seavs Vincent Price Gallery, Michael Ayrton, October- of his life ... at the centre of which lies his death. To escape is to November 1967, cat.no.17 (another cast) return, wishing to return.’ Chicago, Seavs Vincent Price Gallery, Michael Ayrton, April-May 1969, cat.no.8 (another cast) The question of whether the figures are the same man at different Chicago, Seavs Vincent Price Gallery, Michael Ayrton, 1970, cat. stages, or different men, unaware of each other, is part of the no.6 (another cast) ambiguity of the maze condition as Ayrton came to understand it. Chicago, R.S. Johnson International Gallery, Michael Ayrton, The Maze, November 1972, cat.no.20 (another cast) We are grateful to Dr. Justine Hopkins for compiling this catalogue entry.

Modern British and Irish Art | 125 The present lot illustrated in Robert Melville’s 1947 ‘Horizon’ review © N.J. & L. Cotterell, Ipswich

82 AR Sir Eduardo Paolozzi (1924-2005) Seagull and Fish is one of the four known concrete sculptures Seagull and Fish Paolozzi made when he was a student at the Slade School of Fine concrete Art in 1946. It was shown with three others in his first exhibition, 82.5 cm. (32 1/2 in.) long held at the Mayor Gallery, Brook Street, in January 1947. The other sculptures were two versions of Horse’s Head, one in red and one in Unique white concrete, the first of which still exists in a private collection; and Conceived in 1946 Blue Fisherman, also in a private collection. Bull, also of 1946, a cast of which was sold before the exhibition opened, may not have been £30,000 - 50,000 included in the exhibition; but other three-dimensional work, including €36,000 - 61,000 a sculpture made from paper, may also have been shown. There was US$51,000 - 84,000 no catalogue. The tradition is that Freddy Mayor was unaware that Paolozzi, who left the Slade in June 1947 for Paris, without taking his Provenance diploma, was still a student when he offered him the show. The Artist, by whom gifted to Enid Furlonger (1907-1989, illustrator and associate of the art critic Seagull and Fish has its origins in subjects Paolozzi observed and Toni del Renzio), by whom gifted to the present owner crica 1950s drew in Newhaven, on the Scottish coast, close to his native Leith, where he grew up. It would seem that the Mayor Gallery exhibition Private Collection, U.K. consisted of a not inconsiderable proportion of similar subjects,

because although no sculpture was sold, the Mayor Gallery Archive Exhibited records that seven drawings of Fisherman, fish and seagull- London, Mayor Gallery, Drawings by Eduardo Paolozzi, 14 January-1 related subjects, sold for a gross total of £72 – 10s – 0d, which February 1947 approximates to Paolozzi’s later recollection that he left for Paris with proceeds from the exhibition amounting to some £75. Literature Robert Melville, Eduardo Paolozzi, in Horizon, volume XVI, September Concrete, as a medium for figurative sculpture in a quasi-cubist 1947, p.212 (ill.b&w) style, began to gain ground in the 1920s. Henry Moore made several Frank Whitford, Eduardo Paolozzi (exh.cat), Tate Gallery, London, 22 sculptures in concrete between 1929 and 1933; and the medium lent September-31 October 1971, p.8 (ill.b&w) itself to the international modernist aesthetic for architecturally related Winifried Konnertz, Eduardo Paolozzi, Dumont Buchverlag, Koln, sculpture of the 1930s. Paolozzi’s choice of the medium, however, 1984, p.25 (ill.b&w) is unlikely to have been dictated by such concerns, but more out of Lost Magic Kingdoms and Six Paper Moons from Nahuatl (exh.cat), practicality, and above all for its low cost. For the second half of 1946 Museum of Mankind, London, 1985, p.156 (ill.b&w) Paolozzi did not attend the Slade, but spent his time drawing in his room at the Slade Hostel, 28 Cartwright Gardens, WC2, and making concrete sculpture in the basement. “Eduardo Paolozzi held his first exhibition of sculpture in 1947, when he was twenty-three years old. At that time he was working “And I remember taking a cart and going, getting all the raw in cement. He came on the scene at a critical moment, for there materials in kind of builders’ workshops which have long since been was every sign that the pre-war avant-garde was prepared to go demolished, but I did all that myself in Cartwright Gardens, but not at on revealing the beauty of the grain in choice pieces of wood and the Slade”. (Eduardo Paolozzi, National Life Story Collection: Artists’ limiting the carving of stone to the sensitive portrayal of pebbles, Lives (1993-5), Shelfmark L 466/17, British Library). but the slap-happy, butter-fingered, lop-sided, you-can-do-it-too look which Paolozzi gave his animal forms in cement provided many Paolozzi found the teaching at the Slade completely useless; as a young artists with their first seductive glimpse of creative nihilism, put sculptor he was largely self-taught. He owned a copy of Albert Toft’s paid to the concept of ‘truth to material’; and launched much of the Sculpture and Modelling (1929) from which he could learn the basic talent of his generation into a furore of experiment with unorthodox techniques, such as how to make moulds and armatures. Carving materials and constructional procedures”.(Robert Melville, Eduardo was his first experience of making sculpture. Paolozzi, Motif, No.2, February 1959, p.61).

126 | Bonhams I would make kind of clay moulds and I would pour the plaster in so While admitting Paolozzi’s sculpture was ‘rather crude in facture’, there would be rough cylinders and things like that, and then I would Melville ‘had no doubt that is the field in which his originality will carve them to shape. That was, I invented that kind of way of doing find its greatest scope’; and with extraordinary prescience sensed things. (Ibid.) Paolozzi’s potential to create ‘endlessly transformable objects with an immutable fetishistic significance . . . and [perceiving] one object at a For what Paolozzi called his ‘unconventional sculpture’ in concrete time as a self-sufficient magic presence’.

I used to make up an iron framework for, say a seagull and fish, and By 1960 Paolozzi could declare that he was interested ‘above just butter it on the best I could . . . and then score lines on it. (Ibid.) all, in investigating the golden ability of the artist to achieve a metamorphosis of quite ordinary things into something wonderful and The spiky iron armature, which in places pokes through the surface extraordinary that is neither nonsensical nor morally edifying’. (Robin of Seagull and Fish, leaving a few discoloured oxidised spots of vivid Spencer, Eduardo Paolozzi, Writings and Interviews, Oxford University orange on the surface, the obvious difficulty Paolozzi had to stabilise Press, 2000, p.88). As if to acknowledge its place at the start of his and join bird to fish, the striations derived from Picasso drawn in the creative journey, in 1985 Paolozzi chose to illustrate Seagull and drying concrete – all of which would be considered shortcoming in Fish opposite a photograph of an Indonesian shadow puppet of a academic sculpture and by his teachers at the Slade – in Seagull cockerel, in the catalogue of Lost Magic Kingdoms (see Fig.1), the and Fish help create its extraordinary raw energy and magisterial exhibition he selected for the British Museum from the Museum of command of space, fully justifying its larger-than-life size. Mankind, to demonstrate the colonisation and transmigration of objects and images between Western and non-European cultures. In his review in Horizon in 1947, Robert Melville related Paolozzi’s ambition to ‘the unrealized potentiality which occurred in the art We are grateful to Professor Robin Spencer for compiling this of Picasso round about 1930’, and Paolozzi’s large pen-drawings catalogue entry. to ‘the whorls of Picasso’s 1938 series’; while noticing, with some surprise, their affinity with the work of Robert Colquhoun.

Modern British and Irish Art | 127

Eve, 1928, Eric Gill (1882-1940), ©Tate, London 2014.)

83 Eric Gill (1882-1940) This newly discovered figure of a female nude appears to be a work Study after Eve carved by Gill for his own pleasure, from a small stone offcut. Caen stone The pose of the figure, with the head bent forward and inclined, 26.7 cm. (10 1/2 in.) high is found in two other well known nudes by Gill, Eve, carved from Conceived circa 1928-30 Bath stone in 1928 (collection Tate), and Chloe, carved from Caen stone in 1930 (collection University of Texas at Austin). Both of these £40,000 - 60,000 figures have folds of drapery that swirl around their thighs. However, €49,000 - 73,000 Eve’s arms are placed behind her back and she does not hold the US$67,000 - 100,000 drapery, while Chloe presses the drapery to her thighs to maintain its place. This figure adopts another method, gently pinching the cloth and letting it fall into a graceful curve. Eve was carved for Gill’s own pleasure, while Chloe was carved as a commission for writer and publisher Leonard Woolf, husband of Virginia. Leonard Woolf gave the commission to Gill in 1928, and two drawings for Chloe exist, dated 5.11.1928.

The identity of this small delightful figure is as yet unknown, but the execution date seems to hover around 1928-29. For several years at this time, Gill was working in basic conditions in Capel-y-ffin in rural Wales. The present work was acquired around twenty years ago in nearby Ross-on-Wye.

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

130 | Bonhams Modern British and Irish Art | 131 84 AR W Edward Burra (1905-1976) The 1950s were a period of change for Edward Burra as the family Vase of Leaves moved from Springfield Lodge, a large early Victorian house on watercolour the outskirts of Rye, to Chapel House which commanded stunning 105.4 x 73.6 cm. (41 1/2 x 29 in.) views over the levels of Romney Marsh. Many of the artist’s earliest Executed 1957-9 landscapes and outdoor studies had been produced at the former residence and a change of location provided new opportunities £60,000 - 80,000 despite the death of his father in 1957. By 1955 Burra had struck out €73,000 - 97,000 in an entirely new direction and was producing a highly original yet US$100,000 - 130,000 unexpected group of still lifes.

Provenance Dating to between 1957-9, Vase of Leaves is semi-abstract in With The Lefevre Gallery, London style as it displays a botanically identifiable plant (a laurel) whose properties have to a certain extent been simplified. The work, as with Exhibited other examples from the period, is characterised by an intensity of London, The Lefevre Gallery, Watercolours by Edward Burra, 7-30 colour which gives a liveliness to the composition. It has been noted May 1959, cat.no.2 (ill.b&w) that these still lifes sometimes appear like flowers from a dream or seen under the influence of drugs, taking on an almost lifelike Literature quality in some instances. In the present work the foliage spills out Andrew Causey, Edward Burra, Complete Catalogue, Phaidon, and dominates the foreground almost as if it is growing and moving Oxford, 1985, cat.no.262 (ill.b&w) towards us the viewer.

132 | Bonhams Modern British and Irish Art | 133 85 W Sidney Nolan (1917-1992) Landscape signed and dated ‘22nd MAY 1960/nolan’ (verso) ripolin on board 121.9 x 152.3 cm. (48 x 60 in.)

£15,000 - 20,000 €18,000 - 24,000 US$25,000 - 34,000

Provenance With Matthiesen Gallery, London Mr. A. Choreni, London Sale; Sotheby’s, Melbourne, 28 November 2005, lot 48 Private Collection, Melbourne Sale; Bonhams & Goodman, Sydney & Melbourne, 26 August 2008, lot 44

Exhibited London, Matthiesen Gallery, Sidney Nolan: Leda and the Swan and Other Recent Work, 16 June-16 July 1960, cat.no.10

134 | Bonhams 86 Sidney Nolan (1917-1992) Nolan spent a considerable amount of time in Italy. He first visited the Boats and Façades, Italy country in 1950 and subsequently lived and worked there between signed with initial ‘N’ (lower left) 1954 and 1955. Nolan returned again in 1956, as part of an Italian oil on board government travelling scholarship, to execute a series based on 64.8 x 76.7 cm. (25 1/2 x 30 1/4 in.) badly damaged Mantegna murals employing a cubist-style projection Painted circa 1954 of fragments and facets. Nolan’s visits to Italy resulted in successful exhibitions in both London and Australia. In the words of one £15,000 - 20,000 reviewer, ‘in Italy he feels at home. After absorbing and digesting it, €18,000 - 24,000 pondering on its structure and its symbolism … he understands its US$25,000 - 34,000 magic instinctively’ (Alleyne Zander, The Studio, September 1955)

Provenance Collection of the Artist The Estate of Sidney Nolan Their sale; Sotheby’s, Melbourne, 16 September 2001, lot 8

Literature T.G. Rosenthal, Sidney Nolan, Thames &​ Hudson, London, 2002, p.175 (col.ill)

Modern British and Irish Art | 135 87 W Sidney Nolan (1917-1992) By the end of the 1950s there was significant interest in Australian Landscape art within London. Bryan Robertson, the dynamic director of the signed and titled ‘LANDSCAPE S.Nolan’ (on the stretcher) and dated Whitechapel Art Gallery, was a leading promoter and along with ‘22 May 1960’ (verso) the influential Kenneth Clark formed a strong bond with Sidney ripolin on board Nolan. Robertson had already established himself as an excellent 122.3 x 122 cm. (48 1/8 x 48 in.) entrepreneur by organising an important exhibition of Mark Rothko’s work in the East End. It is of little surprise therefore that Nolan £15,000 - 20,000 jumped at the opportunity when offered a retrospective at the €18,000 - 24,000 prestigious Whitechapel Gallery in 1957. With daily attendance often US$25,000 - 34,000 reaching 500 and positive responses from the leading newspapers such as John Russell in the Sunday Times, the exhibition was a Exhibited success. Probably London, Matthiesen Gallery, Sidney Nolan: Leda and the Swan and Other Recent Work, 16 June-16 July 1960, cat.no.22 After a prolonged period in the USA, Nolan would not exhibit again in London until 1960 when the present work was included in his show at the Matthiesen Gallery. Nolan had recently re-visited Robert Graves and the myth of Leda and the Swan provided him with a strong theme for the exhibition. Conscious that he had been away from England for some time, the artist wanted to connect with the landscape and ambiance of the country which led to more muted tones of colour as can be seen in the present work. The dazzling colours of the Mediterranean and fierce light of the Australian outback were replaced with a darker palette which provide an altogether more poetic mood and what Nolan himself described as ‘a sometimes swooning atmosphere’.

136 | Bonhams Modern British and Irish Art | 137 88 AR Alan Reynolds (born 1926) The Orchard’s Calligraphy signed and dated ‘Reynolds/53’ (lower right) oil on board 30 x 40.9 cm. (11 3/4 x 16 1/8 in.)

£6,000 - 8,000 €7,300 - 9,700 US$10,000 - 13,000

Provenance With The Redfern Gallery, London, 2 July 1954, where acquired by Sir Walter Fletcher With The Mayor Gallery, London

Exhibited London, The Redfern Gallery, Alan Reynolds, 9 June-3 July 1954, cat.no.18

138 | Bonhams 89 AR W Alan Reynolds (born 1926) Image-Spring Larch signed and dated ‘Reynolds 67’ (lower right); further signed, inscribed and dated again ‘Reynolds 1967-68/”IMAGE-SPRING LARCH”/to Bill from Alan/11th Oct 68” (verso) oil on board 113.8 x 119.1 cm. (44 7/8 x 46 7/8 in.)

£15,000 - 20,000 €18,000 - 24,000 US$25,000 - 34,000

Provenance The Artist, from whom acquired by William and Edith Morgan Thence by family descent to the present owner Private Collection, U.K.

Modern British and Irish Art | 139 90 AR W Alan Reynolds (born 1926) Composition Legend signed ‘Reynolds’ (lower right) and titled ‘COMPOSITION LEGEND’ (verso) oil on board 112.1 x 127 cm. (44 1/8 x 50 in.)

£30,000 - 40,000 €36,000 - 49,000 US$51,000 - 67,000

Provenance The Artist, 11 October 1968, by whom gifted to William and Edith Morgan Thence by family descent to the present owner Private Collection, U.K.

Exhibited Liverpool, Walker Art Gallery, The John Moores Liverpool Exhibition 4, 1963 (where lent by the artist)

140 | Bonhams Modern British and Irish Art | 141 91 AR W Denis Bowen (1921-2006) Provenance Atomic Image I Probably with Arthur Tooth & Sons, London oil on canvas 182.9 x 91.4 cm. (72 1/4 x 36 in.) Exhibited Painted in 1959 London, The Redfern Gallery, Ten Younger English Painters, 13 January-12 February 1960, cat.no.46 £6,000 - 8,000 London, The Redfern Gallery, Denis Bowen, Recent Paintings, €7,300 - 9,700 January 1960, unnumbered (detail ill.b&w) US$10,000 - 13,000

142 | Bonhams 92 † AR W William Gear (1915-1997) Gray Structure signed and dated ‘Gear 56’ (lower right); further signed, titled and dated again ‘Gear/’GRAY STRUCTURE’/JUNE ‘56’ (verso) oil on canvas 125.7 x 203.2 cm. (49 1/2 x 80 in.)

£15,000 - 20,000 €18,000 - 24,000 US$25,000 - 34,000

Provenance With The Redfern Gallery, London

Exhibited London, Royal Academy of Arts, Summer Exhibition, 1996

Modern British and Irish Art | 143 93 AR W Karl Weschke (1925-2005) ‘An early painting, Quiet Landscape 1958, suggests a hillside Quiet Landscape rendered in bold, flat shapes of thick impasto. The browns, blacks signed twice ‘KM Weschke/K.M.W’ (verso); inscribed and dated and subdued yellow which form the basis of this work have remained ‘QUIET Landscape 1958 finished september’ (on the stretcher) Weschke’s favoured colours. He adopted them partly because he oil on canvas could not afford the more expensive colours such as cobalt blue, 101.6 x 172.8 cm. (40 x 68 in.) and partly because he had been informed by his paint supplier that the earth colours would last indefinitely, whereas lighter colours £12,000 - 18,000 would fade. The boldness and flatness of Quiet Landscape suggest €15,000 - 22,000 the influence of the Abstract Expressionists, particularly Motherwell US$20,000 - 30,000 whose work Weschke admired in 1956 at the Tate Gallery, but the thick impasto is also characteristic of the painting of some of his Provenance peers, among others, Auerbach and Kossoff.’ (Jeremy Lewison, Karl The Artist’s Estate Weschke, Portrait of an Artist, Tate Publishing, St Ives, 1998, p.54- 55). Literature Jeremy Lewison, Karl Weschke, Portrait of an Artist, Tate Publishing, St Ives, 1998, p.55 (ill.b&w)

144 | Bonhams 94 AR W Karl Weschke (1925-2005) The present work is particularly significant within the formation of Apocalypse Weschke’s artistic development. In early 1958 Weschke had taken signed twice, inscribed, and dated ‘KM Weschke 1957/ this oil to show Helen Lessore at her Beaux Arts Gallery and had APOCALYPSE/£100/KM Weschke’(verso) hoped that his kinship with the artists Peter Kinley, Frank Auerbach oil on board and Leon Kossoff would impress her but was left disappointed. 152.7 x 111.8 cm. (60 1/4 x 44 in.) Leaving the gallery he bumped into the artist Denis Bowen in Bond Street and showed Bowen the painting. Bowen immediately offered £15,000 - 20,000 Weschke what was to be his first solo show, at the New Vision €18,000 - 24,000 Gallery, later that year. US$25,000 - 34,000 Jeremy Lewison notes that ‘Weschke adopted the fracture of de Provenance Staël’s painting in the Apocalypse 1957-8, building up rich impasto The Artist’s Estate but resisting the temptation to expand the range of his palette. In terms of composition, this striking painting of a horse and rider, a Literature warrior of the Thirty Years War, pays homage to Marino Marini whose Jeremy Lewison, Karl Weschke, Portrait of an Artist, Tate Publishing, work Weschke had admired in the Tate Gallery, but in its fusion of St Ives, 1998, p.31 (ill.b&w) landscape with myth and history the Apocalypse had something more in common with the painting of Peter Lanyon – for example St Just 1952-3’ (Jeremy Lewison, Karl Weschke, Portrait of an Artist, Tate Publishing, St Ives, 1998, p.30-31).

Modern British and Irish Art | 145 95 AR Euan Uglow (1932-2000) Provenance Landscape with tower The Artist, by whom gifted to signed and inscribed ‘To Viv and Cliff/wishing you many/years of Clifford Wyndham happy/married life./from/Euan.’ (verso) Private Collection, U.K. oil on panel 18 x 12 cm. (7 1/8 x 4 3/4 in.) We are grateful to Catherine Lampert for her assistance in cataloguing this lot. £8,000 - 12,000 €9,700 - 15,000 US$13,000 - 20,000

146 | Bonhams 96 AR Euan Uglow (1932-2000) Exhibited Snow on Lambeth London, Art Space Gallery, Order and Event - Landscape Now, signed, titled and dated ‘EUAN UGLOW/SNOW ON LAMBETH 1987’ Berg, Camp, Craxton, Crowley, Eyton, Kiff, Perry, Rowlett, Uglow, (on a label verso) Weschke, Yhap, 1-30 September 2000 oil on canvas laid on panel London, Marlborough Fine Art, Euan Uglow, Paintings & Drawings 28.6 x 20.3 cm. (11 1/4 x 8 in.) from the Estate, 16 May-15 June 2007, cat.no.14 (col.ill)

£12,000 - 18,000 Literature €15,000 - 22,000 Catherine Lampert, Euan Uglow, The Complete Paintings, Yale US$20,000 - 30,000 University Press, New Haven and London, 2007, p.164, cat.no.337 (col.ill) Provenance The Artist’s Estate Somewhat misleadingly titled, the present work depicts the view from the ‘front’ window of Uglow’s studio (in Turnchapel Mews, Cedars Road), looking west towards Clapham Junction. The artist also painted the composition in the oil Winter Sun (1980-83, Private Collection).

Modern British and Irish Art | 147 97 AR W Euan Uglow (1932-2000) Arguably a second important point of reference for the striding Striding Nude, Blue Dress nude series is Alberto Giacometti’s 1932 sculpture Walking Woman oil on canvas (acquired by the Tate Gallery in 1972). Uglow had first met Giacometti 152.4 x 101.6 cm. (60 x 40 in.) in Paris in 1957, on the introduction of David Sylvester, and would Painted 1978-80 do so again on four or five occasions, always retaining a particular fondness for Walking Woman. Indeed, an admiration of sculpture £60,000 - 80,000 in general both modern and historic (notably the Ancient Egyptian €73,000 - 97,000 and Greek stone carvings) underpins much of Uglows output. It is US$100,000 - 130,000 unsurprising that in the present work the figure’s form commands the black void in such an effective sculptural fashion. This is further Provenance emphasised by the employment of a fixed point of view; Uglow The Artist’s Estate stipulated that the work should be viewed so that the eye is level with the curve of the orange structure at the right of the composition. As Exhibited such we gaze up at the model’s neck and head and down at her feet London, Browse & Darby, Euan Uglow, 18 May-25 June 1983, cat. inducing a viewing experience of awe. no.14 (ill.b&w) The first of the four works on the theme, Striding Figure (1975, Literature Private Collection), shows the figure facing to the right of the Catherine Lampert, Euan Uglow, The Complete Paintings, Yale composition. As with the present oil, this work was unfinished due University Press, New Haven and London, 2007, p.142, cat.no.296 to the inability of the model to continue with the demanding rigours (col.ill) of Uglow’s sitting schedule (the present work was executed over two years; the artist would often require models to sit for extended Striding Nude, Blue Dress is the second in a series of four periods of up to five times a week). However, the paint strokes within commanding variations on the theme of the striding figures in these unfinished works; the visible residue of Uglow’s process, reveal profile which occupied the artist’s conscience for the best part of a almost as much about the artist’s practice as many of his completed decade. Each of the four works in the series contemplates, through works contribute. Having struck upon a successful composition Uglow’s unflinching language of solid geometry, the dilemma of with Striding Nude, Blue Dress, Uglow immediately embarked on conveying movement within the stationary medium of paint on a second version, completed in 1981. The final of the four striding canvas. Amongst his most valued studio possessions Uglow had a profile compositions is Zagi (1981-82), which was purchased by the number of photographs of Marcel Duchamp’s Nude Descending a Tate gallery in 1982. In this final oil the figure, framed within the same Staircase, No.1 (1911, Philadelphia Museum of Modern Art). Uglow environment, has taken a full step forward through the motion and had sympathy with Duchamp’s analytical approach, stating that has raised her arms to form an acrobatic movement. Nude Descending a Staircase was primarily a device for ‘trapping movement’. In Striding Nude, Blue Dress, Uglow poses the model in such a way that her weight fluxes between rear and fore foot, her arms and head protrude slightly forward whilst her shoulders remain pulled back. Her movement, like Duchamp’s Nude, is eternally ‘trapped’ upon the canvas.

148 | Bonhams Modern British and Irish Art | 149 98 AR Euan Uglow (1932-2000) Euan Uglow was recognised as a prodigious talent from a young Girl with Light Hair age in the stimulating atmosphere that defined the Camberwell signed ‘E UGLOW’ (lower right) School of Arts during the late 1940s. Having quickly progressed to oil on canvas the intermediate class by 1948, he found himself under the tutelage 76.8 x 61 cm. (30 1/4 x 24 in.) of Victor Pasmore and William Coldstream, both of whom had already taught together at the famous Euston Road School between Painted in 1949 1937 and 1939. Whilst Uglow’s mature work is more obviously aligned with that of Coldstream’s, his earlier output owes much to £20,000 - 30,000 Pasmore’s abstraction and the broader Cubist influence that was €24,000 - 36,000 being felt by several British artists at this time from the continent. In US$34,000 - 51,000 1949 Pasmore had made a compilation of the writings of Kandinsky, Mondrian, Arp and others, Abstract Art: Comments by some Artists Provenance and Critics, which was privately printed for discussion with students. Gifted by the artist to the family of the present owner, circa 1950s Thence by family descent Girl with Light Hair was painted during Uglow’s final year at Private Collection, U.K. Camberwell and can be considered one of only a handful of Cubist inspired pictures that exist. The composition is heavily influenced by Picasso’s important Femme nue assise (1909-10) which had been Literature purchased by the Tate Gallery in 1949 and a black and white copy Susan Campbell, Euan Uglow: Some Memories of the Painter, of which hung in the artist’s studio. Both pictures depict a half-length Collected by Susan Campbell, Browse & Darby, London, 2003, p.25 female figure with angled arms, one of which is reaching below her Catherine Lampert, Euan Uglow: The Complete Paintings, Yale waist. The backgrounds, whilst differing in colour scheme, both University Press, New Haven and London, 2007, p.2-3 cat.no.2 (col. consist of numerous sharp and irregular shapes that add to the ill, p.3) complexity. The model for the present work posed in fellow student Geri Morgan’s room on Leigham Court Road. According to Morgan ‘she looked like an Augustus John with her long hair, bare breasts and long skirt’ (Susan Campbell, Euan Uglow: Some Memories of the Painter, Collected by Susan Campbell, Browse & Darby, London, 2003, p.25).

150 | Bonhams 99 AR Michael Ayrton (1921-1975) The present lot is one of several that Ayrton painted in Greece during Three Dancers the second of two visits he and Elisabeth made in 1958. The couple oil on board spent some time with the poet, George Katsimbalis, and Ayrton 49.8 x 59.7 cm. (19 5/8 x 23 1/2 in.) worked with film director Basil Wright on two documentaries; The Painted circa 1958 Immortal Land and Greek Sculpture. Between filming sessions the Ayrtons travelled widely on the mainland and among the islands £6,000 - 8,000 visiting many local tavernas, where they were fascinated by the €7,300 - 9,700 complicated traditions of dance among the Greek men, whom US$10,000 - 13,000 Michael described “grouping and regrouping like figures in an archaic frieze ... slowly, always watching their feet”. Three Dancers comes Provenance out of those evenings; part of the celebration of Greek culture and With The Redfern Gallery, London the continuities of past and present, history and myth which had begun for Ayrton in Cumae in 1956, and would continue for the rest Exhibited of his life. London, The Redfern Gallery, Michael Ayrton, Jawlensky, Vieira Da Silva, 9 June-10 July 1959, cat.no.4 In formal terms, the monumental, solemn and self-absorbed figures can also be seen as the fore-runners of the Minotaur, although the latter never appeared in a painting, being for Ayrton entirely a creature of bronze, or the stark monochrome of drawings and prints.

We are grateful to Dr. Justine Hopkins for compiling this catalogue entry.

Modern British and Irish Art | 151 100 AR Louis Le Brocquy H.R.H.A. (1916-2012) Image of Samuel Beckett signed and dated ‘LE BROCQUY/98’ (lower right) watercolour 60.3 x 46.7 cm. (23 3/4 x 18 1/2 in.)

£8,000 - 12,000 €9,700 - 15,000 US$13,000 - 20,000

Provenance With Taylor Galleries, Dublin, where acquired by the present owner Private Collection, Ireland

Exhibited Dublin, Taylor Galleries, Louis Le Brocquy, Human Images, Early and Recent Works on Paper, December 1998, cat.no.38

152 | Bonhams 101 AR Louis Le Brocquy H.R.H.A. (1916-2012) From 1955-1966, le Brocquy was focussed on producing a Nude Study body of work that can be loosely termed his ‘white period’. He signed and dated ‘LE BROCQUY/64’ (lower right); further signed and had undertaken a tour of Spain in ’55 and been taken by the dated again ‘L LE BROCQUY 1964’ (on the stretcher) whitewashed walls and brilliant sunshine and the effect that these oil on canvas elements had on passing figures. This led to works such as Nude 64.1 x 46 cm. (25 1/4 x 18 1/8 in.) Study where the presence or form is just identifiable and emerges from an intense white ground as though from shade into light. A £15,000 - 20,000 number of similar works variously titled Study and Laussel Venus, €18,000 - 24,000 among others, and dating from the same year as the present work US$25,000 - 34,000 are in the Smithsonian Institute (Washington DC), forming part of the Joseph H. Hirshhorn Bequest. Provenance With The Dawson Gallery, Dublin, circa 1964, where acquired by the present owner Private Collection, Ireland

Modern British and Irish Art | 153 102 * AR W William Brooker (1918-1983) Grey Still Life I signed and dated ‘Brooker 69’ (lower right) oil on canvas 91.4 x 101.6 cm. (36 x 40 in.)

£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000

Provenance With Arthur Tooth & Sons, London, Philip Rieff & Alison Douglas Knox, Philadelphia Their sale; Freeman’s, Philadelphia, 22 June 2008, lot 64, where acquired by the present owner

154 | Bonhams 103 AR Leon Kossoff (born 1926) In the Studio I pastel 22.8 x 30.4 cm. (9 x 12 in.)

£6,000 - 8,000 €7,300 - 9,700 US$10,000 - 13,000

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

Modern British and Irish Art | 155 104 AR David Hockney R.A. (born 1937) Tyger painting signed with initials ‘DH’ (verso) plaster and oil on board 60.7 x 50.5 cm. (24 7/8 x 19 7/8 in.) Painted in 1960 This work is registered with the David Hockney Archive as 60B40

£40,000 - 60,000 €49,000 - 73,000 US$67,000 - 100,000

Provenance The Artist, by whom gifted to the present owner Private Collection, U.K.

David Hockney arrived in London in September 1959 to study at Tyger Tyger, burning bright, the Royal College of Art. Hockney rapidly absorbed and adopted In the forests of the night; the dominant aesthetic of the day; of this period he recalls ‘The What immortal hand or eye, idea of French painting disappeared really, and American abstract Could frame thy fearful symmetry? expressionism was the great influence. So I tried my hand at it, I did a few pictures, about twenty on three feet by four feet pieces of In what distant deeps or skies. hardboard that were based on a kind of mixture of Alan Davie, cum Burnt the fire of thine eyes? Jackson Pollock cum Roger Hilton. And I did them for a while, and On what wings dare he aspire? then I couldn’t. It was too barren for me’ (David Hockney, My Early What the hand, dare seize the fire? Years, Thames & Hudson, London, 1988, p.41). And what shoulder, & what art, Arguably, the pivotal moment for Hockney came when he introduced Could twist the sinews of thy heart? to this abstract painting symbolic imagery and most significantly And when thy heart began to beat, text. Aged eleven he had watched with fascination as his father What dread hand? & what dread feet? occasionally took work as a sign and poster painter. The memory of observing the careful painting of vibrant words had an impact on the What the hammer? what the chain, young Hockney and now he would begin to introduce words into his In what furnace was thy brain? pictures. He comments ‘I assume people are always inquisitive and What the anvil? what dread grasp, nosy, and if you see a little poem written in the corner of a painting Dare its deadly terrors clasp! it will force you to go up and look at it. And so then the painting becomes something a little different ...when you see the painting you When the stars threw down their spears can see it’s not totally preoccupied with content because the paint And water’d heaven with their tears: itself is interesting...But it also contains pointers which have to do Did he smile his work to see? with content’ (op.cit p.44). The great majority of Hockney’s works Did he who made the Lamb make thee? from mid 1960 through to 1963 include phrases, words and numbers in various scrawl, block or print fonts. These were almost always Tyger Tyger burning bright, appropriated from poetry, literature, household consumables, media In the forests of the night: and even the graffiti sprawled across the lavatory walls of the Earl’s What immortal hand or eye, Court Underground station. Dare frame thy fearful symmetry?

Some of the most emotive employments of language came by way of literature, most prominently Walt Whitman whose work gave rise to Adhesiveness (1960), We Two Boys Together Clinging (1961) and The Love Painting series (1960-61). On occasion, Hockney would also borrow the words of C.P. Cavafy and in the case of the present work William Blake. The single word in the present oil, is from Blake’s famous 1794 poem The Tyger. It may well be that Blake’s meditation of how humanity should handle the beast within appealed to Hockney’s sensibility at this period.

156 | Bonhams Modern British and Irish Art | 157 105 AR Bridget Riley (born 1931) July 23 Bassacs signed and dated ‘Bridget Riley’ 95’ (lower right) and titled ‘July 23 Bassacs’ (lower left) gouache 26.2 x 32.2 cm. (10 1/4 x 12 5/8 in.)

£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000

Provenance Acquired by the present owner from the 1998 exhibition Private Collection, U.K.

Exhibited Edinburgh, Art Aid 1998, cat.no.43

From the late 1980s and throughout the 1990s Riley reintroduced diagonal forms to her painting in order to disrupt and animate the vertical stripes that had so strongly characterised her immediately preceding works. Known as ‘lozenge’ compositions, Riley began to utilise a single visual plane in these works. This practice allowed for colour theory, a long standing principle in the artist’s work, to occupy an even more significant part of her methodology.

In the present work, and in large number of oils and gouaches from this period, Riley selected candy dominated harmonies. These tones are deeply reminiscent of some of her earliest pictorial oils, for example Pink Landscape (1960, Private Collection) and Copy after Le Pont de Courbevoie (1959, Private Collection), works which were executed in direct dialogue with the pointillist artists Seurat and Signac.

Les Baasacs is a village in the south of France where Riley has a studio.

158 | Bonhams Modern British and Irish Art | 159 106 AR Lynn Chadwick (1914-2003) Provenance Maquette for Stranger Private Collection, U.K. signed ‘chadwick’ (on the back of the right wing) bronze with a brown patina Exhibited 31 cm. (12 1/8 in.) high São Paulo, Museu de Arte Moderna, Peter Lanyon, William Scott, Conceived in 1961 in an edition of 6 Lynn Chadwick, Merlyn Evans, VI Bienal, September-December 1961 (ill.b&w, another cast) £12,000 - 18,000 €15,000 - 22,000 Literature US$20,000 - 30,000 Alan Bowness, Lynn Chadwick, Methuen, London, 1962 (ill.b&w, another cast) Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, Lund Humphries, Aldershot, 2006, p.176, cat.no.340 (ill.b&w, another cast)

160 | Bonhams 107 AR Lynn Chadwick (1914-2003) Provenance Maquette VII Walking Couple The Artist numbered ‘736 7/8’ and stamped with the Morris Singer Foundry Thence by family descent stamp (on the base of the female figure’s jacket) bronze with a black patina Exhibited 39.5 cm. (15 1/2 in.) high Brussels, Galerie Farber, Lynn Chadwick and Victor Pasmore, Conceived in 1976 November-December 1976 (another cast)

£25,000 - 35,000 Literature €30,000 - 43,000 Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, Lund US$42,000 - 59,000 Humphries, Aldershot, 2006, p.312, cat.no.736 (another cast)

Modern British and Irish Art | 161 108 * AR W Lynn Chadwick (1914-2003) Two Reclining Figures stamped with initial and numbered ‘642/C/3/4/P.E’ (at the base of the male’s neck) bronze with a grey patina 191.8 cm. (75 1/2 in.) long Conceived in 1972 in an edition of 4

£400,000 - 600,000 €490,000 - 730,000 US$670,000 - 1,000,000

Provenance With Buschlen Mowatt Gallery, Palm Desert, California, where purchased by the present owner Private Collection, Canada

Exhibited London, Marlborough Fine Art, January-February 1974 (ill.b&w, another cast) London, Tate Britain, Lynn Chadwick, 15 September 2003-21 March 2004, unnumbered (another cast, where lent by Lypiatt Studio)

Literature Dennis Farr, Lynn Chadwick, Tate Publishing, London, 2003, p.74-76 (ill.b&w, another cast) Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, Lund Humphries, Aldershot, 2006, p.282-283, cat.no.642 (ill.b&w, another cast)

162 | Bonhams Modern British and Irish Art | 163 Two Reclining Figures (another cast) was one of only thirty four As was often Chadwick’s practice, a smaller maquette preceded the sculptures exhibited at Tate Britain’s diverse exhibition, Lynn larger version of Two Reclining Figures. Whilst this sculpture (Farr & Chadwick (15 September 2003-21 March 2004). At almost two Chadwick cat.no. 644), measuring just 38cm. in length, in essence metres in length the figures are life-size and exude a relaxed aura, is identical to the present lot, the figures’ heads are tilted at a more resting partly on their sides. The male and female figures are joined at obtuse angle so that their rectangular and triangular faces are not as the thighs so that the sculpture is one, monumental unit, heightening prominently displayed. This subtle manipulation of the maquette was their sense of togetherness. There is an intimacy inherent in this quite typical, as Dennis Farr remarks: piece which is difficult to locate in Chadwick’s sculptures from the 1950s and 60s. The male, positioned behind, lifts his right thigh and ‘He could always make a figure larger, working from a maquette, but hip as if he may be about to envelop his partner in a protective and it would never be a literal transcription on a larger scale, for he always tender moment. The gentle and naturalistic modelling of the female’s felt the urge to introduce a new element, a modification to the pose, torso and breasts recalls Chadwick’s slightly earlier Elektra I (1968). say, or a different treatment of the surface textures’ (op. cit. p.68). In the present lot, however, the sculptor has opted for retaining the more natural finish of the bronze, rather than polishing these sections It is also interesting to note that, on this occasion, the sculptor into sleek, shiny surfaces. And it rejects the rougher more primitive decided not to produce polished face versions of this life-size piece; finish of his first major figure groups, The Watchers (1960). The lady only four casts exist, therefore. contrasts most effectively with the more rigid, angular planes of her partner. He is less rounded and voluminous, and the two exquisitely Just two years later Chadwick continued with the Two Reclining complement one another. It is likely the couple are simply sunbathing, Figures theme, this time scaling back their sizes. In Two Reclining raising their necks so that their faces, at right angles to their Figures datable to 1974 (Farr & Chadwick cat.no. 643) the artist has bodies, are fully exposed to the rays of the sun they are apparently again used the same positioning of the couple but with the heads worshipping. almost lying flat. Whereas with Two Lying Figures (Farr & Chadwick cat.no. 645) the pair are turned inward, facing one another, as if Tate’s catalogue, accompanying their exhibition, comments on the engaged in a quiet conversation that only they are privy too. present sculpture: Significantly, Two Reclining Figures was made the year after ‘The familiar process of preliminary maquettes in which he tested Chadwick and his wife Eva established their own foundry, at Lypiatt out ideas was followed here, but there is a new authoritativeness, a Park, Gloucestershire. With Eva by his side, and looking after the new versatility of means at his command, that marks out his mature business side of his profession, Chadwick emerged out of a period style. He was also consolidating, building on his earlier work certainly, of debt in the 1960s into one with more financial stability. His but having established his formal language, as it were, he needed to international reputation had long been secured, and with the luxury of refine and enrich it.’ (Dennis Farr, Lynn Chadwick, Tate Publishing, his own foundry from 1971, the sculptor was able to further scrutinize London, 2003, p.76) the accuracy and quality of the casting process.

164 | Bonhams Modern British and Irish Art | 165 109 AR Brian Wall (born 1931) Two Circles I painted steel 73 cm. (28 3/4 in.) long Conceived in 1966

£7,000 - 9,000 €8,500 - 11,000 US$12,000 - 15,000

Provenance The Artist Thence by descent

We are grateful to Brian Wall for his assistance in cataloguing this lot.

166 | Bonhams 110 AR Brian Wall (born 1931) Bird Form II painted steel 83.8 cm. (33 in.) wide Conceived in 1960

£8,000 - 12,000 €9,700 - 15,000 US$13,000 - 20,000

Provenance The Artist Thence by descent

Literature Chris Stephens, Brian Wall, Momentum, London, 2006, p.44 (ill.b&w)

We are grateful to Brian Wall for his assistance in cataloguing this lot.

Modern British and Irish Art | 167 111 AR W Robyn Denny (born 1930) Exhibited Drink Me Venice, XXXIII Biennale, British Pavillion; 5 Young British Artists, 1966, signed and titled ‘ROBYN DENNY DRINK ME’ (on the stretcher) cat.no.25 (ill.b&w) oil on canvas Brussels, Palais des Beaux-Arts, Jeunes Peintres Anglais, 1967, cat. 243.8 x 198.1 cm. (96 x 78 in.) no.25 (unframed) London, Tate Gallery, Robyn Denny, 7 March-23 April 1973, Painted in 1965 cat.no.58 (ill.b&w); this exhibition travelled to Stuttgart, Wurttengergischer and Leverkusen, Stadtisches Museum £6,000 - 8,000 €7,300 - 9,700 Literature US$10,000 - 13,000 David Thompson, Robyn Denny, Penguin, Middlesex, 1971, p.42, cat.no.29 (col.ill) Provenance With Kasmin Gallery, London The form of the downwardly-depressed bottle in Drink Me, and of Lord Hartington course the title itself, are references to the vial of magic potion drank Sale; Christie’s, London, 3 December 1974, where acquired by the by Alice to shrink and enter the Wonderland. A second oil relating to present owner the Alice in Wonderland tale is the Tate Gallery’s Garden (1966-7). Private Collection, U.K.

168 | Bonhams 112 AR W Patrick Caulfield (1936-2005) Patrick Caulfield attended the Chelsea Collage of Art between 1956 Untitled and 1960. During this period the young Caulfield, like many of his household paint and silver paint on board fellow students, experimented with various approaches under a 76 x 99.2 cm. (29 7/8 x 39 1/8 in.) number of influences both domestic and international. Key amongst Painted circa 1959-60 these were the New York School Painters whose work Caulfield had encountered at the Tate Gallery’s 1959 exhibition The New American Painting. Here Caulfield found particular affinity with the £15,000 - 20,000 paintings of Philip Guston, and his own work began to mimic that of €18,000 - 24,000 this American titan. However, as his time at Chelsea came to an end US$25,000 - 34,000 Caulfield’s approach underwent a noticeable shift. He began to work in readily available materials such as household paints and masonite Provenance board to counterbalance increasingly academic underpinnings within The Artist, by whom gifted to the present owner his work. He adopted simplified imagery, suggestive of objects or Private Collection, U.K. iconography not dissimilar to that of his tutor Prunella Clough or Stuart Davis (whose work Caulfield had encountered at the Tate’s The present lot is accompanied by copies of letters from Pauline 1956 exhibition Modern Art in the United States). Caulfield and Peter Ward, discussing the work. This new approach may be considered as formative to distinctive,

flatly painted iconographic imagery which was to become the lynchpin of his mature style. It may also be supposed that the ecclesiastic form suggested in the central component of Untitled is a precursor of a subject further explored in a group of works, painted in 1967, which include Battlements (Tate Gallery), Stained Glass Window (Musée National d’Histoire et d’Art, Luxemburg) and Parish Church (The Scottish National Gallery of Modern Art).

Modern British and Irish Art | 169 113 AR W Victor Pasmore (1908-1998) Green abstracted development signed with initials ‘VP’ (lower centre) oil on canvas 60.5 x 177 cm. (23 3/4 x 69 3/4 in.)

£12,000 - 18,000 €15,000 - 22,000 US$20,000 - 30,000

Provenance The Artist Thence by descent Sale; Bonhams, London, 1 July 2009, lot 65, where acquired by the present owner Private Collection, U.K.

170 | Bonhams

114 * AR W Victor Pasmore R.A. (1908-1998) In Golden Ochre, and other works from this period, Pasmore is Golden Ochre practicing abstract methodology in its purest form. The work consists signed with initials ‘VP.’ (verso) of just four simple elements; a white Formica shell within a hardwood oil on plywood relief on painted Formica in artist’s frame frame, a quadrilateral plywood panel, a brown oil shield-like form 123.3 x 123.3 cm. (48 5/8 x 48 5/8 in.) (including the frame) and five glossy black lines painted exactingly with the aid of masking Executed in 1964 tape. Pasmore’s constructs from this date are the culmination of over fifteen years contemplation of the abstract cause, a pursuit rewarded £20,000 - 30,000 with a Tate Gallery retrospective the following year. The ambitions €24,000 - 36,000 of these works are best summarised by the artist himself in an US$34,000 - 51,000 introduction to article published in 1961;

Provenance The new manifestation of painting and sculpture, in terms of With Marlborough Fine Art, London complete autonomy of form, is an evolution without precedent in William Lescaze Estate, U.S.A. the visual arts. For the first time a means of development has been Thence by descent to the present owner achieved which is altogether independent of imitative techniques, Private Collection, U.S.A. literary associations and decorative functions. In abstract form, painting and sculpture have attained an objective status analogous Exhibited to that of music. (Victor Pasmore, What is Abstract Art, The Sunday London, Marlborough New London Gallery, Victor Pasmore, 1964 (as Times, 5 February 1961, p.21) Golden Brown 2) A similar work, Brown Development No 2 (Private Collection), was Literature produced the same year. Alan Bowness & Luigi Lambertini, Victor Pasmore; A Catalogue Raisonné of Paintings, Constructions and Graphics 1926-1979, Thames & Hudson, London, 1980, cat.no.140, (ill.b&w, and col.ill p.132)

Modern British and Irish Art | 171 115 AR Craigie Aitchison (1926-2009) Tree and dog oil on canvas 25.3 x 20.2 cm. (10 x 8 in.)

£15,000 - 25,000 €18,000 - 30,000 US$25,000 - 42,000

Provenance Private Collection, U.K.

Aitchison’s Bedlington terrier paintings often depicted his own pets; Sugarbush, Wayney and Dusty. They were initially painted as purely private coping mechanisms for his bereavement as each dog passed. However the motif proved so popular that it became one of the central themes within his work from the 1980s and early 90s. For Aitchison the dogs symbolised a combination of lamb-like innocence and of the melancholy associated with loss.

172 | Bonhams Modern British and Irish Art | 173 116 AR Peter Lanyon (1918-1964) In Stone signed, titled and dated ‘Peter Lanyon/In Stone 1963’ (on the backboard) gouache and crayon 34.4 x 24.2 cm. (13 1/2 x 9 1/2 in.)

£7,000 - 10,000 €8,500 - 12,000 US$12,000 - 17,000

Provenance The Artist Mrs. Barbara Waterlow, thence by descent to the present owner Private Collection, U.K.

117 AR Sir Terry Frost R.A. (1915-2003) Violet Craze signed, titled and dated ‘VIOLET/CRAZE/Terry Frost/3/01’ (verso) oil and collage on canvas 40.6 x 50.8 cm. (16 x 20 in.)

£6,000 - 8,000 €7,300 - 9,700 US$10,000 - 13,000

Provenance With Hillsboro Fine Art, Dublin, where acquired by the present owner Private Collection, Ireland

174 | Bonhams 118 AR John Wells (1907-2000) Hilary Bourne was an arts and crafts weaver in the Sussex village of Landing Ground Ditchling during the second half of the 20th century. Ditchling was signed, inscribed and dated ‘Landing Ground/John Wells. 1962-77/ the noted home of Eric Gill’s Guild of St Joseph and Dominic – a Anchor Studio/Trewarveneth Street/NEWLYN’ (on the backboard) loose community of makers, established on medieval and Catholic oil on board principles. In 1985 Bourne, together with her sister Joanna, founded 17 x 43.5 cm. (6 3/4 x 17 1/4 in.) the Ditchling Museum to celebrate the village’s rich artistic heritage (today the Ditchling Museum of Art + Craft, currently one of six £10,000 - 15,000 nominees up for the Art Fund prize of UK Museum of the Year). €12,000 - 18,000 US$17,000 - 25,000

Provenance Ms. Hilary Bourne Thence by descent to the present owner

Exhibited Sussex, Ditchling Museum of Art + Craft, A 90th Birthday Celebration for Hilary Bourne, 1999

Modern British and Irish Art | 175 The Property of the late Ms. Vivien Gough-Cooper

119 AR Patrick Heron (1920-1999) Heron’s work from this period owes its heritage to the post-war 3 Cadmiums, 5 Discs American Colour Field and Abstract Expressionist painters that he signed, titled and dated ‘PATRICK HERON/3 CADMIUMS, 5 DISCS:/ had been such a keen advocate of throughout the 1950s. These APRIL 1966’ (verso) artists, such as Mark Rothko, Kenneth Nolan and Jackson Pollock, oil on canvas had rapidly become the dominant and accepted greats but in 1965, 76.8 x 102.2 cm. (30 1/4 x 40 1/4 in.) a year prior to the execution of the present work, Heron spoke (unframed) out publically for the first time against what he now saw as an American hold over art. He felt this was becoming chauvinistic, overly £50,000 - 70,000 academic and especially arid in its approach to craft which he stated €61,000 - 85,000 was ‘clinically impersonal, literally dead flat in quality’ (op.cit, p.188). US$84,000 - 120,000 He was insistent that his work, and indeed British painting in general, must not succumb to such pitfalls. This initiative manifested itself Provenance in the ‘wobbly hard-edge’ paintings. In these works Heron would, With The Waddington Galleries, London in just a matter of purposeful seconds, mark out with charcoal the Ms. Vivien Gough-Cooper frontiers between each intended colour area, then laboriously apply the considered and uniformly flat colour in oil with a small Chinese Painted in April of 1966 Three Cadmiums, Five Discs is an early watercolour brush in order to compose ‘asymmetrical, unequal, example of, as the artist referred to them, the ‘wobbly hard-edge’ disparate formal ingredients into a state of architectonic harmony’ paintings. These abstract meditations of composition and colour (loc.cit). interaction, defined by the absolute edges between colour plains, were the central component of the artist’s practice for more than The harmony of this particular composition masterfully rests on a decade. Mel Gooding, partly employing the language of James just three tones; deep red, red and orange cadmium. This is a Joyce, remarks that ‘These paintings are among Heron’s most combination that Heron returned to after the completion of similar exuberantly playful; they are, above all, expressions of delight in the works of the same year namely Three Cadmiums: January-April (Yale ineluctable modalities of the visible’ (Mel Gooding, Patrick Heron, Center for British Art, New Haven) and Three Cadmiums, Four Discs Phaidon, London, 1994, p.185). (Government Art Collection). The present work comes from the estate of Vivien Gough-Cooper, a director of the Richard Demarco Gallery, Edinburgh from 1966. The gallery, under the guidance of Demarco and with the support of Gough-Cooper, represented artists such as Joseph Beuys and Marina Abramović and was also responsible for introducing much early performance art to Scotland. Throughout the 1960s and 1970s Vivien Gough-Cooper assembled an extensive and bold collection of some of Britain’s foremost practitioners of visual art.

176 | Bonhams Modern British and Irish Art | 177 Various Properties

120 AR Ben Nicholson O.M. (1894-1982) Three Pears wash and pencil on paper, on the artist’s prepared board 52.7 x 68.6 cm. (21 1/8 x 27 in.) (the whole)

£10,000 - 15,000 €12,000 - 18,000 US$17,000 - 25,000

Provenance Acquired from the 1972 exhibition by R. Allison, Esq., thence by descent to the present owner Private Collection, U.K.

Exhibited London, The Piccadilly Gallery, December 1972, cat.no.61

178 | Bonhams 121 AR Dame Barbara Hepworth (1903-1975) Exhibited Pacific London, Marlborough Gallery, Barbara Hepworth, Recent Work, signed and dated ‘Barbara Hepworth/69’ (lower right); inscribed and Sculpture, Paintings and Prints, February-March 1970, cat.no.43 dated again ‘Pacific 1969/oil and pencil’ (verso) (ill.b&w) oil and pencil on board 54.6 x 54.6 cm. (21 1/2 x 21 1/2 in.) We are grateful to Dr. Sophie Bowness for her assistance in cataloguing this lot. £20,000 - 30,000 €24,000 - 36,000 US$34,000 - 51,000

Provenance The Matsozakaya Company, Japan, 1973 Their sale; Christie’s, London, 8 June 2001, lot 187 With Hillsboro Fine Art, Dublin, where acquired by the present owner Private Collection, Ireland

Modern British and Irish Art | 179 122 Alfred Wallis (1855-1942) Ellen Wilkinson was one of the first women to become an elected Luggers off the harbour mouth Member of Parliament, initially for Middlesbrough East (1924-29) and pencil and oil on card latterly for Jarrow (1936-47). She served as Minister for Education 14.6 x 24.1 cm. (5 3/4 x 9 1/2 in.) in the Attlee government and penned a number of political books. Wilkinson frequented St. Ives from the 1930s onwards and was a £8,000 - 10,000 supporter of the avant-garde culture of the day. €9,700 - 12,000 US$13,000 - 17,000

Provenance Acquired by The Rt. Hon. Ellen Wilkinson in the 1930s Thence by descent to the present owner

180 | Bonhams 123 Alfred Wallis (1855-1942) The 1968 Tate catalogue entry notes that the lighthouse depicted is Two Steamers in St. Ives Bay Godrevy Lighthouse and that Adrian Stokes thought this to be a late oil on canvas example of Wallis’s work. 38.1 x 50.5 cm. (15 x 19 7/8 in.) End of sale £20,000 - 30,000 €24,000 - 36,000 US$34,000 - 51,000

Provenance Collection of Mr. & Mrs. Adrian Stokes Private Collection, U.K.

Exhibited London, Tate Gallery, Alfred Wallis, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.135 (where lent by Mrs. Adrian Stokes); this exhibition travelled to York, City Art Gallery, 6-28 July, Aberdeen, Aberdeen Art Gallery, 3-25 August and Kendal, Abbot Hall Art Gallery, 31 August-22 September

Literature Edwin Mullins, Alfred Wallis, Cornish Primitive, Pavilion, London, 1994, p.46 (col.ill)

Modern British and Irish Art | 181 Index Entry Lot No's Aitchison, Craigie 115 Nevinson, C.R.W. 37, 38 Ayrton, Michael 81, 99 Nicholson, Ben 120 Bell, Vanessa 48 Nicholson, Sir William 41 Bowen, Denis 91 Nolan, Sir Sidney 85, 86, 87 Bradley, Helen 26, 34 Orpen, Sir William 44 Brooker, William 102 Paolozzi, Sir Eduardo 82 Burra, Edward 84 Pasmore, Victor 113, 114 Caulfield, Patrick 112 Piper, John 7, 8, 9, 10, 67, 68, 69 Chadwick, Lynn 106, 107, 108 Pissarro, Lucien 35, 36, 39 Collins, Cecil 50 Procter, Ernest 49 Craxton, John 5 Reynolds, Alan 88, 89, 90 De Maistre, Roy 51 Riley, Bridget 105 Denny, Robyn 111 Sickert, Walter Richard 42, 43 Dillon, Gerard 18 Smith, Sir Matthew 47 Frink, Dame Elisabeth 70, 71, 72, 73, 74, Sutherland, Graham 11 75, 76, 77, 78 Uglow, Euan 95, 96, 97, 98 Frost, Sir Terry 117 Vaughan, Keith 1, 2, 3, 4 Gear, William 92 Wadsworth, Edward 46 Gill, Eric 83 Wall, Brian 109, 110 Henry, Paul 16 Wallis, Alfred 122, 123 Hepworth, Dame Barbara 121 Wells, John 118 Heron, Patrick 119 Weschke, Karl 93, 94 Hitchens, Ivon 52, 53, 54, 55, 56, 57, 58, 59, Williams, Sir Kyffin 27, 28, 29, 30, 31, 32 60, 61, 62, 63, 64, 65, 66 Yeats, Jack Butler 17 Holofcener, Lawrence 45 John, Sir Augustus 40 Kossoff, Leon 103 Lanyon, Peter 116 Le Brocquy, Louis 100, 101 Lowndes, Alan 33 Lowry, Laurence Stephen 19, 20, 21, 22, 23, 24, 25 McWilliam, Frederick Edward 14, 15, 79 Meadows, Bernard 80 Minton, John 6 Moore, Henry 12, 13 Modern British and Irish Art Tuesday 3 June 2014 Knightsbridge, London at 2pm

+44 (0) 20 7393 3949 [email protected]

John Bratby R.A. (British, 1928-1992) Kitchen still life with sculpture signed ‘BRATBY’ (lower left) oil on board circa 1956 £10,000 - 15,000

International Auctioneers and Valuers - bonhams.com//modernbritish DaviD Hockney (BritisH, Born 1937) contact closing Date Vertical Dogs (MCA Tokyo 345) +44 (0) 20 7468 8212 for entries Etching with aquatint in colours, [email protected] Friday 6 June 2014 1995, signed and numbered 36/80, 385 x 465mm (PL) £4,000 - 6,000

Prints anD MultiPles New Bond Street Tuesday 15 July 2014

bonhams.com/prints Edward william CookE, ra ContaCt (British, 1811-1880) +44 (0) 20 7468 8201 Evening on the lagoon [email protected] from Isola San Servolo, Venice (detail) oil on canvas 39.5 x 66.5cm (15 9/16 x 26 3/16in). £60,000 - 80,000

19th CEntury EuropEan, ViCtorian and British imprEssionist art New Bond Street Wednesday 25 June 2014

bonhams.com/19thcentury Scottish Art Thursday 24 September Edinburgh

Closing date for entries Friday 27 June 2014

Enquires +44 (0) 131 240 2292 [email protected]

Samuel John Peploe, RSA (British, 1871-1935) Still Life (detail) £25,000 - 35,000

International Auctioneers and Valuers - bonhams.com/scottishart Sir Stanley Spencer r.a. (1891-1959) contact cloSing date Garden Path, Cookham Rise +44 (0) 20 7468 8295 for entrieS oil on canvas [email protected] Friday 10 October 2014 76.2 x 50.8 cm. (30 x 20 in.) Painted in 1949 Sold for £769,250

Scottish Art Thursday 24 September Edinburgh

Closing date for entries Friday 27 June 2014

Enquires +44 (0) 131 240 2292 [email protected]

Samuel John Peploe, RSA (British, 1871-1935) Still Life (detail) £25,000 - 35,000

Modern BritiSh and iriSh art New Bond Street Wednesday 19 November 2014

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Penny Day Guildford Knowle 176 St. Vincent Street, 1075 HL Amsterdam +1 (212) 644 9007 fax Millmead, The Old House Glasgow +31 20 67 09 701 Beijing Philip Keith Hadji Rahimipour +44 20 7468 8366 Motorcycles South African Art Guildford, Station Road G2 5SG +31 20 67 09 702 fax Representatives: Hongyu Yu +44 2920 727 980 +1 415 503 3392 Ben Walker Giles Peppiatt Surrey GU2 4BE Knowle, Solihull +44 141 223 8866 [email protected] Arizona Suite 511 U.S.A Impressionist & +44 8700 273616 +44 20 7468 8355 +44 1483 504 030 West Midlands +44 141 223 8868 fax Terri Adrian-Hardy Chang An Club Fredric Backlar Chinese & Asian Art Modern Art Automobilia +44 1483 450 205 fax B93 0HT Spain - Madrid +1 (480) 994 5362 10 East Chang An Avenue +1 323 436 5416 UK UK Adrian Pipiros Sporting Guns +44 1564 776 151 Representatives: Nuñez de Balboa no.4 - 1A Beijing 100006 Asaph Hyman Deborah Allan +44 8700 273621 Patrick Hawes Isle of Wight +44 1564 778 069 fax Wine & Spirits Madrid California +86(0) 10 6528 0922 Tom Gilbey 28001 American Paintings +44 20 7468 5888 +44 20 7468 8276 +44 20 7393 3815 +44 1273 220 000 Central Valley +86(0) 10 6528 0933 fax Oxford • +44 1382 330 256 +34 91 578 17 27 David Daniel [email protected] Alan Fausel U.S.A U.S.A Musical Instruments Representative: Banbury Road [email protected] +1 (916) 364 1645 +1 212 644 9039 Dessa Goddard Tanya Wells Philip Scott Toys & Dolls Kent Shipton on Cherwell Wales Japan +1 415 503 3333 +1 917 206 1685 +44 20 7393 3855 Leigh Gotch George Dawes Kidlington OX5 1JH Switzerland - Geneva District of Columbia/ Akiko Tsuchida Antiquities HONG KONG +44 20 8963 2839 +44 1483 504 030 +44 1865 853 640 Cardiff Rue Etienne-Dumont 10 Mid-Atlantic Level 14 Hibiya Central Building Madeleine Perridge +852 3607 0010 Islamic & Indian Art Native American Art +44 1865 372 722 fax 7-8 Park Place, 1204 Geneva Martin Gammon 1-2-9 Nishi-Shimbashi West Sussex Cardiff CF10 3DP Switzerland +1 (202) 333 1696 Minato-ku +44 20 7468 8226 AUSTRALIA Alice Bailey Jim Haas Travel Pictures Yorkshire & North East +44 2920 727 980 +41 76 379 9230 Yvett Klein +44 20 7468 8268 +1 415 503 3294 Veronique Scorer Jeff Burfield Tokyo 105-0003 +44 1243 787 548 England +44 2920 727 989 fax [email protected] Southern California +81 (0) 3 5532 8636 Antique Arms & Armour +61 2 8412 2222 +44 20 7393 3962 Christine Eisenberg +81 (0) 3 5532 8637 fax UK Japanese Art Natural History South West Leeds Representatives: +1 (949) 646 6560 [email protected] David Williams Clocks UK U.S.A Urban Art England 30 Park Square West EUrOpE Denmark +44 20 7393 3807 UK Suzannah Yip Claudia Florian Gareth Williams Leeds LS1 2PF Henning Thomsen Florida Singapore U.S.A James Stratton +44 20 7468 8368 +1 323 436 5437 +44 20 7468 5879 Bath +44 113 234 5755 Austria - Vienna +45 4178 4799 +1 (305) 228 6600 Bernadette Rankine +44 113 244 3910 fax Tuchlauben 8 Paul Carella +44 20 7468 8364 U.S.A Queen Square House [email protected] 11th Floor, Wisma Atria Charlotte Street 1010 Vienna Georgia 435 Orchard Road +1 415 503 3360 U.S.A Jeff Olson Old Master Pictures Watches & Bath BA1 2LL North West England Austria Spain - Marbella Mary Moore Bethea Singapore 238877 Jonathan Snellenburg +1 212 461 6516 UK Wristwatches +44 1225 788 988 +43 (0)1 403 00 01 James Roberts +1 (404) 842 1500 +65 (0) 6701 8038 Art Collections, +1 212 461 6530 Andrew Mckenzie UK +44 1225 446 675 fax Chester [email protected] +34 952 90 62 50 +65 (0) 6701 8001 fax Estates & Valuations Jewellery +44 20 7468 8261 Paul Maudsley New House [email protected] Illinois bernadette.rankine@ Harvey Cammell Coins & Medals UK U.S.A +44 20 7447 7412 Cornwall – Truro 150 Christleton Road Belgium - Brussels Ricki Blumberg Harris bonhams.com +44 (0) 20 7468 8340 UK Jean Ghika Mark Fisher U.S.A. 36 Lemon Street Chester, Cheshire Boulevard portugal +1 (312) 475 3922 CH3 5TD Saint-Michel 101 Filipa Rebelo de Andrade John Millensted +44 20 7468 8282 +1 323 436 5488 Jonathan Snellenburg Truro +1 (773) 267 3300 Taiwan Cornwall +44 1244 313 936 1040 Brussels +351 91 921 4778 Summer Fang Art Nouveau & Decorative +44 20 7393 3914 U.S.A +1 212 461 6530 TR1 2NR +44 1244 340 028 fax +32 (0)2 736 5076 [email protected] Massachusetts 37th Floor, Taipei 101 Tower Art & Design U.S.A Susan Abeles Orientalist Art HONG KONG +44 1872 250 170 +32 (0)2 732 5501 fax Boston/New England Nor 7 Xinyi Road, Section 5 UK Paul Song +1 212 461 6525 Charles O’Brien Nick Biebuyck +44 1872 250 179 fax Carlisle [email protected] russia - Moscow Amy Corcoran Taipei, 100 Mark Oliver +1 323 436 5455 AUSTRALIA +44 20 7468 8360 +852 2918 4321 48 Cecil Street Anastasia Vinokurova +1 (617) 742 0909 +886 2 8758 2898 +44 20 7393 3856 Anellie Manolas Exeter Carlisle, Cumbria France - paris +7 964 562 3845 +886 2 8757 2897 fax The Lodge CA1 1NT 4 rue de la Paix [email protected] Nevada [email protected] U.S.A Contemporary Art +61 2 8412 2222 Photography Whisky Southernhay West Exeter, +44 1228 542 422 75002 Paris David Daniel Frank Maraschiello UK HONG KONG U.S.A UK Devon +44 1228 590 106 fax +33 (0)1 42 61 1010 russia - St petersburg +1 (775) 831 0330 +1 212 644 9059 Gareth Williams Graeme Thompson Judith Eurich Martin Green EX1 1JG +33 (0)1 42 61 1015 fax Marina Jacobson AUSTrALIA +44 20 7468 5879 +852 3607 0006 +1 415 503 3259 +44 1292 520000 +44 1392 425 264 Manchester [email protected] +7 921 555 2302 New Mexico Australian Art U.S.A U.S.A +44 1392 494 561 fax The Stables [email protected] Leslie Trilling Sydney Merryn Schriever Jeremy Goldsmith Marine Art Portrait Miniatures Joseph Hyman 213 Ashley Road Germany - Cologne +1 (505) 820 0701 76 Paddington Street Winchester Hale WA15 9TB Albertusstrasse 26 Paddington NSW 2021 +61 2 8412 2222 +1 917 206 1656 UK Jennifer Tonkin +1 917 206 1661 +44 161 927 3822 50667 Cologne Alex Clark Veronique Scorer +44 20 7393 3986 HONG KONG The Red House MIDDLE EAST Oregon Australia Hyde Street +44 161 927 3824 fax +49 (0)221 2779 9650 Sheryl Acheson +61 (0) 2 8412 2222 +61 3 8640 4088 Costume & Textiles +44 20 7393 3962 Daniel Lam Winchester +49 (0)221 2779 9652 fax Israel +1(503) 312 6023 +61 (0) 2 9475 4110 fax Claire Browne U.S.A Prints +852 3607 0004 Hants SO23 7DX [email protected] Joslynne Halibard [email protected] Australian Colonial +44 1564 732969 Gregg Dietrich UK +44 1962 862 515 +972 (0)54 553 5337 Texas Furniture and Australiana +1 917 206 1697 Rupert Worrall Wine +44 1962 865 166 fax Germany - Munich [email protected] Amy Lawch Melbourne +1 415 861 7500 Entertainment +44 20 7468 8262 UK Maximilianstrasse 52 +1 (713) 621 5988 Como House Richard Harvey Tetbury 80538 Munich Cnr Williams Road Memorabilia Mechanical Music U.S.A 22a Long Street +49 (0) 89 2420 5812 Washington Books, Maps & UK Jon Baddeley Judith Eurich +44 (0) 20 7468 5811 & Lechlade Avenue Tetbury +49 (0) 89 2420 7523 fax Heather O’Mahony South Yarra VIC 3141 Manuscripts Stephanie Connell +44 20 7393 3872 +1 415 503 3259 U.S.A Gloucestershire [email protected] +1 (206) 218 5011 UK +44 20 7393 3844 Doug Davidson GL8 8AQ Matthew Haley U.S.A Modern, Contemporary Russian Art +1 415 503 3363 +44 1666 502 200 Greece - Athens CANADA AFrICA +44 20 7393 3817 Catherine Williamson & Latin American Art UK HONG KONG +44 1666 505 107 fax 7 Neofytou Vamva Street U.S.A +1 323 436 5442 U.S.A Sophie Law Daniel Lam 10674 Athens Toronto, Ontario • Nigeria +30 (0) 210 3636 404 Jack Kerr-Wilson Christina Geiger Alexis Chompaisal +44 20 7468 8334 +852 3607 0004 Neil Coventry [email protected] 20 Hazelton Avenue +234 (0)7065 888 666 +1 212 644 9094 +1 323 436 5469 U.S.A Toronto, ONT [email protected] Yelena Harbick M5R 2E2 British & European Glass Modern Design +1 212 644 9136 +1 (416) 462 9004 South Africa - Johannesburg UK Gareth Williams [email protected] Penny Culverwell Simon Cottle +44 20 7468 5879 +27 (0)71 342 2670 Montreal, Quebec [email protected] +44 20 7468 8383 David Kelsey U.S.A. +1 (514) 341 9238 Suzy Pai [email protected] +1 415 503 3343 G-NET/3/14

SD07/05/14 NOTICE TO BIDDERS Bidding in person identity of your client in advance, we will be in a position to G Gold bullion exempt from VAT on the Hammer Price This notice is addressed by Bonhams to any person who may a qualified electrician on their status before doing so. Such Bonhams’ behalf which is in any way descriptive of any Lot You should come to our Bidder registration desk at the Sale address the invoice to your principal rather than you. We will and subject to VAT at the prevailing rate on the Buyer’s be interested in a Lot, including Bidders and potential Bidders items which are unsuitable for connection are sold as items of or as to the anticipated or likely selling price of any Lot. No venue and fill out a Bidder Registration Form on (or, if possible, require proof of the agent’s client’s identity and residence in Premium (including any eventual Buyer of the Lot). For ease of reference interest for display purposes only. If you yourself do not have statement or representation by Bonhams or on its behalf in any before) the day of the Sale. The bidding number system is advance of any bids made by the agent on his behalf. Please • Zero rated for VAT, no VAT will be added to the Hammer we refer to such persons as “Bidders” or “you”. Our List of expertise regarding a Lot, you should consult someone who way descriptive of any Lot or any Estimate is incorporated into sometimes referred to as “paddle bidding”. You will be issued refer to our Conditions of Business and contact our Customer Price or the Buyer’s Premium Definitions and Glossary is incorporated into this Notice to does to advise you. We can assist in arranging facilities for you our Buyer’s Agreement. with a large card (a “paddle”) with a printed number on it. Services Department for further details. a Buyers from within the EU: VAT is payable at the Bidders. It is at Appendix 3 at the back of the Catalogue. to carry out or have carried out more detailed inspections and This will be attributed to you for the purposes of the Sale. prevailing rate on just the Buyer’s Premium (NOT the Where words and phrases are used in this notice which are in tests. Please ask our staff for details. Alterations Should you be a successful Bidder you will need to ensure that 6. CONTRACTS BETWEEN THE BUYER AND SELLER Hammer Price). Buyers from outside the EU: VAT is the List of Definitions, they are printed in italics. Descriptions and Estimates may be amended at Bonhams’ your number can be clearly seen by the Auctioneer and that it AND THE BUYER AND BONHAMS payable at the prevailing rate on both Hammer Price Any person who damages a Lot will be held liable for the discretion from time to time by notice given orally or in is your number which is identified as the Buyer’s. You should and Buyer’s Premium. If a Buyer, having registered under IMPORTANT: Additional information applicable to the Sale loss caused. writing before or during a Sale. not let anyone else use your paddle as all Lots will be invoiced On the Lot being knocked down to the Buyer, a Contract for a non-EU address, decides that the item is not to be may be set out in the Catalogue for the Sale, in an insert in to the name and address given on your Bidder Registration Sale of the Lot will be entered into between the Seller and exported from the EU, then he should advise Bonhams the Catalogue and/or in a notice displayed at the Sale venue 3. DESCRIPTIONS OF LOTS AND ESTIMATES THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST Form. Once an invoice is issued it will not be changed. If there the Buyer on the terms of the Contract for Sale set out in immediately. and you should read them as well. Announcements affecting FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE Contractual Description of a Lot is any doubt as to the Hammer Price of, or whether you are the Appendix 1 at the back of the Catalogue. You will be liable to the Sale may also be given out orally before and during the STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT The Catalogue contains an Entry about each Lot. Each Lot successful Bidder of, a particular Lot, you must draw this to the pay the Purchase Price, which is the Hammer Price plus any In all other instances no VAT will be charged on the Hammer Sale without prior written notice. You should be alert to the EXAMINED ON YOUR BEHALF BEFORE THE SALE. is sold by its respective Seller to the Buyer of the Lot as attention of the Auctioneer before the next Lot is offered for applicable VAT. At the same time, a separate contract is also Price, but VAT at the prevailing rate will be added to Buyer’s possibility of changes and ask in advance of bidding if there corresponding only with that part of the Entry which is Sale. At the end of the Sale, or when you have finished bidding entered into between us as Auctioneers and the Buyer. This Premium which will be invoiced on a VAT inclusive basis. have been any. 4. CONDUCT OF THE SALE printed in bold letters and (except for the colour, which may please return your paddle to the Bidder registration desk. is our Buyer’s Agreement, the terms of which are set out in be inaccurately reproduced) with any photograph of the Lot Appendix 2 at the back of the Catalogue. Please read the terms 9. PAYMENT 1. OUR ROLE Our Sales are public auctions which persons may attend and in the Catalogue. The remainder of the Entry, which is not Bidding by telephone (only available on lots with a of the Contract for Sale and our Buyer’s Agreement contained you should take the opportunity to do so. We do reserve the printed in bold letters, represents Bonhams’ opinion (given on low estimate greater than £400) in the Catalogue in case you are the successful Bidder. We It is of critical importance that you ensure that you have readily In its role as Auctioneer of Lots, Bonhams acts solely for and right at our sole discretion to refuse admission to our premises behalf of the Seller) about the Lot only and is not part of the If you wish to bid at the Sale by telephone, please complete a may change the terms of either or both of these agreements available funds to pay the Purchase Price and the Buyer’s in the interests of the Seller. Bonhams’ job is to sell the Lot at or to any Sale without stating a reason. We have complete Contractual Description in accordance with which the Lot is Telephone Bidding Form, which is available from our offices or in advance of their being entered into, by setting out different Premium (plus VAT and any other charges and Expenses to us) the highest price obtainable at the Sale to a Bidder. Bonhams discretion as to whether the Sale proceeds, whether any Lot is sold by the Seller. in the Catalogue. Please then return it to the office responsible terms in the Catalogue and/or by placing an insert in the in full before making a bid for the Lot. If you are a successful does not act for Buyers or Bidders in this role and does not included in the Sale, the manner in which the Sale is conducted for the Sale at least 24 hours in advance of the Sale. It is your Catalogue and/or by notices at the Sale venue and/or by oral Bidder, payment will be due to us by 4.30 pm on the second give advice to Buyers or Bidders. When it or its staff make and we may offer Lots for Sale in any order we choose Estimates responsibility to check with our Bids Office that your bid has announcements before and during the Sale. You should be working day after the Sale so that all sums are cleared by statements about a Lot or, if Bonhams provides a Condition notwithstanding the numbers given to Lots in the Catalogue. In most cases, an Estimate is printed beside the Entry. Estimates been received. Telephone calls will be recorded. The telephone alert to this possibility of changes and ask if there have been the eighth working day after the Sale. Unless agreed by us in Report on a Lot it is doing that on behalf of the Seller of the You should therefore check the date and starting time of the are only an expression of Bonhams’ opinion made on behalf bidding facility is a discretionary service and may not be any. advance payments made by anyone other than the registered Lot. Bidders and Buyers who are themselves not expert in Sale, whether there have been any withdrawals or late entries. of the Seller of the range where Bonhams thinks the Hammer available in relation to all Lots. We will not be responsible for Buyer will not be accepted. Payment will have to be by one of the Lots are strongly advised to seek and obtain independent Remember that withdrawals and late entries may affect the Price for the Lot is likely to fall; it is not an Estimate of value. bidding on your behalf if you are unavailable at the time of 7. BUYER’S PREMIUM AND OTHER CHARGES the following methods (all cheques should be made payable to advice on the Lots and their value before bidding for them. time at which a Lot you are interested in is put up for Sale. We It does not take into account any VAT or Buyer’s Premium the Sale or if the telephone connection is interrupted during PAYABLE BY THE BUYER Bonhams 1793 Limited). Bonhams reserves the right to vary the The Seller has authorised Bonhams to sell the Lot as its agent have complete discretion to refuse any bid, to nominate any payable. Lots can in fact sell for Hammer Prices below and bidding. Please contact us for further details. terms of payment at any time. on its behalf and, save where we expressly make it clear to bidding increment we consider appropriate, to divide any Lot, above the Estimate. Any Estimate should not be relied on as an Under the Buyer’s Agreement, a premium (the Buyer’s the contrary, Bonhams acts only as agent for the Seller. Any to combine two or more Lots, to withdraw any Lot from a Sale indication of the actual selling price or value of a Lot. Estimates Bidding by post or fax Premium) is payable to us by the Buyer in accordance with the Sterling personal cheque drawn on a UK branch of a bank statement or representation we make in respect of a Lot is and, before the Sale has been closed, to put up any Lot for are in the currency of the Sale. Absentee Bidding Forms can be found in the back of this terms of the Buyer’s Agreement and at rates set out below, or building society: all cheques must be cleared before you made on the Seller’s behalf and, unless Bonhams sells a Lot auction again. Auction speeds can exceed 100 Lots to the hour Catalogue and should be completed and sent to the office calculated by reference to the Hammer Price and payable in can collect your purchases; as principal, not on our behalf and any Contract for Sale is and bidding increments are generally about 10%. However Condition Reports responsible for the Sale. It is in your interests to return your addition to it. Storage charges and Expenses are also payable between the Buyer and the Seller and not with us. If Bonhams these do vary from Sale to Sale and from Auctioneer to In respect of most Lots, you may ask for a Condition Report on form as soon as possible, as if two or more Bidders submit by the Buyer as set out in the Buyer’s Agreement. All the sums Bankers draft/building society cheque: if you can provide sells a Lot as principal this will either be stated in the Catalogue Auctioneer. Please check with the department organising the its physical condition from Bonhams. If you do so, this will be identical bids for a Lot, the first bid received takes preference. payable to us by the Buyer are subject to VAT. For this Sale the suitable proof of identity and we are satisfied as to the or an announcement to that effect will be made by the Sale for advice on this. Where a Reserve has been applied to a provided by Bonhams on behalf of the Seller free of charge. In any event, all bids should be received at least 24 hours following rates of Buyer’s Premium will be payable by Buyers genuineness of the draft or cheque, we will allow you to collect Auctioneer, or it will be stated in a notice at the Sale or an Lot, the Auctioneer may, in his absolute discretion, place bids Bonhams is not entering into a contract with you in respect before the start of the Sale. Please check your Absentee of Lots: your purchases immediately; insert in the Catalogue. (up to an amount not equalling or exceeding such Reserve) on of the Condition Report and accordingly does not assume Bidding Form carefully before returning it to us, fully completed behalf of the Seller. We are not responsible to you in respect of 25% up to £50,000 of the Hammer Price responsibility to you in respect of it. Nor does the Seller owe or and signed by you. It is your responsibility to check with our Cash: you may pay for Lots purchased by you at this Sale with Bonhams does not owe or undertake or agree to any duty the presence or absence of any Reserve in respect of any Lot. If 20% from £50,001 to £1,000,000 of the Hammer Price agree to owe you as a Bidder any obligation or duty in respect Bids Office that your bid has been received. This additional notes, coins or travellers cheques in the currency in which or responsibility to you in contract or tort (whether direct, there is a Reserve it will normally be no higher than the lower 12% from £1,000,001 of the Hammer Price of this free report about a Lot, which is available for your own service is complimentary and is confidential. Such bids are the Sale is conducted (but not any other currency) provided collateral, express, implied or otherwise). If you successfully bid figure for any Estimate in the Catalogue, assuming that the inspection or for inspection by an expert instructed by you. made at your own risk and we cannot accept liability for our that the total amount payable by you in respect of all Lots for a Lot and buy it, at that stage Bonhams does enter into an currency of the Reserve has not fluctuated adversely against On certain Lots, which will be marked “AR” in the Catalogue However, any written Description of the physical condition of failure to receive and/or place any such bids. All bids made purchased by you at the Sale does not exceed £3,000, or the agreement with the Buyer. The terms of that contract are set the currency of the Estimate. The Buyer will be the Bidder who and which are sold for a Hammer Price of €1,000 or greater the Lot contained in a Condition Report will form part of the on your behalf will be made at the lowest level possible equivalent in the currency in which the Sale is conducted, at out in our Buyer’s Agreement, which you will find at Appendix makes the highest bid acceptable to the Auctioneer for any Lot (converted into the currency of the Sale using the European Contractual Description of the Lot under which it is sold to subject to Reserves and other bids made for the Lot. Where the time when payment is made. If the amount payable by you 2 at the back of the Catalogue. This will govern Bonhams’ (subject to any applicable Reserve) to whom the Lot is knocked Central Bank Reference rate prevailing on the date of the Sale), any Buyer. appropriate your bids will be rounded down to the nearest for Lots exceeds that sum, the balance must be paid otherwise relationship with the Buyer. down by the Auctioneer at the fall of the Auctioneer’s hammer. the Additional Premium will be payable to us by the Buyer to amount consistent with the Auctioneer’s bidding increments. than in coins, notes or travellers cheques; Any dispute as to the highest acceptable bid will be settled by cover our Expenses relating to the payment of royalties under The Seller’s responsibility to you New Bidders must also provide proof of identity and address 2. LOTS the Auctioneer in his absolute discretion. All bids tendered will the Artists Resale Right Regulations 2006. The Additional The Seller does not make or agree to make any representation when submitting bids. Failure to do this will result in your bid Sterling travellers cheques: you may pay for Lots purchased relate to the actual Lot number announced by the Auctioneer. Premium will be a percentage of the amount of the Hammer of fact or contractual promise, Guarantee or warranty and not being placed. by you at this Sale with travellers cheques, provided the total Subject to the Contractual Description printed in bold letters An electronic currency converter may be used at the Sale. This Price calculated in accordance with the table below, and shall undertakes no obligation or duty, whether in contract or in amount payable by you in respect of all Lots purchased by you in the Entry about the Lot in the Catalogue (see paragraph 3 equipment is provided as a general guide as to the equivalent not exceed €12,500 (converted into the currency of the Sale tort (other than to the eventual Buyer as set out above), in Bidding via the internet at the Sale does not exceed £3,000. We will need to see your below), Lots are sold to the Buyer on an “as is” basis, with amount in certain currencies of a given bid. We do not accept using the European Central Bank Reference rate prevailing on respect of the accuracy or completeness of any statement Please visit our Website at http://www.bonhams.com for passport if you wish to pay using travellers cheques; all faults and imperfections. Illustrations and photographs any responsibility for any errors which may occur in the use of the date of the Sale). or representation made by him or on his behalf, which is in details of how to bid via the internet. contained in the Catalogue (other than photographs forming the currency converter. We may use video cameras to record any way descriptive of any Lot or as to the anticipated or Hammer Price Percentage amount Bank transfer: you may electronically transfer funds to our part of the Contractual Description) or elsewhere of any Lots the Sale and may record telephone calls for reasons of security likely selling price of any Lot. Other than as set out above, Bidding through an agent From €0 to €50,000 4% Trust Account. If you do so, please quote your paddle number are for identification purposes only. They may not reveal the and to assist in solving any disputes which may arise in relation no statement or representation in any way descriptive of a Bids will be accepted as placed on behalf of the person named From €50,000.01 to €200,000 3% and invoice number as the reference. Our Trust Account details true condition of the Lot. A photograph or illustration may not to bids made at the Sale. At some Sales, for example, jewellery Lot or any Estimate is incorporated into any Contract for Sale as the principal on the Bidding Form although we may refuse From €200,000.01 to €350,000 1% are as follows: reflect an accurate reproduction of the colour(s) of the Lot. Lots Sales, we may use screens on which images of the Lots will be between a Seller and a Buyer. to accept bids from an agent on behalf of a principal and will From €350,000.01 to €500,000 0.5% are available for inspection prior to the Sale and it is for you to projected. This service is provided to assist viewing at the Sale. Bank: National Westminster Bank Plc require written confirmation from the principal confirming Exceeding €500,000 0.25% satisfy yourself as to each and every aspect of a Lot, including The image on the screen should be treated as an indication Address: PO Box 4RY Bonhams’ responsibility to you the agent’s authority to bid. Nevertheless, as the Bidding its authorship, attribution, condition, provenance, history, only of the current Lot. It should be noted that all bids 250 Regent Street You have the opportunity of examining the Lot if you want to Form explains, any person placing a bid as agent on behalf 8. VAT background, authenticity, style, period, age, suitability, quality, tendered will relate to the actual Lot number announced by London W1A 4RY and the Contract for Sale for a Lot is with the Seller and not of another (whether or not he has disclosed that fact or the roadworthiness (if relevant), origin, value and estimated selling the Auctioneer. We do not accept any responsibility for any Account Name: Bonhams 1793 Limited Trust Account with Bonhams; Bonhams acts as the Seller’s agent only (unless identity of his principal) will be jointly and severally liable with The prevailing rate of VAT at the time of going to press is 20%, price (including the Hammer Price). It is your responsibility errors which may occur in the use of the screen. Account Number: 25563009 Bonhams sells the Lot as principal). the principal to the Seller and to Bonhams under any contract but this is subject to government change and the rate payable to examine any Lot in which you are interested. It should be Sort Code: 56-00-27 resulting from the acceptance of a bid. Subject to the above, will be the rate in force on the date of the Sale. remembered that the actual condition of a Lot may not be as 5. BIDDING IBAN Number: GB 33 NWBK 560027 25563009 Bonhams undertakes no obligation to you to examine, please let us know if you are acting on behalf of another good as that indicated by its outward appearance. In particular, investigate or carry out any tests, either in sufficient depth or person when bidding for Lots at the Sale. The following symbols are used to denote that VAT is due on parts may have been replaced or renewed and Lots may not We do not accept bids from any person who has not If paying by bank transfer, the amount received after the at all, on each Lot to establish the accuracy or otherwise of any the Hammer Price and Buyer’s Premium: be authentic or of satisfactory quality; the inside of a Lot may completed and delivered to us one of our Bidding Forms, deduction of any bank fees and/or conversion of the currency Descriptions or opinions given by Bonhams, or by any person Equally, please let us know if you intend to nominate another † VAT at the prevailing rate on Hammer Price and Buyer’s not be visible and may not be original or may be damaged, either our Bidder Registration Form, Absentee Bidding Form of payment to pounds sterling must not be less than the on Bonhams’ behalf, whether in the Catalogue or elsewhere. person to bid on your behalf at the Sale unless this is to be Premium as for example where it is covered by upholstery or material. or Telephone Bidding Form. You will be asked for proof of sterling amount payable, as set out on the invoice. carried out by us pursuant to a Telephone or Absentee Bidding Ω VAT on imported items at the prevailing rate on Hammer Given the age of many Lots they may have been damaged and/ identity, residence and references, which, when asked for, you You should not suppose that such examinations, investigations Form that you have completed. If we do not approve the Price and Buyer’s Premium or repaired and you should not assume that a Lot is in good must supply if your bids are to be accepted by us. Please bring Debit cards: there is no additional charge for purchases made or tests have occurred. agency arrangements in writing before the Sale, we are entitled * VAT on imported items at a preferential rate of 5% on condition. Electronic or mechanical parts may not operate your passport, driving licence (or similar photographic proof with personal debit cards, issued by a UK bank. Debit cards to assume that the person bidding at the Sale is bidding on his Hammer Price and the prevailing rate on Buyer’s Premium or may not comply with current statutory requirements. You of identity) and proof of address. We may request a deposit issued by an overseas bank, deferred and company debit cards Bonhams does not make or agree to make any representation own behalf. Accordingly, the person bidding at the Sale will should not assume that electrical items designed to operate from you before allowing you to bid. We may refuse entry and all credit cards will be subject to a 2% surcharge; of fact, and undertakes no obligation or duty (whether in be the Buyer and will be liable to pay the Hammer Price and on mains electricity will be suitable for connection to the to a Sale to any person even if that person has completed a contract or tort) in respect of the accuracy or completeness Buyer’s Premium and associated charges. If we approve the mains electricity supply and you should obtain a report from Bidding Form. of any statement or representation made by Bonhams or on

NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 NOTICE TO BIDDERS Bidding in person identity of your client in advance, we will be in a position to G Gold bullion exempt from VAT on the Hammer Price This notice is addressed by Bonhams to any person who may a qualified electrician on their status before doing so. Such Bonhams’ behalf which is in any way descriptive of any Lot You should come to our Bidder registration desk at the Sale address the invoice to your principal rather than you. We will and subject to VAT at the prevailing rate on the Buyer’s be interested in a Lot, including Bidders and potential Bidders items which are unsuitable for connection are sold as items of or as to the anticipated or likely selling price of any Lot. No venue and fill out a Bidder Registration Form on (or, if possible, require proof of the agent’s client’s identity and residence in Premium (including any eventual Buyer of the Lot). For ease of reference interest for display purposes only. If you yourself do not have statement or representation by Bonhams or on its behalf in any before) the day of the Sale. The bidding number system is advance of any bids made by the agent on his behalf. Please • Zero rated for VAT, no VAT will be added to the Hammer we refer to such persons as “Bidders” or “you”. Our List of expertise regarding a Lot, you should consult someone who way descriptive of any Lot or any Estimate is incorporated into sometimes referred to as “paddle bidding”. You will be issued refer to our Conditions of Business and contact our Customer Price or the Buyer’s Premium Definitions and Glossary is incorporated into this Notice to does to advise you. We can assist in arranging facilities for you our Buyer’s Agreement. with a large card (a “paddle”) with a printed number on it. Services Department for further details. a Buyers from within the EU: VAT is payable at the Bidders. It is at Appendix 3 at the back of the Catalogue. to carry out or have carried out more detailed inspections and This will be attributed to you for the purposes of the Sale. prevailing rate on just the Buyer’s Premium (NOT the Where words and phrases are used in this notice which are in tests. Please ask our staff for details. Alterations Should you be a successful Bidder you will need to ensure that 6. CONTRACTS BETWEEN THE BUYER AND SELLER Hammer Price). Buyers from outside the EU: VAT is the List of Definitions, they are printed in italics. Descriptions and Estimates may be amended at Bonhams’ your number can be clearly seen by the Auctioneer and that it AND THE BUYER AND BONHAMS payable at the prevailing rate on both Hammer Price Any person who damages a Lot will be held liable for the discretion from time to time by notice given orally or in is your number which is identified as the Buyer’s. You should and Buyer’s Premium. If a Buyer, having registered under IMPORTANT: Additional information applicable to the Sale loss caused. writing before or during a Sale. not let anyone else use your paddle as all Lots will be invoiced On the Lot being knocked down to the Buyer, a Contract for a non-EU address, decides that the item is not to be may be set out in the Catalogue for the Sale, in an insert in to the name and address given on your Bidder Registration Sale of the Lot will be entered into between the Seller and exported from the EU, then he should advise Bonhams the Catalogue and/or in a notice displayed at the Sale venue 3. DESCRIPTIONS OF LOTS AND ESTIMATES THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST Form. Once an invoice is issued it will not be changed. If there the Buyer on the terms of the Contract for Sale set out in immediately. and you should read them as well. Announcements affecting FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE Contractual Description of a Lot is any doubt as to the Hammer Price of, or whether you are the Appendix 1 at the back of the Catalogue. You will be liable to the Sale may also be given out orally before and during the STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT The Catalogue contains an Entry about each Lot. Each Lot successful Bidder of, a particular Lot, you must draw this to the pay the Purchase Price, which is the Hammer Price plus any In all other instances no VAT will be charged on the Hammer Sale without prior written notice. You should be alert to the EXAMINED ON YOUR BEHALF BEFORE THE SALE. is sold by its respective Seller to the Buyer of the Lot as attention of the Auctioneer before the next Lot is offered for applicable VAT. At the same time, a separate contract is also Price, but VAT at the prevailing rate will be added to Buyer’s possibility of changes and ask in advance of bidding if there corresponding only with that part of the Entry which is Sale. At the end of the Sale, or when you have finished bidding entered into between us as Auctioneers and the Buyer. This Premium which will be invoiced on a VAT inclusive basis. have been any. 4. CONDUCT OF THE SALE printed in bold letters and (except for the colour, which may please return your paddle to the Bidder registration desk. is our Buyer’s Agreement, the terms of which are set out in be inaccurately reproduced) with any photograph of the Lot Appendix 2 at the back of the Catalogue. Please read the terms 9. PAYMENT 1. OUR ROLE Our Sales are public auctions which persons may attend and in the Catalogue. The remainder of the Entry, which is not Bidding by telephone (only available on lots with a of the Contract for Sale and our Buyer’s Agreement contained you should take the opportunity to do so. We do reserve the printed in bold letters, represents Bonhams’ opinion (given on low estimate greater than £400) in the Catalogue in case you are the successful Bidder. We It is of critical importance that you ensure that you have readily In its role as Auctioneer of Lots, Bonhams acts solely for and right at our sole discretion to refuse admission to our premises behalf of the Seller) about the Lot only and is not part of the If you wish to bid at the Sale by telephone, please complete a may change the terms of either or both of these agreements available funds to pay the Purchase Price and the Buyer’s in the interests of the Seller. Bonhams’ job is to sell the Lot at or to any Sale without stating a reason. We have complete Contractual Description in accordance with which the Lot is Telephone Bidding Form, which is available from our offices or in advance of their being entered into, by setting out different Premium (plus VAT and any other charges and Expenses to us) the highest price obtainable at the Sale to a Bidder. Bonhams discretion as to whether the Sale proceeds, whether any Lot is sold by the Seller. in the Catalogue. Please then return it to the office responsible terms in the Catalogue and/or by placing an insert in the in full before making a bid for the Lot. If you are a successful does not act for Buyers or Bidders in this role and does not included in the Sale, the manner in which the Sale is conducted for the Sale at least 24 hours in advance of the Sale. It is your Catalogue and/or by notices at the Sale venue and/or by oral Bidder, payment will be due to us by 4.30 pm on the second give advice to Buyers or Bidders. When it or its staff make and we may offer Lots for Sale in any order we choose Estimates responsibility to check with our Bids Office that your bid has announcements before and during the Sale. You should be working day after the Sale so that all sums are cleared by statements about a Lot or, if Bonhams provides a Condition notwithstanding the numbers given to Lots in the Catalogue. In most cases, an Estimate is printed beside the Entry. Estimates been received. Telephone calls will be recorded. The telephone alert to this possibility of changes and ask if there have been the eighth working day after the Sale. Unless agreed by us in Report on a Lot it is doing that on behalf of the Seller of the You should therefore check the date and starting time of the are only an expression of Bonhams’ opinion made on behalf bidding facility is a discretionary service and may not be any. advance payments made by anyone other than the registered Lot. Bidders and Buyers who are themselves not expert in Sale, whether there have been any withdrawals or late entries. of the Seller of the range where Bonhams thinks the Hammer available in relation to all Lots. We will not be responsible for Buyer will not be accepted. Payment will have to be by one of the Lots are strongly advised to seek and obtain independent Remember that withdrawals and late entries may affect the Price for the Lot is likely to fall; it is not an Estimate of value. bidding on your behalf if you are unavailable at the time of 7. BUYER’S PREMIUM AND OTHER CHARGES the following methods (all cheques should be made payable to advice on the Lots and their value before bidding for them. time at which a Lot you are interested in is put up for Sale. We It does not take into account any VAT or Buyer’s Premium the Sale or if the telephone connection is interrupted during PAYABLE BY THE BUYER Bonhams 1793 Limited). Bonhams reserves the right to vary the The Seller has authorised Bonhams to sell the Lot as its agent have complete discretion to refuse any bid, to nominate any payable. Lots can in fact sell for Hammer Prices below and bidding. Please contact us for further details. terms of payment at any time. on its behalf and, save where we expressly make it clear to bidding increment we consider appropriate, to divide any Lot, above the Estimate. Any Estimate should not be relied on as an Under the Buyer’s Agreement, a premium (the Buyer’s the contrary, Bonhams acts only as agent for the Seller. Any to combine two or more Lots, to withdraw any Lot from a Sale indication of the actual selling price or value of a Lot. Estimates Bidding by post or fax Premium) is payable to us by the Buyer in accordance with the Sterling personal cheque drawn on a UK branch of a bank statement or representation we make in respect of a Lot is and, before the Sale has been closed, to put up any Lot for are in the currency of the Sale. Absentee Bidding Forms can be found in the back of this terms of the Buyer’s Agreement and at rates set out below, or building society: all cheques must be cleared before you made on the Seller’s behalf and, unless Bonhams sells a Lot auction again. Auction speeds can exceed 100 Lots to the hour Catalogue and should be completed and sent to the office calculated by reference to the Hammer Price and payable in can collect your purchases; as principal, not on our behalf and any Contract for Sale is and bidding increments are generally about 10%. However Condition Reports responsible for the Sale. It is in your interests to return your addition to it. Storage charges and Expenses are also payable between the Buyer and the Seller and not with us. If Bonhams these do vary from Sale to Sale and from Auctioneer to In respect of most Lots, you may ask for a Condition Report on form as soon as possible, as if two or more Bidders submit by the Buyer as set out in the Buyer’s Agreement. All the sums Bankers draft/building society cheque: if you can provide sells a Lot as principal this will either be stated in the Catalogue Auctioneer. Please check with the department organising the its physical condition from Bonhams. If you do so, this will be identical bids for a Lot, the first bid received takes preference. payable to us by the Buyer are subject to VAT. For this Sale the suitable proof of identity and we are satisfied as to the or an announcement to that effect will be made by the Sale for advice on this. Where a Reserve has been applied to a provided by Bonhams on behalf of the Seller free of charge. In any event, all bids should be received at least 24 hours following rates of Buyer’s Premium will be payable by Buyers genuineness of the draft or cheque, we will allow you to collect Auctioneer, or it will be stated in a notice at the Sale or an Lot, the Auctioneer may, in his absolute discretion, place bids Bonhams is not entering into a contract with you in respect before the start of the Sale. Please check your Absentee of Lots: your purchases immediately; insert in the Catalogue. (up to an amount not equalling or exceeding such Reserve) on of the Condition Report and accordingly does not assume Bidding Form carefully before returning it to us, fully completed behalf of the Seller. We are not responsible to you in respect of 25% up to £50,000 of the Hammer Price responsibility to you in respect of it. Nor does the Seller owe or and signed by you. It is your responsibility to check with our Cash: you may pay for Lots purchased by you at this Sale with Bonhams does not owe or undertake or agree to any duty the presence or absence of any Reserve in respect of any Lot. If 20% from £50,001 to £1,000,000 of the Hammer Price agree to owe you as a Bidder any obligation or duty in respect Bids Office that your bid has been received. This additional notes, coins or travellers cheques in the currency in which or responsibility to you in contract or tort (whether direct, there is a Reserve it will normally be no higher than the lower 12% from £1,000,001 of the Hammer Price of this free report about a Lot, which is available for your own service is complimentary and is confidential. Such bids are the Sale is conducted (but not any other currency) provided collateral, express, implied or otherwise). If you successfully bid figure for any Estimate in the Catalogue, assuming that the inspection or for inspection by an expert instructed by you. made at your own risk and we cannot accept liability for our that the total amount payable by you in respect of all Lots for a Lot and buy it, at that stage Bonhams does enter into an currency of the Reserve has not fluctuated adversely against On certain Lots, which will be marked “AR” in the Catalogue However, any written Description of the physical condition of failure to receive and/or place any such bids. All bids made purchased by you at the Sale does not exceed £3,000, or the agreement with the Buyer. The terms of that contract are set the currency of the Estimate. The Buyer will be the Bidder who and which are sold for a Hammer Price of €1,000 or greater the Lot contained in a Condition Report will form part of the on your behalf will be made at the lowest level possible equivalent in the currency in which the Sale is conducted, at out in our Buyer’s Agreement, which you will find at Appendix makes the highest bid acceptable to the Auctioneer for any Lot (converted into the currency of the Sale using the European Contractual Description of the Lot under which it is sold to subject to Reserves and other bids made for the Lot. Where the time when payment is made. If the amount payable by you 2 at the back of the Catalogue. This will govern Bonhams’ (subject to any applicable Reserve) to whom the Lot is knocked Central Bank Reference rate prevailing on the date of the Sale), any Buyer. appropriate your bids will be rounded down to the nearest for Lots exceeds that sum, the balance must be paid otherwise relationship with the Buyer. down by the Auctioneer at the fall of the Auctioneer’s hammer. the Additional Premium will be payable to us by the Buyer to amount consistent with the Auctioneer’s bidding increments. than in coins, notes or travellers cheques; Any dispute as to the highest acceptable bid will be settled by cover our Expenses relating to the payment of royalties under The Seller’s responsibility to you New Bidders must also provide proof of identity and address 2. LOTS the Auctioneer in his absolute discretion. All bids tendered will the Artists Resale Right Regulations 2006. The Additional The Seller does not make or agree to make any representation when submitting bids. Failure to do this will result in your bid Sterling travellers cheques: you may pay for Lots purchased relate to the actual Lot number announced by the Auctioneer. Premium will be a percentage of the amount of the Hammer of fact or contractual promise, Guarantee or warranty and not being placed. by you at this Sale with travellers cheques, provided the total Subject to the Contractual Description printed in bold letters An electronic currency converter may be used at the Sale. This Price calculated in accordance with the table below, and shall undertakes no obligation or duty, whether in contract or in amount payable by you in respect of all Lots purchased by you in the Entry about the Lot in the Catalogue (see paragraph 3 equipment is provided as a general guide as to the equivalent not exceed €12,500 (converted into the currency of the Sale tort (other than to the eventual Buyer as set out above), in Bidding via the internet at the Sale does not exceed £3,000. We will need to see your below), Lots are sold to the Buyer on an “as is” basis, with amount in certain currencies of a given bid. We do not accept using the European Central Bank Reference rate prevailing on respect of the accuracy or completeness of any statement Please visit our Website at http://www.bonhams.com for passport if you wish to pay using travellers cheques; all faults and imperfections. Illustrations and photographs any responsibility for any errors which may occur in the use of the date of the Sale). or representation made by him or on his behalf, which is in details of how to bid via the internet. contained in the Catalogue (other than photographs forming the currency converter. We may use video cameras to record any way descriptive of any Lot or as to the anticipated or Hammer Price Percentage amount Bank transfer: you may electronically transfer funds to our part of the Contractual Description) or elsewhere of any Lots the Sale and may record telephone calls for reasons of security likely selling price of any Lot. Other than as set out above, Bidding through an agent From €0 to €50,000 4% Trust Account. If you do so, please quote your paddle number are for identification purposes only. They may not reveal the and to assist in solving any disputes which may arise in relation no statement or representation in any way descriptive of a Bids will be accepted as placed on behalf of the person named From €50,000.01 to €200,000 3% and invoice number as the reference. Our Trust Account details true condition of the Lot. A photograph or illustration may not to bids made at the Sale. At some Sales, for example, jewellery Lot or any Estimate is incorporated into any Contract for Sale as the principal on the Bidding Form although we may refuse From €200,000.01 to €350,000 1% are as follows: reflect an accurate reproduction of the colour(s) of the Lot. Lots Sales, we may use screens on which images of the Lots will be between a Seller and a Buyer. to accept bids from an agent on behalf of a principal and will From €350,000.01 to €500,000 0.5% are available for inspection prior to the Sale and it is for you to projected. This service is provided to assist viewing at the Sale. Bank: National Westminster Bank Plc require written confirmation from the principal confirming Exceeding €500,000 0.25% satisfy yourself as to each and every aspect of a Lot, including The image on the screen should be treated as an indication Address: PO Box 4RY Bonhams’ responsibility to you the agent’s authority to bid. Nevertheless, as the Bidding its authorship, attribution, condition, provenance, history, only of the current Lot. It should be noted that all bids 250 Regent Street You have the opportunity of examining the Lot if you want to Form explains, any person placing a bid as agent on behalf 8. VAT background, authenticity, style, period, age, suitability, quality, tendered will relate to the actual Lot number announced by London W1A 4RY and the Contract for Sale for a Lot is with the Seller and not of another (whether or not he has disclosed that fact or the roadworthiness (if relevant), origin, value and estimated selling the Auctioneer. We do not accept any responsibility for any Account Name: Bonhams 1793 Limited Trust Account with Bonhams; Bonhams acts as the Seller’s agent only (unless identity of his principal) will be jointly and severally liable with The prevailing rate of VAT at the time of going to press is 20%, price (including the Hammer Price). It is your responsibility errors which may occur in the use of the screen. Account Number: 25563009 Bonhams sells the Lot as principal). the principal to the Seller and to Bonhams under any contract but this is subject to government change and the rate payable to examine any Lot in which you are interested. It should be Sort Code: 56-00-27 resulting from the acceptance of a bid. Subject to the above, will be the rate in force on the date of the Sale. remembered that the actual condition of a Lot may not be as 5. BIDDING IBAN Number: GB 33 NWBK 560027 25563009 Bonhams undertakes no obligation to you to examine, please let us know if you are acting on behalf of another good as that indicated by its outward appearance. In particular, investigate or carry out any tests, either in sufficient depth or person when bidding for Lots at the Sale. The following symbols are used to denote that VAT is due on parts may have been replaced or renewed and Lots may not We do not accept bids from any person who has not If paying by bank transfer, the amount received after the at all, on each Lot to establish the accuracy or otherwise of any the Hammer Price and Buyer’s Premium: be authentic or of satisfactory quality; the inside of a Lot may completed and delivered to us one of our Bidding Forms, deduction of any bank fees and/or conversion of the currency Descriptions or opinions given by Bonhams, or by any person Equally, please let us know if you intend to nominate another † VAT at the prevailing rate on Hammer Price and Buyer’s not be visible and may not be original or may be damaged, either our Bidder Registration Form, Absentee Bidding Form of payment to pounds sterling must not be less than the on Bonhams’ behalf, whether in the Catalogue or elsewhere. person to bid on your behalf at the Sale unless this is to be Premium as for example where it is covered by upholstery or material. or Telephone Bidding Form. You will be asked for proof of sterling amount payable, as set out on the invoice. carried out by us pursuant to a Telephone or Absentee Bidding Ω VAT on imported items at the prevailing rate on Hammer Given the age of many Lots they may have been damaged and/ identity, residence and references, which, when asked for, you You should not suppose that such examinations, investigations Form that you have completed. If we do not approve the Price and Buyer’s Premium or repaired and you should not assume that a Lot is in good must supply if your bids are to be accepted by us. Please bring Debit cards: there is no additional charge for purchases made or tests have occurred. agency arrangements in writing before the Sale, we are entitled * VAT on imported items at a preferential rate of 5% on condition. Electronic or mechanical parts may not operate your passport, driving licence (or similar photographic proof with personal debit cards, issued by a UK bank. Debit cards to assume that the person bidding at the Sale is bidding on his Hammer Price and the prevailing rate on Buyer’s Premium or may not comply with current statutory requirements. You of identity) and proof of address. We may request a deposit issued by an overseas bank, deferred and company debit cards Bonhams does not make or agree to make any representation own behalf. Accordingly, the person bidding at the Sale will should not assume that electrical items designed to operate from you before allowing you to bid. We may refuse entry and all credit cards will be subject to a 2% surcharge; of fact, and undertakes no obligation or duty (whether in be the Buyer and will be liable to pay the Hammer Price and on mains electricity will be suitable for connection to the to a Sale to any person even if that person has completed a contract or tort) in respect of the accuracy or completeness Buyer’s Premium and associated charges. If we approve the mains electricity supply and you should obtain a report from Bidding Form. of any statement or representation made by Bonhams or on

NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 Union Pay cards: these are now accepted at our Knightsbridge any Description or Estimate made of any Lot, or the conduct modern firearms specialist. All prospective Bidders are advised 19. JEWELLERY • The date given is that of the image (negative). Where no 24. WINE and New Bond Street offices, when presented in person by the of any Sale in relation to any Lot, whether in damages, for an to consult the ˚ of bore and wall-thickness measurements further date is given, this indicates that the photographic ˜ Ruby and Jadeite card holder. These cards are subject to a 2% surcharge. indemnity or contribution, or for a restitutionary remedy or posted in the saleroom and available from the department. print is vintage (the term “vintage” may also be included Lots which are lying under Bond and those liable to VAT may Ruby and jadeite gemstones of Burmese (Myanmar) origin otherwise, our and/or the Seller’s liability (combined, if both Bidders should note that guns are stripped only where there in the Lot Description). A vintage photograph is one which not be available for immediate collection. may not be imported into the US. Rubies and jadeite of Credit cards: Visa and Mastercard only. Please note there is a we and the Seller are liable) will be limited to payment of a is a strong indication of a mechanical malfunction. Stripping was made within approximately 5-10 years of the negative. non–Burmese origin require certification before import 2% surcharge on the total invoice value when payments are sum which will not exceed by way of maximum the amount is not, otherwise, undertaken. Guns intended for use should Where a second, later date appears, this refers to the date Examining the wines into the US and it is the Buyer’s responsibility to obtain all made using credit cards. It may be advisable to notify your card of the Purchase Price of the Lot irrespective in any case of the be stripped and cleaned beforehand. Hammer guns should of printing. Where the exact printing date is not known, but It is occasionally possible to provide a pre-Sale tasting for relevant and required export/import licences, certificates provider of your intended purchase in advance to reduce delays nature, volume or source of any loss or damage alleged to be have their rebound mechanisms checked before use. The understood to be later, “printed later” will appear in the Lot larger parcels (as defined below). This is generally limited to and documentation before shipping. Failure by the Buyer to caused by us having to seek authority when you come to pay. If suffered or sum claimed as due, and irrespective of whether safety mechanisms of all guns must be tested before use. Description. more recent and everyday drinking wines. Please contact the successfully import goods into the US does not constitute you have any questions with regard to payment, please contact the liability arises from any negligence, other tort, breach All measurements are approximate. • Unless otherwise specified, dimensions given are those of department for details. grounds for non payment or cancellation of Sale. Bonhams our Customer Services Department. of contract (if any) or statutory duty or otherwise. Nothing the piece of paper on which the image is printed, including will not be responsible for any additional costs in this regard set out above will be construed as excluding or restricting Original Gun Specifications Derived from Gunmakers any margins. Some photographs may appear in the It is not our policy to inspect every unopened case. In the case howsoever incurred. 10. COLLECTION AND STORAGE (whether directly or indirectly) our liability or excluding or The Sporting Gun Department endeavours to confirm a gun’s Catalogue without margins illustrated. of wines older than 20 years the boxes will usually have been restricting any person’s rights or remedies in respect of (i) fraud, original specification and date of manufacture with makers • All photographs are sold unframed unless stated in the Lot opened and levels and appearance noted in the Catalogue Gemstones The Buyer of a Lot will not be allowed to collect it until or (ii) death or personal injury caused by our negligence (or by who hold their original records. Description. where necessary. You should make proper allowance for Historically many gemstones have been subjected to a variety payment in full and in cleared funds has been made (unless the negligence of any person under our control or for whom variations in ullage levels and conditions of corks, capsules of treatments to enhance their appearance. Sapphires and we have made a special arrangement with the Buyer). For we are legally responsible), or (iii) acts or omissions for which Licensing Requirements 21. PICTURES and labels. rubies are routinely heat treated to improve their colour and collection and removal of purchased Lots, please refer to Sale we are liable under the Occupiers Liability Act 1957, or (iv) Firearms Act 1968 as amended clarity, similarly emeralds are frequently treated with oils or Explanation of Catalogue Terms Information at the front of the Catalogue. Our offices are any other liability to the extent the same may not be excluded Bonhams is constantly reviewing its procedures and would Corks and Ullages resin for the same purpose. Other treatments such as staining, The following terms used in the Catalogue have the following open 9.00am – 5pm Monday to Friday. Details relating to or restricted as a matter of law or (v) our undertakings under remind you that, in the case of firearms or shotguns subject to Ullage refers to the space between the base of the cork and irradiation or coating may have been used on other gemstones. meanings but are subject to the general provisions relating to the collection of a Lot, the storage of a Lot and our Storage paragraphs 9 (in relation to specialist Stamp or Book Sales only) certification, to conform with current legislation, Bonhams is the wine. Ullage levels for Bordeaux shaped bottles are only These treatments may be permanent, whilst others may need Descriptions contained in the Contract for Sale: Contractor after the Sale are set out in the Catalogue. and 10 of the Buyer’s Agreement. The same applies in respect required to see, as appropriate, your original registered firearms normally noted when below the neck and for Burgundy, special care or re-treatment over the years to retain their • “Jacopo Bassano”: in our opinion a work by the artist. of the Seller, as if references to us in this paragraph were dealer’s certificate / shot gun certificate / firearm certificate / Alsace, German and Cognac shaped bottles when greater than appearance. Bidders should be aware that Estimates assume When the artist’s forename(s) is not known, a series of 11. SHIPPING substituted with references to the Seller. museum firearms licence / Section 5 authority or import licence 4 centimetres (cm). Acceptable ullage levels increase with age; that gemstones may have been subjected to such treatments. asterisks, followed by the surname of the artist, whether (or details of any exemption from which you may benefit, for generally acceptable levels are as follows: A number of laboratories issue certificates that give more preceded by an initial or not, indicates that in our opinion Please refer all enquiries to our shipping department on: 15. BOOKS instance Crown servant status) for the firearm(s) you have detailed Descriptions of gemstones. However there may not be the work is by the artist named; Under 15 years old – into neck or less than 4cm Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 purchased prior to taking full payment of the amount shown consensus between different laboratories on the degrees, or • “Attributed to Jacopo Bassano”: in our opinion probably 15 to 30 years old – top shoulder (ts) or up to 5cm Email: [email protected] As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of types of treatment for any particular gemstone. In the event a work by the artist but less certainty as to authorship is Over 30 years old – high shoulder (hs) or up to 6cm to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially that Bonhams has been given or has obtained certificates expressed than in the preceding category; 12. EXPORT/TRADE RESTRICTIONS set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of for any Lot in the Sale these certificates will be disclosed in • “Studio/Workshop of Jacopo Bassano”: in our opinion a It should be noted that ullages may change between in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence the Catalogue. Although, as a matter of policy, Bonhams work by an unknown hand in a studio of the artist which publication of the Catalogue and the Sale and that corks may It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. endeavours to provide certificates from recognised laboratories may or may not have been executed under the artist’s fail as a result of transporting the wine. We will only accept import regulations relating to your purchases and also to obtain unframed maps and bound manuscripts are not liable to VAT for certain gemstones, it is not feasible to obtain certificates direction; responsibility for Descriptions of condition at the time of any relevant export and/or import licence(s). Export licences are on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable to for each Lot. In the event that no certificate is published in the • “Circle of Jacopo Bassano”: in our opinion a work by publication of the Catalogue and cannot accept responsibility issued by Arts Council England and application forms can be produce the correct paperwork, the Lot(s) will be reoffered by Catalogue, Bidders should assume that the gemstones may a hand closely associated with a named artist but not for any loss resulting from failure of corks either before or after obtained from its Export Licensing Unit. The detailed provisions 16. CLOCKS AND WATCHES Bonhams in the next appropriate Sale, on standard terms for have been treated. Neither Bonhams nor the Seller accepts any necessarily his pupil; this point. of the export licencing arrangements can be found on the ACE Sellers, and you will be responsible for any loss incurred by liability for contradictions or differing certificates obtained by • “Follower of Jacopo Bassano”: in our opinion a work by a website http://www.artscouncil.org.uk/what-we-do/supporting- All Lots are sold “as is”, and the absence of any reference Bonhams on the original Sale to you. Buyers on any Lots subsequent to the Sale. painter working in the artist’s style, contemporary or nearly Options to buy parcels museums/cultural-property/export-controls/export-licensing/ to the condition of a clock or watch does not imply that contemporary, but not necessarily his pupil; A parcel is a number of Lots of identical size of the same wine, or by phoning ACE on +44 (0)20 7973 5188. The need for the Lot is in good condition and without defects, repairs or In the case of RFD certificates and Section 5 authorities, we Estimated Weights • “Manner of Jacopo Bassano”: in our opinion a work in the bottle size and Description. The Buyer of any of these Lots has import licences varies from country to country and you should restorations. Most clocks and watches have been repaired in wish to keep an up-to-date copy on file. Please supply us with If a stone(s) weight appears within the body of the Description style of the artist and of a later date; the option to accept some or all of the remaining Lots in the acquaint yourself with all relevant local requirements and the course of their normal lifetime and may now incorporate a Fax or photocopy. It would be helpful if you could send us an in capital letters, the stone(s) has been unmounted and • “After Jacopo Bassano”: in our opinion, a copy of a known parcel at the same price, although such options will be at the provisions. The refusal of any import or export licence(s) or parts not original to them. Furthermore, Bonhams makes updated copy whenever your certificate or authority is renewed weighed by Bonhams. If the weight of the stone(s) is stated work of the artist; Auctioneer’s sole discretion. Absentee Bidders are, therefore, any delay in obtaining such licence(s) shall not permit the no representation or warranty that any clock or watch is in or changed. to be approximate and does not appear in capital letters, the • “Signed and/or dated and/or inscribed”: in our opinion the advised to bid on the first Lot in a parcel. rescission of any Sale nor allow any delay in making full working order. As clocks and watches often contain fine and stone(s) has been assessed by us within its/their settings, and signature and/or date and/or inscription are from the hand payment for the Lot. Generally, please contact our shipping complex mechanisms, Bidders should be aware that a general Lots marked ‘S1´ and bearing red labels are Section 1 firearms the stated weight is a statement of our opinion only. This of the artist; Wines in Bond department before the Sale if you require assistance in service, change of battery or further repair work, for which the and require a valid British Firearms certificate, RFD Licence or information is given as a guide and Bidders should satisfy • “Bears a signature and/or date and/or inscription”: in our Wines lying in Bond are marked Δ and VAT is payable by the relation to export regulations. Buyer is solely responsible, may be necessary. Bidders should import licence. themselves with regard to this information as to its accuracy. opinion the signature and/or date and/or inscription have purchaser, at the standard rate, on the Hammer Price, unless be aware that the importation of watches such as Rolex, Frank been added by another hand. the wines are to remain under Bond. Buyers requiring their 13. CITES REGULATIONS Muller and Corum into the United States is highly restricted. Lots marked ‘S2’ and bearing blue labels are Section 2 firearms Signatures wine to remain in Bond must notify Bonhams at the time of These watches may not be shipped to the USA and can only be and require a valid British Shotgun certificate, RFD licence or 1. A diamond brooch, by Kutchinsky 22. PORCELAIN AND GLASS the Sale. The Buyer is then himself responsible for all duty, Please be aware that all Lots marked with the symbol Y are imported personally. import licence. When the maker’s name appears in the title, in Bonhams’ clearance VAT and other charges that may be payable thereon. subject to CITES regulations when exporting these items opinion the piece is by that maker. Damage and Restoration All such Lots must be transferred or collected within two weeks outside the EU. These regulations may be found at 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are For your guidance, in our Catalogues we detail, as far as of the Sale. http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 2. A diamond brooch, signed Kutchinsky practicable, recorded all significant defects, cracks and be requested from: Authority or import licence. Has a signature that, in Bonhams’ opinion, is authentic but restoration. Such practicable Descriptions of damage cannot Buyers outside the UK must be aware that any forwarding Proof of Firearms Animal Health and Veterinary Laboratories Agency (AHVLA) may contain gemstones that are not original, or the piece may be definitive, and in providing Condition Reports, we cannot agent appointed to export their purchases must have a The term “proof exemption” indicates that a firearm has Lots marked with a ‘S58´ and bearing yellow labels are for Wildlife Licencing have been altered. Guarantee that there are no other defects present which movement certificate for Lots to be released under Bond. been examined at a Proof House, but not proved, as either obsolete calibres and no licence is required unless ammunition Floor 1, Zone 17, Temple Quay House have not been mentioned. Bidders should satisfy themselves (a) it was deemed of interest and not intended for use, or (b) is held. 2 The Square, Temple Quay 3. A diamond brooch, mounted by Kutchinsky by inspection, as to the condition of each Lot. Please see the Bottling Details and Case Terms ammunition was not available. In either case, the firearm must BRISTOL BS1 6EB Has been created by the jeweller, in Bonhams’ opinion, but Contract for Sale printed in this Catalogue. Because of the The following terms used in the Catalogue have the following be regarded as unsafe to fire unless subsequently proved. Unmarked Lots require no licence. Tel: +44 (0) 117 372 8774 using stones or designs supplied by the client. difficulty in determining whether an item of glass has been meanings: Firearms proved for Black Powder should not be used with repolished, in our Catalogues reference is only made to visible CB – Château bottled smokeless ammunition. Please do not hesitate to contact the Modern Sporting Gun 14. THE SELLERS AND/OR BONHAMS’ LIABILITY 20. PHOTOGRAPHS chips and cracks. No mention is made of repolishing, severe DB – Domaine bottled Department should you have any queries. or otherwise. EstB – Estate bottled The term “Certificate of Unprovability” indicates that a firearm Explanation of Catalogue Terms Other than any liability of the Seller to the Buyer of a Lot BB – Bordeaux bottled has been examined at a Proof House and is deemed both Taxidermy and Related Items • “Bill Brandt”: in our opinion a work by the artist. under the Contract for Sale, neither we nor the Seller are 23. VEHICLES BE – Belgian bottled unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply • “Attributed to Bill Brandt”: in our opinion probably a work liable (whether in negligence or otherwise) for any error or FB – French bottled such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to by the artist, but less certainty to authorship is expressed misdescription or omission in any Description of a Lot or any The Veteran Car Club of Great Britain GB – German bottled inform themselves of all such regulations and should expect than in the preceding category. Estimate in respect of it, whether contained in the Catalogue OB – Oporto bottled Guns Sold as Parts the exportation of items to take some time to arrange. • “Signed and/or titled and/or dated and/or inscribed”: in or otherwise, whether given orally or in writing and whether Dating Plates and Certificates UK – United Kingdom bottled Barrels of guns sold as parts will only be made available for our opinion the signature and/or title and/or date and/or given before or during the Sale. Neither we nor the Seller will When mention is made of a Veteran Car Club Dating Plate or owc – original wooden case sleeving and measurements once rendered unserviceable 18. FURNITURE inscription are in the artist’s hand. be liable for any loss of Business, profits, revenue or income, or Dating Certificate in thisCatalogue , it should be borne in mind iwc – individual wooden case according to the Gun Barrel Proof Act of 1968 to 1978 and the • “Signed and/or titled and/or dated and/or inscribed in for loss of reputation, or for disruption to Business or wasted that the Veteran Car Club of Great Britain using the services of oc – original carton Rules of Proof. Upholstered Furniture another hand”: in our opinion the signature and/or title time on the part of management or staff, or for indirect losses Veteran Car Company Ltd, does from time to time, review cars Whilst we take every care in cataloguing furniture which has and/or date and/or inscription have been added by or consequential damages of any kind, irrespective in any already dated and, in some instances, where fresh evidence Condition of Firearms been upholstered we offer no Guarantee as to the originality another hand. case of the nature, volume or source of the loss or damage becomes available, the review can result in an alteration of date. Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery. alleged to be suffered, and irrespective of whether the said Whilst the Club and Veteran Car Company Ltd make every exceptional condition and to those defects that might affect loss or damage is caused by or claimed in respect of any effort to ensure accuracy, the date shown on the Dating Plate or the immediate safety of a firearm in normal use. An intending negligence, other tort, breach of contract (if any) or statutory Dating Certificate cannot be guaranteed as correct and intending Bidder unable to make technical examinations and assessments duty, restitutionary claim or otherwise. In any circumstances purchasers should make their own enquiries as to the date of is recommended to seek advice from a gunmaker or from a where we and/or the Seller are liable in relation to any Lot or the car.

NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 Union Pay cards: these are now accepted at our Knightsbridge any Description or Estimate made of any Lot, or the conduct modern firearms specialist. All prospective Bidders are advised 19. JEWELLERY • The date given is that of the image (negative). Where no 24. WINE and New Bond Street offices, when presented in person by the of any Sale in relation to any Lot, whether in damages, for an to consult the ˚ of bore and wall-thickness measurements further date is given, this indicates that the photographic ˜ Ruby and Jadeite card holder. These cards are subject to a 2% surcharge. indemnity or contribution, or for a restitutionary remedy or posted in the saleroom and available from the department. print is vintage (the term “vintage” may also be included Lots which are lying under Bond and those liable to VAT may Ruby and jadeite gemstones of Burmese (Myanmar) origin otherwise, our and/or the Seller’s liability (combined, if both Bidders should note that guns are stripped only where there in the Lot Description). A vintage photograph is one which not be available for immediate collection. may not be imported into the US. Rubies and jadeite of Credit cards: Visa and Mastercard only. Please note there is a we and the Seller are liable) will be limited to payment of a is a strong indication of a mechanical malfunction. Stripping was made within approximately 5-10 years of the negative. non–Burmese origin require certification before import 2% surcharge on the total invoice value when payments are sum which will not exceed by way of maximum the amount is not, otherwise, undertaken. Guns intended for use should Where a second, later date appears, this refers to the date Examining the wines into the US and it is the Buyer’s responsibility to obtain all made using credit cards. It may be advisable to notify your card of the Purchase Price of the Lot irrespective in any case of the be stripped and cleaned beforehand. Hammer guns should of printing. Where the exact printing date is not known, but It is occasionally possible to provide a pre-Sale tasting for relevant and required export/import licences, certificates provider of your intended purchase in advance to reduce delays nature, volume or source of any loss or damage alleged to be have their rebound mechanisms checked before use. The understood to be later, “printed later” will appear in the Lot larger parcels (as defined below). This is generally limited to and documentation before shipping. Failure by the Buyer to caused by us having to seek authority when you come to pay. If suffered or sum claimed as due, and irrespective of whether safety mechanisms of all guns must be tested before use. Description. more recent and everyday drinking wines. Please contact the successfully import goods into the US does not constitute you have any questions with regard to payment, please contact the liability arises from any negligence, other tort, breach All measurements are approximate. • Unless otherwise specified, dimensions given are those of department for details. grounds for non payment or cancellation of Sale. Bonhams our Customer Services Department. of contract (if any) or statutory duty or otherwise. Nothing the piece of paper on which the image is printed, including will not be responsible for any additional costs in this regard set out above will be construed as excluding or restricting Original Gun Specifications Derived from Gunmakers any margins. Some photographs may appear in the It is not our policy to inspect every unopened case. In the case howsoever incurred. 10. COLLECTION AND STORAGE (whether directly or indirectly) our liability or excluding or The Sporting Gun Department endeavours to confirm a gun’s Catalogue without margins illustrated. of wines older than 20 years the boxes will usually have been restricting any person’s rights or remedies in respect of (i) fraud, original specification and date of manufacture with makers • All photographs are sold unframed unless stated in the Lot opened and levels and appearance noted in the Catalogue Gemstones The Buyer of a Lot will not be allowed to collect it until or (ii) death or personal injury caused by our negligence (or by who hold their original records. Description. where necessary. You should make proper allowance for Historically many gemstones have been subjected to a variety payment in full and in cleared funds has been made (unless the negligence of any person under our control or for whom variations in ullage levels and conditions of corks, capsules of treatments to enhance their appearance. Sapphires and we have made a special arrangement with the Buyer). For we are legally responsible), or (iii) acts or omissions for which Licensing Requirements 21. PICTURES and labels. rubies are routinely heat treated to improve their colour and collection and removal of purchased Lots, please refer to Sale we are liable under the Occupiers Liability Act 1957, or (iv) Firearms Act 1968 as amended clarity, similarly emeralds are frequently treated with oils or Explanation of Catalogue Terms Information at the front of the Catalogue. Our offices are any other liability to the extent the same may not be excluded Bonhams is constantly reviewing its procedures and would Corks and Ullages resin for the same purpose. Other treatments such as staining, The following terms used in the Catalogue have the following open 9.00am – 5pm Monday to Friday. Details relating to or restricted as a matter of law or (v) our undertakings under remind you that, in the case of firearms or shotguns subject to Ullage refers to the space between the base of the cork and irradiation or coating may have been used on other gemstones. meanings but are subject to the general provisions relating to the collection of a Lot, the storage of a Lot and our Storage paragraphs 9 (in relation to specialist Stamp or Book Sales only) certification, to conform with current legislation, Bonhams is the wine. Ullage levels for Bordeaux shaped bottles are only These treatments may be permanent, whilst others may need Descriptions contained in the Contract for Sale: Contractor after the Sale are set out in the Catalogue. and 10 of the Buyer’s Agreement. The same applies in respect required to see, as appropriate, your original registered firearms normally noted when below the neck and for Burgundy, special care or re-treatment over the years to retain their • “Jacopo Bassano”: in our opinion a work by the artist. of the Seller, as if references to us in this paragraph were dealer’s certificate / shot gun certificate / firearm certificate / Alsace, German and Cognac shaped bottles when greater than appearance. Bidders should be aware that Estimates assume When the artist’s forename(s) is not known, a series of 11. SHIPPING substituted with references to the Seller. museum firearms licence / Section 5 authority or import licence 4 centimetres (cm). Acceptable ullage levels increase with age; that gemstones may have been subjected to such treatments. asterisks, followed by the surname of the artist, whether (or details of any exemption from which you may benefit, for generally acceptable levels are as follows: A number of laboratories issue certificates that give more preceded by an initial or not, indicates that in our opinion Please refer all enquiries to our shipping department on: 15. BOOKS instance Crown servant status) for the firearm(s) you have detailed Descriptions of gemstones. However there may not be the work is by the artist named; Under 15 years old – into neck or less than 4cm Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 purchased prior to taking full payment of the amount shown consensus between different laboratories on the degrees, or • “Attributed to Jacopo Bassano”: in our opinion probably 15 to 30 years old – top shoulder (ts) or up to 5cm Email: [email protected] As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of types of treatment for any particular gemstone. In the event a work by the artist but less certainty as to authorship is Over 30 years old – high shoulder (hs) or up to 6cm to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially that Bonhams has been given or has obtained certificates expressed than in the preceding category; 12. EXPORT/TRADE RESTRICTIONS set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of for any Lot in the Sale these certificates will be disclosed in • “Studio/Workshop of Jacopo Bassano”: in our opinion a It should be noted that ullages may change between in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence the Catalogue. Although, as a matter of policy, Bonhams work by an unknown hand in a studio of the artist which publication of the Catalogue and the Sale and that corks may It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. endeavours to provide certificates from recognised laboratories may or may not have been executed under the artist’s fail as a result of transporting the wine. We will only accept import regulations relating to your purchases and also to obtain unframed maps and bound manuscripts are not liable to VAT for certain gemstones, it is not feasible to obtain certificates direction; responsibility for Descriptions of condition at the time of any relevant export and/or import licence(s). Export licences are on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable to for each Lot. In the event that no certificate is published in the • “Circle of Jacopo Bassano”: in our opinion a work by publication of the Catalogue and cannot accept responsibility issued by Arts Council England and application forms can be produce the correct paperwork, the Lot(s) will be reoffered by Catalogue, Bidders should assume that the gemstones may a hand closely associated with a named artist but not for any loss resulting from failure of corks either before or after obtained from its Export Licensing Unit. The detailed provisions 16. CLOCKS AND WATCHES Bonhams in the next appropriate Sale, on standard terms for have been treated. Neither Bonhams nor the Seller accepts any necessarily his pupil; this point. of the export licencing arrangements can be found on the ACE Sellers, and you will be responsible for any loss incurred by liability for contradictions or differing certificates obtained by • “Follower of Jacopo Bassano”: in our opinion a work by a website http://www.artscouncil.org.uk/what-we-do/supporting- All Lots are sold “as is”, and the absence of any reference Bonhams on the original Sale to you. Buyers on any Lots subsequent to the Sale. painter working in the artist’s style, contemporary or nearly Options to buy parcels museums/cultural-property/export-controls/export-licensing/ to the condition of a clock or watch does not imply that contemporary, but not necessarily his pupil; A parcel is a number of Lots of identical size of the same wine, or by phoning ACE on +44 (0)20 7973 5188. The need for the Lot is in good condition and without defects, repairs or In the case of RFD certificates and Section 5 authorities, we Estimated Weights • “Manner of Jacopo Bassano”: in our opinion a work in the bottle size and Description. The Buyer of any of these Lots has import licences varies from country to country and you should restorations. Most clocks and watches have been repaired in wish to keep an up-to-date copy on file. Please supply us with If a stone(s) weight appears within the body of the Description style of the artist and of a later date; the option to accept some or all of the remaining Lots in the acquaint yourself with all relevant local requirements and the course of their normal lifetime and may now incorporate a Fax or photocopy. It would be helpful if you could send us an in capital letters, the stone(s) has been unmounted and • “After Jacopo Bassano”: in our opinion, a copy of a known parcel at the same price, although such options will be at the provisions. The refusal of any import or export licence(s) or parts not original to them. Furthermore, Bonhams makes updated copy whenever your certificate or authority is renewed weighed by Bonhams. If the weight of the stone(s) is stated work of the artist; Auctioneer’s sole discretion. Absentee Bidders are, therefore, any delay in obtaining such licence(s) shall not permit the no representation or warranty that any clock or watch is in or changed. to be approximate and does not appear in capital letters, the • “Signed and/or dated and/or inscribed”: in our opinion the advised to bid on the first Lot in a parcel. rescission of any Sale nor allow any delay in making full working order. As clocks and watches often contain fine and stone(s) has been assessed by us within its/their settings, and signature and/or date and/or inscription are from the hand payment for the Lot. Generally, please contact our shipping complex mechanisms, Bidders should be aware that a general Lots marked ‘S1´ and bearing red labels are Section 1 firearms the stated weight is a statement of our opinion only. This of the artist; Wines in Bond department before the Sale if you require assistance in service, change of battery or further repair work, for which the and require a valid British Firearms certificate, RFD Licence or information is given as a guide and Bidders should satisfy • “Bears a signature and/or date and/or inscription”: in our Wines lying in Bond are marked Δ and VAT is payable by the relation to export regulations. Buyer is solely responsible, may be necessary. Bidders should import licence. themselves with regard to this information as to its accuracy. opinion the signature and/or date and/or inscription have purchaser, at the standard rate, on the Hammer Price, unless be aware that the importation of watches such as Rolex, Frank been added by another hand. the wines are to remain under Bond. Buyers requiring their 13. CITES REGULATIONS Muller and Corum into the United States is highly restricted. Lots marked ‘S2’ and bearing blue labels are Section 2 firearms Signatures wine to remain in Bond must notify Bonhams at the time of These watches may not be shipped to the USA and can only be and require a valid British Shotgun certificate, RFD licence or 1. A diamond brooch, by Kutchinsky 22. PORCELAIN AND GLASS the Sale. The Buyer is then himself responsible for all duty, Please be aware that all Lots marked with the symbol Y are imported personally. import licence. When the maker’s name appears in the title, in Bonhams’ clearance VAT and other charges that may be payable thereon. subject to CITES regulations when exporting these items opinion the piece is by that maker. Damage and Restoration All such Lots must be transferred or collected within two weeks outside the EU. These regulations may be found at 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are For your guidance, in our Catalogues we detail, as far as of the Sale. http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 2. A diamond brooch, signed Kutchinsky practicable, recorded all significant defects, cracks and be requested from: Authority or import licence. Has a signature that, in Bonhams’ opinion, is authentic but restoration. Such practicable Descriptions of damage cannot Buyers outside the UK must be aware that any forwarding Proof of Firearms Animal Health and Veterinary Laboratories Agency (AHVLA) may contain gemstones that are not original, or the piece may be definitive, and in providing Condition Reports, we cannot agent appointed to export their purchases must have a The term “proof exemption” indicates that a firearm has Lots marked with a ‘S58´ and bearing yellow labels are for Wildlife Licencing have been altered. Guarantee that there are no other defects present which movement certificate for Lots to be released under Bond. been examined at a Proof House, but not proved, as either obsolete calibres and no licence is required unless ammunition Floor 1, Zone 17, Temple Quay House have not been mentioned. Bidders should satisfy themselves (a) it was deemed of interest and not intended for use, or (b) is held. 2 The Square, Temple Quay 3. A diamond brooch, mounted by Kutchinsky by inspection, as to the condition of each Lot. Please see the Bottling Details and Case Terms ammunition was not available. In either case, the firearm must BRISTOL BS1 6EB Has been created by the jeweller, in Bonhams’ opinion, but Contract for Sale printed in this Catalogue. Because of the The following terms used in the Catalogue have the following be regarded as unsafe to fire unless subsequently proved. Unmarked Lots require no licence. Tel: +44 (0) 117 372 8774 using stones or designs supplied by the client. difficulty in determining whether an item of glass has been meanings: Firearms proved for Black Powder should not be used with repolished, in our Catalogues reference is only made to visible CB – Château bottled smokeless ammunition. Please do not hesitate to contact the Modern Sporting Gun 14. THE SELLERS AND/OR BONHAMS’ LIABILITY 20. PHOTOGRAPHS chips and cracks. No mention is made of repolishing, severe DB – Domaine bottled Department should you have any queries. or otherwise. EstB – Estate bottled The term “Certificate of Unprovability” indicates that a firearm Explanation of Catalogue Terms Other than any liability of the Seller to the Buyer of a Lot BB – Bordeaux bottled has been examined at a Proof House and is deemed both Taxidermy and Related Items • “Bill Brandt”: in our opinion a work by the artist. under the Contract for Sale, neither we nor the Seller are 23. VEHICLES BE – Belgian bottled unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply • “Attributed to Bill Brandt”: in our opinion probably a work liable (whether in negligence or otherwise) for any error or FB – French bottled such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to by the artist, but less certainty to authorship is expressed misdescription or omission in any Description of a Lot or any The Veteran Car Club of Great Britain GB – German bottled inform themselves of all such regulations and should expect than in the preceding category. Estimate in respect of it, whether contained in the Catalogue OB – Oporto bottled Guns Sold as Parts the exportation of items to take some time to arrange. • “Signed and/or titled and/or dated and/or inscribed”: in or otherwise, whether given orally or in writing and whether Dating Plates and Certificates UK – United Kingdom bottled Barrels of guns sold as parts will only be made available for our opinion the signature and/or title and/or date and/or given before or during the Sale. Neither we nor the Seller will When mention is made of a Veteran Car Club Dating Plate or owc – original wooden case sleeving and measurements once rendered unserviceable 18. FURNITURE inscription are in the artist’s hand. be liable for any loss of Business, profits, revenue or income, or Dating Certificate in thisCatalogue , it should be borne in mind iwc – individual wooden case according to the Gun Barrel Proof Act of 1968 to 1978 and the • “Signed and/or titled and/or dated and/or inscribed in for loss of reputation, or for disruption to Business or wasted that the Veteran Car Club of Great Britain using the services of oc – original carton Rules of Proof. Upholstered Furniture another hand”: in our opinion the signature and/or title time on the part of management or staff, or for indirect losses Veteran Car Company Ltd, does from time to time, review cars Whilst we take every care in cataloguing furniture which has and/or date and/or inscription have been added by or consequential damages of any kind, irrespective in any already dated and, in some instances, where fresh evidence Condition of Firearms been upholstered we offer no Guarantee as to the originality another hand. case of the nature, volume or source of the loss or damage becomes available, the review can result in an alteration of date. Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery. alleged to be suffered, and irrespective of whether the said Whilst the Club and Veteran Car Company Ltd make every exceptional condition and to those defects that might affect loss or damage is caused by or claimed in respect of any effort to ensure accuracy, the date shown on the Dating Plate or the immediate safety of a firearm in normal use. An intending negligence, other tort, breach of contract (if any) or statutory Dating Certificate cannot be guaranteed as correct and intending Bidder unable to make technical examinations and assessments duty, restitutionary claim or otherwise. In any circumstances purchasers should make their own enquiries as to the date of is recommended to seek advice from a gunmaker or from a where we and/or the Seller are liable in relation to any Lot or the car.

NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any 8 FAILURE TO PAY FOR THE LOT 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented undertaking, whether implied by the Sale of Goods from performing that party’s respective obligations THE FOLLOWING SYMBOLS ARE USED TO DENOTE 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality 8.1 If the Purchase Price for a Lot is not paid to Bonhams 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances beyond of the Lot or its fitness for any purpose. in full in accordance with the Contract for Sale damage caused by the Lot after the fall of the its reasonable control or if performance of its Y Subject to CITES regulations when exporting these items 2.1.1 the Seller is the owner of the Lot or is duly authorised the Seller will be entitled, with the prior written Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances outside the EU, see clause 13. to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE agreement of Bonhams but without further notice to give rise to a significantly increased financial W Objects displayed with a w will be located in the you, to exercise one or more of the following rights 9.2 Subject to paragraph 9.3 below, except for breach cost to it, that party will not, for so long as such Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked (whether through Bonhams or otherwise): of the express undertaking provided in paragraph circumstances prevail, be required to perform such collection from this location. Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s 2.1.5, the Seller will not be liable for any breach obligations. This paragraph does not apply to the ≈ Please note that as a result of recent legislation ruby and guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will not 8.1.1 to terminate immediately the Contract for Sale of the of any term that the Lot will correspond with any obligations imposed on you by paragraph 6. jadeite gem stones of Burmese (Myanmar) origin may liquidator, receiver or administrator, with whatever be responsible thereafter for the Lot prior to Lot for your breach of contract; Description applied to it by or on behalf of the Seller, not be imported into the US. Rubies and jadeite of non- right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage whether implied by the Sale of Goods Act 1979 or 10.4 Any notice or other communication to be given Burmese origin require certification before import into the Contractor, with whom you have separate contract(s) 8.1.2 to resell the Lot by auction, private treaty or any otherwise. under the Contract for Sale must be in writing US. 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the other means on giving seven days’ written notice to and may be delivered by hand or sent by first class Δ Wines lying in Bond. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, you of the intention to resell; 9.3 Unless the Seller sells the Lot in the course of a post or air mail or fax transmission, if to the Seller, AR An Additional Premium will be payable to us by the Buyer legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in Business and the Buyer buys it as a Consumer, addressed c/o Bonhams at its address or fax number to cover our Expenses relating to payment of royalties of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the 8.1.3 to retain possession of the Lot; in the Catalogue (marked for the attention of the under the Artists Resale Right Regulations 2006. See and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until 9.3.1 the Seller will not be liable (whether in negligence, Company Secretary), and if to you to the address or clause 7 for details. the terms implied by the Sale of Goods Act 1979, you obtain full title to it. 8.1.4 to remove and store the Lot at your expense; other tort, breach of contract or statutory duty or in fax number of the Buyer given in the Bidding Form ○ The Seller has been guaranteed a minimum price for the Sections 12(1) and 12(2) (see the Definitions and restitution or under the Misrepresentation Act 1967, (unless notice of any change of address is given in Lot, either by Bonhams or a third party. This may take Glossary); 5.2 Title to the Lot remains in and is retained by the 8.1.5 to take legal proceedings against you for any sum or in any other way) for any lack of conformity with, writing). It is the responsibility of the sender of the the form of an irrevocable bid by a third party, who may Seller until the Purchase Price and all other sums due under the Contract for Sale and/or damages for or inaccuracy, error, misdescription or omission in notice or communication to ensure that it is received make a financial gain on a successful Sale or a financial 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot breach of contract; any Description of the Lot or any Entry or Estimate in a legible form within any applicable time period. loss if unsuccessful. otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared in relation to the Lot made by or on behalf of ▲ Bonhams owns the Lot either wholly or partially or may and all duties and taxes in respect of the export or funds by, Bonhams. 8.1.6 to be paid interest on any monies due (after as well the Seller (whether made in writing, including in 10.5 If any term or any part of any term of the Contract otherwise have an economic interest. import of the Lot have (unless stated to the contrary as before judgement or order) at the annual rate the Catalogue, or on the Website, or orally, or by for Sale is held to be unenforceable or invalid, such Ф This lot contains or is made of ivory. The United States in the Catalogue or announced by the Auctioneer) 6 PAYMENT of 5% per annum above the base rate of National conduct or otherwise) and whether made before or unenforceability or invalidity will not affect the Government has banned the import of ivory into been paid and, so far as the Seller is aware, all third Westminster Bank Plc from time to time to be after this agreement or prior to or during the Sale; enforceability and validity of the remaining terms or the USA. parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises when calculated on a daily basis from the date upon which the remainder of the relevant term. the past; the Lot is knocked down to you on the fall of the such monies become payable until the date of actual 9.3.2 the Seller will not be liable for any loss of Business, •, †, *, G, Ω, a see clause 8, VAT, for details. Auctioneer’s hammer in respect of the Lot. payment; Business profits or revenue or income or for loss of 10.6 References in the Contract for Sale to Bonhams will, 2.1.5 subject to any alterations expressly identified as such reputation or for disruption to Business or wasted where appropriate, include reference to Bonhams’ DATA PROTECTION – USE OF YOUR INFORMATION made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment 8.1.7 to repossess the Lot (or any part thereof) which has time on the part of the Buyer or of the Buyer’s officers, employees and agents. or by the Notice to Bidders or by an insert in the of the Purchase Price and all other sums payable by not become your property, and for this purpose management or staff or, for any indirect losses or Where we obtain any personal information about you, we shall Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you (unless the Buyer buys the Lot as a Consumer from consequential damages of any kind, irrespective in 10.7 The headings used in the Contract for Sale only use it in accordance with the terms of our Privacy Policy Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case the Seller selling in the course of a Business) you any case of the nature, volume or source of the loss are for convenience only and will not affect its (subject to any additional specific consent(s) you may have about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), hereby grant an irrevocable licence to the Seller by or damage alleged to be suffered, and irrespective interpretation. given at the time your information was disclosed). A copy of letters and (except for colour) with any photograph all such sums must be paid to Bonhams by you in himself and to his servants or agents to enter upon of whether the said loss or damage is caused by our Privacy Policy can be found on our Website www.bonhams. of the Lot in the Catalogue and the contents of the currency in which the Sale was conducted by all or any of your premises (with or without vehicles) or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means com or requested by post from Customer Services Department, any Condition Report which has been provided to not later than 4.30pm on the second working day during normal Business hours to take possession of breach of contract, statutory duty, restitutionary “including, without limitation”. 101 New Bond Street, London, W1S 1SR or by email from the Buyer. following the Sale and you must ensure that the the Lot or part thereof; claim or otherwise; [email protected] funds are cleared by the seventh working day after 10.9 References to the singular will include reference to 3 DESCRIPTIONS OF THE LOT the Sale. Payment must be made to Bonhams by one 8.1.8 to retain possession of any other property sold to you 9.3.3 in any circumstances where the Seller is liable to you the plural (and vice versa) and reference to any one APPENDIX 1 of the methods stated in the Notice to Bidders unless by the Seller at the Sale or any other auction or by in respect of the Lot, or any act, omission, statement, gender will include reference to the other genders. 3.1 Paragraph 2.1.5 sets out what is the Contractual otherwise agreed with you in writing by Bonhams. If private treaty until all sums due under the Contract or representation in respect of it, or this agreement CONTRACT FOR SALE Description of the Lot. In particular, the Lot is not you do not pay any sums due in accordance with this for Sale shall have been paid in full in cleared funds; or its performance, and whether in damages, for 10.10 Reference to a numbered paragraph is to a sold as corresponding with that part of the Entry in paragraph, the Seller will have the rights set out in an indemnity or contribution or for a restitutionary paragraph of the Contract for Sale. IMPORTANT: These terms may be changed in advance of the the Catalogue which is not printed in bold letters, paragraph 8 below. 8.1.9 to retain possession of, and on three months’ written remedy or in any way whatsoever, the Seller’s liability Sale of the Lot to you, by the setting out of different terms in which merely sets out (on the Seller’s behalf) notice to sell, Without Reserve, any of your other will be limited to payment of a sum which will not 10.11 Save as expressly provided in paragraph 10.12 the Catalogue for the Sale and/or by placing an insert in the Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT property in the possession of the Seller and/or of exceed by way of maximum the amount of the nothing in the Contract for Sale confers (or purports Catalogue and/or by notices at the Sale venue and/or by oral part of the Contractual Description upon which the Bonhams (as bailee for the Seller) for any purpose Purchase Price of the Lot irrespective in any case of to confer) on any person who is not a party to the announcements before and during the Sale at the Sale venue. Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by (including, without limitation, other goods sold to the nature, volume or source of any loss or damage Contract for Sale any benefit conferred by, or the You should be alert to this possibility of changes and ask in than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your you) and to apply any monies due to you as a result alleged to be suffered or sum claimed as due, and right to enforce any term of, the Contract for Sale. advance of bidding if there have been any. 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared funds of such Sale in satisfaction or part satisfaction of any irrespective of whether the liability arises from any as referred to in paragraph 2.1.5), including any to the amount of the full Purchase Price and all other amounts owed to the Seller or to Bonhams; and negligence, other tort, breach of contract, statutory 10.12 Where the Contract for Sale confers an immunity Under this contract the Seller’s liability in respect of the quality Description or Estimate, whether made orally or in sums owed by you to the Seller and to Bonhams. duty, bailee’s duty, restitutionary claim or otherwise. from, and/or an exclusion or restriction of, the of the Lot, it’s fitness for any purpose and its conformity with writing, including in the Catalogue or on Bonhams’ 8.1.10 so long as such goods remain in the possession of responsibility and/or liability of the Seller, it will also any Description is limited. You are strongly advised to examine Website, or by conduct, or otherwise, and whether 7.2 The Seller is entitled to withhold possession from you the Seller or Bonhams as its bailee, to rescind the 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will operate in favour and for the benefit ofBonhams, the Lot for yourself and/or obtain an independent examination by or on behalf of the Seller or Bonhams and of any other Lot he has sold to you at the same or contract for the Sale of any other goods sold to be construed as excluding or restricting (whether Bonhams’ holding company and the subsidiaries of it before you buy it. whether made prior to or during the Sale, is not part at any other Sale and whether currently in Bonhams’ you by the Seller at the Sale or at any other auction directly or indirectly) any person’s liability or excluding of such holding company and the successors and of the Contractual Description upon which the Lot is possession or not until payment in full and in cleared or by private treaty and apply any monies received or restricting any person’s rights or remedies in assigns of Bonhams and of such companies and of 1 THE CONTRACT sold. funds of the Purchase Price and all other sums due to from you in respect of such goods in part or full respect of (i) fraud, or (ii) death or personal injury any officer, employee and agent of Bonhams and the Seller and/or Bonhams in respect of the Lot. satisfaction of any amounts owed to the Seller or to caused by the Seller’s negligence (or any person such companies, each of whom will be entitled to 1.1 These terms govern the Contract for Sale of the Lot 3.2 Except as provided in paragraph 2.1.5, the Seller Bonhams by you. under the Seller’s control or for whom the Seller is rely on the relevant immunity and/or exclusion and/or by the Seller to the Buyer. does not make or give and does not agree to make 7.3 You will collect and remove the Lot at your own legally responsible), or (iii) acts or omissions for which restriction within and for the purposes of Contracts or give any contractual promise, undertaking, expense from Bonhams’ custody and/ or control or 8.2 You agree to indemnify the Seller against all legal the Seller is liable under the Occupiers Liability Act (Rights of Third Parties) Act 1999, which enables the 1.2 The Definitions and Glossary contained in Appendix 3 obligation, guarantee, warranty, or representation from the Storage Contractor’s custody in accordance and other costs of enforcement, all losses and other 1957, or (iv) any other liability to the extent the same benefit of a contract to be extended to a person who in the Catalogue are incorporated into this Contract of fact, or undertake any duty of care, in relation to with Bonhams’ instructions or requirements. Expenses and costs (including any monies payable may not be excluded or restricted as a matter of law. is not a party to the contract, and generally at law. for Sale and a separate copy can also be provided any Description of the Lot or any Estimate in relation to Bonhams in order to obtain the release of the by Bonhams on request. Where words and phrases to it, nor of the accuracy or completeness of any 7.4 You will be wholly responsible for packing, handling Lot) incurred by the Seller (whether or not court 10 MISCELLANEOUS 11 GOVERNING LAW are used which are in the List of Definitions, they are Description or Estimate which may have been made and transport of the Lot on collection and for proceedings will have been issued) as a result of printed in italics. by or on behalf of the Seller including by Bonhams. complying with all import or export regulations in Bonhams taking steps under this paragraph 8 on a 10.1 You may not assign either the benefit or burden of All transactions to which the Contract for Sale applies No such Description or Estimate is incorporated into connection with the Lot. full indemnity basis together with interest thereon the Contract for Sale. and all connected matters will be governed by and 1.3 The Seller sells the Lot as the principal to the this Contract for Sale. (after as well as before judgement or order) at the construed in accordance with the laws of that part Contract for Sale, such contract being made between 7.5 You will be wholly responsible for any removal, rate specified in paragraph 8.1.6 from the date upon 10.2 The Seller’s failure or delay in enforcing or exercising of the United Kingdom where the Sale takes place the Seller and you through Bonhams which acts in 4 FITNESS FOR PURPOSE AND SATISFACTORY storage or other charges or Expenses incurred which the Seller becomes liable to pay the same until any power or right under the Contract for Sale will and the Seller and you each submit to the exclusive the sole capacity as the Seller’s agent and not as QUALITY by the Seller if you do not remove the Lot in payment by you. not operate or be deemed to operate as a waiver of jurisdiction of the courts of that part of the United an additional principal. However, if the Catalogue accordance with this paragraph 7 and will his rights under it except to the extent of any express Kingdom, save that the Seller may bring proceedings states that Bonhams sells the Lot as principal, or such 4.1 The Seller does not make and does not agree indemnify the Seller against all charges, costs, 8.3 On any resale of the Lot under paragraph 8.1.2, the waiver given to you in writing. Any such waiver will against you in any other court of competent a statement is made by an announcement by the to make any contractual promise, undertaking, including any legal costs and fees, Expenses and Seller will account to you in respect of any balance not affect the Seller’s ability subsequently to enforce jurisdiction to the extent permitted by the laws of Auctioneer, or by a notice at the Sale, or an insert obligation, guarantee, warranty, or representation of losses suffered by the Seller by reason of your remaining from any monies received by him or on any right arising under the Contract for Sale. the relevant jurisdiction. Bonhams has a complaints in the Catalogue, then Bonhams is the Seller for the fact in relation to the satisfactory quality of the Lot or failure to remove the Lot including any charges his behalf in respect of the Lot, after the payment of procedure in place. purposes of this agreement. its fitness for any purpose. due under any Storage Contract. All such sums all sums due to the Seller and to Bonhams, within due to the Seller will be payable on demand. 28 days of receipt of such monies by him or on his 1.4 The contract is made on the fall of the Auctioneer’s behalf. hammer in respect of the Lot when it is knocked down to you. NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any 8 FAILURE TO PAY FOR THE LOT 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented undertaking, whether implied by the Sale of Goods from performing that party’s respective obligations THE FOLLOWING SYMBOLS ARE USED TO DENOTE 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality 8.1 If the Purchase Price for a Lot is not paid to Bonhams 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances beyond of the Lot or its fitness for any purpose. in full in accordance with the Contract for Sale damage caused by the Lot after the fall of the its reasonable control or if performance of its Y Subject to CITES regulations when exporting these items 2.1.1 the Seller is the owner of the Lot or is duly authorised the Seller will be entitled, with the prior written Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances outside the EU, see clause 13. to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE agreement of Bonhams but without further notice to give rise to a significantly increased financial W Objects displayed with a w will be located in the you, to exercise one or more of the following rights 9.2 Subject to paragraph 9.3 below, except for breach cost to it, that party will not, for so long as such Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked (whether through Bonhams or otherwise): of the express undertaking provided in paragraph circumstances prevail, be required to perform such collection from this location. Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s 2.1.5, the Seller will not be liable for any breach obligations. This paragraph does not apply to the ≈ Please note that as a result of recent legislation ruby and guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will not 8.1.1 to terminate immediately the Contract for Sale of the of any term that the Lot will correspond with any obligations imposed on you by paragraph 6. jadeite gem stones of Burmese (Myanmar) origin may liquidator, receiver or administrator, with whatever be responsible thereafter for the Lot prior to Lot for your breach of contract; Description applied to it by or on behalf of the Seller, not be imported into the US. Rubies and jadeite of non- right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage whether implied by the Sale of Goods Act 1979 or 10.4 Any notice or other communication to be given Burmese origin require certification before import into the Contractor, with whom you have separate contract(s) 8.1.2 to resell the Lot by auction, private treaty or any otherwise. under the Contract for Sale must be in writing US. 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the other means on giving seven days’ written notice to and may be delivered by hand or sent by first class Δ Wines lying in Bond. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, you of the intention to resell; 9.3 Unless the Seller sells the Lot in the course of a post or air mail or fax transmission, if to the Seller, AR An Additional Premium will be payable to us by the Buyer legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in Business and the Buyer buys it as a Consumer, addressed c/o Bonhams at its address or fax number to cover our Expenses relating to payment of royalties of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the 8.1.3 to retain possession of the Lot; in the Catalogue (marked for the attention of the under the Artists Resale Right Regulations 2006. See and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until 9.3.1 the Seller will not be liable (whether in negligence, Company Secretary), and if to you to the address or clause 7 for details. the terms implied by the Sale of Goods Act 1979, you obtain full title to it. 8.1.4 to remove and store the Lot at your expense; other tort, breach of contract or statutory duty or in fax number of the Buyer given in the Bidding Form ○ The Seller has been guaranteed a minimum price for the Sections 12(1) and 12(2) (see the Definitions and restitution or under the Misrepresentation Act 1967, (unless notice of any change of address is given in Lot, either by Bonhams or a third party. This may take Glossary); 5.2 Title to the Lot remains in and is retained by the 8.1.5 to take legal proceedings against you for any sum or in any other way) for any lack of conformity with, writing). It is the responsibility of the sender of the the form of an irrevocable bid by a third party, who may Seller until the Purchase Price and all other sums due under the Contract for Sale and/or damages for or inaccuracy, error, misdescription or omission in notice or communication to ensure that it is received make a financial gain on a successful Sale or a financial 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot breach of contract; any Description of the Lot or any Entry or Estimate in a legible form within any applicable time period. loss if unsuccessful. otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared in relation to the Lot made by or on behalf of ▲ Bonhams owns the Lot either wholly or partially or may and all duties and taxes in respect of the export or funds by, Bonhams. 8.1.6 to be paid interest on any monies due (after as well the Seller (whether made in writing, including in 10.5 If any term or any part of any term of the Contract otherwise have an economic interest. import of the Lot have (unless stated to the contrary as before judgement or order) at the annual rate the Catalogue, or on the Website, or orally, or by for Sale is held to be unenforceable or invalid, such Ф This lot contains or is made of ivory. The United States in the Catalogue or announced by the Auctioneer) 6 PAYMENT of 5% per annum above the base rate of National conduct or otherwise) and whether made before or unenforceability or invalidity will not affect the Government has banned the import of ivory into been paid and, so far as the Seller is aware, all third Westminster Bank Plc from time to time to be after this agreement or prior to or during the Sale; enforceability and validity of the remaining terms or the USA. parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises when calculated on a daily basis from the date upon which the remainder of the relevant term. the past; the Lot is knocked down to you on the fall of the such monies become payable until the date of actual 9.3.2 the Seller will not be liable for any loss of Business, •, †, *, G, Ω, a see clause 8, VAT, for details. Auctioneer’s hammer in respect of the Lot. payment; Business profits or revenue or income or for loss of 10.6 References in the Contract for Sale to Bonhams will, 2.1.5 subject to any alterations expressly identified as such reputation or for disruption to Business or wasted where appropriate, include reference to Bonhams’ DATA PROTECTION – USE OF YOUR INFORMATION made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment 8.1.7 to repossess the Lot (or any part thereof) which has time on the part of the Buyer or of the Buyer’s officers, employees and agents. or by the Notice to Bidders or by an insert in the of the Purchase Price and all other sums payable by not become your property, and for this purpose management or staff or, for any indirect losses or Where we obtain any personal information about you, we shall Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you (unless the Buyer buys the Lot as a Consumer from consequential damages of any kind, irrespective in 10.7 The headings used in the Contract for Sale only use it in accordance with the terms of our Privacy Policy Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case the Seller selling in the course of a Business) you any case of the nature, volume or source of the loss are for convenience only and will not affect its (subject to any additional specific consent(s) you may have about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), hereby grant an irrevocable licence to the Seller by or damage alleged to be suffered, and irrespective interpretation. given at the time your information was disclosed). A copy of letters and (except for colour) with any photograph all such sums must be paid to Bonhams by you in himself and to his servants or agents to enter upon of whether the said loss or damage is caused by our Privacy Policy can be found on our Website www.bonhams. of the Lot in the Catalogue and the contents of the currency in which the Sale was conducted by all or any of your premises (with or without vehicles) or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means com or requested by post from Customer Services Department, any Condition Report which has been provided to not later than 4.30pm on the second working day during normal Business hours to take possession of breach of contract, statutory duty, restitutionary “including, without limitation”. 101 New Bond Street, London, W1S 1SR or by email from the Buyer. following the Sale and you must ensure that the the Lot or part thereof; claim or otherwise; [email protected] funds are cleared by the seventh working day after 10.9 References to the singular will include reference to 3 DESCRIPTIONS OF THE LOT the Sale. Payment must be made to Bonhams by one 8.1.8 to retain possession of any other property sold to you 9.3.3 in any circumstances where the Seller is liable to you the plural (and vice versa) and reference to any one APPENDIX 1 of the methods stated in the Notice to Bidders unless by the Seller at the Sale or any other auction or by in respect of the Lot, or any act, omission, statement, gender will include reference to the other genders. 3.1 Paragraph 2.1.5 sets out what is the Contractual otherwise agreed with you in writing by Bonhams. If private treaty until all sums due under the Contract or representation in respect of it, or this agreement CONTRACT FOR SALE Description of the Lot. In particular, the Lot is not you do not pay any sums due in accordance with this for Sale shall have been paid in full in cleared funds; or its performance, and whether in damages, for 10.10 Reference to a numbered paragraph is to a sold as corresponding with that part of the Entry in paragraph, the Seller will have the rights set out in an indemnity or contribution or for a restitutionary paragraph of the Contract for Sale. IMPORTANT: These terms may be changed in advance of the the Catalogue which is not printed in bold letters, paragraph 8 below. 8.1.9 to retain possession of, and on three months’ written remedy or in any way whatsoever, the Seller’s liability Sale of the Lot to you, by the setting out of different terms in which merely sets out (on the Seller’s behalf) notice to sell, Without Reserve, any of your other will be limited to payment of a sum which will not 10.11 Save as expressly provided in paragraph 10.12 the Catalogue for the Sale and/or by placing an insert in the Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT property in the possession of the Seller and/or of exceed by way of maximum the amount of the nothing in the Contract for Sale confers (or purports Catalogue and/or by notices at the Sale venue and/or by oral part of the Contractual Description upon which the Bonhams (as bailee for the Seller) for any purpose Purchase Price of the Lot irrespective in any case of to confer) on any person who is not a party to the announcements before and during the Sale at the Sale venue. Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by (including, without limitation, other goods sold to the nature, volume or source of any loss or damage Contract for Sale any benefit conferred by, or the You should be alert to this possibility of changes and ask in than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your you) and to apply any monies due to you as a result alleged to be suffered or sum claimed as due, and right to enforce any term of, the Contract for Sale. advance of bidding if there have been any. 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared funds of such Sale in satisfaction or part satisfaction of any irrespective of whether the liability arises from any as referred to in paragraph 2.1.5), including any to the amount of the full Purchase Price and all other amounts owed to the Seller or to Bonhams; and negligence, other tort, breach of contract, statutory 10.12 Where the Contract for Sale confers an immunity Under this contract the Seller’s liability in respect of the quality Description or Estimate, whether made orally or in sums owed by you to the Seller and to Bonhams. duty, bailee’s duty, restitutionary claim or otherwise. from, and/or an exclusion or restriction of, the of the Lot, it’s fitness for any purpose and its conformity with writing, including in the Catalogue or on Bonhams’ 8.1.10 so long as such goods remain in the possession of responsibility and/or liability of the Seller, it will also any Description is limited. You are strongly advised to examine Website, or by conduct, or otherwise, and whether 7.2 The Seller is entitled to withhold possession from you the Seller or Bonhams as its bailee, to rescind the 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will operate in favour and for the benefit ofBonhams, the Lot for yourself and/or obtain an independent examination by or on behalf of the Seller or Bonhams and of any other Lot he has sold to you at the same or contract for the Sale of any other goods sold to be construed as excluding or restricting (whether Bonhams’ holding company and the subsidiaries of it before you buy it. whether made prior to or during the Sale, is not part at any other Sale and whether currently in Bonhams’ you by the Seller at the Sale or at any other auction directly or indirectly) any person’s liability or excluding of such holding company and the successors and of the Contractual Description upon which the Lot is possession or not until payment in full and in cleared or by private treaty and apply any monies received or restricting any person’s rights or remedies in assigns of Bonhams and of such companies and of 1 THE CONTRACT sold. funds of the Purchase Price and all other sums due to from you in respect of such goods in part or full respect of (i) fraud, or (ii) death or personal injury any officer, employee and agent of Bonhams and the Seller and/or Bonhams in respect of the Lot. satisfaction of any amounts owed to the Seller or to caused by the Seller’s negligence (or any person such companies, each of whom will be entitled to 1.1 These terms govern the Contract for Sale of the Lot 3.2 Except as provided in paragraph 2.1.5, the Seller Bonhams by you. under the Seller’s control or for whom the Seller is rely on the relevant immunity and/or exclusion and/or by the Seller to the Buyer. does not make or give and does not agree to make 7.3 You will collect and remove the Lot at your own legally responsible), or (iii) acts or omissions for which restriction within and for the purposes of Contracts or give any contractual promise, undertaking, expense from Bonhams’ custody and/ or control or 8.2 You agree to indemnify the Seller against all legal the Seller is liable under the Occupiers Liability Act (Rights of Third Parties) Act 1999, which enables the 1.2 The Definitions and Glossary contained in Appendix 3 obligation, guarantee, warranty, or representation from the Storage Contractor’s custody in accordance and other costs of enforcement, all losses and other 1957, or (iv) any other liability to the extent the same benefit of a contract to be extended to a person who in the Catalogue are incorporated into this Contract of fact, or undertake any duty of care, in relation to with Bonhams’ instructions or requirements. Expenses and costs (including any monies payable may not be excluded or restricted as a matter of law. is not a party to the contract, and generally at law. for Sale and a separate copy can also be provided any Description of the Lot or any Estimate in relation to Bonhams in order to obtain the release of the by Bonhams on request. Where words and phrases to it, nor of the accuracy or completeness of any 7.4 You will be wholly responsible for packing, handling Lot) incurred by the Seller (whether or not court 10 MISCELLANEOUS 11 GOVERNING LAW are used which are in the List of Definitions, they are Description or Estimate which may have been made and transport of the Lot on collection and for proceedings will have been issued) as a result of printed in italics. by or on behalf of the Seller including by Bonhams. complying with all import or export regulations in Bonhams taking steps under this paragraph 8 on a 10.1 You may not assign either the benefit or burden of All transactions to which the Contract for Sale applies No such Description or Estimate is incorporated into connection with the Lot. full indemnity basis together with interest thereon the Contract for Sale. and all connected matters will be governed by and 1.3 The Seller sells the Lot as the principal to the this Contract for Sale. (after as well as before judgement or order) at the construed in accordance with the laws of that part Contract for Sale, such contract being made between 7.5 You will be wholly responsible for any removal, rate specified in paragraph 8.1.6 from the date upon 10.2 The Seller’s failure or delay in enforcing or exercising of the United Kingdom where the Sale takes place the Seller and you through Bonhams which acts in 4 FITNESS FOR PURPOSE AND SATISFACTORY storage or other charges or Expenses incurred which the Seller becomes liable to pay the same until any power or right under the Contract for Sale will and the Seller and you each submit to the exclusive the sole capacity as the Seller’s agent and not as QUALITY by the Seller if you do not remove the Lot in payment by you. not operate or be deemed to operate as a waiver of jurisdiction of the courts of that part of the United an additional principal. However, if the Catalogue accordance with this paragraph 7 and will his rights under it except to the extent of any express Kingdom, save that the Seller may bring proceedings states that Bonhams sells the Lot as principal, or such 4.1 The Seller does not make and does not agree indemnify the Seller against all charges, costs, 8.3 On any resale of the Lot under paragraph 8.1.2, the waiver given to you in writing. Any such waiver will against you in any other court of competent a statement is made by an announcement by the to make any contractual promise, undertaking, including any legal costs and fees, Expenses and Seller will account to you in respect of any balance not affect the Seller’s ability subsequently to enforce jurisdiction to the extent permitted by the laws of Auctioneer, or by a notice at the Sale, or an insert obligation, guarantee, warranty, or representation of losses suffered by the Seller by reason of your remaining from any monies received by him or on any right arising under the Contract for Sale. the relevant jurisdiction. Bonhams has a complaints in the Catalogue, then Bonhams is the Seller for the fact in relation to the satisfactory quality of the Lot or failure to remove the Lot including any charges his behalf in respect of the Lot, after the payment of procedure in place. purposes of this agreement. its fitness for any purpose. due under any Storage Contract. All such sums all sums due to the Seller and to Bonhams, within due to the Seller will be payable on demand. 28 days of receipt of such monies by him or on his 1.4 The contract is made on the fall of the Auctioneer’s behalf. hammer in respect of the Lot when it is knocked down to you. NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date specified 7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such 9.3 Paragraph 9 will not apply in respect of a Forgery if: in the Notice to Bidders, you authorise us, acting AND PART PAYMENTS payment shall be applied firstly to the Purchase Price BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as as your agent and on your behalf, to enter into a of the Lot (or where you have purchased more than 9.3.1 the Entry in relation to the Lot contained in the otherwise set out in the Notice to Bidders, you must contract (the “Storage Contract”) with the Storage 7.1 If all sums payable to us are not so paid in full at the one Lot pro-rata towards the Purchase Price of each Catalogue reflected the then accepted general IMPORTANT: These terms may be changed in advance of the pay to us by not later than 4.30pm on the second Contractor for the storage of the Lot on the then time they are due and/or the Lot is not removed in Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated Sale of the Lot to you, by the setting out of different terms in working day following the Sale: current standard terms and conditions agreed accordance with this agreement, we will without you have purchased more than one Lot pro-rata to that there was a conflict of such opinion or reflected the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any the then current opinion of an expert acknowledged Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot more of the following rights (without prejudice to other sums due to us. to be a leading expert in the relevant field; or announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current any rights we may exercise on behalf of the Seller): You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per 7.4 We will account to you in respect of any balance we 9.3.2 it can be established that the Lot is a Forgery only advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the 7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in by means of a process not generally accepted for period referred to in paragraph 4.2. These storage breach of contract; respect of any Sale of the Lot under our rights under use until after the date on which the Catalogue was 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. this paragraph 7 after the payment of all sums due to published or by means of a process which it was which is calculated and payable in accordance with 7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of unreasonable in all the circumstances for us to have 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any all such sums paid to us. employed. personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as 7.1.3 to remove, and/or store the Lot at your expense; a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage 8 CLAIMS BY OTHER PERSONS IN RESPECT OF 9.4 You authorise us to carry out such processes and Contractor as agent on behalf of the Seller and 7.1.4 to take legal proceedings against you for payment THE LOT tests on the Lot as we in our absolute discretion 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage of any sums payable to us by you (including the consider necessary to satisfy ourselves that the Lot is 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot or is not a Forgery. into this agreement and a separate copy can also contract; is the subject of a claim by someone other than be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any you and other than the Seller (or that such a claim 9.5 If we are satisfied that a Lot is a Forgery we will (as phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the charges 7.1.5 to be paid interest on any monies due to us (after can reasonably be expected to be made), we may, principal) purchase the Lot from you and you will are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the (and all costs of moving the Lot into storage) due as well as before judgement or order) at the annual at our absolute discretion, deal with the Lot in transfer the title to the Lot in question to us, with Reference is made in this agreement to information methods of payment set out in the Notice to under any Storage Contract. You acknowledge and rate of 5% per annum above the base lending rate any manner which appears to us to recognise the full title guarantee, free from any liens, charges, printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the agree that you will not be able to collect the Lot from of National Westminster Bank Plc from time to time legitimate interests of ourselves and the other parties encumbrances and adverse claims, in accordance Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an the Storage Contractor’s premises until you have paid to be calculated on a daily basis from the date upon involved and lawfully to protect our position and with the provisions of Sections 12(1) and 12(2) of is referred to it is incorporated into this agreement. agent for a named principal and we have approved the Purchase Price, any Expenses and all charges due which such monies become payable until the date of our legitimate interests. Without prejudice to the the Sale of Goods Act 1979 and we will pay to you that arrangement, in which case we will address the under the Storage Contract. actual payment; generality of the discretion and by way of example, an amount equal to the sum of the Purchase Price, 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. we may: Buyer’s Premium, VAT and Expenses paid by you in Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling 7.1.6 to repossess the Lot (or any part thereof) which has respect of the Lot. and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for not become your property, and for this purpose 8.1.1 retain the Lot to investigate any question raised or hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in (unless you buy the Lot as a Consumer) you hereby reasonably expected by us to be raised in relation to 9.6 The benefit of paragraph 9 is personal to, and down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. grant an irrevocable licence to us, by ourselves, our the Lot; and/or incapable of assignment by, you. also made between you and Bonhams on the terms all such sums. servants or agents, to enter upon all or any of your in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, premises (with or without vehicles) during normal 8.1.2 deliver the Lot to a person other than you; and/or 9.7 If you sell or otherwise dispose of your interest in the 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed business hours to take possession of any Lot or part Lot, all rights and benefits under this paragraph will 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our thereof; 8.1.3 commence interpleader proceedings or seek any cease. answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including other order of any court, mediator, arbitrator or breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of 7.1.7 to sell the Lot Without Reserve by auction, private government body; and/or 9.8 Paragraph 9 does not apply to a Lot made up of or unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any treaty or any other means on giving you three including a Chinese painting or Chinese paintings, a event before any collection of the Lot by you or on months’ written notice of our intention to do so; 8.1.4 require an indemnity and/or security from you in motor vehicle or motor vehicles, a Stamp or Stamps 1.5 Our personal obligations to you are governed by this 3.6 Time will be of the essence in relation to any your behalf. return for pursuing a course of action agreed to by or a Book or Books. agreement and we agree, subject to the terms below, payment payable to us. If you do not pay the 7.1.8 to retain possession of any of your other property in you. to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT our possession for any purpose (including, without 10 OUR LIABILITY accordance with this paragraph 3, we will have the limitation, other goods sold to you or with us for 8.2 The discretion referred to in paragraph 8.1: 1.5.1 we will, until the date and time specified in the rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your Sale) until all sums due to us have been paid in full; 10.1 We will not be liable whether in negligence, other Notice to Bidders or otherwise notified to you, store removal of the Lot or until the time and date set out 8.2.1 may be exercised at any time during which we have tort, breach of contract or statutory duty or in the Lot in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down to in the Notice to Bidders, on the Sale Information 7.1.9 to apply any monies received from you for any actual or constructive possession of the Lot, or at restitution or under the Misrepresentation Act 1967 you, any monies we receive from you will be applied Page or at the back of the catalogue (or if no date purpose whether at the time of your default or at any time after such possession, where the cessation or in any other way for lack of conformity with or 1.5.2 subject to any power of the Seller or us to refuse to firstly pro-rata to pay the Purchase Price of each Lot is specified, by 4.30pm on the seventh day after the any time thereafter in payment or part payment of of such possession has occurred by reason of any any inaccuracy, error, misdescription or omission in release the Lot to you, we will release the Lot to you and secondly pro-rata to pay all amounts due to Sale) and, subject to paragraphs 6 and 10, to be any sums due to us by you under this agreement; decision, order or ruling of any court, mediator, any Description of the Lot or any Entry or Estimate in accordance with paragraph 4 once you have paid Bonhams. responsible as bailee to you for damage to or the loss arbitrator or government body; and in respect of it, made by us or on our behalf or by to us, in cleared funds, everything due to us and the or destruction of the Lot (notwithstanding that it is 7.1.10 on three months’ written notice to sell, Without or on behalf of the Seller (whether made in writing, Seller; 4 COLLECTION OF THE LOT not your property before payment of the Purchase Reserve, any of your other property in our possession 8.2.2 will not be exercised unless we believe that there including in the Catalogue, or on the Bonhams’ Price). If you do not collect the Lot before the time or under our control for any purpose (including other exists a serious prospect of a good arguable case in Website, or orally, or by conduct or otherwise) and 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no goods sold to you or with us for Sale) and to apply favour of the claim. whether made before or after this agreement or prior paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day any monies due to you as a result of such Sale in to or during the Sale. in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another payment or part payment of any amounts owed to 9 FORGERIES 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out us; 10.2 Our duty to you while the Lot is at your risk and/or or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have 9.1 We undertake a personal responsibility for any your property and in our custody and/or control is to obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, 7.1.11 refuse to allow you to register for a future Sale or to Forgery in accordance with the terms of this exercise reasonable care in relation to it, but we will fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, reject a bid from you at any future Sale or to require paragraph 9. not be responsible for damage to the Lot or to other Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to you to pay a deposit before any bid is accepted by us persons or things caused by: completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the at any future Sale in which case we will be entitled 9.2 Paragraph 9 applies only if: may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with to apply such deposit in payment or part payment, as 10.2.1 handling the Lot if it was affected at the time of Sale or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. the case may be, of the Purchase Price of any Lot of 9.2.1 your name appears as the named person to whom to you by woodworm and any damage is caused as a writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. which you are the Buyer. the original invoice was made out by us in respect of result of it being affected by woodworm; or Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT the Lot and that invoice has been paid; and made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot 7.2 You agree to indemnify us against all legal and other 10.2.2 changes in atmospheric pressure; nor will we be during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us costs, all losses and all other Expenses (whether or 9.2.2 you notify us in writing as soon as reasonably liable for: incorporated into this agreement between you and Notice to Bidders for collection on the days and times will title in the Lot pass to you. However under the not court proceedings will have been issued) incurred practicable after you have become aware that the Lot us. Any such Description or Estimate, if made by us specified in the Notice to Bidders. Thereafter, the Contract for Sale, the risk in the Lot passed to you by us as a result of our taking steps under this is or may be a Forgery, and in any event within one 10.2.3 damage to tension stringed musical instruments; or or on our behalf, was (unless Bonhams itself sells Lot may be removed elsewhere for storage and you when it was knocked down to you. paragraph 7 on a full indemnity basis together with year after the Sale, that the Lot is a Forgery; and the Lot as principal) made as agent on behalf of the must enquire from us as to when and where you can interest thereon (after as well as before judgement or 10.2.4 damage to gilded picture frames, plaster picture Seller. collect it, although this information will usually be set 6.2 You are advised to obtain insurance in respect of the order) at the rate specified in paragraph 7.1.5 from 9.2.3 within one month after such notification has been frames or picture frame glass; and if the Lot is or out in the Notice to Bidders. Lot as soon as possible after the Sale. the date upon which we become liable to pay the given, you return the Lot to us in the same condition becomes dangerous, we may dispose of it without 2 PERFORMANCE OF THE CONTRACT FOR SALE same until payment by you. as it was at the time of the Sale, accompanied by notice to you in advance in any manner we think fit written evidence that the Lot is a Forgery and details and we will be under no liability to you for doing so. You undertake to us personally that you will of the Sale and Lot number sufficient to identify the observe and comply with all your obligations and Lot. undertakings to the Seller under the Contract for Sale in respect of the Lot.

NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date specified 7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such 9.3 Paragraph 9 will not apply in respect of a Forgery if: in the Notice to Bidders, you authorise us, acting AND PART PAYMENTS payment shall be applied firstly to the Purchase Price BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as as your agent and on your behalf, to enter into a of the Lot (or where you have purchased more than 9.3.1 the Entry in relation to the Lot contained in the otherwise set out in the Notice to Bidders, you must contract (the “Storage Contract”) with the Storage 7.1 If all sums payable to us are not so paid in full at the one Lot pro-rata towards the Purchase Price of each Catalogue reflected the then accepted general IMPORTANT: These terms may be changed in advance of the pay to us by not later than 4.30pm on the second Contractor for the storage of the Lot on the then time they are due and/or the Lot is not removed in Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated Sale of the Lot to you, by the setting out of different terms in working day following the Sale: current standard terms and conditions agreed accordance with this agreement, we will without you have purchased more than one Lot pro-rata to that there was a conflict of such opinion or reflected the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any the then current opinion of an expert acknowledged Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot more of the following rights (without prejudice to other sums due to us. to be a leading expert in the relevant field; or announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current any rights we may exercise on behalf of the Seller): You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per 7.4 We will account to you in respect of any balance we 9.3.2 it can be established that the Lot is a Forgery only advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the 7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in by means of a process not generally accepted for period referred to in paragraph 4.2. These storage breach of contract; respect of any Sale of the Lot under our rights under use until after the date on which the Catalogue was 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. this paragraph 7 after the payment of all sums due to published or by means of a process which it was which is calculated and payable in accordance with 7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of unreasonable in all the circumstances for us to have 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any all such sums paid to us. employed. personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as 7.1.3 to remove, and/or store the Lot at your expense; a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage 8 CLAIMS BY OTHER PERSONS IN RESPECT OF 9.4 You authorise us to carry out such processes and Contractor as agent on behalf of the Seller and 7.1.4 to take legal proceedings against you for payment THE LOT tests on the Lot as we in our absolute discretion 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage of any sums payable to us by you (including the consider necessary to satisfy ourselves that the Lot is 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot or is not a Forgery. into this agreement and a separate copy can also contract; is the subject of a claim by someone other than be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any you and other than the Seller (or that such a claim 9.5 If we are satisfied that a Lot is a Forgery we will (as phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the charges 7.1.5 to be paid interest on any monies due to us (after can reasonably be expected to be made), we may, principal) purchase the Lot from you and you will are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the (and all costs of moving the Lot into storage) due as well as before judgement or order) at the annual at our absolute discretion, deal with the Lot in transfer the title to the Lot in question to us, with Reference is made in this agreement to information methods of payment set out in the Notice to under any Storage Contract. You acknowledge and rate of 5% per annum above the base lending rate any manner which appears to us to recognise the full title guarantee, free from any liens, charges, printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the agree that you will not be able to collect the Lot from of National Westminster Bank Plc from time to time legitimate interests of ourselves and the other parties encumbrances and adverse claims, in accordance Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an the Storage Contractor’s premises until you have paid to be calculated on a daily basis from the date upon involved and lawfully to protect our position and with the provisions of Sections 12(1) and 12(2) of is referred to it is incorporated into this agreement. agent for a named principal and we have approved the Purchase Price, any Expenses and all charges due which such monies become payable until the date of our legitimate interests. Without prejudice to the the Sale of Goods Act 1979 and we will pay to you that arrangement, in which case we will address the under the Storage Contract. actual payment; generality of the discretion and by way of example, an amount equal to the sum of the Purchase Price, 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. we may: Buyer’s Premium, VAT and Expenses paid by you in Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling 7.1.6 to repossess the Lot (or any part thereof) which has respect of the Lot. and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for not become your property, and for this purpose 8.1.1 retain the Lot to investigate any question raised or hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in (unless you buy the Lot as a Consumer) you hereby reasonably expected by us to be raised in relation to 9.6 The benefit of paragraph 9 is personal to, and down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. grant an irrevocable licence to us, by ourselves, our the Lot; and/or incapable of assignment by, you. also made between you and Bonhams on the terms all such sums. servants or agents, to enter upon all or any of your in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, premises (with or without vehicles) during normal 8.1.2 deliver the Lot to a person other than you; and/or 9.7 If you sell or otherwise dispose of your interest in the 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed business hours to take possession of any Lot or part Lot, all rights and benefits under this paragraph will 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our thereof; 8.1.3 commence interpleader proceedings or seek any cease. answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including other order of any court, mediator, arbitrator or breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of 7.1.7 to sell the Lot Without Reserve by auction, private government body; and/or 9.8 Paragraph 9 does not apply to a Lot made up of or unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any treaty or any other means on giving you three including a Chinese painting or Chinese paintings, a event before any collection of the Lot by you or on months’ written notice of our intention to do so; 8.1.4 require an indemnity and/or security from you in motor vehicle or motor vehicles, a Stamp or Stamps 1.5 Our personal obligations to you are governed by this 3.6 Time will be of the essence in relation to any your behalf. return for pursuing a course of action agreed to by or a Book or Books. agreement and we agree, subject to the terms below, payment payable to us. If you do not pay the 7.1.8 to retain possession of any of your other property in you. to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT our possession for any purpose (including, without 10 OUR LIABILITY accordance with this paragraph 3, we will have the limitation, other goods sold to you or with us for 8.2 The discretion referred to in paragraph 8.1: 1.5.1 we will, until the date and time specified in the rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your Sale) until all sums due to us have been paid in full; 10.1 We will not be liable whether in negligence, other Notice to Bidders or otherwise notified to you, store removal of the Lot or until the time and date set out 8.2.1 may be exercised at any time during which we have tort, breach of contract or statutory duty or in the Lot in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down to in the Notice to Bidders, on the Sale Information 7.1.9 to apply any monies received from you for any actual or constructive possession of the Lot, or at restitution or under the Misrepresentation Act 1967 you, any monies we receive from you will be applied Page or at the back of the catalogue (or if no date purpose whether at the time of your default or at any time after such possession, where the cessation or in any other way for lack of conformity with or 1.5.2 subject to any power of the Seller or us to refuse to firstly pro-rata to pay the Purchase Price of each Lot is specified, by 4.30pm on the seventh day after the any time thereafter in payment or part payment of of such possession has occurred by reason of any any inaccuracy, error, misdescription or omission in release the Lot to you, we will release the Lot to you and secondly pro-rata to pay all amounts due to Sale) and, subject to paragraphs 6 and 10, to be any sums due to us by you under this agreement; decision, order or ruling of any court, mediator, any Description of the Lot or any Entry or Estimate in accordance with paragraph 4 once you have paid Bonhams. responsible as bailee to you for damage to or the loss arbitrator or government body; and in respect of it, made by us or on our behalf or by to us, in cleared funds, everything due to us and the or destruction of the Lot (notwithstanding that it is 7.1.10 on three months’ written notice to sell, Without or on behalf of the Seller (whether made in writing, Seller; 4 COLLECTION OF THE LOT not your property before payment of the Purchase Reserve, any of your other property in our possession 8.2.2 will not be exercised unless we believe that there including in the Catalogue, or on the Bonhams’ Price). If you do not collect the Lot before the time or under our control for any purpose (including other exists a serious prospect of a good arguable case in Website, or orally, or by conduct or otherwise) and 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no goods sold to you or with us for Sale) and to apply favour of the claim. whether made before or after this agreement or prior paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day any monies due to you as a result of such Sale in to or during the Sale. in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another payment or part payment of any amounts owed to 9 FORGERIES 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out us; 10.2 Our duty to you while the Lot is at your risk and/or or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have 9.1 We undertake a personal responsibility for any your property and in our custody and/or control is to obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, 7.1.11 refuse to allow you to register for a future Sale or to Forgery in accordance with the terms of this exercise reasonable care in relation to it, but we will fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, reject a bid from you at any future Sale or to require paragraph 9. not be responsible for damage to the Lot or to other Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to you to pay a deposit before any bid is accepted by us persons or things caused by: completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the at any future Sale in which case we will be entitled 9.2 Paragraph 9 applies only if: may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with to apply such deposit in payment or part payment, as 10.2.1 handling the Lot if it was affected at the time of Sale or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. the case may be, of the Purchase Price of any Lot of 9.2.1 your name appears as the named person to whom to you by woodworm and any damage is caused as a writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. which you are the Buyer. the original invoice was made out by us in respect of result of it being affected by woodworm; or Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT the Lot and that invoice has been paid; and made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot 7.2 You agree to indemnify us against all legal and other 10.2.2 changes in atmospheric pressure; nor will we be during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us costs, all losses and all other Expenses (whether or 9.2.2 you notify us in writing as soon as reasonably liable for: incorporated into this agreement between you and Notice to Bidders for collection on the days and times will title in the Lot pass to you. However under the not court proceedings will have been issued) incurred practicable after you have become aware that the Lot us. Any such Description or Estimate, if made by us specified in the Notice to Bidders. Thereafter, the Contract for Sale, the risk in the Lot passed to you by us as a result of our taking steps under this is or may be a Forgery, and in any event within one 10.2.3 damage to tension stringed musical instruments; or or on our behalf, was (unless Bonhams itself sells Lot may be removed elsewhere for storage and you when it was knocked down to you. paragraph 7 on a full indemnity basis together with year after the Sale, that the Lot is a Forgery; and the Lot as principal) made as agent on behalf of the must enquire from us as to when and where you can interest thereon (after as well as before judgement or 10.2.4 damage to gilded picture frames, plaster picture Seller. collect it, although this information will usually be set 6.2 You are advised to obtain insurance in respect of the order) at the rate specified in paragraph 7.1.5 from 9.2.3 within one month after such notification has been frames or picture frame glass; and if the Lot is or out in the Notice to Bidders. Lot as soon as possible after the Sale. the date upon which we become liable to pay the given, you return the Lot to us in the same condition becomes dangerous, we may dispose of it without 2 PERFORMANCE OF THE CONTRACT FOR SALE same until payment by you. as it was at the time of the Sale, accompanied by notice to you in advance in any manner we think fit written evidence that the Lot is a Forgery and details and we will be under no liability to you for doing so. You undertake to us personally that you will of the Sale and Lot number sufficient to identify the observe and comply with all your obligations and Lot. undertakings to the Seller under the Contract for Sale in respect of the Lot.

NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are “Bidder” a person who has completed a Bidding Form. “Loss and Damage Warranty” means the warranty described “artist’s resale right”: the right of the creator of a work of art Business profits, revenue or income or for loss of reflected the then accepted general opinion of for convenience only and will not affect its “Bidding Form” our Bidding Registration Form, our Absentee in paragraph 8.2 of the Conditions of Business. to receive a payment on Sales of that work subsequent to the Business reputation or for disruption to Business or scholars and experts or fairly indicated that there was interpretation. Bidding Form or our Telephone Bidding Form. “Loss and Damage Warranty Fee” means the fee described original Sale of that work by the creator of it as set out in the wasted time on the part of the Buyer’s management a conflict of such opinion; or “Bonhams” Bonhams 1793 Limited or its successors or in paragraph 8.2.3 of the Conditions of Business. Artists Resale Right Regulations 2006. or staff or, if you are buying the Lot in the course of 12.8 In this agreement “including” means “including, assigns. Bonhams is also referred to in the Buyer’s Agreement, “Lot” any item consigned to Bonhams with a view to its Sale “bailee”: a person to whom goods are entrusted. a Business, for any indirect losses or consequential it can be established that the Lot is a non-conforming without limitation”. the Conditions of Business and the Notice to Bidders by the at auction or by private treaty (and reference to any Lot will “indemnity”: an obligation to put the person who has damages of any kind, irrespective in any case of Lot only by means of a process not generally words “we”, “us” and “our”. include, unless the context otherwise requires, reference to the benefit of the indemnity in the same position in which the nature, volume or source of the loss or damage accepted for use until after the date on which the 12.9 References to the singular will include reference to “Book” a printed Book offered for Sale at a specialist Book individual items comprised in a group of two or more items he would have been, had the circumstances giving rise to alleged to be suffered, and irrespective of whether Catalogue was published or by means of a process the plural (and vice versa) and reference to any one Sale. offered for Sale as one Lot). the indemnity not arisen and the expression “indemnify” is the said loss or damage is caused by or claimed which it was unreasonable in all the circumstances gender will include reference to the other genders. “Business” includes any trade, Business and profession. “Motoring Catalogue Fee” a fee payable by the Seller to construed accordingly. in respect of any negligence, other tort, breach of for us to have employed; or “Buyer” the person to whom a Lot is knocked down by the Bonhams in consideration of the additional work undertaken “interpleader proceedings”: proceedings in the Courts to contract, statutory duty, bailee’s duty, a restitutionary 12.10 Reference to a numbered paragraph is to a Auctioneer. The Buyer is also referred to in the Contract for by Bonhams in respect of the cataloguing of motor vehicles determine ownership or rights over a Lot. claim or otherwise. the Lot comprises atlases, maps, autographs, paragraph of this agreement. Sale and the Buyer’s Agreement by the words “you” and and in respect of the promotion of Sales of motor vehicles. “knocked down”: when a Lot is sold to a Bidder, indicated by manuscripts, extra illustrated books, music or “your”. “New Bond Street” means Bonhams’ saleroom at 101 New the fall of the hammer at the Sale. 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or 12.11 Save as expressly provided in paragraph 12.12 “Buyer’s Agreement” the contract entered into by Bonhams Bond Street, London W1S 1SR. “lien”: a right for the person who has possession of the Lot to circumstances where we are liable to you in nothing in this agreement confers (or purports to with the Buyer (see Appendix 2 in the Catalogue). “Notional Charges” the amount of Commission and VAT retain possession of it. respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under confer) on any person who is not a party to this “Buyer’s Premium” the sum calculated on the Hammer Price which would have been payable if the Lot had been sold at the “risk”: the possibility that a Lot may be lost, damaged, representation in respect of it, or this agreement “collections” or “collections and various” or the Lot agreement any benefit conferred by, or the right to at the rates stated in the Notice to Bidders. Notional Price. destroyed, stolen, or deteriorate in condition or value. or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain enforce any term of, this agreement. “Catalogue” the Catalogue relating to the relevant Sale, “Notional Fee” the sum on which the Consignment Fee “title”: the legal and equitable right to the ownership of a Lot. an indemnity or contribution or for a restitutionary a collection, issue or Books which are undescribed or including any representation of the Catalogue published on payable to Bonhams by the Seller is based and which is “tort”: a legal wrong done to someone to whom the wrong remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the 12.12 Where this agreement confers an immunity from, our Website. calculated according to the formula set out in the Conditions doer has a duty of care. limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles and/or an exclusion or restriction of, the responsibility “Commission” the Commission payable by the Seller to of Business. by way of maximum the amount of the Purchase or advertisements. and/or liability of Bonhams, it will also operate in Bonhams calculated at the rates stated in the Contract Form. “Notional Price” the latest in time of the average of the SALE OF GOODS ACT 1979 Price of the Lot plus Buyer’s Premium (less any sum favour and for the benefit of Bonhams’ holding “Condition Report” a report on the physical condition of a Lot high and low Estimates given by us to you or stated in the you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- company and the subsidiaries of such holding provided to a Bidder or potential Bidder by Bonhams on behalf Catalogue or, if no such Estimates have been given or stated, The following is an extract from the Sale of Goods Act 1979: irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the company and the successors and assigns of Bonhams of the Seller. the Reserve applicable to the Lot. source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot and of such companies and of any officer, employee “Conditions of Sale” the Notice to Bidders, Contract for Sale, “Notice to Bidders” the notice printed at the back or front of “Section 12 Implied terms about title, etc or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from and agent of Bonhams and such companies, each Buyer’s Agreement and Definitions and Glossary. our Catalogues. the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse claims of whom will be entitled to rely on the relevant “Consignment Fee” a fee payable to Bonhams by the Seller “Purchase Price” the aggregate of the Hammer Price and VAT (1) In a contract of sale, other than one to which subsection breach of contract, statutory duty, bailee’s duty, a and we will pay to you an amount equal to the sum immunity and/or exclusion and/or restriction within calculated at rates set out in the Conditions of Business. on the Hammer Price (where applicable), the Buyer’s Premium (3) below applies, there is an implied term on the part of restitutionary claim or otherwise. of the Purchase Price and Buyer’s Premium paid by and for the purposes of Contracts (Rights of Third “Consumer” a natural person who is acting for the relevant and VAT on the Buyer’s Premium and any Expenses. the seller that in the case of a sale he has a right to sell you in respect of the Lot. Parties) Act 1999, which enables the benefit of a purpose outside his trade, Business or profession. “Reserve” the minimum price at which a Lot may be sold the goods, and in the case of an agreement to sell he You may wish to protect yourself against loss by contract to be extended to a person who is not a “Contract Form” the Contract Form, or vehicle Entry form, as (whether at auction or by private treaty). will have such a right at the time when the property is to obtaining insurance. The benefit of paragraph 10 is personal to, and party to the contract, and generally at law. applicable, signed by or on behalf of the Seller listing the Lots “Sale” the auction Sale at which a Lot is to be offered for Sale pass. incapable of assignment by, you and if you sell or to be offered for Sale by Bonhams. by Bonhams. 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all 13 GOVERNING LAW “Contract for Sale” the Sale contract entered into by the “Sale Proceeds” the net amount due to the Seller from the (2) In a contract of sale, other than one to which subsection or restricting (whether directly or indirectly) any rights and benefits under this paragraph will cease. Seller with the Buyer (see Appendix 1 in the Catalogue). Sale of a Lot, being the Hammer Price less the Commission, any (3) below applies, there is also an implied term that- person’s liability or excluding or restricting any All transactions to which this agreement applies “Contractual Description” the only Description of the Lot VAT chargeable thereon, Expenses and any other amount due person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS and all connected matters will be governed by and (being that part of the Entry about the Lot in the Catalogue to us in whatever capacity and howsoever arising. (a) the goods are free, and will remain free until (ii) death or personal injury caused by our negligence construed in accordance with the laws of that part which is in bold letters, any photograph (except for the colour) “Seller” the person who offers the Lot for Sale named on the time when the property is to pass, from any (or any person under our control or for whom we are 12.1 You may not assign either the benefit or burden of of the United Kingdom where the Sale takes (or and the contents of any Condition Report) to which the Seller the Contract Form. Where the person so named identifies on charge or encumbrance not disclosed or known legally responsible), or (iii) acts or omissions for which this agreement. is to take) place and we and you each submit to undertakes in the Contract of Sale the Lot corresponds. the form another person as acting as his agent, or where the to the buyer before the contract is made, and we are liable under the Occupiers Liability Act 1957, the exclusive jurisdiction of the courts of that part “Description” any statement or representation in any person named on the Contract Form acts as an agent for a or (iv) any other liability to the extent the same may 12.2 Our failure or delay in enforcing or exercising any of the United Kingdom, save that we may bring way descriptive of the Lot, including any statement or principal (whether such agency is disclosed to Bonhams or not), (b) the buyer will enjoy quiet possession of the goods not be excluded or restricted as a matter of law, or power or right under this agreement will not operate proceedings against you in any other court of representation relating to its authorship, attribution, condition, “Seller” includes both the agent and the principal who shall be except in so far as it may be disturbed by the (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights competent jurisdiction to the extent permitted by provenance, authenticity, style, period, age, suitability, quality, jointly and severally liable as such. The Seller is also referred to owner or other person entitled to the benefit conditions. under it except to the extent of any express waiver the laws of the relevant jurisdiction. Bonhams has a origin, value, estimated selling price (including the Hammer in the Conditions of Business by the words “you” and “your”. of any charge or encumbrance so disclosed or given to you in writing. Any such waiver will not complaints procedure in place. Price). “Specialist Examination” a visual examination of a Lot by a known. 11 BOOKS MISSING TEXT OR ILLUSTRATIONS affect our ability subsequently to enforce any right “Entry” a written statement in the Catalogue identifying the specialist on the Lot. arising under this agreement. DATA PROTECTION – USE OF YOUR INFORMATION Lot and its Lot number which may contain a Description and “Stamp” means a postage Stamp offered for Sale at a (3) This subsection applies to a contract of sale in the case Where the Lot is made up wholly of a Book or Books illustration(s) relating to the Lot. Specialist Stamp Sale. of which there appears from the contract or is to be and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from Where we obtain any personal information about you, we shall “Estimate” a statement of our opinion of the range within “Standard Examination” a visual examination of a Lot by a inferred from its circumstances an intention that the either case referred to as a “non-conforming Lot”), performing that party’s respective obligations only use it in accordance with the terms of our Privacy Policy which the hammer is likely to fall. non-specialist member of Bonhams’ staff. seller should transfer only such title as he or a third we undertake a personal responsibility for such a under this agreement by circumstances beyond (subject to any additional specific consent(s) you may have “Expenses” charges and Expenses paid or payable by “Storage Contract” means the contract described in person may have. non-conforming Lot in accordance with the terms of its reasonable control or if performance of its given at the time your information was disclosed). A copy of Bonhams in respect of the Lot including legal Expenses, paragraph 8.3.3 of the Conditions of Business or paragraph this paragraph, if: obligations would by reason of such circumstances our Privacy Policy can be found on our Website www.bonhams. banking charges and Expenses incurred as a result of an 4.4 of the Buyer’s Agreement (as appropriate). (4) In a contract to which subsection (3) above applies there give rise to a significantly increased financial com or requested by post from Customer Services Department, electronic transfer of money, charges and Expenses for loss and “Storage Contractor” means the company identified as such is an implied term that all charges or encumbrances the original invoice was made out by us to you in cost to it, that party will not, for so long as such 101 New Bond Street, London W1S 1SR, United Kingdom or damage cover, insurance, Catalogue and other reproductions in the Catalogue. known to the seller and not known to the buyer have respect of the Lot and that invoice has been paid; circumstances prevail, be required to perform such by email from [email protected]. and illustrations, any customs duties, advertising, packing or “Terrorism” means any act or threatened act of terrorism, been disclosed to the buyer before the contract is made. and obligations. This paragraph does not apply to the shipping costs, reproductions rights’ fees, taxes, levies, costs of whether any person is acting alone or on behalf of or in obligations imposed on you by paragraph 3. APPENDIX 3 testing, searches or enquiries, preparation of the Lot for Sale, connection with any organisation(s) and/or government(s), (5) In a contract to which subsection (3) above applies you notify us in writing as soon as reasonably storage charges, removal charges, removal charges or costs committed for political, religious or ideological or similar there is also an implied term that none of the following practicable after you have become aware that the Lot 12.4 Any notice or other communication to be given DEFINITIONS AND GLOSSARY of collection from the Seller as the Seller’s agents or from a purposes including, but not limited to, the intention to will disturb the buyer’s quiet possession of the goods, is or may be a non-conforming Lot, and in any event under this agreement must be in writing and may defaulting Buyer, plus VAT if applicable. influence any government and/or put the public or any section namely: within 20 days after the Sale (or such longer period be delivered by hand or sent by first class post or Where these Definitions and Glossary are incorporated, the “Forgery” an imitation intended by the maker or any other of the public into fear. as we may agree in writing) that the Lot is a non- air mail or fax transmission (if to Bonhams marked following words and phrases used have (unless the context person to deceive as to authorship, attribution, origin, “Trust Account” the bank account of Bonhams into which all (a) the seller; conforming Lot; and for the attention of the Company Secretary), to the otherwise requires) the meanings given to them below. The authenticity, style, date, age, period, provenance, culture, sums received in respect of the Purchase Price of any address or fax number of the relevant party given Glossary is to assist you to understand words and phrases source or composition, which at the date of the Sale had a Lot will be paid, such account to be a distinct and separate (b) in a case where the parties to the contract intend within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change which have a specific legal meaning with which you may not value materially less than it would have had if the Lot had not account to Bonhams’ normal business bank account. that the seller should transfer only such title as a such longer period as we may agree in writing) you of address is given in writing). It is the responsibility be familiar. been such an imitation, and which is not stated to be such “VAT” value added tax at the prevailing rate at the date of the third person may have, that person; return the Lot to us in the same condition as it was of the sender of the notice or communication to an imitation in any description of the Lot. A Lot will not be a Sale in the United Kingdom. at the time of the Sale, accompanied by written ensure that it is received in a legible form within any LIST OF DEFINITIONS Forgery by reason of any damage to, and/or restoration and/ “Website” Bonhams Website at www.bonhams.com (c) anyone claiming through or under the seller or evidence that the Lot is a non-conforming Lot and applicable time period. or modification work (including repainting or over painting) “Withdrawal Notice” the Seller’s written notice to Bonhams that third person otherwise than under a charge details of the Sale and Lot number sufficient to “Additional Premium” a premium, calculated in accordance having been carried out on the Lot, where that damage, revoking Bonhams’ instructions to sell a Lot. or encumbrance disclosed or known to the buyer identify the Lot. 12.5 If any term or any part of any term of this agreement with the Notice to Bidders, to cover Bonhams’ Expenses restoration or modification work (as the case may be) does not “Without Reserve” where there is no minimum price at before the contract is made. is held to be unenforceable or invalid, such relating to the payment of royalties under the Artists Resale substantially affect the identity of the Lot as one conforming to which a Lot may be sold (whether at auction or by private but not if: unenforceability or invalidity will not affect the Right Regulations 2006 which is payable by the Buyer to the Description of the Lot. treaty). (5A) As regards England and Wales and Northern Ireland, the enforceability and validity of the remaining terms or Bonhams on any Lot marked [AR] which sells for a Hammer “Guarantee” the obligation undertaken personally by term implied by subsection (1) above is a condition and the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. Price which together with the Buyer’s Premium (but excluding Bonhams to the Buyer in respect of any Forgery and, in the GLOSSARY the terms implied by subsections (2), (4) and (5) above indicates that the rights given by this paragraph do any VAT) equals or exceeds 1000 euros (converted into case of specialist Stamp Sales and/or specialist Book Sales, a Lot are warranties.” not apply to it; or 12.6 References in this agreement to Bonhams will, where the currency of the Sale using the European Central Bank made up of a Stamp or Stamps or a Book or Books as set out The following expressions have specific legal meanings with appropriate, include reference to Bonhams’ officers, Reference rate prevailing on the date of the Sale). in the Buyer’s Agreement. which you may not be familiar. The following glossary is employees and agents. “Auctioneer” the representative of Bonhams conducting “Hammer Price” the price in the currency in which the Sale is intended to give you an understanding of those expressions the Sale. conducted at which a Lot is knocked down by the Auctioneer. but is not intended to limit their legal meanings:

NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are “Bidder” a person who has completed a Bidding Form. “Loss and Damage Warranty” means the warranty described “artist’s resale right”: the right of the creator of a work of art Business profits, revenue or income or for loss of reflected the then accepted general opinion of for convenience only and will not affect its “Bidding Form” our Bidding Registration Form, our Absentee in paragraph 8.2 of the Conditions of Business. to receive a payment on Sales of that work subsequent to the Business reputation or for disruption to Business or scholars and experts or fairly indicated that there was interpretation. Bidding Form or our Telephone Bidding Form. “Loss and Damage Warranty Fee” means the fee described original Sale of that work by the creator of it as set out in the wasted time on the part of the Buyer’s management a conflict of such opinion; or “Bonhams” Bonhams 1793 Limited or its successors or in paragraph 8.2.3 of the Conditions of Business. Artists Resale Right Regulations 2006. or staff or, if you are buying the Lot in the course of 12.8 In this agreement “including” means “including, assigns. Bonhams is also referred to in the Buyer’s Agreement, “Lot” any item consigned to Bonhams with a view to its Sale “bailee”: a person to whom goods are entrusted. a Business, for any indirect losses or consequential it can be established that the Lot is a non-conforming without limitation”. the Conditions of Business and the Notice to Bidders by the at auction or by private treaty (and reference to any Lot will “indemnity”: an obligation to put the person who has damages of any kind, irrespective in any case of Lot only by means of a process not generally words “we”, “us” and “our”. include, unless the context otherwise requires, reference to the benefit of the indemnity in the same position in which the nature, volume or source of the loss or damage accepted for use until after the date on which the 12.9 References to the singular will include reference to “Book” a printed Book offered for Sale at a specialist Book individual items comprised in a group of two or more items he would have been, had the circumstances giving rise to alleged to be suffered, and irrespective of whether Catalogue was published or by means of a process the plural (and vice versa) and reference to any one Sale. offered for Sale as one Lot). the indemnity not arisen and the expression “indemnify” is the said loss or damage is caused by or claimed which it was unreasonable in all the circumstances gender will include reference to the other genders. “Business” includes any trade, Business and profession. “Motoring Catalogue Fee” a fee payable by the Seller to construed accordingly. in respect of any negligence, other tort, breach of for us to have employed; or “Buyer” the person to whom a Lot is knocked down by the Bonhams in consideration of the additional work undertaken “interpleader proceedings”: proceedings in the Courts to contract, statutory duty, bailee’s duty, a restitutionary 12.10 Reference to a numbered paragraph is to a Auctioneer. The Buyer is also referred to in the Contract for by Bonhams in respect of the cataloguing of motor vehicles determine ownership or rights over a Lot. claim or otherwise. the Lot comprises atlases, maps, autographs, paragraph of this agreement. Sale and the Buyer’s Agreement by the words “you” and and in respect of the promotion of Sales of motor vehicles. “knocked down”: when a Lot is sold to a Bidder, indicated by manuscripts, extra illustrated books, music or “your”. “New Bond Street” means Bonhams’ saleroom at 101 New the fall of the hammer at the Sale. 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or 12.11 Save as expressly provided in paragraph 12.12 “Buyer’s Agreement” the contract entered into by Bonhams Bond Street, London W1S 1SR. “lien”: a right for the person who has possession of the Lot to circumstances where we are liable to you in nothing in this agreement confers (or purports to with the Buyer (see Appendix 2 in the Catalogue). “Notional Charges” the amount of Commission and VAT retain possession of it. respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under confer) on any person who is not a party to this “Buyer’s Premium” the sum calculated on the Hammer Price which would have been payable if the Lot had been sold at the “risk”: the possibility that a Lot may be lost, damaged, representation in respect of it, or this agreement “collections” or “collections and various” or the Lot agreement any benefit conferred by, or the right to at the rates stated in the Notice to Bidders. Notional Price. destroyed, stolen, or deteriorate in condition or value. or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain enforce any term of, this agreement. “Catalogue” the Catalogue relating to the relevant Sale, “Notional Fee” the sum on which the Consignment Fee “title”: the legal and equitable right to the ownership of a Lot. an indemnity or contribution or for a restitutionary a collection, issue or Books which are undescribed or including any representation of the Catalogue published on payable to Bonhams by the Seller is based and which is “tort”: a legal wrong done to someone to whom the wrong remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the 12.12 Where this agreement confers an immunity from, our Website. calculated according to the formula set out in the Conditions doer has a duty of care. limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles and/or an exclusion or restriction of, the responsibility “Commission” the Commission payable by the Seller to of Business. by way of maximum the amount of the Purchase or advertisements. and/or liability of Bonhams, it will also operate in Bonhams calculated at the rates stated in the Contract Form. “Notional Price” the latest in time of the average of the SALE OF GOODS ACT 1979 Price of the Lot plus Buyer’s Premium (less any sum favour and for the benefit of Bonhams’ holding “Condition Report” a report on the physical condition of a Lot high and low Estimates given by us to you or stated in the you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- company and the subsidiaries of such holding provided to a Bidder or potential Bidder by Bonhams on behalf Catalogue or, if no such Estimates have been given or stated, The following is an extract from the Sale of Goods Act 1979: irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the company and the successors and assigns of Bonhams of the Seller. the Reserve applicable to the Lot. source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot and of such companies and of any officer, employee “Conditions of Sale” the Notice to Bidders, Contract for Sale, “Notice to Bidders” the notice printed at the back or front of “Section 12 Implied terms about title, etc or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from and agent of Bonhams and such companies, each Buyer’s Agreement and Definitions and Glossary. our Catalogues. the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse claims of whom will be entitled to rely on the relevant “Consignment Fee” a fee payable to Bonhams by the Seller “Purchase Price” the aggregate of the Hammer Price and VAT (1) In a contract of sale, other than one to which subsection breach of contract, statutory duty, bailee’s duty, a and we will pay to you an amount equal to the sum immunity and/or exclusion and/or restriction within calculated at rates set out in the Conditions of Business. on the Hammer Price (where applicable), the Buyer’s Premium (3) below applies, there is an implied term on the part of restitutionary claim or otherwise. of the Purchase Price and Buyer’s Premium paid by and for the purposes of Contracts (Rights of Third “Consumer” a natural person who is acting for the relevant and VAT on the Buyer’s Premium and any Expenses. the seller that in the case of a sale he has a right to sell you in respect of the Lot. Parties) Act 1999, which enables the benefit of a purpose outside his trade, Business or profession. “Reserve” the minimum price at which a Lot may be sold the goods, and in the case of an agreement to sell he You may wish to protect yourself against loss by contract to be extended to a person who is not a “Contract Form” the Contract Form, or vehicle Entry form, as (whether at auction or by private treaty). will have such a right at the time when the property is to obtaining insurance. The benefit of paragraph 10 is personal to, and party to the contract, and generally at law. applicable, signed by or on behalf of the Seller listing the Lots “Sale” the auction Sale at which a Lot is to be offered for Sale pass. incapable of assignment by, you and if you sell or to be offered for Sale by Bonhams. by Bonhams. 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all 13 GOVERNING LAW “Contract for Sale” the Sale contract entered into by the “Sale Proceeds” the net amount due to the Seller from the (2) In a contract of sale, other than one to which subsection or restricting (whether directly or indirectly) any rights and benefits under this paragraph will cease. Seller with the Buyer (see Appendix 1 in the Catalogue). Sale of a Lot, being the Hammer Price less the Commission, any (3) below applies, there is also an implied term that- person’s liability or excluding or restricting any All transactions to which this agreement applies “Contractual Description” the only Description of the Lot VAT chargeable thereon, Expenses and any other amount due person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS and all connected matters will be governed by and (being that part of the Entry about the Lot in the Catalogue to us in whatever capacity and howsoever arising. (a) the goods are free, and will remain free until (ii) death or personal injury caused by our negligence construed in accordance with the laws of that part which is in bold letters, any photograph (except for the colour) “Seller” the person who offers the Lot for Sale named on the time when the property is to pass, from any (or any person under our control or for whom we are 12.1 You may not assign either the benefit or burden of of the United Kingdom where the Sale takes (or and the contents of any Condition Report) to which the Seller the Contract Form. Where the person so named identifies on charge or encumbrance not disclosed or known legally responsible), or (iii) acts or omissions for which this agreement. is to take) place and we and you each submit to undertakes in the Contract of Sale the Lot corresponds. the form another person as acting as his agent, or where the to the buyer before the contract is made, and we are liable under the Occupiers Liability Act 1957, the exclusive jurisdiction of the courts of that part “Description” any statement or representation in any person named on the Contract Form acts as an agent for a or (iv) any other liability to the extent the same may 12.2 Our failure or delay in enforcing or exercising any of the United Kingdom, save that we may bring way descriptive of the Lot, including any statement or principal (whether such agency is disclosed to Bonhams or not), (b) the buyer will enjoy quiet possession of the goods not be excluded or restricted as a matter of law, or power or right under this agreement will not operate proceedings against you in any other court of representation relating to its authorship, attribution, condition, “Seller” includes both the agent and the principal who shall be except in so far as it may be disturbed by the (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights competent jurisdiction to the extent permitted by provenance, authenticity, style, period, age, suitability, quality, jointly and severally liable as such. The Seller is also referred to owner or other person entitled to the benefit conditions. under it except to the extent of any express waiver the laws of the relevant jurisdiction. Bonhams has a origin, value, estimated selling price (including the Hammer in the Conditions of Business by the words “you” and “your”. of any charge or encumbrance so disclosed or given to you in writing. Any such waiver will not complaints procedure in place. Price). “Specialist Examination” a visual examination of a Lot by a known. 11 BOOKS MISSING TEXT OR ILLUSTRATIONS affect our ability subsequently to enforce any right “Entry” a written statement in the Catalogue identifying the specialist on the Lot. arising under this agreement. DATA PROTECTION – USE OF YOUR INFORMATION Lot and its Lot number which may contain a Description and “Stamp” means a postage Stamp offered for Sale at a (3) This subsection applies to a contract of sale in the case Where the Lot is made up wholly of a Book or Books illustration(s) relating to the Lot. Specialist Stamp Sale. of which there appears from the contract or is to be and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from Where we obtain any personal information about you, we shall “Estimate” a statement of our opinion of the range within “Standard Examination” a visual examination of a Lot by a inferred from its circumstances an intention that the either case referred to as a “non-conforming Lot”), performing that party’s respective obligations only use it in accordance with the terms of our Privacy Policy which the hammer is likely to fall. non-specialist member of Bonhams’ staff. seller should transfer only such title as he or a third we undertake a personal responsibility for such a under this agreement by circumstances beyond (subject to any additional specific consent(s) you may have “Expenses” charges and Expenses paid or payable by “Storage Contract” means the contract described in person may have. non-conforming Lot in accordance with the terms of its reasonable control or if performance of its given at the time your information was disclosed). A copy of Bonhams in respect of the Lot including legal Expenses, paragraph 8.3.3 of the Conditions of Business or paragraph this paragraph, if: obligations would by reason of such circumstances our Privacy Policy can be found on our Website www.bonhams. banking charges and Expenses incurred as a result of an 4.4 of the Buyer’s Agreement (as appropriate). (4) In a contract to which subsection (3) above applies there give rise to a significantly increased financial com or requested by post from Customer Services Department, electronic transfer of money, charges and Expenses for loss and “Storage Contractor” means the company identified as such is an implied term that all charges or encumbrances the original invoice was made out by us to you in cost to it, that party will not, for so long as such 101 New Bond Street, London W1S 1SR, United Kingdom or damage cover, insurance, Catalogue and other reproductions in the Catalogue. known to the seller and not known to the buyer have respect of the Lot and that invoice has been paid; circumstances prevail, be required to perform such by email from [email protected]. and illustrations, any customs duties, advertising, packing or “Terrorism” means any act or threatened act of terrorism, been disclosed to the buyer before the contract is made. and obligations. This paragraph does not apply to the shipping costs, reproductions rights’ fees, taxes, levies, costs of whether any person is acting alone or on behalf of or in obligations imposed on you by paragraph 3. APPENDIX 3 testing, searches or enquiries, preparation of the Lot for Sale, connection with any organisation(s) and/or government(s), (5) In a contract to which subsection (3) above applies you notify us in writing as soon as reasonably storage charges, removal charges, removal charges or costs committed for political, religious or ideological or similar there is also an implied term that none of the following practicable after you have become aware that the Lot 12.4 Any notice or other communication to be given DEFINITIONS AND GLOSSARY of collection from the Seller as the Seller’s agents or from a purposes including, but not limited to, the intention to will disturb the buyer’s quiet possession of the goods, is or may be a non-conforming Lot, and in any event under this agreement must be in writing and may defaulting Buyer, plus VAT if applicable. influence any government and/or put the public or any section namely: within 20 days after the Sale (or such longer period be delivered by hand or sent by first class post or Where these Definitions and Glossary are incorporated, the “Forgery” an imitation intended by the maker or any other of the public into fear. as we may agree in writing) that the Lot is a non- air mail or fax transmission (if to Bonhams marked following words and phrases used have (unless the context person to deceive as to authorship, attribution, origin, “Trust Account” the bank account of Bonhams into which all (a) the seller; conforming Lot; and for the attention of the Company Secretary), to the otherwise requires) the meanings given to them below. The authenticity, style, date, age, period, provenance, culture, sums received in respect of the Purchase Price of any address or fax number of the relevant party given Glossary is to assist you to understand words and phrases source or composition, which at the date of the Sale had a Lot will be paid, such account to be a distinct and separate (b) in a case where the parties to the contract intend within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change which have a specific legal meaning with which you may not value materially less than it would have had if the Lot had not account to Bonhams’ normal business bank account. that the seller should transfer only such title as a such longer period as we may agree in writing) you of address is given in writing). It is the responsibility be familiar. been such an imitation, and which is not stated to be such “VAT” value added tax at the prevailing rate at the date of the third person may have, that person; return the Lot to us in the same condition as it was of the sender of the notice or communication to an imitation in any description of the Lot. A Lot will not be a Sale in the United Kingdom. at the time of the Sale, accompanied by written ensure that it is received in a legible form within any LIST OF DEFINITIONS Forgery by reason of any damage to, and/or restoration and/ “Website” Bonhams Website at www.bonhams.com (c) anyone claiming through or under the seller or evidence that the Lot is a non-conforming Lot and applicable time period. or modification work (including repainting or over painting) “Withdrawal Notice” the Seller’s written notice to Bonhams that third person otherwise than under a charge details of the Sale and Lot number sufficient to “Additional Premium” a premium, calculated in accordance having been carried out on the Lot, where that damage, revoking Bonhams’ instructions to sell a Lot. or encumbrance disclosed or known to the buyer identify the Lot. 12.5 If any term or any part of any term of this agreement with the Notice to Bidders, to cover Bonhams’ Expenses restoration or modification work (as the case may be) does not “Without Reserve” where there is no minimum price at before the contract is made. is held to be unenforceable or invalid, such relating to the payment of royalties under the Artists Resale substantially affect the identity of the Lot as one conforming to which a Lot may be sold (whether at auction or by private but not if: unenforceability or invalidity will not affect the Right Regulations 2006 which is payable by the Buyer to the Description of the Lot. treaty). (5A) As regards England and Wales and Northern Ireland, the enforceability and validity of the remaining terms or Bonhams on any Lot marked [AR] which sells for a Hammer “Guarantee” the obligation undertaken personally by term implied by subsection (1) above is a condition and the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. Price which together with the Buyer’s Premium (but excluding Bonhams to the Buyer in respect of any Forgery and, in the GLOSSARY the terms implied by subsections (2), (4) and (5) above indicates that the rights given by this paragraph do any VAT) equals or exceeds 1000 euros (converted into case of specialist Stamp Sales and/or specialist Book Sales, a Lot are warranties.” not apply to it; or 12.6 References in this agreement to Bonhams will, where the currency of the Sale using the European Central Bank made up of a Stamp or Stamps or a Book or Books as set out The following expressions have specific legal meanings with appropriate, include reference to Bonhams’ officers, Reference rate prevailing on the date of the Sale). in the Buyer’s Agreement. which you may not be familiar. The following glossary is employees and agents. “Auctioneer” the representative of Bonhams conducting “Hammer Price” the price in the currency in which the Sale is intended to give you an understanding of those expressions the Sale. conducted at which a Lot is knocked down by the Auctioneer. but is not intended to limit their legal meanings:

NTB/MAIN/03.14/V2 NTB/MAIN/03.14/V2 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Modern British and Irish Art Sale date: 28 May 2014

Sale no. 21769 Sale venue: New Bond Street Paddle number (for office use only) If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. You should read the Conditions in conjunction with General Bid Increments: the Sale Information relating to this Sale which sets £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s out the charges payable by you on the purchases £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s you make and other terms relating to bidding and buying at the Sale. You should ask any questions you £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s have about the Conditions before signing this form. £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s These Conditions also contain certain undertakings £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion by bidders and buyers and limit Bonhams’ liability to £5,000 - 10,000 ...... by 500s bidders and buyers. The auctioneer has discretion to split any bid at any time.

Data protection – use of your information Customer Number Title Where we obtain any personal information about you, we shall only use it in accordance with the terms of our First Name Last Name Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was Company name (to be invoiced if applicable) disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post Address from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. City County / State Credit and Debit Card Payments There is no surcharge for payments made by debit cards Post / Zip code Country issued by a UK bank. All other debit cards and all credit cards are subject to a 2% surcharge on the total invoice price. Telephone mobile Telephone daytime

Notice to Bidders. Telephone evening Fax Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof Preferred number(s) in order for Telephone Bidding (inc. country code) of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on E-mail (in capitals) the company’s behalf. Failure to provide this may result in By providing your email address above, you authorise Bonhams to send you marketing material and news concerning Bonhams and partner your bids not being processed. For higher value lots you organisations. Bonhams does not sell or trade email addresses. may also be asked to provide a bank reference. I am registering to bid as a private client I am registering to bid as a trade client If successful If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before I will collect the purchases myself Please contact me with a shipping quote / - - (if applicable) Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Covering bid* Absentee (T / A) Please indicate Telephone or Absentee (T & VAT) / A)

FOR WINE SALES ONLY Please leave lots “available under bond” in bond I will collect from Park Royal or bonded warehouse Please include delivery charges (minimum charge of £20 + VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] UK/04/14 Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Sale date: 28 May 2014

Sale no. Sale venue: New Bond Street Paddle number (for office use only) If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. You should read the Conditions in conjunction with General Bid Increments: the Sale Information relating to this Sale which sets £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s out the charges payable by you on the purchases £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s you make and other terms relating to bidding and buying at the Sale. You should ask any questions you £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s have about the Conditions before signing this form. £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s These Conditions also contain certain undertakings £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion by bidders and buyers and limit Bonhams’ liability to £5,000 - 10,000 ...... by 500s bidders and buyers. The auctioneer has discretion to split any bid at any time.

Data protection – use of your information Customer Number Title Where we obtain any personal information about you, we shall only use it in accordance with the terms of our First Name Last Name Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was Company name (to be invoiced if applicable) disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post Address from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. City County / State Credit and Debit Card Payments There is no surcharge for payments made by debit cards Post / Zip code Country issued by a UK bank. All other debit cards and all credit cards are subject to a 2% surcharge on the total invoice price. Telephone mobile Telephone daytime

Notice to Bidders. Telephone evening Fax Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof Preferred number(s) in order for Telephone Bidding (inc. country code) of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on E-mail (in capitals) the company’s behalf. Failure to provide this may result in By providing your email address above, you authorise Bonhams to send you marketing material and news concerning Bonhams and partner your bids not being processed. For higher value lots you organisations. Bonhams does not sell or trade email addresses. may also be asked to provide a bank reference. I am registering to bid as a private client I am registering to bid as a trade client If successful If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before I will collect the purchases myself Please contact me with a shipping quote / - - (if applicable) Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Covering bid* Absentee (T / A) Please indicate Telephone or Absentee (T & VAT) / A)

FOR WINE SALES ONLY Please leave lots “available under bond” in bond I will collect from Park Royal or bonded warehouse Please include delivery charges (minimum charge of £20 + VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] UK/04/14 Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.

Bonhams 101 New Bond Street London W1S 1SR

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

International Auctioneers and Valuers – bonhams.com