19Th Century European, Victorian and British Impressionist Art New Bond Street, London I 26 September 2018

19th Century European, Victorian and British Impressionist Art New Bond Street, London I 26 September 2018

19th Century European, Victorian and British Impressionist Art Wednesday 26 September 2018 at 2pm New Bond Street, London

VIEWING ENQUIRIES REGISTRATION PHYSICAL CONDITION OF Thursday 20 September Peter Rees (Head of Sale) IMPORTANT NOTICE LOTS IN THIS AUCTION 9am to 4.30pm +44 (0) 20 7468 8201 Please note that all customers, PLEASE NOTE THAT THERE IS Friday 21 September [email protected] irrespective of any previous NO REFERENCE IN THIS 9am to 4.30pm activity with Bonhams, are Sunday 23 September Charles O’Brien CATALOGUE TO THE PHYSICAL 11am to 3pm (Head of Department) required to complete the Bidder CONDITION OF ANY LOT. Monday 24 September +44 (0) 20 7468 8360 Registration Form in advance of INTENDING BIDDERS MUST 9am to 4.30pm [email protected] the sale. The form can be found SATISFY THEMSELVES AS TO Tuesday 25 September at the back of every catalogue THE CONDITION OF ANY LOT 9am to 4.30pm Emma Gordon and on our website at www. AS SPECIFIED IN CLAUSE 14 Wednesday 26 September +44 (0) 20 7468 8232 bonhams.com and should be OF THE NOTICE TO BIDDERS 9am to 12pm [email protected] returned by email or post to the CONTAINED AT THE END OF THIS CATALOGUE. specialist department or to the SALE NUMBER Alistair Laird bids department at 24742 +44 (0) 20 7468 8211 As a courtesy to intending [email protected] [email protected] bidders, Bonhams will provide a written Indication of the physical CATALOGUE To bid live online and / or leave condition of lots in this sale if a £25.00 Deborah Cliffe internet bids please go to +44 (0) 20 7468 8337 request is received up to 24 www.bonhams.com/ ILLUSTRATIONS [email protected] hours before the auction starts. Front cover: Lot 52 auctions/24742 and click on the This written Indication is issued Back cover: Lot 105 New York Register to bid link at the top left subject to Clause 3 of the Notice Inside front: Lot 107 Madalina Lazen of the page. to Bidders. Inside back: Lot 35 +1 (212) 644 9108 [email protected] CUSTOMER SERVICES BIDS Monday to Friday 8.30 to 6.00 +44 (0) 20 7447 7447 +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax To bid via the internet please Please see page 2 for bidder visit bonhams.com information including after-sale collection and shipment TELEPHONE BIDDING Bidding on telephone will only be accepted on lots with a lower estimate in excess of £1,000.

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

BIDS BUYERS COLLECTION & VAT +44 (0) 20 7447 7447 STORAGE AFTER SALE Will be applied at the current +44 (0) 20 7447 7401 fax rate on all above charges To bid via the internet please visit All sold lots will remain in www.bonhams.com the Collections room at Bonhams The following symbol is New Bond Street until 5.30pm used to denote that VAT PAYMENTS Wednesday 10 October 2018. is due on the hammer price Buyers Lots not collected by this time will and buyer’s premium +44 (0) 20 7447 7447 be returned to the department +44 (0) 20 7447 7401 fax storage charges may apply. † VAT 20% on hammer price and buyer’s premium Sellers IMPORTANT INFORMATION Payment of sale proceeds The United States Government * VAT on imported items at +44 (0) 20 7447 7447 has banned the import of ivory a preferential rate of 5% on +44 (0) 20 7447 7401 fax into the USA. Lots containing hammer price and the ivory are indicated by the prevailing rate on buyer’s premium VALUATIONS, symbol Ф printed beside the TAXATION & HERITAGE lot number in this catalogue. Y These lots are subject to +44 (0) 20 7468 8340 CITES regulations, please +44 (0) 20 7468 5860 fax read the information in the [email protected] back of the catalogue.

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SHIPPING For information and estimates on domestic and international shipping as well as export licenses please contact Alban Shipping on +44 (0) 1582 493 099 [email protected] 19th Century European, Victorian and British Impressionist Art

Lots 1 - 127 1AR EDOUARD LÉON CORTÈS (FRENCH, 1882-1969) Boulevard de la Madeleine, Paris signed ‘EDOUARD CORTÈS.’ (lower right) oil on canvas 33.3 x 46cm (13 1/8 x 18 1/8in).

£15,000 - 20,000 €17,000 - 22,000 US$19,000 - 26,000

For details of the charges payable in addition to the final Hammer Price of each Lot 6 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 2AR EDOUARD LÉON CORTÈS (FRENCH, 1882-1969) Avenue de l’Opera, Paris; Rue de la Paix et Place Vendôme, Paris a pair, both signed ‘EDOUARD CORTÈS’ (one lower right, one lower left) oil on panel each 16.5 x 22.5cm (6 1/2 x 8 7/8in). (2)

£15,000 - 20,000 €17,000 - 22,000 US$19,000 - 26,000

Provenance Anon. sale, Sotheby’s, New York, 26 October 2004, lot 192 (Rue de la Paix et Place Vendôme) and lot 196 (Avenue de l’Opera). Anon. sale, Lyon & Turnbull, Edinburgh, 29 November 2012, lot 21. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 7 3 DELPHIN ENJOLRAS (FRENCH, 1857-1945) Nu allongé signed, inscribed and dated ‘Paris 11 novembre 1918 11h. matin/ DEnjolras’ (lower centre) pastel 52.3 x 71cm (20 9/16 x 27 15/16in).

£12,000 - 18,000 €13,000 - 20,000 US$15,000 - 23,000

Provenance Anon. sale, Éric Pillon Enchères, Paris, 18 March 2012, lot 43. Private collection, UK (acquired from the above sale).

A painter schooled in the Paris Academies under Gerome and Dagnan-Bourveret, Delphin Enjolras was a regular contributor to the Paris Salon, specialising in portrayals of elegant female figures, often seated in parlours or on terraces, bathed in lamplight.

The inscription of the present lot is interesting, dating the work to the exact time that the Armistice of Compiègne came in to force, to officially end World War One. The sitter lies gracefully, her back to the viewer, quietly reading, seemingly oblivious to a monumental moment of history taking place less than 40 miles north of Paris.

For details of the charges payable in addition to the final Hammer Price of each Lot 8 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 9 4

10 | BONHAMS 5

4 5 DELPHIN ENJOLRAS (FRENCH, 1857-1945) DELPHIN ENJOLRAS (FRENCH, 1857-1945) The folio Nu couché signed ‘DEnjolras’ (lower left) signed ‘DEnjolras’ (lower right) oil on canvas pastel 73 x 54cm (28 3/4 x 21 1/4in). 37 x 60cm (14 9/16 x 23 5/8in).

£5,000 - 7,000 £4,000 - 6,000 €5,600 - 7,800 €4,400 - 6,700 US$6,400 - 9,000 US$5,200 - 7,700

Provenance Berko Fine Paintings, Knokke-Heist. Private collection, UK (acquired from the above).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

Provenance Haynes Fine Art, Broadway.

Exhibited Paris, Salon, 1885.

Literature Louis Énault, Paris-Salon, 1885, 1st volume contenant 40 Gravures et Vignettes, 1885, Paris, p. 19 (illustrated).

Louis Énault mentions Pierre Outin in his review of the Paris Salon in 1885. Heralding Outin as a future rival of Toulmouche, he comments on the present lot ‘there is no way to dream of a more charming escape from life’.

Outin was born in Moulins and is best known for his elegant and lyrical paintings of historical genre.

For details of the charges payable in addition to the final Hammer Price of each Lot 12 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 13 7 JEHAN GEORGES VIBERT (FRENCH, 1840-1902) Painted by himself signed ‘J.G.Vibert’ (lower right) oil on panel 81 x 101cm (31 7/8 x 39 3/4in).

£30,000 - 50,000 €33,000 - 56,000 US$39,000 - 64,000

Provenance Anon. sale, Bonhams, London, 29 September 2010, lot 62. Private collection, UK (acquired from the above sale).

The painting of cardinals and other high ranking Catholic clergy became a genre in its own right in the latter half of the nineteenth century and it was one that Vibert fully mastered. His gentle mocking of the leading figures of the Church struck a chord at the time and this popularity has survived remarkably well.

For details of the charges payable in addition to the final Hammer Price of each Lot 14 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 15 8 DAVID EMILE JOSEPH DE NOTER (BELGIAN, 1825-1892) The artist’s studio signed and dated ‘David de Noter. 1845.’ (lower right) oil on panel 79 x 113.5cm (31 1/8 x 44 11/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 19,000

Provenance Eaton Gallery, London. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 16 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 9 * AR MARCEL BRUNERY (FRENCH, 1893-1982) An opening salvo signed ‘M.Brunery’ (lower right) oil on canvas 54 x 65cm (21 1/4 x 25 9/16in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 17 10

10 * 11 JULIEN DUPRÉ (FRENCH, 1851-1910) VICTOR-GABRIEL GILBERT (FRENCH, 1847-1933) The milkmaid Watering the garden signed ‘JULIEN DUPRÉ-’ (lower left) signed and dated ‘Victor Gilbert/1899’ (lower right) oil on canvas oil on canvas 64 x 92cm (25 3/16 x 36 1/4in). 61 x 50.8cm (24 x 20in).

£10,000 - 15,000 £12,000 - 18,000 €11,000 - 17,000 €13,000 - 20,000 US$13,000 - 19,000 US$15,000 - 23,000

Provenance Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 18 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 11

19TH CENTURY ART | 19 12 CAMILLE FÉLIX BELLANGER (FRENCH, 1853-1923) Brunette signed and dated ‘CAMILLE BELLANGER/-1904-’ (lower right) oil on canvas 133 x 95.5cm (52 3/8 x 37 5/8in).

£30,000 - 50,000 €33,000 - 56,000 US$39,000 - 64,000

Born in Paris, Camille Bellanger’s work shows the influence of both his tutors at the École des Beaux-Arts, which he attended in the early 1870s. Studying under Alexandre Cabanel and William Bouguereau, the former’s academic style of classical painting is reflected in Bellanger’s early works, while the influence of Bouguereau’s single figure rural subjects is evident in works such as the present lot. Taking a rest from her work, the subject leans against a wall, in front of her the results of her day’s labour. Although rural in subject, there is no attempt at harsh social realism; rather, as Dr. Janet Whitmore notes, ‘like Bouguereau’s solitary figures of Breton women, Bellanger’s brunette is not a weary farm wife, but a slightly dishevelled, attractive model posing as a peasant.’

For details of the charges payable in addition to the final Hammer Price of each Lot 20 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

13 ADRIEN MOREAU (FRENCH, 1843-1906) The grape harvest signed ‘ADRIEN_MOREAU.’ (lower right) oil on canvas 132 x 180cm (51 15/16 x 70 7/8in).

£40,000 - 60,000 €44,000 - 67,000 US$52,000 - 77,000

For details of the charges payable in addition to the final Hammer Price of each Lot 22 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 23 14 CHARLES EMILE AUGUSTE CAROLUS-DURAN (FRENCH, 1838-1917) Self portrait oil on canvas 65.5 x 54cm (25 13/16 x 21 1/4in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

Provenance Calton gallery, Edinburgh. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 24 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The following lots are from an Important Private UK Collection 15

26 | BONHAMS 16

15 16 BENJAMIN WILLIAMS LEADER, RA (BRITISH, 1831-1923) THOMAS SIDNEY COOPER, RA (BRITISH, 1803-1902) A woodland stream Cattle and sheep in a watermeadow signed and dated ‘B.W. Leader. 1860.’ (lower left) signed and dated ‘T. Sidney Cooper./1872’ (lower centre) oil on canvas oil on canvas 92 x 76.5cm (36 1/4 x 30 1/8in). 76 x 109cm (29 15/16 x 42 15/16in).

£8,000 - 12,000 £10,000 - 15,000 €8,900 - 13,000 €11,000 - 17,000 US$10,000 - 15,000 US$13,000 - 19,000

Provenance Provenance Anon. sale, Sotheby’s, London, 27 September 1989, lot 81. Anon. sale, Sotheby’s, London, 27 September 1989, lot 172. Richard Green Gallery, London.

Literature Kenneth Westwood, Thomas Sidney Cooper, his life and work, David Leathers, Ilminster, 2011, Volume 1, cat. no. O.1872.22, p. 368.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 27 17 HEYWOOD HARDY (BRITISH, 1843-1933) In the aviary signed and dated ‘Heywood Hardy/1877’ (lower right) oil on canvas 94.5 x 143cm (37 3/16 x 56 5/16in).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

Provenance Anon. sale, Sotheby’s, London, 27 September 1989, lot 234.

For details of the charges payable in addition to the final Hammer Price of each Lot 28 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 29 18 HEYWOOD HARDY (BRITISH, 1843-1933) The new litter signed ‘Heywood Hardy’ (lower left) oil on canvas 48.3 x 69cm (19 x 27 3/16in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

Provenance David Messum, Beaconsfield. Anon. sale, Sotheby’s, London, 5 June 1991, lot 182.

For details of the charges payable in addition to the final Hammer Price of each Lot 30 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19 FEDERICO ANDREOTTI (ITALIAN, 1847-1930) A close study; A good vintage a pair, both signed ‘F Andreotti’ (one upper right, one upper left) oil on canvas each 26 x 21cm (10 1/4 x 8 1/4in). (2)

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 31 20

32 | BONHAMS 21

20 21AR ADOLPHE ALEXANDRE LESREL MARCEL BRUNERY (FRENCH, 1893-1982) (FRENCH, 1839-1929) Testing the new vintage Off duty signed ‘M. Brunery’ (lower right) signed and dated ‘A. A. LESREL 1912’ (lower right) oil on canvas oil on panel 50.4 x 61.5cm (19 13/16 x 24 3/16in). 58.5 x 47.5cm (23 1/16 x 18 11/16in). £5,000 - 7,000 £10,000 - 15,000 €5,600 - 7,800 €11,000 - 17,000 US$6,400 - 9,000 US$13,000 - 19,000 Provenance Provenance A. B. Rowe & Son, Ilford (by 12 February 1956). W. H. Patterson, London. Haynes Fine Art, Broadway. Anon. sale, Christie’s, London, 21 November 1997, lot 112.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 33 22 GEORGE SMITH (BRITISH, 1829-1901) The Truant signed and dated ‘George Smith 1855’ (lower right); signed, numbered and inscribed with title and artist’s address (on the reverse and on an old label attached to the reverse) oil on panel 40 x 58.5cm (15 3/4 x 23 1/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 19,000

Provenance Anon. sale, Sotheby’s, London, 16 March 1988, lot 116.

Exhibited London, Royal Academy, 1855, no. 167.

For details of the charges payable in addition to the final Hammer Price of each Lot 34 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 23 CHARLES BERTRAND D’ENTRAYGUES (FRENCH, 1850-1929) New tricks signed ‘D’Entraygues’ (lower right) oil on canvas 61 x 81.3cm (24 x 32in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 35 24 AUGUSTE SERRURE (BELGIAN, 1825-1903) The flower seller signed and dated ‘Serrure/Auguste 1870’ (lower left) oil on panel 59 x 86.4cm (23 1/4 x 34in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 19,000

Provenance Henri le Roy, Brussels. Anon. sale, Christie’s, London, 30 November 1990, lot 54.

For details of the charges payable in addition to the final Hammer Price of each Lot 36 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 37 25 AUGUSTE SERRURE (BELGIAN, 1825-1903) La victoire du tireur d’arbalète signed and dated ‘Serrure/Auguste/1870.’ (lower right) oil on panel 60 x 86cm (23 5/8 x 33 7/8in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

Provenance Anon. sale, Couturier & Nicolay, Paris, 19 December 1989, lot 7. Richard Green Gallery, London.

For details of the charges payable in addition to the final Hammer Price of each Lot 38 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 39 26 FRÉDÉRIC SOULACROIX (FRENCH, 1858-1933) Before the ball signed and inscribed ‘F. Soulacroix Florence’ (lower right) oil on canvas 65 x 31cm (25 9/16 x 12 3/16in).

£12,000 - 18,000 €13,000 - 20,000 US$15,000 - 23,000

Provenance E. Stacy-Marks Ltd., Eastbourne.

For details of the charges payable in addition to the final Hammer Price of each Lot 40 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 41 27 FRÉDÉRIC SOULACROIX (FRENCH, 1858-1933) Sharing secrets signed ‘F. Soulacroix’ (lower right) oil on canvas 80 x 64cm (31 1/2 x 25 3/16in).

£40,000 - 60,000 €44,000 - 67,000 US$52,000 - 77,000

For details of the charges payable in addition to the final Hammer Price of each Lot 42 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 43 28 FRÉDÉRIC SOULACROIX (FRENCH, 1858-1933) An interesting conversation signed ‘F. Soulacroix’ (lower left) oil on canvas 73 x 82.5cm (28 3/4 x 32 1/2in).

£30,000 - 50,000 €33,000 - 56,000 US$39,000 - 64,000

Provenance Anon. sale, Sotheby’s, London, 16 March 1983, lot 141.

For details of the charges payable in addition to the final Hammer Price of each Lot 44 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 45 29 FRÉDÉRIC SOULACROIX (FRENCH, 1858-1933) The proposal signed ‘F. Soulacroix’ (lower right) oil on canvas 74 x 84cm (29 1/8 x 33 1/16in).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

Provenance Anon. sale, Sotheby’s, New York, 5 May 1999, lot 107.

For details of the charges payable in addition to the final Hammer Price of each Lot 46 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 47 30 FRÉDÉRIC SOULACROIX (FRENCH, 1858-1933) A woodland walk signed ‘F. Soulacroix’ (lower right) oil on canvas 50.8 x 35.6cm (20 x 14in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

Provenance Burlington Paintings, London.

For details of the charges payable in addition to the final Hammer Price of each Lot 48 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 49 31 JEAN-BAPTISTE ROBIE (BELGIAN, 1821-1910) Still life of flowers and grapes on a ledge signed ‘J.B.Robie.’ (lower centre) oil on canvas 72.5 x 59cm (28 9/16 x 23 1/4in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

Provenance Haynes Fine Art, Broadway.

For details of the charges payable in addition to the final Hammer Price of each Lot 50 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 32 MARTHA DARLEY MUTRIE (BRITISH, 1824-1885) Hollyhocks signed with initials ‘MDM’ (lower right) oil on canvas 82 x 63.5cm (32 5/16 x 25in).

£4,000 - 6,000 €4,400 - 6,700 US$5,200 - 7,700

Provenance Anon. sale, Phillips, London, 19 November 1985, lot 110. Burlington Paintings, London.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 51 33 GEORGE ELGAR HICKS, RBA (BRITISH, 1824-1914) The Duchess of St. Albans and son signed and indistinctly dated ‘GE Hicks 1875’ (lower left) oil on canvas 91.4 x 71.1cm (36 x 28in).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

Provenance Anon. sale, Christie’s, London, 30 November 1990, lot 62.

Exhibited London, Royal Academy, 1878, no. 972.

Literature Art Journal, 1878, p. 180.

Grace Bernal-Osborne was the daughter of Sir Ralph Bernal-Osborne and Catherine Isabella Osborne. She married William Ameleus Aubrey de Vere Beauclerk, 10th Duke of St. Albans in 1874 and became the Duchess of St. Albans. Their son was born in October of the same year and was named Osbourne de Vere Beauclerk (12th Duke of St. Albans). They are the sitters of the present portrait, exhibited at the Royal Academy in 1878.

As well as being a successful genre painter, George Elgar Hicks also painted numerous society portraits. Members of the Alban family had previously been painted by Sir Thomas Lawrence and William Beechey (who both depicted Harriet Beauclerk née Mellon, married to the 9th Duke of St. Albans).

For details of the charges payable in addition to the final Hammer Price of each Lot 52 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 53 His passion for youth and beauty in his choice of models suggest that, like Ruskin, it was the freshness and grace of the innocent that moved him most profoundly.

(Stephen Jones et al, Frederic, Lord Leighton, 1996, p. 147)

34 FREDERIC, LORD LEIGHTON, PRA (BRITISH, 1830-1896) Little Fatima signed and inscribed ‘Fred Leighton/V/Little Fatima’ (on a label attached to the stretcher) oil on canvas 40.7 x 25.4cm (16 x 10in).

£100,000 - 150,000 €110,000 - 170,000 US$130,000 - 190,000

Provenance Robert Kirkman Hodgson; Sale, Christie’s, London, 21 November 1924, lot 18 (to Sampson). Private collection, Yorkshire. Peter Nahum, London. Anon. sale, Sotheby’s, London, 27 November 1991, lot 165.

Exhibited London, Royal Academy, 1875, no. 345. London, Royal Academy, 1897, Exhibition of Works by the Late Lord Leighton of Stretton, no. 147. London, Peter Nahum, Burne-Jones, The Pre-Raphaelites and their century, 1989, no. 102.

Literature The Athenaeum, 1875, p. 592. The Times, 1875, p. 12. The Art Journal, 1875, p. 219. John Ruskin, Notes on some of the Principal Pictures exhibited in the Rooms of the Royal Academy, 1875, p. 36. Ernest Rhys, Frederic Lord Leighton, London, 1898, pp. 23-26. Mrs. Russell Barrington, The Life, Letters and Works of Frederic Leighton, London, 1906, Vol. 2, p. 386. Leonée and Richard Ormond, Lord Leighton, London, 1975, no. 233, p. 163. Peter Nahum, Burne-Jones, The Pre-Raphaelites and their century, Exhibition catalogue, 1989, Vol. 1, no. 102, p. 105 (illustrated Vol. 2, plate 71).

For details of the charges payable in addition to the final Hammer Price of each Lot 54 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 55 Fig 1 Frederic, Lord Leighton, Detail of the interior of the Grand Mosque, Damascus, 1873-75, oil on canvas,158.1 x 122cm, / Harris Museum and Art Gallery, Preston, Lancashire, UK / © Bridgeman Images

Frederic Leighton was enraptured by travel, spending the late The inspiration for Little Fatima was a little girl whom the artist summer months each year overseas. He visited the Middle East encountered during his travels; Leighton records the girl in his journals many times and was very taken with its rich art and culture, from 1868: ‘A frequent companion in my work is my friend, little producing his first orientalist work, A Reminiscence of Algiers, as Fatma[sic], a sweet, small child of about five, with a bright face and early as 1858. Visits to Greece and Egypt in 1868, and a trip to two rows of the whitest teeth ever seen. She squats down snugly by Damascus in 1873, were instrumental in defining his interest in the my side, sometimes looking at the picture, sometimes at the painter, exoticism of the Middle East, inspiring him to imbue his works with most often at the paint-box, at which she twiddles silently; sometimes bright vibrant colours and detailed, intricate designs.1 she pensively draws a pattern with a little brown finger on my dusty boots. I remember at Rhodes, last year, a knot of little girls used to The present lot, a sumptuous yet delicate depiction of a little girl, watch me sketching in the Street of the Knights; but the little Turks reveals the delight that children brought to Leighton as subjects. were not so nice as Fatma[sic], the little Arab.’2 The artist has carried Fatima to the fore by contrasting the brilliance of her costume against a dark background, and she appears Leighton also depicted the figure of Little Fatima in the same purple innocent, clutching her cloak and engaging directly with the viewer. costume and similar pose, standing full length, in Portions of the Interior of the Grand Mosque of Damascus (fig 1), painted circa 1873- 5. The work was directly inspired by Damascus and was worked up from an oil sketch made at the time. The Athenaeum noted, a ‘remarkably solid and delicately painted work’.3

56 | BONHAMS Fig 2 Frederic, Lord Leighton, The Music Lesson, 1877, oil on canvas, 104 x 101cm, Guildhall Art Gallery, City of London / © Bridgeman Images

While the inspiration for the present lot was an Arabian girl, the sitter The present lot was in the collection of Robert Kirkman Hodgson for the painting was in fact Connie Gilchrist, one of Leighton’s favourite prior to his sale in 1924. He is probably the nephew of Stewart models in the 1870s. Notably, Gilchrist was the model for all of the Hodgson, a close friend of Leighton’s, who commissioned The young girls in The Daphnephoria (Royal Academy, 1876, no. 241) and Daphnephoria, for Lythe Hill, his house in Surrey. for both Music Lesson (fig 2) and Study: At a reading desk (both Royal Academy, 1877, nos. 209 & 268 respectively). 1 S. Jones, C. Newall, L. Ormond, R. Ormond and B. Read, Frederic, Lord Leighton, London, 1996, p. 147. Commenting on the Royal Academy exhibition of 1875, the Art Journal 2 Mrs R. Barrington, The Life, Letters and Works of Frederic Leighton, noted: ‘F. LEIGHTON, R.A...contributes five pictures of varying merit, London, 1906, Vol. 2, p. 168. but all refined and harmonious in colour and classic in beauty...The 3 Leonée and Richard Ormond, Lord Leighton, London, 1975, p. 98. three-quarter face of a ‘Venetian Girl’ (354), in a green dress, gives Mr. 4 Art Journal, 1875, p. 219 Leighton an opportunity of showing how subtle is his sense of colour; and the same Venetian feeling comes out even more strongly in the purple cloak in which ‘Little Fatima’ (345) is draped. Fatima herself is simply a little oriental fairy of the most witching grace.’4

19TH CENTURY ART | 57 Probably Richmond’s most symbolically numinous painting is a small oil entitled The Watchers, or Angels Watching over a Dead Painter, started in 1873 and finished 1876. It depicts three completely naked angels, beautiful youths with large red wings, two seated on the floor and one leaning through a loggia window with the last light of evening over an Italianate landscape behind him. Behind the seated angels are frescoes of the Resurrection and the Descent from the Cross; beneath the window, on a bier, lies a corpse in a shroud, the artist, brilliantly lit in the evening light. This finely balanced if esoteric composition powerfully juxtaposes death with an eternal after-life, suggested in the twilight sky, and the very real corporeality of the naked bronzed youths in the foreground.

(Simon Reynolds, William Blake Richmond, An Artist’s Life, p. 111)

W OTHER PROPERTIES

35 SIR WILLIAM BLAKE RICHMOND, RA (BRITISH, 1842-1921) The Watchers signed and inscribed ‘[W]atchers/W.B. Richmond’ (on remnants of an old label attached to the reverse) oil on panel 29.9 x 61cm (11 3/4 x 24in).

£15,000 - 20,000 €17,000 - 22,000 US$19,000 - 26,000

Provenance Sir Edmund Verney, Claydon, Buckinghamshire. Thence by descent.

Exhibited Paris, Universal Exhibition, 1878, British Fine Art Section, no. 230, as Angel Watchers. London, New Gallery, Works of Sir William B Richmond KGB, 1900- 1901, no. 182.

Literature Simon Reynolds, William Blake Richmond, An Artist’s Life 1842-1921, Norwich, 1995, pp. 111 and 119, colour plate XIII.

For details of the charges payable in addition to the final Hammer Price of each Lot 58 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 59 William Blake Richmond, son of the portraitist George Richmond RA, In 1872, the young Italian model Gaetano Meo, recommended by studied at the Royal Academy Schools in the early 1860s; influenced Mason, called at Beavor Lodge to see if he could sit for this renowned by his father and by Sir John Everett Millais, Richmond soon gained a Italophile. A beautiful young lady received him and indicated where reputation as a portraitist of children in the Pre-Raphaelite manner. Richmond could be found in his studio. Asking Gaetano Meo how he got into the house, Richmond was astonished at Meo’s description of On 21 October 1864, Richmond married the beautiful Charlotte the lady who let him in; at the time Clara, Mrs Richmond, was out. The Foster; after an all too brief love affair, Charlotte died in his arms introduction led Meo to become Richmond’s chief model and lifelong on 13 December 1865, taken by tuberculosis. Richmond himself friend. One day, leafing through Richmond’s drawings, Meo found contracted tuberculosis, but he largely recovered during his Italian some of the late Charlotte; turning to his master he advised that this sojourn in 1866-1869. Although Richmond remarried in 1867, was the lady who had welcomed him. This was one of a number of Charlotte remained the great love of his life. reported ghostly sightings at Beavor Lodge.

While in Rome, Richmond shed his Pre-Raphaelite style in favour The Watchers was one of three works which Richmond included in the of European Classicism, itself moving into Symbolism. His artistic Paris Universal Exhibition of 1878, catalogued as Angel Watchers; this influences were Frederic, Lord Leighton, Giovanni Costa, George was the first Continental Exhibition in which Richmond participated. Heming Mason and the master of emerging Symbolism, Arnold Böcklin. Richmond had started to paint on a gigantic scale in works The work remained unsold, Richmond noting in his diary on 23 such as The Procession of Bacchus of 1866-9 and The Bowlers of December, ‘The Watchers unsold, oh dear, it would help me to have 1872. a bit of help from outside’. European Symbolism was not welcome in the UK, especially before Leighton’s growing success and the advent In 1870 Richmond moved into Beavor Lodge, Hammersmith, but of the Grosvenor Gallery, and later the New Gallery (where Richmond he was both unwell and yearning for his lost days in Rome. He had included the present lot in his retrospective exhibition of 1900). glorified that in Italy he could hire models who would pose in the nude; all his figures were, like Leighton’s, first drawn in the nude.

60 | BONHAMS Fortunately, Captain Edmund Verney- a long standing family friend - came to Richmond’s rescue in the spring of 1879 when he agreed to purchase The Watchers for £110 to include the £10 cost of the frame. Verney’s wife, Lady Margaret Hay-Williams had died and The Watchers was to hang beneath Richmond’s portrait of her, painted in 1873. He wrote, ‘If you have it I shall be pleased to think of my pet picture in the hands of old friends’; and in a subsequent letter ‘I value the place where the picture is to go, and I still more value the very kind and sincere pleasure that you say it will give to your wife’.

Simon Reynolds notes: ‘I am convinced that The Watchers depicts the corpse of Charlotte, dead some ten years, with a very Italian background surrounding her; the naked angels are more than likely depictions of Gaetano Meo, welcomed as he was into the intimacy of Richmond’s life’.

We are grateful to Simon Reynolds for his assistance in cataloguing this lot.

19TH CENTURY ART | 61 36 DAVID ROBERTS, RA (BRITISH, 1796-1864) St Paul’s and Somerset House from Waterloo Bridge was worked up St. Paul’s and Somerset House from Waterloo bridge; Waterloo bridge; by Roberts, via a half-size oil study (sold Bonham’s, London, 16 March Charing Cross railway bridge 2000, lot 50), into a two-foot by four-foot painting exhibited at the three, oil on card Royal Academy in 1862 (no. 370; sold Phillips, London, 11 November the largest 10 x 23cm (3 15/16 x 9 1/16in) 1980, lot 18). A more expansive view that included Waterloo Bridge, Painted circa 1861-62. and was taken from Hungerford Bridge further up the river, is dated (3) 1861 on the painting owned by Lucas (sold Sotheby’s, London, 8 March 1989, lot 100), for which a half-size oil study is also known (sold £3,000 - 5,000 Sotheby’s, London, 1982, lot 83). Waterloo Bridge would likewise have €3,300 - 5,600 been taken from Hungerford Bridge. Behind is Somerset House and in US$3,900 - 6,400 front a distinctive red-sailed Thames barge. Echoing the acutely angled bridge is a watercolour of Blackfriars Bridge, dated 28 August 1861 When in 1860 David Roberts decided to embark on a series of (sold Sotheby’s, London, 14 July 1988, lot 144). London views from the Thames, he was already a well-established and successful painter of Scottish and continental scenes, based Although the third of the present oil sketches has been titled on the on studies made during regular sketching tours. In December 1860 mount Charing Cross Railway Bridge, it in fact shows that bridge he told his artist friend and future biographer, James Ballantine, that under construction, with two new cylindrical piers in place beneath he had ‘long thought that the river Thames and London itself was the Hungerford Suspension Bridge it was to replace. Designed as good, if not better, than many things we go to other countries to by Isambard Kingdom Brunel, the Hungerford footbridge had two look for’. According to Ballantine, the idea of painting such a series distinctive tower-topped piers, from which ran suspension cables that had been suggested to Roberts by J.M.W. Turner, ‘who said he had were reused for Bristol’s Clifton Suspension Bridge; the piers (minus thought of it too late in life to carry it out himself’. The death of another towers) remained as supports for the new bridge carrying trains across friend, Sir Charles Barry (architect of the new Palace of Westminster), the Thames to Charing Cross station. A watercolour by Roberts of with whom Roberts had discussed the idea, prompted the artist to the identical scene, including boat-prow in the foreground and Lion begin. Brewery in the distance, is dated 2 September 1862 (Glynn Vivian Art Gallery and Museum, Swansea), and is most likely contemporaneous During July and August 1860, Roberts made numerous pencil studies with the present oil sketch. during walks ‘on and near the river’. The following summer he returned to various locations with watercolours and ready-prepared oil paints, We are grateful to Krystyna Matyjaszkiewicz for her assistance in making further studies in summer 1863. He planned to create a series cataloguing this lot. of twelve paintings, which the wealthy civil engineer Charles Lucas agreed to buy. Four of these were exhibited at the Royal Academy in Literature 1862 and two in 1863, but the series was left unfinished when Roberts James Ballantine, The Life of David Roberts, R.A., London, 1866, died in 1864. pp. 204-5, 207-8, 211, 215-16, 220-21.

For details of the charges payable in addition to the final Hammer Price of each Lot 62 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 63 [Val Montone is] one of the most elegant campagna towns and very curious: it is in a deep dell in the Latin valley - but rises on a mound - crowned with a superb church and castle - through the town itself is wretchedly poor...Fine trees are all around Val Montone - and it is altogether a delightfully quiet place.

(Edward Lear)

37 EDWARD LEAR (BRITISH, 1812-1888) Val Montone signed ‘E. Lear’ (lower left); signed and inscribed ‘Please write to me soon/Yours Affs/Edward Lear’ (on an old label attached to the reverse); bears inscription (on the reverse) oil on canvas 31 x 43.7cm (12 3/16 x 17 3/16in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

Provenance Heber-Percy Collection, UK. Thence by descent.

A pencil drawing (with white bodycolour) of Val Montone from 1839 is illustrated in Vivien Noakes’ book The Painter Edward Lear (Newton Abbot, 1991, p. 13). Now in the collection of the British Museum, the composition is similar to the present lot. Travellers on a rural path lead the viewer’s eye to the commune of Val Montone, framed between the foliage of magnificent trees. Lear left for Italy in 1837, writing to his sister about the journey from Milan to Florence: ‘I never enjoyed anything so much. Thick woods of oak are on every side, and the road which is very steep and winding, looks quite over all the enormous flat plain’.1

Lear’s earlier oil paintings were dominated by a brown and umber palette and it wasn’t until his interaction with William Holman Hunt, during the 1850s, that he begun to employ more vibrant colours.2 With lovely detail and clarity, the skills gained from his earlier years as an ornithological draughtsman, is evident in the present lot.

1 The Fine Art Society, The Travels of Edward Lear, 17 October - 11 November 1983, Exhibition Catalogue, p. 8. 2 Vivien Noakes, The Painter Edward Lear, Newton Abbot, 1991, p. 13.

For details of the charges payable in addition to the final Hammer Price of each Lot 64 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 65 38 EDWARD LEAR (BRITISH, 1812-1888) a monotonous journey across a plain, but after scaling a mountain Akhridha pass a very different landscape opened before them. They were inscribed and dated ‘Akhridha/Sept.23./1848’ (lower left); numbered approaching Akhridha (modern day Ohrid) and Lear wrote: ‘(53)’ (lower right); variously annotated throughout Pen and brown ink and watercolour heightened with white ‘Soon a new world charmed the eye, and on arriving at the edge of the 27.3 x 43.8cm (10 3/4 x 17 1/4in). western face of this high ridge the beautiful plain and lake of Akhridha burst, as it were, into existence...it is scarcely possible to dream of £10,000 - 15,000 finer scenes than these, their beauty perhaps enhanced by grand €11,000 - 17,000 storm effects, which gave them more than ordinary magic of colour US$13,000 - 19,000 and variety of interest....Such sublime scenery obliterated from the memory all annoyances of travel and astonished and delighted at every Provenance step...Of many days passed in many lands, in wandering amid noble Gilbert Davis Collection. scenery, I can recall none more variously delightful and impressive than Private collection, UK. this has been’.

Exhibited Lear was so taken with the town of Akhridha that he spent three days London, The Fine Art Society, Edward Lear, A Centenary Exhibition, there, remarking in his journal not only on the beauty of the place, but June 1988. on the unusually lovely local costumes. The present drawing was made on the last day of his stay, September 23 and his journal note records Literature it in detail: E. Lear, Journals of a Landscape painter in Greece & Albania, London, 1988, pp. 42-48. ‘There is a street scene below the castle, where a majestic plane Susan Hyman, Edward Lear in the Levant, Travels in Albania, Greece shades bazaars rich with every sort of gay-coloured raiment. Through and Turkey in Europe, 1848-1849, London, 1988 (illustrated p. 84). its drooping foliage gleams the bright top of a minaret and below it are grouped every variety of picturesque human beings. To carry away a Lear set out from Salonika in Greece on 9 September 1848 on a sketch of this was the work of half the morning.’ three-month sketching trip; his journey was to take him in a north- westerly direction through Macedonia, into Albania and down its Lear’s subsequent journey through Albania was often uncomfortable western coast. Travelling on horseback and sometimes on foot, he and the weather was not always kind to him. His sojourn in Akhridha was accompanied by his dragoman Giorgio who acted as cook, valet, stands out as one of the more enjoyable episodes along the way, interpreter and guide. They generally stayed at the most rudimentary despite an incident on his last afternoon when he incautiously decided of roadside shelters along the way, carrying the basic necessities of to sketch some women washing clothes by the lake and was pelted bedding and cooking utensils with them, and whenever possible – with stones as a result. His main concern was for his spectacles which weather permitting – Lear sketched the landscape and people that fortunately survived the attack. they encountered. The entry for his journal of September 20 describes

For details of the charges payable in addition to the final Hammer Price of each Lot 66 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 67 39 ANTHONY FREDERICK AUGUSTUS SANDYS (BRITISH, 1829-1904) Portrait of May Gillilan signed ‘F. Sandys’ (on a small strip of paper, attached to the backboard) coloured chalks and pencil 37.5 x 28cm (14 3/4 x 11in).

£12,000 - 18,000 €13,000 - 20,000 US$15,000 - 23,000

Provenance William Gillilan Collection, UK. Anon. sale, Woolley and Wallis, Salisbury, 15 April 1996, lot 85. Anon. sale, Bonhams, London, 19 March 1997, lot 106. The Maas Gallery Ltd., London. Private collection, UK.

Exhibited London, Maas Gallery, British Pictures (1840-1940), October - December 1998, no. 39.

Literature Betty Elzea, Frederick Sandys 1829-1904 A Catalogue Raisonné, 2001, Suffolk, no. 4.27, p. 267-268 (illustrated p. 267).

Portrait of May Gillilan was originally signed, dated and inscribed by the artist “May & Winnie Gillilan:1882./F. Sandys” upper right. Two little girls were portrayed half-length, both wearing identical dresses with wide broderie anglaise collars. The sitters were the two elder daughters of William Gillilan of 6 Palace Gate, Kensington. Sandys also painted the younger sister Christabel catalogue number 4.59.

In addition to commissioning portraits Gillilan owned a number of other works by Sandys; for example The Tangled Skein (Ferens Art Gallery, Kingston upon Hull), Helen of Troy (untraced), Poppies (The National Trust. Wightwick Manor), and Proud Maisie, XII (National Gallery of Canada, Ottawa). The present lot has been reduced in size prior to 1998, showing only May, previously on the left of the composition.

For details of the charges payable in addition to the final Hammer Price of each Lot 68 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 69 40 ANTONIO SENAPE (ITALIAN, 1788-1850) An album of Italian views including: Marina di Capri; Porta di Anacapri; Veduta di Furia [sic] nel Isola d’Ischia; Veduta del Castello d’Ischia; Casino Macedonia a Capodimonte; Casino diano a Ischia; Anfiteatro antico a Capri; Grotta del Castello a Capri e I Scogli delle Sirene; Mulini di Amalfi; Napoli preso dal Casino Eglin a Capodichino; il Capo Miseno e le Isole di Procida e Ischia prese sopra Posilippo; Madonna del Cavone vicinai Ponti Molli; Salerno; Veduta di Vietrie [sic]; Veduta di Baja; Pozzuolo [sic] venendo da Napoli; Villaggio di Atrani nel Golfo di Salerno; Città di Amalfi; Villaggio di Capri; Monastero della Certosa a Capri; Monastero di Montecassino; Convento Mte. Cassino e Mura Ciclopee; L’Isola di Capri presa dalla strada nuova di Posilippo; Palazzo della Regina Giovanna a Posilippo; Giardino Francavilla; Chiatamone e il Castello del’Ovo; Croce di Benedetto a Mte Cassino; S. Germano; Eremitaggio del Vessuvio [sic]; Veduta di Castellamare; Li Ponti Molli preso Capodimonte; Il Fiume Sabeto vicino il Ponte della Maddalena; each inscribed with title (below image lower right) ink on paper each 14 x 19.8cm (5 1/2 x 7 13/16in). (32 sheets in total, album)

£4,000 - 6,000 €4,400 - 6,700 US$5,200 - 7,700

Provenance Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 70 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 71 41 IPPOLITO CAFFI (ITALIAN, 1809-1866) Venezia, veduta notturna con la Piazzetta San Marco e il Molo, con vista sull’Isola di San Giorgio signed ‘Caffi’ (lower left) oil on paper laid down on card 78 x 112.7cm (30 11/16 x 44 3/8in).

£30,000 - 50,000 €33,000 - 56,000 US$39,000 - 64,000

We are grateful to Dr Annalisa Scarpa for confirming the attribution to Ippolito Caffi on first hand inspection.

For details of the charges payable in addition to the final Hammer Price of each Lot 72 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 73 42 HERMANN DAVID SALOMON CORRODI (ITALIAN, 1844-1905) Going to market, Naples indistinctly signed ‘H.Corrodi’ (lower left) oil on canvas 45 x 95cm (17 11/16 x 37 3/8in).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

For details of the charges payable in addition to the final Hammer Price of each Lot 74 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 75 43 44

43 44 ANTONIO ERMOLAO PAOLETTI (ITALIAN, 1834-1912) BEPPE CIARDI (ITALIAN, 1875-1932) Street vendors near Piazza San Marco, Venice Trieste signed and inscribed ‘Antonio Paoletti fu Giovni./Venezia’ (lower right) signed ‘Beppe/Ciardi’ (lower left); signed, dated and inscribed ‘Beppe oil on canvas Ciardi/Trieste/15.3.26’ (on the reverse) 82.5 x 58cm (32 1/2 x 22 13/16in). oil on panel 21.5 x 32.5cm (8 7/16 x 12 13/16in). £5,000 - 7,000 €5,600 - 7,800 £6,000 - 8,000 US$6,400 - 9,000 €6,700 - 8,900 US$7,700 - 10,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 77 45 TITO CONTI (ITALIAN, 1842-1924) A classical beauty signed ‘Tito Conti’ (strengthened, upper left) oil on canvas 69.8 x 50.8cm (27 1/2 x 20in).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

For details of the charges payable in addition to the final Hammer Price of each Lot 78 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 46 TITO CONTI (ITALIAN, 1842-1924) The recital signed and dated ‘Tito Conti/1877’ (lower left) oil on canvas 58 x 43.5cm (22 13/16 x 17 1/8in).

£5,000 - 7,000 €5,600 - 7,800 US$6,400 - 9,000

Provenance J. M. Evans, UK. Private collection, UK (acquired from the above by 1926, purchased for £30). Thence by descent.

For details of the charges payable in addition to the final Hammer Price of each Lot 80 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 48 EUGENIO ZAMPIGHI (ITALIAN, 1859-1944) Playtime signed ‘EZampighi’ (lower left) oil on canvas 56.5 x 76.5cm (22 1/4 x 30 1/8in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

Provenance Dyson Lister & Sons, Harrogate. Private collection, UK (acquired from the above 6 March 1926). Thence by descent.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 81 49 ALESSANDRO MILESI (ITALIAN, 1856-1945) La Dosa signed and dated ‘AMilesi 1916’ (lower left) oil on canvas 68.3 x 43.2cm (26 7/8 x 17in).

£15,000 - 20,000 €17,000 - 22,000 US$19,000 - 26,000

Venetian-born Alessandro Milesi was a pupil of Napoleone Nani at the Accademia di Belle Arti di Venezia. Influenced by the work of Giacomo Favretto, Milesi also drew inspiration from the more modern styles of Ettore Tito and Cesare Laurenti, particularly in his treatment of light and use of colour. He cemented his reputation after exhibiting in Milan and Venice in the 1880s, later exhibiting at the Milan Triennale museum, and at all the Venice Biennales from 1895-1935, including a solo show in 1912. Milesi was known for his depictions of everyday Venetian life, as well as portraits of the Venetian middle classes, famous actors and musicians.

The present lot is a version of the picture of the same title painted in 1910 in the collection of Fondazione di Venezia.

For details of the charges payable in addition to the final Hammer Price of each Lot 82 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 83 50 TELEMACO SIGNORINI (ITALIAN, 1835-1901) In 1861 he travelled to Paris where he met and became friends with a Campagna dell’Arno group of Italian ex patriot artists including Giuseppe de Nittis, Giovanni signed ‘TSignorini.’ (lower left) Boldini and Federico Zandomeneghi. Upon the death of his father oil on canvas in 1862, he returned to Italy, and in the company of Silvestro Lega 25 x 51cm (9 13/16 x 20 1/16in). painted studies of the countryside and the working people in and Painted circa 1895 around Florence. In this period, he produced some of his most famous works, such as On the banks of the Arno in spring and L’alzaia (The £20,000 - 30,000 Tow Path). €22,000 - 33,000 US$26,000 - 39,000 In the 1870s Signorini travelled frequently, both at home and further afield. In 1873 he embarked on one of several trips he was to make Provenance to Great Britain, travelling with Giuseppe de Nittis to London. He was Giuliano Matteucci, Viareggio. to return in 1881 for a longer period, journeying also to Scotland. His Acquired from the above. work was well received and he exhibited both at the Royal Academy and The Grosvenor Gallery. Archiving certificate no. 412600 released by the Istituto Matteucci on July 29, 2017. Towards the end of his life he taught at the ‘Instituto Superiore di Belle Arte’ in Florence; he died in 1901. At his best, Signorini was able to Born into a wealthy family in Florence in 1835, Telemaco Signorini is capture the natural beauty of the landscape he was portraying, as well often described as fundamental to the development of the Macchiaioli. as the character of the towns and the working people therein.

In 1855, Signorini began to frequent the Caffe Michelangelo in He was a passionate art critic and contributed to various periodicals, Florence, where he met Giovanni Fattori, Silvestro Lega and other as well as being one of the first Italian artists to embrace photography artists who together were to form this group of artists who, much like as a compositional tool; he was even a well-known authority on coffee. the Impressionists, looked to work outside, en plein air.

Signorini was a fierce patriot and after volunteering to fight in the Second Italian War of Independence, he painted military scenes which he exhibited in the early 1860s.

For details of the charges payable in addition to the final Hammer Price of each Lot 84 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 85 51 FRANCESCO LOJACONO (ITALIAN, 1841-1915) L’abbraccio signed ‘F.Lojacono’ (lower left) oil on canvas 45.5 x 87.5cm (17 15/16 x 34 7/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 19,000

Provenance Private collection, Italy.

Francesco Lojacono was born in Sicily in 1838. He trained initially with his father Luigi and the history painter Salvatore Lo Forte. In 1856 he moved to Naples to study under Nicola Palizzi, having been awarded a gold medal for a small landscape that he exhibited in Palermo. At the outbreak of the revolution in 1860 Lojacono returned to Sicily and joined Garibaldi’s Spedizione dei Mille (The Expedition of the Thousand), a corps of volunteers that assembled with the intention of conquering the Kingdom of the Two Sicilies which was under Bourbon rule. In 1862 he was one of the contingent that marched on Rome, but was arrested at the subsequent battle of Aspromonte.

After his release he concentrated on painting the landscape around Agrigento, a city on the southern coast of the island and the capital of an area rich with mineral deposits. Lojacono also painted extensively along the coastal area around Palermo.

In 1872 he exhibited at the International Exhibition in Vienna and the same year became professor of landscape art at the Naples institute of Fine Arts. From 1896 to 1814 he taught landscape and seascape painting at the Palermo Academy of Fine Arts. He was named Commendatore of the Order of The Crown of Italy which was established was established as a national order in 1868 by King Vittorio Emanuele II to commemorate the unification of Italy in 1861.

For details of the charges payable in addition to the final Hammer Price of each Lot 86 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 87 52 GIOVANNI BOLDINI (ITALIAN, 1842-1931) Due signore sedute in un interno signed ‘GBoldini’ (lower left) oil on panel 12.2 x 10.8cm (4 13/16 x 4 1/4in). Painted circa 1873-1875

£30,000 - 50,000 €33,000 - 56,000 US$39,000 - 64,000

We are grateful to Dott.ssa Francesca Dini for confirming the attribution to Giovanni Boldini. The present lot is accompanied by a photo- certificate no. 002686.

Provenance Private collection, Belgium.

The present and following lots by Giovanni Boldini, both from a private Belgian collection, are charming examples of the artist’s Parisian interiors, epitomising the Belle Époque.

Boldini settled in Paris in 1871 and came under the representation of renowned art dealer Adolphe Goupil, to Boldini’s evident delight, the artist stating that ‘[under Goupil] it was impossible to be un-known’.1 Unlike other artists however, Boldini was not solely under the control of Goupil and kept his independence by selling directly to collectors and other dealers, as his popularity increased. A wealthy international clientele showed great appetite for works such as the present lots - vivacious women partaking in enjoyable activities, such as reading, conversation, music and embroidery- the benefit of their smaller size meaning they could easily be sent abroad. Works such as these seamlessly promoted the idea of a sophisticated, civilised Parisian society, particularly significant in the wake of the Prussian defeat and the upheaval of civil war during the Paris Commune.

Boldini’s Parisian women are often characterised by delicate features and coiffed shiny hair and in these interior scenes, Boldini’s lover at the time, Berthe, often modelled for the artist.

1 Sarah Lees, Giovanni Boldini in Impressionist Paris, Exhibition Catalogue, Italy, 2009, p. 25.

For details of the charges payable in addition to the final Hammer Price of each Lot 88 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. (actual size)

19TH CENTURY ART | 89 53 GIOVANNI BOLDINI (ITALIAN, 1842-1931) Suonatrice di chitarra signed twice ‘Boldini/G. Boldini’ (lower left) oil on panel 12.7 x 11.8cm (5 x 4 5/8in).

£25,000 - 35,000 €28,000 - 39,000 US$32,000 - 45,000

Provenance Private collection, Belgium.

Literature C. L. Ragghianti and E. Camesasca, L’opera completa di Boldini, Milan, 1970, no. 19F, p. 91. B. Doria, Giovanni Boldini, Catalogo generale dagli archivi Boldini, Milan, 2000, no. 55. P. Dini and F. Dini, Boldini Catalogo Ragionato, Vol. III, Tomo II, Turin, London, Venice, 2002, no. 190, p. 114 (illustrated p. 115).

For details of the charges payable in addition to the final Hammer Price of each Lot 90 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. (actual size)

19TH CENTURY ART | 91 54

54AR 55 ULISSE CAPUTO (ITALIAN, 1872-1948) VINCENZO IROLLI (ITALIAN, 1860-1945) Donna che legge Il velo argentato signed ‘U.Caputo’ (lower left) signed ‘V. Irolli’ (lower right) oil on canvas oil on canvas 80.5 x 100.5cm (31 11/16 x 39 9/16in). 81 x 39cm (31 7/8 x 15 3/8in).

£7,000 - 9,000 £15,000 - 20,000 €7,800 - 10,000 €17,000 - 22,000 US$9,000 - 12,000 US$19,000 - 26,000

Provenance Private collection, Italy.

For details of the charges payable in addition to the final Hammer Price of each Lot 92 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 55 19TH CENTURY ART | 93 56 * EUGEN VON BLAAS (AUSTRIAN, 1843-1931) At the window signed and dated ‘Eugen von Blaas./1892’ (lower right) oil on panel 54 x 35.3cm (21 1/4 x 13 7/8in).

£60,000 - 80,000 €67,000 - 89,000 US$77,000 - 100,000

Literature Thomas Wassibauer, Eugen von Blaas 1843-1931: Das Werk, Catalogue Raisonne, Hildesheim, 2005, no. 114, p. 131 (illustrated p. 101).

Eugen von Blaas was best known and most loved for his images of Venetian washerwomen, seamstresses and street vendors. His women are both striking in their youth and unadorned beauty. Born near Rome into a family of Austrian origin, von Blaas spent most of his life in Italy, travelling throughout the country, before settling in Venice. Together with his brother Julius, he received his first lessons in art from his well-known father, Karl von Blaas, who taught at the academies of Vienna and Venice. It was in Venice that he was able to grasp the growing demand of the art market for contemporary genre scenes with a hint of sentimentality. With a highly polished and realistic technique, von Blaas depicted the Venetians in their most affectionate and jovial dispositions, such as the present lot. A young beauty looks directly at the viewer, leaning slightly forward, a decorative bright red fan held in her left hand. The vibrant colour sets off the rosiness in her cheeks, and her loveliness is even more enhanced by the simplicity of her surroundings.

For details of the charges payable in addition to the final Hammer Price of each Lot 94 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 95 57

57 * 58 * JEAN BAPTISTE VAN MOER (BELGIAN, 1819-1884) ADRIANUS EVERSEN (DUTCH, 1818-1897) Grand Canal, Venice Busy street scene, Delft signed ‘B.Van Moer.’ (lower left) signed ‘A.Eversen’ (lower left) oil on panel oil on panel 45 x 78.5cm (17 11/16 x 30 7/8in). 64.5 x 49.5cm (25 3/8 x 19 1/2in).

£7,000 - 10,000 £7,000 - 10,000 €7,800 - 11,000 €7,800 - 11,000 US$9,000 - 13,000 US$9,000 - 13,000

For details of the charges payable in addition to the final Hammer Price of each Lot 96 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 58

19TH CENTURY ART | 97 59 JOHANNES HERMANUS KOEKKOEK (DUTCH, 1778-1851) Shipping in the mouth of an estuary signed and dated ‘J.H.Koekkoek 1843’ (lower left) oil on panel 24.2 x 32.5cm (9 1/2 x 12 13/16in).

£5,000 - 7,000 €5,600 - 7,800 US$6,400 - 9,000

For details of the charges payable in addition to the final Hammer Price of each Lot 98 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 60 FREDRIK MARINUS KRUSEMAN (DUTCH, 1816-1882) Winter signed and dated ‘FMKruseman fc./1853’ (lower left) oil on panel 26.5 x 35cm (10 7/16 x 13 3/4in).

£12,000 - 18,000 €13,000 - 20,000 US$15,000 - 23,000

Provenance Anon. sale, Christie’s, London, 20 October 1998, lot 1. Anon. sale, Lyon & Turnbull, Edinburgh, 29 November 2012, lot 28. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 99 61 FREDRIK MARINUS KRUSEMAN (DUTCH, 1816-1882) Winter landscape with a view on the ruins of the Brederode Castle signed and dated ‘FMKruseman fc/1862’ (lower right) oil on panel 30.5 x 41.2cm (12 x 16 1/4in).

£15,000 - 20,000 €17,000 - 22,000 US$19,000 - 26,000

Provenance Anon. sale, Sotheby’s, New York, 13 October 1993, lot 9a (originally offered as one of a pair). Private collection, UK.

Literature Van Heteren & de Meere, Fredrik Marinus Kruseman 1816-1882, Painter of Pleasing Landscapes, Schiedam, 1998, no. 141, fig. 89 (illustrated p. 187).

For details of the charges payable in addition to the final Hammer Price of each Lot 100 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 62 FREDRIK MARINUS KRUSEMAN (DUTCH, 1816-1882) Summer landscape with figures near a town gate signed and dated ‘FMKruseman fc/1862’ (lower right) oil on panel 30.5 x 41.2cm (12 x 16 1/4in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

Provenance Anon. sale, Sotheby’s, New York, 13 October 1993, lot 9a (originally offered as one of a pair). Private collection, UK.

Literature Van Heteren & de Meere, Fredrik Marinus Kruseman 1816-1882, Painter of Pleasing Landscapes, Schiedam, 1998, no. 140, fig. 88 (illustrated p. 186).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 19,000

Provenance The Leicester Galleries, London. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 102 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 103 64 (actual size)

104 | BONHAMS 65

64 65 * AR HENRIETTE RONNER-KNIP (DUTCH, 1821-1909) BERNARD POTHAST (DUTCH, 1882-1966) Kitten on a pink cushion A happy family signed ‘Henriette Ronner’ (lower left) signed ‘BPothast’ (lower right) oil on paper laid down on panel oil on canvas 20.5 x 16.4cm (8 1/16 x 6 7/16in). 51 x 61cm (20 1/16 x 24in).

£8,000 - 12,000 £5,000 - 7,000 €8,900 - 13,000 €5,600 - 7,800 US$10,000 - 15,000 US$6,400 - 9,000

Provenance Provenance Anon. sale, Van Marle, De Sille & Baan, Rotterdam, 15 April 1913, Private collection, Canada. lot 335. Anon. sale, Christie’s, Amsterdam, 19 June 2001, lot 31. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 105 66 ARNOLDUS BLOEMERS (DUTCH, 1786-1844) Still life with flowers on a ledge signed with monogram (strengthened, lower left) oil on panel 52.7 x 44cm (20 3/4 x 17 5/16in).

£30,000 - 50,000 €33,000 - 56,000 US$39,000 - 64,000

For details of the charges payable in addition to the final Hammer Price of each Lot 106 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 107 67 ERIK LUDWIG HENNINGSEN (DANISH, 1855-1930) Copenhagen, Ostergade at Christmas signed and dated ‘ErikHenningsen.1890.’ (lower right) oil on canvas 89 x 127.5cm (35 1/16 x 50 3/16in).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

Provenance Anon. sale, Sotheby’s, London, 20 March 1985, lot 160. Pyms Gallery, London. Private collection, UK (acquired from the above).

Exhibited Copenhagen, Foreningen for National Kunst, 1961, no. 11. Copenhagen, Bymuseum, København at Juletid, 1966-67 (according to a label on the reverse). Charlottenborg, Jubileumsudstilling, 1900-1970, 1969 (illustrated in the catalogue). Copenhagen, Foreningen for National Kunst, 1970, no. 26.

Literature Københavner Jul, 1961, illustrated on the cover. Hjemmet, 1st December 1970, illustrated on the cover. Agnite Elkjær Laursen, ‘Nu er det Jul igen’, in Tale, Læse, Skrive, Copenhagen, no. 2, 1971. Alfred Wassard, Københavns Ældste Kerne, Hernovs Forlag, 1983.

For details of the charges payable in addition to the final Hammer Price of each Lot 108 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 109 68 * AR ALOIS HEINRICH PRIECHENFRIED (AUSTRIAN, 1867-1953) A Yeshiva boy reading signed ‘APriechenfried’ (upper right) oil on panel 45.5 x 36cm (17 15/16 x 14 3/16in).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

For details of the charges payable in addition to the final Hammer Price of each Lot 110 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 111 69AR JERZY KOSSAK (POLISH, 1886-1955) The Uprising signed and dated ‘Jerzy Kossak/1929’ (lower left) oil on canvas 94.5 x 144cm (37 3/16 x 56 11/16in).

£5,000 - 7,000 €5,600 - 7,800 US$6,400 - 9,000

Provenance Private collection, UK.

The present lot depicts one of the first battles of the Polish Kosciuszko Uprising against Russia, which was fought on 4 April 1794, near the village of Raclawice in Lesser Poland. The uprising was led by Tadeusz Kościuszko and in this campaign his forces were successful. The news of the victory quickly spread and encouraged other parts of Poland to join the revolution. However, by 16 November 1794 the uprising had ended, and the following year the Third Partition of Poland took place, dividing the state between Austria, Prussia and Russia, ending Polish- Lithuanian sovereignty until 1918.

For details of the charges payable in addition to the final Hammer Price of each Lot 112 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 70 STANISLAW IGNACY WITKIEWICZ (POLISH, 1885-1939) In 1925 Witkiewicz founded the S.I. Witkiewicz Portrait Firm, and Portrait of Maria Zlotnicka Jaroszynska numerous portraits, often in pastel, formed his income. Although his signed and dated ‘1928 V/Ignacy Witkiewicz’ (lower left); indistinctly output was prodigious, he was notoriously selective about which inscribed ‘T+B+A P+NP’ (lower right); inscribed in pencil ‘P+/ commissions he accepted, and could be merciless in his rejections. NP/1,2,3,’ (lower centre) He experimented with narcotics after 1924, taking them to directly pastel influence creativity and many of his portraits are, as a result, expressive 60.5 x 50cm (23 13/16 x 19 11/16in). and vibrant. He would also sometimes note the names and quantities of substances taken that day on his finished works. £8,000 - 12,000 €8,900 - 13,000 Witkiewicz committed suicide after hearing the news of the invasion US$10,000 - 15,000 of Poland in 1939. At the time he convinced his young partner to do the same, although she survived. Witkiewicz was plagued with severe Provenance depression throughout his life, and creative outlets such as his plays Maria Zlotnicka Jaroszynska, thence by descent. were often characterised by dark, contorted characters and disastrous Anon. sale, Wellers Chertsey, 20 November 2009, lot 212. incidents. Private collection, UK (acquired from the above sale). In the present lot, Witkiewicz has depicted Maria Zlotnicka Jaroszynska Stanislaw Ignacy Witkiewicz was a writer, philosopher, playwright, (1883-1962), a wealthy heiress in the Ukraine, and a descendant of the novelist, photographer and painter. Born in Warsaw, his father was an Polish Ambassador to the Russian court, Antoni Zlotnicki. Due to war architect, painter and art critic, and his mother was a music teacher. and revolution she was forced to move to the Makarska Riviera on the A foray into landscape painting and naturalism was superseded by an Adriatic coast, where she opened the Hotel Miramare. The hotel was interest in portraits, influenced by a trip to Paris in 1908. In particular, confiscated in 1948 by the communist authorities. exposure to avant-garde artists encouraged him to experiment beyond the realms of realism, developing a distinctive expressionist form, his colour and tone departing from naturalism and his contemporaries, such as Jan Stanislawski.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 113 71 PAUL DÉSIRÉ TROUILLEBERT (FRENCH, 1831-1900) Jeune Orientale signed ‘Trouillebert’ (lower left) oil on canvas 167 x 106cm (65 3/4 x 41 3/4in). Painted circa 1875

£40,000 - 60,000 €44,000 - 67,000 US$52,000 - 77,000

Provenance Louise Whitford Gallery, London. Anon. sale, Christie’s, London, 24 June 1983, lot 31. Private collection, UK.

Literature Claude Marumo, Thomas Maier and Bernd Müllerschön, Paul Désiré Trouillebert 1831-1900, Catalogue Raisonné de l’oeuvre peint, Stuttgart, 2004, no. 61 (illustrated in black and white p. 228 and in colour p. 124).

Paul Désiré Trouillebert is largely associated with the Barbizon School. He produced a number of landscape paintings during his lifetime, depicting Picardy, Normandy, Brittany and Charente. His use of gentle, relaxed brushwork and silver-grey harmonious hues align his work with that of Jean-Baptiste-Camille Corot. Trouillebert first exhibited at the Paris Salon in 1865 and he received commendation for his 1869 Salon Exhibit Au Bois Rossignolet. He was also a skilled portraitist and still life artist, and produced a series of Orientalist works and nudes.

In the present lot, Trouillebert has successfully captured the opulence and exoticism of the genre. The vibrant red cloth of the girl’s skirt contrasts with the luscious and tactile fabric of the extensive fur covering. Her long elegant neck is adorned with heavy gold jewels and an Ottoman yataghan sword with a walrus ivory hilt rests in her hands. The sitter, similar to Trouillebert’s 1874 Salon exhibit, Servante de Harem, is engaging directly with the viewer, her presence enhanced by the scale of the work. Unlike many other Orientalist views of women reclining and relaxing in lavish harem settings, this figure is upright and vigilant.

For details of the charges payable in addition to the final Hammer Price of each Lot 114 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 115 72 JAN BAPTIST HUYSMANS (BELGIAN, 1826-1906) Seated man with hookah; A corner of the Harem two, both signed ‘J.Bt. Huysmans’ (lower right) oil on panel one 26.5 x 20.8cm (10 7/16 x 8 3/16in); the other 26.1 x 20.8cm (10 1/4 x 8 3/16in) (2)

£5,000 - 7,000 €5,600 - 7,800 US$6,400 - 9,000

For details of the charges payable in addition to the final Hammer Price of each Lot 116 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 73 JAN BAPTIST HUYSMANS (BELGIAN, 1826-1906) La partie de dames signed and dated ‘J.B.Huysmans/1895.’ (lower right) oil on panel 45.7 x 55.9cm (18 x 22in).

£12,000 - 18,000 €13,000 - 20,000 US$15,000 - 23,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 117 74

74 75 * GIULIO ROSATI (ITALIAN, 1858-1917) CHARLES WILDA (AUSTRIAN, 1854-1907) The seller of arms The snake charmer signed ‘G. Rosati.’ (lower left) signed ‘C WILDA’ (lower right) watercolour watercolour over traces of pencil heightened with bodycolour 35.6 x 52cm (14 x 20 1/2in). 26.6 x 17.6cm (10 1/2 x 6 15/16in).

£12,000 - 18,000 £3,000 - 5,000 €13,000 - 20,000 €3,300 - 5,600 US$15,000 - 23,000 US$3,900 - 6,400

Provenance Provenance Mathaf Gallery Ltd., London. Private collection, USA. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 118 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 75 19TH CENTURY ART | 119 76 FRANZ XAVIER KOSLER (AUSTRIAN, 1864-1905) Head of a young Egyptian signed ‘F. Kosler’ (incised, lower right) oil on panel 36 x 21cm (14 3/16 x 8 1/4in).

£12,000 - 18,000 €13,000 - 20,000 US$15,000 - 23,000

Franz Xavier Kosler, born in Vienna in 1864, was one of the most celebrated Orientalist painters of his generation. Kosler began his artistic studies at the Akademie der Bildenden Künste (The Academy of Fine Arts) in Vienna, studying under the renowned Austrian Orientalist artist Leopold Carl Müller. Highly influenced by Müller’s work, Kosler went on to follow in his tutor’s footsteps, travelling abroad to paint the Near East first hand. His richly coloured genre scenes and tender close-up portraits of young sitters dressed in traditional clothing, echo the work of his mentor. Setting off in 1886, Kosler travelled to Dalmatia, Montenegro, Albania and Egypt.

Kosler returned to Egypt on several occasions, holding an exhibition there in 1894. The show was a great success and secured Kosler many wealthy Egyptian patrons, including Prince Said Halim Pasha, the grandson of Mehemet Ali Pasha, the future Grand Vizier of the Ottoman Empire, who commissioned a series of portraits from the artist. Kosler’s portrait commissions were not limited to Egyptian society. He also painted the Archduke Ferdinand Karl in Vienna and other wealthy individuals, such as Countess Palfy-Schilippenback, who sat for the artist in 1896. Whilst in Egypt Kosler made acquaintances with a number of influential European art collectors. These connections encouraged him to exhibit at the Glass Palace in Munich in 1899 and at the Royal Academy in London, where he exhibited The Blind Beggar and Vegetable Sellers, Cairo in 1903. Kosler also found fame in his home country, regularly exhibiting in the Viennese salons from 1895, and becoming a member of the Society of Artist Painters in 1901.

Kosler is best known for his intricately detailed works such as Camel Market in Cairo (1889, Oberösterreichisches Landesmuseum collection in Linz); however his more delicate and intimate portraits also display an ability to capture emotion. In the present lot, Kosler draws his subject close to show just the head and shoulders of his sitter, a technique which the artist uses to great effect in works such as Nada, jeune Beduin, Sinai (sold in these rooms, 10 July 2013) and A young Arab (Bonhams, New York, 6 November 2013).

For details of the charges payable in addition to the final Hammer Price of each Lot 120 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 121 77

122 | BONHAMS 78

77 78 HERMANN DAVID SALOMON CORRODI (ITALIAN, 1844-1905) HERMANN DAVID SALOMON CORRODI (ITALIAN, 1844-1905) Figures in a busy market Figures resting in the shade of a ruined temple bears signature and inscription (lower right) bears signature and inscription (lower left) oil on canvas oil on canvas 124 x 64.3cm (48 13/16 x 25 5/16in). 74.5 x 134.6cm (29 5/16 x 53in).

£15,000 - 20,000 £25,000 - 35,000 €17,000 - 22,000 €28,000 - 39,000 US$19,000 - 26,000 US$32,000 - 45,000

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 19,000

Provenance Mathaf Gallery Ltd., London. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 124 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 125 80 VICTOR PIERRE HUGUET (FRENCH, 1835-1902) A desert market signed ‘V.Huguet’ (lower right) oil on canvas 66.5 x 87cm (26 3/16 x 34 1/4in).

£30,000 - 50,000 €33,000 - 56,000 US$39,000 - 64,000

Provenance Galerie Antinea, Paris. Private collection, UK (acquired from the above).

For details of the charges payable in addition to the final Hammer Price of each Lot 126 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 127 81 * ROSA BONHEUR (FRENCH, 1822-1899) Tiger in a mountain landscape signed and dated ‘Rosa Bonheur/1877.’ (lower left); stamped with the artist’s studio sale seal (on the reverse) watercolour, pen and ink with traces of scratching out 32.5 x 24cm (12 13/16 x 9 7/16in).

£7,000 - 10,000 €7,800 - 11,000 US$9,000 - 13,000

Provenance Artist’s studio sale, Galerie Georges Petit, Paris, 30 May 1900. R. Lérondelle, Paris. Private collection, South America.

For details of the charges payable in addition to the final Hammer Price of each Lot 128 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 82AR LOUIS HENRY WESTON KLINGENDER (BRITISH, 1861-1950) In 1894 Klingender married Florence Hoette and the couple moved Guardians of the temple to Kronberg where he became a member of the Kronberg painting signed and dated ‘L.H.W.Klingender./1927.’ (lower right) colony, which included such artists as Adolf Schreyer and Anton oil on canvas Burger. By this time his reputation had grown through regular exhibits 107 x 138cm (42 1/8 x 54 5/16in). at the Berlin Academia. In 1902 he moved to Goslar, where he set up his studio and became a leading light in the cultural life of the city. Five £12,000 - 18,000 years later his son Francis Donald was born; Francis was to become a €13,000 - 20,000 well-known Marxist sociologist and art historian. US$15,000 - 23,000 In 1902, the couple moved to Goslar where Klingender set up his Of Hugenot descent, Louis Klingender was born in Liverpool in 1861. studio in the back of the museum building on Breite Strasse. He Aged 20 he emigrated to Dusseldorf and enrolled at the Staatliche soon became central to the cultural life of the city, scientific as well Kunstakademie Düsseldorf to study under Karl Friedrich Deiker. as artistic, however with the outbreak of war he was regarded as a potential spy interned in a camp near Berlin. Deiker specialised in animal painting, generally painting hunting scenes or large beasts, such as stags or wild boar, depicted majestically or in By the end of the war animal paintings -particularly on a grand conflict in their natural environment. Klingender also often travelled to ‘Romantic’ scale- had become less fashionable and after a further Wernigerode in the state of Saxony-Anhalt and as a guest of Otto Graf ten years in Goslar, the Klingender family moved back to England. zu Stolberg-Wernigerode he was able to study red deer and boar in Life was equally tough for the artist in London and the family lived in the woods around Schloss Wernigerode. relative poverty. In 1944 the couple divorced and Florence returned to Germany; Louis died in 1950.

£4,000 - 6,000 €4,400 - 6,700 US$5,200 - 7,700

Provenance Frost & Reed, London.

Exhibited London, Royal Academy, 1847, no. 269.

For details of the charges payable in addition to the final Hammer Price of each Lot 130 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 84 FOLLOWER OF WILLIAM WESTALL (BRITISH, 1781-1850) Given the type of train shown on the left, the work must have been View of Whitby from Larpool painted post 1847. George Hudson, the famous railway promoter, oil on canvas, unframed started the Whitby Building Company and in 1847 it purchased the 117 x 157cm (46 1/16 x 61 13/16in). Whitby West Cliff fields and commenced building streets and terraces. In the same year the strengthening of the line from Pickering to Whitby £5,000 - 7,000 was completed and steam locomotives commenced running over the €5,600 - 7,800 route. US$6,400 - 9,000 Whitby achieved moderate growth and its population grew from Provenance 10,989 to 12,051 between 1851 and 1861. Authors such as Alfred Private collection, UK. Tennyson, Lewis Carrol, Charles Dickens, Wilkie Collins and Elizabeth Gaskell all visited, some writing whilst staying in the town. This early view of Whitby from Larpool by an unknown hand is taken from a familiar viewpoint favoured by a number of artists, notably Whitby Harbour was historically important both as a base for fishing William Westall around 1830, C. Tegnor in 1826 and later, Richard fleets and as a place to shelter from storms, particularly for ships and George Weatherill in 1874 and 1876 respectively. In the present sailing from the North East to London. composition, the whole town is visible, the bridge crossing the River Esk to the centre and the Church and Abbey above the town, on the eastern cliff.

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

For details of the charges payable in addition to the final Hammer Price of each Lot 132 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 86 HARRY HALL (BRITISH, 1815-1882) Ben Land Snr. was a horse trainer and his two sons Ben and John Huntsman with Ben Land Jnr. up and Ben Land Snr. rode winners for him in the 1850s. His greatest achievement was signed and dated ‘H. Hall. 1859.’ (lower right) training Lord Poulett’s horse The Lamb, ridden by George Ede to win oil on canvas the 1868 Grand National. 70.9 x 91.5cm (27 15/16 x 36in). In 1859, the year the present work was painted, Ben Land Jnr. placed £8,000 - 12,000 third with Huntsman in the Grand National. Land Jnr. later placed €8,900 - 13,000 second in both the 1862 and 1864 races, on Bridegroom and Arbury US$10,000 - 15,000 respectively. Hunstman won the Grand National in 1862, ridden by Harry Jeremiah; a month later, he was put to stud at Abbeville in Provenance France. Richard Green Gallery, London. Private collection, UK. A similar composition was also used by the artist in his oil titled Mr. John Bowes ‘Daniel O’Rourke’ with Frank Butler up (sold in these Harry Hall was an equestrian artist known for his depictions of rooms, 13 July 2011, lot 45). racehorses, jockeys and trainers. In the present lot he has depicted father and son, the latter seated on Huntsman, who was foaled in Ireland in 1853 and belonged to Viscount de Namur and Baron de la Motte.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 133 87

134 | BONHAMS 88

87 88 HEYWOOD HARDY (BRITISH, 1843-1933) HEYWOOD HARDY (BRITISH, 1843-1933) The postman A pause for refreshment signed and dated ‘Heywood Hardy 1891.’ (lower left) signed ‘Heywood Hardy’ (lower right) oil on canvas oil on canvas 76.2 x 66.7cm (30 x 26 1/4in). 46 x 69.5cm (18 1/8 x 27 3/8in).

£8,000 - 12,000 £10,000 - 15,000 €8,900 - 13,000 €11,000 - 17,000 US$10,000 - 15,000 US$13,000 - 19,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 135 89AR EDGAR HUNT (BRITISH, 1876-1953) Hens and chicks in a barn interior signed and dated ‘E HUNT 1925’ (lower left) oil on canvas 28 x 38cm (11 x 14 15/16in).

£4,000 - 6,000 €4,400 - 6,700 US$5,200 - 7,700

Provenance MacConnal-Mason & Son Ltd., London. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 136 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 90AR EDGAR HUNT (BRITISH, 1876-1953) Farmyard scene with donkeys and chickens signed and dated ‘E Hunt 1920’ (lower right) oil on canvas 56 x 76.5cm (22 1/16 x 30 1/8in).

£7,000 - 10,000 €7,800 - 11,000 US$9,000 - 13,000

Provenance Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 137 91AR EDGAR HUNT (BRITISH, 1876-1953) Farmyard companions signed and dated ‘E Hunt 1929’ (lower right) oil on canvas 50.8 x 76.5cm (20 x 30 1/8in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

For details of the charges payable in addition to the final Hammer Price of each Lot 138 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 92 WALTER HUNT (BRITISH, 1861-1941) The intruder signed and dated ‘W. HUNT. 1923’ (lower left) oil on canvas 51 x 76cm (20 1/16 x 29 15/16in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

Provenance Weston Gallery, Norfolk. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 139 93 BENJAMIN WILLIAMS LEADER, RA (BRITISH, 1831-1923) A quiet evening signed and dated ‘B.W.LEADER.1892.’ (lower left) oil on canvas 61 x 102.2cm (24 x 40 1/4in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

The present lot is similar in composition to another work of 1892, When the Sun is Set: A Worcestershire Village, (RA 1900, no. 249), now in the collection of Ferens Art Gallery, Hull.

For details of the charges payable in addition to the final Hammer Price of each Lot 140 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 94 ALFRED DE BRÉANSKI, SNR (BRITISH, 1852-1928) The banks of the Doon signed ‘Alfred de Bréanski’ (lower right) oil on canvas 78.7 x 106cm (31 x 41 3/4in).

£12,000 - 18,000 €13,000 - 20,000 US$15,000 - 23,000

Provenance Oakham Galleries Ltd., London. Private collection, UK.

95 JOSEPH CLARK, ROI (BRITISH, 1834-1926) The present lot depicts three young girls in ragged clothing sitting Three little kittens on the ground, sheltering under an umbrella, each holding a kitten. signed and dated ‘J Clark. 1883’ (lower right) Standing before them is a man, the tip of his shoe and his umbrella just oil on canvas visible to the left. 73 x 87cm (28 3/4 x 34 1/4in). An engraving of the work was illustrated in The Graphic magazine, £25,000 - 35,000 volume XXX, no. 783 on 29 November 1884. Further evidence of €28,000 - 39,000 the popularity of the work at the time was the inclusion of it, in the US$32,000 - 45,000 background of one of Charles Spencelayh’s paintings Nothing like leather! (fig 1). Provenance Anon. sale, Henry Spencer, Retford, 11 March 1987, lot 266. Joseph Clark exhibited works at the Royal Academy from 1857-1904. Anon. sale, Christie’s, London, 20 October 1998, lot 142. He received a medal and award at Philadelphia in 1876 with his two Private collection, UK (acquired from the above sale). works Sick Child and The Bird’s Nest. His best known works were often of domestic interiors, in particular children of a tender nature. Exhibited London, Royal Academy, 1883, no. 413.

For details of the charges payable in addition to the final Hammer Price of each Lot 142 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 143

96 The Art Annual of 1896 refers to a work of this title, painted in 1874, ATTRIBUTED TO MARCUS STONE, RA (BRITISH, 1840-1921) although not exhibited.1 An upright version of this composition, A street door in Venice showing more of the doorway and two gulls, is known, although bears a signature (lower left) unlocated. Stone frequently produced reworked versions of his oil on canvas compositions; many of his later Royal Academy exhibits have sub- 51 x 62cm (20 1/16 x 24 7/16in). titles such as ‘First design for a picture’, ‘Study for a larger picture’, ‘Repetition, with variations, of a larger picture’ etc. £4,000 - 6,000 €4,400 - 6,700 1 Alfred Lys Baldry, The Life and Work of Marcus Stone, RA, London, US$5,200 - 7,700 1896.

Provenance F. M. Evans, UK. Private collection, UK (acquired from the above by 1926, purchased for £80). Thence by descent.

For details of the charges payable in addition to the final Hammer Price of each Lot 144 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 97 THOMAS BENJAMIN KENNINGTON, RBA, NEAC Thomas Benjamin Kennington was born in Grimsby, and began his (BRITISH, 1856-1916) training at the Liverpool School of Art, before studying at the Académie Rare old Stingo Julian in Paris, where Bouguereau was one of his tutors. He began signed and dated ‘T.B.Kennington ‘10’ (lower right) his career painting social realist subjects, depicting impoverished oil on canvas members of society, with works such as Orphans (1885, Tate). These 76.5 x 102cm (30 1/8 x 40 3/16in). often heart-wrenching scenes of the poorer echelons of society evidence Kennington’s interest in social reform. He was also one of the £6,000 - 8,000 founding members of the New English Club, an exhibition space for €6,700 - 8,900 artists disenfranchised with the artistic establishment of late Victorian US$7,700 - 10,000 London, with its focus on the Royal Academy. Kennington was also a skilled portraitist and genre painter, receiving multiple accolades Provenance including a bronze medal at the Paris Universal Expositions in 1889. Private collection, UK. The present lot, painted late in Kennington’s life, is a wonderful commentary and celebration of English food, drink and culture. It depicts two older men looking admiringly at a pint of beer, the central bearded figure holding it up reverently. Stingo, a type of strong ale originating in the north of England, was typically known to be paired with game meats, beef or strong, flavoursome food.

Paint has been thickly applied in places, loose brushwork captures the flaky crust of the pie and the light reflecting on the gentleman’s sleeve and the flagon on the left. A dark background serves to emphasize the narrative and bring the viewer firmly into the celebrations.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 145 98 HENRY JOHN YEEND KING, RBA, VPRI, ROI (BRITISH, 1855-1924) Early summer signed ‘YEEND KING’ (lower right) oil on canvas 61.8 x 91.8cm (24 5/16 x 36 1/8in).

£3,000 - 5,000 €3,300 - 5,600 US$3,900 - 6,400

Provenance Dyson Lister & Sons, Harrogate. Private collection, UK (acquired from the above 30 January 1926, purchased for £40). Thence by descent.

For details of the charges payable in addition to the final Hammer Price of each Lot 146 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 99 * HELEN ALLINGHAM, RWS (BRITISH, 1848-1926) A gardener in a cottage garden signed ‘HAllingham’ (lower right) watercolour with scratching out 28 x 37.5cm (11 x 14 3/4in).

£4,000 - 6,000 €4,400 - 6,700 US$5,200 - 7,700

Provenance The Leger Galleries, London (by October 1963). Private collection, USA.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 147 100

100 101 HECTOR CAFFIERI, RI, RBA (BRITISH, 1847-1932) CHARLES SILLEM LIDDERDALE, RBA (BRITISH, 1831-1895) A summer’s day, Marlow Lock Girl by a well signed ‘H. Caffieri’ (lower left); bears inscription ‘Marlow Lock RI’ (on signed with monogram and dated ‘78’ (lower right) the reverse) oil on canvas watercolour and bodycolour 76.5 x 56cm (30 1/8 x 22 1/16in). 45.7 x 61cm (18 x 24in). £4,000 - 6,000 £6,000 - 8,000 €4,400 - 6,700 €6,700 - 8,900 US$5,200 - 7,700 US$7,700 - 10,000

Provenance Anon. sale, Sotheby’s, London, 16 October 1986, lot 225. Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 148 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 101

19TH CENTURY ART | 149 102 ARCHIBALD THORBURN (BRITISH, 1860-1935) Ptarmigan seeking shelter signed and dated ‘A. Thorburn/1927.’ (lower right) watercolour and gouache 37 x 56cm (14 9/16 x 22 1/16in).

£40,000 - 60,000 €44,000 - 67,000 US$52,000 - 77,000

Provenance Richard Haworth, Blackburn. Anon. sale, Bonhams, London, 22 April 2010, lot 165. Private collection, UK (acquired from the above sale).

Archibald Thorburn regularly visited Scotland to sketch in the wild inaccessible hills and it was during his trip in 1883 that he saw his first Ptarmigan. They inhabit the higher mountaintops of the Scottish Highlands at an altitude above two thousand feet, ranging as far south as Ben Lomond. They can be difficult to spot, as they have thick snow white plumage in the winter, which sheds in the summer to better camouflage with the highland rocks.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 151 103 JOHN BRETT, ARA (BRITISH, 1831-1902) Maiden Island signed ‘John Brett’ (incised, lower right); inscribed ‘27540/Maiden Island/John Brett ARA’ (on a label attached to the reverse) oil on canvas 38.5 x 76.5cm (15 3/16 x 30 1/8in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

Provenance Thomas McLean, 4 April 1886. Anon. sale, Sotheby’s, Belgravia, 9 July 1974, lot 11. Ernest T. H. Bennett, London. Private collection. Anon. sale, Sotheby’s, London, 10 March 2005, lot 214A. Private collection, UK.

According to Brett’s studio book, the present lot was painted between February and March 1886, before being sold for 100 guineas to ‘McLean’s man at my private view; His own offer.’ The work is based on a sketch that the artist made in August 1885, from the coast near Oban, looking westwards towards the Isle of Mull.

For details of the charges payable in addition to the final Hammer Price of each Lot 152 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 153 Thomas Ogle (1813-82), Grange Bridge, Borrowdale (b/w photo), Leeds Museums and Galleries (Leeds Art Gallery) U.K., © Bridgeman Images

104 JOHN ATKINSON GRIMSHAW (BRITISH, 1836-1893) Milner speculates about Grimshaw’s working methods: on the Wasdale Head with Great Gable in the distance reverse of Blea Tarn for example, Grimshaw has noted that the work oil on board was painted ‘on the spot’, whereas we know of his use of the Ogle 33 x 45.8cm (13 x 18 1/16in). photographs. ‘One possible scenario’ Milner notes ‘is that he first projected, traced and copied in colour from a pre-coloured lantern £8,000 - 12,000 slide in his studio... then he visited... added to and overlaid more €8,900 - 13,000 colour. Back in the studio, he added further thin layers of paint and an US$10,000 - 15,000 invented foreground in which he copied details from foliage and stones that he had gathered on the spot and elsewhere’.2 We are grateful to Alexander Robertson for confirming the attribution to John Atkinson Grimshaw on the basis of photographs. Perhaps this was the technique used in the present lot, which depicts a recognisable view of Wasdale Head, a small hamlet in the Lake Provenance District National Park. Located in the valley of Wasdale, the hamlet Private collection, UK. is surrounded by mountains such as Scafell Pike, Sca Fell, Kirk Fell, Pillar and Great Gable, as seen in the distance. The Wasdale Inn was John Atkinson Grimshaw made the transition from still life painting originally a farmhouse and the ancient packhorse arched bridge made to landscapes circa 1863. His technique was continually evolving, of stone, visible to the left of the composition, was on the trading route and works from this period are evidence of his close alignment to for those tackling the Black Sail, Sty Head and Burnmoor passes. the methods and principals of the Pre-Raphaelites and the mantra of ‘truth to nature’ as espoused by John Ruskin. Painstaking attention Nature is celebrated and the view enlivened through Grimshaw’s use to detail and an endeavour to record true nature particularly manifest of precise and carefully detailed observation. Miniscule brushwork themselves in a series of Lake District views that Grimshaw produced details each blade of glass, foliage and autumnal leaves in the trees. in the 1860s. The present lot, from a private UK collection, is an Thin black paint serves to both outline and create shadow within the exciting addition to this series. rocks, each one precisely depicted. Grimshaw’s use of bright, vibrant passages of green, blue and pink further brings vitality to the scene. In an essay to accompany the major Grimshaw retrospective in 2011, As Alexander Robertson comments, in relation to the Lake District Frank Milner notes that many of Grimshaw’s Lake District views paintings, ‘... everything is brightly coloured and seen in a clear light, relate very closely to photographs and lantern slides produced by the presenting a dazzling landscape of a startling, Pre-Raphaelite kind. firm of Thomas Ogle of Penrith. The Grimshaw archive at Leeds Art The handling is delicate and precise, the drawing sharp, the paintwork Gallery contains an album of such views which belonged to the artist, enamel-like in its hardness.’3 including photographs that are similar in composition to works such as Blea Tarn, First Light, Langdale Pikes in the Distance (1865) and Nab Although undated, the present lot still provides an engaging time Scar, The Lake District (1864). Grimshaw was known to have used capsule and a further exploration of Grimshaw’s practice, particularly projections and photographs later in his career, but Milner notes that his patience and skill in his early years. Grimshaw uses not just photographs but coloured lantern-slides much earlier on, suggesting ‘the idea that photography was for Grimshaw 1 Jane Sellars (ed.), Atkinson Grimshaw - Painter of Moonlight, an aide-memoire preceding the more important creative business of Harrogate, 2011, p. 33. painting.... does not help to explain what appears to have taken place. 2 Sellars, p. 34 We may understand the artist’s work better if we see Grimshaw as 3 Alexander Robertson, Atkinson Grimshaw, London, 1988, p. 22. someone who deployed some of the craft skills of the sophisticated Victorian photographer from the start of his career’.1

For details of the charges payable in addition to the final Hammer Price of each Lot 154 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 155 In spite of a change of style by the end of the decade – from meticulous detail, high finish and bright colour to a more sombre palette – [Grimshaw’s] interest in nature always remained.

(Alexander Robertson, Atkinson Grimshaw, page 29)

105 JOHN ATKINSON GRIMSHAW (BRITISH, 1836-1893) At the Lakeside, Moonlight signed, numbered and inscribed ‘At the Lakeside_Moonlight_/Atkinson Grimshaw./Leeds. 6072+’ (on the backboard) oil on card 28 x 44.5cm (11 x 17 1/2in).

£40,000 - 60,000 €44,000 - 67,000 US$52,000 - 77,000

We are grateful to Alexander Robertson for confirming the attribution to John Atkinson Grimshaw on the basis of photographs.

Provenance Private collection, UK.

For details of the charges payable in addition to the final Hammer Price of each Lot 156 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 157

Grimshaw’s popularity amongst collectors had markedly grown by the Grimshaw was initially asked to produce three paintings of the Park 1870s, in part due to the help of London art dealer William Agnew. to present to the parliamentary committee. The Town Council was His first accepted Royal Academy submission was The lady of the lea, attempting to promote the ‘Leeds Improvement Bill’ in Parliament, with exhibited in 1874, no 967. Grimshaw had moved to Knostrop Old Hall, the hope to open the estate as a public park (amid criticism that the just outside of Leeds, opening up a wealth of new vistas. Waterloo park was too far out of Leeds and not easily accessible). Alexander Lake at Roundhay Park, the location of the present lot, became a Robertson notes how interesting it was that Grimshaw chose to favourite subject for Grimshaw to depict. portray a night-time scene, rather than the view of the lake that most people would see in daylight.1

The poetic beauty of the park has been expertly captured by Grimshaw in the present lot, and possibly this quality is what attracted him to the view in the first place. Dark, extended branches contrast against the soft green tones of the sky and water, creating an eerie atmosphere. A lone swan is a focal point, the calm of the lake only slightly disturbed by its presence, and Grimshaw has expertly captured this ripple of water outward from the landing by incising into the paint. The moon’s reflection shimmers on the water and it’s glow is just visible at the top of the composition. The whole scene is imbued with romance and evocative luminosity.

1 Alexander Robertson, Atkinson Grimshaw, London, 1988, p. 35.

For details of the charges payable in addition to the final Hammer Price of each Lot 158 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

It was the gospel of beauty, perfection, tradition and peace that Godward ... felt was most profoundly transmitted through the classical subject.

(Vern Swanson, Godward and the Death of Greco-Roman Painting)

106 JOHN WILLIAM GODWARD, RBA (BRITISH, 1861-1922) Dolce far niente signed and dated ‘J.W.GODWARD.’07’ (lower left) oil on canvas 51.4 x 76.2cm (20 1/4 x 30in).

£200,000 - 300,000 €220,000 - 330,000 US$260,000 - 390,000

We are grateful to Dr. Vern Swanson for his assistance in cataloguing this lot, which will be included in his forthcoming updated John William Godward catalogue raisonné, currently in preparation.

Provenance Thomas Mclean, London (19 March 1907). Miss Sarah Darnell of 161 Stamford Hill, North London; Sale, Christie’s, London, 15 March 1925, lot 57. W. W. Sampson, London. Private collection, UK.

Literature McLean letter to Godward 19 March 1907 (Milo-Turner collection). E. Bénézit, Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris, 1976, VI, p. 80. Vern G. Swanson, John William Godward, The Eclipse of Classicism, 1997, p. 218, no. 2, as Dolce far niente (Girl with a bunch of grapes).

For details of the charges payable in addition to the final Hammer Price of each Lot 160 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 161

The great tragedy of John William Godward’s story is that such a Not seen on the market since 1925, Dolce Far Niente is a masterful talented and astute artist-at times a rival to Alma-Tadema in his example of Godward’s work, showcasing his skill at portraying flesh, depictions of classical beauty- should feel so out of kilter with the marble and cloth. On a high terrace overlooking the Mediterranean world around him, that his art had become so anachronistic, that he Sea, a beautiful young patrician woman, draped in green and golden took his own life, aged 61, in 1922. robes, reclines on a pillow and lion skin, at the end of a marble bench. She is contemplating a grape she has plucked from the bunch she is By then, many of the great exponents of this classical tradition had holding. To the left is a shock of pink oleander blossom; beyond to the already gone. Alma-Tadema died in 1912, Waterhouse in 1917, and right, the sparkling aquamarine sea. The distinctive lion foot seat-end Sir Edward John Poynter, who as President of the Royal Academy was is a prop which Godward has also used in works such as The Pergola a great and influential champion of classical painting, died in 1919. As (On the Balcony) (1898, Manchester City Art Gallery), and Amaryllis Christopher Wood observes, ‘by the 1920s, the rule of Bloomsbury (1903). Rather than painstakingly recreating Classical settings, had begun. All Victorian painting was denounced as absurd, irrelevant, Godward populated his studio with marbles, statues and other props, and totally lacking in significant form... for a classical painter, there was used to create a sense of ‘Graeco-Roman pastiche’.4 nothing to do but give up.’1 Commenting on the present lot, Vern Swanson notes that ‘the title Godward’s disillusion with the artistic establishment in England had in ‘Dolce Far Niente’ is often used by Godward because it, more than any fact started nearly two decades earlier. While he continued to exhibit other, encapsulates the mood he wishes to capture in his paintings, works in Continental Europe, his last London submission was to the sweet doing nothing’. Swanson also speculates that the model for the Royal Academy exhibition of 1905. As Vern Swanson notes, ‘in all present lot is ‘probably his favourite from the pre-Rome period, a Miss possibility he had come to the end of his interest in eliciting public Goldsmith, who also posed for Athenais (1908).’ approval in Great Britain for his art. It all seemed for him as if he was swimming against the critical tide’.2 1 Christopher Wood, Olympian Dreamers, London, 1983, pp. 247-248. 2 Vern Swanson, John William Godward, The Eclipse of Classicism, Scant records exist to document the timeline of Godward’s life, but it is Woodbridge, 1988, p 79. probable that he left for an extended trip to Italy in 1905 (at which time 3 Swanson, p. 83. his correspondence address is given as ‘c/o Thomas McLean’, the 4 Swanson, p. 54. artist’s dealer until 1908, rather than his previous residence of Fulham Road). Swanson argues that this, and subsequent trips to Italy- visiting Capri, Naples, and Rome- does not lead to a dramatic shift in the artist’s work, but rather galvanises his resolve, making him ‘more sure of his artistic direction and more confident of his ability to express it’.3

Thus by 1907, when the present lot was painted, Godward was confident in his direction and at the height of his technical abilities. The work would have been one of the last handled by Godward’s long-term dealer and close ally, Thomas McLean, whose retirement due to ill health and subsequent death in 1908 must have had a profound effect on the reclusive artist. McLean had successfully exploited the reproduction print market, so Godward’s work would have been well known by this time.

162 | BONHAMS

107 FRANK PICKFORD MARRIOTT (BRITISH, 1876-1935) The Annunciation signed, inscribed and dated ‘PICKFORD/MARRIOTT/ DES:ET:DEL/1901-08’ (lower right); inscribed ‘THE ANNVNCIATION’ (lower centre); inscribed ‘by/F. Pickford Marriott A.R.C.A. (London)/ The Studio/18 First Avenue Walmer/PORT ELIZABETH’ (on a label attached to the reverse) painted gesso and mother-of-pearl on panel 62.8 x 94cm (24 3/4 x 37in).

£12,000 - 18,000 €13,000 - 20,000 US$15,000 - 23,000

Provenance Private collection, UK.

Exhibited London, Royal Academy, 1912, no. 1887.

For details of the charges payable in addition to the final Hammer Price of each Lot 164 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 165 According to the Royal Academy listings, Frank Pickford Marriott’s ‘I followed up this experiment by boiling pieces of shell in other colours, address at the time of his three submissions between 1905 and 1912 blues, reds and yellows, with equally good results...The method of was 6 Netherton Grove, Chelsea, S.W, the same address listed for his polishing the shell is with corks dipped in oil and emergy powder brother, Frederick Marriott, until 1917. Since Frank Pickford Marriott first and afterwards with putty powder, followed by oil and whiting, was based in Port Elizabeth, South Africa from around 1903, having and finished with oil and rouge powder. The more highly polished the been appointed as an art master at Port Elizabeth Art School, we can surface of the shell is, the more brilliant are the colours reflected...’ therefore surmise that he returned to London to work in the studio of Detailing the method he explains ‘...a tracing of the subject was fixed his brother on a series of decorative panels in painted and inlaid gesso. on a drawing board, and the pieces of shell were shaped and stuck to On some occasions the brothers would collaborate; one example, the tracing paper with gum. This was done with the board in a vertical The Faithful Knight in Equal Field Subdues His Faithless Foe, a large position with the light falling on it from the left hand, and the work had painted gesso and mother-of-pearl panel executed circa 1900-1905, to be completed in this lighting, because every change in the direction was sold Sotheby’s, London, 3 November 1993, lot 226. of the light gives a different effect on the shell. When the shell portion of the design was completed in this way the gesso modelling was Frederick Marriott gave a lecture detailing the particulars of the craft, commenced...On the completion...a raised gesso outline was added which was later published by Philippe Garner, Unpublished Notes after all the gesso work had been carefully stopped with French polish. on Gesso by Frederick Marriott, ‘The bulletin of the Decorative Arts The next process was to cover all the gesso work either with gold Society 1890-1940’, Number 1, n.d., pp. 28-35. In the lecture, Marriott leaf or platinum leaf according to whether a warm or cool effect was expands on the art of gesso and treatment for the mother-of-pearl, to desired...It will be observed how valuable the raised gilded outline is to maximise the ‘wonderful colour and iridescent qualities’ the decorative effect...’

166 | BONHAMS Marriott claims that ‘there is no natural material finer than shell. Indeed, one finds occasional pieces which give more brilliant lustre than any precious stones.’ Both brothers used the brightness and majestic qualities of this material to explore subjects centred around strong escapist tendencies - Arthurian legend, romantic subjects, majestic angels of the night, shimmering costume and ethereal creatures. Exhibited at the Royal Academy by both Frederick and Pickford were such works as The Virgin enthroned (1907, no. 1701), The Reward of Valour (1905 no. 1669), A praising angel (1905, no. 1812) and Guenevere (1908, no. 1962).

F. Pickford Marriott, Love in her eyes sits playing, 1902, Gesso, oil, mother of pearl and semi precious stone on wood panel, 31.5 x 26.4cm, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia

19TH CENTURY ART | 167 108 HARRINGTON MANN (BRITISH, 1864-1937) Young girl with flowers signed ‘HARRINGTON MANN’ (upper right) oil on canvas 43.5 x 28.5cm (17 1/8 x 11 1/4in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

For details of the charges payable in addition to the final Hammer Price of each Lot 168 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 109 ARTHUR HACKER, RA (BRITISH, 1858-1919) A lady reclining in a boat signed ‘Arthur Hacker’ (lower right) oil on panel 26.5 x 24.5cm (10 7/16 x 9 5/8in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 169 110 SIR WILLIAM SAMUEL HENRY LLEWELLYN, PRA, RBA, RI Unlike Steer, extant coastal studies are rare and while important plein (BRITISH, 1858-1941) air figure-pieces such as Summertime by the Sea (sold in these rooms, A summer’s day on the coast 14 March 2018), can be placed in their appropriate historical context, signed ‘W.Llewellyn’ (lower left) works such as A summer’s day on the coast are more difficult. Here oil on canvas we rely completely on one or two smaller works such as Southwold 89 x 59cm (35 1/16 x 23 1/4in). Beach, c 1886, (also sold in these rooms, 14 March 2018) to propose comparisons in the handling of foreground weeds and grasses. As a £8,000 - 12,000 result, it is tempting to place the present stretch of coastline in East €8,900 - 13,000 Anglia, sometime in the late 1880s when it seems that the landscape US$10,000 - 15,000 was first worked in pastel on paper (sold Christie’s, South Kensington, 24 July 2005). Provenance Private collection, Italy. What remains striking about the picture however, is its unusual format. It is essentially a sky-scape, rather than a landscape. In this – as in Like Frank Brangwyn, Ernest Dade, Jacomb Hood and other Southwold Beach – the spectre of Constable hangs over the scene members of the Chelsea artists’ colony based in Manresa Road in in huge clouds that echo the master’s Weymouth Bay, 1816 (National the late 1880s, Llewellyn was peripatetic. The evidence supplied by Gallery, London). picture titles places him at Southwold, St Ives, Padstow, Whitby and on the Beauly Firth near Inverness. Only one or two of these painting We are grateful to Professor Kenneth McConkey for his assistance in expeditions can be securely dated and a number of studies have yet cataloguing this lot. to be identified with specific locations. The present example is one of these. Problems are compounded by the fact that the painter, like his Walberswick contemporary, Philip Wilson Steer, seems capable of working in different styles at the same time. Having broken with his family to become an artist, this future President of the Royal Academy, must in those early years, make his own way in the world, and his primary focus was on securing a reputation as a portrait painter.

For details of the charges payable in addition to the final Hammer Price of each Lot 170 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 171 111 SIR GEORGE CLAUSEN, RA, RWS (BRITISH, 1852-1944) An Autumn Morning, Ploughing signed and dated ‘G. CLAUSEN. 1897’ (lower left); signed, inscribed and dated ‘AN AUTUMN MORNING-/PLOUGHING/G CLAUSEN/1897’ (on the reverse) oil on canvas 51 x 61.5cm (20 1/16 x 24 3/16in).

£40,000 - 60,000 €44,000 - 67,000 US$52,000 - 77,000

Provenance Captain John Audley Harvey; Sale, Christie’s, 30 March 1928 (to A Tooth). The Fine Art Society, London (circa 1985). Pyms Gallery, London. Private collection, UK (acquired from the above).

Exhibited London, Royal Academy, 1897, no. 790. London, Fine Art Society, Spring ‘85, 1985, no. 7 (illustrated in colour).

Literature Royal Academy Illustrated, 1897, p. 130. Pictures of the Year, 1897 Pall Mall Gazette ‘Extra’, 1897, p. 7 (illustrated). The Royal Academy, The Art Journal, 1897, p. 166 (illustrated p. 170). The Chronicle of Art - May, The Magazine of Art, 1897, p. 47. Ysanne Holt, British Artists and the Modernist Landscape, 2003, fig. 1, p. 12 (illustrated in colour). Kenneth McConkey, George Clausen and the Picture of English Rural Life, Edinburgh, 2012, p. 120, (illustrated in colour, pl. 194, p. 119).

For details of the charges payable in addition to the final Hammer Price of each Lot 172 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 173 Fig 1 Sir George Clausen, Study of a man ploughing a field with two Fig 2 Peter Henry Emerson, A Stiff Pull, 1888 (published after plough horses, circa, 1884/5, Pencil, 131 x 217 mm, modification in PH Emerson, Pictures of East Anglian Life, © Royal Academy of Arts, London 1888, plate 4)

On a day in 1884 George Clausen stood at the end of a field near St These reflections would accompany him to his new larger house at Albans, sketchbook in hand. A rapid note was made as the plough Widdington, near Saffron Walden, where two new attempts to capture team approached and another, a back view, as it retreated to the far the inherent drama of this seasonal activity would be made. The first, edge of the field (fig 1). Turning the Plough, (unlocated), shows a boy struggling to turn his team at the edge of a field, and the second, the present picture, a It was a subject that extended the range of his admired French back view of an older ploughman guiding his plough-share in a straight predecessors, Jules Bastien-Lepage and Jean-François Millet whose line up a slight incline, as in Peter Henry Emerson’s ‘naturalistic’ field-workers were for the most part, sowers and gleaners.1 As he was photograph. Ten years before Autumn Morning, Ploughing the currently looking for a new house, witnessing this important phase in dogmatic Dr Emerson had set out to do for photography what Clausen the farmer’s year must be saved for later treatment when he and his what doing in painting and their correspondence in the later 1880s has family had moved to Cookham Dean.2 At length the subject returned much to tell us about the transition from Naturalism to Impressionism on an impressive scale in the monumental Ploughing 1889 (Aberdeen that has so clearly been accomplished in the present work. ‘What Art Gallery), a picture exhibited at the Grosvenor Gallery.3 However strikes me as much as anything’, Clausen wrote to Emerson, ‘is, it did not end there. With a growing family, he was contemplating how few men see atmosphere or get it in their out of doors pictures: another, and this time, hopefully more permanent move. He had also how everything is bathed in light and air and yet how seldom is this reached an impasse in his work and had begun to realize that with conveyed!’4 documentary Naturalism, of which ploughing was a prime example, left little room for development. In the precise, scientific observation it He wanted ‘to find out what is essential and vital and hold on to that demanded, the swinging movement in horses and ploughman must and let the rest go’. The impact on Emerson was immediate. Later somehow be frozen in time, and the only way to scale tone and colour published prints of A Stiff Pull show that the trees on the horizon with complete verisimilitude was under the reduced light levels of a were removed and the sky dramatized with lowering clouds (fig 2 and grey day. As a result, he and many contemporaries were experimenting present lot). with the fugitive effects of the Impressionists. What is missing of course is the atmosphere that Clausen talked about - the glowing colour, and early morning freshness that he was able to achieve in the present work. Landscape is denuded of incidental trees and cottages and what we have, according to The Art Journal are ‘charming passages of colour, with bay and grey horses, the yellow of the ploughman, and here and there a poppy, the whole being bathed in atmosphere’.5

Reproducing a photograph in comparison to the present work is not to imply equivalence. By 1897, for the painter, the abandoned plough had almost become a symbolic implement – a subject in itself, to be treated in drawings, paintings and in a rare etching (fig 3).6 An ancient instrument, its design had barely changed since Tudor times.

174 | BONHAMS Fig 3 George Clausen, The Plough, c1894, etching, 7.6 x 11.5, Private collection

Coupled with man and beast in the crystalline coolness of an autumn morning it expressed something elemental and critics, when Autumn Moring, Ploughing appeared in the Academy, seemed prepared to bypass so-called ‘problem’ pictures in its favour. This painter who once employed ‘... the square touch with its halo of French wickedness’, was now, according to DS MacColl, finding delight in the ‘natural beauty of flowering hayfields and sunlight upon reapers’.7 In the glowing colours of Impressionism, J-F Millet’s message and the objectivity of Bastien-Lepage had not been sacrificed. However they seemed less important now that Clausen had found both his message and his metier. Celebrating the purchase of one of his pictures for the Art Gallery of Western Australia at this time, a writer in The Art Journal noted that he had ‘watched’ his ‘English rustics’ in all aspects of their lives, in order to make us ‘feel what he felt and share in the impressions he received’.8 But there was more than this. Across the globe, in one of ‘our most distant colonies’, the essential ‘Englishness’ conveyed in virtuous labour, exemplified the good husbandry that maintained the empire. Scoring the Essex field for spring planting, Clausen’s ploughman was preparing for a new dawn.

We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.

1 For a fuller account of Clausen’s early career, see McConkey 2012. 2 Clausen moved to Grove House, Cookham Dean in May 1885. 3 For a fuller account see McConkey 2012, pp. 90-1. 4 Quoted in Veronica Sekules and Neil McWilliam, eds, Life and Landscape, PH Emerson, Art and Photography in East Anglia, Exhibition Catalogue, University of East Anglia, 1986, p. 10. 5 ‘The Royal Academy’, The Art Journal, 1897, p. 166. 6 McConkey, 2012, p. 11, figs 176 and 178. 7 DS MacColl, ‘Painting at the Academy’ The Saturday Review, 22 May 1897, p. 572. 8 Anon, ‘The End of a Long Day’, The Art Journal, 1898, p. 149.

19TH CENTURY ART | 175 112 EDWARD STOTT, ARA (BRITISH, 1855-1918) Peaceful rest signed ‘Edward Stott’ (lower left) oil on canvas 60.5 x 81cm (23 13/16 x 31 7/8in).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

Provenance Private collection, UK.

Exhibited London, Royal Academy, 1902, no. 281.

Literature Royal Academy Illustrated, 1902, p. 80. Pall Mall Magazine Extra, ‘Pictures of 1902’, 1902, p. 85. The Royal Academy - Local Exhibits - Second Notice, Western Daily Press, 19 May 1902, p. 3. The Royal Academy - Third Notice, The Globe, 22 May 1902, p. 5. Fine Arts: The Royal Academy II, The Athenaeum, 24 May 1902, p. 665. Current Art: The Royal Academy Exhibition – II, The Magazine of Art, 1902, p. 398. M.H. Spielmann, ‘A First Look round the Royal Academy’, The Graphic, 3 May 1902, p. 595. Marion Hepworth Dixon, ‘Edward Stott: An Appreciation’, The Studio, Vol LV, 1912, p. 9. Valerie Webb, Edward Stott (1855-1918), A Master of Colour and Atmosphere, 2018, Sansom & Co, Bristol, pp. 79-80.

For details of the charges payable in addition to the final Hammer Price of each Lot 176 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 177 Fig 1 Edward Stott, The Fold (The Penfold), 1898, 60 x 55.5cm, Fig 2 Edward Stott, Lambing time, 1906, Touchstones, Rochdale Towner Art Gallery, Eastbourne

By the turn of the twentieth century, poetic sentiment had emerged and towns had brought past and present into a state of tension.2 In the in the work of Edward Stott. In the current critical debate, the word year following the death of Queen Victoria and the ending of the South ‘Impressionism’, was, James Stanley Little remarked, ‘something of African War, English sensibilities are likely to have been tuned to lines a misnomer’.1 Colour may be his preoccupation, but his work was from AE Housman, wherein his Shropshire Lad, ‘on moonlit heath and now frequently described as pastoral, bucolic and at times, elegiac. lonesome bank/the sheep beside me graze’, might reflect that ‘... the Stott had succumbed to the charm of his surroundings – to motifs road one treads to labour/will lead one home to rest’.3 drawn from the rich pasture surrounding Amberley in Sussex. These grazing grounds at the foot of the South Downs frequently flooded as By 1902, when Peaceful Rest was shown at the Royal Academy, the river Arun, swollen with spring rain, often burst its banks. At the Stott had been developing imagery associated with sheep husbandry pools and ponds that appeared in nearby fields and chalk pits, horses, for a dozen years or more. Back in 1889 for instance, he had shown cattle and sheep were, as Stott observed, ritually watered. Increasingly Returning to the Fold (unlocated) at the New English Art Club, while his shepherds and cowherds were enveloped in a romantic idyll that in 1898 his impressive canvas, The Fold (fig 1), appeared at the carried the spectator back through the work of Samuel Palmer to find Academy. spiritual solace in Virgilian groves. Amberley became Arcadia. Between the two there were numerous drawings and pastel studies Stott drew upon a rich visual and literary heritage that was currently describing down-land flocks. Clusters of sheep often appear in similar being revived in the poetry of AE Housman and the writings of WH configurations, but the familiar poses were never quite the same when Hudson on the shepherd’s life. As part of his researches, Hudson seen in different lights and seasons. Touring the Royal Academy in recorded his lonely existence when for days the only sound he might 1902 MH Spielmann, editor of The Magazine of Art, picked up on hear on the downs was that of tiny bells tied round the necks of his these resonances in a short piece for The Graphic, declaring that, ‘... in sheep. He noted that the old customs of sheep husbandry were landscapes, Mr Edward Stott tells once more with admirable force, for falling into abeyance in Sussex. Farmers for instance no longer paid his modest and subdued visions of rustic life and scenery are sincere a shepherd with five or six lambs a year in addition to his wage. The in spirit and subtly fine in colour’. With more space in his own journal forms of partnership between master and servant that reinforced he went on to explain that the painter’s works had, ‘... all his habitual loyalty to the well-being of the flock were being eroded. Cash was minuteness of observation and delicate balancing of tone against tone replacing ‘payment in kind’ and barter systems on the land and and tint against tint, but it is more sensitive as an expression of nature, while none of this was directly important for Stott’s pastoral vision, it and more subtle in its gradation of colour, than any of his previous emphasised the sense that burgeoning mechanized industry in cities works’.4

178 | BONHAMS

It was however, the critic of The Globe who expanded appropriately on the character of the present work. On Peaceful Rest he wrote that Stott, ‘... does not seek to be monumental nor to arrive at a commanding result by the elimination of all minor details, his aim is rather to study and record every subtlety of form and every variation of tender tone in the subject before him, and to bring them all into harmony by minute exactness of statement. His picture is a twilight note in shades of blue, grey, and green, with an accent of orange in the flame of the match with which a shepherd in the foreground is lighting his pipe’.5

The picture of the resting shepherd with his ever-alert sheepdog was, with its companion, Youth and Age (unlocated), among the most satisfying canvases Stott had yet produced. Such was its success that it was followed by other works expanding its subject matter, such as Folding Time, 1904 (Ferens Art Gallery, Hull) The Shepherd, 1905 (Private Collection), and Lambing Time,1906 (fig 2). The sheepdog in the latter work of 1906, derived from The Fold, virtually replicates that in Peaceful Rest.

In an account that concentrates upon Stott’s working methods, ACR Carter was convinced that, ‘There is no skim-milk process here. The excursionist has not dumped his easel down in a field, and after titillating a canvas for a few days, produced an ‘Idyll of Amberley’. Here is blood – and treasure. The noonday sun streaming down upon the mead, or piercing through the shady canopy of a pool, the twilight gathering round the folded sheep, or the tired wayfarers, have been watched and remembered for many a long day’.

The tentative Impressionist, hailed by Walter Sickert and George Moore in the early nineties, had gained in strength. Like Robert Burns, Stott did not produce his poems ‘after a scamper through the Lowlands’.6 What Housman described as the ‘hiving process’ of memory took time to yield its richness.7 It was a richness informed by Millet and Bastien-Lepage but it also included Palmer’s Sleeping Shepherd, and Claude’s pastorals with their illustrious pedigree in Virgil, Milton and Keats.

We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.

1 J Stanley Little, ‘On the Work of Edward Stott’, The Studio, Vol VI, 1896, p. 80. 2 WH Hudson, Nature in Downland, 1900, JM Dent ed., 1932, pp. 109-110. 3 AE Housman, Collected Poems, 1930, Penguin ed., 1956, p. 30. 4 Current Art: The Royal Academy Exhibition – II, The Magazine of Art, 1902, p. 398; MH Spielmann, ‘A First Look round the Royal Academy’, The Graphic, 3 May 1902, p. 595. 5 The Royal Academy – Third Notice, The Globe, 22 May 1902, p. 5. 6 ACR Carter, ‘Edward Stott and his Work’, The Art Journal, 1899, p. 295. 7 Laurence Housman, ‘Mr Edward Stott, Painter of the Field and of the Twilight’, The Magazine of Art, 1900, p. 532.

19TH CENTURY ART | 179

113 During the Boer War the Countess joined her husband and rode out to PHILIP ALEXIUS DE LÁSZLÓ, PRBA, RP, NPS see some of the battlefields. Throughout his early career she was very (BRITISH, 1869-1937) supportive, especially after the First World War, when he considered Portrait of Caroline Lambart, née Crawley, Countess of Cavan resigning from the army as new appointments were slow to appear. signed and dated ‘László de Lombos/1912/July 20’ (upper left) oil on canvas De László painted a portrait of Lord Cavan the same year as the 142.2 x 102.8cm (56 x 40 1/2in). present lot, which played a part in de László being awarded the Grand Cross of the Crown of Italy. Lady Cavan died childless in 1920 at £8,000 - 12,000 the age of 50 and two years later, Lord Cavan re-married Lady Joan €8,900 - 13,000 Mulholland, DBE, widow of Captain the Hon. A. E. S. Mulholland of the US$10,000 - 15,000 Irish Guards.

This work is included in the Philip de László catalogue raisonné There is an oil sketch of the present lot which is thought to have been no. 4665, currently presented in progress online: rejected at the time, dated to the same year and inscribed ‘study’ (sold www.delaszlocatalogueraisonne.com. We are grateful to Katherine Heritage Auctions, Dallas, 8 December 2017). Lady Cavan, unlike this Field for her assistance in cataloguing this lot. final version, is painted with her full face to the viewer. The present lot instead, enhances the sitter’s fine bone structure, and gives emphasis Provenance to her aristocratic elegance. She is standing three-quarter length in The sitter. semi-profile to the left, wearing an evening dress with a stole, a long Thence by descent. pearl necklace and drop earrings, leaning on a high-backed chair, a curtain behind. Caroline Inez Crawley was the eldest daughter of George Baden Crawley and Eliza Inez Hulbert. In 1893 she married Lieutenant Colonel In February 1912 the artist was ennobled by Franz Joseph, Emperor Frederic Rudolph Lambart, 10th Earl of Cavan. He served in South of Austria and King of Hungary, and this painting is one of the only Africa 1899-1902 and distinguished himself during the First World War. five known portraits which he signed with his new name, László de He was appointed CB in 1915, KCB in 1917 and GCMG in 1919. Lombos, before deciding to adopt the form de László.

For details of the charges payable in addition to the final Hammer Price of each Lot 180 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 181 114 HAROLD HARVEY (BRITISH, 1874-1941) Gertrude Harvey with parrot in the artist’s home signed and dated ‘Harold.Harvey.16’ (lower left) oil on canvas 46 x 46cm (18 1/8 x 18 1/8in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

Provenance Anon. sale, David Lay, Penzance, 5 October 1989, lot 229, as Woman with Parrot in Interior. Anon. sale, Christie’s, London, 21 March 1996, lot 34. Anon. sale, Christie’s, London, 27 March 1997, lot 168. Portscatho Gallery. Private collection, UK.

Exhibited Bristol, West of England Academy, Artists from Cornwall, 1992, no. 88 (illustrated). Plymouth, White Lane Gallery, Artists of Newlyn (1880-1930), 1993, no. 27 (illustrated).

Literature Tom Cross, The Shining Sands, Artists in Newlyn and St. Ives, Tiverton, 1994 (illustrated p. 190). B. Simpson, Art and Antiques, 16 October 1993, p. 13. McConkey, Risdon et al, Harold Harvey, Painter of Cornwall, Clifton, 2001, no. 207, p. 145.

The present lot makes an interesting comparison to a later work, Girl with a Parrot, by Harvey’s great friend Dod Procter (circa 1925, sold Christie’s, South Kensington, 26 June 2015, lot 140); both subjects stand face on to the viewer, cautiously engaging with a caged bird in the upper left of the composition.

We are grateful to Peter Risdon for his assistance in cataloguing this lot.

For details of the charges payable in addition to the final Hammer Price of each Lot 182 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 183 115 HAROLD HARVEY (BRITISH, 1874-1941) On the Sands signed and dated ‘Harold. Harvey. 19.’ (lower left) oil on canvas 41 x 40.5cm (16 1/8 x 15 15/16in).

£20,000 - 30,000 €22,000 - 33,000 US$26,000 - 39,000

Provenance Private collection, UK (reputedly gifted by the artist). Property of a deceased’s estate.

Exhibited London, Barbizon House, 1932.

Literature McConkey, Risdon et al, Harold Harvey, Painter of Cornwall, Clifton, 2001, no. 274, p. 149.

Harvey revisited the theme of children resting on the beach numerous times throughout his career. In 1917 he painted a work titled On the beach at Newlyn (sold Phillips, 12 November 1958, lot 98). In this work, children similar to the present lot, also surround a fire, perhaps boiling winkles, with Penzance shimmering in the distance. Another work, painted a year earlier, titled Children on the surf depicts a girl with fair hair and white dress on rocks beside the sea; to the left two girls sit close to the sea, the waves foaming on the rocks. In 1928, Harvey painted a similar scene, also titled On the Sands (sold Sotheby’s 13 May 1987, lot 130). A more worked composition, two girls lie full length on a yellow sandy beach, with sparkling sea and cliffs beyond. All of Harvey’s seaside views, including the present lot, successfully transport the viewer into a haven of warmth, restfulness and peace.

Harvey’s solo exhibition at Barbizon House in 1932 received positive reviews. Notably, The Times reviewed it on the 5 February and observed ‘Mr Harvey appears to be a perfectly logical development from the Newlyn School of Mr Stanhope Forbes, RA, with the brighter and more decoratively considered colour and the more deliberately plastic ambitions which belong to the present day.’ In addition, a letter from George Clausen (dated 13 February 1932) said ‘We saw your show this morning and were quite charmed with it ! ...the clean fresh colour and honest outlook are so refreshing.’ Barbizon House was founded in 1918 at 8 Henrietta Street and ran until 1938. Harvey’s exhibition probably toured to Frost & Reed at Clare Street, Bristol in September-October of the same year.

We are grateful to Peter Risdon for his assistance in cataloguing this lot.

For details of the charges payable in addition to the final Hammer Price of each Lot 184 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 185 116 HAROLD HARVEY (BRITISH, 1874-1941) A Haywain near Lamorna signed and dated ‘Harold Harvey 1934’ (lower right) oil on canvas 51.5 x 51cm (20 1/4 x 20 1/16in).

£5,000 - 7,000 €5,600 - 7,800 US$6,400 - 9,000

Provenance Gertrude Harvey. Private collection, UK (acquired from the above). Thence by descent.

Harvey painted a number of roadside compositions in the late 1930s which share a similar tonality with the present lot; for example A Wooded Lane, 1937 (Harvey catalogue, no. 494), and Cornish Lane, 1939 (Harvey catalogue, no. 512).

We are grateful to Peter Risdon for his assistance in cataloguing this lot. The work will be included in the online catalogue, www.haroldharvey.info.

For details of the charges payable in addition to the final Hammer Price of each Lot 186 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 117 * AR SAMUEL JOHN LAMORNA BIRCH, RA, RWS, RWA (BRITISH, 1869-1955) The Mill Pond, Wareham signed and dated ‘S.J. Lamorna Birch. 1939.’ (lower right) oil on canvas 51 x 61cm (20 1/16 x 24in).

£4,000 - 6,000 €4,400 - 6,700 US$5,200 - 7,700

Provenance Private collection, Canada.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 187 118AR DOROTHEA SHARP, RBA, ROI (BRITISH, 1874-1955) A summer day on the beach signed ‘DOROTHEA SHARP’ (lower left) oil on canvas 65 x 77cm (25 9/16 x 30 5/16in).

£30,000 - 50,000 €33,000 - 56,000 US$39,000 - 64,000

For details of the charges payable in addition to the final Hammer Price of each Lot 188 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 189 119 * AR EDWARD SEAGO, RWS (BRITISH, 1910-1974) February flood, Norfolk signed ‘Edward Seago’ (lower right); bears title (on the reverse) oil on board 40.6 x 61cm (16 x 24in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

Provenance The Everard Read Gallery, Johannesburg. Private collection, Canada.

For details of the charges payable in addition to the final Hammer Price of each Lot 190 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 120 * AR EDWARD SEAGO, RWS (BRITISH, 1910-1974) High water, Pin Mill signed ‘Edward Seago’ (lower left); bears title (on the reverse) oil on board 41 x 61cm (16 1/8 x 24in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 19,000

Provenance The Everard Read Gallery, Johannesburg. Private collection, South Africa.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 191 121AR EDWARD SEAGO, RWS (BRITISH, 1910-1974) Dusk, Istanbul signed ‘Edward Seago’ (lower left); bears title (on the reverse) watercolour 38.7 x 55.9cm (15 1/4 x 22in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

Provenance Marlborough Fine Art, London. Taylor Gallery, London. Private collection, UK.

Exhibited London, Marlborough Fine Art, Edward Seago, Painting and Watercolours, November 1972, no. 72.

For details of the charges payable in addition to the final Hammer Price of each Lot 192 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 122AR EDWARD SEAGO, RWS (BRITISH, 1910-1974) Canal on the Guidecca, Venice signed ‘Edward Seago’ (lower left); bears title (on the reverse) oil on board 50.8 x 66cm (20 x 26in).

£12,000 - 18,000 €13,000 - 20,000 US$15,000 - 23,000

Provenance P. & D. Colnaghi & Co. Ltd., London. Private collection, UK (acquired from the above, circa 1960). Thence by descent.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 193 123 * AR SIR WILLIAM RUSSELL FLINT, RA, PRWS (BRITISH, 1880-1969) San Geremia, Grand Canal, Venice signed ‘W. RUSSELL FLINT’ (lower right); signed and inscribed ‘San Geremia, Grand Canal, Venice/W Russell Flint’ (on the backboard) watercolour 49 x 67cm (19 5/16 x 26 3/8in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 19,000

Provenance The Everard Read Gallery, Johannesburg. Private collection, South Africa.

For details of the charges payable in addition to the final Hammer Price of each Lot 194 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 195 124 * AR EDWARD SEAGO, RWS (BRITISH, 1910-1974) The Thames, low tide bears title (on the reverse) oil on board 50.8 x 76.2cm (20 x 30in).

£25,000 - 35,000 €28,000 - 39,000 US$32,000 - 45,000

Provenance Spink, London. Thomas Gibson Fine Art Ltd., London. Private collection, South Africa.

For details of the charges payable in addition to the final Hammer Price of each Lot 196 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19TH CENTURY ART | 197 125AR EDWARD SEAGO, RWS (BRITISH, 1910-1974) Dover Street, June 1953 signed ‘Edward Seago’ (lower left); bears inscription ‘Dover Street - June 1953/22 x 16’ (on the reverse) watercolour over traces of pencil 28 x 39cm (11 x 15 3/8in).

£6,000 - 8,000 €6,700 - 8,900 US$7,700 - 10,000

Provenance P. & D. Colnaghi & Co. Ltd., London. Private collection, UK.

The present lot marks the Coronation of Elizabeth II as Queen of the United Kingdom. It took place on the 2 June 1953 at Westminster Abbey.

For details of the charges payable in addition to the final Hammer Price of each Lot 198 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 126 PAUL FORDYCE MAITLAND (BRITISH, 1863-1909) Kensington Palace from the gardens signed ‘P Maitland’ (lower left) oil on canvas 43.5 x 65cm (17 1/8 x 25 9/16in).

£8,000 - 12,000 €8,900 - 13,000 US$10,000 - 15,000

Provenance Rutland Gallery, London. Private collection, UK.

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 19,000

Provenance Artist’s studio, no. 354. David Messum Fine Art, London. Private collection, UK.

Exhibited London, David Messum Fine Art, British Impressionism, 1998.

For details of the charges payable in addition to the final Hammer Price of each Lot 200 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. ARTIST LOT NO

A L Allingham, Helen 99 László, Philip Alexius de 113 Andreotti, Federico 19 Leader, Benjamin Williams 15,93 B Lear, Edward 37,38 Bellanger, Camille Félix 12 Leighton, Frederic, Lord 34 Birch, Samuel John Lamorna 117 Lesrel, Adolphe Alexandre 20 Blaas, Eugen von 56 Lidderdale, Charles Sillem 101 Bloemers, Arnoldus 66 Llewellyn, William Samuel Henry 110 Boldini, Giovanni 52,53 Lojacono, Francesco 51 Bonheur, Rosa 81 M Bréanski, Snr, Alfred de 94 Maitland, Paul Fordyce 126 Brett, John 103 Mann, Harrington 108 Brunery, Marcel 9, 21 Marriott, Frank Pickford 107 C Milesi, Alessandro 49 Caffi, Ippolito 41 Moer, Jean Baptiste van 57 Caffieri, Hector 100 Moreau, Adrien 13 Caputo, Ulisse 54 Mutrie, Martha Darley 32 Carolus-Duran, Charles Emile Auguste 14 O Ciardi, Beppe 44 Outin, Pierre 6 Clark, Joseph 95 P Clausen, Sir George 111 Paoletti, Antonio Ermolao 43 Conti, Tito 45,46 Pothast, Bernard 65 Cooper, Thomas Sidney 16 Priechenfried, Alois Heinrich 68 Corrodi, Hermann David Salomon 42,77,78 Cortès, Edouard Léon 1,2 R Richmond, Sir William Blake 35 D Roberts, David 36 d’Entraygues, Charles Bertrand 23 Robie, Jean-Baptiste 31 de Noter, David Emile Joseph 8 Ronner-Knip, Henriette 64 Dupré, Julien 10 Rosati, Giulio 74,79 E S Enjolras, Delphin 3,4,5 Sandys, Anthony Frederick Augustus 39 Eversen, Adrianus 58 Seago, Edward 119,120,121, F 122,124,125 Flint, Sir William Russell 123 Senape, Antonio 40 G Serrure, Auguste 24,25 Gilbert, Victor-Gabriel 11 Sharp, Dorothea 118 Glehn, Wilfred Gabriel de 127 Signorini, Telemaco 50 Godward, John William 106 Smith, George 22 Grimshaw, John Atkinson 104,105 Soulacroix, Frédéric 26,27,28,29,30 Stark, James 85 H Stevens, Alfred 63 Hacker, Arthur 109 Stone, Marcus 96 Hall, Harry 86 Stott, Edward 112 Hardy, Heywood 17,18,87,88 Harvey, Harold 114,115,116 T Henningsen, Erik Ludwig 67 Thorburn, Archibald 102 Hicks, George Elgar 33 Trouillebert, Paul Désiré 71 Huguet, Victor Pierre 80 V Hunt, Edgar 89,90,91 Vibert, Jehan Georges 7 Hunt, Walter 92 W Huysmans, Jan Baptist 72,73 Watts, Frederick William ‘Waters’ 83 I Westall, William 84 Irolli, Vincenzo 55 Wilda, Charles 75 K Witkiewicz, Stanislaw Ignacy 70 Kennington, Thomas Benjamin 97 Z King, Henry John Yeend 98 Zampighi, Eugenio 47,48 Klingender, Louis Henry Weston 82 Koekkoek, Johannes Hermanus 59 Kosler, Franz Xavier 76 Kossak, Jerzy 69 Kruseman, Fredrik Marinus 60,61,62 The Sporting Sale Edinburgh | Wednesday 24 October

ENTRIES NOW INVITED ENQUIRIES CIRCLE OF SIR HENRY RAEBURN Closing date Monday 10 September 0131 240 2296 RA (BRITISH, 1756-1823) [email protected] Portrait of John Campbell of Saddell bonhams.com £40,000 - 60,000 *

* For details of the charges payable in addition to the final Prices shown include buyer’s premium. Details can be found at bonhams.com hammer price, please visit bonhams.com/buyersguide 19th Century European Paintings New York | Wednesday 7 November, 2018

INQUIRIES PAUL GUSTAVE FISCHER (212) 644-9108 (DANISH, 1860-1934) [email protected] The fish market bonhams.com/19thcentury signed ‘Paul/ Fischer’ (lower left) oil on canvas, 20 x 23in (51 x 58.5cm) US$15,000 - 20,000

© 2018 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Principal Auctioneer: Matthew Girling, NYC License No. 1236798-DCA British and European Art Knightsbridge, London | Tuesday 13 November, 2018

ENQUIRIES EDWIN THOMAS ROBERTS +44 (0) 20 7393 3960 (BRITISH, 1840-1917) [email protected] Tiddlers bonhams.com/19thcentury oil on canvas 61 x 45.7cm (24 x 18in). £4,000 - £6,000 *

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide Modern British and Irish Art New Bond Street, London | Wednesday 14 November, 2018

ENTRIES NOW INVITED ENQUIRIES SIR JOHN LAVERY R.A., R.S.A., Closing date for entries +44 (0) 20 7468 8297 R.H.A. (1856-1941) Friday 5 October. [email protected] Study for ‘Ascot in Rain’ (detail) bonhams.com/modernbritish signed ‘J Lavery’ (lower right) oil on canvasboard 25.2 x 35.5 cm. (10 x 14 in.) Prices shown include buyer’s premium. Details can be found at bonhams.com £50,000 - 70,000 * For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide NOTICE TO BIDDERS This notice is addressed by Bonhams to any person who are sold as items of interest for display purposes only. If you or as to the anticipated or likely selling price of any Lot. No may be interested in a Lot, including Bidders and potential yourself do not have expertise regarding a Lot, you should statement or representation by Bonhams or on its behalf in any Bidders (including any eventual Buyer of the Lot). For ease of consult someone who does to advise you. We can assist in way descriptive of any Lot or any Estimate is incorporated into reference we refer to such persons as “Bidders” or “you”. Our arranging facilities for you to carry out or have carried out more our Buyer’s Agreement. List of Definitions and Glossary is incorporated into this Notice detailed inspections and tests. Please ask our staff for details. to Bidders. It is at Appendix 3 at the back of the Catalogue. Alterations Where words and phrases are used in this notice which are in Any person who damages a Lot will be held liable for the Descriptions and Estimates may be amended at Bonhams’ the List of Definitions, they are printed in italics. loss caused. discretion from time to time by notice given orally or in writing before or during a Sale. IMPORTANT: Additional information applicable to the Sale 3. DESCRIPTIONS OF LOTS AND ESTIMATES may be set out in the Catalogue for the Sale, in an insert in THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST the Catalogue and/or in a notice displayed at the Sale venue Contractual Description of a Lot FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE and you should read them as well. Announcements affecting The Catalogue contains an Entry about each Lot. Each Lot STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT the Sale may also be given out orally before and during the is sold by its respective Seller to the Buyer of the Lot as EXAMINED ON YOUR BEHALF BEFORE THE SALE. Sale without prior written notice. You should be alert to the corresponding only with that part of the Entry which is printed possibility of changes and ask in advance of bidding if there in bold letters and (except for the colour, which may be 4. CONDUCT OF THE SALE have been any. inaccurately reproduced) with any photograph of the Lot in the Catalogue. The remainder of the Entry, which is not printed in Our Sales are public auctions which persons may attend and 1. OUR ROLE bold letters, represents Bonhams’ opinion (given on behalf of you should take the opportunity to do so. We do reserve the the Seller) about the Lot only and is not part of the Contractual right at our sole discretion to refuse admission to our premises In its role as Auctioneer of Lots, Bonhams acts solely for Description in accordance with which the Lot is sold by the or to any Sale without stating a reason. We have complete and in the interests of the Seller. Bonhams’ job is to sell the Seller. discretion as to whether the Sale proceeds, whether any Lot at the highest price obtainable at the Sale to a Bidder. Lot is included in the Sale, the manner in which the Sale is Bonhams does not act for Buyers or Bidders in this role and Estimates conducted and we may offer Lots for Sale in any order we does not give advice to Buyers or Bidders. When it or its In most cases, an Estimate is printed beside the Entry. choose notwithstanding the numbers given to Lots in the staff make statements about a Lot or, if Bonhams provides Estimates are only an expression of Bonhams’ opinion made Catalogue. You should therefore check the date and starting a Condition Report on a Lot it is doing that on behalf of the on behalf of the Seller of the range where Bonhams thinks the time of the Sale, whether there have been any withdrawals Seller of the Lot. Bidders and Buyers who are themselves Hammer Price for the Lot is likely to fall; it is not an Estimate or late entries. Remember that withdrawals and late entries not expert in the Lots are strongly advised to seek and obtain of value. It does not take into account any VAT or Buyer’s may affect the time at which a Lot you are interested in is put independent advice on the Lots and their value before bidding Premium payable or any other fees payable by the Buyer, up for Sale. We have complete discretion to refuse any bid, for them. The Seller has authorised Bonhams to sell the Lot which are detailed in paragraph 7 of the Notice to Bidders, to nominate any bidding increment we consider appropriate, as its agent on its behalf and, save where we expressly make below. Lots can in fact sell for Hammer Prices below and to divide any Lot, to combine two or more Lots, to withdraw it clear to the contrary, Bonhams acts only as agent for the above the Estimate. Any Estimate should not be relied on any Lot from a Sale and, before the Sale has been closed, Seller. Any statement or representation we make in respect as an indication of the actual selling price or value of a Lot. to put up any Lot for auction again. Auction speeds can of a Lot is made on the Seller’s behalf and, unless Bonhams Estimates are in the currency of the Sale. exceed 100 Lots to the hour and bidding increments are sells a Lot as principal, not on our behalf and any Contract for generally about 10%. However these do vary from Sale to Sale is between the Buyer and the Seller and not with us. If Condition Reports Sale and from Auctioneer to Auctioneer. Please check with Bonhams sells a Lot as principal this will either be stated in the In respect of most Lots, you may ask for a Condition Report the department organising the Sale for advice on this. Where Catalogue or an announcement to that effect will be made by on its physical condition from Bonhams. If you do so, this will a Reserve has been applied to a Lot, the Auctioneer may, the Auctioneer, or it will be stated in a notice at the Sale or an be provided by Bonhams on behalf of the Seller free of charge. in his absolute discretion, place bids (up to an amount not insert in the Catalogue. Bonhams is not entering into a contract with you in respect equalling or exceeding such Reserve) on behalf of the Seller. of the Condition Report and accordingly does not assume We are not responsible to you in respect of the presence or Bonhams does not owe or undertake or agree to any duty responsibility to you in respect of it. Nor does the Seller owe or absence of any Reserve in respect of any Lot. If there is a or responsibility to you in contract or tort (whether direct, agree to owe you as a Bidder any obligation or duty in respect Reserve it will normally be no higher than the lower figure for collateral, express, implied or otherwise). If you successfully bid of this free report about a Lot, which is available for your own any Estimate in the Catalogue, assuming that the currency of for a Lot and buy it, at that stage Bonhams does enter into an inspection or for inspection by an expert instructed by you. the Reserve has not fluctuated adversely against the currency agreement with the Buyer. The terms of that contract are set However, any written Description of the physical condition of of the Estimate. The Buyer will be the Bidder who makes the out in our Buyer’s Agreement, which you will find at Appendix the Lot contained in a Condition Report will form part of the highest bid acceptable to the Auctioneer for any Lot (subject 2 at the back of the Catalogue. This will govern Bonhams’ Contractual Description of the Lot under which it is sold to to any applicable Reserve) to whom the Lot is knocked down relationship with the Buyer. any Buyer. by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be settled by the 2. LOTS The Seller’s responsibility to you Auctioneer in his absolute discretion. All bids tendered will The Seller does not make or agree to make any representation relate to the actual Lot number announced by the Auctioneer. Subject to the Contractual Description printed in bold letters of fact or contractual promise, Guarantee or warranty and An electronic currency converter may be used at the Sale. This in the Entry about the Lot in the Catalogue (see paragraph 3 undertakes no obligation or duty, whether in contract or in equipment is provided as a general guide as to the equivalent below), Lots are sold to the Buyer on an “as is” basis, with tort (other than to the eventual Buyer as set out above), in amount in certain currencies of a given bid. We do not accept all faults and imperfections. Illustrations and photographs respect of the accuracy or completeness of any statement any responsibility for any errors which may occur in the use of contained in the Catalogue (other than photographs forming or representation made by him or on his behalf, which is in the currency converter. We may use video cameras to record part of the Contractual Description) or elsewhere of any Lots any way descriptive of any Lot or as to the anticipated or the Sale and may record telephone calls for reasons of security are for identification purposes only. They may not reveal the likely selling price of any Lot. Other than as set out above, no and to assist in solving any disputes which may arise in relation true condition of the Lot. A photograph or illustration may not statement or representation in any way descriptive of a Lot to bids made at the Sale. At some Sales, for example, jewellery reflect an accurate reproduction of the colour(s) of the Lot. or any Estimate is incorporated into any Contract for Sale Sales, we may use screens on which images of the Lots will be Lots are available for inspection prior to the Sale and it is for between a Seller and a Buyer. projected. This service is provided to assist viewing at the Sale. you to satisfy yourself as to each and every aspect of a Lot, The image on the screen should be treated as an indication including its authorship, attribution, condition, provenance, Bonhams’ responsibility to you only of the current Lot. It should be noted that all bids tendered history, background, authenticity, style, period, age, suitability, You have the opportunity of examining the Lot if you want to will relate to the actual Lot number announced by quality, roadworthiness (if relevant), origin, value and and the Contract for Sale for a Lot is with the Seller and not the Auctioneer. We do not accept any responsibility for any estimated selling price (including the Hammer Price). It is your with Bonhams; Bonhams acts as the Seller’s agent only (unless errors which may occur in the use of the screen. responsibility to examine any Lot in which you are interested. It Bonhams sells the Lot as principal). should be remembered that the actual condition of a Lot may 5. BIDDING not be as good as that indicated by its outward appearance. Bonhams undertakes no obligation to you to examine, In particular, parts may have been replaced or renewed and investigate or carry out any tests, either in sufficient depth or at We do not accept bids from any person who has not Lots may not be authentic or of satisfactory quality; the inside all, on each Lot to establish the accuracy or otherwise of any completed and delivered to us one of our Bidding Forms, of a Lot may not be visible and may not be original or may be Descriptions or opinions given by Bonhams, or by any person either our Bidder Registration Form, Absentee Bidding Form or damaged, as for example where it is covered by upholstery on Bonhams’ behalf, whether in the Catalogue or elsewhere. Telephone Bidding Form. You will be asked for proof of identity, or material. Given the age of many Lots they may have been residence and references, which, when asked for, you must damaged and/or repaired and you should not assume that You should not suppose that such examinations, investigations supply if your bids are to be accepted by us. Please bring a Lot is in good condition. Electronic or mechanical parts or tests have occurred. your passport, driving licence (or similar photographic proof of may not operate or may not comply with current statutory identity) and proof of address. We may request a deposit from requirements. You should not assume that electrical items Bonhams does not make or agree to make any representation you before allowing you to bid. We may refuse entry to a Sale designed to operate on mains electricity will be suitable for of fact, and undertakes no obligation or duty (whether in to any person even if that person has completed a Bidding connection to the mains electricity supply and you should contract or tort) in respect of the accuracy or completeness Form. obtain a report from a qualified electrician on their status before of any statement or representation made by Bonhams or on doing so. Such items which are unsuitable for connection Bonhams’ behalf which is in any way descriptive of any Lot

NTB/MAIN/1.2018/V2 NOTICE TO BIDDERS This notice is addressed by Bonhams to any person who are sold as items of interest for display purposes only. If you or as to the anticipated or likely selling price of any Lot. No Bidding in person Buyer’s Premium and associated charges. If we approve the 8. VAT may be interested in a Lot, including Bidders and potential yourself do not have expertise regarding a Lot, you should statement or representation by Bonhams or on its behalf in any You should come to our Bidder registration desk at the Sale identity of your client in advance, we will be in a position to Bidders (including any eventual Buyer of the Lot). For ease of consult someone who does to advise you. We can assist in way descriptive of any Lot or any Estimate is incorporated into venue and fill out a Bidder Registration Form on (or, if possible, address the invoice to your principal rather than you. We will The prevailing rate of VAT at the time of going to press is 20%, reference we refer to such persons as “Bidders” or “you”. Our arranging facilities for you to carry out or have carried out more our Buyer’s Agreement. before) the day of the Sale. The bidding number system is require proof of the agent’s client’s identity and residence in but this is subject to government change and the rate payable List of Definitions and Glossary is incorporated into this Notice detailed inspections and tests. Please ask our staff for details. sometimes referred to as “paddle bidding”. You will be issued advance of any bids made by the agent on his behalf. Please will be the rate in force on the date of the Sale. to Bidders. It is at Appendix 3 at the back of the Catalogue. Alterations with a large card (a “paddle”) with a printed number on it. 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You should not SELLER AND THE BUYER AND BONHAMS † VAT at the prevailing rate on Hammer Price and Buyer’s may be set out in the Catalogue for the Sale, in an insert in THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST let anyone else use your paddle as all Lots will be invoiced to Premium the Catalogue and/or in a notice displayed at the Sale venue Contractual Description of a Lot FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE the name and address given on your Bidder Registration Form. On the Lot being knocked down to the Buyer, a Contract for Ω VAT on imported items at the prevailing rate on Hammer and you should read them as well. Announcements affecting The Catalogue contains an Entry about each Lot. Each Lot STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT Once an invoice is issued it will not be changed. 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We do reserve the Agreement, the terms of which are set out in Appendix 2 at the Premium the Seller) about the Lot only and is not part of the Contractual right at our sole discretion to refuse admission to our premises Bidding by telephone back of the Catalogue. Please read the terms of the Contract • Zero rated for VAT, no VAT will be added to the Hammer In its role as Auctioneer of Lots, Bonhams acts solely for Description in accordance with which the Lot is sold by the or to any Sale without stating a reason. We have complete If you wish to bid at the Sale by telephone, please complete a for Sale and our Buyer’s Agreement contained in the Catalogue Price or the Buyer’s Premium and in the interests of the Seller. Bonhams’ job is to sell the Seller. discretion as to whether the Sale proceeds, whether any Telephone Bidding Form, which is available from our offices or in case you are the successful Bidder. 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When it or its In most cases, an Estimate is printed beside the Entry. choose notwithstanding the numbers given to Lots in the your responsibility to check with our Bids Office that your Catalogue and/or by placing an insert in the Catalogue and/ payable at the prevailing rate on both Hammer Price and staff make statements about a Lot or, if Bonhams provides Estimates are only an expression of Bonhams’ opinion made Catalogue. You should therefore check the date and starting bid has been received. Telephone calls will be recorded. The or by notices at the Sale venue and/or by oral announcements Buyer’s Premium. If a Buyer, having registered under a Condition Report on a Lot it is doing that on behalf of the on behalf of the Seller of the range where Bonhams thinks the time of the Sale, whether there have been any withdrawals telephone bidding facility is a discretionary service and may not before and during the Sale. 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Any statement or representation we make in respect as an indication of the actual selling price or value of a Lot. to put up any Lot for auction again. Auction speeds can Absentee Bidding Forms can be found in the back of this Premium) is payable to us by the Buyer in accordance with the of a Lot is made on the Seller’s behalf and, unless Bonhams Estimates are in the currency of the Sale. exceed 100 Lots to the hour and bidding increments are Catalogue and should be completed and sent to the office terms of the Buyer’s Agreement and at rates set out below, 9. PAYMENT sells a Lot as principal, not on our behalf and any Contract for generally about 10%. However these do vary from Sale to responsible for the Sale. It is in your interests to return your calculated by reference to the Hammer Price and payable Sale is between the Buyer and the Seller and not with us. If Condition Reports Sale and from Auctioneer to Auctioneer. Please check with form as soon as possible, as if two or more Bidders submit in addition to it. For this Sale the following rates of Buyer’s It is of critical importance that you ensure that you have readily Bonhams sells a Lot as principal this will either be stated in the In respect of most Lots, you may ask for a Condition Report the department organising the Sale for advice on this. Where identical bids for a Lot, the first bid received takes preference. Premium will be payable by Buyers of Lots: available funds to pay the Purchase Price and the Buyer’s Catalogue or an announcement to that effect will be made by on its physical condition from Bonhams. If you do so, this will a Reserve has been applied to a Lot, the Auctioneer may, In any event, all bids should be received at least 24 hours Premium (plus VAT and any other charges and Expenses to us) the Auctioneer, or it will be stated in a notice at the Sale or an be provided by Bonhams on behalf of the Seller free of charge. in his absolute discretion, place bids (up to an amount not before the start of the Sale. Please check your Absentee 25% up to £175,000 of the Hammer Price in full before making a bid for the Lot. If you are a successful insert in the Catalogue. Bonhams is not entering into a contract with you in respect equalling or exceeding such Reserve) on behalf of the Seller. Bidding Form carefully before returning it to us, fully completed 20% from £175,001 to £3,000,000 of the Hammer Price Bidder, payment will be due to us by 4.30 pm on the second of the Condition Report and accordingly does not assume We are not responsible to you in respect of the presence or and signed by you. It is your responsibility to check with our 12.5% from £3,000,001 of the Hammer Price working day after the Sale so that all sums are cleared by the Bonhams does not owe or undertake or agree to any duty responsibility to you in respect of it. Nor does the Seller owe or absence of any Reserve in respect of any Lot. If there is a Bids Office that your bid has been received. This additional eighth working day after the Sale. Payments made by anyone or responsibility to you in contract or tort (whether direct, agree to owe you as a Bidder any obligation or duty in respect Reserve it will normally be no higher than the lower figure for service is complimentary and is confidential. Such bids are Storage and handling charges may also be payable by the other than the registered Buyer will not be accepted. Bonhams collateral, express, implied or otherwise). If you successfully bid of this free report about a Lot, which is available for your own any Estimate in the Catalogue, assuming that the currency of made at your own risk and we cannot accept liability for our Buyer as detailed on the specific Sale Information page at the reserves the right to vary the terms of payment at any time. for a Lot and buy it, at that stage Bonhams does enter into an inspection or for inspection by an expert instructed by you. the Reserve has not fluctuated adversely against the currency failure to receive and/or place any such bids. All bids made front of the catalogue. agreement with the Buyer. The terms of that contract are set However, any written Description of the physical condition of of the Estimate. The Buyer will be the Bidder who makes the on your behalf will be made at the lowest level possible Bonhams’ preferred payment method is by out in our Buyer’s Agreement, which you will find at Appendix the Lot contained in a Condition Report will form part of the highest bid acceptable to the Auctioneer for any Lot (subject subject to Reserves and other bids made for the Lot. Where The Buyer’s Premium and all other charges payable to us by bank transfer. 2 at the back of the Catalogue. This will govern Bonhams’ Contractual Description of the Lot under which it is sold to to any applicable Reserve) to whom the Lot is knocked down appropriate your bids will be rounded down to the nearest the Buyer are subject to VAT at the prevailing rate, currently relationship with the Buyer. any Buyer. by the Auctioneer at the fall of the Auctioneer’s hammer. Any amount consistent with the Auctioneer’s bidding increments. 20%. You may electronically transfer funds to our Trust Account. dispute as to the highest acceptable bid will be settled by the New Bidders must also provide proof of identity and address If you do so, please quote your paddle number and invoice 2. LOTS The Seller’s responsibility to you Auctioneer in his absolute discretion. All bids tendered will when submitting bids. Failure to do this will result in your bid VAT may also be payable on the Hammer Price of the Lot, number as the reference. Our Trust Account details are as The Seller does not make or agree to make any representation relate to the actual Lot number announced by the Auctioneer. not being placed. where indicated by a symbol beside the Lot number. See follows: Subject to the Contractual Description printed in bold letters of fact or contractual promise, Guarantee or warranty and An electronic currency converter may be used at the Sale. This paragraph 8 below for details. in the Entry about the Lot in the Catalogue (see paragraph 3 undertakes no obligation or duty, whether in contract or in equipment is provided as a general guide as to the equivalent Bidding via the internet Bank: National Westminster Bank Plc below), Lots are sold to the Buyer on an “as is” basis, with tort (other than to the eventual Buyer as set out above), in amount in certain currencies of a given bid. We do not accept Please visit our Website at http://www.bonhams.com for On certain Lots, which will be marked “AR” in the Catalogue Address: PO Box 4RY all faults and imperfections. Illustrations and photographs respect of the accuracy or completeness of any statement any responsibility for any errors which may occur in the use of details of how to bid via the internet. and which are sold for a Hammer Price of €1,000 or greater 250 Regent Street contained in the Catalogue (other than photographs forming or representation made by him or on his behalf, which is in the currency converter. We may use video cameras to record (converted into the currency of the Sale using the European London W1A 4RY part of the Contractual Description) or elsewhere of any Lots any way descriptive of any Lot or as to the anticipated or the Sale and may record telephone calls for reasons of security Bidding through an agent Central Bank Reference rate prevailing on the date of the Sale), Account Name: Bonhams 1793 Limited Trust Account are for identification purposes only. They may not reveal the likely selling price of any Lot. Other than as set out above, no and to assist in solving any disputes which may arise in relation Bids will be accepted as placed on behalf of the person named the Additional Premium will be payable to us by the Buyer to Account Number: 25563009 true condition of the Lot. A photograph or illustration may not statement or representation in any way descriptive of a Lot to bids made at the Sale. At some Sales, for example, jewellery as the principal on the Bidding Form although we may refuse cover our Expenses relating to the payment of royalties under Sort Code: 56-00-27 reflect an accurate reproduction of the colour(s) of the Lot. or any Estimate is incorporated into any Contract for Sale Sales, we may use screens on which images of the Lots will be to accept bids from an agent on behalf of a principal and the Artists Resale Right Regulations 2006. The Additional IBAN Number: GB 33 NWBK 560027 25563009 Lots are available for inspection prior to the Sale and it is for between a Seller and a Buyer. projected. This service is provided to assist viewing at the Sale. will require written confirmation from the principal confirming Premium will be a percentage of the amount of the Hammer you to satisfy yourself as to each and every aspect of a Lot, The image on the screen should be treated as an indication the agent’s authority to bid. Nevertheless, as the Bidding Price calculated in accordance with the table below, and shall If paying by bank transfer, the amount received after the including its authorship, attribution, condition, provenance, Bonhams’ responsibility to you only of the current Lot. It should be noted that all bids tendered Form explains, any person placing a bid as agent on behalf not exceed €12,500 (converted into the currency of the Sale deduction of any bank fees and/or conversion of the currency history, background, authenticity, style, period, age, suitability, You have the opportunity of examining the Lot if you want to will relate to the actual Lot number announced by of another (whether or not he has disclosed that fact or the using the European Central Bank Reference rate prevailing on of payment to pounds sterling must not be less than the quality, roadworthiness (if relevant), origin, value and and the Contract for Sale for a Lot is with the Seller and not the Auctioneer. We do not accept any responsibility for any identity of his principal) will be jointly and severally liable with the date of the Sale). sterling amount payable, as set out on the invoice. estimated selling price (including the Hammer Price). It is your with Bonhams; Bonhams acts as the Seller’s agent only (unless errors which may occur in the use of the screen. the principal to the Seller and to Bonhams under any contract responsibility to examine any Lot in which you are interested. It Bonhams sells the Lot as principal). resulting from the acceptance of a bid. Subject to the above, Hammer Price Percentage amount Payment may also be made by one of the following methods: should be remembered that the actual condition of a Lot may 5. BIDDING please let us know if you are acting on behalf of another From €0 to €50,000 4% not be as good as that indicated by its outward appearance. Bonhams undertakes no obligation to you to examine, person when bidding for Lots at the Sale. From €50,000.01 to €200,000 3% Sterling personal cheque drawn on a UK branch of a bank In particular, parts may have been replaced or renewed and investigate or carry out any tests, either in sufficient depth or at We do not accept bids from any person who has not From €200,000.01 to €350,000 1% or building society: all cheques must be cleared before you Lots may not be authentic or of satisfactory quality; the inside all, on each Lot to establish the accuracy or otherwise of any completed and delivered to us one of our Bidding Forms, Equally, please let us know if you intend to nominate another From €350,000.01 to €500,000 0.5% can collect your purchases and should be made payable to of a Lot may not be visible and may not be original or may be Descriptions or opinions given by Bonhams, or by any person either our Bidder Registration Form, Absentee Bidding Form or person to bid on your behalf at the Sale unless this is to be Exceeding €500,000 0.25% Bonhams 1793 Limited. damaged, as for example where it is covered by upholstery on Bonhams’ behalf, whether in the Catalogue or elsewhere. Telephone Bidding Form. You will be asked for proof of identity, carried out by us pursuant to a Telephone or Absentee Bidding or material. Given the age of many Lots they may have been residence and references, which, when asked for, you must Form that you have completed. If we do not approve the Cash: you may pay for Lots purchased by you at this Sale damaged and/or repaired and you should not assume that You should not suppose that such examinations, investigations supply if your bids are to be accepted by us. Please bring agency arrangements in writing before the Sale, we are entitled with notes or coins in the currency in which the Sale is a Lot is in good condition. Electronic or mechanical parts or tests have occurred. your passport, driving licence (or similar photographic proof of to assume that the person bidding at the Sale is bidding on his conducted (but not any other currency) provided that the total may not operate or may not comply with current statutory identity) and proof of address. We may request a deposit from own behalf. Accordingly, the person bidding at the Sale will be amount payable by you in respect of all Lots purchased by requirements. You should not assume that electrical items Bonhams does not make or agree to make any representation you before allowing you to bid. We may refuse entry to a Sale the Buyer and will be liable to pay the Hammer Price and you at the Sale does not exceed £3,000, or the equivalent designed to operate on mains electricity will be suitable for of fact, and undertakes no obligation or duty (whether in to any person even if that person has completed a Bidding in the currency in which the Sale is conducted, at the time connection to the mains electricity supply and you should contract or tort) in respect of the accuracy or completeness Form. when payment is made. If the amount payable by you for Lots obtain a report from a qualified electrician on their status before of any statement or representation made by Bonhams or on exceeds that sum, the balance must be paid otherwise than doing so. Such items which are unsuitable for connection Bonhams’ behalf which is in any way descriptive of any Lot in coins or notes; this limit applies to both payment at our premises and direct deposit into our bank account.

NTB/MAIN/1.2018/V2 NTB/MAIN/1.2018/V2 Debit cards (including China Union Pay (CUP) cards and otherwise, whether given orally or in writing and whether given sleeving and measurements once rendered unserviceable debit cards issued by Visa and MasterCard only). There is no before or during the Sale. Neither we nor the Seller will be according to the Gun Barrel Proof Act of 1968 to 1978 and the limit on payment value if payment is made in person using Chip liable for any loss of Business, profits, revenue or income, or Rules of Proof. & Pin verification. for loss of reputation, or for disruption to Business or wasted time on the part of management or staff, or for indirect losses Condition of Firearms Payment by telephone may also be accepted up to £5,000, or consequential damages of any kind, irrespective in any Comment in this Catalogue is restricted, in general, to subject to appropriate verification procedures, although this case of the nature, volume or source of the loss or damage exceptional condition and to those defects that might facility is not available for first time buyers. If the amount alleged to be suffered, and irrespective of whether the said affect the immediate safety of a firearm in normal use. An payable by you for Lots exceeds that sum, the balance must loss or damage is caused by or claimed in respect of any intending Bidder unable to make technical examinations be paid by other means. negligence, other tort, breach of contract (if any) or statutory and assessments is recommended to seek advice from a duty, restitutionary claim or otherwise. In any circumstances gunmaker or from a modern firearms specialist. All prospective Credit cards (including China Union Pay (CUP) cards and where we and/or the Seller are liable in relation to any Lot or Bidders are advised to consult the ˚ of bore and wall-thickness credit cards issued by Visa and MasterCard only). There is any Description or Estimate made of any Lot, or the conduct measurements posted in the saleroom and available from the a £5,000 limit on payment value if payment is made in person of any Sale in relation to any Lot, whether in damages, for department. Bidders should note that guns are stripped only using Chip & Pin verification. an indemnity or contribution, or for a restitutionary remedy or where there otherwise, our and/or the Seller’s liability (combined, if both is a strong indication of a mechanical malfunction. Stripping It may be advisable to notify your debit or credit card provider we and the Seller are liable) will be limited to payment of a sum is not, otherwise, undertaken. Guns intended for use should of your intended purchase in advance to reduce delays caused which will not exceed by way of maximum the amount of the be stripped and cleaned beforehand. Hammer guns should by us having to seek authority when you come to pay. Purchase Price of the Lot irrespective in any case of the nature, have their rebound mechanisms checked before use. The volume or source of any loss or damage alleged to be suffered safety mechanisms of all guns must be tested before use. Note: only one debit or credit card may be used for payment or sum claimed as due, and irrespective of whether the liability All measurements are approximate. of an account balance. If you have any questions with arises from any negligence, other tort, breach of contract (if regards to card payments, please contact our Customer any) or statutory duty or otherwise. Nothing set out above will Original Gun Specifications Derived from Services Department. be construed as excluding or restricting (whether directly or Gunmakers indirectly) our liability or excluding or restricting any person’s The Sporting Gun Department endeavours to confirm a gun’s 10. COLLECTION AND STORAGE rights or remedies in respect of (i) fraud, or (ii) death or original specification and date of manufacture with makers who personal injury caused by our negligence (or by the negligence hold their original records. The Buyer of a Lot will not be allowed to collect it until payment of any person under our control or for whom we are legally in full and in cleared funds has been made (unless we have responsible), or (iii) acts or omissions for which we are liable Licensing Requirements made a special arrangement with the Buyer). For collection and under the Occupiers Liability Act 1957, or (iv) any other liability Firearms Act 1968 as amended removal of purchased Lots, please refer to Sale Information at to the extent the same may not be excluded or restricted as Bonhams is constantly reviewing its procedures and would the front of the Catalogue. Our offices are open 9.00am – 5pm a matter of law or (v) our undertakings under paragraphs 9 (in remind you that, in the case of firearms or shotguns subject to Monday to Friday. Details relating to the collection of a Lot, the relation to specialist Stamp or Book Sales only) and 10 of the certification, to conform with current legislation, Bonhams is storage of a Lot and our Storage Contractor after the Sale are Buyer’s Agreement. The same applies in respect of the Seller, required to see, as appropriate, your original registered firearms set out in the Catalogue. as if references to us in this paragraph were substituted with dealer’s certificate / shot gun certificate / firearm certificate / references to the Seller. museum firearms licence / Section 5 authority or import licence 11. SHIPPING (or details of any exemption from which you may benefit, for For information and estimates on domestic and international 15. BOOKS instance Crown servant status) for the firearm(s) you have shipping as well as export licenses please contact purchased prior to taking full payment of the amount shown Alban Shipping on +44 (0) 1582 493 099 As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of [email protected] to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of 12. EXPORT/TRADE RESTRICTIONS in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. It is your sole responsibility to comply with all export and unframed maps and bound manuscripts are not liable to VAT import regulations relating to your purchases and also to on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable obtain any relevant export and/or import licence(s). Export to produce the correct paperwork, the Lot(s) will be reoffered licences are issued by Arts Council England and application 16. CLOCKS AND WATCHES by Bonhams in the next appropriate Sale, on standard terms forms can be obtained from its Export Licensing Unit. The for Sellers, and you will be responsible for any loss incurred by detailed provisions of the export licencing arrangements can All Lots are sold “as is”, and the absence of any reference to Bonhams on the original Sale to you. be found on the ACE website http://www.artscouncil.org.uk/ the condition of a clock or watch does not imply that the Lot is what-we-do/supporting-museums/cultural-property/export- in good condition and without defects, repairs or restorations. In the case of RFD certificates and Section 5 authorities, we controls/export-licensing/ or by phoning ACE on +44 (0)20 Most clocks and watches have been repaired in the course of wish to keep an up-to-date copy on file. Please supply us with 7973 5188. The need for import licences varies from country their normal lifetime and may now incorporate parts not original a Fax or photocopy. It would be helpful if you could send us an to country and you should acquaint yourself with all relevant to them. Furthermore, Bonhams makes no representation or updated copy whenever your certificate or authority is renewed local requirements and provisions. The refusal of any import or warranty that any clock or watch is in working order. As clocks or changed. export licence(s) or and watches often contain fine and complex mechanisms, any delay in obtaining such licence(s) shall not permit the Bidders should be aware that a general service, change of Lots marked ‘S1´ and bearing red labels are Section 1 firearms rescission of any Sale nor allow any delay in making full battery or further repair work, for which the Buyer is solely and require a valid British Firearms certificate, RFD Licence or payment for the Lot. Generally, please contact our shipping responsible, may be necessary. Bidders should be aware import licence. department before the Sale if you require assistance in that the importation of watches such as Rolex, Frank Muller relation to export regulations. and Corum into the United States is highly restricted. These Lots marked ‘S2’ and bearing blue labels are Section 2 watches may not be shipped to the USA and can only be firearms and require a valid British Shotgun certificate, RFD 13. CITES REGULATIONS imported personally. licence or import licence.

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

NTB/MAIN/1.2018/V2 Debit cards (including China Union Pay (CUP) cards and otherwise, whether given orally or in writing and whether given sleeving and measurements once rendered unserviceable 18. FURNITURE • Unless otherwise specified, dimensions given are those of 24. WINE debit cards issued by Visa and MasterCard only). There is no before or during the Sale. Neither we nor the Seller will be according to the Gun Barrel Proof Act of 1968 to 1978 and the the piece of paper on which the image is printed, including limit on payment value if payment is made in person using Chip liable for any loss of Business, profits, revenue or income, or Rules of Proof. Upholstered Furniture any margins. Some photographs may appear in the Lots which are lying under Bond and those liable to VAT may & Pin verification. for loss of reputation, or for disruption to Business or wasted Whilst we take every care in cataloguing furniture which has Catalogue without margins illustrated. not be available for immediate collection. time on the part of management or staff, or for indirect losses Condition of Firearms been upholstered we offer no Guarantee as to the originality • All photographs are sold unframed unless stated in the Lot Payment by telephone may also be accepted up to £5,000, or consequential damages of any kind, irrespective in any Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery. Description. Examining the wines subject to appropriate verification procedures, although this case of the nature, volume or source of the loss or damage exceptional condition and to those defects that might It is occasionally possible to provide a pre-Sale tasting for facility is not available for first time buyers. If the amount alleged to be suffered, and irrespective of whether the said affect the immediate safety of a firearm in normal use. An 19. JEWELLERY 21. PICTURES larger parcels (as defined below). This is generally limited to payable by you for Lots exceeds that sum, the balance must loss or damage is caused by or claimed in respect of any intending Bidder unable to make technical examinations more recent and everyday drinking wines. Please contact the Explanation of Catalogue Terms be paid by other means. negligence, other tort, breach of contract (if any) or statutory and assessments is recommended to seek advice from a department for details. Gemstones The following terms used in the Catalogue have the following duty, restitutionary claim or otherwise. In any circumstances gunmaker or from a modern firearms specialist. All prospective Historically many gemstones have been subjected to a variety meanings but are subject to the general provisions relating to Credit cards (including China Union Pay (CUP) cards and where we and/or the Seller are liable in relation to any Lot or Bidders are advised to consult the ˚ of bore and wall-thickness of treatments to enhance their appearance. Sapphires and 0It is not our policy to inspect every unopened case. In the Descriptions contained in the Contract for Sale: credit cards issued by Visa and MasterCard only). There is any Description or Estimate made of any Lot, or the conduct measurements posted in the saleroom and available from the rubies are routinely heat treated to improve their colour and case of wines older than 20 years the boxes will usually • “Jacopo Bassano”: in our opinion a work by the artist. a £5,000 limit on payment value if payment is made in person of any Sale in relation to any Lot, whether in damages, for department. Bidders should note that guns are stripped only clarity, similarly emeralds are frequently treated with oils have been opened and levels and appearance noted in When the artist’s forename(s) is not known, a series of using Chip & Pin verification. an indemnity or contribution, or for a restitutionary remedy or where there or resin for the same purpose. Other treatments such as the Catalogue where necessary. You should make proper asterisks, followed by the surname of the artist, whether otherwise, our and/or the Seller’s liability (combined, if both is a strong indication of a mechanical malfunction. Stripping staining, irradiation or coating may have been used on other allowance for variations in ullage levels and conditions of corks, preceded by an initial or not, indicates that in our opinion It may be advisable to notify your debit or credit card provider we and the Seller are liable) will be limited to payment of a sum is not, otherwise, undertaken. Guns intended for use should gemstones. These treatments may be permanent, whilst capsules and labels. the work is by the artist named; of your intended purchase in advance to reduce delays caused which will not exceed by way of maximum the amount of the be stripped and cleaned beforehand. Hammer guns should others may need special care or re-treatment over the years • “Attributed to Jacopo Bassano”: in our opinion probably by us having to seek authority when you come to pay. Purchase Price of the Lot irrespective in any case of the nature, have their rebound mechanisms checked before use. The to retain their appearance. Bidders should be aware that a work by the artist but less certainty as to authorship is Corks and Ullages volume or source of any loss or damage alleged to be suffered safety mechanisms of all guns must be tested before use. Estimates assume that gemstones may have been subjected Ullage refers to the space between the base of the cork expressed than in the preceding category; Note: only one debit or credit card may be used for payment or sum claimed as due, and irrespective of whether the liability All measurements are approximate. to such treatments. A number of laboratories issue certificates and the wine. Ullage levels for Bordeaux shaped bottles are • “Studio/Workshop of Jacopo Bassano”: in our opinion a of an account balance. If you have any questions with arises from any negligence, other tort, breach of contract (if that give more detailed Descriptions of gemstones. However only normally noted when below the neck and for Burgundy, work by an unknown hand in a studio of the artist which regards to card payments, please contact our Customer any) or statutory duty or otherwise. Nothing set out above will there may not be consensus between different laboratories on Alsace, German and Cognac shaped bottles when greater Original Gun Specifications Derived from may or may not have been executed under the artist’s Services Department. be construed as excluding or restricting (whether directly or the degrees, or types of treatment for any particular gemstone. than 4 centimetres (cm). Acceptable ullage levels increase with Gunmakers direction; indirectly) our liability or excluding or restricting any person’s The Sporting Gun Department endeavours to confirm a gun’s In the event that Bonhams has been given or has obtained age; generally acceptable levels are as follows: • “Circle of Jacopo Bassano”: in our opinion a work by 10. COLLECTION AND STORAGE rights or remedies in respect of (i) fraud, or (ii) death or original specification and date of manufacture with makers who certificates for any Lot in the Sale these certificates will be a hand closely associated with a named artist but not Under 15 years old – into neck or less than 4cm personal injury caused by our negligence (or by the negligence hold their original records. disclosed in the Catalogue. Although, as a matter of policy, necessarily his pupil; 15 to 30 years old – top shoulder (ts) or up to 5cm The Buyer of a Lot will not be allowed to collect it until payment of any person under our control or for whom we are legally Bonhams endeavours to provide certificates from recognised • “Follower of Jacopo Bassano”: in our opinion a work by a Over 30 years old – high shoulder (hs) or up to 6cm in full and in cleared funds has been made (unless we have responsible), or (iii) acts or omissions for which we are liable laboratories for certain gemstones, it is not feasible to obtain Licensing Requirements painter working in the artist’s style, contemporary or nearly made a special arrangement with the Buyer). For collection and under the Occupiers Liability Act 1957, or (iv) any other liability Firearms Act 1968 as amended certificates for each Lot. In the event that no certificate is contemporary, but not necessarily his pupil; It should be noted that ullages may change between removal of purchased Lots, please refer to Sale Information at to the extent the same may not be excluded or restricted as Bonhams is constantly reviewing its procedures and would published in the Catalogue, Bidders should assume that the • “Manner of Jacopo Bassano”: in our opinion a work in the publication of the Catalogue and the Sale and that corks may the front of the Catalogue. Our offices are open 9.00am – 5pm a matter of law or (v) our undertakings under paragraphs 9 (in remind you that, in the case of firearms or shotguns subject to gemstones may have been treated. Neither Bonhams nor style of the artist and of a later date; fail as a result of transporting the wine. We will only accept Monday to Friday. Details relating to the collection of a Lot, the relation to specialist Stamp or Book Sales only) and 10 of the certification, to conform with current legislation, Bonhams is the Seller accepts any liability for contradictions or differing • “After Jacopo Bassano”: in our opinion, a copy of a known responsibility for Descriptions of condition at the time of storage of a Lot and our Storage Contractor after the Sale are Buyer’s Agreement. The same applies in respect of the Seller, required to see, as appropriate, your original registered firearms certificates obtained by Buyers on any Lots subsequent to work of the artist; publication of the Catalogue and cannot accept responsibility set out in the Catalogue. as if references to us in this paragraph were substituted with dealer’s certificate / shot gun certificate / firearm certificate / the Sale. • “Signed and/or dated and/or inscribed”: in our opinion the for any loss resulting from failure of corks either before or after references to the Seller. museum firearms licence / Section 5 authority or import licence signature and/or date and/or inscription are from the hand this point. (or details of any exemption from which you may benefit, for 11. SHIPPING Estimated Weights of the artist; For information and estimates on domestic and international instance Crown servant status) for the firearm(s) you have If a stone(s) weight appears within the body of the Description 15. BOOKS • “Bears a signature and/or date and/or inscription”: in our shipping as well as export licenses please contact purchased prior to taking full payment of the amount shown in capital letters, the stone(s) has been unmounted and Options to buy parcels opinion the signature and/or date and/or inscription have A parcel is a number of Lots of identical size of the same wine, Alban Shipping on +44 (0) 1582 493 099 As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of weighed by Bonhams. If the weight of the stone(s) is stated been added by another hand. bottle size and Description. The Buyer of any of these Lots has [email protected] to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially to be approximate and does not appear in capital letters, the the option to accept some or all of the remaining Lots in the 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 stone(s) has been assessed by us within its/their settings, 22. PORCELAIN AND GLASS parcel at the same price, although such options will be at the 12. EXPORT/TRADE RESTRICTIONS in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence and the stated weight is a statement of our opinion only. This Auctioneer’s sole discretion. Absentee Bidders are, therefore, Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. information is given as a guide and Bidders should satisfy Damage and Restoration advised to bid on the first Lot in a parcel. It is your sole responsibility to comply with all export and unframed maps and bound manuscripts are not liable to VAT themselves with regard to this information as to its accuracy. For your guidance, in our Catalogues we detail, as far as import regulations relating to your purchases and also to on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable practicable, recorded all significant defects, cracks and obtain any relevant export and/or import licence(s). Export to produce the correct paperwork, the Lot(s) will be reoffered Wines in Bond Signatures restoration. Such practicable Descriptions of damage cannot Wines lying in Bond are marked Δ. All Lots sold under Bond, licences are issued by Arts Council England and application 16. CLOCKS AND WATCHES by Bonhams in the next appropriate Sale, on standard terms 1. A diamond brooch, by Kutchinsky be definitive, and in providing Condition Reports, we cannot and which the Buyer wishes to remain under Bond, will be forms can be obtained from its Export Licensing Unit. The for Sellers, and you will be responsible for any loss incurred by When the maker’s name appears in the title, in Bonhams’ Guarantee that there are no other defects present which have invoiced without VAT or Duty on the Hammer Price. If the detailed provisions of the export licencing arrangements can All Lots are sold “as is”, and the absence of any reference to Bonhams on the original Sale to you. opinion the piece is by that maker. not been mentioned. Bidders should satisfy themselves by Buyer wishes to take the Lot as Duty paid, UK Excise Duty and be found on the ACE website http://www.artscouncil.org.uk/ the condition of a clock or watch does not imply that the Lot is inspection, as to the condition of each Lot. Please see the VAT will be added to the Hammer Price on the invoice. what-we-do/supporting-museums/cultural-property/export- in good condition and without defects, repairs or restorations. In the case of RFD certificates and Section 5 authorities, we 2. A diamond brooch, signed Kutchinsky Contract for Sale printed in this Catalogue. Because of the controls/export-licensing/ or by phoning ACE on +44 (0)20 Most clocks and watches have been repaired in the course of wish to keep an up-to-date copy on file. Please supply us with Has a signature that, in Bonhams’ opinion, is authentic but difficulty in determining whether an item of glass has been Buyers must notify Bonhams at the time of the sale whether 7973 5188. The need for import licences varies from country their normal lifetime and may now incorporate parts not original a Fax or photocopy. It would be helpful if you could send us an may contain gemstones that are not original, or the piece may repolished, in our Catalogues reference is only made to visible they wish to take their wines under Bond or Duty paid. If a to country and you should acquaint yourself with all relevant to them. Furthermore, Bonhams makes no representation or updated copy whenever your certificate or authority is renewed have been altered. chips and cracks. No mention is made of repolishing, severe Lot is taken under Bond, the Buyer will be responsible for all local requirements and provisions. The refusal of any import or warranty that any clock or watch is in working order. As clocks or changed. or otherwise. VAT, Duty, clearance and other charges that may be payable export licence(s) or and watches often contain fine and complex mechanisms, 3. A diamond brooch, mounted by Kutchinsky thereon. any delay in obtaining such licence(s) shall not permit the Bidders should be aware that a general service, change of Lots marked ‘S1´ and bearing red labels are Section 1 firearms Has been created by the jeweller, in Bonhams’ opinion, but 23. VEHICLES rescission of any Sale nor allow any delay in making full battery or further repair work, for which the Buyer is solely and require a valid British Firearms certificate, RFD Licence or using stones or designs supplied by the client. Buyers outside the UK must be aware that any forwarding payment for the Lot. Generally, please contact our shipping responsible, may be necessary. Bidders should be aware import licence. agent appointed to export their purchases must have a department before the Sale if you require assistance in that the importation of watches such as Rolex, Frank Muller The Veteran Car Club of Great Britain 20. PHOTOGRAPHS movement certificate for Lots to be released under Bond. relation to export regulations. and Corum into the United States is highly restricted. These Lots marked ‘S2’ and bearing blue labels are Section 2 watches may not be shipped to the USA and can only be firearms and require a valid British Shotgun certificate, RFD Explanation of Catalogue Terms Dating Plates and Certificates • “Bill Brandt”: in our opinion a work by the artist. When mention is made of a Veteran Car Club Dating Plate or Bottling Details and Case Terms 13. CITES REGULATIONS imported personally. licence or import licence. • “Attributed to Bill Brandt”: in our opinion probably a work by Dating Certificate in this Catalogue, it should be borne in mind The following terms used in the Catalogue have the following the artist, but less certainty to authorship is expressed than that the Veteran Car Club of Great Britain using the services of meanings: Please be aware that all Lots marked with the symbol Y are 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are in the preceding category. Veteran Car Company Ltd, does from time to time, review cars CB – Château bottled subject to CITES regulations when exporting these items CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 • “Signed and/or titled and/or dated and/or inscribed”: in already dated and, in some instances, where fresh evidence DB – Domaine bottled outside the EU. These regulations may be found at Authority or import licence. our opinion the signature and/or title and/or date and/or becomes available, the review can result in an alteration of EstB – Estate bottled http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or Proof of Firearms inscription are in the artist’s hand. date. Whilst the Club and Veteran Car Company Ltd make BB – Bordeaux bottled may be requested from: The term “proof exemption” indicates that a firearm has been Lots marked with a ‘S58´ and bearing yellow labels are for • “Signed and/or titled and/or dated and/or inscribed in every effort to ensure accuracy, the date shown on the Dating BE – Belgian bottled examined at a Proof House, but not proved, as either (a) it was obsolete calibres and no licence is required unless ammunition Animal Health and Veterinary Laboratories Agency (AHVLA) another hand”: in our opinion the signature and/or title and/ Plate or Dating Certificate cannot be guaranteed as correct and FB – French bottled deemed of interest and not intended for use, or (b) ammunition is held. Wildlife Licencing or date and/or inscription have been added by intending purchasers should make their own enquiries as to the GB – German bottled was not available. In either case, the firearm must be regarded Floor 1, Zone 17, Temple Quay House another hand. date of the car. OB – Oporto bottled as unsafe to fire unless subsequently proved. Firearms Unmarked Lots require no licence. 2 The Square, Temple Quay • The date given is that of the image (negative). Where no UK – United Kingdom bottled proved for Black Powder should not be used with smokeless BRISTOL BS1 6EB further date is given, this indicates that the photographic owc – original wooden case ammunition. Please do not hesitate to contact the Modern Sporting Gun Tel: +44 (0) 117 372 8774 print is vintage (the term “vintage” may also be included in iwc – individual wooden case Department should you have any queries. the Lot Description). A vintage photograph is one which oc – original carton The term “Certificate of Unprovability” indicates that a firearm 14. THE SELLERS AND/OR BONHAMS’ LIABILITY was made within approximately 5-10 years of the negative. has been examined at a Proof House and is deemed both Taxidermy and Related Items Where a second, later date appears, this refers to the date unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply Other than any liability of the Seller to the Buyer of a Lot of printing. Where the exact printing date is not known, but such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to under the Contract for Sale, neither we nor the Seller are understood to be later, “printed later” will appear in the Lot inform themselves of all such regulations and should expect liable (whether in negligence or otherwise) for any error or Description. the exportation of items to take some time to arrange. misdescription or omission in any Description of a Lot or any Guns Sold as Parts Barrels of guns sold as parts will only be made available for Estimate in respect of it, whether contained in the Catalogue or

NTB/MAIN/1.2018/V2 NTB/MAIN/1.2018/V2 SYMBOLS 1.4 The contract is made on the fall of the Auctioneer’s 4.2 The Seller will not be liable for any breach of any hammer in respect of the Lot when it is knocked undertaking, whether implied by the Sale of Goods THE FOLLOWING SYMBOLS ARE USED TO down to you. Act 1979 or otherwise, as to the satisfactory quality DENOTE of the Lot or its fitness for any purpose. 2 SELLER’S UNDERTAKINGS Y Subject to CITES regulations when exporting these items 5 RISK, PROPERTY AND TITLE outside the EU, see clause 13. 2.1 The Seller undertakes to you that: TP Objects displayed with a TP will be located at the 5.1 Risk in the Lot passes to you when it is knocked Cadogan Tate warehouse and will only be available for 2.1.1 the Seller is the owner of the Lot or is duly authorised down to you on the fall of the Auctioneer’s collection from this location. to sell the Lot by the owner; hammer in respect of the Lot. The Seller will W Objects displayed with a w will be located in the not be responsible thereafter for the Lot prior to Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the you collecting it from Bonhams or the Storage collection from this location. Catalogue, the Seller sells the Lot with full title Contractor, with whom you have separate contract(s) Δ Wines lying in Bond. guarantee or, where the Seller is an executor, trustee, as Buyer. You will indemnify the Seller and keep the AR An Additional Premium will be payable to us by the Buyer liquidator, receiver or administrator, with whatever Seller fully indemnified from and against all claims, to cover our Expenses relating to payment of royalties right, title or interest he may have in the Lot; proceedings, costs, expenses and losses arising in under the Artists Resale Right Regulations 2006. See respect of any injury, loss and damage caused to the clause 7 for details. 2.1.3 except where the Sale is by an executor, trustee, Lot after the fall of the Auctioneer’s hammer until you ○ The Seller has been guaranteed a minimum price for the liquidator, receiver or administrator the Seller is both obtain full title to it. Lot, either by Bonhams or a third party. This may take the legally entitled to sell the Lot, and legally capable form of an irrevocable bid by a third party, who may make of conferring on you quiet possession of the Lot 5.2 Title to the Lot remains in and is retained by the a financial gain on a successful Sale or a financial loss if and that the Sale conforms in every respect with Seller until the Purchase Price and all other sums unsuccessful. the terms implied by the Sale of Goods Act 1979, payable by you to Bonhams in relation to the Lot ▲ Bonhams owns the Lot either wholly or partially or may Sections 12(1) and 12(2) (see the Definitions and have been paid in full to, and received in cleared otherwise have an economic interest. Glossary); funds by, Bonhams. Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into 2.1.4 the Seller has complied with all requirements, legal or 6 PAYMENT the USA. otherwise, relating to any export or import of the Lot, and all duties and taxes in respect of the export or 6.1 Your obligation to pay the Purchase Price arises Ω a •, †, *, G, , see clause 8, VAT, for details. import of the Lot have (unless stated to the contrary when the Lot is knocked down to you on the fall of in the Catalogue or announced by the Auctioneer) the Auctioneer’s hammer in respect of the Lot. DATA PROTECTION – USE OF YOUR INFORMATION been paid and, so far as the Seller is aware, all third parties have complied with such requirements in 6.2 Time will be of the essence in relation to payment of Where we obtain any personal information about you, we the past; the Purchase Price and all other sums payable by shall only use it in accordance with the terms of our Privacy you to Bonhams. Unless agreed in writing with you Policy (subject to any additional specific consent(s) you may 2.1.5 subject to any alterations expressly identified as such by Bonhams on the Seller’s behalf (in which case have given at the time your information was disclosed). A made by announcement or notice at the Sale venue you must comply with the terms of that agreement), copy of our Privacy Policy can be found on our Website www. or by the Notice to Bidders or by an insert in the all such sums must be paid to Bonhams by you bonhams.com or requested by post from Customer Services Catalogue, the Lot corresponds with the Contractual in the currency in which the Sale was conducted Department, 101 New Bond Street, London, W1S 1SR or by Description of the Lot, being that part of the Entry by not later than 4.30pm on the second working email from [email protected] about the Lot in the Catalogue which is in bold day following the Sale and you must ensure that letters and (except for colour) with any photograph of the funds are cleared by the seventh working day APPENDIX 1 the Lot in the Catalogue and the contents of after the Sale. Payment must be made to Bonhams any Condition Report which has been provided to by one of the methods stated in the Notice to CONTRACT FOR SALE the Buyer. Bidders unless otherwise agreed with you in writing by Bonhams. If you do not pay any sums due in IMPORTANT: These terms may be changed in advance of 3 DESCRIPTIONS OF THE LOT accordance with this paragraph, the Seller will have the Sale of the Lot to you, by the setting out of different terms the rights set out in paragraph 8 below. in the Catalogue for the Sale and/or by placing an insert in the 3.1 Paragraph 2.1.5 sets out what is the Contractual Catalogue and/or by notices at the Sale venue and/or by oral Description of the Lot. In particular, the Lot is not 7 COLLECTION OF THE LOT announcements before and during the Sale at the Sale venue. sold as corresponding with that part of the Entry in You should be alert to this possibility of changes and ask in the Catalogue which is not printed in bold letters, 7.1 Unless otherwise agreed in writing with you by advance of bidding if there have been any. which merely sets out (on the Seller’s behalf) Bonhams, the Lot will be released to you or to your Bonhams’ opinion about the Lot and which is not order only when Bonhams has received cleared Under this contract the Seller’s liability in respect of the quality part of the Contractual Description upon which the funds to the amount of the full Purchase Price and of the Lot, it’s fitness for any purpose and its conformity with Lot is sold. Any statement or representation other all other sums owed by you to the Seller and to any Description is limited. You are strongly advised to examine than that part of the Entry referred to in paragraph Bonhams. the Lot for yourself and/or obtain an independent examination 2.1.5 (together with any express alteration to it of it before you buy it. as referred to in paragraph 2.1.5), including any 7.2 The Seller is entitled to withhold possession from you Description or Estimate, whether made orally or in of any other Lot he has sold to you at the same or 1 THE CONTRACT writing, including in the Catalogue or on Bonhams’ at any other Sale and whether currently in Bonhams’ Website, or by conduct, or otherwise, and whether possession or not until payment in full and in cleared 1.1 These terms govern the Contract for Sale of the Lot by or on behalf of the Seller or Bonhams and funds of the Purchase Price and all other sums due by the Seller to the Buyer. whether made prior to or during the Sale, is not part to the Seller and/or Bonhams in respect of the Lot. of the Contractual Description upon which the Lot is 1.2 The Definitions and Glossary contained in Appendix sold. 7.3 You will collect and remove the Lot at your own 3 in the Catalogue are incorporated into this Contract expense from Bonhams’ custody and/ or control or for Sale and a separate copy can also be provided 3.2 Except as provided in paragraph 2.1.5, the Seller from the Storage Contractor’s custody in accordance by Bonhams on request. Where words and phrases does not make or give and does not agree to with Bonhams’ instructions or requirements. are used which are in the List of Definitions, they are make or give any contractual promise, undertaking, printed in italics. obligation, guarantee, warranty, or representation 7.4 You will be wholly responsible for packing, handling of fact, or undertake any duty of care, in relation to and transport of the Lot on collection and for 1.3 The Seller sells the Lot as the principal to the any Description of the Lot or any Estimate in relation complying with all import or export regulations in Contract for Sale, such contract being made to it, nor of the accuracy or completeness of any connection with the Lot. between the Seller and you through Bonhams which Description or Estimate which may have been made acts in the sole capacity as the Seller’s agent and not by or on behalf of the Seller including by Bonhams. 7.5 You will be wholly responsible for any removal, as an additional principal. However, if the Catalogue No such Description or Estimate is incorporated into storage or other charges or Expenses incurred states that Bonhams sells the Lot as principal, or this Contract for Sale. by the Seller if you do not remove the Lot in such a statement is made by an announcement accordance with this paragraph 7 and will by the Auctioneer, or by a notice at the Sale, or an 4 FITNESS FOR PURPOSE AND indemnify the Seller against all charges, costs, insert in the Catalogue, then Bonhams is the Seller SATISFACTORY QUALITY including any legal costs and fees, Expenses and for the purposes of this agreement. losses suffered by the Seller by reason of your 4.1 The Seller does not make and does not agree failure to remove the Lot including any charges to make any contractual promise, undertaking, due under any Storage Contract. All such sums obligation, guarantee, warranty, or representation of due to the Seller will be payable on demand. fact in relation to the satisfactory quality of the Lot or its fitness for any purpose. NTB/MAIN/1.2018/V2 SYMBOLS 1.4 The contract is made on the fall of the Auctioneer’s 4.2 The Seller will not be liable for any breach of any 8 FAILURE TO PAY FOR THE LOT 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented hammer in respect of the Lot when it is knocked undertaking, whether implied by the Sale of Goods from performing that party’s respective obligations THE FOLLOWING SYMBOLS ARE USED TO down to you. Act 1979 or otherwise, as to the satisfactory quality 8.1 If the Purchase Price for a Lot is not paid to 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances DENOTE of the Lot or its fitness for any purpose. Bonhams in full in accordance with the Contract for damage caused by the Lot after the fall of the beyond its reasonable control or if performance of its 2 SELLER’S UNDERTAKINGS Sale the Seller will be entitled, with the prior written Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances Y Subject to CITES regulations when exporting these items 5 RISK, PROPERTY AND TITLE agreement of Bonhams but without further notice to give rise to a significantly increased financial outside the EU, see clause 13. 2.1 The Seller undertakes to you that: you, to exercise one or more of the following rights 9.2 Subject to paragraph 9.3 below, except for breach of cost to it, that party will not, for so long as such TP Objects displayed with a TP will be located at the 5.1 Risk in the Lot passes to you when it is knocked (whether through Bonhams or otherwise): the express undertaking provided in paragraph 2.1.5, circumstances prevail, be required to perform such Cadogan Tate warehouse and will only be available for 2.1.1 the Seller is the owner of the Lot or is duly authorised down to you on the fall of the Auctioneer’s the Seller will not be liable for any breach of any term obligations. This paragraph does not apply to the collection from this location. to sell the Lot by the owner; hammer in respect of the Lot. The Seller will 8.1.1 to terminate immediately the Contract for Sale of the that the Lot will correspond with any Description obligations imposed on you by paragraph 6. W Objects displayed with a w will be located in the not be responsible thereafter for the Lot prior to Lot for your breach of contract; applied to it by or on behalf of the Seller, whether Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the you collecting it from Bonhams or the Storage implied by the Sale of Goods Act 1979 or otherwise. 10.4 Any notice or other communication to be given collection from this location. Catalogue, the Seller sells the Lot with full title Contractor, with whom you have separate contract(s) 8.1.2 to resell the Lot by auction, private treaty or any under the Contract for Sale must be in writing and Δ Wines lying in Bond. guarantee or, where the Seller is an executor, trustee, as Buyer. You will indemnify the Seller and keep the other means on giving seven days’ written notice to 9.3 Unless the Seller sells the Lot in the course of a may be delivered by hand or sent by first class AR An Additional Premium will be payable to us by the Buyer liquidator, receiver or administrator, with whatever Seller fully indemnified from and against all claims, you of the intention to resell; Business and the Buyer buys it as a Consumer, post or air mail or fax transmission, if to the Seller, to cover our Expenses relating to payment of royalties right, title or interest he may have in the Lot; proceedings, costs, expenses and losses arising in addressed c/o Bonhams at its address or fax under the Artists Resale Right Regulations 2006. See respect of any injury, loss and damage caused to the 8.1.3 to retain possession of the Lot; 9.3.1 the Seller will not be liable (whether in negligence, number in the Catalogue (marked for the attention of clause 7 for details. 2.1.3 except where the Sale is by an executor, trustee, Lot after the fall of the Auctioneer’s hammer until you other tort, breach of contract or statutory duty or in the Company Secretary), and if to you to the address ○ The Seller has been guaranteed a minimum price for the liquidator, receiver or administrator the Seller is both obtain full title to it. 8.1.4 to remove and store the Lot at your expense; restitution or under the Misrepresentation Act 1967, or fax number of the Buyer given in the Bidding Form Lot, either by Bonhams or a third party. This may take the legally entitled to sell the Lot, and legally capable or in any other way) for any lack of conformity with, (unless notice of any change of address is given in form of an irrevocable bid by a third party, who may make of conferring on you quiet possession of the Lot 5.2 Title to the Lot remains in and is retained by the 8.1.5 to take legal proceedings against you for any sum or inaccuracy, error, misdescription or omission in writing). It is the responsibility of the sender of the a financial gain on a successful Sale or a financial loss if and that the Sale conforms in every respect with Seller until the Purchase Price and all other sums due under the Contract for Sale and/or damages for any Description of the Lot or any Entry or Estimate in notice or communication to ensure that it is received unsuccessful. the terms implied by the Sale of Goods Act 1979, payable by you to Bonhams in relation to the Lot breach of contract; relation to the Lot made by or on behalf of the Seller in a legible form within any applicable time period. ▲ Bonhams owns the Lot either wholly or partially or may Sections 12(1) and 12(2) (see the Definitions and have been paid in full to, and received in cleared (whether made in writing, including in the Catalogue, otherwise have an economic interest. Glossary); funds by, Bonhams. 8.1.6 to be paid interest on any monies due (after as well or on the Website, or orally, or by conduct or 10.5 If any term or any part of any term of the Contract This lot contains or is made of ivory. The United States Ф as before judgement or order) at the annual rate otherwise) and whether made before or after this for Sale is held to be unenforceable or invalid, Government has banned the import of ivory into 2.1.4 the Seller has complied with all requirements, legal or 6 PAYMENT of 5% per annum above the base rate of National agreement or prior to or during the Sale; such unenforceability or invalidity will not affect the the USA. otherwise, relating to any export or import of the Lot, Westminster Bank Plc from time to time to be enforceability and validity of the remaining terms or and all duties and taxes in respect of the export or 6.1 Your obligation to pay the Purchase Price arises calculated on a daily basis from the date upon which 9.3.2 the Seller will not be liable for any loss of Business, the remainder of the relevant term. Ω a •, †, *, G, , see clause 8, VAT, for details. import of the Lot have (unless stated to the contrary when the Lot is knocked down to you on the fall of such monies become payable until the date of actual Business profits or revenue or income or for loss of in the Catalogue or announced by the Auctioneer) the Auctioneer’s hammer in respect of the Lot. payment; reputation or for disruption to Business or wasted 10.6 References in the Contract for Sale to Bonhams will, DATA PROTECTION – USE OF YOUR INFORMATION been paid and, so far as the Seller is aware, all third time on the part of the Buyer or of the Buyer’s where appropriate, include reference to Bonhams’ parties have complied with such requirements in 6.2 Time will be of the essence in relation to payment of 8.1.7 to repossess the Lot (or any part thereof) which has management or staff or, for any indirect losses or officers, employees and agents. Where we obtain any personal information about you, we the past; the Purchase Price and all other sums payable by not become your property, and for this purpose consequential damages of any kind, irrespective in shall only use it in accordance with the terms of our Privacy you to Bonhams. Unless agreed in writing with you (unless the Buyer buys the Lot as a Consumer from any case of the nature, volume or source of the loss 10.7 The headings used in the Contract for Sale are for Policy (subject to any additional specific consent(s) you may 2.1.5 subject to any alterations expressly identified as such by Bonhams on the Seller’s behalf (in which case the Seller selling in the course of a Business) you or damage alleged to be suffered, and irrespective convenience only and will not affect its interpretation. have given at the time your information was disclosed). A made by announcement or notice at the Sale venue you must comply with the terms of that agreement), hereby grant an irrevocable licence to the Seller by of whether the said loss or damage is caused by copy of our Privacy Policy can be found on our Website www. or by the Notice to Bidders or by an insert in the all such sums must be paid to Bonhams by you himself and to his servants or agents to enter upon or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means “including, bonhams.com or requested by post from Customer Services Catalogue, the Lot corresponds with the Contractual in the currency in which the Sale was conducted all or any of your premises (with or without vehicles) breach of contract, statutory duty, restitutionary claim without limitation”. Department, 101 New Bond Street, London, W1S 1SR or by Description of the Lot, being that part of the Entry by not later than 4.30pm on the second working during normal Business hours to take possession of or otherwise; email from [email protected] about the Lot in the Catalogue which is in bold day following the Sale and you must ensure that the Lot or part thereof; 10.9 References to the singular will include reference to letters and (except for colour) with any photograph of the funds are cleared by the seventh working day 9.3.3 in any circumstances where the Seller is liable to the plural (and vice versa) and reference to any one APPENDIX 1 the Lot in the Catalogue and the contents of after the Sale. Payment must be made to Bonhams 8.1.8 to retain possession of any other property sold to you in respect of the Lot, or any act, omission, gender will include reference to the other genders. any Condition Report which has been provided to by one of the methods stated in the Notice to you by the Seller at the Sale or any other auction statement, or representation in respect of it, or CONTRACT FOR SALE the Buyer. Bidders unless otherwise agreed with you in writing or by private treaty until all sums due under the this agreement or its performance, and whether in 10.10 Reference to a numbered paragraph is to a by Bonhams. If you do not pay any sums due in Contract for Sale shall have been paid in full in damages, for an indemnity or contribution or for paragraph of the Contract for Sale. IMPORTANT: These terms may be changed in advance of 3 DESCRIPTIONS OF THE LOT accordance with this paragraph, the Seller will have cleared funds; a restitutionary remedy or in any way whatsoever, the Sale of the Lot to you, by the setting out of different terms the rights set out in paragraph 8 below. the Seller’s liability will be limited to payment of a 10.11 Save as expressly provided in paragraph 10.12 in the Catalogue for the Sale and/or by placing an insert in the 3.1 Paragraph 2.1.5 sets out what is the Contractual 8.1.9 to retain possession of, and on seven days written sum which will not exceed by way of maximum the nothing in the Contract for Sale confers (or purports Catalogue and/or by notices at the Sale venue and/or by oral Description of the Lot. In particular, the Lot is not 7 COLLECTION OF THE LOT notice to sell, Without Reserve, any of your other amount of the Purchase Price of the Lot irrespective to confer) on any person who is not a party to the announcements before and during the Sale at the Sale venue. sold as corresponding with that part of the Entry in property in the possession of the Seller and/or of in any case of the nature, volume or source of Contract for Sale any benefit conferred by, or the You should be alert to this possibility of changes and ask in the Catalogue which is not printed in bold letters, 7.1 Unless otherwise agreed in writing with you by Bonhams (as bailee for the Seller) for any purpose any loss or damage alleged to be suffered or sum right to enforce any term of, the Contract for Sale. advance of bidding if there have been any. which merely sets out (on the Seller’s behalf) Bonhams, the Lot will be released to you or to your (including, without limitation, other goods sold to claimed as due, and irrespective of whether the Bonhams’ opinion about the Lot and which is not order only when Bonhams has received cleared you) and to apply any monies due to you as a result liability arises from any negligence, other tort, breach 10.12 Where the Contract for Sale confers an immunity Under this contract the Seller’s liability in respect of the quality part of the Contractual Description upon which the funds to the amount of the full Purchase Price and of such Sale in satisfaction or part satisfaction of any of contract, statutory duty, bailee’s duty, restitutionary from, and/or an exclusion or restriction of, the of the Lot, it’s fitness for any purpose and its conformity with Lot is sold. Any statement or representation other all other sums owed by you to the Seller and to amounts owed to the Seller or to Bonhams; and claim or otherwise. responsibility and/or liability of the Seller, it will also any Description is limited. You are strongly advised to examine than that part of the Entry referred to in paragraph Bonhams. operate in favour and for the benefit of Bonhams, the Lot for yourself and/or obtain an independent examination 2.1.5 (together with any express alteration to it 8.1.10 so long as such goods remain in the possession 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will Bonhams’ holding company and the subsidiaries of it before you buy it. as referred to in paragraph 2.1.5), including any 7.2 The Seller is entitled to withhold possession from you of the Seller or Bonhams as its bailee, to rescind be construed as excluding or restricting (whether of such holding company and the successors and Description or Estimate, whether made orally or in of any other Lot he has sold to you at the same or the contract for the Sale of any other goods sold to directly or indirectly) any person’s liability or excluding assigns of Bonhams and of such companies and of 1 THE CONTRACT writing, including in the Catalogue or on Bonhams’ at any other Sale and whether currently in Bonhams’ you by the Seller at the Sale or at any other auction or restricting any person’s rights or remedies in any officer, employee and agent of Bonhams and Website, or by conduct, or otherwise, and whether possession or not until payment in full and in cleared or by private treaty and apply any monies received respect of (i) fraud, or (ii) death or personal injury such companies, each of whom will be entitled to 1.1 These terms govern the Contract for Sale of the Lot by or on behalf of the Seller or Bonhams and funds of the Purchase Price and all other sums due from you in respect of such goods in part or full caused by the Seller’s negligence (or any person rely on the relevant immunity and/or exclusion and/or by the Seller to the Buyer. whether made prior to or during the Sale, is not part to the Seller and/or Bonhams in respect of the Lot. satisfaction of any amounts owed to the Seller or to under the Seller’s control or for whom the Seller is restriction within and for the purposes of Contracts of the Contractual Description upon which the Lot is Bonhams by you. legally responsible), or (iii) acts or omissions for which (Rights of Third Parties) Act 1999, which enables the 1.2 The Definitions and Glossary contained in Appendix sold. 7.3 You will collect and remove the Lot at your own the Seller is liable under the Occupiers Liability Act benefit of a contract to be extended to a person who 3 in the Catalogue are incorporated into this Contract expense from Bonhams’ custody and/ or control or 8.2 You agree to indemnify the Seller against all legal 1957, or (iv) any other liability to the extent the same is not a party to the contract, and generally at law. for Sale and a separate copy can also be provided 3.2 Except as provided in paragraph 2.1.5, the Seller from the Storage Contractor’s custody in accordance and other costs of enforcement, all losses and other may not be excluded or restricted as a matter of law. by Bonhams on request. Where words and phrases does not make or give and does not agree to with Bonhams’ instructions or requirements. Expenses and costs (including any monies payable 11 GOVERNING LAW are used which are in the List of Definitions, they are make or give any contractual promise, undertaking, to Bonhams in order to obtain the release of the printed in italics. 10 MISCELLANEOUS obligation, guarantee, warranty, or representation 7.4 You will be wholly responsible for packing, handling Lot) incurred by the Seller (whether or not court All transactions to which the Contract for Sale of fact, or undertake any duty of care, in relation to and transport of the Lot on collection and for proceedings will have been issued) as a result of 10.1 You may not assign either the benefit or burden of applies and all connected matters will be governed 1.3 The Seller sells the Lot as the principal to the any Description of the Lot or any Estimate in relation complying with all import or export regulations in Bonhams taking steps under this paragraph 8 on the Contract for Sale. by and construed in accordance with the laws of Contract for Sale, such contract being made to it, nor of the accuracy or completeness of any connection with the Lot. a full indemnity basis together with interest thereon that part of the United Kingdom where the Sale between the Seller and you through Bonhams which Description or Estimate which may have been made (after as well as before judgement or order) at the 10.2 The Seller’s failure or delay in enforcing or exercising takes place and the Seller and you each submit to acts in the sole capacity as the Seller’s agent and not by or on behalf of the Seller including by Bonhams. 7.5 You will be wholly responsible for any removal, rate specified in paragraph 8.1.6 from the date upon any power or right under the Contract for Sale will the exclusive jurisdiction of the courts of that part as an additional principal. However, if the Catalogue No such Description or Estimate is incorporated into storage or other charges or Expenses incurred which the Seller becomes liable to pay the same until not operate or be deemed to operate as a waiver of of the United Kingdom, save that the Seller may states that Bonhams sells the Lot as principal, or this Contract for Sale. by the Seller if you do not remove the Lot in payment by you. his rights under it except to the extent of any express bring proceedings against you in any other court of such a statement is made by an announcement accordance with this paragraph 7 and will waiver given to you in writing. Any such waiver will competent jurisdiction to the extent permitted by by the Auctioneer, or by a notice at the Sale, or an 4 FITNESS FOR PURPOSE AND indemnify the Seller against all charges, costs, 8.3 On any resale of the Lot under paragraph 8.1.2, the not affect the Seller’s ability subsequently to enforce the laws of the relevant jurisdiction. Bonhams has a insert in the Catalogue, then Bonhams is the Seller SATISFACTORY QUALITY including any legal costs and fees, Expenses and Seller will account to you in respect of any balance any right arising under the Contract for Sale. complaints procedure in place. for the purposes of this agreement. losses suffered by the Seller by reason of your remaining from any monies received by him or on 4.1 The Seller does not make and does not agree failure to remove the Lot including any charges his behalf in respect of the Lot, after the payment of to make any contractual promise, undertaking, due under any Storage Contract. All such sums all sums due to the Seller and to Bonhams, within obligation, guarantee, warranty, or representation of due to the Seller will be payable on demand. 28 days of receipt of such monies by him or on his fact in relation to the satisfactory quality of the Lot or behalf. its fitness for any purpose. NTB/MAIN/1.2018/V2 NTB/MAIN/1.2018/V2 APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date specified in the Notice to Bidders, you authorise us, BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as acting as your agent and on your behalf, to enter otherwise set out in the Notice to Bidders, you must into a contract (the “Storage Contract”) with the IMPORTANT: These terms may be changed in advance of pay to us by not later than 4.30pm on the second Storage Contractor for the storage of the Lot on the the Sale of the Lot to you, by the setting out of different terms working day following the Sale: then current standard terms and conditions agreed in the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per advance of bidding if there have been any. out in the Notice to Bidders on each lot, and Lot per day) will be payable from the expiry of the period referred to in paragraph 4.2. These storage 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. which is calculated and payable in accordance with 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage Contractor as agent on behalf of the Seller and 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. into this agreement and a separate copy can also be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the charges (and all costs of moving the Lot into storage) Reference is made in this agreement to information methods of payment set out in the Notice to due under any Storage Contract. You acknowledge printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the and agree that you will not be able to collect the Lot Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an from the Storage Contractor’s premises until you is referred to it is incorporated into this agreement. agent for a named principal and we have approved have paid the Purchase Price, any Expenses and all that arrangement, in which case we will address the charges due under the Storage Contract. 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. also made between you and Bonhams on the terms all such sums. in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any event before any collection of the Lot by you or on 1.5 Our personal obligations to you are governed by 3.6 Time will be of the essence in relation to any your behalf. this agreement and we agree, subject to the terms payment payable to us. If you do not pay the below, to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT accordance with this paragraph 3, we will have the 1.5.1 we will, until the date and time specified in the Notice rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your to Bidders or otherwise notified to you, store the Lot removal of the Lot or until the time and date set out in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down in the Notice to Bidders, on the Sale Information to you, any monies we receive from you will be Page or at the back of the catalogue (or if no date 1.5.2 subject to any power of the Seller or us to refuse to applied firstly pro-rata to pay the Purchase Price of is specified, by 4.30pm on the seventh day after the release the Lot to you, we will release the Lot to you each Lot and secondly pro-rata to pay all amounts Sale) and, subject to paragraphs 6 and 10, to be in accordance with paragraph 4 once you have paid due to Bonhams. responsible as bailee to you for damage to or the to us, in cleared funds, everything due to us and the loss or destruction of the Lot (notwithstanding that it Seller; 4 COLLECTION OF THE LOT is not your property before payment of the Purchase Price). If you do not collect the Lot before the time 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us incorporated into this agreement between you and Notice to Bidders for collection on the days and will title in the Lot pass to you. However under the us. Any such Description or Estimate, if made by us times specified in the Notice to Bidders. Thereafter, Contract for Sale, the risk in the Lot passed to you or on our behalf, was (unless Bonhams itself sells the Lot may be removed elsewhere for storage and when it was knocked down to you. the Lot as principal) made as agent on behalf of the you must enquire from us as to when and where you Seller. can collect it, although this information will usually be 6.2 You are advised to obtain insurance in respect of the set out in the Notice to Bidders. Lot as soon as possible after the Sale. 2 PERFORMANCE OF THE CONTRACT FOR SALE

You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.

NTB/MAIN/1.2018/V2 APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date 7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such 9.3 Paragraph 9 will not apply in respect of a Forgery if: specified in the Notice to Bidders, you authorise us, AND PART PAYMENTS payment shall be applied firstly to the Purchase Price BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as acting as your agent and on your behalf, to enter of the Lot (or where you have purchased more than 9.3.1 the Entry in relation to the Lot contained in the otherwise set out in the Notice to Bidders, you must into a contract (the “Storage Contract”) with the 7.1 If all sums payable to us are not so paid in full at one Lot pro-rata towards the Purchase Price of each Catalogue reflected the then accepted general IMPORTANT: These terms may be changed in advance of pay to us by not later than 4.30pm on the second Storage Contractor for the storage of the Lot on the the time they are due and/or the Lot is not removed Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated the Sale of the Lot to you, by the setting out of different terms working day following the Sale: then current standard terms and conditions agreed in accordance with this agreement, we will without you have purchased more than one Lot pro-rata to that there was a conflict of such opinion or reflected in the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any the then current opinion of an expert acknowledged Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot more of the following rights (without prejudice to any other sums due to us. to be a leading expert in the relevant field; or announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current rights we may exercise on behalf of the Seller): You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per 7.4 We will account to you in respect of any balance we 9.3.2 it can be established that the Lot is a Forgery only advance of bidding if there have been any. out in the Notice to Bidders on each lot, and Lot per day) will be payable from the expiry of the 7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in by means of a process not generally accepted for period referred to in paragraph 4.2. These storage breach of contract; respect of any Sale of the Lot under our rights under use until after the date on which the Catalogue was 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. this paragraph 7 after the payment of all sums due to published or by means of a process which it was which is calculated and payable in accordance with 7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of unreasonable in all the circumstances for us to have 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any all such sums paid to us. employed. personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as 7.1.3 to remove, and/or store the Lot at your expense; a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage 8 CLAIMS BY OTHER PERSONS IN RESPECT 9.4 You authorise us to carry out such processes and Contractor as agent on behalf of the Seller and 7.1.4 to take legal proceedings against you for payment OF THE LOT tests on the Lot as we in our absolute discretion 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage of any sums payable to us by you (including the consider necessary to satisfy ourselves that the Lot 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot is is or is not a Forgery. into this agreement and a separate copy can also contract; the subject of a claim by someone other than you be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any and other than the Seller (or that such a claim can 9.5 If we are satisfied that a Lot is a Forgery we will (as phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the 7.1.5 to be paid interest on any monies due to us (after reasonably be expected to be made), we may, at our principal) purchase the Lot from you and you will are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the charges (and all costs of moving the Lot into storage) as well as before judgement or order) at the annual absolute discretion, deal with the Lot in any manner transfer the title to the Lot in question to us, with Reference is made in this agreement to information methods of payment set out in the Notice to due under any Storage Contract. You acknowledge rate of 5% per annum above the base lending rate which appears to us to recognise the legitimate full title guarantee, free from any liens, charges, printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the and agree that you will not be able to collect the Lot of National Westminster Bank Plc from time to time interests of ourselves and the other parties involved encumbrances and adverse claims, in accordance Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an from the Storage Contractor’s premises until you to be calculated on a daily basis from the date upon and lawfully to protect our position and our legitimate with the provisions of Sections 12(1) and 12(2) of is referred to it is incorporated into this agreement. agent for a named principal and we have approved have paid the Purchase Price, any Expenses and all which such monies become payable until the date of interests. Without prejudice to the generality of the the Sale of Goods Act 1979 and we will pay to you that arrangement, in which case we will address the charges due under the Storage Contract. actual payment; discretion and by way of example, we may: an amount equal to the sum of the Purchase Price, 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. Buyer’s Premium, VAT and Expenses paid by you in Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling 7.1.6 to repossess the Lot (or any part thereof) which has 8.1.1 retain the Lot to investigate any question raised or respect of the Lot. and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for not become your property, and for this purpose reasonably expected by us to be raised in relation to hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in (unless you buy the Lot as a Consumer) you hereby the Lot; and/or 9.6 The benefit of paragraph 9 is personal to, and down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. grant an irrevocable licence to us, by ourselves, our incapable of assignment by, you. also made between you and Bonhams on the terms all such sums. servants or agents, to enter upon all or any of your 8.1.2 deliver the Lot to a person other than you; and/or in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, premises (with or without vehicles) during normal 9.7 If you sell or otherwise dispose of your interest in the 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed business hours to take possession of any Lot or part 8.1.3 commence interpleader proceedings or seek any Lot, all rights and benefits under this paragraph will 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our thereof; other order of any court, mediator, arbitrator or cease. answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including government body; and/or breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of 7.1.7 to sell the Lot Without Reserve by auction, private 9.8 Paragraph 9 does not apply to a Lot made up of or unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any treaty or any other means on giving you three 8.1.4 require an indemnity and/or security from you in including a Chinese painting or Chinese paintings, a event before any collection of the Lot by you or on months’ written notice of our intention to do so; return for pursuing a course of action agreed to by motor vehicle or motor vehicles, a Stamp or Stamps 1.5 Our personal obligations to you are governed by 3.6 Time will be of the essence in relation to any your behalf. you. or a Book or Books. this agreement and we agree, subject to the terms payment payable to us. If you do not pay the 7.1.8 to retain possession of any of your other property in below, to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT our possession for any purpose (including, without 8.2 The discretion referred to in paragraph 8.1: 10 OUR LIABILITY accordance with this paragraph 3, we will have the limitation, other goods sold to you or with us for Sale) 1.5.1 we will, until the date and time specified in the Notice rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your until all sums due to us have been paid in full; 8.2.1 may be exercised at any time during which we have 10.1 We will not be liable whether in negligence, other to Bidders or otherwise notified to you, store the Lot removal of the Lot or until the time and date set out actual or constructive possession of the Lot, or at tort, breach of contract or statutory duty or in in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down in the Notice to Bidders, on the Sale Information 7.1.9 to apply any monies received from you for any any time after such possession, where the cessation restitution or under the Misrepresentation Act 1967 to you, any monies we receive from you will be Page or at the back of the catalogue (or if no date purpose whether at the time of your default or at any of such possession has occurred by reason of any or in any other way for lack of conformity with or 1.5.2 subject to any power of the Seller or us to refuse to applied firstly pro-rata to pay the Purchase Price of is specified, by 4.30pm on the seventh day after the time thereafter in payment or part payment of any decision, order or ruling of any court, mediator, any inaccuracy, error, misdescription or omission in release the Lot to you, we will release the Lot to you each Lot and secondly pro-rata to pay all amounts Sale) and, subject to paragraphs 6 and 10, to be sums due to us by you under this agreement; arbitrator or government body; and any Description of the Lot or any Entry or Estimate in accordance with paragraph 4 once you have paid due to Bonhams. responsible as bailee to you for damage to or the in respect of it, made by us or on our behalf or by to us, in cleared funds, everything due to us and the loss or destruction of the Lot (notwithstanding that it 7.1.10 on three months’ written notice to sell, Without 8.2.2 will not be exercised unless we believe that there or on behalf of the Seller (whether made in writing, Seller; 4 COLLECTION OF THE LOT is not your property before payment of the Purchase Reserve, any of your other property in our exists a serious prospect of a good arguable case in including in the Catalogue, or on the Bonhams’ Price). If you do not collect the Lot before the time possession or under our control for any purpose favour of the claim. Website, or orally, or by conduct or otherwise) and 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no (including other goods sold to you or with us for whether made before or after this agreement or prior paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day Sale) and to apply any monies due to you as a result 9 FORGERIES to or during the Sale. in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another of such Sale in payment or part payment of any 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out amounts owed to us; 9.1 We undertake a personal responsibility for any 10.2 Our duty to you while the Lot is at your risk and/or or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have Forgery in accordance with the terms of this your property and in our custody and/or control is to obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, 7.1.11 refuse to allow you to register for a future Sale or to paragraph 9. exercise reasonable care in relation to it, but we will fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, reject a bid from you at any future Sale or to require not be responsible for damage to the Lot or to other Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to you to pay a deposit before any bid is accepted by 9.2 Paragraph 9 applies only if: persons or things caused by: completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the us at any future Sale in which case we will be entitled may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with to apply such deposit in payment or part payment, 9.2.1 your name appears as the named person to whom 10.2.1 handling the Lot if it was affected at the time of Sale or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. as the case may be, of the Purchase Price of any Lot the original invoice was made out by us in respect of to you by woodworm and any damage is caused as writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. of which you are the Buyer. the Lot and that invoice has been paid; and a result of it being affected by woodworm; or Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot 7.2 You agree to indemnify us against all legal and other 9.2.2 you notify us in writing as soon as reasonably 10.2.2 changes in atmospheric pressure; nor will we be during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us costs, all losses and all other Expenses (whether or practicable after you have become aware that the liable for: incorporated into this agreement between you and Notice to Bidders for collection on the days and will title in the Lot pass to you. However under the not court proceedings will have been issued) incurred Lot is or may be a Forgery, and in any event within us. Any such Description or Estimate, if made by us times specified in the Notice to Bidders. Thereafter, Contract for Sale, the risk in the Lot passed to you by us as a result of our taking steps under this one year after the Sale, that the Lot is a Forgery; and 10.2.3 damage to tension stringed musical instruments; or or on our behalf, was (unless Bonhams itself sells the Lot may be removed elsewhere for storage and when it was knocked down to you. paragraph 7 on a full indemnity basis together with the Lot as principal) made as agent on behalf of the you must enquire from us as to when and where you interest thereon (after as well as before judgement or 9.2.3 within one month after such notification has been 10.2.4 damage to gilded picture frames, plaster picture Seller. can collect it, although this information will usually be 6.2 You are advised to obtain insurance in respect of the order) at the rate specified in paragraph 7.1.5 from given, you return the Lot to us in the same condition frames or picture frame glass; and if the Lot is or set out in the Notice to Bidders. Lot as soon as possible after the Sale. the date upon which we become liable to pay the as it was at the time of the Sale, accompanied by becomes dangerous, we may dispose of it without 2 PERFORMANCE OF THE CONTRACT FOR same until payment by you. written evidence that the Lot is a Forgery and details notice to you in advance in any manner we think fit SALE of the Sale and Lot number sufficient to identify the and we will be under no liability to you for doing so. Lot. You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.

NTB/MAIN/1.2018/V2 NTB/MAIN/1.2018/V2 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are for Business profits, revenue or income or for loss of reflected the then accepted general opinion of convenience only and will not affect its interpretation. Business reputation or for disruption to Business or scholars and experts or fairly indicated that there wasted time on the part of the Buyer’s management was a conflict of such opinion; or 12.8 In this agreement “including” means “including, or staff or, if you are buying the Lot in the course of without limitation”. a Business, for any indirect losses or consequential it can be established that the Lot is a non- damages of any kind, irrespective in any case of conforming Lot only by means of a process not 12.9 References to the singular will include reference to the nature, volume or source of the loss or damage generally accepted for use until after the date on the plural (and vice versa) and reference to any one alleged to be suffered, and irrespective of whether which the Catalogue was published or by means gender will include reference to the other genders. the said loss or damage is caused by or claimed of a process which it was unreasonable in all the in respect of any negligence, other tort, breach of circumstances for us to have employed; or 12.10 Reference to a numbered paragraph is to a contract, statutory duty, bailee’s duty, a restitutionary paragraph of this agreement. claim or otherwise. the Lot comprises atlases, maps, autographs, manuscripts, extra illustrated books, music or 12.11 Save as expressly provided in paragraph 12.12 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or nothing in this agreement confers (or purports to circumstances where we are liable to you in confer) on any person who is not a party to this respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under agreement any benefit conferred by, or the right to representation in respect of it, or this agreement “collections” or “collections and various” or the Lot enforce any term of, this agreement. or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain a an indemnity or contribution or for a restitutionary collection, issue or Books which are undescribed or 12.12 Where this agreement confers an immunity remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the from, and/or an exclusion or restriction of, the limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles responsibility and/or liability of Bonhams, it will also by way of maximum the amount of the Purchase or advertisements. operate in favour and for the benefit of Bonhams’ Price of the Lot plus Buyer’s Premium (less any holding company and the subsidiaries of such sum you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- holding company and the successors and assigns irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the of Bonhams and of such companies and of any source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot officer, employee and agent of Bonhams and such or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from companies, each of whom will be entitled to rely the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse on the relevant immunity and/or exclusion and/or breach of contract, statutory duty, bailee’s duty, a claims and we will pay to you an amount equal to restriction within and for the purposes of Contracts restitutionary claim or otherwise. the sum of the Purchase Price and Buyer’s Premium (Rights of Third Parties) Act 1999, which enables the paid by you in respect of the Lot. benefit of a contract to be extended to a person who You may wish to protect yourself against loss by is not a party to the contract, and generally at law. obtaining insurance. The benefit of paragraph 10 is personal to, and incapable of assignment by, you and if you sell or 13 GOVERNING LAW 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all rights or restricting (whether directly or indirectly) any and benefits under this paragraph will cease. All transactions to which this agreement applies person’s liability or excluding or restricting any and all connected matters will be governed by and person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS construed in accordance with the laws of that part (ii) death or personal injury caused by our negligence of the United Kingdom where the Sale takes (or (or any person under our control or for whom we 12.1 You may not assign either the benefit or burden of is to take) place and we and you each submit to are legally responsible), or (iii) acts or omissions for this agreement. the exclusive jurisdiction of the courts of that part which we are liable under the Occupiers Liability Act of the United Kingdom, save that we may bring 1957, or (iv) any other liability to the extent the same 12.2 Our failure or delay in enforcing or exercising any proceedings against you in any other court of may not be excluded or restricted as a matter of law, power or right under this agreement will not operate competent jurisdiction to the extent permitted by or (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights the laws of the relevant jurisdiction. Bonhams has a conditions. under it except to the extent of any express waiver complaints procedure in place. given to you in writing. Any such waiver will not affect 11 BOOKS MISSING TEXT OR ILLUSTRATIONS our ability subsequently to enforce any right arising DATA PROTECTION – USE OF YOUR INFORMATION under this agreement. Where the Lot is made up wholly of a Book or Books Where we obtain any personal information about you, we and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from shall only use it in accordance with the terms of our Privacy either case referred to as a “non-conforming Lot”), performing that party’s respective obligations Policy (subject to any additional specific consent(s) you may we undertake a personal responsibility for such a under this agreement by circumstances beyond its have given at the time your information was disclosed). A non-conforming Lot in accordance with the terms of reasonable control or if performance of its obligations copy of our Privacy Policy can be found on our Website www. this paragraph, if: would by reason of such circumstances give rise bonhams.com or requested by post from Customer Services to a significantly increased financial cost to it, that Department, 101 New Bond Street, London W1S 1SR, United the original invoice was made out by us to you in party will not, for so long as such circumstances Kingdom or by email from [email protected]. respect of the Lot and that invoice has been paid; prevail, be required to perform such obligations. This and paragraph does not apply to the obligations imposed APPENDIX 3 on you by paragraph 3. you notify us in writing as soon as reasonably DEFINITIONS AND GLOSSARY practicable after you have become aware that the 12.4 Any notice or other communication to be given Lot is or may be a non-conforming Lot, and in any under this agreement must be in writing and may Where these Definitions and Glossary are incorporated, the event within 20 days after the Sale (or such longer be delivered by hand or sent by first class post or following words and phrases used have (unless the context period as we may agree in writing) that the Lot is a air mail or fax transmission (if to Bonhams marked otherwise requires) the meanings given to them below. The non-conforming Lot; and for the attention of the Company Secretary), to the Glossary is to assist you to understand words and phrases address or fax number of the relevant party given which have a specific legal meaning with which you may not within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change be familiar. such longer period as we may agree in writing) you of address is given in writing). It is the responsibility return the Lot to us in the same condition as it was of the sender of the notice or communication to LIST OF DEFINITIONS at the time of the Sale, accompanied by written ensure that it is received in a legible form within any evidence that the Lot is a non-conforming Lot and applicable time period. “Additional Premium” a premium, calculated in accordance details of the Sale and Lot number sufficient to with the Notice to Bidders, to cover Bonhams’ Expenses identify the Lot. 12.5 If any term or any part of any term of this agreement relating to the payment of royalties under the Artists Resale is held to be unenforceable or invalid, such Right Regulations 2006 which is payable by the Buyer to but not if: unenforceability or invalidity will not affect the Bonhams on any Lot marked [AR] which sells for a Hammer enforceability and validity of the remaining terms or Price which together with the Buyer’s Premium (but excluding the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. any VAT) equals or exceeds 1000 euros (converted into indicates that the rights given by this paragraph do the currency of the Sale using the European Central Bank not apply to it; or 12.6 References in this agreement to Bonhams will, where Reference rate prevailing on the date of the Sale). appropriate, include reference to Bonhams’ officers, “Auctioneer” the representative of Bonhams conducting employees and agents. the Sale.

NTB/MAIN/1.2018/V2 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are for “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 convenience only and will not affect its interpretation. “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 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 was a conflict of such opinion; or 12.8 In this agreement “including” means “including, “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 without limitation”. 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- the Conditions of Business and the Notice to Bidders by the at auction or by private treaty (and reference to any Lot will “indemnity”: an obligation to put the person who has the damages of any kind, irrespective in any case of conforming Lot only by means of a process not 12.9 References to the singular will include reference to words “we”, “us” and “our”. include, unless the context otherwise requires, reference to benefit of the indemnity in the same position in which he would the nature, volume or source of the loss or damage generally accepted for use until after the date on the plural (and vice versa) and reference to any one “Book” a printed Book offered for Sale at a specialist Book individual items comprised in a group of two or more items have been, had the circumstances giving rise to the indemnity alleged to be suffered, and irrespective of whether which the Catalogue was published or by means gender will include reference to the other genders. Sale. offered for Sale as one Lot). not arisen and the expression “indemnify” is construed the said loss or damage is caused by or claimed of a process which it was unreasonable in all the “Business” includes any trade, Business and profession. “Motoring Catalogue Fee” a fee payable by the Seller to accordingly. in respect of any negligence, other tort, breach of circumstances for us to have employed; or 12.10 Reference to a numbered paragraph is to a “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 paragraph of this agreement. 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, 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 12.11 Save as expressly provided in paragraph 12.12 “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 nothing in this agreement confers (or purports to “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 confer) on any person who is not a party to this 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 agreement any benefit conferred by, or the right to “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 enforce any term of, this agreement. 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 a “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 collection, issue or Books which are undescribed or 12.12 Where this agreement confers an immunity 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 from, and/or an exclusion or restriction of, the 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 responsibility and/or liability of Bonhams, it will also “Commission” the Commission payable by the Seller to of Business. by way of maximum the amount of the Purchase or advertisements. operate in favour and for the benefit of Bonhams’ 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 holding company and the subsidiaries of such “Condition Report” a report on the physical condition of a Lot high and low Estimates given by us to you or stated in the sum you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- holding company and the successors and assigns 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 of Bonhams and of such companies and of any 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 officer, employee and agent of Bonhams and such “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 companies, each of whom will be entitled to rely Buyer’s Agreement and Definitions and Glossary. our Catalogues. the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse on the relevant immunity and/or exclusion and/or “Consignment Fee” a fee payable to Bonhams by the Seller “Purchase Price” the aggregate of the Hammer Price and (1) In a contract of sale, other than one to which subsection breach of contract, statutory duty, bailee’s duty, a claims and we will pay to you an amount equal to restriction within and for the purposes of Contracts calculated at rates set out in the Conditions of Business. VAT on the Hammer Price (where applicable), the Buyer’s (3) below applies, there is an implied term on the part of restitutionary claim or otherwise. the sum of the Purchase Price and Buyer’s Premium (Rights of Third Parties) Act 1999, which enables the “Consumer” a natural person who is acting for the relevant Premium and VAT on the Buyer’s Premium and any Expenses. the seller that in the case of a sale he has a right to sell paid by you in respect of the Lot. benefit of a contract to be extended to a person who 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 is not a party to the contract, and generally at law. “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 applicable, signed by or on behalf of the Seller listing the Lots “Sale” the auction Sale at which a Lot is to be offered forSale pass. incapable of assignment by, you and if you sell or 13 GOVERNING LAW 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 rights “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 and benefits under this paragraph will cease. All transactions to which this agreement applies Seller with the Buyer (see Appendix 1 in the Catalogue). Sale of a Lot, being the Hammer Price less the Commission, (3) below applies, there is also an implied term that- person’s liability or excluding or restricting any and all connected matters will be governed by and “Contractual Description” the only Description of the Lot any VAT chargeable thereon, Expenses and any other amount person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS construed in accordance with the laws of that part (being that part of the Entry about the Lot in the Catalogue due to us in whatever capacity and howsoever arising. (a) the goods are free, and will remain free until (ii) death or personal injury caused by our negligence of the United Kingdom where the Sale takes (or 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 12.1 You may not assign either the benefit or burden of is to take) place and we and you each submit to 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 are legally responsible), or (iii) acts or omissions for this agreement. the exclusive jurisdiction of the courts of that part 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 which we are liable under the Occupiers Liability Act of the United Kingdom, save that we may bring “Description” any statement or representation in any person named on the Contract Form acts as an agent for a 1957, or (iv) any other liability to the extent the same 12.2 Our failure or delay in enforcing or exercising any proceedings against you in any other court of way descriptive of the Lot, including any statement or principal (whether such agency is disclosed to Bonhams or (b) the buyer will enjoy quiet possession of the may not be excluded or restricted as a matter of law, power or right under this agreement will not operate competent jurisdiction to the extent permitted by representation relating to its authorship, attribution, condition, not), “Seller” includes both the agent and the principal who goods except in so far as it may be disturbed by or (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights the laws of the relevant jurisdiction. Bonhams has a provenance, authenticity, style, period, age, suitability, quality, shall be jointly and severally liable as such. The Seller is also the owner or other person entitled to the benefit conditions. under it except to the extent of any express waiver complaints procedure in place. origin, value, estimated selling price (including the Hammer referred to in the Conditions of Business by the words “you” of any charge or encumbrance so disclosed or given to you in writing. Any such waiver will not affect Price). and “your”. known. 11 BOOKS MISSING TEXT OR ILLUSTRATIONS our ability subsequently to enforce any right arising DATA PROTECTION – USE OF YOUR INFORMATION “Entry” a written statement in the Catalogue identifying the “Specialist Examination” a visual examination of a Lot by a under this agreement. Lot and its Lot number which may contain a Description and specialist on the Lot. (3) This subsection applies to a contract of sale in the Where the Lot is made up wholly of a Book or Books Where we obtain any personal information about you, we illustration(s) relating to the Lot. “Stamp” means a postage Stamp offered for Sale at a case of which there appears from the contract or is and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from shall only use it in accordance with the terms of our Privacy “Estimate” a statement of our opinion of the range within Specialist Stamp Sale. to be inferred from its circumstances an intention that either case referred to as a “non-conforming Lot”), performing that party’s respective obligations Policy (subject to any additional specific consent(s) you may which the hammer is likely to fall. “Standard Examination” a visual examination of a Lot by a the seller should transfer only such title as he or a third we undertake a personal responsibility for such a under this agreement by circumstances beyond its have given at the time your information was disclosed). A “Expenses” charges and Expenses paid or payable by non-specialist member of Bonhams’ staff. person may have. non-conforming Lot in accordance with the terms of reasonable control or if performance of its obligations copy of our Privacy Policy can be found on our Website www. Bonhams in respect of the Lot including legal Expenses, “Storage Contract” means the contract described in this paragraph, if: would by reason of such circumstances give rise bonhams.com or requested by post from Customer Services banking charges and Expenses incurred as a result of paragraph 8.3.3 of the Conditions of Business or paragraph (4) In a contract to which subsection (3) above applies there to a significantly increased financial cost to it, that Department, 101 New Bond Street, London W1S 1SR, United an electronic transfer of money, charges and Expenses 4.4 of the Buyer’s Agreement (as appropriate). is an implied term that all charges or encumbrances the original invoice was made out by us to you in party will not, for so long as such circumstances Kingdom or by email from [email protected]. for loss and damage cover, insurance, Catalogue and “Storage Contractor” means the company identified as such known to the seller and not known to the buyer have respect of the Lot and that invoice has been paid; prevail, be required to perform such obligations. This other reproductions and illustrations, any customs duties, in the Catalogue. been disclosed to the buyer before the contract is and paragraph does not apply to the obligations imposed APPENDIX 3 advertising, packing or shipping costs, reproductions rights’ “Terrorism” means any act or threatened act of terrorism, made. on you by paragraph 3. fees, taxes, levies, costs of testing, searches or enquiries, whether any person is acting alone or on behalf of or in you notify us in writing as soon as reasonably DEFINITIONS AND GLOSSARY preparation of the Lot for Sale, storage charges, removal connection with any organisation(s) and/or government(s), (5) In a contract to which subsection (3) above applies practicable after you have become aware that the 12.4 Any notice or other communication to be given charges, removal charges or costs of collection from the Seller committed for political, religious or ideological or similar there is also an implied term that none of the following Lot is or may be a non-conforming Lot, and in any under this agreement must be in writing and may Where these Definitions and Glossary are incorporated, the as the Seller’s agents or from a defaulting Buyer, plus VAT if purposes including, but not limited to, the intention to influence will disturb the buyer’s quiet possession of the goods, event within 20 days after the Sale (or such longer be delivered by hand or sent by first class post or following words and phrases used have (unless the context applicable. any government and/or put the public or any section of the namely: period as we may agree in writing) that the Lot is a air mail or fax transmission (if to Bonhams marked otherwise requires) the meanings given to them below. The “Forgery” an imitation intended by the maker or any other public into fear. non-conforming Lot; and for the attention of the Company Secretary), to the Glossary is to assist you to understand words and phrases person to deceive as to authorship, attribution, origin, “Trust Account” the bank account of Bonhams into which all (a) the seller; address or fax number of the relevant party given which have a specific legal meaning with which you may not authenticity, style, date, age, period, provenance, culture, sums received in respect of the Purchase Price of any within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change be familiar. 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 such longer period as we may agree in writing) you of address is given in writing). It is the responsibility 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 return the Lot to us in the same condition as it was of the sender of the notice or communication to LIST OF DEFINITIONS 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; at the time of the Sale, accompanied by written ensure that it is received in a legible form within any an imitation in any description of the Lot. A Lot will not be a Sale in the United Kingdom. evidence that the Lot is a non-conforming Lot and applicable time period. “Additional Premium” a premium, calculated in accordance 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 details of the Sale and Lot number sufficient to with the Notice to Bidders, to cover Bonhams’ Expenses 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 identify the Lot. 12.5 If any term or any part of any term of this agreement relating to the payment of royalties under the Artists Resale 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 is held to be unenforceable or invalid, such Right Regulations 2006 which is payable by the Buyer to restoration or modification work (as the case may be) does not “Without Reserve” where there is no minimum price at which before the contract is made. but not if: unenforceability or invalidity will not affect the Bonhams on any Lot marked [AR] which sells for a Hammer substantially affect the identity of the Lot as one conforming to a Lot may be sold (whether at auction or by private treaty). enforceability and validity of the remaining terms or Price which together with the Buyer’s Premium (but excluding the Description of the Lot. (5A) As regards England and Wales and Northern Ireland, the the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. any VAT) equals or exceeds 1000 euros (converted into “Guarantee” the obligation undertaken personally by GLOSSARY term implied by subsection (1) above is a condition and indicates that the rights given by this paragraph do the currency of the Sale using the European Central Bank Bonhams to the Buyer in respect of any Forgery and, in the the terms implied by subsections (2), (4) and (5) above not apply to it; or 12.6 References in this agreement to Bonhams will, where Reference rate prevailing on the date of the Sale). case of specialist Stamp Sales and/or specialist Book Sales, a The following expressions have specific legal meanings with are warranties.” appropriate, include reference to Bonhams’ officers, “Auctioneer” the representative of Bonhams conducting Lot made up of a Stamp or Stamps or a Book or Books as set which you may not be familiar. The following glossary is employees and agents. the Sale. out in the Buyer’s Agreement. intended to give you an understanding of those expressions “Hammer Price” the price in the currency in which the Sale is but is not intended to limit their legal meanings: conducted at which a Lot is knocked down by the Auctioneer.

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

19th Century Paintings British & European Glass Furniture Modern, Contemporary Russian Art UK UK UK & Latin American Art UK Charles O’ Brien John Sandon Thomas Moore U.S.A Daria Khristova +44 20 7468 8360 +44 20 7468 8244 +44 20 8963 2816 Alexis Chompaisal +44 20 7468 8334 U.S.A U.S.A +1 323 436 5469 U.S.A Madalina Lazen British Ceramics Andrew Jones Yelena Harbick +1 212 644 9108 UK +1 415 503 3413 Modern & Contemporary +1 212 644 9136 John Sandon Middle Eastern Art 20th Century British Art +44 20 7468 8244 European Sculptures Nima Sagharchi Scientific Instruments Matthew Bradbury & Works of Art +44 20 7468 8342 Jon Baddeley +44 20 7468 8295 California & UK +44 20 7393 3872 American Paintings Michael Lake Modern & Contemporary U.S.A. Aboriginal Art Scot Levitt +44 20 8963 6813 South Asian Art Jonathan Snellenburg Francesca Cavazzini +1 323 436 5425 Tahmina Ghaffar +1 212 461 6530 +61 2 8412 2222 Greek Art +44 207 468 8382 Carpets Anastasia Orfanidou Scottish Pictures African Modern & UK +44 20 7468 8356 Modern Design Chris Brickley Contemporary Art Helena Gumley-Mason Gareth Williams +44 131 240 2297 Giles Peppiatt +44 20 8393 2615 Golf Sporting +44 20 7468 5879 + 44 20 7468 8355 U.S.A Memorabilia Silver & Gold Boxes Celeste Smith Kevin McGimpsey Motor Cars UK African, Oceanic +415 503 3214 +44 131 240 2296 UK Ellis Finch & Pre-Columbian Art Hamish Wilson Tim Schofield +44 20 7393 3973 U.S.A Chinese & Asian Art +44 131 240 0916 +44 20 7468 5804 U.S.A Fredric Backlar UK U.S.A Aileen Ward +1 323 436 5416 Asaph Hyman Irish Art Mark Osborne +1 323 436 5463 +44 20 7468 5888 Penny Day +1 415 503 3353 American Paintings U.S.A +44 20 7468 8366 EUROPE South African Art Liz Goodridge Dessa Goddard Philip Kantor Giles Peppiatt +1 917 206 1621 +1 415 503 3333 Impressionist & +32 476 879 471 +44 20 7468 8355 HONG KONG Modern Art Antiquities Xibo Wang UK Automobilia Sporting Guns Francesca Hickin +852 3607 0010 India Phillips UK Patrick Hawes +44 20 7468 8226 AUSTRALIA +44 20 7468 8328 Toby Wilson +44 20 7393 3815 Yvett Klein U.S.A +44 20 8963 2842 Antique Arms & Armour +61 2 8412 2231 Nathania Nisonson Adrian Pipiros Travel Pictures UK +1 917 206 1617 +44 20 8963 2840 Veronique Scorer David Williams Clocks +44 20 7393 3962 +44 20 7393 3807 UK Indian, Himalayan & Motorcycles U.S.A James Stratton Southeast Asian Art Ben Walker Urban Art James Ferrell +44 20 7468 8364 H.K. +44 20 8963 2819 Gareth Williams +1 415 503 3332 U.S.A Edward Wilkinson +44 20 7468 5879 Jonathan Snellenburg +852 2918 4321 Native American Art Art Collections, +1 212 461 6530 U.S.A Ingmars Lindbergs Watches & Estates & Valuations Mark Rasmussen +1 415 503 3393 Wristwatches Harvey Cammell Coins & Medals +1 917 206 1688 UK +44 (0) 20 7468 8340 UK Natural History Jonathan Darracott John Millensted Islamic & Indian Art U.S.A +44 20 7447 7412 Art Nouveau & Decorative +44 20 7393 3914 Oliver White Claudia Florian U.S.A. Art & Design U.S.A +44 20 7468 8303 +1 323 436 5437 Jonathan Snellenburg UK Paul Song +1 212 461 6530 Mark Oliver +1 323 436 5455 Japanese Art Old Master Pictures H.K. +44 20 7393 3856 UK UK Tim Bourne U.S.A Contemporary Art Suzannah Yip Andrew Mckenzie +852 3607 0021 Benjamin Walker UK +44 20 7468 8368 +44 20 7468 8261 +1 212 710 1306 Ralph Taylor U.S.A U.S.A Whisky Dan Tolson +44 20 7447 7403 Jeff Olson Mark Fisher UK +1 917 206 1611 U.S.A +1 212 461 6516 +1 323 436 5488 Martin Green Jeremy Goldsmith +44 131 225 2266 Australian Art +1 917 206 1656 Jewellery Orientalist Art HONG KONG Merryn Schriever UK Charles O’Brien Daniel Lam +61 2 8412 2222 Entertainment Jean Ghika +44 20 7468 8360 +852 2918 4321 Alex Clark Memorabilia +44 20 7468 8282 +61 3 8640 4088 UK U.S.A Photography Wine Katherine Schofield Caroline Morrissey U.S.A UK Australian Colonial +44 20 7393 3871 +1 212 644 9046 Laura Paterson Richard Harvey Furniture and Australiana U.S.A HONG KONG +1 917 206 1653 +44 20 7468 5811 +61 2 8412 2222 Catherine Williamson Graeme Thompson U.S.A +1 323 436 5442 +852 3607 0006 Prints and Multiples Erin McGrath Books, Maps & UK +1 415 503 3319 Manuscripts European Ceramics Marine Art Lucia Tro Santafe HONG KONG UK UK UK +44 20 7468 8262 Daniel Lam Matthew Haley Sebastian Kuhn Veronique Scorer U.S.A +852 2918 4321 +44 20 7393 3817 +44 20 7468 8384 +44 20 7393 3962 Morisa Rosenberg U.S.A U.S.A +1 323 447 9374 Catherine Williamson +1 415 503 3326 Mechanical Music +1 323 436 5442 Jon Baddeley +44 20 7393 3872

SD02/08/18 International Salerooms, Offices and Associated Companies( • Indicates Saleroom) To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected] UNITED KINGDOM Midlands EUROPE Switzerland - Geneva Georgia ASIA Rue Etienne-Dumont 10 Mary Moore Bethea London Knowle Austria 1204 Geneva +1 (404) 842 1500 Hong Kong • 19th Century Paintings British & European Glass Furniture Modern, Contemporary Russian Art 101 New Bond Street • The Old House Thomas Kamm +41 (0) 22 300 3160 [email protected] Suite 2001 UK UK UK & Latin American Art UK London W1S 1SR Station Road +49 (0) 89 2420 5812 [email protected] One Pacific Place +44 20 7447 7447 Knowle, Solihull [email protected] Illinois & Midwest 88 Queensway Charles O’ Brien John Sandon Thomas Moore U.S.A Daria Khristova Ricki Blumberg Harris +44 20 7447 7400 fax West Midlands Switzerland - Zurich Admiralty +44 20 7468 8360 +44 20 7468 8244 +44 20 8963 2816 Alexis Chompaisal +44 20 7468 8334 B93 0HT Andrea Bodmer Natalie B. Waechter Hong Kong Belgium +1 (773) 267 3300 U.S.A U.S.A +1 323 436 5469 U.S.A Montpelier Street • +44 1564 776 151 Boulevard Dreikönigstrasse 31a +852 2918 4321 [email protected] Madalina Lazen British Ceramics Andrew Jones Yelena Harbick London SW7 1HH +44 1564 778 069 fax Saint-Michel 101 8002 Zürich +852 2918 4320 fax +1 212 644 9108 UK +1 415 503 3413 Modern & Contemporary +1 212 644 9136 +41 44 281 9535 [email protected] +44 20 7393 3900 1040 Brussels Massachusetts John Sandon Middle Eastern Art +44 20 7393 3905 fax Oxford +32 (0) 2 736 5076 [email protected] Amy Corcoran Banbury Road [email protected] Beijing 20th Century British Art +44 20 7468 8244 European Sculptures Nima Sagharchi Scientific Instruments +1 (617) 742 0909 Jessica Zhang Matthew Bradbury & Works of Art +44 20 7468 8342 Jon Baddeley Shipton on Cherwell [email protected] Kidlington OX5 1JH Suite 511 +44 20 7468 8295 California & UK +44 20 7393 3872 South East France MIDDLE EAST +44 1865 853 640 4 rue de la Paix Chang An Club England Nevada American Paintings Michael Lake Modern & Contemporary U.S.A. +44 1865 372 722 fax 75002 Paris Israel 10 East Chang An Avenue David Daniel Beijing 100006 Aboriginal Art Scot Levitt +44 20 8963 6813 South Asian Art Jonathan Snellenburg Guildford +33 (0) 1 42 61 10 10 Joslynne Halibard +972 (0)54 553 5337 +1 (775) 831 0330 +86(0) 10 6528 0922 Francesca Cavazzini +1 323 436 5425 Tahmina Ghaffar +1 212 461 6530 Millmead, [email protected] [email protected] Greek Art Guildford, Yorkshire & North East joslynne.halibard@ +86(0) 10 6528 0933 fax +61 2 8412 2222 +44 207 468 8382 [email protected] Carpets Anastasia Orfanidou Scottish Pictures Surrey GU2 4BE England Germany - Cologne bonhams.com +44 1483 504 030 Katharina Schmid New Mexico African Modern & UK +44 20 7468 8356 Modern Design Chris Brickley Terri Adrian-Hardy +44 1483 450 205 fax Leeds +49 (0) 221 9865 3419 Singapore Contemporary Art Helena Gumley-Mason Gareth Williams +44 131 240 2297 +1 (602) 859 1843 Bernadette Rankine The West Wing +49 (0) 157 9234 6717 NORTH AMERICA Giles Peppiatt +44 20 8393 2615 Golf Sporting +44 20 7468 5879 Bowcliffe Hall [email protected] 11th Floor, Wisma Atria Isle of Wight [email protected] 435 Orchard Road + 44 20 7468 8355 U.S.A Memorabilia Silver & Gold Boxes +44 1273 220 000 Bramham USA Celeste Smith Kevin McGimpsey Motor Cars UK Leeds Oregon Singapore 238877 Germany - Munich • Sheryl Acheson +65 (0) 6701 8038 Representative: LS23 6LP Maximilianstrasse 52 San Francisco African, Oceanic +415 503 3214 +44 131 240 2296 UK Ellis Finch 220 San Bruno Avenue +1 (971) 727 7797 +65 (0) 6701 8001 fax +44 113 234 5755 80538 Munich & Pre-Columbian Art Hamish Wilson Tim Schofield +44 20 7393 3973 Brighton & Hove San Francisco [email protected] bernadette.rankine@ Tim Squire-Sanders +44 113 244 3910 fax +49 (0) 89 2420 5812 U.S.A Chinese & Asian Art +44 131 240 0916 +44 20 7468 5804 U.S.A CA 94103 bonhams.com +44 1273 220 000 [email protected] +1 (415) 861 7500 Texas Fredric Backlar UK U.S.A Aileen Ward +1 (415) 861 8951 fax Amy Lawch Taiwan +1 323 436 5416 Asaph Hyman Irish Art Mark Osborne +1 323 436 5463 West Sussex North West England Germany - Stuttgart +1 (713) 621 5988 37th Floor, Taipei 101 Tower +44 20 7468 5888 Penny Day +1 415 503 3353 +44 (0) 1273 220 000 Neue Brücke 2 Los Angeles • [email protected] No. 7 Xinyi Road, Section 5 American Paintings U.S.A +44 20 7468 8366 EUROPE South African Art Chester New Bridge Offices Taipei, 100 2 St Johns Court, 7601 W. Sunset Boulevard Liz Goodridge Dessa Goddard Philip Kantor Giles Peppiatt 70173 Stuttgart Los Angeles Virginia +886 2 8758 2898 Impressionist & South West Vicars Lane, +49 (0) 711 2195 2640 Gertraud Hechl +886 2 8758 2897 fax +1 917 206 1621 +1 415 503 3333 +32 476 879 471 +44 20 7468 8355 Chester, CA 90046 HONG KONG Modern Art England +49 (0) 157 9234 6717 +1 (323) 850 7500 +1 (202) 422 2733 [email protected] CH1 1QE [email protected] Antiquities Xibo Wang UK Automobilia Sporting Guns +1 (323) 850 6090 fax [email protected] Bath +44 1244 313 936 Francesca Hickin +852 3607 0010 India Phillips UK Patrick Hawes +44 1244 340 028 fax Queen Square House Greece • Washington AUSTRALIA +44 20 7468 8226 AUSTRALIA +44 20 7468 8328 Toby Wilson +44 20 7393 3815 Charlotte Street 7 Neofytou Vamva Street New York 580 Madison Avenue Heather O’Mahony Bath BA1 2LL Manchester Athens 10674 Yvett Klein U.S.A +44 20 8963 2842 New York, NY +1 (206) 566 3913 Sydney +44 1225 788 988 The Stables +30 (0) 210 3636 404 Antique Arms & Armour +61 2 8412 2231 Nathania Nisonson Adrian Pipiros Travel Pictures 10022 [email protected] 97-99 Queen Street, +44 1225 446 675 fax 213 Ashley Road [email protected] Woollahra, NSW 2025 UK +1 917 206 1617 +44 20 8963 2840 Veronique Scorer Hale WA15 9TB +1 (212) 644 9001 Washington DC Australia David Williams Clocks +44 20 7393 3962 +44 161 927 3822 +1 (212) 644 9007 fax Cornwall – Truro Ireland Mid-Atlantic Region +61 (0) 2 8412 2222 +44 20 7393 3807 UK Indian, Himalayan & Motorcycles +44 161 927 3824 fax Gertraud Hechl 36 Lemon Street 31 Molesworth Street Representatives: +61 (0) 2 9475 4110 fax U.S.A James Stratton Southeast Asian Art Ben Walker Urban Art +1 (202) 422 2733 Truro Dublin 2 [email protected] James Ferrell +44 20 7468 8364 H.K. +44 20 8963 2819 Gareth Williams Cornwall +353 (0) 1 602 0990 Arizona washingtonDC Terri Adrian-Hardy @bonhams.com +1 415 503 3332 U.S.A Edward Wilkinson +44 20 7468 5879 TR1 2NR Channel Islands [email protected] +1 (602) 859 1843 Melbourne Jonathan Snellenburg +852 2918 4321 Native American Art +44 1872 250 170 [email protected] Como House +44 1872 250 179 fax Jersey Italy - Milan Como Avenue Art Collections, +1 212 461 6530 U.S.A Ingmars Lindbergs Watches & La Chasse Via Boccaccio 22 California CANADA South Yarra Estates & Valuations Mark Rasmussen +1 415 503 3393 Wristwatches La Rue de la Vallee Exeter 20123 Milano Central Valley Melbourne VIC 3141 Harvey Cammell Coins & Medals +1 917 206 1688 UK The Lodge St Mary +39 0 2 4953 9020 Toronto, Ontario David Daniel Kristin Kearney Australia +44 (0) 20 7468 8340 UK Natural History Jonathan Darracott Southernhay West Exeter, Jersey JE3 3DL [email protected] +1 (916) 364 1645 +61 (0) 3 8640 4088 Devon +44 1534 722 441 340 King St East John Millensted Islamic & Indian Art U.S.A +44 20 7447 7412 [email protected] 2nd Floor, Office 213 +61 (0) 2 9475 4110 fax Art Nouveau & Decorative +44 20 7393 3914 Oliver White Claudia Florian U.S.A. EX1 1JG +44 1534 759 354 fax Italy - Rome [email protected] +44 1392 425 264 Via Sicilia 50 Toronto ON Art & Design U.S.A +44 20 7468 8303 +1 323 436 5437 Jonathan Snellenburg Representative: California M5A 1K8 +44 1392 494 561 fax 00187 Roma Palm Springs UK Paul Song +1 212 461 6530 Guernsey +39 06 485 900 +1 (416) 462 9004 Japanese Art Old Master Pictures Brooke Sivo [email protected] AFRICA Mark Oliver +1 323 436 5455 H.K. Tetbury +44 1481 722 448 [email protected] +44 20 7393 3856 UK UK Tim Bourne +1 (760) 350 4255 Eight Bells House [email protected] Montreal, Quebec Nigeria U.S.A Contemporary Art Suzannah Yip Andrew Mckenzie +852 3607 0021 14 Church Street The Netherlands David Kelsey Neil Coventry Benjamin Walker UK +44 20 7468 8368 +44 20 7468 8261 Tetbury Scotland De Lairessestraat 154 California +1 (514) 894 1138 +234 (0)8110 033 792 +1 212 710 1306 Ralph Taylor U.S.A U.S.A Whisky Gloucestshire 1075 HL Amsterdam [email protected] +27 (0)7611 20171 • San Diego Dan Tolson +44 20 7447 7403 Jeff Olson Mark Fisher UK GL8 8JG Edinburgh +31 (0) 20 67 09 701 Brooke Sivo [email protected] +44 1666 502 200 22 Queen Street [email protected] +1 (760) 567 1744 +1 917 206 1611 U.S.A +1 212 461 6516 +1 323 436 5488 Martin Green Edinburgh South Africa - +44 1666 505 107 fax [email protected] SOUTH AMERICA Jeremy Goldsmith +44 131 225 2266 EH2 1JX Portugal Johannesburg Australian Art +1 917 206 1656 Jewellery Orientalist Art HONG KONG Representatives: +44 131 225 2266 Rua Bartolomeu Dias Brazil Penny Culverwell Colorado +27 (0)71 342 2670 Merryn Schriever UK Charles O’Brien Daniel Lam Dorset +44 131 220 2547 fax nº160. 1º +55 11 3031 4444 Lance Vigil [email protected] +61 2 8412 2222 Entertainment Jean Ghika +44 20 7468 8360 +852 2918 4321 Bill Allan Belem +1 (720) 355 3737 +55 11 3031 4444 fax Alex Clark Memorabilia +44 20 7468 8282 +44 1935 815 271 Bonhams West 1400-031 Lisbon [email protected] +61 3 8640 4088 UK U.S.A Photography Wine of Scotland +351 218 293 291 Kirkhill House [email protected] Katherine Schofield Caroline Morrissey U.S.A UK East Anglia and Florida Bury St. Edmunds Broom Road East April Matteini Australian Colonial +44 20 7393 3871 +1 212 644 9046 Laura Paterson Richard Harvey Michael Steel Newton Mearns Spain - Barcelona +1 (305) 978 2459 Furniture and Australiana U.S.A HONG KONG +1 917 206 1653 +44 20 7468 5811 +44 1284 716 190 Glasgow Teresa Ybarra [email protected] +61 2 8412 2222 Catherine Williamson Graeme Thompson U.S.A G77 5LL +34 930 156 686 Alexis Butler +1 323 436 5442 +852 3607 0006 Prints and Multiples Erin McGrath Norfolk +44 141 223 8866 +34 680 347 606 +1 (305) 878 5366 Books, Maps & UK +1 415 503 3319 The Market Place [email protected] [email protected] Manuscripts European Ceramics Marine Art Lucia Tro Santafe HONG KONG Reepham Norfolk NR10 4JJ Wales Spain - Madrid UK UK UK +44 20 7468 8262 Daniel Lam +44 1603 871 443 Núñez de Balboa no 4-1C Matthew Haley Sebastian Kuhn Veronique Scorer U.S.A +852 2918 4321 +44 1603 872 973 fax Representatives: 28001 Madrid +44 20 7393 3817 +44 20 7468 8384 +44 20 7393 3962 Morisa Rosenberg Cardiff +34 915 78 17 27 U.S.A U.S.A +1 323 447 9374 Jeff Muse [email protected] Catherine Williamson +1 415 503 3326 Mechanical Music +44 2920 727 980 +1 323 436 5442 Jon Baddeley +44 20 7393 3872

SD02/08/18

G-NET07/08/18 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above. Paddle number (for office use only)

This sale will be conducted in accordance with 19th Century European, Victorian Wednesday 26 September 2018 Bonhams’ Conditions of Sale and bidding and buying Sale title: and British Impressionist Art Sale date: at the Sale will be regulated by these Conditions. You should read the Conditions in conjunction with Sale no. 24742 Sale venue: New Bond Street, London the Sale Information relating to this Sale which sets out the charges payable by you on the purchases 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 you make and other terms relating to bidding and prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue buying at the Sale. You should ask any questions you for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will have about the Conditions before signing this form. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. These Conditions also contain certain undertakings by bidders and buyers and limit Bonhams’ liability to General Bid Increments: bidders and buyers. £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s Data protection – use of your information £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s Where we obtain any personal information about you, £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s we shall only use it in accordance with the terms of £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion our Privacy Policy (subject to any additional specific £5,000 - 10,000 ...... by 500s consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy The auctioneer has discretion to split any bid at any time. can be found on our website (www.bonhams.com) or requested by post from Customer Services Department, Customer Number Title 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. We may disclose First Name Last Name your personal information to any member of our group which means our subsidiaries, our ultimate holding Company name (to be invoiced if applicable) company and its subsidiaries (whether registered in the UK or elsewhere). We will not disclose your data to Address anyone outside our group but we may from time to time provide you with information about goods and services which we feel maybe of interest to you including those provided by third parties. City County / State Would you like to receive information from us by email? or post Post / Zip code Country

Notice to Bidders. Telephone mobile Telephone daytime Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof Telephone evening Fax of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their Preferred number(s) in order for Telephone Bidding (inc. country code) articles of association / company registration documents, together with a letter authorising the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you E-mail (in capitals) may also be asked to provide a bank reference. By providing your email address above, you authorise Bonhams to send to this address information relating to Sales, marketing material and news concerning Bonhams. Bonhams does not sell or trade email addresses. If successful I am registering to bid as a private buyer I am registering to bid as a trade buyer I will collect the purchases myself

Please arrange shippers to contact me with If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before a quote and I agree that you may pass them my contact details. / - - Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Absentee (T / A) Covering bid & VAT) *

FOR WINE SALES ONLY

Please leave lots “available under bond” in bond Please include delivery charges (minimum charge of £20 + VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB.* Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. UK/07/18

Bonhams 101 New Bond Street London, W1S 1SR

+44 (0) 20 7447 7447 bonhams.com

AUCTIONEERS SINCE 1793