Victorian, Pre Raphaelite & British Impressionist Art

SOUTH KENSINGTON
VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART
THURSDAY12 MARCH 2015 AT 2.00 PM
international Victorian, Pre-raPhaelite

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Victorian art auctions

AUCTION CALENDAR 2015
TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE.
CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
12 MARCH
LONDON, SOUTH KENSINGTON
16 JUNE
LONDON, KING STREET
8 JULY
& BRITISH IMPRESSIONIST ART;
MARITIME, SPORTING & WILDLIFE ART
16 DECEMBER
LONDON, KING STREET
26 NOVEMBER
& BRITISH IMPRESSIONIST ART;
MARITIME, SPORTING & WILDLIFE ART
28/01/15
Subject to change
Victorian, Pre-Raphaelite
& British Impressionist Art
Thursday 12 March 2015
Tom Rooth
Sarah Reynolds
AUCTION
STORAGE AND COLLECTION
Thursday 12 March 2015

at 2.00 pm Lots 1-105
85 Old Brompton Road
London SW7 3LD
Please refer to the important notice

on page 74. Please note that Cadogan
Tates opening hours are Monday to
Friday 9am to 5pm, and purchases
transferred to their warehouse are not
available for collection at weekends.
AUCTION CODE AND NUMBER
In sending absentee bids or making

enquiries, this sale should be referred
to as VICTORIA-10452
Victoria Koehn
VIEWING
Saturday
Sunday
Monday
Tuesday
Wednesday
7 March
8 March
9 March
10 March
11 March
11.00
11.00
9.00
9.00
9.00
am
am
am
am
am
5.00
5.00
7.30
5.00
5.00
pm
pm
pm
pm
pm
AUCTIONEER
James Hastie
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Front cover: Lot 49 (detail)
Inside front cover: Lot 55 (detail)
Inside back cover: Lot 62 (detail)
Back cover: Lot 84 (detail)
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3
2
1
GEORGE HYDE POWNALL (1876-1932)
2
Westminster, London
The Old Curiosity Shop
signed Geo. Hyde. P- (lower right)

oil on board
7 x 11 in. (19 x 28 cm.)
1,500-2,500
$2,300-3,800
2,100-3,300
signed Geo. Hyde. P- (lower right) and inscribed The/Old CuriOsiTy shOp/
immOrTalized by Charles diCkens (centre)
oil on board
7 x 12 in. (7.8 x 30.5 cm.)
1,500-2,500
$2,300-3,800
2,100-3,300
FROM THE COLLECTION OF THE LATE LORD MATTHEWS

3
WILLIAM LOGSDAIL (1859-1944)
Trafalgar Day
signed and dated W Logsdail, 09 (lower left)
oil on canvas
25 x 19 in. (64.7 x 49.5 cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
In his memoirs Logsdail noted: I had always thought that London, of all places in the world, ought to be
painted, but it appeared too formidable, too unassailable.... However, I did take courage to try and leave a few
records of it. The present picture is a larger version of one that Logsdail exhibited at the Royal Academy in 1906
(sold in these rooms, 11 June 1993, lot 268, 15 x 12 in., dated 21.10.05).
Erected in Trafalgar Square between 1839 and 1843, Nelsons Column was traditionally decorated on Trafalgar
Day every year, in commemoration of the victory won by Vice-Admiral Horatio Nelsons British feet over the
combined French and Spanish feets at the Battle of Trafalgar on 21st October 1805.
5
l5
EDWARD SEAGO, R.B.A., R.W.S. (1910-1974)
VARIOUS PROPERTIES
4
Misty Morning, Rotterdam Quayside
Westminster at sunset
signed Geo. Hyde. P- (lower left) and with inscription Joyeuse No:l F tous les
trois/Madeleine (on the reverse)
oil on board
5 x 9 in. (14 x 22.8 cm.)
1,500-2,500
$2,300-3,800
2,100-3,300
signed Edward Seago (lower left) and with inscription MISTY MORNING -/
ROTTERDAM QUAYSIDE (on the reverse)
oil on board
11 x 16 in. (28 x 41 cm.)
5,000-8,000
PROVENANCE:
with P. & D. Colnaghi & Co. Ltd, London.

with Marlborough Fine Art, London.
$7,600-12,000
6,700-11,000
THE PROPERTY OF A GENTLEMAN

l6
H;tel de Crillon, Paris

signed Edward Seago (lower left)
oil on board
12 x 16 in . (30.5 x 41 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
VARIOUS PROPERTIES
7
EDWARD PRITCHETT (FL. 1828-1864)
Santa Maria della Salute, Venice

oil on canvas
10 x 14 in. (26 x 36.2 cm.)
2,000-4,000
$3,100-6,000
2,700-5,400
PROVENANCE:
8
EDWARD PRITCHETT (FL. 1828-1864)
Santa Maria della Salute and the Dogana da

Mar, Venice
signed E Pritchett (on the gondola, lower right)
oil on canvas
9 x 14 in. (24.7 x 35.6 cm.)
6,000-8,000
$9,100-12,000
8,100-11,000
PROVENANCE:
with The Leger Galleries Ltd., October 1964.
9
ALFRED POLLENTINE (1836-1890)
The Grand Canal, Venice

signed A Pollentine (lower right)
oil on canvas
20 x 30 in. (50.8 x 76.2 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
10
11
10
EDITH HOLMAN HUNT (1846-1931) AFTER WILLIAM HOLMAN HUNT
nl11
HERBERT DAVIS RICHTER, R.I., R.S.W., R.O.I. (1874-1955)
The Ponte Vecchio, Florence
The Tower of London
indistinctly signed, inscribed and dated **y ***** Holman Hunt/A parting
Gift/Oct 7-1923/Ponte Vecchio Flo**/by W Holman-***/1867/In S
Kensing***/Museum (on the backboard)
watercolour with touches of bodycolour
10 x 21 in. (54 x 25.4 cm.)
1,200-1,800
$1,900-2,700
1,700-2,400
signed H. DAVIS RICHTER (lower right)

oil on canvas laid down on board
42 x 109 in. (107.9 x 276.8 cm.)
2,500-3,500
$3,800-5,300
3,400-4,700
This picture was a decoration for the Cunard White Star Liner The Mauritania. A
preliminary drawing for the painting was sold in these rooms on 23 June 1994,
lot 76.
PROVENANCE:
Given by the artist to her son Hilary Holman Hunt (1879-1949) on 7 October
1923.
This watercolour was copied by Holman Hunts second wife Edith in 1922 at the
age of 74 and given by her to her son Hilary on her 75th Birthday before they both
travelled to Jerusalem for the dedication ceremony of a public seat in honour of
William Holman Hunt. Her son then travelled on to Burma to act as Chief Engineer.
l12
HERBERT DAVIS RICHTER, R.I., R.S.W., R.O.I.
(1874-1955)
A Georgian mirror
signed H. Davis Richter (lower left)
oil on canvas
40 x 30 in. (101.7 x 76.8 cm.)
1,200-1,800
$1,900-2,700
1,700-2,400
EXHIBITED:
Edinburgh, Royal Scottish Academy, 1939, no. 236.
12
13
EDWARD LADELL (1821-1886)
Grapes and peaches in a wicker basket, with

plums, acorns and a roemer to the side
signed with monogram (lower right)
oil on canvas
14 x 12 in. (35.6 x 30.5 cm.)
5,000-8,000
PROVENANCE:
with W.H. Patterson, London.
13
10
$7,600-12,000
6,700-11,000
l14
GERALD A. COOPER (1898-1975)
Fuchsia, geraniums and pelargoniums

signed Gerald Cooper (lower right)
oil on canvasboard
20 x 16 in. (50.8 x 40.7 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
14
l15
CECIL KENNEDY (1905-1997)
Still life with roses

signed CECIL KENNEDY (lower right)
oil on canvas
20 x 16 in. (50.8 x 40.7 cm.)
4,000-6,000
$6,100-9,000
5,400-8,000
PROVENANCE:
with The Fine Art Society Ltd., London, 1949.

Anonymous sale; Christies, London, 5 November 1999,
lot 197 (where purchased by the present owner).
15
11
16
17
l16
FREDERICK HALL (1860-1948)
17
HARRY BROOKER (1848-1940)
The young performers
Playing at school
signed with initials and dated F.H./ 91. (lower left)

oil on canvas
18 x 24 in. (45.7 x 60.9 cm.)
signed and dated Harry Brooker/1900 (lower right)

oil on canvas
28 x 36 in. (71 x 91.5 cm.)
5,000-7,000
$7,600-11,000
6,700-9,400
5,000-7,000
$7,600-11,000
6,700-9,400
PROVENANCE:
Anonymous sale; Sothebys, New York, 27 October 1988, lot 347.
12
18
GEORGE BERNARD ONEILL (1828-1917)
The Quaker and the Tax-Gatherer

signed and dated G B ONeill /61 (lower right)
oil on canvas
29 x 45 in. (74.3 x 115 cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
Robert Frank Esq.

Anonymous sale; Christies, London, 2 July 1971, lot 128.
EXHIBITED:
London, Royal Academy, 1862, no. 293.

LITERATURE:
G. Reynolds, Painters of the Victorian Scene, London, 1953, p. 67, pl. 34.
The enforcement of Church Rates (see the bill in the Tax Gatherers hand), was hotly disputed in the midnineteenth-century, with Quakers objecting to making a contribution to the established Church on grounds of
conscience. The Compulsory Church Rates Abolition Act was fnally passed in 1868. A member of the so-called
Cranbrook colony of artists who specialised in painting genre scenes of everyday life, ONeill chose to depict
a lively contemporary topic which would have roused those viewing the picture at the Royal Academy in 1862.
For that reason it was included in Graham Reynolds pioneering study of Painters of the Victorian Scene, and
was owned by Robert Frank who did much to revive interest in Victorian Paintings in the 1960s.
13
19
21
21
WILLIAM KAY BLACKLOCK (1872-1924)
VARIOUS PROPERTIES
l19
CARLTON ALFRED SMITH, R.I., R.B.A., R.O.I. (1853-1946)
Feeding time
Mothers little helper
signed W. KAY BLACKLOCK (lower right)

oil on canvas
20 x 30 in. (50.8 x 76.2 cm.)
signed and dated Carlton A Smith \80- (lower right)

oil on canvas
12 x 16 in. (30.5 x 40.7 cm.)
1,500-2,000
20 No Lot
14
4,000-6,000
$2,300-3,000
2,100-2,700
$6,100-9,000
5,400-8,000
22
JAMES CHARLES (1851-1906)
The secret admirer

signed JCharles (lower right)
oil on canvas
29 x 24 in. (74.9 x 60.9 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
22
23
RICHARD CATON WOODVILLE,
R.I., R.O.I. (1856-1927)
The sergeants story: I was at Marango

signed R. Caton Woodville (lower right)
oil on canvas
32 x 24 in. (81.3 x 60.9 cm.)
4,000-6,000
$6,100-9,000
5,400-8,000
23
15
24
JULES BASTIEN-LEPAGE (1848-1884)
A shepherdess
signed J. BASTIEN-LEPAGE
bronze, dark brown patina
13 in. (33 cm.), high
2,500-3,500
$3,800-5,300
3,400-4,700
PROVENANCE:
Sir James Jebusa Shannon, and thence by descent.

The subject has previously been identifed as Joan of Arc Listening to the Voices, and it is conceivable that
although the robed fgure here differs considerably from Bastian-Lepages depiction of Joan on canvas, that he
made the present model in preparation for his painting of the same title exhibited at the Paris Salon in 1880,
and now in the collection of the Metropolitan Museum of Art, New York (89.21.1). This premise is supported
by the work being executed towards the end of the artists life. One of the few sculptures undertaken by him,
the plaster is in the possession of descendants of the artist. The bronze is believed to be one of twelve cast from
it. Another cast is in the Fitzwilliam Museum, Cambridge (M.3-19).
16
n25
WRIGHT BARKER, R.B.A. (1864-1941)
An afternoon ride
signed Wright Barker (lower left)
oil on canvas
63 x 94 in. (161.3 x 239.4 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
17
26
DAVID SCOTT, R.S.A. (1806-1849)
Study on The Descent from the Cross

signed David Scott P (lower left)
oil on paper over a printed base, laid down on board, painted arch
19 x 16 in. (49 x 41.2 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
PROVENANCE:
James McIntosh Patrick(); Christies, Scotland, 26 September 1998, lot 260.

with The Fine Art Society, London.
The Forbes Collection; Christies, London, 19 February 2003, lot 302.
EXHIBITED:
London, The Fine Art Society, 100 Years of Scottish Painting, August 1974, no.
133.
18
Few British artists represent the Romantic movement more completely than David
Scott. Born in Edinburgh, the oldest surviving child of Robert Scott, an engraver
of stern Calvinistic faith, he was an exact contemporary and friend of his fellow
Scot William Dyce. But whereas Dyce was to enjoy a relatively long career, receive
the patronage of Prince Albert, and play a major role in the decoration of the
new Palace of Westminster, David Scott died at the age of forty-three, racked by
ill health, religious doubt, and an overwhelming sense of being misunderstood
as an artist.
In 1835, shortly after his return from Italy, Scott was commissioned to paint
an altarpiece for St Patricks chapel in Lothian Street, Edinburgh, although
unfortunately the location of the original altarpiece cannot now be traced. The
composition owes an obvious debt to Rubens altarpiece of the same subject
in Antwerp Cathedral. It made a deep impression on the artistic community in
Scotland when it was revealed, with J.B. Williams commenting to David Roberts in
a letter dated 8 December 1835 that Scott [...] has painted a splendid altarpiece
for the new Catholic Chapel with the taking down from the Cross - a work of
excellent drawing...
Such was the acclaim surrounding the picture, it was engraved in mezzotint by
R.M. Hodgetts in 1836 for the Association for the Promotion of the Fine Arts in
Scotland, and using that print as a basis, Scott painted two, perhaps three, small
versions, one of which is in the National Gallery of Scotland, Edinburgh, no. 1676.
Another is the work presented here which was painted by Scott over a mezzotint
base.
n27
ROBERT BRYDALL (FL. 1874-1906)
The frst crusader

signed R. BRYDALL (lower right)
oil on canvas
36 x 48 in. (91.4 x 121.9 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
19
28
ARTHUR HUGHES (1832-1915)
Gypsies
indistinctly signed (lower right)
oil on canvas, feigned oval
14 x 18 in. (35.5 x 47 cm.)
4,000-6,000
$6,100-9,000
5,400-8,000
PROVENANCE:
28
Gifted to John Hamilton Trist in 1871 by the artist.

His sale; Christies, London, 9 April 1892, lot 63A,
as A Landscape (5 gns to Leggatt).
James Leathart.
His sale; Christies, London, 19 June 1897, lot 34 (7
gns to John Hingston).
John Hingston, and by descent in 1916 to his son
John Hingston, Jun., until circa 1919 when sold to
Ernest Brown & Phillips, London.
Anonymous sale; Christies, London, 17 February
1928, lot 118 (5 gns to Ford).
Anonymous sale; Christies, London, 21 January
1966, lot 139, as Gipsy Children (45 gns to
Leadbeater).
Anonymous sale; Christies, London, 11 July 1969,
lot 59, as The Halt (150 gns to Tillman).
Anonymous sale; Christies, London, 16 October
1970, lot 186, as The Halt, where purchased by
the present owner.
EXHIBITED:
London, Goupil Gallery, 1896, no. 37.

LITERATURE:
J.H. Trists manuscript catalogue, 1876, revised

1886, no. 48 (Tate Gallery archives).
L. Roberts, Arthur Hughes: His Life and Works,
Aberdeen, 1997, p. 179, no. 112.
29
CIRCLE OF PAUL FALCONER POOLE (1807-1879)
The mischievous farmhands

oil on canvas
39 x 32 in. (100.4 x 82.5 cm.)
1,500-2,500
29
20
$2,300-3,800
2,100-3,300
*30
CIRCLE OF WILLIAM HENRY MIDWOOD (FL.1867-1871)
Collecting water
with signature T Faed (lower right)
oil on canvas
36 x 28 in. (91.4 x 71.8 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
30
n31
HORACE FISHER (1861-1928)
The orange sellers

signed Horace Fisher./ 1891. (lower left)
oil on canvas
49 x 29 in. (121.9 x 74.9 cm.)
4,000-6,000
$6,100-9,000
5,400-8,000
31
21
32
n32
JAMES HAMILTON, A.R.S.A. (1853-1894)
l33
FRANK MOSS BENNETT (1874-1953)
Travelling minstrels entertaining the court
To the king; and The Last hand
signed and dated J Hamilton 1881 (lower left)

oil on canvas
32 x 50 in. (81.3 x 127 cm.)
the frst signed and dated F M Bennett 1924 (lower left);

the second signed F M Bennett (lower left)
oil on canvas, the second laid down on board
14 x 20 in. (35.6 x 50.8 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
2,500-3,500
PROVENANCE:
Anonymous sale; Christies, London, 26 May 2005, lot 207.
33
22
33
two in the lot (2)
$3,800-5,300
3,400-4,700
34
DANIEL MACLISE, R.A. (1806-1870)
Getting ready
signed and dated D. MACLISE + RA (lower left)
oil on panel
22 x 14 in. (57.2 x 36.8 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
34
35
HAYNES KING, R.B.A. (1831-1904)
Afternoon tea
oil on canvas
14 x 18 in. (35.6 x 45.7 cm.)
1,500-2,000
$2,300-3,000
2,100-2,700
35
23
l36
ROWLAND WHEELWRIGHT, R.B.A. (1870-1955)
The new lamb

signed R. Wheelwright (lower left)
oil on canvas
35 x 27 in. (90.2 x 70.5 cm.)
1,500-2,500
36
$2,300-3,800
2,100-3,300
n37
HENRY GARLAND (FL. 1854-1890)
Highland drove resting near Ballachulish, Argyllshire

signed and dated H. GARLAND/1887 (lower left) and further signed and
inscribed HIGHLAND DROVE RESTING/NEAR/BALLACHULISH/
ARGYLESHIRE [sic.] /NB/H. GARLAND (on the reverse)
oil on canvas
36 x 28 in. (91.5 x 71.2 cm.)
1,500-2,500
$2,300-3,800
2,100-3,300
n38
THOMAS SIDNEY COOPER, R.A. (1803-1902)
Cattle and sheep near a river

signed and dated T. Sidney Cooper. A.R.A./ 1855 (lower right)
oil on canvas
24 x 48 in. (60.9 x 121.9 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
Mrs. Mackie; Christies, London, 24 November, 1906, lot 42 (120gns to

Mitchall).
LITERATURE:
Kenneth J. Westwood, Thomas Sidney Cooper, C.V.O., R.A., David Leathers

Publishing, Somerset, 2011, p.276.
37
24
We are grateful to Kenneth Westwood for his assistance in preparing this

catalogue entry.
38
39
40
VARIOUS PROPERTIES
39
JAMES HARDY, JNR. (1832-1889)
n40
JOHN LEWIS REILLY (B. 1880)
AFTER SIR EDWIN HENRY LANDSEER
A young gamekeeper with a pony and dogs
Alexander and Diogenes
signed and dated J.HARDY.84 (lower left)

oil on canvas
23 x 31 in. (59.7 x 80 cm.)
5,000-7,000
$7,600-11,000
6,700-9,400
signed, inscribed and dated John L. Reilly 1900/after/Sir Edwin Landseer

(on the reverse)
oil on canvas
44 x 56 in. (111.8 x 142.8 cm.)
3,000-5,000
PROVENANCE:
with Mandells Gallery, Norwich.

PROVENANCE:
26
Anonymous sale; Christies, London, 21 July 2009, lot 347.
$4,600-7,500
4,100-6,700
41
n41
CIRCLE OF EDMUND JOHN NIEMANN
(1813-1876)
Travellers on a beaten track, an extensive

landscape beyond
oil on canvas
22 x 54 in. (56.5 x 137.2 cm.)
1,500-2,000
$2,300-3,000
2,100-2,700
n42
JOHN BARKER (1811-1886)
Guarding the sheep

signed John Barker (lower left)
oil on canvas
50 x 40 in. (127 x 101.6 cm.)
1,500-2,500
$2,300-3,800
2,100-3,300
42
27
43
l43
DOROTHEA SHARP, R.B.A., R.O.I., V.P.S.W.A. (1874-1955)
September in Dorset
signed with initials DS (lower left) and further signed and
inscribed SEPTEMBER IN DORSET/BY/DOROTHEA
SHARP R.B.A.,/R.O.I/10.10.0 (on a label attached to the
reverse)
oil on board
12 x 16 in. (31.7 x 40.7 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
l*44
A rest on the rocks

signed with initials DS (lower left)
oil on panel
13 x 11 in. (34.7 x 29.8 cm.)
5,000-8,000
PROVENANCE:
with Alex Fraser Galleries, Vancouver.
44
28
$7,600-12,000
6,700-11,000
PROPERTY OF A GENTLEMAN
l45
DOROTHEA SHARP, R.B.A., R.O.I, V.P.S.W.A. (1874-1955)
Summer holidays
signed D SHARP (lower left)
oil on board
12 x 16 in. (31 x 42 cm.)
7,000-10,000
$11,000-15,000
9,400-13,000
PROVENANCE:
with John Magee, Belfast, 1944.

Anonymous sale; Christies, London, 9 June 1988, lot 94, where purchased by the present owner.
29
VARIOUS PROPERTIES
46
SIR GEORGE CLAUSEN, R.A., R.W.S. (1852-1944)
Head of a girl
signed G. CLAUSEN. (lower right)
oil on canvas laid on board
10 x 8 in. (25.4 x 22.5 cm.)
25,000-35,000
$38,000-53,000
34,000-47,000
PROVENANCE:
Given by the artist to Harry Parr, and thence by descent to the present owner.
After his move to Widdington in Essex in the summer of 1891, George Clausen had
a new terrain to explore. Living on the edge of the village he was surrounded by
rolling hills and cornfelds, and while he had work to complete for the forthcoming
spring, he also faced the challenge of fnding new models. One of these was a
local girl, Emily Wright, known as Emmy, the daughter of a bricklayer, and she
replaced Rose Grimsdale, his favourite model at Cookham Dean.
At this point, Clausens work was changing in a dramatic way as he increasingly
rejected plein air naturalism in favour of a more impressionistic style. The
square brush handling and tonal painting of his years at Childwick Green and
Cookham Dean disappears and he favours strong colour, dramatic contrasts and
a more consciously sculpted surface texture. This has been read as an obvious
rapprochement with Impressionism, even though he remained acutely aware of
the importance of Bastien-Lepage to his generation. This continuing admiration
became apparent when around 1895 he began to contemplate a picture of two
country girls resting in the felds. One would be sleeping while the other would
face the sun, perhaps awoken by the sound of birds or the fresh summer breeze.
The ensemble resting feldworkers, one of whom is asleep had been famously
treated by Bastien-Lepage in Les Foins, 1878 (Muse dOrsay, Paris).
Before it was fnally abandoned, Summer in the Fields (c. 1895-7, private
collection, sold in these rooms, 19 November 2004) became one of Clausens
most studied paintings.
Drawings for it are contained in the Victoria & Albert Museum, the Royal Academy
of Arts and the Holbourne Museum, Bath, and a small oil painting of the sleeping
girl passed through The Fine Art Society in the 1980s. Until the appearance of
the present oil, there were however, no independent oil paintings of the principal
fgure. This, more than the canvas itself, demonstrates Clausens struggle. While
the related drawings give clear delineation of the form, A Girls Head provides an
insistent reading of her ruddy complexion. Here is no china-doll smoothness, but a
fresh, windblown face that turns towards the light (see Study for Summer in the
Fields, c. 1895-6, Holbourne Museum, Bath).
Indeed the dense working of the fesh tones in this case produces a vibrant
expressionism. Few pictures by Clausen contain this sense of urgency as though
the colour relationships he sought to capture were so feeting that he must seize
them with little regard for the polite conventions of fnish. With what emphasis
he shapes the right contour of Emmys forehead, while not neglecting the subtle
modelling across the bridge of the nose. Look too at the brilliant ficks of paint that
describe her hair and the subdued bluish fesh colour that takes the eye off into the
feld beyond. Parr claimed to have rescued this picture when the artist had cast it
aside what a service he did for posterity!
KMc.
47
*47
PROVENANCE:
Old Essex in November

signed G. CLAUSEN (lower right) and inscribed OLD ESSEX/IN
NOVEMBER./G. CLAUSEN. 1928-33. (on the reverse)
oil on canvas
24 x 29 in. (61 x 75 cm.)
6,000-8,000
$9,100-12,000
8,100-11,000
Lady Cromer; her sale, Robinson and Foster, October 1933 (to Lockett
Thomson).
Acquired by the present owners at Binghampton, New York, in 1987.
For further information on this lot, please visit www.christies.com.
48
The Orchard
signed G. CLAUSEN (lower right)
pencil and watercolour
8 x 11 in. (21.6 x 30.2 cm.)
1,200-1,800
$1,900-2,700
1,700-2,400
48
31
l49
SIR ALFRED JAMES MUNNINGS, P.R.A., R.W.S. (1878-1959)
Withypool looking towards Winsford Hill, Exmoor

signed A. J. MUNNINGS (lower right)
oil on canvas
21 x 30 in. (53.3 x 76.2 cm.)
15,000-25,000
$23,000-38,000
21,000-33,000
PROVENANCE:
F. Willoughby Hancock Esq, Wiveliscombe, Somerset, and thence by descent.

EXHIBITED:
London, Royal Academy, 1956, no. 96, as Exmoor.

Sir Alfred Munnings revelled in the sublime beauty of the English countryside, and it could be said that his paintings of such scenery were
expressions of his soul.
Viewing the present lot, it is easy to feel what the artist must have enjoyed whilst standing at his easel that day: a cool breeze, complimented by
the warmth of the late summer sun, its brilliance setting alight the pre-autumnal reds, oranges and golds of the leaves, in anticipation of the sunset
to come; the silence of the landscape is broken only by the bleat of a sheep, a snort from his hunter, and occasional unscrewing of the top from
his fask. The lowering sun casts light across the undulating hills, and long shadows particularly those of the sheep punctuate the landscape,
rolling down the slopes towards the woodlands below.
The juxtaposition between the lush, bushy foliage tired by the heat of the summer - and the smoother surface of the grasses, are captured by
the masterful speed of Munnings brush, and bold sweeps of impasto give depth to the landscape and trees. Notably the artist used both ends
of the brush, unconventionally drawing into the oil with the top end, to add texture to the foliage in the foreground. One of the foremost British
Impressionists, Exmoor indisputably shows the artist at his best.
We are grateful to Lorian Peralta Ramos for her assistance in preparing this catalogue entry. The painting will be included in her forthcoming
catalogue raisonn of the work of Sir Alfred Munnings.
32
l50
SIR ALFRED JAMES MUNNINGS, P.R.A., R.W.S. (1878-1959)
Looking across the river Barle, Withypool, Devon

signed A.J. MUNNINGS. (lower right)
oil on panel
19 x 24 in. (50.5 x 60.9 cm.)
5,000-8,000
$7,600-12,000
6,700-11,000
PROVENANCE:
F. Willoughby Hancock Esq., Wiveliscombe, Somerset, and thence by descent.

We are grateful to Lorian Peralta Ramos for her assistance in preparing this catalogue entry. The painting will
be included in her forthcoming catalogue raisonn of the work of Sir Alfred Munnings.
33
51
ALFRED DE BRANSKI, SNR., R.B.A. (1852-1928)
Cattle watering on a river

signed Alfred. de BrCanski (lower left)
oil on canvas
24 x 36 in. (61 x 91.5 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
51
l52
ALFRED FONTVILLE DE BRANSKI (1877-1957)
Llyn Ogwen, North Wales

signed A. FONTVILLE (lower left) and further
signed and inscribed Llyn Ogwen, N. Wales/A.
FONTVILLE (on the reverse)
oil on canvas
20 x 30 in. (50.8 x 76.2 cm.)
1,500-2,500
$2,300-3,800
2,100-3,300
52
53
GEORGE TURNER (1843-1910)
The Trent near Ingleby

signed Geo Turner (lower right) and further
signed, inscribed and dated The Trent near
Ingleby/Geo. Turner/Barrow-on-Trent/Derby.
1898 (on the reverse)
oil on canvas
24 x 36 in. (61 x 92.1 cm.)
1,500-2,000
53
34
$2,300-3,000
2,100-2,700
54
ALFRED DE BRANSKI, SNR., R.B.A. (1852-1928)
The Valley of Borrowdale

signed Alfred. de BrCanski (lower right) and further signed and inscribed The Valley of Borrowdale/
Alfred. de BrCanski R.B.A. P.C. Lon (on the reverse)
oil on canvas
24 x 36 in. (61 x 91.5 cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
with The Boydell Galleries, Liverpool.
35
55
JOHN BRETT, A.R.A. (1831-1902)
Housel Bay, the Lizard Peninsula, Cornwall

signed and dated John Brett 1877 (lower left)
oil on canvas
20 x 36 in. (50.8 x 91.5 cm.)
20,000-30,000
$31,000-45,000
27,000-40,000
PROVENANCE:
purchased from the artist by David Price 200.

His sale; Christies, London, 4 April 1892, lot 197 (bought by Tidey for 110 gns).
Miss de Quincey; Hampton & Sons, London, 24 June 1931, lot 691.
M. Newman; F. Johnston-Smith; Christies, London, 3 May 1935, lot 153 (bought by Boot for 26 gns).
Coulter Galleries; Christies, London, 8 May 1959, lot 110 (bought by Agnew for 100 gns).
with Wilton Gallery, 24 August 1959.
with J.S. Maas & Co. Ltd., London.
Francis Watson, 14 November 1961, and thence by descent.
EXHIBITED:
Huddersfeld, 1883, no 196.

London, J.S. Maas & Co. Ltd., Pre-Raphaelites and Contemporaries, 1961, no 127.
Sheffeld, Sheffeld City Art Galleries, Victorian Painting, September-November 1968, no. 166.
LITERATURE:
The Huddersfeld Daily Chronicle, 27 July 1883, p.3.

Payne and Brett, John Brett Pre-Raphaelite Landscape Painter, Yale, 2010, p.220 (cat. no. 799).
Brett spent the summers of 1876 and 1877 on the Lizard Peninsula in Cornwall, which he found a particularly
fruitful sketching ground. In 1876 he rented Penolver Cottage at Bass Point, superbly situated high on the cliffs
near the Lloyds Signal Station. Close to the cottage was the little sandy inlet of Housel Cove, and there on 29th
July he painted a 7 x 14 in. sketch from the beach, featuring the grandly piled headland of Pen Olver, which
protects the cove on its eastern side (Private Collection).
During the following winter the present important work was painted in his studio from the sketch, and while
keeping its basic form unchanged, Brett typically refned and enriched the detail. The dramatic effects of light
and shade in the hornblende schist cliffs in the left foreground were exaggerated, and great care was taken
to convey the texture of the barnacle-covered rocks; additional craft were added beyond the bay, including a
steamer on the horizon, and the delightful feature of the gig with two men aboard about to be beached in the
cove was introduced; while the majestic headland was bathed in glorious sunshine, in a manner reminiscent of
Bretts earlier Massa, Bay of Naples (1863-4, now in the Indianapolis Museum of Art).
Housel Bay entered the important collection of the wool merchant David Price, who paid 200 for it. He was
evidently pleased with his acquisition, as he later added four other works by the artist to his collection.
We are grateful to Charles Brett for his assistance in preparing this catalogue entry.
36
*56
SIDNEY RICHARD PERCY (1821-1886)
Grange-over-Sands; and The Lancaster

Sands
the frst inscribed Grange-over-Sands (on an old
label attached to the reverse)
oil on paper
4 x 8 in. (12.1 x 20.3 cm.)
a pair (2)
1,500-2,500
$2,300-3,800
2,100-3,300
PROVENANCE:
Hugh Tregarstirs Esq.

Swift Newton Esq., and thence by descent to
Mrs Josephine Newton Carothers.
56 (a pair)
57
THOMAS ROSE MILES (1868-1906)
A pleasure party
signed T.R. Miles (lower left) and further inscribed
A Pleasure party/ Connemara (on the reverse)
oil on canvas
22 x 36 in. (55.8 x 91.4 cm.)
2,000-3,000
57
38
$3,100-4,500
2,700-4,000
58
FROM THE ESTATE OF HAROLD SHAW
VARIOUS PROPERTIES
n*58
ROBERT McGOWN COVENTRY, A.R.S.A., R.S.W. (1855-1914)
l59
JOHN ANTHONY PARK, R.O.I., R.B.A. (1880-1962)
Mending the lobster creels
In Torbay, Brixham, Devon
signed RMG. Coventry (lower left)

oil on canvas
44 x 60 in. (101.7 x 152.5 cm.)
signed J A PARK (lower left) and further signed and inscribed In Torbay/
Brixham/Devon./Price 5-0-0/J A Park/10 Hooley Range,/Heaton Moor/
Stockport (on the reverse)
oil on canvasboard
10 x 14 in. (26 x 36.2 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
1,500-2,000
$2,300-3,000
2,100-2,700
with The Fine Art Society Ltd., London, November 1976.
59
39
l60
A summers stroll
oil on board
13 x 16 in. (33 x 40.7 cm.)
5,000-8,000
40
$7,600-12,000
6,700-11,000
nl*61
My New Sister
signed DOROTHEA SHARP (lower left)
oil on canvas
35 x 32 in. (89 x 81.3 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
41
62
l62
SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (1880-1969)
Two on a derelict
signed W. RUSSELL FLINT- (lower left) and inscribed Two on a Derelict./
William Flint. (on the reverse)
watercolour heightened with bodycolour
13 x 21 in. (33.4 x 54.5 cm.)
4,000-6,000
$6,100-9,000
5,400-8,000
63
HENRY SCOTT TUKE, R.A., R.W.S. (1858-1929)
The Bather (Study for Gleaming Waters)

signed and dated H.S. TUKE. 1910 (lower left) further signed and indistinctly
inscribed A nude on the Beach / H.S. Tuke, R.A. R.W.S. (on the artists label
attached to the reverse)
10 x 6 in. (25.4 x 17.2 cm.)
5,000-8,000
$7,600-12,000
6,700-11,000
PROVENANCE:
with John A. Cooling, London.
63
42
This plein air watercolour painted by Henry Scott Tuke on the beach near his home
in Swanpool, Falmouth, features a male model (probably Charlie Mitchell) in a pose
which is identical to the main fgure on the left of his Royal Academy oil painting of
1911 Gleaming Waters (R684). It would suggest this watercolour is a study for that
particular fgure in the fnal painting. This picture, along with Gleaming Waters,
was painted in the summer of 1910.
The Cooling Galleries, 92 New Bond Street, London held a retrospective exhibition
of Paintings and watercolours by the late H.S. Tuke, R.A., R.W.S. from 31st
October 20th November 1929. This watercolour is probably one of three that
were listed as Nude or possibly another called Beach study. Tuke died in Falmouth
on 13th March 1929.
We are grateful to Catherine Wallace for her assistance in preparing this catalogue
entry.
64
65
l*64
l65
SIR WILLIAM RUSSELL FLINT , R.A., P.R.W.S., R.S.W. (1880-1969)
A September picnic
The Temple of Juno, Agrigento, Sicily
signed W. RUSSELL FLINT (lower right)

15 x 21 in. (38.1 x 54.6 cm.)
signed W. RUSSELL FLINT (lower left) and inscribed and dated GIRGENTI
- MCMXIII - (lower right)
watercolour
9 x 13 in. (23.5 x 35 cm.)
3,500-4,500
$5,300-6,800
4,700-6,000
2,000-4,000
$3,100-6,000
2,700-5,400
PROVENANCE:
with The Fine Art Society Ltd., London.
43
66
67
l66
l67
Beach fshing
On the Drme, near Saillans
signed Edward Seago (lower right)

10 x 14 in. (25.4 x 36.8 cm.)
signed W. RUSSELL FLINT_ (lower right) and further inscribed

On the DrIme near Saillans/ WRussell Flint. (on the reverse)
watercolour
10 x 13 in. (26 x 26.8 cm.)
2,500-3,500
$3,800-5,300
3,400-4,700
3,000-5,000
PROVENANCE:
$4,600-7,500
4,100-6,700
with The Fine Art Society, Ltd., London.

EXHIBITED:
London, Royal Academy, Sir William Russell Flint Exhibition, 1962, no. 57.
44
68
69
l68
l69
Clouds over a Spinney, Goodwood
A Venetian palazzo
signed W. RUSSELL FLINT - (lower right) and further signed, inscribed and
dated Clouds over a Spinney, Goodwood/ WRussell Flint/ July 1953 (on card,
attached to the reverse)
watercolour
10 x 15 in. (26.8 x 38.8 cm.)
signed Edward Seago (lower left)

10 x 15 in. (26.8 x 38.2 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
3,000-5,000
$4,600-7,500
4,100-6,700
PROVENANCE:
with Agnews, London.
45
70
46
71
70
GEORGE GOODWIN KILBURNE, R.I. (1839-1924)
*71
HENRY RYLAND, R.I. (1856-1924)
A sumptous feast; The elves couches; Mighty men; Clearing the

forest; The allotment dispute; The elves playground; A circular
dance; and A message for the Queen
Summer month that brings the rose

- The Rubciyct of Omar Khayycm
the frst three indistinctly signed with initials (lower right)

4 x 6 in. (11.1 x 17.2 cm.) and smaller
7,000-10,000
a set of eight (8)
$11,000-15,000
9,400-13,000
signed HENRY RYLAND (lower right)

14 x 21 in. (37.4 x 55.3 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
47
We are grateful to Katherine Field for her assistance in preparing the catalogue entries
for lots 72 to 75, which will be included in the Philip de Lszl catalogue raisonn,
currently presented in progress online: www.delaszlocatalogueraisonne.com
The Hon. Mrs de Laszlo and a team of editors are compiling the catalogue raisonn
of the artists entire oeuvre. Katherine Field is the British and North American Editor.
Please see www.delaszloarchivetrust.com or contact catalogue@delaszlo.com for
more information or to offer any contribution.
72
PHILIP ALEXIUS DE LSZL (1869-1937)
William Howard Taft, Esq., a study

signed and indistinctly inscribed Taft/ 908/ III.19. William/White H****/
P.A. Lszl (lower right) and with inscription A sketch of Taft completed without
his knowledge / in March 1908 when Secretary of State to President/Theodore Roosevelt
while PA de L was staying at The / White House to paint the President/ John de
Laszlo (in the hand of John de Laszlo, the artists ffth son)
pencil
9 x 7 in. (23.5 x 19.1 cm.)
500-700
$760-1,100
670-940
PROVENANCE:
In the possession of the artist on his death, and thence by descent.

LITERATURE:
Rutter, Owen, Portrait of a Painter, London, 1939, pp. 253-4.

72
In March 1908 de Lszl and his wife Lucy sailed to New York and travelled directly
to Washington D.C. to paint portraits of President Theodore Roosevelt and his
wife Edith, ne Carow. Sittings took place at the White House and during one
of these Howard Taft, then Secretary of State, brought some urgent papers for
the President to read. The moment was recorded by the artist: Having read the
despatch [sic.] the President asked Mr Taft to wait a few minutes, saying that I had
some very particular work to do. Mr Taft sat down in a corner and busied himself
with his papers. Now is your chance, whispered the President, and accordingly I
promptly made a sketch of that massive head, catching Mr. Tafts attitude as he
read. The artist kept this sketch and is was recorded in the inventory of his studio
after his death.
William Howard Taft (1857-1930) ran successfully for the Presidency the year this
sketch was made and took offce in March 1909.
73
Princess Charlotte of Prussia (1860-1919), Duchess of Saxe-Meiningen

pencil
12 x 7 in. (30.5 x 19.1 cm.)
500-700
$760-1,100
670-940
PROVENANCE:

This sketch was executed as a preparatory drawing for one of the four portraits
de Lszl painted of Princess Charlotte of Saxe-Meiningen at the family estate of
Schloss Erdmannsdorf in Silesia in the summer of 1899. The portraits of Princess
Charlotte were the frst in a long series of commissions by members of the
German Imperial Family, culminating in the full-length equestrian portrait of Kaiser
Wilhelm II in 1911 (Stiftung Preussische Schlsser und Grten, Berlin-Brandenburg,
Potsdam, Germany).
Princess Charlotte (1860-1919) was the eldest daughter of Crown Prince Friedrich
of Prussia and Victoria, Princess Royal of Great Britain, granddaughter of Queen
Victoria.
73
48
74
Portrait of the artists son, Patrick de Laszlo (1909-1980)

signed and dated 1919 III / P.A. de L. (lower right) and further signed
and inscribed P. A. de L6szl/ / Paty (on the reverse)
oil on board
10 x 8 in. (25.4 x 20 cm.)
4,000-6,000
$6,100-9,000
5,400-8,000
PROVENANCE:

75
Evening on the edge of the desert, Africa

oil on canvasboard
13 x 16 in. (33.1 x 40.7 cm.)
2,000-4,000
$3,100-6,000
2,700-5,400
PROVENANCE:

LITERATURE:
Studio Inventory, p. 116 (687) Study. Unfnished sketch

De Lszl regularly painted for his own pleasure during his annual vacations
away from the English winter. On at least one occasion he was rebuked by
his wife for packing too many canvasboards to take away with him. The
present study is not dated but is similar to other landscape studies completed
during the artists visits to Algeria in 1923, Egypt in 1929, and Morocco in
1934.
74
75
49
76
JAMES FERRIER PRYDE, H.R.O.I. (1866-1941)
The meeting
signed Pryde (lower left)
oil on canvas
17 x 12 in. (43.8 x 31.1 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
nl77
WILLIAM OTWAY McCANNELL (18831969)
The Throne of the Gods

signed McCANNELL (lower right) and with inscription
Otway McCannell/THE THRONE OF THE GODS
(on a label on the reverse)
oil on board
44 x 50 in. (113 x 127 cm.)
2,000-4,000
$3,100-6,000
2,700-5,400
76
nl78
MADELINE RACHEL WELLS, R.B.A. (EXH. 1909-1940)
Labours of the vine

signed M WELLS (lower right)
oil on canvas
69 x 96 in. (175.2 x 245.7 cm.)
15,000-20,000
$23,000-30,000
21,000-27,000
Born in India, Madeline Wells studied at Westminster Art School

under William Mouat Loudan, and at the London School of Art
under Sir Frank Brangwyn. She married the artist Robert Douglas
Wells, who specialised in landscape and still life painting. They
lived in London at St. Albans Studios in Kensington.
Madeline Wells became a member of the Royal Society of British
Artists in 1915 and was elected a member of the Society of
Women Artists in 1923. She exhibited widely over a period of
more than thirty years at these and other galleries, including the
Grosvenor Gallery, the Royal Academy and the Walker Art Gallery
in Liverpool.
77
50
78
l79
GERALD LESLIE BROCKHURST, R.A. (1890-1978)
Portrait of a lady, in a black waistcoat and red shirt, in an extensive

landscape
signed G L BROCKHURST. RA. (lower right)
oil on canvas
25 x 20 in. (63.5 x 52.7 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
79
nl80
PHILIP CONNARD, R.A. (1875-1958)
The Young Dancers

signed CONNARD (on the stretcher) and further signed and inscribed
CONNARD CHELSEA (on the frame)
oil on canvas
56 x 44 in. (143 x 102.4 cm.)
5,000-7,000
$7,600-11,000
6,700-9,400
PROVENANCE:
with Goupil Gallery, London.

Anonymous sale; Christies, London, 28 November 1996, lot 135, where
purchased by the present owner.
EXHIBITED:
Venice, Biennale, International Exhibition, 1912, no. 15.

Bradford, Cartwright Hall Museum and Art Gallery (on loan).
The present lot depicts the artists daughters Jane and Helen with their cat James.
Another painting of 1913, also featuring Connards daughters, their nurse, and
James, is at Tate Britain. The children appear on the same chaise in The Guitar
Player in the Art Gallery of South Australia, Adelaide.
80
52
l81
DAME LAURA KNIGHT, R.A., R.W.S. (1877-1970)
PROVENANCE:
Portrait of Edith Broster, seated three-quarter length, in a pink dress
By family descent, from the sitter.
signed Laura Knight (lower right) and further signed, inscribed and dated
Laura/Knight/fecit/1934/Edith Broster (on a scroll, lower left)
oil on canvas
36 x 28 in. (91.4 x 71.1 cm.)
This painting will be included in the forthcoming catalogue raisonn of the work
of Dame Laura Knight currently being prepared by R John Croft FCA, the artists
great-nephew.
10,000-15,000
$16,000-23,000
14,000-20,000
53
l82
FRANCIS OWEN SALISBURY, R.I., R.O.I. (1874-1962)
Portrait of Mrs Florence Cox, ne Lane, half-length, in

a white dress with a black sash
signed and dated Frank O Salisbury 1912 (lower left)
oil on canvas
30 x 35 in. (76.2 x 88.9 cm.)
1,500-2,000
$2,300-3,000
2,100-2,700
83 No Lot
82
n84
WILLIAM LOGSDAIL (1859-1944)
Zelia, daughter of Sir Eric Hambro

signed and dated W. Logsdail. 1920. (lower left) and further signed and inscribed William Logsdail/5 St Pauls Studios./West Kensington, W14/ 1. Zelia, daughter
of Sir Eric Hambro. (twice on 2 old labels attached to the stretcher)
oil on canvas
78 x 32 in. (198.8 x 83.5 cm.)
40,000-60,000
$61,000-90,000
54,000-80,000
PROVENANCE:
Anonymous sale; Sothebys, London, 18 March 1987, lot 157.

with Walker Bagshawe Fine Art, London, where purchased by the present vendor.
EXHIBITED:
London, Royal Society of Portrait Painters, no. 1.

The eldest daughter of Sir Charles Eric Hambro, K.B.E. (1872-1947) and his frst wife Sybil Mary Ridley-Smith (d. 1942), Zelia Mary Hambro was born in 1909. Depicted
here at the age of 11, Logsdail has conveyed a sense of the spirited young girl, perhaps more used to climbing trees than standing still for hours in her best clothes. The
coral buttons, complimented by the matching necklace, and the emerald green coat casually folded over Zelias arm lend a sense of style and swagger to the painting and
set off the black velvet dress perfectly. Using the classical style and backdrop of a grand manner portrait, Logsdails square brush technique, thick impasto and freshness
of palette modernise the picture and add a sense of vitality and immediacy appropriate to the age and character of his sitter.
Zelia went on to marry Patrick Humphreys in January 1930, only a few months after her parents divorce and less than a month after her fathers subsequent remarriage
to Edith Estelle Whyte on 11 December 1929. The Humphreys had three daughters Anne, Patricia and Susan. In 1941 Zelia married for a second time to John H. Osborne,
and the couple went on to have two further children, Angela and Anthony.
Logsdail also painted a slightly smaller portrait of Zelias younger sister Juliet in the same year which came up at auction at Sothebys in London on 14 June 1989 (lot
202), and again at Christies in New York on 1 May 2000 (lot 67).
54
84
A PRIVATE COLLECTION FROM BELGRAVIA

85
CIRCLE OF RICHARD BANKES HARRADEN (1778-1862)
Warwick Castle viewed from four perspectives

oil on panel
13 x 19 in. (33 x 48.9 cm.)
8,000-12,000
56
a set of four (4)
$13,000-18,000
11,000-16,000
86
87
87
ALFRED AUGUSTUS GLENDENING, SNR. (1840-1910)
VARIOUS PROPERTIES
n86
CHARLES EDWARD JOHNSON, R.I. (1832-1913)
Near Dorking, Surrey
A Highland Clachan
signed and dated C.E. Johnson/1876 (lower right) and further signed and
inscribed A Highland Clachan/ CE Johnson/ 34 Gloucester Rd/ Regents Park/
RM (on the reverse)
oil on canvas
31 x 48 in. (78.7 x 123.2 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
signed and dated A. A. GLENDENING. 06 (lower right) and inscribed

NEAR DORKING SURREY (on the reverse)
oil on canvas
12 x 20 in. (30.5 x 50.8 cm.)
1,500-2,000
$2,300-3,000
2,100-2,700
PROVENANCE:
Mr Thomas Richardson; Christies, London, 27 April 1908, lot 264 (sold for 6
gns. to Howard).
57
88
BENJAMIN WILLIAMS LEADER, R.A. (1831-1923)
Summertime
signed and dated B.W. LEADER. 1909. (lower left) and with inscription
A Bye Path Burrows Cross B.W. Leader (on the stretcher)
oil on canvas
18 x 14 in. (45.7 x 35.5 cm.)
3,000-5,000
PROVENANCE:
$4,600-7,500
4,100-6,700
purchased direct from the artist by Wallis in 1909.

from whom purchased by William Rodman & Co, Belfast.
We are grateful to Ruth Woods for her assistance in preparing this catalogue entry.
89
JOHN MULCASTER CARRICK (FL. 1854-1888)
Breil-sur-Roya in the Alps

signed and dated J.M. Carrick/1888 (lower left) and further signed, inscribed
and dated Breglio -/Between Nice and Tenda/Maritime Alps -/ JMCarrick
1888./A frontier town of Italy-on the Roya.- (on the reverse)
oil on board
12 x 10 in. (31.1 x 25.4 cm.)
1,200-1,800
$1,900-2,700
1,700-2,400
Breil-sur-Roya, or Breglio in Italian, is a small alpine town close to the French-Italian

border.
l90
Polperro, Cornwall
signed A DE BRWANSKI JNR (lower left)
oil on canvas
24 x 18 in. (61 x 45.7 cm.)
1,200-1,800
PROVENANCE:
88
89
58
with Frost & Reed, London, 12 September 1947.
90
$1,900-2,700
1,700-2,400
nl91
Between the showers - Brothers Water,

Cumbria
signed F. de BrCanski (lower right) and further
signed and inscribed Between the Showers Brothers Water./ A.F. de BrCanski (on the reverse)
oil on canvas
30 x 40 in. (76.2 x 101.6 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
91
92
*92
BENJAMIN WILLIAMS LEADER, R.A. (1831-1923)
His sale; Christies, London, 26 May 1900, lot 18 (75 gns to Tooth).
Major-General E.H. Goulburn (); Christies, London, 6 March 1981, lot 46.
Tintern Abbey by moonlight

signed and dated B.W. LEADER. 1872. 1900. (lower left) and signed and
dated again 1872/B.W. Leader. (lower right)
oil on canvas
19 x 29 in. (50.1 x 76 cm.)
5,000-7,000
$7,600-11,000
6,700-9,400
PROVENANCE:
Sold by the artist to Agnews in 1872 (50).

with Agnews, London, until 1872, when sold to Benjamin Armitage.
LITERATURE:
Artists Records of Paintings Sold 1872 and 1900.

R. Wood, Benjamin Williams Leader, RA 1831-1923: His Life and Paintings,
Suffolk, 1988, p. 44-45, illustrated.
Leaders inscription of two dates on the painting indicate the date at which the
painting was painted (1872), and also the date that he reworked certain areas,
probably for the art dealer Arthur Tooth, about whom he wrote in his Records of
paintings sold in May 1900: Working on an early picture for Tooth 5.00.
We are grateful to Ruth Wood for her assistance in preparing this catalogue entry.
59
l93
SIR FRANK BRANGWYN, R.A., R.W.S.
(1867-1956)
Saint-Cirq-Lapopie, on the river Lot, France

signed with initials FB (lower left) and further
signed and inscribed La Popie/Frank Brangwyn
(on a fragment of an exhibition label attached to the
backboard)
20 x 28 in. (51.5 x 72.4 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
with Barbizon House, London.

EXHIBITED:
Bradford, Corporation Art Gallery, Cartwright

Memorial Hall, 1934, no.131.
94
PERCY WILLIAM GIBBS (FL. 1895-1925)
93
Punts on the Thames before Hampton Court

Bridge
signed P.W. GIBBS. (lower right)
oil on canvas
25 x 30 in. (60.5 x 76.2 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
95
HILDA FEARON, R.O.I. (1878-1917)
Springtime
signed and dated Hilda Fearon/1914 (lower right)
oil on canvas
30 x 25 in. (76.2 x 63.5 cm.)
15,000-25,000
$23,000-38,000
21,000-33,000
Like her exact contemporary, Dorothea Sharp, Hilda

Fearon was one of a number of female artists who
were drawn to paint in Cornwall, where she worked
under Algernon Talmage at St. Ives. Born in Banstead,
Surrey, she studied in Dresden from 1897-99, and
then at the Slade School from 1899-1904. She
exhibited several works at the Royal Academy from
1908 until her early death in 1917, and was also
a member of the Royal Institute of Painters in Oil
Colours. Costumes in black and white stripes and a
limited, muted palette characterise her work.
94
60
95
nl96
SIR GERALD FESTUS KELLY, P.R.A. (1879-1972)
La Sevillana
oil on canvas
55 x 38 in. (139.7 x 98.5 cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
The Contents of the Studio of the Late Sir Gerald

Kelly (); Christies, London, 8 February 1980, lot
99.
with The Weston Gallery, Norwich.
EXHIBITED:
London, Royal Academy, Diploma Gallery, Sir

Gerald Kelly KCVO PPRA, 1957, no. 20.
Plymouth, City Art Gallery and Museum, Paintings
by Sir Gerald Kelly KCVO PPRA, June 1958,
number untraced.
Bournemouth, Russell Cotes Art Gallery, The Art of
Dancing, 1958, number untraced.
96
97
ARTHUR HACKER (1858-1919)
Daisies
oil on panel
9 x 13in. (23.5 x 35 cm.)
2,500-3,500
$3,800-5,300
3,400-4,700
PROVENANCE:
with The Fine Art Society, London, by February

1969, no. 5159.
Anonymous sale; Christies, London, 26 September
2007, lot 204.
97
62
l98
DAME LAURA KNIGHT, R.A., R.W.S. (1877-1970)
Comedy Riders
signed Laura Knight (lower left) and further signed and inscribed Dame Laura
Knight/16 Longford Place, St Johns Wood/London. N. W.8./No. 5 on Form
(on the artists label attached to the stretcher)
oil on canvas
25 x 30 in. (61.1 x 76.2 cm.)
12,000-18,000
PROVENANCE:
with Pawsey & Payne, London.

Anonymous sale; Sothebys, London, 19 July 1967, lot 169.
Anonymous sale; Phillips, London, 4 June 1996, lot 104.
EXHIBITED:
London, Royal Academy, 1953, no. 191.

London, Royal Academy, Dame Laura Knight Exhibition, 1965.
$19,000-27,000
17,000-24,000
Knights interest in circuses began with her childhood memories of the Nottingham
Goose Fair and later at Bertram Mills Circus at Olympia, London. In the early 1930s
she undertook a regional tour of the Midlands with Carmos Circus and fell in love
with circus life ... for years (three months at a stretch), she lived with a troupe of
performers, touring the country with them, until she actually became one of them
... flling sketchbook upon sketchbook ... till she could discard the sketchbook for
canvas and paint, the well-known results of which have become world-famous
(Adrian Hill, Famous Artists: No. 1 Dame Laura Knight, ARA, The Artist, vol. 2,
no. 5, January 1932, p. 208).
She wrote of her admiration for the acrobats: I have often tried to analyse the
circus appeal. It is the display of indomitable courage that one sees and admires,
an admiration inherent in the human race. Gravitation is defed - the impossible
is possible. I heard an acrobat say once, No matter what we come to, we have
lived. I was the King of the Earth when I was young, the laws that governed other
people did not govern me, I could do anything (Laura Knight, Oil Paint and
Grease Paint, 1936).
This painting will be included in the forthcoming catalogue raisonn of the work
of Dame Laura Knight currently being prepared by R John Croft FCA, the artists
great-nephew.
63
99
100
l99
FREDERICK WILLIAM LEIST, R.O.I., R.B.A. (1878-1945)
Early Editions
signed and dated FRED/LEIST/10 (lower left)
oil on canvas
36 x 28 in. (91.5 x 71.1 cm.)
7,000-10,000
$11,000-15,000
9,400-13,000
100
WILLIAM OLIVER (1823-1901)
Reclining beauty
signed W. Oliver (lower left)
oil on canvas
16 x 40 in. (40.7 x 101.7 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
101
WILLIAM A. BREAKSPEARE (1855-1914)
Lost in thought
signed W. Breakspeare (lower right)
oil on canvas
16 x 12 in. (40.7 x 30.5 cm.)
1,500-2,000
$2,300-3,000
2,100-2,700
101
65
l102
Summer fowers in a glass vase

signed and dated CECIL KENNEDY/1928
(lower right)
oil on canvas
22 x 17 in. (55.9 x 43.2 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
102
l103
Lilies, roses, stocks and other summer fowers

signed CECIL KENNEDY (lower right)
oil on canvas
21 x 24 in. (53.3 x 61 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
PROVENANCE:
with The Fine Art Society Ltd., London, August

1948.
103
66
104
EDWIN HARRIS, R.B.S.A. (1855-1906)
A quiet moment
signed Edwin Harris. (lower right)
oil on canvas
16 x 20 in. (40.6 x 50.8 cm.)
3,500-4,500
$5,300-6,800
4,700-6,000
PROVENANCE:
Anonymous sale; Christies, London, 26 September

2007, lot 20.
104
PROPERTY OF A NOBLEMAN
l105
JAMES McINTOSH PATRICK, R.S.A. (1907-1998)
Summer Haze
signed MCINTOSH/PATRICK (lower right)
and further signed and inscribed J. MCINTOSH
PATRICK/THE WHITE COTTAGE, NEAR/
POWLIS, PERTHSHIRE/SUMMER HAZE
(on the reverse)
oil on canvas
20 x 24 in. (50.8 x 61 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
EXHIBITED:
London, The Fine Art Society Ltd., May 1950.
105
END OF SALE
The next South Kensington sale of Victorian, Pre-Raphaelite & British Impressionist Art will be held on 8 July 2015
67
Index
B
Barker, J., 42
Barker, W., 25
Bastien-Lepage, J., 24
Bennett, F.M., 33
Blacklock, W.K., 21
Brangwyn, Sir F., 93
Breakspeare, W.A.,
101
Brett, J., 55
Brockhurst, G.L., 79
Brooker, H., 17
Brydall, R., 27
C
Carrick, J.M., 89
Charles, J., 22
Clausen, Sir G., 46-48
Connard, P., 80
Cooper, G., 14
Cooper, T.S., 38
Coventry, R.M., 58
D
de Branski, A.F., 52,
90-91
de Branski, Snr., A.,
51, 54
de Lszl, P.A., 72-75
F
Fearon, H., 95
Fisher, H., 31
Flint, Sir W.R., 62,
64-65, 67-68
68
G
Garland, H., 37
Gibbs, P.W., 94
Glendening, Snr.,
A.A., 87
H
Hacker, A., 97
Hall, F., 16
Hamilton, J., 32
Hardy, Jnr., J., 39
Harraden, R.B.
(Circle of), 85
Hughes, A., 28
Hunt, E.H., 10
J
Johnson, C.E., 86
K
Kelly, Sir G.F., 96
Kennedy, C., 15,
102-103
Kilburne, G.G., 70
King, H., 35
Knight, Dame L., 81,
98
L
Ladell, E., 13
Leader, B.W., 88, 92
Leist, F.W., 99
Logsdail, W., 3, 84
M
Maclise, D., 34
McCannell, W.O., 77
Midwood, W.H.
(Circle of), 30
Miles, T.R., 57
Munnings, Sir A.J.,
49-50
N
Niemann, E.J.
(Circle of), 41
O
ONeill, G.B., 18
Oliver, W., 100
P
Park, J.A., 59
Patrick, J.M., 105
Percy, S.R., 56
Pollentine, A., 9
Poole, P.F.
(Circle of), 29
Pownall, G.H., 1-2, 4
Pritchett, E., 7-8
Pryde, J.F., 76
R
Reilly, J.L., 40
Richter, H.D., 11-12
Ryland, H., 71
S
Salisbury, F.O., 82
Scott, D., 26
Seago, E., 5-6, 66, 69
Sharp, D., 43-45,
60-61
Smith, C.A., 19
T
Tuke, H.S., 63
Turner, G., 53
W
Wells, M.R., 78
Wheelwright, R., 36
Woodville, R.C., 23
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(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve,
the auctioneer will generally decide to open the
bidding at 50% of the low estimate for the lot.
If no bid is made at that level, the auctioneer may
decide to go backwards until a bid is made, and
then continue up from that amount. In the event
that there are no bids on a lot, the auctioneer may
deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.
9 LOCAL BIDDING LAWS

You agree that when bidding in any of our sales
that you will strictly comply with all local laws and
regulations in force at the time of the sale for the
relevant sale site.
D
THE BUYERS PREMIUM, TAXES

AND ARTISTS RESALE ROYALTY
1 THE BUYERS PREMIUM
In addition to the hammer price, the successful
bidder agrees to pay us a buyers premium
on the hammer price of each lot sold. On all
lots we charge 25% of the hammer price up
to and including q50,000, 20% on that part of
the hammer price over q50,000 and up to and
including q1,000,000, and 12% of that part of the
hammer price above q1,000,000.
2 TAXES
The successful bidder is responsible for any applicable
tax including any VAT, sales or compensating use
tax or equivalent tax wherever they arise on the
hammer price and the buyers premium. It is
the buyers responsibility to ascertain and pay all
taxes due. You can find details of how VAT and
VAT reclaims are dealt with in the section of the
catalogue headed VAT Symbols and Explanation.
VAT charges and refunds depend on the particular
circumstances of the buyer so this section, which
is not exhaustive, should be used only as a general
guide. In all circumstances EU and UK law takes
precedence. If you have any questions about VAT,
please contact Christies VAT Department on +44
(0)20 7389 9060 (email: VAT_london@christies.
com, fax: +44 (0)20 3219 6076).
3 ARTISTS RESALE ROYALTY
In certain countries, local laws entitle the artist or
the artists estate to a royalty known as artists resale
right when any lot created by the artist is sold. We
identify these lots with the symbol next to the
lot number. If these laws apply to a lot, you must
pay us an extra amount equal to the royalty. We
will pay the royalty to the appropriate authority on
the sellers behalf.
The artists resale royalty applies if the hammer
price of the lot is 1,000 euro or more. The total
royalty for any lot cannot be more than 12,500
euro. We work out the amount owed as follows:
Royalty for the portion of the hammer price
(in euros)
4% up to 50,000
3% between 50,000.01 and 200,000
1% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
over 500,000, the lower of 0.25% and 12,500 euro.
We will work out the artists resale royalty using the
euro to sterling rate of exchange of the European
Central Bank on the day of the auction.
E
WARRANTIES
1 SELLERS WARRANTIES
For each lot, the seller gives a warranty that the
seller:
(a) is the owner of the lot or a joint owner of
the lot acting with the permission of the other
co-owners or, if the seller is not the owner or a joint
owner of the lot, has the permission of the owner to
sell the lot, or the right to do so in law; and
(b) has the right to transfer ownership of the lot
to the buyer without any restrictions or claims by
anyone else.
If either of the above warranties are incorrect, the
seller shall not have to pay more than the purchase
price (as defined in paragraph F1(a) below) paid
by you to us. The seller will not be responsible to
you for any reason for loss of profits or business,
expected savings, loss of opportunity or interest,
costs, damages, other damages or expenses. The
seller gives no warranty in relation to any lot
other than as set out above and, as far as the seller
is allowed by law, all warranties from the seller
to you, and all other obligations upon the seller
which may be added to this agreement by law, are
excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the lots in
our sales are authentic (our authenticity warranty).
If, within five years of the date of the auction, you
satisfy us that your lot is not authentic, subject to the
terms below, we will refund the purchase price paid
by you. The meaning of authentic can be found in
the glossary at the end of these Conditions of Sale. The
terms of the authenticity warranty are as follows:

(a) It will be honoured for a period of five years
from the date of the auction. After such time, we
will not be obligated to honour the authenticity
warranty.
(b) It is given only for information shown in
UPPERCASE type in the first line of the
catalogue description (the Heading). It does
not apply to any information other than in the
Heading even if shown in UPPERCASE type.
(c) The authenticity warranty does not apply
to any Heading or part of a Heading which
is qualified. Qualified means limited by a
clarification in a lots catalogue description or
by the use in a Heading of one of the terms listed
in the section titled Qualified Headings on the
page of the catalogue headed Important Notices
and Explanation of Cataloguing Practice. For
example, use of the term ATTRIBUTED TO
in a Heading means that the lot is in Christies
opinion probably a work by the named artist but no
warranty is provided that the lot is the work of the
named artist. Please read the full list of Qualified
Headings and a lots full catalogue description
before bidding.
(d) The authenticity warranty applies to the
Heading as amended by any Saleroom Notice.
(e) The authenticity warranty does not apply
where scholarship has developed leading to a change
in generally accepted opinion. Further, it does not
apply if the Heading either matched the generally
accepted opinion of experts at the date of the sale or
drew attention to any conflict of opinion.
(f) The authenticity warranty does not apply if
the lot can only be shown not to be authentic by
a scientific process which, on the date we published
the catalogue, was not available or generally
accepted for use, or which was unreasonably
expensive or impractical, or which was likely to
have damaged the lot.
(g) The benefit of the authenticity warranty
is only available to the original buyer shown on
the invoice for the lot issued at the time of the
sale and only if the original buyer has owned the
lot continuously between the date of the auction
and the date of claim. It may not be transferred to
anyone else.
(h) In order to claim under the authenticity
warranty you must:
(i) give us written details, including full supporting
evidence, of any claim within five years of the date
of the auction;
(ii) at Christies option, we may require you to
provide the written opinions of two recognised
experts in the field of the lot mutually agreed by
you and us in advance confirming that the lot is
not authentic. If we have any doubts, we reserve
the right to obtain additional opinions at our
expense; and
(iii) return the lot at your expense to the saleroom
from which you bought it in the condition it was
in at the time of sale.
(i) Your only right under this authenticity
warranty is to cancel the sale and receive a refund
of the purchase price paid by you to us. We
will not, in any circumstances, be required to pay
you more than the purchase price nor will we
be liable for any loss of profits or business, loss of
opportunity or value, expected savings or interest,
costs, damages, other damages or expenses.
(j) Books. Where the lot is a book, we give an
additional warranty for 14 days from the date of
the sale that if on collation any lot is defective in
text or illustration, we will refund your purchase
price, subject to the following terms:
(a) This additional warranty does not apply to:
(i) the absence of blanks, half titles, tissue guards
or advertisements, damage in respect of bindings,
stains, spotting, marginal tears or other defects not
affecting completeness of the text or illustration;
(ii) drawings, autographs, letters or manuscripts,
signed photographs, music, atlases, maps or
periodicals;
(iii) books not identified by title;
(iv) lots sold without a printed estimate;
(v) books which are described in the catalogue as
sold not subject to return; or
(vi) defects stated in any condition report or
announced at the time of sale.
(b) To make a claim under this paragraph you must
give written details of the defect and return the lot
to the sale room at which you bought it in the same
condition as at the time of sale, within 14 days of
the date of the sale.
F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of q5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London, SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights we have by
law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;
(ii) we can cancel the sale of the lot. If we do this,

we may sell the lot again, publicly or privately on
such terms we shall think necessary or appropriate,
in which case you must pay us any shortfall between
the purchase price and the proceeds from the
resale. You must also pay all costs, expenses, losses,
damages and legal fees we have to pay or may suffer
and any shortfall in the sellers commission on the
resale;
(iii) we can pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
your default in which case you acknowledge and
understand that Christies will have all of the rights
of the seller to pursue you for such amounts;
(iv) we can hold you legally responsible for the
purchase price and may begin legal proceedings
to recover it together with other losses, interest,
legal fees and costs as far as we are allowed by law;
(v) we can take what you owe us from any amounts
which we or any company in the Christies Group
may owe you (including any deposit or other partpayment which you have paid to us);
(vi) we can, at our option, reveal your identity and
contact details to the seller;
(vii) we can reject at any future auction any bids
made by or on behalf of the buyer or to obtain a
deposit from the buyer before accepting any bids;
(viii) to exercise all the rights and remedies of
a person holding security over any property in
our possession owned by you, whether by way
of pledge, security interest or in any other way
as permitted by the law of the place where such
property is located. You will be deemed to have
granted such security to us and we may retain such
property as collateral security for your obligations
to us; and
(ix) we can take any other action we see necessary
or appropriate.
(b) If you owe money to us or to another
Christies Group company, we can use any
amount you do pay, including any deposit or other
part-payment you have made to us, or which we
owe you, to pay off any amount you owe to us
or another Christies Group company for any
transaction.
5 KEEPING YOUR PROPERTY
If you owe money to us or to another Christies
Group company, as well as the rights set out in F4
above, we can use or deal with any of your property
we hold or which is held by another Christies
Group company in any way we are allowed to
by law. We will only release your property to you
after you pay us or the relevant Christies Group
company in full for what you owe. However, if we
choose, we can also sell your property in any way
we think appropriate. We will use the proceeds of
the sale against any amounts you owe us and we will
pay any amount left from that sale to you. If there is
a shortfall, you must pay us any difference between
the amount we have received from the sale and the
amount you owe us.
G COLLECTION AND STORAGE
1 COLLECTION
Once you have made full and clear payment, you
must collect the lot within seven days from the date
of the auction.
(a) You may not collect the lot until you have
made full and clear payment of all amounts due to
us.
(b) If you have paid for the lot in full but you do
not collect the lot within 90 calendar days after
the sale, we may sell it, unless otherwise agreed in
writing. If we do this, we will pay you the proceeds
of the sale after taking our storage charges and any
other amounts you owe us and any Christies
Group company.
(c) Information on collecting lots is set out on
an information sheet which you can get from the
bidder registration staff or Christies Cashiers +44
(0)20 7839 9060.
2 STORAGE
(a) If you have not collected the lot within seven
days from the date of the auction, we or our
appointed agents can:
(i) charge you storage fees while the lot is still at
our saleroom; or
(ii) remove the lot at our option to a warehouse
and charge you all transport and storage costs
(b) Details of the removal of the lot to a warehouse,
fees and costs are set out at the back of the catalogue
on the page headed Storage and Collection. You
may be liable to our agent directly for these costs.
H TRANSPORT AND SHIPPING

1
TRANSPORT AND SHIPPING
We will enclose a transport and shipping form
with each invoice sent to you. You must make all
transport and shipping arrangements. However,
we can arrange to pack, transport and ship your
property if you ask us to and pay the costs of doing
so. We recommend that you ask us for an estimate,
especially for any large items or items of high value
that need professional packing. We may also suggest
other handlers, packers, transporters or experts
if you ask us to do so. For more information,
please contact Christies Art Transport on +44
(0)20 7389 9060. See the information set out at
www.christies.com/shipping or contact us at
arttransport_london@christies.com. We will take
reasonable care when we are handling, packing,
transporting and shipping a lot. However, if we
recommend another company for any of these
purposes, we are not responsible for their acts,
failure to act or neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws
on exports from the country in which it is sold
and the import restrictions of other countries.
Many countries require a declaration of export
for property leaving the country and/or an import
declaration on entry of property into the country.
Local laws may prevent you from importing a lot
or may prevent you selling a lot in the country you
import it into.
(a) You alone are responsible for getting advice
about and meeting the requirements of any laws or
regulations which apply to exporting or importing
any lot prior to bidding. If you are refused a licence
or there is a delay in getting one, you must still
pay us in full for the lot. We may be able to help
you apply for the appropriate licences if you ask
us to and pay our fee for doing so. However, we
cannot guarantee that you will get one. For more
information, please contact Christies Art Transport
Department on +44 (0)20 7389 9060. See the
information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com.
(b) Lots made of protected species
Lots made of or including (regardless of the
percentage) endangered and other protected species
of wildlife are marked with the symbol ~ in the
catalogue. This material includes, among other
things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and
Brazilian rosewood. You should check the relevant
customs laws and regulations before bidding on any
lot containing wildlife material if you plan to import
the lot into another country. Several countries
refuse to allow you to import property containing
these materials, and some other countries require
a licence from the relevant regulatory agencies in
the countries of exportation as well as importation.
In some cases, the lot can only be shipped with
an independent scientific confirmation of species
and/or age and you will need to obtain these at
your own cost. If a lot contains elephant ivory, or
any other wildlife material that could be confused
with elephant ivory (for example, mammoth ivory,
walrus ivory, helmeted hornbill ivory), please see
further important information in paragraph (c) if
you are proposing to import the lot into the USA.
We will not be obliged to cancel your purchase and
refund the purchase price if your lot may not be
exported, imported or it is seized for any reason by
a government authority. It is your responsibility
to determine and satisfy the requirements of any
applicable laws or regulations relating to the export
or import of property containing such protected or
regulated material.
(c) US import ban on African elephant ivory
The USA prohibits the import of ivory from the
African elephant. Any lot containing elephant
ivory or other wildlife material that could be
easily confused with elephant ivory (for example,
mammoth ivory, walrus ivory, helmeted hornbill
ivory) can only be imported into the US with results
of a rigorous scientific test acceptable to the US
Fish & Wildlife Service, which confirms that the
material is not African elephant ivory. Where we
have conducted such rigorous scientific testing on a
lot prior to sale, we will make this clear in the lot
description. In all other cases, we cannot confirm
whether a lot contains African elephant ivory,
and you will buy that lot at your own risk and be
responsible for any scientific test or other reports
required for import into the USA at your own cost.
If such scientific test is inconclusive or confirms the
material is from the African elephant, we will not

be obliged to cancel your purchase and refund the
purchase price.
(d) Lots containing material that originates
from Burma (Myanmar)
Lots which contain rubies or jadeite originating in
Burma (Myanmar) may not generally be imported
into the United States. As a convenience to US
buyers, lots which contain rubies or jadeite of
Burmese or indeterminate origin have been marked
with the symbol in the catalogue. In relation to
items that contain any other types of gemstones
originating in Burma (e.g. sapphires) such items may
be imported into the United States provided that the
gemstones have been mounted or incorporated into
jewellery outside of Burma and provided that the
setting is not of a temporary nature (e.g. a string).
(e) Lots of Iranian origin
Some countries prohibit or restrict the purchase and/
or import of Iranian-origin works of conventional
craftsmanship (works that are not by a recognised
artist and/or that have a function, for example:
carpets, bowls, ewers, tiles, ornamental boxes). For
example, the USA prohibits the import of this
type of property and its purchase by US persons
(wherever located). Other countries, such as Canada,
only permit the import of this property in certain
circumstances. As a convenience to buyers, Christies
indicates under the title of a lot if the lot originates
from Iran (Persia). It is your responsibility to ensure
you do not bid on or import a lot in contravention
of the sanctions or trade embargoes that apply to you.
(f) Gold
Gold of less than 18ct does not qualify in all
countries as gold and may be refused import into
those countries as gold.
(g) Jewellery over 50 years old
Under current laws, jewellery over 50 years old
which is worth q34,300 or more will require an
export licence which we can apply for on your
behalf. It may take up to eight weeks to obtain the
export jewellery licence.
(h) Watches
(i) Many of the watches offered for sale in
this catalogue are pictured with straps made of
endangered or protected animal materials such as
alligator or crocodile. These lots are marked with
the symbol ~ in the catalogue. These endangered
species straps are shown for display purposes only
and are not for sale. Christies will remove and
retain the strap prior to shipment from the sale
site. At some sale sites, Christies may, at its sole
option, make the displayed endangered species strap
available to the buyer of the lot free of charge if
collected in person from the sale site within one
year of the date of the sale. Please check with the
department for details on a particular lot.
(ii) The importation of luxury watches such as
Rolex into the United States is highly restricted.
Such watches may not be shipped to the United
States and can only be imported personally.
Generally, a buyer may import only one watch into
the United States at a time. In this catalogue, these
watches have been marked with a . This will not
affect your responsibility to pay for the lot. For
further information please contact our specialists in
charge of the sale.
For all symbols and other markings referred to in
paragraph H2, please note that lots are marked as a
convenience to you, but we do not accept liability
for errors or for failing to mark lots.
I
OUR LIABILITY TO YOU
(a) We give no warranty in relation to any
statement made, or information given, by us or our
representatives or employees, about any lot other
than as set out in the authenticity warranty and,
as far as we are allowed by law, all warranties and
other terms which may be added to this agreement
by law are excluded. The sellers warranties
contained in paragraph E1 are their own and we
do not have any liability to you in relation to those
warranties.
(b) (i) We are not responsible to you for any reason
(whether for breaking this agreement or any other
matter relating to your purchase of, or bid for, any
lot) other than in the event of fraud or fraudulent
misrepresentation by us or other than as expressly set
out in these Conditions of Sale; or
(ii) give any representation, warranty or guarantee
or assume any liability of any kind in respect of
any lot with regard to merchantability, fitness
for a particular purpose, description, size, quality,
condition, attribution, authenticity, rarity,
importance, medium, provenance, exhibition
history, literature, or historical relevance. Except as
required by local law, any warranty of any kind is
excluded by this paragraph.
(c) In particular, please be aware that our written

and telephone bidding services, Christies LIVE%,
condition reports, currency converter and
saleroom video screens are free services and we
are not responsible to you for any error (human or
otherwise), omission or breakdown in these services.
(d) We have no responsibility to any person other
than a buyer in connection with the purchase of any
lot.
(e) If, in spite of the terms in paragraphs (a) to (d)
or E2(i) above, we are found to be liable to you for
any reason, we shall not have to pay more than the
purchase price paid by you to us. We will not be
responsible to you for any reason for loss of profits
or business, loss of opportunity or value, expected
savings or interest, costs, damages, or expenses.
to those proceedings), we agree we will each try to

settle the dispute by mediation following the Centre
for Effective Dispute Resolution (CEDR) Model
Mediation Procedure. We will use a mediator affiliated
with CEDR who we and you agree to. If the dispute is
not settled by mediation, you agree for our benefit that
the dispute will be referred to and dealt with exclusively
in the courts of England and Wales. However, we will
have the right to bring proceedings against you in any
other court.
10 REPORTING ON
WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer
price plus buyers premium and do not reflect
J
OTHER TERMS
costs, financing fees, or application of buyers or
sellers credits. We regret that we cannot agree
1
OUR ABILITY TO CANCEL
In addition to the other rights of cancellation to requests to remove these details from www.
contained in this agreement, we can cancel a sale of christies.com.
a lot if we reasonably believe that completing the
GLOSSARY
transaction is, or may be, unlawful or that the sale J
places us or the seller under any liability to anyone authentic: a genuine example, rather than a copy
else or may damage our reputation.
or forgery of:
(i) the work of a particular artist, author or
2 RECORDINGS
manufacturer, if the lot is described in the
We may videotape and record proceedings at any Heading as the work of that artist, author or
auction. We will keep any personal information manufacturer;
confidential, except to the extent disclosure is (ii) a work created within a particular period or
required by law. However, we may, through this culture, if the lot is described in the Heading as a
process, use or share these recordings with another work created during that period or culture;
Christies Group company and marketing partners (iii) a work for a particular origin source if the lot
to analyse our customers and to help us to tailor is described in the Heading as being of that origin
our services for buyers. If you do not want to be or source; or
videotaped, you may make arrangements to make (iv) in the case of gems, a work which is made of
a telephone or written bid or bid on Christies a particular material, if the lot is described in the
LIVE% instead. Unless we agree otherwise Heading as being made of that material.
in writing, you may not videotape or record authenticity warranty: the guarantee we give in
proceedings at any auction.
this agreement that a lot is authentic as set out in
section E2 of this agreement.
3 COPYRIGHT
buyers premium: the charge the buyer pays us
We own the copyright in all images, illustrations and along with the hammer price.
written material produced by or for us relating to a catalogue description: the description of a lot
lot (including the contents of our catalogues unless in the catalogue for the auction, as amended by any
otherwise noted in the catalogue). You cannot use saleroom notice.
them without our prior written permission. We Christies Group: Christies International Plc,
do not offer any guarantee that you will gain any its subsidiaries and other companies within its
copyright or other reproduction rights to the lot.
corporate group.
condition: the physical condition of a lot.
4 ENFORCING THIS AGREEMENT
due date: has the meaning given to it in paragraph
If a court finds that any part of this agreement is not F1(a).
valid or is illegal or impossible to enforce, that part estimate: the price range included in the catalogue
of the agreement will be treated as being deleted or any saleroom notice within which we believe
and the rest of this agreement will not be affected. a lot may sell. Low estimate means the lower
figure in the range and high estimate means the
5 TRANSFERRING YOUR RIGHTS
higher figure. The mid estimate is the midpoint
AND RESPONSIBILITIES
between the two.
You may not grant a security over or transfer your hammer price: the amount of the highest bid the
rights or responsibilities under these terms on the auctioneer accepts for the sale of a lot.
contract of sale with the buyer unless we have Heading: has the meaning given to it in paragraph
given our written permission. This agreement will E2.
be binding on your successors or estate and anyone lot: an item to be offered at auction (or two or
who takes over your rights and responsibilities.
more items to be offered at auction as a group).
other damages: any special, consequential,
6 TRANSLATIONS
incidental or indirect damages of any kind or any
If we have provided a translation of this agreement, damages which fall within the meaning of special,
we will use this original version in deciding any incidental or consequential under local law.
issues or disputes which arise under this agreement. purchase price: has the meaning given to it in
paragraph F1(a).
7 PERSONAL INFORMATION
provenance: the ownership history of a lot.
We will hold and process your personal information qualified: has the meaning given to it in paragraph
and may pass it to another Christies Group E2 and Qualified Headings means the section
company for use as described in, and in line with, headed Qualified Headings on the page of
our privacy policy at www.christies.com.
the catalogue headed Important Notices and
Explanation of Cataloguing Practice.
reserve: the confidential amount below which we
8 WAIVER
No failure or delay to exercise any right or remedy will not sell a lot.
provided under these Conditions of Sale shall saleroom notice: a written notice posted next to
constitute a waiver of that or any other right or the lot in the saleroom and on www.christies.
remedy, nor shall it prevent or restrict the further com, which is also read to prospective telephone
exercise of that or any other right or remedy. No bidders and notified to clients who have left
single or partial exercise of such right or remedy commission bids, or an announcement made by the
shall prevent or restrict the further exercise of that auctioneer either at the beginning of the sale, or
before a particular lot is auctioned.
or any other right or remedy.
UPPER CASE type: means having all capital
letters.
9 LAW AND DISPUTES
This agreement, and any non-contractual obligations warranty: a statement or representation in which
arising out of or in connection with this agreement, or the person making it guarantees that the facts set
any other rights you may have relating to the purchase out in it are correct.
of a lot will be governed by the laws of England and
Wales. Before we or you start any court proceedings
(except in the limited circumstances where the dispute,
controversy or claim is related to proceedings brought
by someone else and this dispute could be joined
71
Vat Symbols and Explanation

You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of
the catalogue headed Conditions of Sale
VAT payable
Symbol
No
Symbol
We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
: If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
: If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)
For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.
VAT refunds: what can I reclaim?

If you are:
A non VAT registered
UK or EU buyer
UK VAT registered
buyer
No refund is possible
No symbol and
* and
EU VAT registered
buyer
No Symbol, and #
Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
The VAT amount in the buyers premium cannot be refunded. However,
on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT
rules (as if the lot had been sold with a symbol).
See below for the rules that would then apply.
If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.
* and
The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
Non EU buyer
No Symbol
1. We CANNOT offer refunds of VAT

amounts or Import VAT to buyers who do
not meet all applicable conditions in full. If
you are unsure whether you will be entitled
to a refund, please contact Client Services at
the address below before you bid.
2. No VAT amounts or Import VAT
will be refunded where the total refund is
under q100.
3. In order to receive a refund of VAT
amounts/Import VAT (as applicable) nonEU buyers must:
The VAT amount in the buyers premium cannot be refunded.

However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol). Subject to HMRCs rules,
you can then reclaim the VAT charged through your own VAT return.
We will refund the VAT amount in the buyers premium.
and
We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.
(wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in the
buyers premium cannot be refunded to non-trade clients.
* and
We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.
(a) have registered to bid with an address

outside of the EU; and
(b) provide immediate proof of correct
export out of the EU within the required
time frames of: 30 days via a controlled
export for * and lots. All other lots
must be exported within three months of
collection.
4. Details of the documents which you
must provide to us to show satisfactory proof
of export/shipping are available from our
VAT team at the address below.
We charge a processing fee of q35.00

per invoice to check shipping/export
documents. We will waive this processing
fee if you appoint Christies Shipping
Department to arrange your export/
shipping.
5. If you appoint Christies Art Transport
or one of our authorised shippers to arrange
your export/shipping we will issue you
with an export invoice with the applicable
VAT or duties cancelled as outlined above.
If you later cancel or change the shipment
in a manner that infringes the rules outlined

above we will issue a revised invoice
charging you all applicable taxes/charges.
6. If you ask us to re-invoice you under
normal UK VAT rules (as if the lot had
been sold with a symbol) instead of under
the Margin Scheme the lot may become
ineligible to be resold using the Margin
Schemes. You should take professional
advice if you are unsure how this may
affect you.
7. All reinvoicing requests must be

received within four years from the date
of sale.
If you have any questions about VAT
refunds please contact Christies Client
Services on info@christies.com
Tel: +44 (0)20 7389 2886.
Fax: +44 (0)20 7839 1611.
Symbols used in this catalogue

The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed
Conditions of Sale
Christies has a direct financial interest in the

lot. See Important Notices and Explanation of
Cataloguing Practice.
Owned by Christies or another Christies

Group company in whole or part. See
Important Notices and Explanation of
Cataloguing Practice.
Christies has a direct financial interest in the

lot and has funded all or part of our interest
with the help of someone else. See Important
Notices and Explanation of Cataloguing
Practice.
Artists Resale Right. See Section D3 of the

Conditions of Sale.
Lot offered without reserve which will be

sold to the highest bidder regardless of the presale estimate in the catalogue.
~
Lot incorporates material from endangered
species which could result in export
restrictions.
See Section H2(b) of the Conditions of Sale.
Lot which may not be able to be shipped to

the US.
See Section H2(h)of the Conditions of Sale.
Lot containing jadeite and rubies from Burma

or of indeterminate origin. See Section H2(d)
of the Conditions of Sale.
?, *, , , #,
See VAT Symbols and Explanation.
See Storage and Collection Pages on South

Kensington sales only.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or
failure to, mark a lot
Important Notices and Explanation of

Cataloguing Practice
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is identified in the catalogue with the symbol next to its lot
number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include guaranteeing a minimum price or making an advance
to the consignor that is secured solely by consigned
property. Where Christies holds such financial interest on its own we identify such lots with the symbol
next to the lot number. Where Christies has financed
all or part of such interest through a third party the
lots are identified in the catalogue with the symbol
. When a third party agrees to finance all or part of
Christies interest in a lot, it takes on all or part of the
risk of the lot not being sold and will be remunerated
in exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the final
hammer price in the event that the third party is not
the successful bidder. The third party may also bid for
the lot. Where it does so, and is the successful bidder,
the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may
incur a loss. Please see http://www.christies.com/
financial-interest/ for a more detailed explanation
of minimum price guarantees and third party financing
arrangements.
Where Christies has an ownership or financial interest
in every lot in the catalogue, Christies will not designate each lot with a symbol, but will state its interest at
the front of the catalogue.
FOR PICTURES, DRAWINGS, PRINTS AND

MINIATURES
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all statements
in this catalogue as to authorship are made subject to
the provisions of the Conditions of Sale and authenticity warranty. Buyers are advised to inspect the property
themselves. Written condition reports are usually
available on request.
Qualified Headings
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by the
artist in whole or in part.
*Studio of / Workshop of
In Christies qualified opinion a work executed in the
studio or workshop of the artist, possibly under his
supervision.
*Circle of
In Christies qualified opinion a work of the period of
the artist and showing his influence.
*Follower of
artists style but not necessarily by a pupil.
*Manner of
artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of
a work of the artist.
Signed /Dated /Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.
With signature / With date /

With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate date
when prefixed with circa) on which the matrix was
worked and not necessarily the date when the impression was printed or published.
*This term and its definition in this Explanation of
Cataloguing Practice are a qualified statement as to
authorship. While the use of this term is based upon
careful study and represents the opinion of specialists,
Christies and the consignor assume no risk, liability
and responsibility for the authenticity of authorship of
any lot in this catalogue described by this term, and
the authenticity warranty shall not be available with
respect to lots described using this term.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works of
art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety)
Regulations 1988 (as amended in 1989 and 1993,
the Regulations). Accordingly, these items should
not be used as furniture in your home in their current condition. If you do intend to use such items for
this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate)
in order that they comply with the provisions of the
Regulations.
73
Storage and Collection

EXTENDED LIABILITY CHARGE
POST-WAR & CONTEMPORARY ART
All furniture and carpet lots (sold and unsold)

not collected from Christies by 9.00 am
on the day following the auction will be
removed by Cadogan Tate Ltd to their
warehouse at:
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com.
While at King Street lots are available for
collection on any working day, 9.00 am to
4.30 pm. Once transferred to Cadogan Tate
lots will be available for collection from the
first working day following the day of their
removal from King Street,
9.00 am to 5.00 pm Monday to Friday.
To avoid waiting times on collection at
Cadogan Tate, we advise that you contact
Cadogan Tate directly, 24 hours in advance,
prior to collection on +44 (0)800 988 6100.
From the day of transfer of sold items to

Cadogan Tate Ltd, all such lots are automatically insured by Cadogan Tate Ltd at the sum
of the hammer price plus buyers premium.
The Extended Liability Charge in this respect
by Cadogan Tate Ltd is 0.6% of the sum of
the hammer price plus buyers premium or
100% of the handling and storage charges,
whichever is smaller.
To avoid waiting times on collection, we

kindly advise you to contact our
Post-War & Contemporary Art dept 24 hours
in advance on +44 (0)20 7389 2958
PAYMENT
TRANSFER, STORAGE & RELATED CHARGES
Cadogan Tate Ltds storage charges may be

paid in advance or at the time of collection.
Lots may only be released from Cadogan
Tate Ltds warehouse on production of
the Collection Order from Christies,
8 King Street, London SW1Y 6QT.
The removal and/or storage by Cadogan Tate
of any lots will be subject to their standard
Conditions of Business, copies of which
are available from Christies, 8 King Street,
London SW1Y 6QT.
Lots will not be released until all outstanding
charges due to Christies and Cadogan Tate
Ltd are settled.
CHARGES PER LOT
FURNITURE / LARGE OBJECTS
PICTURES / SMALL OBJECTS
1-28 days after the auction
Free of Charge
Free of Charge
29th day onwards:

Transfer
Storage per day
q70.00
q5.25
q35.00
q2.65
BOOKS
Please note that all lots from book department

sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.
Christies Fine Art Storage Services

(CFASS) also offers storage solutions for fine
art, antiques and collectibles in New York
and Singapore FreePort. CFASS is a separate
subsidiary of Christies and clients enjoy
complete confidentiality. Visit www.cfass.com
for charges and other details.
Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the
auction. Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate
Cadogan TaTe LTds Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
28/10/14
74
Worldwide Salerooms and European Offices

AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 8812

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+91 (98) 1032 2399

Sanjay Sharma
SPAIN
BARCELONA
NORTH
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+44 (0)20 7752 3004

Thomas Scott
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
SOUTH
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
+44 (0)1730 814 300

Mark Wrey
EAST
SWEDEN
STOCKHOLM
+44 (0)20 7752 3004

Thomas Scott
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
NORTHWEST AND
WALES
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
Business Development
Director
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+33 (0)1 40 76 85 85
+31 (0)20 57 55 255
GERMANY
DSSELDORF
PEOPLES REPUBLIC
OF CHINA
BEIJING
+49 (0)21 14 91 59 30
Arno Verkade
+86 (0)10 8572 7900
FRANKFURT
HONG KONG
+49 (0)173 317 3975

Anja Schaller
(Consultant)
SHANGHAI
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
+852 2760 1766

+86 86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+41 (0)44 268 1010

Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI
+971 (0)4 425 5647
+44 (0)20 7839 9060
+44 (0)20 7930 6074
+44 (0)20 7752 3004

Jane Blood
SCOTLAND
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032

CHANNEL ISLANDS
+44 (0)1534 485 988

Melissa Bonn
IRELAND
+353 (0)59 86 24996

Christine Ryall
UNITED STATES
NEW YORK
+1 212 636 2000
+351 919 317 233

Mafalda Pereira
Coutinho
(Independent
Consultant)
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
E NQ U I RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
E MA I L info@christies.com
23/01/15
75
Christies Specialist Departments and Services

DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230

AMERICAN INDIAN ART
NY: +1 212 606 0536

AMERICAN PICTURES
NY: +1 212 636 2140

ANGLO-INDIAN ART
KS: +44 (0)20 7389 2570

ANTIQUITIES
INDIAN
CONTEMPORARY ART
KS: +44 (0)20 7389 2700

NY: +1 212 636 2189
INTERIORS
SK: +44 (0)20 7389 2236

NY: +1 212 636 2032
ISLAMIC WORKS OF ART
POSTERS
PRINTS
KS: +44 (0)20 7389 2328

SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
KS: +44 (0)20 7389 2700

SK: +44 (0)20 7752 3239
KS: +44 (0)20 7389 2343
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2057
RUSSIAN WORKS OF ART

TRAVEL, SCIENCE AND
NATURAL HISTORY
ARMS AND ARMOUR
KS: +44 (0)20 7389 2591

SK: +44 (0)20 7752 3239
SK: +44 (0)20 7752 3119
JEWELLERY
ASIAN 20TH CENTURY

AND CONTEMPORARY ART
KS: +44 (0)20 7389 2383

SK: +44 (0)20 7752 3265
NY: +1 212 468 7133
LATIN AMERICAN ART
AUSTRALIAN PICTURES
NY: +1 212 636 2150
KS: +44 (0)20 7389 2040
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SK: +44 (0)20 7752 3284

NY: +1 212 707 5949
SWISS ART
KS: +44 (0)20 7389 2674

SK: +44 (0)20 7752 3203
MINIATURES
KS: +44 (0)20 7389 2650
TOPOGRAPHICAL
PICTURES
BRITISH & IRISH ART
MODERN DESIGN
KS: +44 (0)20 7389 2682

NY: +1 212 636 2084
SK: +44 (0)20 7752 3257
SK: +44 (0)20 7389 2142
KS: +44 (0)20 7389 2040

SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3219
BRITISH ART ON PAPER
KS: +44 (0)20 7389 2278

SK: +44 (0)20 7752 3293
NY: +1 212 636 2085
BRITISH PICTURES
1500-1850
KS: +44 (0)20 7389 2945

CARPETS
KS: +44 (0)20 7389 2370

SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART
KS: +44 (0)20 7389 2577

SK: +44 (0)20 7752 3239
CLOCKS
KS: +44 (0)20 7389 2357
KS: +44 (0)20 7389 2699

NINETEENTH CENTURY
EUROPEAN PICTURES
KS: +44 (0)20 7389 2443

SK: +44 (0)20 7752 3309
OBJECTS OF VERTU
KS: +44 (0)20 7389 2347

SK: +44 (0)20 7752 3001
OLD MASTER DRAWINGS
KS: +44 (0)20 7389 2251

OLD MASTER PICTURES
ORIENTAL CERAMICS
AND WORKS OF ART
SK: +44 (0)20 7752 3026

FURNITURE
KS: +44 (0)20 7389 2482

SK: +44 (0)20 7389 2791
IMPRESSIONIST PICTURES
KS: +44 (0)20 7389 2638

SK: +44 (0)20 7752 3218
SILVER
KS: +44 (0)20 7389 2666

SK: +44 (0)20 7752 3262
ZUR: +41 (0) 44 268 1012
TWENTIETH CENTURY
BRITISH ART
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
EUROPEAN CERAMICS
AND GLASS
KS: +44 (0)20 7389 2331

SK: +44 (0)20 7389 2794
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
KS: +44 (0)20 7389 2531

SK: +44 (0)20 7752 3250
SK: +44 (0)20 7752 3215
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
CONTEMPORARY ART
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3365
MUSICAL INSTRUMENTS
PAR: +33 (0)140 768 386
KS: +44 (0)20 7389 2684

SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
DECORATIVE ART
& DESIGN
KS: +44 (0)20 7389 2140

SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
Tel: +44 (0)20 7389 2548

Email: norchard@
christies.com
FINANCIAL SERVICES
Tel: +44 (0)20 7389 2624

Fax: +44 (0)20 7389 2204
HERITAGE AND
TAXATION
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Tel: +44 (0)20 7389 2101

Fax: +44 (0)20 7389 2300
Email:rcornett@christies.
com
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
Tel: +44 (0)20 7389 2343

Fax: +44 (0)20 7389 2225
Email: awaters@christies.
com
MUSEUM SERVICES, UK
Tel: +44 (0)20 7389 2570

Email: llindsay@christies.
com
New York
+1 212 974 4570
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06/11/14
76
EUGENE GALIEN-LALOUE (FRENCH, 18541941)

Lancien Trocadero, Paris
signed E.Galien-Laloue (lower right) pencil, watercolour and bodycolour, on paper
7 x 12 in. (19 x 30 cm.) 4,0006,000
19th Century European Art

London, South Kensington 16 April 2015
Viewing
Contact
1115 April 2015

London SW7 3LD
Alastair Plumb
aplumb@christies.com
+44 (0)20 7752 3298
christies.com
HENDRICK MARTENSZ. SORGH (ROTTERDAM 16091670)

A man smoking and drinking in a tavern
signed and dated Sorgh / 1669(?) (lower left) oil on panel 10 x 8 in. (27.5 x 22.5 cm.)
7,00010,000
Old Master and British Paintings

London, South Kensington 30 April 2015
Viewing
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2529 April 2015

London SW7 3LD
Melissa van Vliet

mvanvliet@christies.com
+44 (0)20 7752 3256
christies.com
EDWARD SEAGO, R.W.S., R.B.A. (19101974)

Towards Westminster
signed Edward Seago (lower left), signed again, dedicated and dated For Noel/from/Ted/1972 (on the reverse)
oil on board 16 x 12 in. (40.8 x 30 cm.)
15,000 25,000
Modern British and Irish Art

London, South Kensington 19 March 2015
Viewing
Contact
1418 March 2015

London SW7 3LD
Angus Granlund
agranlund@christies.com
+44 (0)20 7752 3240
christies.com
The Collection of
Robert Hatfeld Ellsworth
Christies is honoured to present the collection of this distinguished
American scholar, dealer, and collector whose groundbreaking work
transformed the study and appreciation of Asian art.
Featuring ancient bronzes, Ming furniture, fne jade, modern Chinese
paintings, and Himalayan, Indian and Southeast Asian works of
art in addition to important English furniture, fne art, silver, and
decorative arts this exceptional selection of works is recognised as
one of the worlds greatest collections.
Auctions in New York
Online Auctions
Viewing
Contact
1721 March 2015
Beginning 18 March
1118 March
20 Rockefeller Plaza
New York, NY 10020
Gemma Sudlow
ellsworth@christies.com
+1 212 636 2000
christies.com/ellsworth
Victorian & British

Impressionist Art
THURSDAY 12 MARCH 2015 AT 2.00 PM
85 Old Brompton Road, London SW7 3LD

CODE NAME: VICTORIA
SALE NUMBER: 10452
(Dealers billing name and address must agree with tax

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AT CHRISTIES.COM
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10452
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Auction Results: +44 (0)20 7839 9060
03.03.10
81
OMP & 19TH CENTURY PAINTINGS
expert knowledge beautifully presented
Continental European and British paintings from the early Renaissance

to the early 19th century. British and Irish Art from Tudor period
to 1970, including pictures, works on paper, Sporting Art,Victorian
and Scottish pictures. Continental European drawings from the early
Renaissance to the early 19th century. Paintings, drawings and watercolors from the 19th century, including Romanticism, Genre, Realist,
Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and
nautical items, ship models and maritime instruments.
Code
Subscription Title
Location
A1
L193
L1
L195
L98
N193
N1
P1
K193
K9
K1
K2
K97
W9
OMP & C19th Paintings

Old Master and 19th Century Art
19th Century European Art including Orientalist Art
Old Master and British Paintings
Victorian and British Impressionist Pictures
Topographical Pictures
19th Century European Art
Old Master Paintings
Old Master & 19th Century European Paintings
19th Century Paintings
Old Master & Early British Drawings & Watercolours
Old Master Paintings
Victorian, Traditionalist & Sporting Pictures
Australian Art
Old Master & Early British Drawings & Watercolours
Amsterdam
King Street
King Street
King Street
King Street
New York
New York
Paris
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South Kensington
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South Kensington
South Kensington
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Photographs, Posters and Prints Impressionist and Modern Art
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Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
Issues
2
2
5
2
1
2
3
1
2
1
4
5
1
4
UKPrice
US$Price
EURPrice
27
48
119
48
20
48
71
38
43
14
57
71
14
95
44
72
181
76
32
76
108
61
71
24
95
119
24
152
40
76
190
72
30
72
114
57
66
22
87
109
22
144
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13/01/15
85 Old Brompton Road London SW7 3LD
+44 (0)20 7930 6074 telephone +44 (0)20 7389 2869 facsimile

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Thursday 12 March 2015

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View catalogues and leave bids online

The Old Curiosity Shop

signed Geo. Hyde. P- (lower right)

FROM THE COLLECTION OF THE LATE LORD MATTHEWS

Misty Morning, Rotterdam Quayside

with P. & D. Colnaghi & Co. Ltd, London.

THE PROPERTY OF A GENTLEMAN

H;tel de Crillon, Paris

with P. & D. Colnaghi & Co. Ltd, London.

Santa Maria della Salute, Venice

with P. & D. Colnaghi & Co. Ltd, London.

Santa Maria della Salute and the Dogana da

with The Leger Galleries Ltd., October 1964.

The Grand Canal, Venice

The Ponte Vecchio, Florence

The Tower of London

signed H. DAVIS RICHTER (lower right)

Edinburgh, Royal Scottish Academy, 1939, no. 236.

Grapes and peaches in a wicker basket, with

with W.H. Patterson, London.

Fuchsia, geraniums and pelargoniums

Still life with roses

with The Fine Art Society Ltd., London, 1949.

The young performers

signed with initials and dated F.H./ 91. (lower left)

signed and dated Harry Brooker/1900 (lower right)

Anonymous sale; Sothebys, New York, 27 October 1988, lot 347.

The Quaker and the Tax-Gatherer

Robert Frank Esq.

London, Royal Academy, 1862, no. 293.

Mothers little helper

signed W. KAY BLACKLOCK (lower right)

signed and dated Carlton A Smith \80- (lower right)

The secret admirer

The sergeants story: I was at Marango

Sir James Jebusa Shannon, and thence by descent.

Study on The Descent from the Cross

James McIntosh Patrick(); Christies, Scotland, 26 September 1998, lot 260.

The frst crusader

Gifted to John Hamilton Trist in 1871 by the artist.

London, Goupil Gallery, 1896, no. 37.

J.H. Trists manuscript catalogue, 1876, revised

The mischievous farmhands

Victorian, Pre Raphaelite & British Impressionist Art

Victorian, Pre Raphaelite & British Impressionist Art