Modern British and Irish Art

SOUTH KENSINGTON
Modern British
and Irish Art
including works formerly
in the private collection of
Sir Nol Coward
Thursday 19 March 2015
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28/01/15
Subject to change
Modern British and Irish Art

including works formerly in the private collection
of Sir Nol Coward
Angus Granlund
Head of Sale
Pippa Jacomb
Associate Director
William Porter
Senior Director
Tel:+44 (0)20 7752 3240 Tel:+44 (0)20 7389 2293 Tel:+44 (0)20 7389 2688
AUCTION
STORAGE AND COLLECTION

at 10.30 am Lots 1-194
85 Old Brompton Road
London SW7 3LD
Please refer to the important notice

on page 125. Please note that
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Monday to Friday 9am to 5pm,
and purchases transferred to their
warehouse are not available for
collection at weekends.
AUCTION CODE AND NUMBER
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to as CARMEN-10442
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Cover: Lot 30 (detail)

Inside front cover: Lot 122 (detail)
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Back cover: Lot 123 and 183
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PROPERTY
FORMERLY IN
THE PRIVATE
COLLECTION
OF SIR NOL
COWARD
Noel Coward circa 1969/70.

Photo: Horst Tappe.
Photograph by Horst Tappe, Camera Press London.
AN INTRODUCTION
BY BARRY DAY
At a London party to celebrate Nols 70th birthday his old
friend Lord Louis Mountbatten said of him:
There are probably greater painters than Nol, greater novelists
than Nol, greater librettists, greater composers of music,
greater singers, greater dancers, greater comedians, greater
tragedians, greater stage producers, greater flm directors,
greater cabaret artistes, greater TV stars. If there are, there are
twelve different people. Only one man combined all twelve
different labels - The Master.
He could easily have added several more. And yet Nols own
verdict - as expressed in the lyrics to If Love Were All - was
that the most he had was just a talent to amuse. And as for
being The Master - Oh, you know Jack of all trades - master
of none. You have to be English to recognise duplicitous selfdeception when you see it! A talent to confuse - among many
others.
You dont write over ffty plays (some still to be produced),
numerous flms in which he either starred, wrote, directed
(and on occasion all three), more than four hundred songs, a
substantial amount of verse (he never called it poetry), two and
a half autobiographies, thirty years worth of a Diary, a ballet, a
novel, and hundreds of letters to and from anyone one had ever
heard of in the arts, literature, politics and quite a few one had
not, without being a genius.
4
By the 1930s he was already well established in London and

New York. And it was then another Muse came calling. He
began to paint.
From childhood hed produced colourful caricatures of famous
historical fgures such as Nell Gwynn and Anna Pavlova and his
concept of ladies of high fashion. But then there was a gap until
sometime in the early thirties when - as his secretary Cole Lesley
recorded - he began again, painting from time to time in water
colours, usually seascapes with ships rather nave but, as in
everything he attempted, with a style of his own. The Kentish
coast and countryside around his home, Goldenhurst, provided
his early inspiration.
Then one Sunday he visited his sometime friend Winston
Churchill at Chartwell, Churchills own country retreat. Churchill
himself was more than a competent amateur painter and - as in
all things a man of frm opinion. He commanded Nol to give
up watercolours and paint (as he did) in oils instead: That way
you can paint over your mistakes. Nol took the great mans
advice and took to the new medium as easily as he had taken
to the old one.
In the post-war years, painting became something of an
obsession with him and it wasnt long before hed infested
his two closest companions - Coley and Graham Payn - with
the bug. They all painted, as Nol recalled, like competitive
maniacs and also critics.
Coley tried to copy the Impressionists. Monet, Monet, Monet

thats all you think about, Nol chided him.
It wasnt long before hed decided what to call his own style:
Touch-and-Gauguin. He had Jamaica to blame for that
Nol had frst visited the island at the insistence of his wartime
spy boss, Little Bill Stephenson that he take a brief rest before
resuming his diplomatic mission and troop concerts. He was
enchanted with what he saw and vowed to return after the war
- which he duly did. It wasnt long before hed built two modest
homes there and he would spend as much time there as his
many other activities permitted. The location provided endless
inspiration and in retrospect it can be seen that few painters of
note (except Gauguin) dealt with the tropics in such detail and
with such freedom of expression.
By now he was beginning to sense that in this medium - as
in so many others - he really did have something to offer and
with modest immodesty he confded to his Diary in 1955,
compared to the pretentious muck in some London galleries
my amateur efforts appear brilliant.
And once again, whenever they could, the Three Artistic
Musketeers painted away like crazy. Little Lad (Graham) is
at work upon a very large ruined cathedral. I cant think why
he has such a penchant for hysterical Gothic. Perhaps he was
assaulted in childhood by a nun I, swifter than the eye can
follow, have fnished a group of negroes and am now busy

with a crowded fairground with swings and roundabouts and
what should be a Ferris wheel but looks like a steel ovary. The
trouble with me is that I dont know the meaning of peur ... I
keep on doing lots of people walking about and Im sick to
death of them.
And later ... I am painting hundreds and hundreds of people
on beaches and esplanades. It is my new style. My present
masterpiece has to date one hundred and seventy when last
counted and it isnt half done. Coley, with his passion for
statistics, says that means three hundred and forty shoes.
After he was knighted in 1970 - an honour Churchill had
personally stymied as far back as 1942, even though King
George VI had approved it - Nol more or less retired. He
published nothing new. He even stopped keeping his Diary.
Presumably he felt he had said all he wanted to say. His point
had been proved over and over again.
The one thing he never stopped doing however, was painting.
It was his personal window to another world. And it was clearly
one that others wished to share. When in 1988, Graham Payn,
who was now running the Coward Estate, decided to put some of
Nols work up for auction at Christies, Nol would have been
gratifed to see the result. Proceeds almost trebled expectations. His
amateur efforts had, indeed, turned out to be brilliant.
In Las Vegas, 1955.

Bettmann/CORBIS. 5
l*1
DEREK HILL (1916-2000)
Portrait of Nol Coward

signed with initials D.H. (lower centre)
oil on canvas, unframed
19 x 18 in. (50.3 x 45.3 cm.)
4,000-6,000
$6,100-9,200
5,400-8,100
Cole Lesley, Cowards secretary, remembers how Derek Hill taught

Nol Coward, Graham Payn and himself, some of the basic
preparations of painting in oil. Derek Hill, although still young, was
already a formidably good painter. Derek himself had been infuenced
and helped by Edward (Molynieux) and later by Bernard Berenson, and
he is now represented in the Tate and many other galleries of note. He
kindly and patiently taught us much technically, including especially the
colour with which to prime our canvases; up until then we had been
painting straight on to the bright whiteness. (C. Lesley, The Life of Nol
Coward, London, 1976, p. 240).
Indeed Hill taught many people to realise their artistic potential. H.R.H.
Prince of Wales reminisced that He was a priceless companion; a
man of endlessly amusing, if naughty, stories about everybody who was
anybody. As a painter, he was a perceptive observer of character both
of person and the landscape. It always fascinated me how, as a young
man, his great skill seemed to be in painting portraits. (Introduction to
Christies studio sale of Derek Hill, 17 May 2001).
Derek Hill painted many other notable sitters, including Sir John Gielgud,
Sir Alec Guinness and L.P. Hartley and in doing so became a life long
friend to many of his subjects. Lord Gowrie best encapsulates this when
he says that Hills portraits are not commissioned. They are encounters,
relationships. (G. Gowrie, Derek Hill An Appreciation, London, 1987,
p. 8).
Derek Hill painting Nol Coward.

6
l*2
MATI KLARWEIN (1932-2002)
Portrait of Sir Nol Coward

signed and dated Mati 58 (upper left)
oil and tempera on board
15 x 14 in. (39.4 x 36.9 cm.)
800-1,200
$1,300-1,800
1,100-1,600
PROVENANCE:
A gift from the artist to Sir Nol Coward.
l*3
SIR NOL COWARD (1899-1973)
Portrait of a young man

signed NOEL COWARD (lower left)
24 x 18 in. (61 x 45.7 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
l*4
A Jamaican lady
oil on board, unframed
8 x 8 in. (20.3 x 20.3 cm.)
1,500-2,000
$2,300-3,100
2,100-2,700
l*5
The red hat

9 x 7 in. (24.1 x 19 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
l*6
The View from Firefy

oil on canvas
20 x 24 in. (50.8 x 61.3 cm.)
Painted circa 1955.
10,000-15,000
$16,000-23,000
14,000-20,000
LITERATURE:
S. Morley, Out in the Midday Sun The Paintings of Nol Coward,
Oxford, 1988, pp. 78, 79, illustrated.
In the 1950s Coward began to feel that his frst home in Jamaica, Blue
Harbour, had become too busy to work at, and so in 1955 he built
Firefy, a modest one-bedroomed house with spectacular views across
the Caribbean.
Firefy Hill has given me the most

valuable benison of all: time to read
and write and think and get my mind
in order ... I love this place. It deeply
enchants me. Whatever happens to
this silly world, nothing much is likely
to happen here.
Nol Coward painting at Firefy.

NC Aventales AG 1961.
l*7
Sleeping amongst the palms

signed Nol Coward (lower right)
pencil on board, unframed
14 x 20 in. (36.8 x 50.8 cm.)
800-1,200
$1,300-1,800
1,100-1,600
l*8
The Duet
pencil and oil on canvas-board, unframed
15 x 18 in. (38.1 x 45.7 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
*9
ENGLISH SCHOOL, 20TH CENTURY
Male nude study

with signature Orpen (lower right)
charcoal
25 x 18 in. (54.5 x 45.6 cm.)
400-600
$610-920
540-810
We are very grateful to the Orpen Research Project for their

assistance in preparing this catalogue entry.
12
l*10
Dancing Couple
signed Noel Coward (lower right)
pencil, felt-tipped pen and watercolour
13 x 9 in. (34.2 x 24.2 cm.)
1,500-2,500
$2,300-3,800
2,100-3,400
l*11
Seated Man
pencil, felt-tipped pen and watercolour
13 x 9 in. (34.6 x 24.2 cm.)
1,500-2,500
$2,300-3,800
2,100-3,400
l*12
OLIVER MESSEL (1904-1978)
Study of a Boy
signed Oliver Messel (lower right)
charcoal and coloured chalks
14 x 11 in. (35.5 x 28 cm.)
Together with Two acrobats by Dmitri Bouchne and
Head of a girl by an unknown hand.
800-1,200
(3)
$1,300-1,800
1,100-1,600
l*13
Sailor, Manhattan
signed NOL COWARD (lower right)
16 x 11 in. (41 x 30 cm.)
2,000-3,000
14
$3,100-4,600
2,700-4,000
*14
GLYN WARREN PHILPOT, R.A. (1884-1937)
Head of a Negro
oil on canvas
24 x 14 in. (62.9 x 37.5 cm.)
Painted in 1937.
15,000-20,000
$23,000-31,000
21,000-27,000
PROVENANCE:
Miss G. Cross.
EXHIBITED:
London, Leighton House Museum, Drawings, Paintings and Sculpture
by Glyn Warren Philpot R.A. 1884-1937, February 1959, no. 63: this
exhibition was toured by the Fine Arts Exhibitions Bureau, 1959-60.
Worthing, Art Gallery, Glyn Philpot An Exhibition of Paintings and
Drawings, September - October 1962, no. 26.
l*15
The Railway
signed with initials DH (lower right)
oil on canvas
24 x 30 in. (62.9 x 76.5 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Purchased by Sir Nol Coward at the 1947 exhibition.
EXHIBITED:
London, Leicester Galleries, Exhibition of work by Derek Hill, May
1947, no. 34.
l*16
On leave
signed with initials and dedicated D.H./to/N.C. (lower right)
pencil and wash
9 x 7 in. (23.5 x 18.8 cm.)
600-800
$920-1,200
810-1,100
*17
FRENCH SCHOOL, EARLY 20TH CENTURY
Direction de Paris
indistinctly signed (lower right)
oil on canvas
16 x 24 in. (40.6 x 61 cm.)
1,000-1,500
PROVENANCE:
with Leicester Galleries, London.
$1,600-2,300
1,400-2,000
l*18
Sloane Square nocturne

signed with initials DH (lower right)
oil on canvas
28 x 36 in. (71 x 92 cm.)
4,000-6,000
$6,100-9,200
5,400-8,100
*19
WALTER RICHARD SICKERT, A.R.A. (1860-1942)
The Tiff
signed Sickert (lower left), signed again Sickert (lower right)
ink
10 x 8 in. (27.4 x 22.2 cm.)
Executed circa 1911.
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Miss Lowe.
with Roland, Browse and Delbanco, London, 1960.
Dame Rebecca West, 1962, by whom gifted to Sir Nol Coward.
EXHIBITED:
London, Roland, Browse and Delbanco, Sickert 1860-1942, March April 1960, no. 39.
Brighton, Royal Pavilion, Sussex Festival Exhibition, Sickert, June 1962,
no. 25.
LITERATURE:
G. White, Sickert Drawings, Image, no. 7, Spring 1952, p. 40, illustrated.
W. Baron, Sickert, London, 1973, under no. 331.
W. Baron, Sickert Paintings & Drawings, London, 2006, pp. 392-3,
no. 389.3, illustrated.
*20
EUGNE BOUDIN (1824-1898)
Pardon en Bretagne
stamped with initials E.B (lower right)
pencil, watercolour and gouache
10 x 8 in. (26 x 21.6 cm.)
Executed circa 1865-70.
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
with Redfern Gallery, London.
Manuel Schmit has confrmed the authenticity of this work and it will
be included in the forthcoming Catalogue Raisonn of the works on
Paper of Eugne Boudin (1824-1898).
l*21
AUGUSTUS JOHN, O.M., R.A. (1878-1961)
Seated Girl
signed John (lower right)
pencil
9 x 7 in. (22.8 x 19 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
We are very grateful to Rebecca John for her assistance in preparing

the catalogue entries for lots 21, 141-143, 151, 154, 162 and 164.
18
*22
JAMES DICKSON INNES (1887-1914)
Camden Town: Night Scene

signed and dated D Innes/07 (lower centre)
oil on canvas
14 x 18 in. (35.7 x 45.7 cm.)
15,000-25,000
$23,000-38,000
21,000-34,000
PROVENANCE:
EXHIBITED:
London, Leicester Galleries, An important exhibition of paintings and
water-colours by J.D. Innes, February 1952, no. 52.
LITERATURE:
J. Hoole and M. Simons, James Dickson Innes 1887-1914, Farnham,
2013, p. 162, no. JDI72.
Painted in 1907, Camden Town: Night Scene is an early example
painted while Innes was still a student at the Slade. It is the only
recorded view of an outdoor urban scene of London, making it an
extremely rare example of the artists work.
We are very grateful to John Hoole for his assistance in preparing this
catalogue entry.
l*23
EDWARD SEAGO, R.W.S., R.B.A.

(1910-1974)
Street in Morocco
signed Edward Seago (lower left), dedicated and dated
For Nol from Ted 1967 (lower right)
pencil and watercolour
13 x 20 in. (33.4 x 52 cm.)
4,000-6,000
$6,100-9,200
5,400-8,100
PROVENANCE:
A gift from the artist to Sir Nol Coward in 1967.
l*24
ANDR EUGNE LOUIS CHOCHON

(1910-2005)
Scne de rue
signed A. Chochon (lower right)
oil on canvas
16 x 12 in. (41.5 x 32.5 cm.)
500-700
$770-1,100
680-940
*25
WALTER STUEMPFIG (1914-1970)
Boys Playing in a Square, Philadelphia

indistinctly signed and dated 54 STUEMPFIG (on the
base of the statue)
oil on canvas
30 x 40 in. (76.2 x 101.6 cm.)
2,000-3,000
20
$3,100-4,600
2,700-4,000
l*26
EDWARD SEAGO, R.W.S., R.B.A. (1910-1974)
Towards Westminster
signed Edward Seago (lower left), 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
$23,000-38,000
21,000-34,000
PROVENANCE:
A gift from the artist to Sir Nol Coward in 1972.
Edward Seago thought highly of Coward. In a letter of 6 July 1966
Seago writes, Im still very thrilled to think that the man whos [sic] work
I admire far more than that of anyone else in his art or several arts for
that matter should profess a liking for my pictures.
Seago became a close friend of Cowards and painted three portraits
of him. The most famous of these hangs in the Garrick Club in London.
*27
The Toast (Trelawney of the Wells)

signed Sickert. (lower left)
oil on canvas
18 x 15 in. (45.7 x 38.3 cm.)
Painted in 1898.
20,000-30,000
$31,000-46,000
27,000-40,000
PROVENANCE:
Andr Gide.
Purchased by Hugh Beaumont at the 1952 exhibition.
EXHIBITED:
Munich, Glaspalast, Offzieller Katalog der Mnchener Jahresausstellung,
1903, as Wein, Weib und Gesang.
Paris, Galerie Cardo, Walter R. Sickert, November - December 1930,
no. 57, as Scne du Thtre.
London, Leicester Galleries, New Year Exhibition of Paintings, Drawings
and Sculpture by Nineteenth and Twentieth Century Artists, January 1952,
no. 56.
LITERATURE:
L. Browse, Sickert, London, 1960, p. 64, pl. 12.
W. Baron, Sickert, London, 1973, no. 79.
W. Baron, Sickert Paintings & Drawings, London, 2006, p. 215,
no. 98.2, illustrated.
The previous owner of this lot, Hugh Binkie Beaumont, was one of the
most infuential theatre producers in London during the middle of the
20th Century. Setting up H.M. Tennant Ltd in 1936 with Harry Tennant,
he went on to produce many successful productions, including Nol
Cowards Present Laughter and Blithe Spirit.
22
l*28
SIR WILLIAM ROTHENSTEIN (1872-1945)
Portrait of Gladys Calthrop

oil on canvas
40 x 26 in. (101.6 x 66 cm.)
Painted in 1922.
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
with Lefevre Gallery, London.
Coward met Gladys Calthrop socially in the early 1920s. Gladys
was a leading British stage designer and designed costumes and sets
for many of his shows until the 1940s. Their frst collaboration was in
1924 at the Everyman Theatre in Hampstead where Calthrop designed
the stage sets for The Vortex.
l*29
OLIVER MESSEL (1904-1978)
Portrait of Adrianne Allen

signed OLIVER MESSEL (lower right)
oil on canvas
40 x 30 in. (101.6 x 76.2 cm.)
Painted circa 1929.
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
A gift from the artist to Adrianne Allen on her marriage to Raymond
Massey in 1929, and gifted by her to Sir Nol Coward in 1939.
Adrianne Allen was an English actress, best known for her performance
in the original 1930 West End production of Nol Cowards Private
Lives, in which she played Sybil alongside Gertrude Lawrence,
Laurence Olivier and Coward himself. First noticed in 1926 by the
theatrical producer Basil Dean, at her graduation show at the Royal
Academy of Dramatic Art, Allen began her career as Nina Vansittart
in Cowards play Easy Virtue, later going on to star in his play The Rat
Trap, alongside her husband to be Raymond Massey. After their frst
appearance on stage together in 1930 Coward and Allen became
close friends and in the 1950s both moved to the region of Montreaux
in Switzerland, with Allen settling in Glion-sur-Montreux and Coward
close by in Les Avants.
*30
CHRISTOPHER WOOD (1901-1930)
Fishing Village, Cornwall

signed and dated Christopher Wood/1926 (lower left)
oil on canvas
20 x 24 in. (51 x 61.2 cm.)
70,000-100,000
$110,000-150,000
95,000-130,000
EXHIBITED:
London, Redfern Gallery, Christopher Wood Exhibition of Complete
Works, March - April 1938, no. 143.
LITERATURE:
E. Newton, Christopher Wood 1901-1930, London, 1938, p. 66,
no. 131.
Fishing Village, Cornwall was painted in 1926, the year that

Christopher Wood frst visited St Ives in Cornwall. The Cornish coast
had a deep impact on Wood, and from this year until his untimely
death in 1930, the artist painted a number of harbour and coastal
scenes both in Cornwall and in Brittany, which rank among the greatest
paintings in his oeuvre. With a directness and simplicity, in Fishing
Village, Cornwall, Wood has depicted a quintessential Cornish town
with an array of bold colours. Under the bright blue sky, the white
houses of the village gleam, while in the foreground the harbour is flled
with two boats foating on the deep turquoise sea.
Wood had, since 1921, been living and working predominantly in
Paris. Having met many of the leading fgures of the avant-garde and
seen the myriad of modern styles and artistic techniques being used
in the French capital, Wood recognised the importance of forging his
own, unique artistic style. He wrote in 1925, the year before Fishing
Village, Cornwall was painted, All the pictures that I paint now will
be fatal, one way or another, to my career. They must be personal,
quite different to everyone elses and full of English character. (Wood,
quoted in V. Button, Christopher Wood, London, 2003, p. 39).
24
Woods trip to the British coast in 1926 was vital to the development
and emergence of his distinctive simplistic and deliberately nave style.
The clear light, rocky coastline, and small villages of Cornwall were
the antithesis of cosmopolitan Paris, and greatly inspired Wood; he
described in a letter to this mother, the coastline is arid with huge rocks
and towering black cliffs, and little coves and creeks with the greenest
water you ever saw, with little white cottages clinging like wild fowers
to the rocks. (Wood quoted in H. Gresty, Christopher Wood, The
Innocent and the Modern in Christopher Wood: The Last Years 19281930, exhibition catalogue, Newlyn, Art Gallery, 1989, p. 8). Imbued
with a freshness and directness, Fishing Village, Cornwall encapsulates
Woods newly emergent style. Specifc pictorial and scenic detail is
replaced by bold planes of colour applied with varied, often visible
brushstrokes. Wood wrote again to his mother in 1926, I know that
my stay in St. Ives has been a great proft to me as I have at least learnt
how to fnish my work, which is the most diffcult part. I feel I have
thought a lot and assimilated much and that now really I feel that I am
an artist and couldnt ever have done anything else in my life, which
is a great comfort to me (Wood quoted in Button, op. cit., p. 41).
Filled with a newfound artistic confdence, Wood continued to visit
the Cornish coast, often accompanying the artists Ben and Winifred
Nicholson with whom he formed a deep and lasting friendship, sharing
their direct approach to the depiction of the landscape.
l*31
DAVID NIVEN (1910-1983)
Shipping
oil on canvas-board
22 x 28 in. (55.8 x 71.2 cm.)
800-1,200
$1,300-1,800
1,100-1,600
The actor David Niven was close friends with Nol Coward, and
Coward was godfather to Nivens frst born son, David Jr.
l*32
MICHEL DUREUIL (B. 1929)
Le peniche
signed and dated M. Dureuil 51 (lower left)
oil on canvas
13 x 16 in. (33 x 39.8 cm.)
600-800
$920-1,200
810-1,100
l*33
ANDR EUGNE LOUIS CHOCHON (1910-2005)
Bateaux de pche sur la plage

signed and dated Chochon/44 (lower right)
oil on board
15 x 18 in. (38.1 x 46.2 cm.)
400-600
26
$610-920
540-810
l*34
Le port dAntibes
signed and dated Dureuil 58 (lower left),
inscribed Le port dAntibes (on the stretcher)
oil on canvas
15 x 18 in. (37.9 x 45.7 cm.)
800-1,200
$1,300-1,800
1,100-1,600
l*35
ANDR EUGNE LOUIS

CHOCHON (1910-2005)
St Cast
signed A. Chochon (lower right), inscribed
and dated St. Cast 1935 (lower left)
oil on canvas
15 x 18 in. (38.1 x 46.3 cm.)
400-600
$610-920
540-810
*36
MAXIME MAUFRA (1861-1918)
PROVENANCE:
with Roland, Browse and Delbanco, London, as Coast of France.
La plage
signed and dated Maufra 1904 (lower right)
oil on panel
6 x 9 in. (15.8 x 24.2 cm.)
2,500-3,500
$3,900-5,300
3,400-4,700
l*37
La plage
signed and dated Dureuil 52 (lower right)
oil on canvas
15 x 17 in. (38 x 45 cm.)
800-1,200
$1,300-1,800
1,100-1,600
*38
MAXIME MAUFRA (1861-1918)
lOrage, entre des bateaux, Le Havre

signed and dated Maufra 1905. (lower right)
oil on canvas
24 x 32 in. (61 x 81.9 cm.)
15,000-25,000
$23,000-38,000
21,000-34,000
PROVENANCE:
with Gallery Durand-Ruel, Paris, 1905.
with Gallery Durand-Ruel, New York, 1908.
Caroline Durand-Ruel Godfroy has confrmed the authenticity of this work and it will be included
in the forthcoming catalogue raisonn of Maxime Maufra.
l*39
JEAN-PIERRE ROUSSEAU (B. 1939)
Le petit port; and Le port

signed J.P. Rosseau. (lower left) and dated 59. (lower
right)
oil on canvas
19 x 28 in. (50.2 x 73 cm.)
(2)
800-1,200
$1,300-1,800
1,100-1,600
l*40
JEAN-PIERRE ROUSSEAU (B. 1939)
Le chemin de fer; and Les locomotives

signed J.P. Rosseau (lower left) and dated 61. (upper
right)
oil on canvas
28 x 21 in. (73 x 54 cm.)
(2)
800-1,200
$1,300-1,800
1,100-1,600
*41
LAWRENCE CALCAGNO (1916-1993)
Sun Painting II, triptych

signed, inscribed and dated Lawrence Calcagno/SUN
PAINTING II VI 1975 (on the reverse)
acrylic on three canvases, unframed
each 39 x 36 in. (100 x 91.3 cm.)
600-800
30
$920-1,200
810-1,100
l*42
PAULO GAGARIN (1885-1980)
Flamboyant
signed, inscribed and dated Principe P. Gagarin. Rio./1931 (lower
right)
oil on canvas
32 x 26 in. (81.3 x 66 cm.)
800-1,200
$1,300-1,800
1,100-1,600
l*43
tang
indistinctly signed and inscribed Prince Gagarin (upper right)
oil on canvas
19 x 23 in. (49.5 x 59.6 cm.)
700-1,000
l*44
Bananier
indistinctly signed, inscribed and dated Principe P. Gagarin/1931
Rio (lower left)
oil on canvas
19 x 15 in. (48.2 x 38 cm.)
600-800
$920-1,200
810-1,100
$1,100-1,500
940-1,300
l*45
Unloading the Catch

oil on canvas
12 x 14 in. (30.5 x 35.9 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
*46
PAUL MAITLAND (1863-1909)
The west Cliff, Ludlow

signed P. Maitland (lower left)
oil on panel
8 x 11 in. (22.2 x 29 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Purchased at the 1954 exhibition by A.
Macrae.
EXHIBITED:
London, Leicester Galleries, Artists of Fame &
Promise, Part II, August 1954, no. 51.
32
l*47
ANDR HAMBOURG (1908-1999)
La plage de Honfeur
signed and dated A. HAMBOURG/37 (lower right)
oil on canvas
18 x 21 in. (45.6 x 54.6 cm.)
6,000-8,000
$9,200-12,000
8,100-11,000
The present work depicts Honfeur, a picturesque old port in Normandy,

located on the southern bank of the estuary of the Seine across from
Le Havre. Honfeur held a special signifcance for Hambourg, where
he met his wife in 1948. She would spend the summers staying at her
fathers holiday house. The old-paddle boat pictured in the present lot
would sail past daily from Honfeur to Le Havre. So fond of the place
were they that they made it their home in 1959. Hambourg painted
some of his most important works at Honfeur, which, like the present
work, captures the charm of the place.
Nicole Hambourg has confrmed the authenticity of this work and it will
be included in the upcoming catalogue raisonn of Andr Hambourg.
l*48
Jamaican Market
signed NOL COWARD (lower left)
oil on canvas-board
12 x 7 in. (30 x 20 cm.)
6,000-8,000
34
$9,200-12,000
8,100-11,000
l*49
Purple Interior
16 x 20 in. (40.7 x 50.7 cm.)
5,000-8,000
$7,700-12,000
6,800-11,000
LITERATURE:
S. Morley, Out in the Midday Sun The Paintings of Nol Coward, Oxford, 1988,
p. 54, illustrated.
*50
Paris Square
oil on board
18 x 22 in. (45.7 x 55.7 cm.)
Painted in 1925.
There is a Paris street scene with fgures by the same hand on the
reverse.
50,000-80,000
$77,000-120,000
68,000-110,000
EXHIBITED:
LITERATURE:
no. 70.
C. Lesley, The Life of Nol Coward, London, 1976, n.p., illustrated.
One must be content with saying that Christopher Wood possessed

the gift of making everyday things both magical and mystical, and of
performing the miracle effortlessly. (E. Newton, Christopher Wood, His
Life and Work, London, 1938, p. 49).
Painted in Paris in 1925, Paris Square comes from an important year
in the career of English artist, Christopher Wood, during which his
distinctive, nave style began to emerge. Having moved to Paris in
1921, by 1925, Wood had met many of the leading fgures of the
Parisian avant-garde, including Pablo Picasso and the writer and artist,
Nol Coward and Kay Thompson at Les Avants, with Paris Square
by Christopher Wood.
Photo: Graham Payn.
Jean Cocteau, with whom he was sharing a studio in the year that
Paris Square was painted. The bustling Parisian square is flled with an
assortment of fgures pictured under the stately, leafess trees of winter,
the sun-dappled buildings of Paris framing the scene behind. Wood
captured this scene of daily life in his own, unique style; Eric Newton
stated that Woods works of 1925, such as Paris Square, are paintings
that, could have been painted by no one else. These are his key
pictures. (E. Newton, Christopher Wood, His Life and Work, London,
1938, p. 45).
In 1920, while living in London, Wood had met the wealthy art dealer
and patron, Alphonse Kahn who invited the young artist to stay with him
in Paris. Wood arrived in the French capital aged 19, and enrolled in
the Acadmie Julian and later the Grande Chaumire. Immersed in the
eclectic avant-garde art world of Paris, and exposed to the astonishing
variety of artistic styles there, Wood developed a highly personal
style such as is evident in Paris Square. With a sense of simplicity
and rapidity, Wood has portrayed a snapshot of Paris, using bursts
of bold colour such as the orange of womens coats, the bright green
of the triangular segments of grass, and the light blue of the fountain,
which imbue the scene with a lively vibrancy and vitality. If Wood
had not lived a cosmopolitan existence, with Paris as his headquarters,
Eric Newton wrote, I doubt whether he would have achieved that
confdent grip of his craft as early as he did. The series of decisions
and accidents that cut him off from England and threw him into the
cross-currents of continental life set his art free. (E. Newton, ibid., pp.
57-58). It was the artistic diversity and cosmopolitanism of Paris that
provided Wood with the subject matter and stylistic inspiration with
which to forge his personal artistic style, such as is evident in this vibrant
scene of city life.
*51
Young Bather
oil on canvas-board
10 x 9 in. (26.6 x 22.8 cm.)
500-700
$770-1,100
680-940
*52
Standing Man with Towel

signed, dedicated and dated To NOEL COWAR [sic]/STUEMPIG
[sic] 57 (lower left)
oil on canvas
16 x 12 in. (40.8 x 30.6 cm.)
600-800
$920-1,200
810-1,100
PROVENANCE:
*53
JOHN LA FARGE, 20TH CENTURY
Male Nude
signed with monogram (lower right)
charcoal and pastel
16 x 8 in. (42 x 22.3 cm.)
Executed in 1961.
600-800
38
$920-1,200
810-1,100
l*54
Swimming pool, Blue Harbour

oil on canvas
24 x 20 in. (61 x 50.8 cm.)
7,000-10,000
$11,000-15,000
9,500-13,000
Nol Coward fell in love with Jamaica whilst holidaying there in 1948,
staying at Goldeneye, Ian Flemings island retreat. He subsequently built
his own home further along the coast and named it Blue Harbour, later
building three guest cottages in the grounds and the beautiful swimming
pool by the seashore that is depicted in the present work. Blue Harbour
quickly became a mecca for Cowards friends and the post-war
celebrity set of stage and screen.
l*55
What is she Telling her Beads?

signed NOL COWARD (lower left), signed again and inscribed
What is she telling her beads/NOL COWARD (on the stretcher)
oil on canvas
7 x 9 in. (19.7 x 24.7 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
l*56
FRENCH SCHOOL, 19TH CENTURY
Le chteau de sable
oil on canvas
18 x 21 in. (48 x 55.5 cm.)
Painted circa 1890.
Together with Low Tide by Alan Clutton-Brock.
500-700
(2)
$770-1,100
680-940
PROVENANCE:
with Arthur Jeffress Gallery, London, where purchased by Dame Elizabeth
Taylor.
A gift from Dame Elizabeth Taylor to Sir Nol Coward.
40
l*57
Jamaica
oil on canvas
20 x 24 in. (51 X 61.2 cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
l*58
CLEMENCE DANE (1888-1965)
Spring Flowers; Roses in a glass; Flowers by a

window
signed Clemence/Dane (lower right)
oil on canvas
36 x 28 in. (92 x 71.1 cm.)
800-1,200
(3)
$1,300-1,800
1,100-1,600
Clemence Dane was a sculptor, British novelist and playwright, writing

16 novels and over 30 plays. She studied art for three years at the
Slade in London, and another year in Dresden, Germany before the
outbreak of World War I. Coward called her a gallant old girl and
she is believed to be the model for Madame Arcati in Cowards Blithe
Spirit.
*59
ENGLISH SCHOOL, 20TH CENTURY
A Royal Cat
8 x 4 in. (22.2 x 12 cm.)
Together with Capri attributed to Dame Joan Sutherland.
800-1,200
(2)
$1,300-1,800
1,100-1,600
l*60
JOY MILBURN, 20TH CENTURY
Trumpet Lilies
signed Joy Milburn (lower right)
oil on canvas
24 x 18 in. (61 x 45.7 cm.)
300-500
PROVENANCE:
with Bolivar Gallery, Kingston, Jamaica.
42
$460-760
410-670
l*61
Lac Lman, Switzerland

oil on canvas-board
15 x 18 in. (38 x 46 cm.)
4,000-6,000
$6,100-9,200
5,400-8,100
The present work shows the view across Lake Geneva, or Lac Lman as it
is otherwise known, which Cowards house in Les Avants, near Montreux,
overlooked. Coward settled here in 1959 and painted numerous scenes
capturing the picturesque views across the lake.
*62
LOUISE ELLEN PERMAN (1854-1921)
A Vase of Roses
signed L.E. Perman (lower right)
oil on canvas
18 x 12 in. (45.7 x 61 cm.)
600-800
$920-1,200
810-1,100
PROVENANCE:
with Charles Keyser, London.
LITERATURE:
J. Caw, Scottish Painting Past and Present 1620-1908,
Edinburgh, 1908, p. 450.
*63
ERNEST FILLIARD (1868-1933)
Anemones in a green and white Jug;

Carnations in a blue and white Vase
each signed E Filliard (lower right)
each 5 x 4 in. (14.6 x 12.2 cm.)
500-700
(2)
$770-1,100
680-940
l*64
MARY MCLEOD, 20TH CENTURY
Still life with apples, pears and grapes

signed with initials MM (lower right) and dedicated FOR/
NOEL COWARD/M.M (on the reverse)
oil on canvas
24 x 20 in. (61 x 50.8 cm.)
600-800
PROVENANCE:
44
$920-1,200
810-1,100
l*65
A Jamaican landscape with mother

and child
9 x 12 in. (25.6 x 30.5 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
l*66
Study of Trees
11 x 16 in. (27.9 x 40.6 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
*67
L. BESANON, EARLY 20TH CENTURY
Jeune garon lepe

signed L. Besanon (lower right)
oil on canvas
32 x 23 in. (81.5 x 59.6 cm.)
800-1,200
$1,300-1,800
1,100-1,600
*68
PIERRE-AUGUSTE RENOIR (1841-1919)
Le chapeau epingl
etching, circa 1894, on laid paper, the second, fnal state, with wide
margins
7 x 4 in. (18 x 12 cm.) plate
300-500
$460-760
410-670
PROVENANCE:
with Redfern Gallery, London, December 1969, where purchased by Mr
and Mrs Richard Attenborough, and by whom given to Sir Nol Coward.
LITERATURE:
J.G. Stella, The Graphic Work of Renoir Catalogue Raisonn, Fort
Lauderdale, 1975, pp. 16-17, no. 8, illustrated.
L. Delteil, Pierre-Auguste Renoir Loeuvre grav et lithographi Catalogue
Raisonn, San Francisco, 1999, pp. 16-17, no. 8, illustrated.
*69
P. DIDION, LATE 19TH CENTURY
A Collection of Six Military Figures

six lithographs, with hand-colouring
each 16 x 10 in. (41.9 x 24.4 cm.)
300-500
PROVENANCE:
with Galerie Cardo, Paris.
46
$460-760
410-670
*70
The Bold Bad Bart (after John Gilbert)

signed Sickert (lower left)
oil on canvas
18 x 30 in. (45.7 x 76.1 cm.)
Painted circa 1934.
5,000-8,000
$7,700-12,000
6,800-11,000
*71
CHRISTOPHER WOOD
(1901-1930)
Frigate
9 x 12 in. (24 x 31.7 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Ivor Novello, from whom bequeathed to
Sir Nol Coward.
PROVENANCE:
with Leger Galleries, London, April 1942.
EXHIBITED:
London, Leicester Galleries, Richard Sickert, November - December
1934, no. 12, as The Bold Bad Bart.
LITERATURE:
W. Baron, Sickert Paintings & Drawings, London, 2006, p. 513,
no. 649.
l*72
PABLO PICASSO (1881-1973)
LITERATURE:
A. Raim, Picasso Catalogue de loeuvre ceramique edite 1947-1971,
Madoura, 1988, p. 222, A.R. 420.
Pase de muleta (A.R. 420)

stamped and numbered Madoura Plein Feu/Empreinte Originale de
Pablo Picasso/12/50 (on the underside)
partially glazed ceramic plate
16 in. (42.6 cm.) diameter
Conceived on 1 July 1959 and executed in a numbered edition of
50.
3,000-5,000
48
$4,600-7,600
4,100-6,700
Shortly before the war Coward moved to Paris. There he mixed with the
beau monde of Parisian society where he met Picasso.
l*73
JOHN NASH, R.A. (1893-1977)
Landscape with Canal, Lock and Bridge

signed John Nash (lower left)
oil on canvas
24 x 36 in. (61 x 92.8 cm.)
There is a dockyard scene by the same hand on the
reverse.
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
EXHIBITED:
London, Leicester Galleries, New Year Exhibition, January
1952, no. 68.
(reverse)
*74
St Cloud
oil on canvas
18 x 21 in. (45.7 x 55.2 cm.)
Painted in 1925.
30,000-50,000
$46,000-76,000
41,000-67,000
PROVENANCE:
with Redfern Gallery, London, 1947.
EXHIBITED:
LITERATURE:
no. 74.
Do you know that all the great modern painters are not trying to see things and
paint them through the eyes and experience of a man of forty or ffty or whatever
they may be, but rather through the eyes of the smallest child who sees nothing
except those things which would strike him as being the most important? To the
childish drawing they add the beauty and refnement of their own experience this
is the explanation of modern painting.
(Christopher Wood, quoted in V. Button, Christopher Wood, London, 2003, p. 37).
Painted in 1925 while Christopher Wood was living and working in

Paris, St Cloud presents a tranquil scene of modern life. Framed with
rich, verdant green vegetation, a group of children are pictured playing
in a Parisian park, accompanied by their mothers and child minders.
Like the great French Impressionists before him, including Monet, Renoir
and Degas, as well as Manet, Wood has taken as his subject a scene
of contemporary Parisian life. The composition of St Cloud is reminiscent
of Manets Music in the Tuileries, from 1862 (National Gallery,
London); the same large tree trunks border the scene, framing the fgures
that stand in the foreground of the painting. Having moved from London
to Paris in 1921, Wood had immersed himself in the exuberant and
eclectic art world of the city. He admired many of the modern masters,
including Picasso, Matisse and Gauguin, yet aimed to develop a highly
personal and individual style, such as is evident in St Cloud. Rendered
with a bold simplicity, the areas of unmodulated, fattened colour in St
Cloud, such as the dark, curved tree trunks and the array of rich, green
tones of the foliage, demonstrate Woods great love of colour, while the
simplifed depiction of the fgures exemplifes the artists distinctive, nave
style, which he would continue to develop from this year onwards.
50
VARIOUS PROPERTIES
l75
DERRICK GREAVES (B. 1927)
Daffodils in a Vase
signed, inscribed and dated Derrick
Greaves/DAFFODILS IN A VASE/1981
(on the reverse)
oil and collage on canvas
31 x 28 in. (80 x 71.1 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
l76
FRANCIS DAVISON (1919-1984)
Black House in Fields

with estate stamp and numbered A170,
with inscription BLACK HOUSE IN/
FIELDS/c. 1952-63 (on a label attached to
the backboard)
collage
29 x 24 in. (74.3 x 62.2 cm.)
4,000-6,000
$6,100-9,200
5,400-8,100
PROVENANCE:
Purchased by the present owner at the 2007
exhibition.
EXHIBITED:
Cambridge, Kettles Yard, Francis Davison
Collages and Early Works, November 2007 January 2008.
52
l77
BEN NICHOLSON, O.M. (1894-1982)
May 60
signed, dedicated and dated Ben Nicholson/May 60/for Michael
S. (on the reverse)
pencil and oil wash on card, on the artists prepared board
12 x 8 in. (32.4 x 22.5 cm.)
7,000-10,000
$11,000-15,000
9,500-13,000
PROVENANCE:
A gift from the artist to Michael Snow.
l78
PRUNELLA CLOUGH (1919-1999)
Lintel
signed Clough (on the reverse)
oil on canvas
12 x 17 in. (31.7 x 44.4 cm.)
1,500-1,500
$2,300-2,300
2,100-2,000
PROVENANCE:
Marina Vaizey, by whom acquired from the
artist, 1988.
Anonymous sale; Bonhams, London, 17 March
2010, lot 194.
l79
DENIS BOWEN (1921-2006)
Untitled, 1958
signed and dated Denis Bowen 1958
(lower right)
watercolour, gouache and pastel, unframed
11 x 15 in. (27.9 x 38.1 cm.)
Together with three larger gouaches and a
monotype by the same hand.
(5)
1,200-1,800
$1,900-2,700
1,700-2,400
PROVENANCE:
Acquired directly from the artist by the present
owner, March 1961.
54
l80
PAUL FEILER (1918-2013)
Interlinking Forms
signed, inscribed and dated PAUL FEILER/INTERLINKING FORMS/1966/67 (on the
backboard)
oil on canvas
14 x 18 in. (35.6 x 45.8 cm.)
8,000-12,000
PROVENANCE:
The artist, and by descent.
$13,000-18,000
11,000-16,000
l81
TONY OMALLEY, H.R.H.A. (1913-2003)
Irish Landscape (Autumn)

signed OMalley (lower right), signed again, inscribed
and dated IRISH/LANDSCAPE/(AUTUMN)/Tony
OMalley 1962 (on the reverse)
oil and collage on board
27 x 21 in. (70.5 x 54 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
l82
SVEN BERLIN (1911-2000)
Construction Drawing; and Houses into

Construction
signed and dated 1942. Sven Berlin (lower right)
pencil and crayon
10 x 6 in. (26 x 17.5 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
EXHIBITED:
London, Belgrave Gallery, Sven Berlin, November December 1989, nos. 42 and 43.
56
(2)
l83
ROGER HILTON (1911-1975)
Untitled
signed with initials and dated RH/XI/74
(lower left)
pastel and gouache
18 x 14 in. (45.8 x 37.2 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
with Waddington Galleries, London, where
purchased by Padraig Macmiadhachain.
Anonymous sale; Christies, London, 6 June
2003, lot 194, where purchased by the
present owner.
l84
WILHELMINA BARNS-GRAHAM
(1912-2004)
Brown Form on Red & Lilac

signed and dated WBarnsGraham 1954
(lower left), signed again, inscribed and
dated again W.Barns-Graham/Brown
Form on Red & Lilac 1954 (on the
backboard)
gouache
14 x 20 in. (36.8 x 52.1 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
A gift from the artist to the previous owner.
57
l85
BRYAN PEARCE (1929-2007)
St Ia Church, St Ives
signed Bryan Pearce (lower right)
oil on canvas
23 x 20 in. (59.7 x 50.8 cm.)
Painted in 1962.
3,000-5,000
$4,600-7,600
4,100-6,700
EXHIBITED:
London, New Art Centre, Bryan Pearce,
January 1966, no. 10.
l86
PERCY KELLY (1918-1993)
Bridge in winter
oil on board
10 x 13 in. (26.7 x 34.9 cm.)
Painted circa 1960.
1,500-2,500
$2,300-3,800
2,100-3,400
PROVENANCE:
with Castlegate House Gallery.
Kelly painted Bridge in winter in the 1960s
when he lived at Allonby on the West
Cumbrian coast. This is a rare painting in oils
by Kelly, as his frst wife, Audrey, could not
bear the smell of linseed and turpentine.
We are very grateful to Chris Wadsworth
for his assistance in preparing this catalogue
entry.
58
l87
THEODORE MAJOR (1908-1999)
Houses in the snow, Wigan

oil on board
30 x 37 in. (76.2 x 94 cm.)
15,000-25,000
$23,000-38,000
21,000-34,000
PROVENANCE:
Anonymous sale; Christies, South Kensington, 17 May 2006, lot 490, where purchased by the
present owner.
59
l88
FRED UHLMAN (1901-1985)
Early snow
signed and dated UHLMAN/58 (lower right)
oil on canvas
24 x 36 in. (61.6 x 92.1 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Anonymous sale; Sothebys, Olympia, 24 November 2004, lot
162.
l89
BERNARD DUNSTAN, R.A. (B. 1920)
The Salute
signed with initials BD (lower left), inscribed and dated THE
SALUTE/14.3.84 (on the reverse)
oil on board
9 x 6 in. (22.8 x 17.2 cm.)
1,500-2,000
$2,300-3,100
2,100-2,700
PROVENANCE:
with Agnews, London, where purchased by the present owner.
l90
JOSEF HERMAN, R.A. (1911-2000)
Two peasants at dawn

oil on canvas
11 x 15 in. (29.9 x 40 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
with Roland, Browse and Delbanco, London.
Hannah Hirschfeld; Christies, New York, 21 June 2011, lot 133,
where purchased by the present owner.
60
l91
JOHN WONNACOTT (B. 1940)
PROVENANCE:
with Marlborough Fine Art, London.
Estuary, The Goat

oil on board
32 x 47 in. (83.2 x 119.4 cm.)
Painted in 1974-81.
8,000-12,000
$13,000-18,000
11,000-16,000
l92
RICHARD EURICH, R.A. (1903-1992)
Jonah and the Whale

signed R. Eurich (lower left), signed again and inscribed
JONAH AND THE WHALE/RICHARD EURICH R.A. (on
the reverse)
oil on canvas
20 x 24 in. (50.8 x 61 cm.)
Painted circa 1980.
5,000-8,000
$7,700-12,000
6,800-11,000
PROVENANCE:
Purchased by the present owners mother at the 1991
exhibition.
EXHIBITED:
Petersfeld, Ash Barn Gallery, Richard Eurich, R.A., Mostly
Recent Paintings, June - July 1980, no. 15.
London, Fine Art Society, Richard Eurich: Paintings Since the
War, November 1991, no. 27.
We are very grateful to Christine Clearkin for her assistance
in preparing this catalogue entry.
l93
ROBERT BUHLER (1916-1989)
Chelsea Arts Club Garden

signed Buhler. (lower right)
oil on canvas
30 x 40 in. (76.2 x 101.5 cm.)
Painted circa 1983.
2,000-3,000
$3,100-4,600
2,700-4,000
EXHIBITED:
London, Mall Galleries, The New English Art Club,
1983.
Ascot, Austin Desmond Fine Art, Robert Buhler R.A.,
June - July 1984, no. 48.
l94
PATRICK PROCKTOR (1936-2003)
Cecil Beatons Garden

signed and dated Patrick Procktor 79 (lower
right), signed again and inscribed Cecil
Beatons Garden - Patrick Procktor (on the
backboard)
10 x 14 in. (25.4 x 35.6 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
l95
DAME ELIZABETH VIOLET

BLACKADDER, R.A., R.S.A., R.S.W.
(B. 1931)
Purse and Indian Birds

signed and dated Elizabeth Blackadder 1984
(upper left)
pencil, watercolour, gouache and metallic leaf
8 x 38 in. (20.4 x 98.4 cm.)
1,500-2,500
$2,300-3,800
2,100-3,400
PROVENANCE:
with Mercury Gallery, London, where purchased by
Mr and Mrs John Cook, August 1984.
Collection of Tufts University, Boston.
nl*96
JOHN BRATBY, R.A. (1928-1992)
Flowers and Gardening Tools

signed BRATBY (lower right)
oil on board
48 x 70 in. (123.3 x 177.8 cm.)
7,000-10,000
$11,000-15,000
9,500-13,000
PROVENANCE:
with Beaux Arts Gallery, London.
Frances Jacobson, New York.
63
l97
Nightfall
signed and inscribed NIGHTFALL/by Josef Herman (on the
reverse)
oil on canvas
20 x 18 in. (50.8 x 45.8 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Anonymous sale; Christies, South Kensington, 25 July 1996, lot 374,
l98
ALAN LOWNDES (1921-1979)
Seaside Cat
signed and dated Alan Lowndes 1956 (lower left)
oil on card
9 x 12 in. (24.1 x 30.5 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
A gift from the artist to Janey Elliker, and by whom gifted to the present
owner.
l99
P.J. CROOK (B. 1945)
Remembering
signed P.J.CROOK (lower right), signed again, inscribed and dated
Pamela Crook/Remembering/3/1980 (on the reverse)
acrylic on board
6 x 7 in. (16.5 x 19.1 cm.) including the painted frame
800-1,200
64
$1,300-1,800
1,100-1,600
l100
KEN HOWARD, R.A. (B. 1932)
The Artists Model

signed Ken Howard. (lower right)
oil on canvas
36 x 30 in. (91.5 x 76.2 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
Anonymous sale; Christies, South Kensington, 16 December 2010, lot 81, where purchased by
the present owner.
EXHIBITED:
Rathmore, Merrion Hotel, Solomon Fine Art, Important Irish & British and Master Prints, November
2008.
65
l101
DAME ELISABETH FRINK, R.A. (1930-1993)
Design for Ulster Bank IV

charcoal
26 x 13 in. (67.9 x 34.3 cm.)
Executed in 1961.
1,000-1,500
$1,600-2,300
1,400-2,000
This is a study for the large sculpture Flying Figures on the Ulster Bank
building.
l102
DAME ELISABETH FRINK, R.A. (1930-1993)
Running man
signed and dated Frink 82 (lower left)
pencil
22 x 15 in. (55.9 x 38 cm.)
1,500-2,000
66
$2,300-3,100
2,100-2,700
l103
JOHN DAVIES (B. 1946)
Head
ink and gouache
12 x 8 in. (30.5 x 21.6 cm.)
Executed in 1980.
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
Miss Valerie Beston, her sale; Christies, London, 10 February 2006, lot 463,
EXHIBITED:
London, Marlborough Fine Art, John Davies, Recent Sculpture and Drawings,
November - December 1980, no. 61.
LITERATURE:
Exhibition catalogue, John Davies, Recent Sculpture and Drawings, London,
Marlborough Fine Art, 1980, no. 61, illustrated.
l104
ROBERT CLATWORTHY, R.A. (B. 1928)
Cat
stamped with initials, numbered and dated R C/3.8/1978
(on the underside of the back right paw)
bronze with a brown patina
19 in. (48.3 cm.) long
3,000-5,000
$4,600-7,600
4,100-6,700
EXHIBITED:
London, Royal Academy, 1978, no. 895.
LITERATURE:
Exhibition catalogue, Summer Exhibition, London, Royal Academy, 1978, p. 63,
no. 895, illustrated.
K. Chapman (ed.), Robert Clatworthy Sculpture and Drawings, Bristol, 2012,
p. 123, RC108, another cast illustrated.
67
l105
JACK VETTRIANO (B. 1951)
After the Dance

signed VETTRIANO. (lower left)
oil on canvas-board
24 x 20 in. (61 x 50.8 cm.)
5,000-8,000
$7,700-12,000
6,800-11,000
PROVENANCE:
with Edinburgh Gallery, Edinburgh.
Anonymous sale; Bonhams, Edinburgh, 17
April 2013, lot 120, where purchased by the
present owner.
l106
Peasants
signed and inscribed PEASANTS/Josef
Herman (on the reverse)
oil on panel
10 x 14 in. (25.4 x 35.6 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Anonymous sale; Sothebys, London, 16
September 1981, lot 199, where purchased
by the present owner.
68
l107
JOHN BELLANY, R.A., H.R.S.A.

(1942-2013)
Fisherwoman
signed Bellany (lower right)
oil on canvas
36 x 36 in. (91.5 x 91.5 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
owner.
l108
KEN HOWARD, R.A. (B. 1932)
Seated nude in a studio

signed Ken Howard (lower right)
oil on canvas
24 x 20 in. (61 x 50.8 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
owner.
69
l109
CERI RICHARDS (1903-1971)
The Rape of the Sabines

signed and dated Ceri Richards 49 (upper right)
ink and watercolour
16 x 13 in. (40.6 x 33 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
with Austin Desmond Fine Art, London.
Anonymous sale; Christies, London, 9 March 1990, lot 270, where
purchased by the present owner.
l110
JOHN MINTON (1917-1957)
Seated Man
ink and wash
14 x 11 in. (37.5 x 28 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
A gift from the artist to Feliks Topolski.
Anonymous sale; Christies, London, 14 May 1992, lot 142, where
l111
ALAN LOWNDES (1921-1979)
Portrait of Janey
signed and dated Alan Lowndes/1956 (lower left), dedicated to/
Janey (lower right)
oil on board
16 x 13 in. (42.2 x 34.9 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
A gift from the artist to Janey Elliker, and by whom gifted to the present
owner.
Janey Elliker (1922-2006) was a keen artist and close friend of
Alan Lowndes. She sat for the present work at the Crane Gallery in
Manchester in 1956.
70
l112
HENRY MOORE, O.M., C.H. (1898-1986)
Head of a Girl
signed Moore (lower left)
charcoal and watercolour
6 x 8 in. (16.5 x 22.2 cm.)
Executed in 1983.
5,000-8,000
$7,700-12,000
6,800-11,000
PROVENANCE:
Raymond Spencer Company.
with Dominion Gallery, Montreal, 1993.
LITERATURE:
A. Garrould, Henry Moore Complete Drawings 1982-84, Volume 6, London, 1994, p. 131, AG
83.28, HMF 83(28), illustrated.
71
l113
WILLIAM GEAR, R.A. (1915-1997)
Surrealist Study
pencil and gouache
9 x 12 in. (23.5 x 30.5 cm.)
Executed in 1938.
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
Anonymous sale; Bonhams, Knightsbridge, 28 June 2000, lot 142,
PROPERTY OF AN IMPORTANT TEXAS COLLECTOR

l*114
EILEEN AGAR, R.A. (1899-1991)
Composition
signed and dated AGAR/1953 (lower right)
gouache and collage on board
10 x 8 in. (27.3 x 20.6 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
with Birch & Conran Fine Art, London.
with Mayor Gallery, London.
VARIOUS PROPERTIES
l115
DESMOND MORRIS (B. 1928)
The Visitor
signed with initials DM (lower right), signed again, inscribed and
dated 1949/The Visitor. Desmond Morris (on the stretcher)
oil on paper laid on canvas
9 x 12 in. (24.8 x 31.1 cm.)
1,000-1,500
PROVENANCE:
Judy Keele, London.
Private collection, UK.
72
$1,600-2,300
1,400-2,000
l116
JULIAN TREVELYAN, R.A. (1910-1988)
Camel Corps
signed and dated Trevelyan 72 (lower left), signed again and
inscribed Julian Trevelyan/CAMEL CORPS (on the artists label
attached to the stretcher)
oil on canvas
35 x 45 in. (89.9 x 115.5 cm.)
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
Anonymous sale; Christies, London, 6 November 1998, lot 56, where
EXHIBITED:
London, Royal Academy, 1973, no. 828.
l117
JOHN BANTING (1902-1972)
Still life with bottles and glass

oil on canvas
18 x 14 in. (45.8 x 36.8 cm.)
Painted circa 1948.
2,000-3,000
$3,100-4,600
2,700-4,000
73
l118
KEITH VAUGHAN (1912-1977)
Garden
signed and dated Vaughan/53 (lower left), inscribed and dated
again Garden/1953 (on the artists label attached to the reverse)
oil on board
10 x 14 in. (26.6 x 36.5 cm.)
25,000-35,000
$39,000-53,000
34,000-47,000
PROVENANCE:
with Waddington Galleries, London.
Anonymous sale; Sothebys, London, 7 June 1978, lot 130.
Anonymous sale; Sothebys, London, 16 November 2011, lot 168.
EXHIBITED:
London, Leicester Galleries, Keith Vaughan New Paintings, October
1953, no. 13.
New York, Durlacher Brothers, Keith Vaughan: Paintings and Gouaches,
February 1955, no. 15.
London, Leicester Galleries, Keith Vaughan and Terry Frost: Exhibition of
recent paintings, June 1958, no. 11.
London, Matthiesen Gallery, Keith Vaughan: Recent Paintings, February March 1960.
London, Osborne Samuel, Keith Vaughan Centenary Tribute, November December 2012, no. 28.
LITERATURE:
A. Hepworth and I. Massey, Keith Vaughan The Mature Oils 1947-1977
a commentary and a catalogue raisonn, Bristol, 2012, p. 84, no.
AH156, illustrated.
G. Hastings, exhibition catalogue, Keith Vaughan Centenary Tribute,
London, Osborne Samuel, 2012, no. 28, illustrated.
In 1953 Vaughan painted several works depicting fgures in

landscapes, such as Man Sharpening a Sickle and Woodman in a
Clearing. In each example Vaughan marries the human form to its
environment, not only by an associated occupation but also by more
formal qualities such as colour, character and form. Integrating the
fgure into the landscape was a central concern throughout his career
and the pictorial problems it presented both stimulated and frustrated
Vaughan. In the present work the man, perhaps a gardener, reaches
out to touch some foliage as he passes though a garden landscape. To
the left is a pink-walled house and at the right the gable end of another
building can be identifed. The organic forms of the garden both echo
and rhyme with the characterisation of the fgure. Vaughan discussed
this very matter in his studio notes:
My problem is to express the emotional difference between visually
similar organisations of forms, within the limits of a single pictorial unity.
74
There has been at the disposal of every artist, since the time of Euclid,
a valid language of abstract forms for the conveyance of emotions.
But the emotions capable of this conveyance seem to me limited and,
in my case, exclude the possibility of conveying a sense of confict. It
does however offer a possibility of summing up my conception of the
landscape in forms which are compatible with the forms of the fgure.
In other words I have a series of abstract, or near abstract, forms
paraphrasing my reactions to the landscape and another set of organic
forms paraphrasing my reactions to the fgure. My problem then is
to combine these two sets of forms within a single pictorial unity (K.
Vaughan, Studio Notes, late 1950s).
We are very grateful to Gerard Hastings, author of Drawing to a
Close: The Final Journals of Keith Vaughan and Keith Vaughan the
Photographs, for preparing the catalogue entries for the present lot and
lots 124 and 125.
l119
l120
LEONARD ROSOMAN (1913-2012)
Cows passing into a yard
Landscape at Twilight
oil on canvas
20 x 30 in. (50.8 x 76.2 cm.)
signed, inscribed and dated LANDSCAPE AT TWILIGHT/1982/

Josef Herman (on the reverse)
oil on board
11 x 14 in. (27.9 x 35.6 cm.)
2,500-3,500
$3,900-5,300
3,400-4,700
EXHIBITED:
London, Roland, Browse and Delbanco, Leonard Rosoman: Recent
Paintings, April - May 1957, no. 17.
Edinburgh, Society of Scottish Artists, Annual Exhibition, 1959.
76
3,000-5,000
PROVENANCE:
Acquired directly from the artist by the present owner.
$4,600-7,600
4,100-6,700
l121
l122
JOHN PIPER, C.H. (1903-1992)
ROBERT H. LEE (1915-2007)
Thornton Abbey Gateway
Air raid
ink, watercolour and gouache

20 x 26 in. (51.5 x 66.6 cm.)
signed and dated Lee 48 (lower right)

oil on panel
13 x 25 in. (33.1 x 63.5 cm.)
6,000-8,000
$9,200-12,000
8,100-11,000
PROVENANCE:
Myfanwy Piper, from whom acquired by the present owner.
A screenprint after this work was published by Marlborough Fine Art in
1987, in an edition of 70.
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
The artists estate.
77
l123
GERTRUDE HERMES, R.A. (1901-1983)
Butterfy
signed Gertrude Hermes (on the underside)
walnut
33 in. (85.1 cm.) high, including the base
Carved in 1937.
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
Acquired directly from the artist by the present owners father, and by
descent.
EXHIBITED:
London, New Burlington Galleries, The London Group Thirty-sixth
Exhibition of Painting & Sculpture, October - November 1937, no. 327.
London, Whitechapel Gallery, Gertrude Hermes: Bronzes and Carvings,
Drawings, Wood engravings, Wood and Lino Block Cuts, 1924-1967,
October - November 1967, no. 21.
London, Royal Academy of Arts, Gertrude Hermes R.A., September October 1981, no. 24.
London, Ben Uri Gallery, Uproar! The First 50 Years of the London Group
1913-63, October 2013 - March 2014, no. 35.
LITERATURE:
Daily Mirror, 29 October 1937.
N. Mitchison, exhibition catalogue, Gertrude Hermes: Bronzes and
Carvings, Drawings, Wood engravings, Wood and Lino Block Cuts,
1924-1967, London, Whitechapel Gallery, 1967, no. 21, illustrated.
J. Hill, The Sculpture of Gertrude Hermes, Farnham, 2011, pp. 26, 121,
no. 73, fg. 16, illustrated twice and on the back cover.
S. MacDougall and R. Dickson, exhibition catalogue, Uproar! The First
50 Years of the London Group 1913-63, London, Ben Uri Gallery,
2013, pp. 46, 138-139, no. 35, illustrated twice.
As an artist in the interwar years, Hermes style thrived under the

tutelage of Leon Underwood at Brook Green School of Art, where she
studied from 1921-1925. The infuence of Primitivism and artists such as
Brancusi and Gaudier-Brzeska is also evident in her work of this period.
Gertrude Hermes was seduced by the natural world from her youth.
This is apparent from her early choice of subjects which predominantly
encompassed organic matter such as plants, animals, birds and
insects. In preparation for the present work, she studied butterfies in the
countryside for two years. Butterfy has been selected for several major
exhibitions since its debut at the 1937 London Group exhibition. Most
recently it was chosen to represent Hermes at the fftieth anniversary
exhibition of the London Group, held at Ben Uri Gallery in 2013-14.
Also selected for the back cover of Jane Hills monograph on the artist,
Butterfy remains one of Hermess most accomplished carvings and
enduring images.
I tried to show in one complete piece of

wood the perfect balance of the butterfy ...
it is not symmetrical it is not meant to be.
(Gertrude Hermes)
78
(alternate view)
l124
Bathers by the Reservoir: Marrakesh

signed and dated Keith Vaughan/65 (lower right)
ink, pastel and gouache
19 x 16 in. (48.3 x 40.5 cm.)
15,000-25,000
PROVENANCE:
For more information on this lot please visit www.christies.com
80
$23,000-38,000
21,000-34,000
l125
Maze of Figures
29 x 20 in. (74.3 x 52.7 cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
EXHIBITED:
London, Austin Desmond Fine Art, Keith Vaughan,
London, Agnews, Keith Vaughan, May - June 2012,
no. 25.
LITERATURE:
Exhibition catalogue, Keith Vaughan, London,
Agnews, 2012, pp. 36, 58, no. 25, illustrated.
For more information on this lot please visit
www.christies.com
l126
JOHN MINTON (1917-1957)
The Forest of Paper

(Design for a Mural)
oil on board
14 x 28 in. (35.6 x 71.8 cm.), shaped
Painted in 1957.
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
Anonymous sale; Christies, London, 12 July 1973,
lot 248B.
The artist was commissioned by the Reed Paper
group to do a mural for the Packaging Exhibition at
Earls Court in 1957, and the present work was a
design for this mural. Minton was working on this
particular design just before he died.
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

l127
GRAHAM SUTHERLAND, O.M.

(1903-1980)
Landscape with Low Cliff and

Woods
dated 1937 (lower right)
6 x 8 in. (15.2 x 22.2 cm.)
To be sold with a copy of Graham
Sutherland, Correspondences, Selected
Writings on Art, edited by Julian Andrews.
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
with Galleria Bergamini, Milan, by 1956.
with Ruggerini & Zonca, Milan, by 1993.
LITERATURE:
J. Andrews (ed.) Graham Sutherland,
Correspondences, Selected Writings on Art,
Parma, 1982, p. 135, pl. 3.
l127A
GRAHAM SUTHERLAND, O.M.

(1903-1980)
Study of Vine Pergola

dated 1947 (upper right)
pencil, pastel and gouache
14 x 14 in. (35.6 x 35.6 cm.)
To be sold with a copy of Graham
Sutherland, Correspondences, Selected
Writings on Art, edited by Julian Andrews.
4,000-6,000
$6,100-9,200
5,400-8,100
PROVENANCE:
LITERATURE:
J. Andrews (ed.), Graham Sutherland,
Correspondences, Selected Writings on Art,
Parma, 1982, p. 161, pl. 37.
82
l128
GRAHAM SUTHERLAND, O.M. (1903-1980)
Thorn Trees
signed Sutherland (lower right)
pencil, ink and gouache
13 x 20 in. (35.2 x 52.5 cm.)
Executed in 1952.
To be sold with a copy of Graham Sutherland, Correspondences,
Selected Writings on Art, edited by Julian Andrews.
6,000-8,000
$9,200-12,000
8,100-11,000
PROVENANCE:
LITERATURE:
J. Andrews (ed.), Graham Sutherland, Correspondences, Selected
Writings on Art, Parma, 1982, p. 182, pl. 62.
l129
Design
signed with initials G.S (lower right)
gouache
6 x 5 in. (16.5 x 13.4 cm.)
1,500-2,000
PROVENANCE:
$2,300-3,100
2,100-2,700
83
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
l130
Study for landscape

signed with initials and dated G.S 74 (lower right)
pencil, watercolour and crayon
25 x 19 in. (64.8 x 49.9 cm.)
5,000-8,000
$7,700-12,000
6,800-11,000
l131
Study for Chimre

signed with initials G.S (lower right)
pencil and crayon
17 x 10 in. (44.4 x 26.6 cm.)
1,000-1,500
84
$1,600-2,300
1,400-2,000
l132
Machine
pencil, charcoal, ink and gouache
14 x 10 in. (35.5. x 25.5 cm.)
Executed in 1950.
4,000-6,000
$6,100-9,200
5,400-8,100
PROVENANCE:
LITERATURE:
J. Andrews (ed.), Graham Sutherland, Correspondences, Selected
Writings on Art, Parma, 1982, p. 170, pl. 49.
l133
Study for Head

dated 1952 (lower right)
charcoal
6 x 5 in. (16.5 x 13.5 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
85
VARIOUS PROPERTIES
l134
Castle Howard; and Loading

Hay
stamped with initials KV (lower left),
inscribed Obalisk in wood/Castle Howard
(along the upper edge)
ink and wash
3 x 4 in. (7.6 x 10.8 cm.)
(2)
1,000-1,500
$1,600-2,300
1,400-2,000
l135
REGINALD BRILL (1902-1974)
Sketch for Cockfeld Barn; Sketch

for Dress Circle; Sketch for
Morris Dancers; and Sketch for
Bull Ring
inscribed Sketch for/Cockfeld Barn (on the
reverse)
pencil, unframed
11 x 15 in. (28 x 38.1 cm.)
(4)
1,000-1,500
$1,600-2,300
1,400-2,000
l136
Two views of Figures on a beach;

and Two views of A Country
Lane
stamped with initials K.V. (lower left and
right)
pencil
each 4 x 6 in. (12.1 x 16.5 cm.), in a
common frame
(4)
1,000-1,500
86
$1,600-2,300
1,400-2,000
l137
CERI RICHARDS (1903-1971)
The Rape of the Sabine Women

signed and dated 48 Ceri Richards (lower left), signed again and
inscribed Ceri Richards/Sabines (on the canvas overlap)
oil on canvas
16 x 20 in. (40.7 x 50.8 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
Peter Nahum, his sale; Christies, South Kensington, 15 November 2006,
lot 293, where purchased by the present owner for 12,350.
EXHIBITED:
Milan, Palazzo Reale, I Surrealisti, May - September 1989, not
numbered.
Chichester, Pallant House Gallery, Ceri Richards - The Mythologies,
October - December 1991, catalogue not traced.
LITERATURE:
Exhibition catalogue, I Surrealisti, Milan, Palazzo Reale, May - September
1989, p. 460, illustrated.
M. Gooding, Ceri Richards, Bristol, 2002, p. 84, illustrated.
In March 1946 Richards read an essay in the Horizon magazine by
Henri Matisse in which he expounded the virtues of looking to other
civilisations, both past and present, in order to break the infuences of
ones immediate cultural surroundings. He highlighted Czanne drawing
inspiration from Poussin. For Richards this confrmed his own approach
to the history of art which was for him ever relevant to ones experience
within the here and now, and with this in mind, he turned to the
paintings of Rubens and Delacroix.
In The Rape of the Sabines, painted in 1635, by Rubens, Richards
found empathy with this classical story, made respectable through
Renaissance painting. He recognised the themes of intense violation
and consequential reconciliation and rejuvenation as having particular
resonance in post-war Britain.
138
SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941)
For more information on this lot please visit www.christies.com
Island Magee
signed J. Lavery (lower left)
oil on canvas
14 x 18 in. (35.6 x 45.8 cm.)
6,000-8,000
$9,200-12,000
8,100-11,000
l139
JULIAN TREVELYAN, R.A. (1910-1988)
Olive Groves, Italy

signed and dated J.O. Trevelyan 33 (lower left)
13 x 21 in. (34.6 x 53.3 cm.)
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
Anonymous sale; Christies, London, 15 October
1993, lot 131, where purchased by the present owner.
l140
DAVID JONES, C.H. (1895-1974)
Hartlington Hall, Yorkshire

signed and dated David Jones/36 (lower right)
19 x 24 in. (49.5 x 61.6 cm.)
7,000-10,000
$11,000-15,000
9,500-13,000
PROVENANCE:
A gift from the artist to Christopher Dawson, and by descent.
EXHIBITED:
Manchester, Manchester Cathedral, David Jones, November - December 1976, no. 58.
This work was executed when Jones was staying with the scholar and historian Christopher
Dawson, at his home Hartlington Hall.
89
l141
Ida standing
pencil
12 x 7 in. (30.5 x 19.7 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
l142
Two studies of a young woman

pencil
13 x 9 in. (34.3 x 23.8 cm.)
1,500-2,500
$2,300-3,800
2,100-3,400
l143
Study of a young woman

pencil
13 x 8 in. (33 x 21.5 cm.)
1,000-1,500
90
$1,600-2,300
1,400-2,000
*144
Woman of Algiers
oil on paper laid on canvas
21 x 21 in. (55.2 x 55.2 cm.)
Painted in 1929.
15,000-25,000
$23,000-38,000
21,000-34,000
PROVENANCE:
Sir Rex Nan Kivell.
Dr and Mrs Elliott Jaques.
Anonymous sale; Christies, London, 21 May 2009, lot 68, where
EXHIBITED:
Venice, British Council, XXI Biennale, 1938, no. 96, as Donna di Algeri.
London, Redfern Gallery, Christopher Wood: Exhibition of Complete
London, Redfern Gallery, Christopher Wood, February - March 1942,
no. 10.
London, Redfern Gallery, Christopher Wood: The First Retrospective
Exhibition since 1938, April - May 1959, no. 4.
LITERATURE:
E. Newton, Christopher Wood 1901-1930, London, 1938, pp. 43,
73, no. 351, illustrated.
E. Newton, Christopher Wood: his life and work, London, 1959, p. 45,
pl. 11.
91
l145
BERNARD MENINSKY (1891-1950)
The Green Dress

signed and dated Meninsky.30 (upper right)
oil on canvas
30 x 20 in. (76.2 x 50.8 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
l146
CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A.

(1889-1946)
Statue at Versailles
signed C.R.W. Nevinson (lower right)
7 x 5 in. (18.1 x 14 cm.)
1,500-2,500
$2,300-3,800
2,100-3,400
PROVENANCE:
with Leicester Galleries, London.
EXHIBITED:
London, Lefevre Gallery, C.R.W. Nevinson, April - May 1997, no. 17,
as Versailles.
We are very grateful to Christopher Martin for his assistance in preparing
this catalogue entry and lot 158.
147
Female nude
charcoal and red chalk on buff paper
24 x 16 in. (61 x 40.6 cm.)
1,500-2,000
$2,300-3,100
2,100-2,700
PROVENANCE:
Anonymous sale; Christies, South Kensington, 12 October 2011, lot 17,
We are very grateful to Dr Bill Mason for his assistance in preparing this
catalogue entry.
92
l148
SIR CEDRIC MORRIS (1889-1982)
Agarete, Gran Canaria

inscribed and dated AGARETE/GRAN
CANARI/-55 (on the reverse)
oil on canvas
30 x 24 in. (76.2 x 61 cm.)
4,000-6,000
$6,100-9,200
5,400-8,100
PROVENANCE:
Anonymous sale; Christies, London, 27 March
1997, lot 211, as Agarete, where purchased
l149
SIR MATTHEW SMITH (1879-1959)
Still life with fruit; and Provenal

Landscape
watercolour
8 x 13 in. (22.2 x 34.3 cm.)
2,000-3,000
(2)
$3,100-4,600
2,700-4,000
93
l150
DAME ETHEL WALKER, A.R.A. (1861-1951)
Lady with a fan

signed Ethel Walker (lower right)
oil on canvas
30 x 25 in. (76.8 x 63.5 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
EXHIBITED:
London, Goupil Gallery, Salon Catalogue: 16th Exhibition of this Series,
1926, no. 276.
Bradford, City of Bradford Art Gallery, Cartright Hall, Golden Jubilee
Exhibition: Fifty years of British art 1904-1954, March - June 1954,
no. 16.
LITERATURE:
Exhibition catalogue, Salon Catalogue: 16th Exhibition of this series,
London, Goupil Gallery, 1926, p. 26, no. 276.
l151
Young Child in Headscarf

pencil
10 x 8 in. (26.7 x 22.3 cm.)
Executed circa 1905-1907.
1,000-1,500
$1,600-2,300
1,400-2,000
l152
DAME ETHEL WALKER, A.R.A. (1861-1951)
Flower Piece
signed Ethel Walker (lower left)
oil on canvas
35 x 25 in. (90.2 x 63.5 cm.)
2,000-3,000
PROVENANCE:
94
$3,100-4,600
2,700-4,000
PROPERTY OF THE ROYAL COLLEGE OF MIDWIVES, SOLD TO SUPPORT THEIR BENEVOLENT FUND
nl153
Portrait of Her Majesty Queen

Elizabeth, The Queen Mother
signed B Dunstan (lower left)
oil on canvas
50 x 40 in. (127 x 101.5 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Commissioned by Cow & Gate Ltd. and presented
by their Directors to the Royal College of Midwives on
20 October 1958.
EXHIBITED:
London, Royal Institute Galleries, Royal Society
of Portrait Painters: sixty-ffth annual exhibition,
VARIOUS PROPERTIES
l154
AUGUSTUS JOHN, O.M., R.A.

(1878-1961)
Women and children among trees

ink
9 x 11 in. (23.6 x 29.8 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
95
l155
JOHN DUNCAN FERGUSSON (1874-1961)
A seated nude, Paris

pencil
9 x 7 in. (24.2 x 19.1 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Anonymous sale; Sothebys, Gleneagles, 1 September 2004, lot
832, where purchased by the present owner.
l156
JOHN DUNCAN FERGUSSON (1874-1961)
Portrait of a Woman
9 x 7 in. (22.8 x 20 cm.)
3,000-5,000
PROVENANCE:
Margaret Morris, and by descent.
$4,600-7,600
4,100-6,700
157
FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W. (1883-1937)
Mull from Iona

signed FCB Cadell. (lower left)
oil on canvas
25 x 30 in. (63.5 x 76.2 cm.)
20,000-30,000
$31,000-46,000
27,000-40,000
PROVENANCE:
with R.H. Spurr, 1957, where purchased by the present owners grandfather, and by descent.
97
l158
CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A

(1889-1946)
Amberley
signed C.R.W. Nevinson (lower right)
9 x 13 in. (24.2 x 34.4 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Purchased by Henry Woodd Nevinson, the artists father, at the 1924
exhibition, and by descent.
Anonymous sale; Christies, London, 22 November 1994, lot 201, where
EXHIBITED:
London, Leicester Galleries, Paintings and watercolours by C.R.W.
Nevinson, March - April 1924, no. 124.
probably London, Leicester Galleries, Watercolours and Paintings by
C.R.W. Nevinson, March 1926, no. 26, as Downs at Amberley.
*159
GEORGE LESLIE HUNTER (1877-1931)
The Mill
signed L Hunter (lower right)
pencil, crayon and ink
15 x 12 in. (38.1 x 31.1 cm.)
2,000-3,000
PROVENANCE:
with Alex Reid & Lefevre, Glasgow.
$3,100-4,600
2,700-4,000
l160
WILLIAM ROBERTS, R.A. (1895-1980)
Evening in Oban
signed William/Roberts. (lower right), inscribed Evening in Oban.
(lower left)
ink and watercolour
13 x 9 in. (34.5 x 24.7 cm.)
15,000-25,000
$23,000-38,000
21,000-34,000
PROVENANCE:
Purchased by Miss H. Grant at the 1949 exhibition.
Anonymous sale; Sothebys, London, 13 May 1987, lot 189.
Anonymous sale; Bonhams, London, 26 September 2007, lot 76, where
EXHIBITED:
London, Leicester Galleries, New drawings, satirical and otherwise by
William Roberts and paintings by Bateson Mason, November 1949,
p. 3, no. 10.
99
l161
JACOB KRAMER (1892-1962)
Portrait of a woman
signed Kramer (lower right)
oil on canvas
16 x 12 in. (40.7 x 30.5 cm.)
1,500-2,500
$2,300-3,800
2,100-3,400
l162
Dorelia standing
pencil
14 x 8 in. (37.8 x 20.3 cm.)
1,500-2,000
$2,300-3,100
2,100-2,700
l163
DAVID BOMBERG (1890-1957)
Portrait of a Lady
signed, inscribed and dated Bomberg/Paris/1927 (lower right)
oil on canvas
24 x 19 in. (61.2 x 50.5 cm.)
2,000-3,000
100
$3,100-4,600
2,700-4,000
l*164
Portrait of a child
signed John (lower left)
oil on panel
13 x 9 in. (33 x 23.5 cm.)
Painted circa 1911.
7,000-10,000
$11,000-15,000
9,500-13,000
101
l165
JOHN COPNALL (1928-2007)
Portrait of Claire
signed and dated John Copnall 56 (upper right)
oil on board
35 x 27 in. (90.8 x 70.5 cm.)
There is a painting of a church by the same hand on the reverse.
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
with Austin Desmond Fine Art, London.
l166
Looking through to a bathroom

signed with initials BD (lower left)
oil on board
9 x 11 in. (24.2 x 29.2 cm.)
1,200-1,800
$1,900-2,700
1,700-2,400
PROVENANCE:
with Roland, Browse and Delbanco, London, where purchased by the
present owners father in February 1969, and by descent.
l167
JOHN COPNALL (B. 1928)
Irises in a Blue Pot

signed and dated John Copnall 1955 (upper right)
30 x 22 in. (76.2 x 58.1 cm.)
1,500-2,500
102
$2,300-3,800
2,100-3,400
PROPERTY FROM THE ESTATE OF VANCE KONDON

l168
SIR JACOB EPSTEIN (1880-1959)
Seventh Portrait of Kathleen (half-length in shawl)

bronze with a green patina
27 in. (69.6 cm.) high
Conceived in 1948.
7,000-9,000
$11,000-14,000
9,500-12,000
PROVENANCE:
Vance Kondon, San Diego and Amsterdam, and by descent.
LITERATURE:
R. Buckle, Jacob Epstein Sculptor, London, 1963, pp. 318-321,
pls. 490-492 and 499, another cast illustrated.
E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 202, no. 399,
another cast illustrated.
VARIOUS PROPERTIES
l169
SIR JACOB EPSTEIN (1880-1959)
Second Portrait of Peggy Jean (at 1 year)

bronze with a gold brown patina
7 in. (19.7 cm.) high, excluding base
Conceived in 1919.
2,000-3,000
$3,100-4,600
2,700-4,000
LITERATURE:
E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 146, no. 107,
another cast illustrated.
103
l170
PROVENANCE:
A gift from the artist to the present owner.
Sweet Surrender
signed VETTRIANO (lower right)
oil on canvas laid on board
7 x 5 in. (19.4 x 14.6 cm.)
15,000-25,000
104
$23,000-38,000
21,000-34,000
l171
PROVENANCE:
with Heartbreak Gallery, London, where purchased by the present owner.
Lounge Lizards II
signed VETTRIANO (lower left), inscribed LOUNGE LIZARDS II (on
the stretcher)
oil on canvas
15 x 12 in. (38.1 x 30.5 cm.)
Painted in 2009.
25,000-35,000
EXHIBITED:
Monaco, Yacht Club de Monaco, Homage Tuiga, September October 2009, no. 16.
London, Heartbreak Gallery, Jack Vettriano: A Celebration: Paintings from
Past and Present, March - June 2014.
$39,000-53,000
34,000-47,000
105
l172
KENNETH ARMITAGE, R.A. (1916-2002)
Seated nude
signed with initials and dated KA 60 (lower right)
30 x 20 in. (76.2 x 50.8 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Acquired directly from the artist by the previous owner, circa 1960.
Anonymous sale; Christies, South Kensington, 2 December 1996,
lot 317.
nl173
PETER KING (1928-1957)
Standing Figure
bronze with a white fnish, unique
62 in. (158.7 cm.) high, including base
Conceived in ciment fondu circa 1956 and cast in bronze in 2006.
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
The artists estate, where purchased by the present owner.
Peter King was a prolifc British artist of the 1950s who worked as an
assistant to Henry Moore, alongside other emerging sculptors such as
Anthony Caro. King has become highly regarded for his experimental
nature and diverse use of materials, which he manipulated to tackle the
complexities of the human form.
106
Unquestionably the greatest photographer of sculpting in the world who himself became a sculptor. Tom Rosenthal
Frederick Kenett studied photography at the Guildford School of Art, where he developed a superb mode of lighting and photographing sculpture. He
worked for publishers, museums, collections and governments, taking pictures of sculptures throughout the world.
However, from the mid-1960s, Kenett turned his attention away from the photography of sculpture to creating sculpture itself. Working with Henry
Moore amongst others, his works elicited a strong response from the leading London galleries and were exhibited at the Grosvenor Galleries in 1966.
The Arts Review praised the perfect form of his sculptures whereas the The Listener wrote, there is a sense of ease and power one usually fnds only in
work by senior and more illustrious names.
l174
FREDERICK LESLIE KENETT (1924-2012)
Torso
stamped with initials and the Noack Berlin foundry mark FLK (at the
base)
polished bronze
8 in. (22.2 cm.) high, excluding marble base
1,200-1,800
$1,900-2,700
1,700-2,400
PROVENANCE:
l175
FREDERICK LESLIE KENETT (1924-2012)
Spiral
stamped with initials, numbered and with the Noack Berlin foundry
mark FLK 0/6 (at the base)
bronze with a dark brown patina
17 in. (43.1 cm.) high, including base
1,500-2,500
$2,300-3,800
2,100-3,400
PROVENANCE:
107
l176
VICTOR PASMORE, R.A. (1908-1998)
Linear Image
signed with initials VP. (lower right)
ink on paper laid on panel
19 x 13 in. (48.2 x 33 cm.)
Executed in 1979.
4,000-6,000
$6,100-9,200
5,400-8,100
PROVENANCE:
with 2RC Gallery, Rome.
LITERATURE:
A. Bowness and L. Lambertini, Victor Pasmore with a catalogue raisonn
of paintings, constructions and graphics, 1926-79, London, 1980,
pp. 134, 327, no. 722, illustrated.
l177
WILLIAM SCOTT, R.A. (1913-1989)
Still Life with Orange Notes

signed and numbered 15/25/W.SCOTT (on a label)
wool pile tapestry
62 x 98 in. (158.8 x 250.9 cm.)
Conceived in 1980.
3,000-5,000
$4,600-7,600
4,100-6,700
l178
VICTOR PASMORE, R.A. (1908-1998)
Linear Image: Black Development D

signed with initials and dated VP/76 (lower right)
charcoal, ink and acrylic on paper laid on board
31 x 31 in. (80 x 80 cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
with Marlborough Fine Art, London, 1976, as Black Development D.
Anonymous sale; Christies, South Kensington, 11 March 2004, lot 370,
EXHIBITED:
Brussels, Galerie Farber, Lynn Chadwick and Victor Pasmore, November December 1976, catalogue not traced.
LITERATURE:
A. Bowness and L. Lambertini, Victor Pasmore with a catalogue raisonn
of paintings, constructions and graphics, 1926-79, London, 1980, pp.
324-325, no. 662, illustrated, as Linear Image.
109
nl179
PAUL MOUNT (1922-2009)
Put out More Flags

signed twice Paul Mount (on the side of the base)
73 in. (187.4 cm.) high
Conceived circa 1978.
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
The artist, and by descent.
To see a video of the present lot in motion please visit the sale at
www.christies.com.
n180
ERIC GADSBY (B. 1943)
Threal
signed and dated E. Gadsby 1969 (on the reverse)
oil on canvas
80 x 80 in. (203.3 x 203.3 cm.)
5,000-8,000
$7,700-12,000
6,800-11,000
111
l181
MARC VAUX (B. 1932)
SQ 0/2
signed, inscribed and dated SQ 0/2/Vaux
92 (on the reverse)
acrylic on wood and aluminium
20 x 20 in. (50.8 x 50.8 cm.)
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
with Redfern Gallery, London, where purchased by
the present owner in 1994.
l182
MICHAEL CANNEY (1923-1999)
Snake Fold
signed and dated Michael Canney 89 (on the
backboard)
oil on board
19 x 19 in. (50.2 x 50.2 cm.)
2,000-3,000
112
$3,100-4,600
2,700-4,000
l183
Angled Motif
signed, inscribed and dated Michael
Canney/70/Angled Motif (on the reverse)
oil on canvas
27 x 23 in. (68.6 x 58.4 cm.)
5,000-8,000
$7,700-12,000
6,800-11,000
PROVENANCE:
with Penwith Gallery, St Ives, 1980.
EXHIBITED:
Bath, Bath Festival Exhibition, 1970, catalogue not
traced.
l184
Stripfold No.1
signed and dated Michael Canney 89 (on the
backboard)
oil on board
19 x 19 in. (50.2 x 50.2 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
113
l185
DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)
Costume designs for Ubu Roi

pencil, crayon, ink, watercolour and gouache
10 x 19 in. (26.1 x 48.3 cm.)
Executed in 1966.
6,000-8,000
$9,200-12,000
8,100-11,000
PROVENANCE:
with Redfern Gallery, London, where purchased by James
Gordon in September 1992.
In 1966, Hockney designed the sets and costumes for Alfred
Jarrys play Ubu Roi, at the Royal Court Theatre, London.
*186
R.B. KITAJ, R.A. (1932-2007)
UCLA Heartbreak
inscribed UCLA (upper right), inscribed again [heart
shape] break (lower left)
charcoal and pastel on buff paper
30 x 22 in. (77.5 x 57.2 cm.)
Executed in 2001-2003.
6,000-9,000
$9,200-14,000
8,100-12,000
PROVENANCE:
with Marlborough Gallery, New York, where purchased by the
present owner.
nl187
PROVENANCE:
with Annely Juda, London.
Jingle
oil on canvas
77 x 62 in. (195.6 x 157.5 cm.)
Painted in 1993.
6,000-8,000
$9,200-12,000
8,100-11,000
EXHIBITED:
London, Camden Arts Centre, Prunella Clough, May - June 1996, not
numbered: this exhibition travelled to Newtown, Oriel 31, September October 1996.
Hovikodden, Henie Onstad Kunstsenter, Prunella Clough, December
1997 - January 1998, not numbered.
LITERATURE:
Exhibition catalogue, Prunella Clough, London, Camden Arts Centre,
1996, p. 41, not numbered, illustrated.
Exhibition catalogue, Prunella Clough, Hovikodden, Henie Onstad
Kunstsenter, 1997, not numbered, illustrated.
115
l188
ALAN DAVIE, R.A. (1920-2014)
Earth Power, Sky Power

signed, inscribed and dated twice
Alan Davie 94/EARTH POWER/SKY
POWER/1994 (on the reverse)
oil on board
12 x 18 in. (31.1 x 47 cm.)
1,500-2,500
$2,300-3,800
2,100-3,400
PROVENANCE:
with Gimpel Fils, London.
l189
JACK SMITH (1928-2011)
Monochromatic Movement
(Whisper)
signed, inscribed and dated
MONOCHROMATIC/MOVEMENT/
(WHISPER)/JACK SMITH. 1984 (on the
reverse)
oil on canvas
36 x 36 in. (91.4 x 91.4 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Anonymous sale; Bonhams, London, 17
January 2012, lot 143, where purchased by
the present owner.
116
nl190
BOYLE FAMILY
York Stone Pavement with Sand

signed and inscribed YORK STONE PAVEMENT WITH SAND
MARK BOYLE (on the reverse)
mixed media, resin and fbreglass
72 x 72 in. (183 x 183 cm.)
Conceived in 1977.
10,000-15,000
$16,000-23,000
14,000-20,000
My ultimate object is to include everything

in a single work ... In the end the only
medium in which it will be possible to say
everything will be reality
(M. Boyle, Background to a series of Events at the ICA, ICA
Bulletin, no. 146, London, May 1965, p. 6).
EXHIBITED:
Seattle, Richard Hines Gallery, Mark Boyle, 1980.
117
l191
BOYLE FAMILY
London Series
mixed media, resin and fbreglass
32 x 32 in. (81.2 x 81.2 cm.)
Conceived in 1967.
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Anonymous sale; Christies, London, 18 February 1988,
lot 266.
We are very grateful to Sebastian Boyle for his
assistance in cataloguing the present work.
l192
FRANCIS DAVISON (1919-1984)
Bright Green, Lime and White

with estate stamp and numbered E645, with
inscription BRIGHT, GREEN, LIME/WHITE/1974
(on a label attached to the backboard)
collage
32 x 26 in. (81.3 x 66.7 cm.), shaped
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Purchased by the present owner at the 2007 exhibition.
EXHIBITED:
Cambridge, Kettles Yard, Francis Davison Collages and
Early Works, November 2007 - January 2008.
118
nl193
Undone
oil on canvas
54 x 52 in. (137 x 132 cm.)
Painted in 1994.
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
with Annely Juda, London.
EXHIBITED:
Hovikodden, Henie Onstad Kunstsenter,
Prunella Clough, December 1997 - January
1998, not numbered.
LITERATURE:
Exhibition catalogue, Prunella Clough,
Hovikodden, Henie Onstad Kunstsenter,
1997, not numbered, illustrated.
l194
PETER KINLEY (1926-1988)
Studio Interior with Figure

signed and dated Kinley 59 (lower right)
oil on board
11 x 10 in. (27.9 x 25.4 cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
with Sandby Fine Art, London.
Anonymous sale; Christies, South Kensington,
12 October 2011, lot 177, where purchased
119
Conditions of Sale Buying at Christies

CONDITIONS OF SALE
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out
the terms on which we offer the lots listed in this
catalogue for sale. By registering to bid and/or
by bidding at auction you agree to these terms so
you should read them carefully before doing so.
You will find a glossary at the end explaining the
meaning of the words and expressions coloured
in bold.
Unless we own a lot, marked with a symbol ,
Christies acts as agent for the seller.
A BEFORE THE SALE
1 DESCRIPTION OF LOTS
(a) Certain words used in the catalogue description
have special meanings. You can find details of
these on the page headed Important Notices and
Explanation of Cataloguing Practice which forms
part of these terms. You can find a key to the
Symbols found next to certain catalogue entries
under the section of the catalogue called Symbols
Used in this Catalogue.
(b) Our description of any lot in the catalogue,
any condition report and any other statement
made by us (whether orally or in writing) about
any lot, including about its nature or condition,
artist, period, materials, approximate dimensions
or provenance are our opinion and not to be
relied upon as a statement of fact. We do not carry
out in-depth research of the sort carried out by
professional historians and scholars. All dimensions
and weights are approximate only.
2 OUR RESPONSIBILITY FOR OUR
DESCRIPTION OF LOTS
We do not provide any guarantee in relation to
the nature of a lot apart from our authenticity
warranty contained in paragraph E2 and to the
extent provided in paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions
can vary widely due to factors such as age, previous
damage, restoration, repair and wear and tear. Their
nature means that they will rarely be in perfect
condition. Lots are sold as is, in the condition
they are in at the time of the sale, without any
representation or warranty or assumption of liability
of any kind as to condition by Christies or by the
seller.
(b) Any reference to condition in a catalogue
entry or in a condition report will not amount to a
full description of condition, and images may not
show a lot clearly. Colours and shades may look
different in print or on screen to how they look
on physical inspection. Condition reports may be
available to help you evaluate the condition of a
lot. Condition reports are provided free of charge
as a convenience to our buyers and are for guidance
only. They offer our opinion but they may not refer
to all faults, inherent defects, restoration, alteration
or adaptation because our staff are not professional
restorers or conservators. For that reason they are
not an alternative to examining a lot in person
or taking your own professional advice. It is your
responsibility to ensure that you have requested,
received and considered any condition report.
4 VIEWING LOTS PRE-AUCTION
(a) If you are planning to bid on a lot, you should
inspect it personally or through a knowledgeable
representative before you make a bid to make sure
that you accept the description and its condition.
We recommend you get your own advice from a
restorer or other professional adviser.
(b) Pre-auction viewings are open to the public
free of charge. Our specialists are available to
answer questions at pre-auction viewings or by
appointment.
5 ESTIMATES
Estimates are based on the condition, rarity,
quality and provenance of the lots and on
prices recently paid at auction for similar property.
Estimates can change. Neither you, nor anyone
else, may rely on any estimates as a prediction
or guarantee of the actual selling price of a lot or
its value for any other purpose. Estimates do not
include the buyers premium or any applicable
taxes.
6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
report for any item which does not have a report if the but not limited to completing any anti-money
request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks
date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
7 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B
REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVE terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
catalogues, at any Christies office or by choosing
(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
licence, national identity card or passport) and, if christies.com. We must receive your completed
not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.
C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVE (as shown above in Section B6);
and
(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 50,000, 20% on that part of
the hammer price over 50,000 and up to and
including 1,000,000, and 12% of that part of the
hammer price above 1,000,000.
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 5,000
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 34,300 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
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 100.
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 35.00

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.
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
70.00
5.25
35.00
2.65
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
125
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
ENQ UI 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
126
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
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
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
PRIVATE SALES
US: +1 212 636 2034

Fax: +1 212 636 2035
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
VALUATIONS
Tel: +44 (0)20 7389 2464

Fax: +44 (0)20 7389 2038
Email: mwrey@christies.
com
info@christiesrealestate.com
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS
WINE
POST-WAR ART
CHRISTIES EDUCATION
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
VICTORIAN PICTURES
PHOTOGRAPHS
SK: +44 (0)20 7752 3275
CORPORATE
COLLECTIONS
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
KS: +44 (0)20 7389 2257

SK: +44 (0)20 7752 3293
POPULAR CULTURE
AND ENTERTAINMENT
OTHER SERVICES
SK: +44 (0)20 7752 3218
SK: +44 (0)20 7752 3235

KS: +44 (0)20 7389 2292
AUCTION SERVICES
SK: +44 (0)20 7752 3208
KS: +44 (0)20 7752 3366
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/11/14
127
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 20,000
Victorian, Pre-Raphaelite & British Impressionist Art

London, South Kensington 12 March 2015
Viewing
Contact
711 March
London SW7 3LD
Victoria Koehn
vkoehn@christies.com
+44 (0)20 7752 3055
christies.com
LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

Going to Work
signed and dated L.S. LOWRY 1957 (lower left) oil on canvas 16 x 20 in. (40.6 x 50.8 cm.)
Modern British and Irish Art Evening Sale

London, King Street 22 June 2015
Viewing
Contact
1822 June
8 King Street
London SW1Y 6QT
Andr Zlattinger
azlattinger@christies.com
+44 (0)20 7389 2074
christies.com
DEXTER DALWOOD (B. 1960)

Greenham Common
signed and dated Dexter Dalwood 2008 (on the reverse)
oil on canvas 39 x 36 in. (101 x 93.1cm.)
Painted in 2008
10,000-15,000
First Open / LDN

Post War & Contemporary Art
London, South Kensington 26 March 2015

Viewing
Contact
21-25 March 2015

London SW7 3LD
Bianca Chu
bchu@christies.com
+44 (0)20 7389 2502
christies.com
Out of the Ordinary

London, South Kensington 15 September 2015
Contact
Kate Summers
ksummers@christies.com
+44 (0) 20 7752 3136
christies.com

Thursday 19 March 2015 at 10.30 am
85 Old Brompton Road, London SW7 3LD
Code Name: CARMEN
Sale number: 10442
(Dealers billing name and address must agree with tax exemption certificate.
Once issued, we cannot change the buyers name on an invoice or re-issue
the invoice in a different name.)
Written Bids Form

Christies South Kensington
Written bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. If you have not received
confirmation within one business day, please contact the Bid Department.
Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com
BID ONLINE FOR THIS SALE

AT CHRISTIES.COM
10442
Client Number (if applicable)
Sale Number
Billing Name (please print)
BIDDING INCREMENTS
Bidding generally starts below the low estimate and increases in steps
(bid increments) of up to 10 per cent. The auctioneer will decide where
the bidding should start and the bid increments. Written bids that do not
conform to the increments set below may be lowered to the next bidding
interval.
UK50 to UK 1,000
UK1,000 to UK2,000
UK2,000 to UK3,000
UK3,000 to UK5,000
UK5,000 to UK10,000
UK10,000 to UK20,000
UK20,000 to UK30,000
UK30,000 to UK50,000
UK50,000 to UK100,000
UK100,000 to UK120,000
Above UK200,000
by UK50s
by UK100s
by UK200s
by UK200, 500, 800
(eg UK4,200, 4,500, 4,800)
by UK500s
by UK1,000s
by UK2,000s
by UK2,000, 5,000, 8,000
(eg UK32,200, 35,000,
38,000)
by UK5,000s
by UK10,000s
at auctioneers discretion
The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful, the amount payable
will be the sum of the hammer price and the buyers
premium (together with any taxes chargeable on the hammer
price and buyers premium and any applicable Artists Resale
Royalty in accordance with the Conditions of Sale). The buyers
premium rate shall be an amount equal to 25% of the hammer
price of each lot up to and including 50,000, 20% on any
amount over 50,000 up to and including 1,000,000 and 12%
of the amount above 1,000,000. For wine and cigars there is a
flat rate of 17.5% of the hammer price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christies receive written bids on a lot for
identical amounts and at the auction these are the highest bids on
the lot, Christies will sell the lot to the bidder whose written bid
it received and accepted first.
5.
Written bids submitted on no reserve lots will, in the
absence of a higher bid, be executed at approximately 50% of the
low estimate or at the amount of the bid if it is less than 50%
of the low estimate.
I understand that Christies written bid service is a free service
provided for clients and that, while Christies will be as careful as
it reasonably can be, Christies will not be liable for any problems
with this service or loss or damage arising from circumstances
beyond Christies reasonable control.
Address
Post Code
Daytime Telephone
Evening Telephone
Fax (Important)
Email
Please tick if you prefer not to receive information about our upcoming sales by e-mail
I have read and understood thIs WrItten BId Form and the CondItIons oF sale - Buyers agreement
Signature
If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or
passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank
statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore
companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on
the information you should supply. If you are registering to bid on behalf of someone who has not previously
bid or consigned with Christies, please attach identification documents for yourself as well as the party on
whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients,
clients who have not made a purchase from any Christies office within the last two years, and those wishing
to spend more than on previous occasions will be asked to supply a bank reference.
PLEASE PRINT CLEARLY

Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS

Please quote number below:
Auction Results: +44 (0)20 7839 9060
03.03.10
133
IMPRESSIONIST AND MODERN
expert knowledge beautifully presented
Code
A194
L194
L3
N194
P194
K194
K5
C110
Subscription Title
Impressionist and Modern
Modern Art
(includes German, Austrian and Surrealist Art)
Impressionist & Modern Art
Swiss Art
Paintings, sculpture and works on paper by the most important artists of the late 19th century through the mid-20th century, including Czanne, Matisse, Monet, Picasso, van Gogh and all those who
forged artistic movements such as Fauvism, Cubism and Surrealism.
Paintings, sculpture and works on paper by Swiss artists from the
early 19th to the late 20th century.
Location
Issues
UKPrice
US$Price
EURPrice
Amsterdam
King Street
2
5
27
143
44
238
40
219
King Street
New York
Paris
South Kensington
South Kensington
Zurich
4
4
2
3
4
2
95
141
38
43
57
48
152
228
61
71
95
76
144
213
57
66
87
72
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134
Christies
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairwoman and
Chief Executive Officer
Stephen Brooks, Global Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Franois-Henri Pinault,
Jussi Pylkknen, Global President
Sophie Carter, Company Secretary

CHRISTIES EXECUTIVE
Patricia Barbizet, Chairwoman and
Chief Executive Officer
Jussi Pylkknen, Global President
Stephen Brooks, Global Chief Operating Officer
Franois Curiel, Marc Porter
Charles Cator, Deputy Chairman,

Christies International
CHRISTIES EUROPE
CHAIRMANS OFFICE
Jussi Pylkknen, Chairman
Orlando Rock, Deputy Chairman
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Olivier Camu, Philippe Garner, Richard Knight,
Francis Outred, Andreas Rumbler,
Franois de Ricqles
DIRECTORS
Prof. Dr. Dirk Boll, Roland de Lathuy,
Eveline de Proyart, Roni Gilat-Baharaff,
Paul Hewitt, Clarice Pecori Giraldi,
Christiane Rantzau, Jop Ubbens, Juan Varez
CHRISTIES EUROPEAN
ADVISORY BOARD
Pedro Girao, Chairman,
Patricia Barbizet, Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg, Laurence Graff,
H.R.H. Prince Pavlos of Greece, Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Dimitri Mavrommatis,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi
CHRISTIES UK
CHAIRMANS OFFICE
Viscount Linley, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Orlando Rock,
Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Daniel Baade, Philip Belcher,
Jeremy Bentley, Ellen Berkeley, Jill Berry,
Giovanna Bertazzoni, Prof. Dr. Dirk Boll,
Peter Brown, James Bruce-Gardyne,
Olivier Camu, Sophie Carter, Benjamin Clark,
Christopher Clayton-Jones, Karen Cole,
Isabelle de La Bruyere, Leila de Vos,
Nicole Dembinska, Paul Dickinson,
Harriet Drummond, Julie Edelson,
Hugh Edmeades, David Elswood,
David Findlay, Margaret Ford, Daniel Gallen,
Philippe Garner, Jane Griffiths, Karen Harkness,
Philip Harley, James Hastie, Paul Hewitt,
Rachel Hidderley, Mark Hinton, Nick Hough,
Michael Jeha, Hugues Joffre, Donald Johnston,
Erem Kassim-Lakha, William Lorimer,
Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Francis Outred,
Clarice Pecori-Giraldi, Benjamin Peronnet,
Henry Pettifer, Steve Phipps, Will Porter,
Paul Raison, Tara Rastrick, William Robinson,
John Stainton, Alexis de Tiesenhausen,
Lynne Turner, Jay Vincze, Andrew Ward,
David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Simon Andrews, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Grace Campbell, Lucy Campbell, Jason Carey,
Romilly Collins, Ruth Cornett, Sigrun Danielsson,
Armelle de Laubier-Rhally, Sophie DuCret,
Anna Evans, Arne Everwijn, Adele Falconer,
Nick Finch, Peter Flory, Elizabeth Floyd,
Christopher Forrest, Giles Forster, Patricia Frost,
Sarah Ghinn, Zita Gibson, Alexandra Gill,
Sebastian Goetz, John Green, Simon Green,
David Gregory, Mathilde Heaton,
Annabel Hesketh, Sydney Hornsby,
Peter Horwood, Simon James, Sabine Kegel,
Hans-Peter Keller, Tjabel Klok, Quincy Kresler,
Robert Lagneau, Nicholas Lambourn,
Joanna Langston, Tina Law, Darren Leak,
Adriana Leese, Brandon Lindberg, Laura Lindsay,
Christie, Manson & Woods Ltd. (2015)
David Llewellyn, Murray Macaulay,

Sarah Mansfield, Nicolas Martineau,
Roger Massey, Joy McCall, Neil McCutcheon,
Daniel McPherson, Neil Millen, Edward Monagle,
Jeremy Morgan, Leonie Moschner,
Giles Mountain, Chris Munro, Rupert Neelands,
Liberte Nuti, Beatriz Ordovs, Rosalind Patient,
Keith Penton, Romain Pingannaud,
Sara Plumbly, Caroline Porter, Michael Prevezer,
Anne Qaimmaqami, Marcus Rdecke,
Pedram Rasti, Amjad Rauf, Sandra Romito,
Tom Rooth, Alice de Roquemaurel,
Francois Rothlisberger, Patrick Saich,
Tim Schmelcher, Rosemary Scott, Tom Scott,
Nigel Shorthouse, Dominic Simpson, Nick Sims,
Katie Siveyer, Nicola Steel, Robin Stephenson,
Kay Sutton, Rakhi Talwar, Nicolette Tomkinson,
Jane Turner, Thomas Venning, Sophie Wiles,
Mark Wilkinson, Bernard Williams,
Georgina Wilsenach, Toby Woolley, Geoff Young
ASSOCIATE DIRECTORS
Guy Agazarian, Cristian Albu, Jennie Amos,
Ksenia Apukhtina, Katharine Arnold,
Alexis Ashot, Alexandra Baker,
Fiona Baker, Virginie Barocas-Hagelauer,
Carin Baur, Sarah Boswell, Mark Bowis,
Clare Bramwell, John Caudle, Dana Chahine,
Marie-Louise Chaldecott, Sophie Churcher,
Marion Clermont, Helen Culver Smith,
Laetitia Delaloye, Charlotte Delaney,
Cristiano De Lorenzo, Freddie De Rougemont,
Grant Deudney, Claudia Dilley,
Eva-Maria Dimitriadis, Howard Dixon,
Virginie Dulucq, Joe Dunning, Antonia Essex,
Kate Flitcroft, Nina Foote, Eva French,
Pat Galligan, Keith Gill, Andrew Grainger,
Leonie Grainger, Julia Grant, Pippa Green,
Angus Granlund, Christine Haines, Coral Hall,
Charlotte Hart, Evelyn Heathcoat Amory,
Anke Held, Valerie Hess, Carolyn Holmes,
Amy Huitson, Adrian Hume-Sayer,
James Hyslop, Helena Ingham, Pippa Jacomb,
Guady Kelly, Clementine Kerr, Hala Khayat,
Alexandra Kindermann, Mark Henry Lamp,
Tom Legh, Timothy Lloyd, Graeme Maddison,
Stephanie Manstein, Astrid Mascher,
Michelle McMullan, Kateryna Merkalenko,
Toby Monk, Sarah OBrien, Samuel Pedder-Smith,
Suzanne Pennings, Louise Phelps, Sarah Rancans,
Lisa Redpath, David Rees, Alexandra Reid,
Sumiko Roberts, Sangeeta Sachidanantham,
Pat Savage, Catherine Scantlebury,
Julie Schutz, Hannah Schweiger, Mark Silver,
James Smith, Graham Smithson, Mark Stephen,
Annelies Stevens, Charlotte Stewart,
Dean Stimpson, Gemma Sudlow,
Dominique Suiveng, Cornelia Svedman,
Nicola Swain, Iain Tarling, Sarah Tennant,
Timothy Triptree, Flora Turnbull, Lisa Varsani,
Julie Vial, Anastasia von Seibold, Amelia Walker,
Tony Walshe, Chris White, Rosanna Widen,
Ben Wiggins, Annette Wilson, Julian Wilson,
Elissa Wood
13/01/15
136
A
Agar, E., 114
Armitage, K., 172
B
Banting, J., 117
Barns-Graham, W., 84
Bellany, J., 107
Berlin, S., 82
Besanon, L., 67
Blackadder, Dame E.V., 95
Bomberg, D., 163
Boudin, E., 20
Bowen, D., 79
Boyle Family, 190, 191
Bratby, J., 96
Brill, R., 135
Buhler, R., 93
C
Cadell, F.C.B., 157
Calcagno, L., 41
Canney, M., 182-184
Chochon, A.E.L., 24, 33, 35
Clatworthy, R., 104
Clough, P., 78, 187, 193
Copnall, J., 165, 167
Coward, Sir N., 3-8, 10, 11, 13,
45, 48, 49, 54, 55, 57, 61,
65, 66
Crook, P.J., 99
D
Dane, C., 58
Davie, A., 188
Davies, J., 103
Davison, F., 76, 192
Didion, P., 69
Dunstan, B., 89, 153, 166
Dureuil, M., 32, 34, 37
E
English School, 9, 59
Epstein, Sir J., 168, 169
Eurich, R., 92
F
Feiler, P., 80
Fergusson, J.D., 155, 156
Filliard, E., 63
French School, 17, 56
Frink, Dame E., 101, 102
G
Gadsby, E., 180
Gagarin, P., 42-44
Gear, W., 113
Greaves, D., 75
H
Hambourg, A., 47
Herman, J., 90, 97, 106, 120
Hermes, G., 123
Hill, D., 1, 15, 16, 18
Hilton, R., 83
Hockney, D., 185
Howard, K., 100, 108
Hunter, G.L., 159
I
Innes, J.D., 22
J
John, A., 21, 141-143, 151,
154, 162, 164
Jones, D., 140
K
Kelly, P., 86
Kenett, F.L., 174, 175
King, P., 173
Kinley, P., 194
Kitaj, R.B., 186
Klarwein, M., 2
Kramer, J., 161
L
La Farge, J., 53
Lavery, Sir J., 138
Lee, R.H., 122
Lowndes, A., 98, 111
M
Maitland, P., 46
Major, T., 87
Maufra, M., 36, 38
McLeod, M., 64
Meninsky, B., 145
Messel, O., 12, 29
Milburn, J., 60
Minton, J., 110, 126
Moore, H., 112
Morris, D., 115
Morris, Sir C., 148
Mount, P., 179
N
Nash, J., 73
Nevinson, C.R.W., 146, 158
Nicholson, B., 77
Niven, D., 31
O
OMalley, T., 81
P
Pasmore, V., 176, 178
Pearce, B., 85
Perman, L.E., 62
Philpot, G.W., 14
Picasso, P., 72
Piper, J., 121
Procktor, P., 94
R
Renoir, P-A., 68
Richards, C., 109, 137
Roberts, W., 160
Rosoman, L., 119
Rothenstein, Sir W., 28
Rousseau, J-P., 39, 40
S
Scott, W., 177
Seago, E., 23, 26
Sickert, W.R., 19, 27, 70
Smith, J., 189
Smith, Sir M., 149
Stuempfig, W., 25, 51, 52
Sutherland, G., 127-133
T
Trevelyan, J., 116, 139
U
Uhlman, F., 88
V
Vaughan, K., 118, 124, 125,
134, 136
Vaux, M., 181
Vettriano, J., 105, 170, 171
W
Walker, Dame E., 150, 152
Wonnacott, J., 91
Wood, C., 30, 50, 71, 74,
144, 147

Modern British and Irish Art

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SOUTH KENSINGTON

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

Modern British and Irish Art

STORAGE AND COLLECTION

Thursday 19 March 2015

Please refer to the important notice

AUCTION CODE AND NUMBER

In sending absentee bids or making

William Porter, Nicholas Orchard

First initial followed by last name @

Cover: Lot 30 (detail)

Tel: +44 (0)20 7752 3225

Tel: +44 (0)20 7839 9060

Tel: +44 (0)20 7752 3225

Tel: +44 (0)20 7839 9060

Tel: +44 (0)20 7839 9060

Tel: +44 (0)20 7389 2915

Tel: +44 (0)20 7389 2712

Tel: +44 (0)20 7839 9060

This auction is subject to

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View catalogues and leave bids online

Noel Coward circa 1969/70.

By the 1930s he was already well established in London and

Coley tried to copy the Impressionists. Monet, Monet, Monet

follow, have fnished a group of negroes and am now busy

In Las Vegas, 1955.

DEREK HILL (1916-2000)

Portrait of Nol Coward

Cole Lesley, Cowards secretary, remembers how Derek Hill taught

Derek Hill painting Nol Coward.

MATI KLARWEIN (1932-2002)

Portrait of Sir Nol Coward

SIR NOL COWARD (1899-1973)

Portrait of a young man

SIR NOL COWARD (1899-1973)

SIR NOL COWARD (1899-1973)

The red hat

SIR NOL COWARD (1899-1973)

The View from Firefy

Firefy Hill has given me the most

Nol Coward painting at Firefy.

SIR NOL COWARD (1899-1973)

Sleeping amongst the palms

SIR NOL COWARD (1899-1973)

ENGLISH SCHOOL, 20TH CENTURY

Male nude study

We are very grateful to the Orpen Research Project for their

SIR NOL COWARD (1899-1973)

SIR NOL COWARD (1899-1973)

OLIVER MESSEL (1904-1978)

SIR NOL COWARD (1899-1973)

GLYN WARREN PHILPOT, R.A. (1884-1937)

DEREK HILL (1916-2000)

DEREK HILL (1916-2000)

FRENCH SCHOOL, EARLY 20TH CENTURY

DEREK HILL (1916-2000)

Sloane Square nocturne

WALTER RICHARD SICKERT, A.R.A. (1860-1942)

EUGNE BOUDIN (1824-1898)

AUGUSTUS JOHN, O.M., R.A. (1878-1961)

We are very grateful to Rebecca John for her assistance in preparing

JAMES DICKSON INNES (1887-1914)