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VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART
THURSDAY12 MARCH 2015 AT 2.00 PM
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(Auction)
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8 JULY
VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART;
MARITIME, SPORTING & WILDLIFE ART
LONDON, SOUTH KENSINGTON
16 DECEMBER
VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART
LONDON, KING STREET
26 NOVEMBER
VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART;
MARITIME, SPORTING & WILDLIFE ART
LONDON, SOUTH KENSINGTON
28/01/15
Subject to change
Victorian, Pre-Raphaelite
& British Impressionist Art
Thursday 12 March 2015
Tom Rooth
Sarah Reynolds
AUCTION
Saturday
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7 March
8 March
9 March
10 March
11 March
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[15]
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2
1
GEORGE HYDE POWNALL (1876-1932)
2
GEORGE HYDE POWNALL (1876-1932)
Westminster, London
1,500-2,500
$2,300-3,800
2,100-3,300
signed Geo. Hyde. P- (lower right) and inscribed The/Old CuriOsiTy shOp/
immOrTalized by Charles diCkens (centre)
oil on board
7 x 12 in. (7.8 x 30.5 cm.)
1,500-2,500
$2,300-3,800
2,100-3,300
Trafalgar Day
signed and dated W Logsdail, 09 (lower left)
oil on canvas
25 x 19 in. (64.7 x 49.5 cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
In his memoirs Logsdail noted: I had always thought that London, of all places in the world, ought to be
painted, but it appeared too formidable, too unassailable.... However, I did take courage to try and leave a few
records of it. The present picture is a larger version of one that Logsdail exhibited at the Royal Academy in 1906
(sold in these rooms, 11 June 1993, lot 268, 15 x 12 in., dated 21.10.05).
Erected in Trafalgar Square between 1839 and 1843, Nelsons Column was traditionally decorated on Trafalgar
Day every year, in commemoration of the victory won by Vice-Admiral Horatio Nelsons British feet over the
combined French and Spanish feets at the Battle of Trafalgar on 21st October 1805.
5
l5
EDWARD SEAGO, R.B.A., R.W.S. (1910-1974)
VARIOUS PROPERTIES
4
GEORGE HYDE POWNALL (1876-1932)
Westminster at sunset
signed Geo. Hyde. P- (lower left) and with inscription Joyeuse No:l F tous les
trois/Madeleine (on the reverse)
oil on board
5 x 9 in. (14 x 22.8 cm.)
1,500-2,500
$2,300-3,800
2,100-3,300
signed Edward Seago (lower left) and with inscription MISTY MORNING -/
ROTTERDAM QUAYSIDE (on the reverse)
oil on board
11 x 16 in. (28 x 41 cm.)
5,000-8,000
PROVENANCE:
$7,600-12,000
6,700-11,000
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
VARIOUS PROPERTIES
7
EDWARD PRITCHETT (FL. 1828-1864)
2,000-4,000
$3,100-6,000
2,700-5,400
PROVENANCE:
8
EDWARD PRITCHETT (FL. 1828-1864)
6,000-8,000
$9,100-12,000
8,100-11,000
PROVENANCE:
9
ALFRED POLLENTINE (1836-1890)
2,000-3,000
$3,100-4,500
2,700-4,000
10
11
10
EDITH HOLMAN HUNT (1846-1931) AFTER WILLIAM HOLMAN HUNT
nl11
HERBERT DAVIS RICHTER, R.I., R.S.W., R.O.I. (1874-1955)
indistinctly signed, inscribed and dated **y ***** Holman Hunt/A parting
Gift/Oct 7-1923/Ponte Vecchio Flo**/by W Holman-***/1867/In S
Kensing***/Museum (on the backboard)
watercolour with touches of bodycolour
10 x 21 in. (54 x 25.4 cm.)
1,200-1,800
$1,900-2,700
1,700-2,400
2,500-3,500
$3,800-5,300
3,400-4,700
This picture was a decoration for the Cunard White Star Liner The Mauritania. A
preliminary drawing for the painting was sold in these rooms on 23 June 1994,
lot 76.
PROVENANCE:
Given by the artist to her son Hilary Holman Hunt (1879-1949) on 7 October
1923.
This watercolour was copied by Holman Hunts second wife Edith in 1922 at the
age of 74 and given by her to her son Hilary on her 75th Birthday before they both
travelled to Jerusalem for the dedication ceremony of a public seat in honour of
William Holman Hunt. Her son then travelled on to Burma to act as Chief Engineer.
l12
HERBERT DAVIS RICHTER, R.I., R.S.W., R.O.I.
(1874-1955)
A Georgian mirror
signed H. Davis Richter (lower left)
oil on canvas
40 x 30 in. (101.7 x 76.8 cm.)
1,200-1,800
$1,900-2,700
1,700-2,400
EXHIBITED:
12
13
EDWARD LADELL (1821-1886)
5,000-8,000
PROVENANCE:
13
10
$7,600-12,000
6,700-11,000
l14
GERALD A. COOPER (1898-1975)
2,000-3,000
$3,100-4,500
2,700-4,000
14
l15
CECIL KENNEDY (1905-1997)
4,000-6,000
$6,100-9,000
5,400-8,000
PROVENANCE:
15
11
16
17
FROM THE COLLECTION OF THE LATE LORD MATTHEWS
l16
FREDERICK HALL (1860-1948)
17
HARRY BROOKER (1848-1940)
Playing at school
5,000-7,000
$7,600-11,000
6,700-9,400
5,000-7,000
$7,600-11,000
6,700-9,400
PROVENANCE:
12
18
GEORGE BERNARD ONEILL (1828-1917)
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
G. Reynolds, Painters of the Victorian Scene, London, 1953, p. 67, pl. 34.
The enforcement of Church Rates (see the bill in the Tax Gatherers hand), was hotly disputed in the midnineteenth-century, with Quakers objecting to making a contribution to the established Church on grounds of
conscience. The Compulsory Church Rates Abolition Act was fnally passed in 1868. A member of the so-called
Cranbrook colony of artists who specialised in painting genre scenes of everyday life, ONeill chose to depict
a lively contemporary topic which would have roused those viewing the picture at the Royal Academy in 1862.
For that reason it was included in Graham Reynolds pioneering study of Painters of the Victorian Scene, and
was owned by Robert Frank who did much to revive interest in Victorian Paintings in the 1960s.
13
19
21
21
WILLIAM KAY BLACKLOCK (1872-1924)
VARIOUS PROPERTIES
l19
CARLTON ALFRED SMITH, R.I., R.B.A., R.O.I. (1853-1946)
Feeding time
1,500-2,000
20 No Lot
14
4,000-6,000
$2,300-3,000
2,100-2,700
$6,100-9,000
5,400-8,000
22
JAMES CHARLES (1851-1906)
3,000-5,000
$4,600-7,500
4,100-6,700
22
23
RICHARD CATON WOODVILLE,
R.I., R.O.I. (1856-1927)
4,000-6,000
$6,100-9,000
5,400-8,000
23
15
24
JULES BASTIEN-LEPAGE (1848-1884)
A shepherdess
signed J. BASTIEN-LEPAGE
bronze, dark brown patina
13 in. (33 cm.), high
2,500-3,500
$3,800-5,300
3,400-4,700
PROVENANCE:
16
n25
WRIGHT BARKER, R.B.A. (1864-1941)
An afternoon ride
signed Wright Barker (lower left)
oil on canvas
63 x 94 in. (161.3 x 239.4 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
17
26
DAVID SCOTT, R.S.A. (1806-1849)
3,000-5,000
$4,600-7,500
4,100-6,700
PROVENANCE:
London, The Fine Art Society, 100 Years of Scottish Painting, August 1974, no.
133.
18
Few British artists represent the Romantic movement more completely than David
Scott. Born in Edinburgh, the oldest surviving child of Robert Scott, an engraver
of stern Calvinistic faith, he was an exact contemporary and friend of his fellow
Scot William Dyce. But whereas Dyce was to enjoy a relatively long career, receive
the patronage of Prince Albert, and play a major role in the decoration of the
new Palace of Westminster, David Scott died at the age of forty-three, racked by
ill health, religious doubt, and an overwhelming sense of being misunderstood
as an artist.
In 1835, shortly after his return from Italy, Scott was commissioned to paint
an altarpiece for St Patricks chapel in Lothian Street, Edinburgh, although
unfortunately the location of the original altarpiece cannot now be traced. The
composition owes an obvious debt to Rubens altarpiece of the same subject
in Antwerp Cathedral. It made a deep impression on the artistic community in
Scotland when it was revealed, with J.B. Williams commenting to David Roberts in
a letter dated 8 December 1835 that Scott [...] has painted a splendid altarpiece
for the new Catholic Chapel with the taking down from the Cross - a work of
excellent drawing...
Such was the acclaim surrounding the picture, it was engraved in mezzotint by
R.M. Hodgetts in 1836 for the Association for the Promotion of the Fine Arts in
Scotland, and using that print as a basis, Scott painted two, perhaps three, small
versions, one of which is in the National Gallery of Scotland, Edinburgh, no. 1676.
Another is the work presented here which was painted by Scott over a mezzotint
base.
n27
ROBERT BRYDALL (FL. 1874-1906)
2,000-3,000
$3,100-4,500
2,700-4,000
19
28
ARTHUR HUGHES (1832-1915)
Gypsies
indistinctly signed (lower right)
oil on canvas, feigned oval
14 x 18 in. (35.5 x 47 cm.)
4,000-6,000
$6,100-9,000
5,400-8,000
PROVENANCE:
28
29
CIRCLE OF PAUL FALCONER POOLE (1807-1879)
1,500-2,500
29
20
$2,300-3,800
2,100-3,300
*30
CIRCLE OF WILLIAM HENRY MIDWOOD (FL.1867-1871)
Collecting water
with signature T Faed (lower right)
oil on canvas
36 x 28 in. (91.4 x 71.8 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
30
n31
HORACE FISHER (1861-1928)
4,000-6,000
$6,100-9,000
5,400-8,000
31
21
32
n32
JAMES HAMILTON, A.R.S.A. (1853-1894)
l33
FRANK MOSS BENNETT (1874-1953)
2,000-3,000
$3,100-4,500
2,700-4,000
2,500-3,500
PROVENANCE:
33
22
33
$3,800-5,300
3,400-4,700
34
DANIEL MACLISE, R.A. (1806-1870)
Getting ready
signed and dated D. MACLISE + RA (lower left)
oil on panel
22 x 14 in. (57.2 x 36.8 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
34
35
HAYNES KING, R.B.A. (1831-1904)
Afternoon tea
oil on canvas
14 x 18 in. (35.6 x 45.7 cm.)
1,500-2,000
$2,300-3,000
2,100-2,700
35
23
l36
ROWLAND WHEELWRIGHT, R.B.A. (1870-1955)
1,500-2,500
36
$2,300-3,800
2,100-3,300
n37
HENRY GARLAND (FL. 1854-1890)
1,500-2,500
$2,300-3,800
2,100-3,300
n38
THOMAS SIDNEY COOPER, R.A. (1803-1902)
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
24
38
39
40
FROM THE COLLECTION OF THE LATE LORD MATTHEWS
VARIOUS PROPERTIES
39
JAMES HARDY, JNR. (1832-1889)
n40
JOHN LEWIS REILLY (B. 1880)
AFTER SIR EDWIN HENRY LANDSEER
5,000-7,000
$7,600-11,000
6,700-9,400
3,000-5,000
PROVENANCE:
26
$4,600-7,500
4,100-6,700
41
n41
CIRCLE OF EDMUND JOHN NIEMANN
(1813-1876)
1,500-2,000
$2,300-3,000
2,100-2,700
n42
JOHN BARKER (1811-1886)
1,500-2,500
$2,300-3,800
2,100-3,300
42
27
43
l43
DOROTHEA SHARP, R.B.A., R.O.I., V.P.S.W.A. (1874-1955)
September in Dorset
signed with initials DS (lower left) and further signed and
inscribed SEPTEMBER IN DORSET/BY/DOROTHEA
SHARP R.B.A.,/R.O.I/10.10.0 (on a label attached to the
reverse)
oil on board
12 x 16 in. (31.7 x 40.7 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
l*44
DOROTHEA SHARP, R.B.A., R.O.I., V.P.S.W.A. (1874-1955)
5,000-8,000
PROVENANCE:
44
28
$7,600-12,000
6,700-11,000
PROPERTY OF A GENTLEMAN
l45
DOROTHEA SHARP, R.B.A., R.O.I, V.P.S.W.A. (1874-1955)
Summer holidays
signed D SHARP (lower left)
oil on board
12 x 16 in. (31 x 42 cm.)
7,000-10,000
$11,000-15,000
9,400-13,000
PROVENANCE:
29
VARIOUS PROPERTIES
46
SIR GEORGE CLAUSEN, R.A., R.W.S. (1852-1944)
Head of a girl
signed G. CLAUSEN. (lower right)
oil on canvas laid on board
10 x 8 in. (25.4 x 22.5 cm.)
25,000-35,000
$38,000-53,000
34,000-47,000
PROVENANCE:
Given by the artist to Harry Parr, and thence by descent to the present owner.
After his move to Widdington in Essex in the summer of 1891, George Clausen had
a new terrain to explore. Living on the edge of the village he was surrounded by
rolling hills and cornfelds, and while he had work to complete for the forthcoming
spring, he also faced the challenge of fnding new models. One of these was a
local girl, Emily Wright, known as Emmy, the daughter of a bricklayer, and she
replaced Rose Grimsdale, his favourite model at Cookham Dean.
At this point, Clausens work was changing in a dramatic way as he increasingly
rejected plein air naturalism in favour of a more impressionistic style. The
square brush handling and tonal painting of his years at Childwick Green and
Cookham Dean disappears and he favours strong colour, dramatic contrasts and
a more consciously sculpted surface texture. This has been read as an obvious
rapprochement with Impressionism, even though he remained acutely aware of
the importance of Bastien-Lepage to his generation. This continuing admiration
became apparent when around 1895 he began to contemplate a picture of two
country girls resting in the felds. One would be sleeping while the other would
face the sun, perhaps awoken by the sound of birds or the fresh summer breeze.
The ensemble resting feldworkers, one of whom is asleep had been famously
treated by Bastien-Lepage in Les Foins, 1878 (Muse dOrsay, Paris).
Before it was fnally abandoned, Summer in the Fields (c. 1895-7, private
collection, sold in these rooms, 19 November 2004) became one of Clausens
most studied paintings.
Drawings for it are contained in the Victoria & Albert Museum, the Royal Academy
of Arts and the Holbourne Museum, Bath, and a small oil painting of the sleeping
girl passed through The Fine Art Society in the 1980s. Until the appearance of
the present oil, there were however, no independent oil paintings of the principal
fgure. This, more than the canvas itself, demonstrates Clausens struggle. While
the related drawings give clear delineation of the form, A Girls Head provides an
insistent reading of her ruddy complexion. Here is no china-doll smoothness, but a
fresh, windblown face that turns towards the light (see Study for Summer in the
Fields, c. 1895-6, Holbourne Museum, Bath).
Indeed the dense working of the fesh tones in this case produces a vibrant
expressionism. Few pictures by Clausen contain this sense of urgency as though
the colour relationships he sought to capture were so feeting that he must seize
them with little regard for the polite conventions of fnish. With what emphasis
he shapes the right contour of Emmys forehead, while not neglecting the subtle
modelling across the bridge of the nose. Look too at the brilliant ficks of paint that
describe her hair and the subdued bluish fesh colour that takes the eye off into the
feld beyond. Parr claimed to have rescued this picture when the artist had cast it
aside what a service he did for posterity!
KMc.
47
*47
SIR GEORGE CLAUSEN, R.A., R.W.S. (1852-1944)
PROVENANCE:
6,000-8,000
$9,100-12,000
8,100-11,000
Lady Cromer; her sale, Robinson and Foster, October 1933 (to Lockett
Thomson).
Acquired by the present owners at Binghampton, New York, in 1987.
For further information on this lot, please visit www.christies.com.
48
SIR GEORGE CLAUSEN, R.A., R.W.S. (1852-1944)
The Orchard
signed G. CLAUSEN (lower right)
pencil and watercolour
8 x 11 in. (21.6 x 30.2 cm.)
1,200-1,800
$1,900-2,700
1,700-2,400
48
31
l49
SIR ALFRED JAMES MUNNINGS, P.R.A., R.W.S. (1878-1959)
15,000-25,000
$23,000-38,000
21,000-33,000
PROVENANCE:
32
l50
SIR ALFRED JAMES MUNNINGS, P.R.A., R.W.S. (1878-1959)
5,000-8,000
$7,600-12,000
6,700-11,000
PROVENANCE:
33
51
ALFRED DE BRANSKI, SNR., R.B.A. (1852-1928)
2,000-3,000
$3,100-4,500
2,700-4,000
51
l52
ALFRED FONTVILLE DE BRANSKI (1877-1957)
1,500-2,500
$2,300-3,800
2,100-3,300
52
53
GEORGE TURNER (1843-1910)
1,500-2,000
53
34
$2,300-3,000
2,100-2,700
54
ALFRED DE BRANSKI, SNR., R.B.A. (1852-1928)
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
35
55
JOHN BRETT, A.R.A. (1831-1902)
20,000-30,000
$31,000-45,000
27,000-40,000
PROVENANCE:
36
*56
SIDNEY RICHARD PERCY (1821-1886)
1,500-2,500
$2,300-3,800
2,100-3,300
PROVENANCE:
56 (a pair)
57
THOMAS ROSE MILES (1868-1906)
A pleasure party
signed T.R. Miles (lower left) and further inscribed
A Pleasure party/ Connemara (on the reverse)
oil on canvas
22 x 36 in. (55.8 x 91.4 cm.)
2,000-3,000
57
38
$3,100-4,500
2,700-4,000
58
FROM THE ESTATE OF HAROLD SHAW
VARIOUS PROPERTIES
n*58
ROBERT McGOWN COVENTRY, A.R.S.A., R.S.W. (1855-1914)
l59
JOHN ANTHONY PARK, R.O.I., R.B.A. (1880-1962)
signed J A PARK (lower left) and further signed and inscribed In Torbay/
Brixham/Devon./Price 5-0-0/J A Park/10 Hooley Range,/Heaton Moor/
Stockport (on the reverse)
oil on canvasboard
10 x 14 in. (26 x 36.2 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
1,500-2,000
$2,300-3,000
2,100-2,700
59
39
l60
DOROTHEA SHARP, R.B.A., R.O.I., V.P.S.W.A. (1874-1955)
A summers stroll
oil on board
13 x 16 in. (33 x 40.7 cm.)
5,000-8,000
40
$7,600-12,000
6,700-11,000
nl*61
DOROTHEA SHARP, R.B.A., R.O.I., V.P.S.W.A. (1874-1955)
My New Sister
signed DOROTHEA SHARP (lower left)
oil on canvas
35 x 32 in. (89 x 81.3 cm.)
8,000-12,000
$13,000-18,000
11,000-16,000
41
62
l62
SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (1880-1969)
Two on a derelict
signed W. RUSSELL FLINT- (lower left) and inscribed Two on a Derelict./
William Flint. (on the reverse)
watercolour heightened with bodycolour
13 x 21 in. (33.4 x 54.5 cm.)
4,000-6,000
$6,100-9,000
5,400-8,000
63
HENRY SCOTT TUKE, R.A., R.W.S. (1858-1929)
5,000-8,000
$7,600-12,000
6,700-11,000
PROVENANCE:
63
42
This plein air watercolour painted by Henry Scott Tuke on the beach near his home
in Swanpool, Falmouth, features a male model (probably Charlie Mitchell) in a pose
which is identical to the main fgure on the left of his Royal Academy oil painting of
1911 Gleaming Waters (R684). It would suggest this watercolour is a study for that
particular fgure in the fnal painting. This picture, along with Gleaming Waters,
was painted in the summer of 1910.
The Cooling Galleries, 92 New Bond Street, London held a retrospective exhibition
of Paintings and watercolours by the late H.S. Tuke, R.A., R.W.S. from 31st
October 20th November 1929. This watercolour is probably one of three that
were listed as Nude or possibly another called Beach study. Tuke died in Falmouth
on 13th March 1929.
We are grateful to Catherine Wallace for her assistance in preparing this catalogue
entry.
64
65
l*64
SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (1880-1969)
l65
SIR WILLIAM RUSSELL FLINT , R.A., P.R.W.S., R.S.W. (1880-1969)
A September picnic
signed W. RUSSELL FLINT (lower left) and inscribed and dated GIRGENTI
- MCMXIII - (lower right)
watercolour
9 x 13 in. (23.5 x 35 cm.)
3,500-4,500
$5,300-6,800
4,700-6,000
2,000-4,000
$3,100-6,000
2,700-5,400
PROVENANCE:
43
66
67
l66
EDWARD SEAGO, R.B.A., R.W.S. (1910-1974)
l67
SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (1880-1969)
Beach fshing
2,500-3,500
$3,800-5,300
3,400-4,700
3,000-5,000
PROVENANCE:
$4,600-7,500
4,100-6,700
London, Royal Academy, Sir William Russell Flint Exhibition, 1962, no. 57.
44
68
69
l68
SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (1880-1969)
l69
EDWARD SEAGO, R.B.A., R.W.S. (1910-1974)
A Venetian palazzo
signed W. RUSSELL FLINT - (lower right) and further signed, inscribed and
dated Clouds over a Spinney, Goodwood/ WRussell Flint/ July 1953 (on card,
attached to the reverse)
watercolour
10 x 15 in. (26.8 x 38.8 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
3,000-5,000
$4,600-7,500
4,100-6,700
PROVENANCE:
45
70
46
71
70
GEORGE GOODWIN KILBURNE, R.I. (1839-1924)
*71
HENRY RYLAND, R.I. (1856-1924)
7,000-10,000
$11,000-15,000
9,400-13,000
2,000-3,000
$3,100-4,500
2,700-4,000
47
We are grateful to Katherine Field for her assistance in preparing the catalogue entries
for lots 72 to 75, which will be included in the Philip de Lszl catalogue raisonn,
currently presented in progress online: www.delaszlocatalogueraisonne.com
The Hon. Mrs de Laszlo and a team of editors are compiling the catalogue raisonn
of the artists entire oeuvre. Katherine Field is the British and North American Editor.
Please see www.delaszloarchivetrust.com or contact catalogue@delaszlo.com for
more information or to offer any contribution.
72
PHILIP ALEXIUS DE LSZL (1869-1937)
500-700
$760-1,100
670-940
PROVENANCE:
In March 1908 de Lszl and his wife Lucy sailed to New York and travelled directly
to Washington D.C. to paint portraits of President Theodore Roosevelt and his
wife Edith, ne Carow. Sittings took place at the White House and during one
of these Howard Taft, then Secretary of State, brought some urgent papers for
the President to read. The moment was recorded by the artist: Having read the
despatch [sic.] the President asked Mr Taft to wait a few minutes, saying that I had
some very particular work to do. Mr Taft sat down in a corner and busied himself
with his papers. Now is your chance, whispered the President, and accordingly I
promptly made a sketch of that massive head, catching Mr. Tafts attitude as he
read. The artist kept this sketch and is was recorded in the inventory of his studio
after his death.
William Howard Taft (1857-1930) ran successfully for the Presidency the year this
sketch was made and took offce in March 1909.
73
PHILIP ALEXIUS DE LSZL (1869-1937)
500-700
$760-1,100
670-940
PROVENANCE:
73
48
74
PHILIP ALEXIUS DE LSZL (1869-1937)
4,000-6,000
$6,100-9,000
5,400-8,000
PROVENANCE:
2,000-4,000
$3,100-6,000
2,700-5,400
PROVENANCE:
74
75
49
76
JAMES FERRIER PRYDE, H.R.O.I. (1866-1941)
The meeting
signed Pryde (lower left)
oil on canvas
17 x 12 in. (43.8 x 31.1 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
nl77
WILLIAM OTWAY McCANNELL (18831969)
2,000-4,000
$3,100-6,000
2,700-5,400
76
nl78
MADELINE RACHEL WELLS, R.B.A. (EXH. 1909-1940)
15,000-20,000
$23,000-30,000
21,000-27,000
77
50
78
l79
GERALD LESLIE BROCKHURST, R.A. (1890-1978)
3,000-5,000
$4,600-7,500
4,100-6,700
79
nl80
PHILIP CONNARD, R.A. (1875-1958)
5,000-7,000
$7,600-11,000
6,700-9,400
PROVENANCE:
80
52
l81
DAME LAURA KNIGHT, R.A., R.W.S. (1877-1970)
PROVENANCE:
signed Laura Knight (lower right) and further signed, inscribed and dated
Laura/Knight/fecit/1934/Edith Broster (on a scroll, lower left)
oil on canvas
36 x 28 in. (91.4 x 71.1 cm.)
This painting will be included in the forthcoming catalogue raisonn of the work
of Dame Laura Knight currently being prepared by R John Croft FCA, the artists
great-nephew.
10,000-15,000
$16,000-23,000
14,000-20,000
53
l82
FRANCIS OWEN SALISBURY, R.I., R.O.I. (1874-1962)
1,500-2,000
$2,300-3,000
2,100-2,700
83 No Lot
82
n84
WILLIAM LOGSDAIL (1859-1944)
40,000-60,000
$61,000-90,000
54,000-80,000
PROVENANCE:
54
84
8,000-12,000
56
$13,000-18,000
11,000-16,000
86
87
87
ALFRED AUGUSTUS GLENDENING, SNR. (1840-1910)
VARIOUS PROPERTIES
n86
CHARLES EDWARD JOHNSON, R.I. (1832-1913)
A Highland Clachan
signed and dated C.E. Johnson/1876 (lower right) and further signed and
inscribed A Highland Clachan/ CE Johnson/ 34 Gloucester Rd/ Regents Park/
RM (on the reverse)
oil on canvas
31 x 48 in. (78.7 x 123.2 cm.)
2,000-3,000
$3,100-4,500
2,700-4,000
1,500-2,000
$2,300-3,000
2,100-2,700
PROVENANCE:
Mr Thomas Richardson; Christies, London, 27 April 1908, lot 264 (sold for 6
gns. to Howard).
57
88
BENJAMIN WILLIAMS LEADER, R.A. (1831-1923)
Summertime
signed and dated B.W. LEADER. 1909. (lower left) and with inscription
A Bye Path Burrows Cross B.W. Leader (on the stretcher)
oil on canvas
18 x 14 in. (45.7 x 35.5 cm.)
3,000-5,000
PROVENANCE:
$4,600-7,500
4,100-6,700
1,200-1,800
$1,900-2,700
1,700-2,400
Polperro, Cornwall
signed A DE BRWANSKI JNR (lower left)
oil on canvas
24 x 18 in. (61 x 45.7 cm.)
1,200-1,800
PROVENANCE:
88
89
58
90
$1,900-2,700
1,700-2,400
nl91
ALFRED FONTVILLE DE BRANSKI (1877-1957)
3,000-5,000
$4,600-7,500
4,100-6,700
91
92
*92
BENJAMIN WILLIAMS LEADER, R.A. (1831-1923)
His sale; Christies, London, 26 May 1900, lot 18 (75 gns to Tooth).
Major-General E.H. Goulburn (); Christies, London, 6 March 1981, lot 46.
5,000-7,000
$7,600-11,000
6,700-9,400
PROVENANCE:
LITERATURE:
59
l93
SIR FRANK BRANGWYN, R.A., R.W.S.
(1867-1956)
1,000-1,500
$1,600-2,300
1,400-2,000
PROVENANCE:
94
PERCY WILLIAM GIBBS (FL. 1895-1925)
93
2,000-3,000
$3,100-4,500
2,700-4,000
95
HILDA FEARON, R.O.I. (1878-1917)
Springtime
signed and dated Hilda Fearon/1914 (lower right)
oil on canvas
30 x 25 in. (76.2 x 63.5 cm.)
15,000-25,000
$23,000-38,000
21,000-33,000
94
60
95
nl96
SIR GERALD FESTUS KELLY, P.R.A. (1879-1972)
La Sevillana
oil on canvas
55 x 38 in. (139.7 x 98.5 cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
96
97
ARTHUR HACKER (1858-1919)
Daisies
oil on panel
9 x 13in. (23.5 x 35 cm.)
2,500-3,500
$3,800-5,300
3,400-4,700
PROVENANCE:
97
62
l98
DAME LAURA KNIGHT, R.A., R.W.S. (1877-1970)
Comedy Riders
signed Laura Knight (lower left) and further signed and inscribed Dame Laura
Knight/16 Longford Place, St Johns Wood/London. N. W.8./No. 5 on Form
(on the artists label attached to the stretcher)
oil on canvas
25 x 30 in. (61.1 x 76.2 cm.)
12,000-18,000
PROVENANCE:
$19,000-27,000
17,000-24,000
Knights interest in circuses began with her childhood memories of the Nottingham
Goose Fair and later at Bertram Mills Circus at Olympia, London. In the early 1930s
she undertook a regional tour of the Midlands with Carmos Circus and fell in love
with circus life ... for years (three months at a stretch), she lived with a troupe of
performers, touring the country with them, until she actually became one of them
... flling sketchbook upon sketchbook ... till she could discard the sketchbook for
canvas and paint, the well-known results of which have become world-famous
(Adrian Hill, Famous Artists: No. 1 Dame Laura Knight, ARA, The Artist, vol. 2,
no. 5, January 1932, p. 208).
She wrote of her admiration for the acrobats: I have often tried to analyse the
circus appeal. It is the display of indomitable courage that one sees and admires,
an admiration inherent in the human race. Gravitation is defed - the impossible
is possible. I heard an acrobat say once, No matter what we come to, we have
lived. I was the King of the Earth when I was young, the laws that governed other
people did not govern me, I could do anything (Laura Knight, Oil Paint and
Grease Paint, 1936).
This painting will be included in the forthcoming catalogue raisonn of the work
of Dame Laura Knight currently being prepared by R John Croft FCA, the artists
great-nephew.
63
99
100
l99
FREDERICK WILLIAM LEIST, R.O.I., R.B.A. (1878-1945)
Early Editions
signed and dated FRED/LEIST/10 (lower left)
oil on canvas
36 x 28 in. (91.5 x 71.1 cm.)
7,000-10,000
$11,000-15,000
9,400-13,000
100
WILLIAM OLIVER (1823-1901)
Reclining beauty
signed W. Oliver (lower left)
oil on canvas
16 x 40 in. (40.7 x 101.7 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
101
WILLIAM A. BREAKSPEARE (1855-1914)
Lost in thought
signed W. Breakspeare (lower right)
oil on canvas
16 x 12 in. (40.7 x 30.5 cm.)
1,500-2,000
$2,300-3,000
2,100-2,700
101
65
l102
CECIL KENNEDY (1905-1997)
3,000-5,000
$4,600-7,500
4,100-6,700
102
l103
CECIL KENNEDY (1905-1997)
2,000-3,000
$3,100-4,500
2,700-4,000
PROVENANCE:
103
66
104
EDWIN HARRIS, R.B.S.A. (1855-1906)
A quiet moment
signed Edwin Harris. (lower right)
oil on canvas
16 x 20 in. (40.6 x 50.8 cm.)
3,500-4,500
$5,300-6,800
4,700-6,000
PROVENANCE:
104
PROPERTY OF A NOBLEMAN
l105
JAMES McINTOSH PATRICK, R.S.A. (1907-1998)
Summer Haze
signed MCINTOSH/PATRICK (lower right)
and further signed and inscribed J. MCINTOSH
PATRICK/THE WHITE COTTAGE, NEAR/
POWLIS, PERTHSHIRE/SUMMER HAZE
(on the reverse)
oil on canvas
20 x 24 in. (50.8 x 61 cm.)
3,000-5,000
$4,600-7,500
4,100-6,700
EXHIBITED:
105
END OF SALE
The next South Kensington sale of Victorian, Pre-Raphaelite & British Impressionist Art will be held on 8 July 2015
67
Index
B
Barker, J., 42
Barker, W., 25
Bastien-Lepage, J., 24
Bennett, F.M., 33
Blacklock, W.K., 21
Brangwyn, Sir F., 93
Breakspeare, W.A.,
101
Brett, J., 55
Brockhurst, G.L., 79
Brooker, H., 17
Brydall, R., 27
C
Carrick, J.M., 89
Charles, J., 22
Clausen, Sir G., 46-48
Connard, P., 80
Cooper, G., 14
Cooper, T.S., 38
Coventry, R.M., 58
D
de Branski, A.F., 52,
90-91
de Branski, Snr., A.,
51, 54
de Lszl, P.A., 72-75
F
Fearon, H., 95
Fisher, H., 31
Flint, Sir W.R., 62,
64-65, 67-68
68
G
Garland, H., 37
Gibbs, P.W., 94
Glendening, Snr.,
A.A., 87
H
Hacker, A., 97
Hall, F., 16
Hamilton, J., 32
Hardy, Jnr., J., 39
Harraden, R.B.
(Circle of), 85
Hughes, A., 28
Hunt, E.H., 10
J
Johnson, C.E., 86
K
Kelly, Sir G.F., 96
Kennedy, C., 15,
102-103
Kilburne, G.G., 70
King, H., 35
Knight, Dame L., 81,
98
L
Ladell, E., 13
Leader, B.W., 88, 92
Leist, F.W., 99
Logsdail, W., 3, 84
M
Maclise, D., 34
McCannell, W.O., 77
Midwood, W.H.
(Circle of), 30
Miles, T.R., 57
Munnings, Sir A.J.,
49-50
N
Niemann, E.J.
(Circle of), 41
O
ONeill, G.B., 18
Oliver, W., 100
P
Park, J.A., 59
Patrick, J.M., 105
Percy, S.R., 56
Pollentine, A., 9
Poole, P.F.
(Circle of), 29
Pownall, G.H., 1-2, 4
Pritchett, E., 7-8
Pryde, J.F., 76
R
Reilly, J.L., 40
Richter, H.D., 11-12
Ryland, H., 71
S
Salisbury, F.O., 82
Scott, D., 26
Seago, E., 5-6, 66, 69
Sharp, D., 43-45,
60-61
Smith, C.A., 19
T
Tuke, H.S., 63
Turner, G., 53
W
Wells, M.R., 78
Wheelwright, R., 36
Woodville, R.C., 23
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
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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
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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
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two years you must register at least 48 hours before christies.com.
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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
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current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
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(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
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owners; and
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(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
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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.
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
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account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of q5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London, SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights we have by
law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;
10 REPORTING ON
WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer
price plus buyers premium and do not reflect
J
OTHER TERMS
costs, financing fees, or application of buyers or
sellers credits. We regret that we cannot agree
1
OUR ABILITY TO CANCEL
In addition to the other rights of cancellation to requests to remove these details from www.
contained in this agreement, we can cancel a sale of christies.com.
a lot if we reasonably believe that completing the
GLOSSARY
transaction is, or may be, unlawful or that the sale J
places us or the seller under any liability to anyone authentic: a genuine example, rather than a copy
else or may damage our reputation.
or forgery of:
(i) the work of a particular artist, author or
2 RECORDINGS
manufacturer, if the lot is described in the
We may videotape and record proceedings at any Heading as the work of that artist, author or
auction. We will keep any personal information manufacturer;
confidential, except to the extent disclosure is (ii) a work created within a particular period or
required by law. However, we may, through this culture, if the lot is described in the Heading as a
process, use or share these recordings with another work created during that period or culture;
Christies Group company and marketing partners (iii) a work for a particular origin source if the lot
to analyse our customers and to help us to tailor is described in the Heading as being of that origin
our services for buyers. If you do not want to be or source; or
videotaped, you may make arrangements to make (iv) in the case of gems, a work which is made of
a telephone or written bid or bid on Christies a particular material, if the lot is described in the
LIVE% instead. Unless we agree otherwise Heading as being made of that material.
in writing, you may not videotape or record authenticity warranty: the guarantee we give in
proceedings at any auction.
this agreement that a lot is authentic as set out in
section E2 of this agreement.
3 COPYRIGHT
buyers premium: the charge the buyer pays us
We own the copyright in all images, illustrations and along with the hammer price.
written material produced by or for us relating to a catalogue description: the description of a lot
lot (including the contents of our catalogues unless in the catalogue for the auction, as amended by any
otherwise noted in the catalogue). You cannot use saleroom notice.
them without our prior written permission. We Christies Group: Christies International Plc,
do not offer any guarantee that you will gain any its subsidiaries and other companies within its
copyright or other reproduction rights to the lot.
corporate group.
condition: the physical condition of a lot.
4 ENFORCING THIS AGREEMENT
due date: has the meaning given to it in paragraph
If a court finds that any part of this agreement is not F1(a).
valid or is illegal or impossible to enforce, that part estimate: the price range included in the catalogue
of the agreement will be treated as being deleted or any saleroom notice within which we believe
and the rest of this agreement will not be affected. a lot may sell. Low estimate means the lower
figure in the range and high estimate means the
5 TRANSFERRING YOUR RIGHTS
higher figure. The mid estimate is the midpoint
AND RESPONSIBILITIES
between the two.
You may not grant a security over or transfer your hammer price: the amount of the highest bid the
rights or responsibilities under these terms on the auctioneer accepts for the sale of a lot.
contract of sale with the buyer unless we have Heading: has the meaning given to it in paragraph
given our written permission. This agreement will E2.
be binding on your successors or estate and anyone lot: an item to be offered at auction (or two or
who takes over your rights and responsibilities.
more items to be offered at auction as a group).
other damages: any special, consequential,
6 TRANSLATIONS
incidental or indirect damages of any kind or any
If we have provided a translation of this agreement, damages which fall within the meaning of special,
we will use this original version in deciding any incidental or consequential under local law.
issues or disputes which arise under this agreement. purchase price: has the meaning given to it in
paragraph F1(a).
7 PERSONAL INFORMATION
provenance: the ownership history of a lot.
We will hold and process your personal information qualified: has the meaning given to it in paragraph
and may pass it to another Christies Group E2 and Qualified Headings means the section
company for use as described in, and in line with, headed Qualified Headings on the page of
our privacy policy at www.christies.com.
the catalogue headed Important Notices and
Explanation of Cataloguing Practice.
reserve: the confidential amount below which we
8 WAIVER
No failure or delay to exercise any right or remedy will not sell a lot.
provided under these Conditions of Sale shall saleroom notice: a written notice posted next to
constitute a waiver of that or any other right or the lot in the saleroom and on www.christies.
remedy, nor shall it prevent or restrict the further com, which is also read to prospective telephone
exercise of that or any other right or remedy. No bidders and notified to clients who have left
single or partial exercise of such right or remedy commission bids, or an announcement made by the
shall prevent or restrict the further exercise of that auctioneer either at the beginning of the sale, or
before a particular lot is auctioned.
or any other right or remedy.
UPPER CASE type: means having all capital
letters.
9 LAW AND DISPUTES
This agreement, and any non-contractual obligations warranty: a statement or representation in which
arising out of or in connection with this agreement, or the person making it guarantees that the facts set
any other rights you may have relating to the purchase out in it are correct.
of a lot will be governed by the laws of England and
Wales. Before we or you start any court proceedings
(except in the limited circumstances where the dispute,
controversy or claim is related to proceedings brought
by someone else and this dispute could be joined
71
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.
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
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.
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
73
PAYMENT
Free of Charge
Free of Charge
q70.00
q5.25
q35.00
q2.65
BOOKS
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
74
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
BELGIUM
BRUSSELS
DELHI
SPAIN
BARCELONA
NORTH
ISRAEL
TEL AVIV
MADRID
SOUTH
SWEDEN
STOCKHOLM
NORTHWEST AND
WALES
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS
ITALY
MILAN
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+33 (0)1 40 76 85 85
GERMANY
DSSELDORF
PEOPLES REPUBLIC
OF CHINA
BEIJING
+49 (0)21 14 91 59 30
Arno Verkade
FRANKFURT
HONG KONG
SHANGHAI
HAMBURG
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
SWITZERLAND
GENEVA
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
E MA I L info@christies.com
23/01/15
75
INDIAN
CONTEMPORARY ART
POSTERS
PRINTS
JAPANESE
WORKS OF ART
JEWELLERY
AUSTRALIAN PICTURES
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SWISS ART
MINIATURES
TOPOGRAPHICAL
PICTURES
MODERN DESIGN
ORIENTAL CERAMICS
AND WORKS OF ART
SILVER
TWENTIETH CENTURY
BRITISH ART
EUROPEAN CERAMICS
AND GLASS
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
CONTEMPORARY ART
COSTUME, TEXTILES
AND FANS
MUSICAL INSTRUMENTS
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
PRIVATE SALES
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
VALUATIONS
info@christiesrealestate.com
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
info@christiesrealestate.com
info@christiesrealestate.com
WINE
POST-WAR ART
CHRISTIES EDUCATION
VICTORIAN PICTURES
PHOTOGRAPHS
CORPORATE
COLLECTIONS
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
POPULAR CULTURE
AND ENTERTAINMENT
OTHER SERVICES
AUCTION SERVICES
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/11/14
76
Contact
Alastair Plumb
aplumb@christies.com
+44 (0)20 7752 3298
christies.com
Contact
christies.com
Contact
Angus Granlund
agranlund@christies.com
+44 (0)20 7752 3240
christies.com
The Collection of
Robert Hatfeld Ellsworth
Christies is honoured to present the collection of this distinguished
American scholar, dealer, and collector whose groundbreaking work
transformed the study and appreciation of Asian art.
Featuring ancient bronzes, Ming furniture, fne jade, modern Chinese
paintings, and Himalayan, Indian and Southeast Asian works of
art in addition to important English furniture, fne art, silver, and
decorative arts this exceptional selection of works is recognised as
one of the worlds greatest collections.
Online Auctions
Viewing
Contact
Beginning 18 March
1118 March
20 Rockefeller Plaza
New York, NY 10020
Gemma Sudlow
ellsworth@christies.com
+1 212 636 2000
christies.com/ellsworth
10452
Client Number (if applicable)
Sale Number
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 q50,000, 20% on any
amount over q50,000 up to and including q1,000,000 and 12%
of the amount above q1,000,000. 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)
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.
Maximum Bid UK
(excluding buyers premium)
Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
03.03.10
81
Code
Subscription Title
Location
A1
L193
L1
L195
L98
N193
N1
P1
K193
K9
K1
K2
K97
W9
Amsterdam
King Street
King Street
King Street
King Street
New York
New York
Paris
South Kensington
South Kensington
South Kensington
South Kensington
South Kensington
Worldwide
www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
Issues
2
2
5
2
1
2
3
1
2
1
4
5
1
4
UKPrice
US$Price
EURPrice
27
48
119
48
20
48
71
38
43
14
57
71
14
95
44
72
181
76
32
76
108
61
71
24
95
119
24
152
40
76
190
72
30
72
114
57
66
22
87
109
22
144
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
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,
13/01/15
+44 (0)20 7930 6074 telephone +44 (0)20 7389 2869 facsimile