old master and british drawings and watercolours

OLD MASTER AND BRITISH DRAWINGSAND WATERCOLOURSLONDON, TUESDAY 2 DECEMBER 2014

AUCTION

Tuesday 2 December 2014

at 1.00 pm Lots 1–209

85 Old Brompton Road

London SW7 3LD

VIEWING

Friday 28 November 9.00 am - 5.00 pm

Saturday 29 November 11.00 am - 5.00 pm

Sunday 30 November 11.00 am - 5.00 pm

Monday 1 December 9.00 am - 7.30 pm

Tuesday 2 December 9.00 am - 12 noon

AUCTIONEERS

Georgina Wilsenach

James Hastie

OLD MASTER AND BRITISH DRAWINGS AND WATERCOLOURSTuesday 2 December 2014

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o p p o s i t e : Lot 87

f r o n t c o v e r :

Lot 37

b a c k c o v e r :

Lot 192

2

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29/04/13

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2 DECEMBER

OLD MASTER & BRITISH DRAWINGS

& WATERCOLOURSLONDON, SOUTH KENSINGTON

10 DECEMBERTHE I.Q. VAN REGTEREN ALTENA COLLECTION

PART IIAMSTERDAM

29 JANUARY 2015

OLD MASTER AND BRITISH DRAWINGS

AND WATERCOLOURSNEW YORK

25 MARCH 2015

DESSINS ANCIENS & DU XIXE SIÈCLE

THE I.Q. VAN REGTEREN ALTENA

COLLECTION

PART III. FRENCH AND ITALIAN

DRAWINGS FROM 1500 TO 1900PARIS

13 MAY 2015

THE I.Q. VAN REGTEREN ALTENA

COLLECTION

PART IV. DUTCH AND FLEMISH

DRAWINGS FROM 1500 TO 1900AMSTERDAM

OLD MASTER AND BRITISH DRAWINGS AND WATERCOLOURS AUCTIONS

3

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Old Master Drawings

Benjamin Peronnet

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BRITISH DRAWINGS & WATERCOLOURS

LONDON

Jonathan den Otter Cataloguer

4

1

THE PROPERTY OF A GENTLEMAN

1

ATTRIBUTED TO GIULIO PIPPI, CALLED GIULIO ROMANO (ROME 1499-1546)

A swan

pen and brown ink, grey wash, octagonal5¬ x 6¿ in. (14.2 x 15.7 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

P R O V E N A N C E :

J. Richardson Sr. (L. 2183), with his associated mount, inscription ‘Perino’ and shelfmark indications.T. Banks (L. 2423). A. Poynter (L. .161), and by descent toSir Edward J. Poynter; Sotheby’s, London, 24-25 April 1918, lot 196 (as Perino del Vaga).Sir Francis Watson, and thence by descent to the present owner.

2

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

2

ITALIAN SCHOOL, CIRCA 1600

The Rape of Proserpina

black chalk, heightened with white5≈ x 8√ in. (14.2 x 22.2 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

An attribution to the School of Prague circa 1600 has also been suggested.

5

3 4


3

ATTRIBUTED TO MATTEO ROSSELLI (FLORENCE 1578-1650)

The Adoration of the Magi

red chalk, pen and brown ink, heightened with white, squared in red chalk10 x 7Ω in. (25.3 x 19.2 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

4

BACCIO BANDINELLI (GAIOLE IN CHIANTI 1488-1560 FLORENCE)

Two nude men standing

pen and brown ink, brown wash, a strip added by Mariette along the top of the sheet11≈ x 7æ in. (30 x 19.8 cm.)

£800-1,000 $1,300-1,600� Ç1,100-1,300


P.-J. Mariette (L. 1852), on his mount with his inscription in a cartouche ‘Barthol. alias Baccio / Bandinelli’.Comte Moriz von Fries (L. 2903). with Leicester Galleries, London.

We are grateful to Roger Ward for confrming the attribution on the basis of a digital photograph.

6

6

CIRCLE OF GIORGIO VASARI (AREZZO 1511-1574 FLORENCE)

Head of a young woman

oil on paper, laid down on panel13æ x 8¡ in. (35 x 21.3 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

Related to the fgure of Hagar in Vasari’s Abraham visited by the angels in the Cenacolo di San Salvi, Florence (L. Corti, Vasari. Catalogo completo dei

dipinti, Florence, 1989, no. 67). Mina Gregori (in 1999 and 2001) and Francesca Baldassari (in 2013) have suggested an attribution to Vasari himself.

5

LOMBARD SCHOOL, 16TH CENTURY

Head of a woman

with inscriptions ‘D. V.’ and ‘N.o 153’ (verso)black chalk4√ x 3ƒ in. (12.4 x 8.7 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


E. Calando Sr. (L. 837).E. Calando Jr. (L.426b).An unidentifed mark, pseudo-Crozat (L. 474).

6

5

7

7

CIRCLE OF FRA GIOVANNI DA FIESOLE, CALLED FRA ANGELICO (VICCHIO 1400-1455 ROME)

A Dominican friar, with a subsidiary study of his head

brown wash, traces of stylus, heightened with white (oxidized), on jade-green prepared paper8¿ x 5ƒ in. (20.7 x 13.6 cm.)

£8,000-12,000 $13,000-19,000� Ç11,000-15,000


W. Mayor (L. 2799).G. Lucas.

L I T E R A T U R E :

Original Drawings and Sketches by the Old Masters ... formed by the late

Mr. William Mayor, London, 1875, no. 6.

The fgure in this drawing is close to that of Saint Dominic in Fra Angelico’s Perugia altarpiece painted by the artist and his workshop around 1437-8, and today in Perugia, Galleria Nazionale dell’Umbria (J.T. Spike, Fra Angelico, New York, 1996, no. 94, pp. 164-9, 243-4).

8

8

NORTHERN SCHOOL, 16TH CENTURY

Studies of heads wearing elaborate hairdos

pen and brown ink, watermark circle12 x 7√ in. (30.6 x 20.0 cm.); and A bishop baptizing converts, attributed to Francesco Zugno; and A stage set, possibly for the Teatro di San Carlo,

Parma, by Pietro Righini (3)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

9

FLORENTINE SCHOOL, LATE 16TH CENTURY

The Marriage of the Virgin (recto); Plan of a round building and four pilasters (verso)

with inscription ‘Gio: Batta. Naldini’ (verso)black chalk, pen and brown ink, brown wash (recto); black chalk, pen and black ink (verso)11 x 10 in. (31.1 x 25.4 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

10

ITALIAN SCHOOL, MID-16TH CENTURY

Ornamental study for plaster decoration with arabesques

red chalk, on two joined sheets of paper4ƒ x 20º in. (11.1 x 51.3 cm.)

£600-1,000 $970-1,600� Ç760-1,300


C. Argentieri; Christie’s, London, 14 December 1982, lot 11.L. Houthakker (L. 3893).


P. Fuhring, Design into art. Drawings for

Architecture and Ornament: The Lodewijk

Houthakker collection, London, 1989, no. 2.

8 (part lot)9

10

9


11

ATTRIBUTED TO ALESSANDRO MERLI (VENICE, ACTIVE 1590-1606)

Luca Michiel, Procurator of San Marco, accompanied by Saint Mark and the Three Theological Virtues, set in a fctive oval frame with the Four Cardinal Virtues

inscribed ‘CHARITAS IN PROCURATORIO MUNERE FUNGENDO AD GLORIAM PERDUCET [charity in performing the offce of Procurator will lead to glory]’bodycolour on vellum10Ω x 7Ω in. (26.5 x 19 cm.)with the opening page of a promissioni on the verso

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


with Leopold Blumka, New York; from whom acquired by the late owner before 1968.

The present work belongs to a group of manuscripts which celebrated the Venetian Republic and its rulers. They were granted to individual Venetian patricians upon their election to highly ranked offces of state. After the tenure of their offce ended, the patricians were given the manuscripts which were then kept in the family archive as an evidence of the distinguished service to the Republic served by their family member (see H.K. Szepe, ‘Painters and patrons in Venetian documents’, Bollettino

dei Musei Civici Veneziani, 8, 2013, pp. 25- 41, and p. 34 for a discussion of Merli’s work).

This illumination celebrates the civic virtue of Luca Michiel, Procurator of San Marco under the rule the Doge Alvise Mocenigo (1570-77). Michiel was celebrated by Francesco Sansovino as ‘standing out among his peers for his military and civic virtue’ (F. Sansovino, Venetia: Città Nobilissima et

Singolare, Venice, 1581, p. 280).

We are grateful to Helena K. Szepe for her help in cataloguing this lot.

12

BOLOGNESE SCHOOL, LATE 16TH CENTURY

An allegory in honour of Carlo Gonzaga, with Hercules holding a palm tree

inscribed ‘SERENISS.mo CARLO / GONZAGA/ MANTUAE [...] UNIVERSIT [...] / DUCI ETC / HAEC LABORIOSI’black chalk, pen and brown ink, brown wash10Ω x 7æ in. (27 x 19.7 cm.); and Christ carrying the cross and Madonna

and child, Spanish School, 17th Century; Saint John the Evangelist and Christ the Saviour, Roman School, late 16th Century

(5)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


King Philip V of Spain (mounted on his album page with red and brown ink framing lines and with number ‘97’).Anonymous sale; Christie’s, London, 22 November 1966, part of lot 131.

11

12 (part lot)

10

14 i

14

CIRCLE OF GERARD VAN HONTHORST (UTRECHT 1592-1656)

A man, standing, wearing an armour

black and white chalk, on light brown paper12¿ x 7æ in. (31 x 19.8 cm.); and A young man, standing, holding his right

hand on his heart, Florentine School, 17th Century; and Virgin and child,

Italian School, late 16th Century (3)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

14 ii

13

SPANISH SCHOOL, 17TH CENTURY

A bearded man looking to the right, half-length, and study of a right arm

pen and black ink, watermark three balls, each enclosing a cross, shaped6¡ x 7 in. (16.2 x 17.8 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

13

11

*15

ANTONIO DE PEREDA Y SALDAGO (BURGOS 1611 - 1678 MADRID)

The death of a pious man, attended by monks and an angel, his wife and chldren at the right

pen and brown ink, traces of black chalk, heightened with white, the lower left corner replaced7¡ x 6¿ in. (18.8 x 15.4 cm.); and The Virgin and child appearing to Saint

James the Great and two other saints, Italian School, 17th Century

(2)

£4,000-6,000 $6,500-9,600� Ç5,100-7,600

This drawing is part of a series of 17th-century Spanish works relating to the Ars Moriendi, a devotional Medieval exercise practised throughout the Counter-Reformation, which illustrated the different moments in the Christian preparation for death. Each drawing represents a parallel with an episode of Christ’s Passion which is shown as pictures within a picture (see Z. Véliz, Spanish Drawings in The Courtauld Gallery, Complete Catalogue, London, 2011, under no. 18): in the present work an angel points to an image on the wall which illustrates the episode of Christ washing the feet

of his disciples.

Stylistically, the drawing is close to another work by Pereda for the same series showing a very similar scene, today in the Louvre Museum, Paris (inv. no. RF43250; L. Boubli, Musée du Louvre. Inventaire general des

dessins: Ecole Espagnole XVI-XVIII siècle, Paris, 2002, no. 116).

(part lot)

16

CIRCLE OF GUIDO RENI (BOLOGNA 1575-1642)

The Virgin and Child with the infant Saint John the Baptist

with inscription ‘Caravaccio’ (on the mount)black chalk, pen and brown ink, brown and grey wash6 x 5¬ in. (15.1 x 14 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


King Philip V of Spain (mounted on his album page with red and brown ink framing lines and with number ‘56’).Anonymous sale; Christie’s, London, 22 November 1966, part of lot 126.


17

SIMONE CANTARINI, IL PESARESE (OROPEZZA, PESARO 1612-1648 VERONA)

Studies of fgures in a landscape, and studies of heads and trees

with signature ‘Simone Cantarini.’red chalk, pen and brown ink11º x 7≈ in. (28.5 x 19.5 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


Anonymous sale; Christie’s, London, 29 June 1971, lot 69.

18

ATTRIBUTED TO GIOVANNI FRANCESCO BARBIERI CALLED GUERCINO (CENTO 1591-1666 BOLOGNA)

Saint Jerome

with inscription ‘guercino’ pen and brown ink18¿ x 13¡ in. (46.2 x 33.9 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500


An unidentifed collector’s mark, pseudo-Crozat (L. 474).

17

16

18

13

*19


Venus and the nymphs disarming Cupid

with number ‘64’ on the mountred chalk7º x 10Ω in. (18.4 x 26.3 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500

20


Saint John the Baptist

red chalk8¿ x 5æ in. (20.8 x 14.6 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

A painting of similar subject, but of slightly different composition, is in Bologna (Pinacoteca Nazionale; Simone Cantarini detto il Pesarese

1612-1648, exh. cat., Bologna, Pinacoteca Nazionale, 1997-8, no. I.56). Stylistically the drawing can be compared to a series of male fgures studies, also in red chalk (op. cit., nos. II.14-20).

21

CESARE DANDINI (FLORENCE 1595-1658)

Studies of hands and drapery

with initials ‘CD.’red chalk, stumping7¡ x 10º in. (19.5 x 26.2 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

19

20

21

14


24

ITALIAN SCHOOL, CIRCA 1700

A woman with a child, after an antique relief

red and white chalk14æ x 11ƒ in. (37.4 x 28.7 cm.); and Thetis ordering Vulcan to forge arms

for Achilles, after Jacques Blanchard

(2)

£800-1,200 $1,300-1,900� Ç1,100-1,500


C. Molinier (L. 2917).


23

ATTRIBUTED TO GIOVANNI FRANCESCO GRIMALDI, IL BOLOGNESE (BOLOGNA 1606-1680 ROME)

Landscape with Diana and her nymphs hunting and resting after the hunt

black chalk, pen and brown ink, brown wash, heightened with white partially oxidized, arched top15æ x 10æ in. (40 x 27.4 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


22

ERCOLE GRAZIANI (BOLOGNA 1688-1765)

The Finding of Moses

black chalk, pen and grey ink, green-gray wash7ƒ x 10 in. (18.8 x 25.5 cm.); and Saints in adoration, attributed to Pietro Roselli; Mary Magdalen praying, attributed to Sebastiano Ricci; Suffer

the Little Children to come unto Me, Italian School, circa 1790; and The

Marriage of the Virgin, attributed to Francesco Allegrini (5)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

24 (part lot)23

22 (part lot)


Anonymous sale; Sotheby’s, London, 16 November 1972, lot 123 (as Niccolò Bambini).

We are grateful to Marco Riccomini for suggesting the present attribution.

15


26

GIUSEPPE MARIA CRESPI (BOLOGNA 1665-1747)

Saint Joseph holding the fowering rod

red chalk, stylus4º x 3º in. (10.5 x 8.1 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


Sir Francis Watson, and thence by descent to the present owner.

Related to a painting in the Opera Pia dei Poveri Vergognosi in Bologna (see Giuseppe Maria Crespi 1665-1747, exh. cat., Bologna, Pinacoteca Nazionale, 1990, no. 81).

We are grateful to Marco Riccomini for confrming the attribution on the basis of a digital photograph.

25

CIRCLE OF CARLO MARATTI (CAMERANO 1625-1713 ROME)

Saint Peter

red chalk16º x 11ƒ in. (41.2 x 28.5 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


F. Giusti, Bologna (according to an inscription on the mount).Anonymous sale; Christie’s, London, 28 March 1972, lot 208.with Cork Street Gallery, London; from whom purchased by the present owner.

25 26

16

27

BENEDETTO LUTI (FLORENCE 1666-1724)

Head of a boy, turned to the right, looking downward

signed ‘Roma 1710 / Benedetto Luti fece’ (on the back of the frame)pastel12æ x 10º in. (33 x 26 cm.)

£5,000-7,000 $8,100-11,000� Ç6,400-8,900

Old inscriptions at the back of the frames, probably in the artist’s own handwriting, date this and the following lot to the years 1710-11. The present head is very close to that of another pastel, today in the Galleria Palatina, Florence (R. Maffeis, Benedetto Luti: l’ultimo maestro, Florence, 2012, no. IV.4, pp. 327-8), representing an angel which Luti executed for Ferdinando Cosimo III Medici before 1708.

28

BENEDETTO LUTI (FLORENCE 1666-1724)

Head of a boy, looking to the left

signed ‘Roma 1711 / Benedetto Luti fece’ (on the back of the frame)pastel13 x 10Ω in. (32.5 x 26.3 cm.)

£5,000-7,000 $8,100-11,000� Ç6,400-8,900

27 28

17

29

ATTRIBUTED TO UBALDO GANDOLFI (SAN MATTEO DELLA DECIMA 1728-1781 RAVENNA)

A man, half-length, wearing a hat and holding a stick in his right hand

black and white chalk, grey wash, stumping, on light grey prepared paper11ƒ x 8.Ω in. (28.8 x 21.5 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

30

ATTRIBUTED TO UBALDO GANDOLFI (SAN MATTEO DELLA DECIMA 1728-1781 RAVENNA)

An open book

black and white chalk, stumping, on brown paper6Ω x 6 in. (16.5 x 15.3 cm.); and Christ before Caiaphas, and The Blinding

of Elymas, by François Verdier; and Soldiers and peasants at a table, after Sir Peter Paul Rubens

(4)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


J. van Haecken (L. 2516).

31

ITALIAN SCHOOL, 18TH CENTURY

Hercules and the Hydra, after the antique

black chalk, stumping15æ x 8æ in. (40 x 22 cm.)

£700-1,000 $1,200-1,600� Ç890-1,300


Unidentifed collector’s mark ‘VE’ in a circle (not in Lugt).Dr. C.R. Rudolf (L. 2811b); Sotheby Mak van Waay, Amsterdam, 6 June 1977, lot 65. Anonymous sale; Phillips, London, 17 April 1996, lot 16 (as Flemish School, 17th Century).

The drawing depicts an antique statue, now in the Capitoline Museums in Rome (inv. no. MC0236), which was rediscovered during the construction of the church of Sant’Agnese in Piazza Navona, Rome, after it had been extensively restored by Alessandro Algardi.

29

30 (part lot)

31

18


33


An ornamental vase with a satyr holding a trumpet

dated ‘Adi 25 Marzo 1776.’black chalk, pen and brown ink, grey wash14æ x 9æ in. (37.4 x 25 cm.); and Study for a decorative casket, Italian School, 18th century; and Ceiling design for Schloss Lustheim, attributed to Giuseppe Valeriani (3)

£1,200-1,800 $2,000-2,900� Ç1,600-2,300




32


A design for a mausoleum

graphite, pen and brown ink, grey wash25æ x 16æ in. (65.4 x 42.4 cm.)

£800-1,000 $1,300-1,600� Ç1,100-1,300



32 33 (part lot)

19

35

34


35

ATTRIBUTED TO GIUSEPPE ORSONI (BOLOGNA 1691-1755)

Design of a wall with decorated columns and a portico in the background

with inscription ‘Originale di Dom.co / Fontana’pen and brown ink, grey wash, squared in graphite9ƒ x 14ƒ in. (23.8 x 36.3 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500


G. Piancastelli (according to a label at the back of the mount).


34

FRENCH SCHOOL, 18TH CENTURY

Design for a salon

with number ‘4.’ and inscription ‘B’graphite, pen and black ink, watercolour and bodycolour8ƒ x 14¡ in. (21.3 x 36.8 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500



20


36

ANTON KERN (BOHEMIA 1709-1747 DRESDEN)

Two boys looking into a tripod urn, one holding a large tray, after Giovanni Battista Pittoni

with inscription ‘N° 6’ (verso)graphite, red wash, heightened with white11æ x 10≈ in. (30 x 27.6 cm.);

£1,500-2,000 $2,500-3,200� Ç2,000-2,500



This drawing, and the following lot, copy fgures taken from paintings by Kern’s master Giovanni Battista Pittoni (1687-1767). The fgures in the present sheet are after the Allegorical tomb of Charles Sackville 6th Earl

of Dorset, circa 1726 (F. Zava Bocazzi, Pittoni. L’Opera completa, Venice, 1979, no. 261, fg. 139), of which there are three other copies by Kern in the Louvre (op. cit., fgs. 140-2). Kern was in Pittoni’s studio between 1723 and 1730.


37

ANTON KERN (BOHEMIA 1709-1747 DRESDEN)

An old bearded man kneeling and a young man standing, a dog in the foreground, after Giovanni Battista Pittoni

graphite, red wash, heightened with white14æ x 10Ω in. (37.8 x 26.8 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500



This copies a detail of Giovanni Battista Pittoni’s painting Hannibal

swearing revenge against the Romans, a composition known through a number of painted versions (F. Zava Bocazzi, Pittoni. L’Opera completa, Venice, 1979, nos. 94, 104, 147 and 243, fgs. 74-84).

36 37

21


38

VENETIAN SCHOOL, EARLY 18TH CENTURY

A series of vignettes with female and male portraits, and a sketch of a presentation scene in an interior (recto); Sketches with God the Saviour, and a moonlight scene in a courtyard (verso)

black and white chalk, pen and brown ink, brown wash (verso), on blue paper7√ x 10æ in. (27.3 x 20 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


P.F. Marcou (L. 1911b). New York art market, 1971.Sir Francis Watson, and thence by descent to the present owner.


39

ITALIAN SCHOOL, EARLY 18TH CENTURY

An ecclesiastic visiting an assembly of people suffering from the plague

black chalk, pen and brown ink, grey and brown wash17¬ x 27Ω in. (44.8 x 70 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500



An attribution to Pier Leone Ghezzi has been suggested.

38 (recto)

39

(verso)

41 (recto)


40

GIOVANNI BATTISTA CANAL (VENICE 1745-1825)

An allegorical scene with Fame, Truth and a poet (recto); A female portrait (verso)

with inscription ‘Fama e Valore. / G. B. Canal.’ (verso)black chalk, pen and brown ink, watercolour (recto); black chalk (verso), oval7√ x 13 in. (20 x 32.8 cm.); and A bearded man and sketches of heads, attributed to Luigi Sabatelli; and Portrait of a man, possibly Gian Paolo

Sormani, Italian School, circa 1740

(3)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

40 (part lot)

41

VENETIAN SCHOOL, 18TH CENTURY

The sacrifce of Polyxena (recto); Study of two legs and feet (verso)

numbered ‘237./’ (verso) and ‘Pittoni G. B.’black chalk, pen and brown ink, brown wash (recto) ; black chalk, stumping (verso), traces of watermark Three Crescents11æ x 17 in. (30.1 x 43.8 cm.)

£1,000-2,000 $1,700-3,200� Ç1,300-2,500


Baron Milford (L. 2687).Artaria & Co. (L. 90).

23


44

VENETIAN SCHOOL (?), 18TH CENTURY

The Assumption of the Virgin

coloured chalks, watercolour, octagonal13√ x 6¿ in. (35.3 x 15.6 cm.); and Saints and Fathers of the Church in

glory: study for a ceiling, German school, 18th century (2)

£700-1,000 $1,200-1,600� Ç890-1,300




43

ATTRIBUTED TO GASPARE DIZIANI (BELLUNO 1689-1767 VENICE)

The Virgin appearing to Saints Andrew and Anthony of Padua (recto); Sketches (verso)

with inscription ‘Diziano’ and ‘[...] celi’ (recto); ‘Diziani’ and ‘del Guardi’ and with number ‘No 17’ (verso)red chalk, pen and brown ink, brown wash, arched top8¿ x 5¿ in. (20.6 x 12.8 cm.); and The Madonna and Child appearing to a

Bishop, Venetian School, 18th century; and The Institution of the Rosary,

Venetian School, 18th century; and Jupiter, Juno and Saturn, attributed to Antonio Guardi (4)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500




42

CIRCLE OF FRANCESCO FONTEBASSO (VENICE 1707-1769)

A kneeling woman holding a mirror

pen and brown ink9º x 7¿ in. (23.7 x 17.8 cm.); and Saint Philip, Circle of Giovanni Battista Piazzetta; and Saint Nicholas of Myra and Saint Bernardino holding the

Eucharist, Italian School, 17th century; and Saint Joseph with the Christ Child

and angels, Italian School, circa 1700; and A sacrifce with a Virgin near an altar

and fgures around her, attributed to Giovanni Antonio Pellegrini (5)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


The Reliable Venetian Hand (L. 3005c-d), his inscription ‘Scuola del Fontebasso’. Sir Francis Watson, and thence by descent to the present owner.

E X H I B I T E D :

Venice, Fondazione Giorgio Cini, Disegni di una collezione veneziana del

Settecento, 1966, no. 137.

44 (part lot)

43 (part lot)

42 (part lot)

25


45

GIOVANNI DOMENICO TIEPOLO (VENICE 1727-1804)

Head of a bearded man looking up, to the right

black chalk, heightened with white, on blue paper, watermark bird with letters BO[...], the corners made up10æ x 8 in. (27.2 x 20.2 cm.)

£5,000-8,000 $8,100-13,000� Ç6,400-10,000


Giovanni Domenico Bossi, with associated price code ‘X12. No. 3454’ (verso), and by descent toMaria Theresa Karoline Bossi.Karl Christian Friedrich Beyerlen; H.G. Gutekunst, Stuttgart, 27-8 March 1882.Sir Francis Watson, and thence by descent to the present owner.

46


46

GIUSEPPE BERNARDINO BISON (PALMANOVA 1762-1844 MILAN)

A nymph riding a dolphin

red chalk, pen and brown ink, watercolour7√ x 10Ω in. (20 x 27.1 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


49

FRANCESCO ZUCCARELLI, R.A. (PITIGLIANO, UMBRIA 1702-1788 FLORENCE)

A shepherd, a young woman holding a dog, another fgure in the background

black and white chalk, pen and brown ink, on blue paper6º x 7¡ in. (15.9 x 17.8 cm.); and A cow, seen from the rear, circle of Nicolaes P. Berchem (2)

£800-1,200 $1,300-1,900� Ç1,100-1,500


with Colnaghi, London, 1951.Sir Francis Watson, and thence by descent to the present owner.

E X H I B I T E D :

London, P. & D. Colnaghi, Exhibition of old master drawings, 1951, no. 73.


48

LUCA CARLEVARIJS (UDINE 1663-1730 VENICE)

Peasants at a table, a dog in the foreground

with inscription ‘Tischbein [?] fecit’ (recto) and ‘[...] / Tischbein’ (verso)black chalk, pen and brown ink, fragmentary watermark three crescents10æ x 14æ in. (27 x 37.3 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900



E X H I B I T E D :

Udine, Loggia del Lionello, and Rome, Gabinetto Nazionale delle Stampe, 1963-4, Disegni, incisioni e bozzetti del Carlevarijs, p. 93, no. 77, pl. 77.


A. Rizzi, Luca Carlevarijs, Venice, 1967, no. 158, ill.

Similar studies by Carlevarijs are in Venice (Museo Correr), London, The British Museum and Victoria and Albert Museum (Rizzi, op. cit.).

47

ATTITRIBUTED TO GIACOMO GUARDI (VENICE 1764 – 1835)

The church of San Francesco della Vigna, Venice

black chalk, pen and brown ink, brown wash, watermark coat of arms3Ω x 5ƒ in. (9 x 13.5 cm.)

£600-800 $970-1,300� Ç760-1,100


R. P. Goldschmidt (L. 2926). with George A. Simonson.with Corbell and Co. Ltd.Anonymous sale; Christie’s, London, 20 July 1956, lot 44 (as ‘Guardi’).

47

27

49 (part lot)

48

28


50

ATTRIBUTED TO OTTO VAN VEEN, CALLED OTTO VAENIUS (LEIDEN 1556-1629 BRUSSELS)

An interior with men eating and dinking

pen and brown ink, brown wash, heightened with white4ƒ x 5Ω in. (11.1 x 14.3 cm.); and A landscape

with a beheaded man and a woman, German School, circa 1530

(2)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

51

GERMAN SCHOOL, 17TH CENTURY

The burning of Troy

red chalk, brown and grey wash, heightened with white7¿ x 7¬ in. (18 x 19.5 cm.)

£700-1,000 $1,200-1,600� Ç890-1,300

50 (part lot)

51

29

52

CORNELIS SAFTLEVEN (GORINCHEM 1607-1681 ROTTERDAM)

A thatched barn

with inscription ‘S. Hoogstraten.’black chalk, grey wash, black chalk framing lines, on yellow prepared paper7Ω x 11Ω in. (19 x 29.3 cm.)

£600-1,000 $970-1,600� Ç760-1,300


J.-F. Gigoux (L. 1164).C. Otto (L. 611c).

Another landscape by Cornelis Saftleven on yellow prepared paper, signed and dated 1645, is in the Nasjonalgalleriet, Oslo (W. Schulz, Cornelis

Saftleven 1607-1681, Berlin, 1978, no.432).

53

CORNELIS SAFTLEVEN (GORICHEM 1607-1681 ROTTERDAM)

The interior of a kitchen

black chalk, grey wash, watermark foolscap9 x 12 in. (23 x 30.5 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


Nägeli collection (according to an inscription on the verso).with Kurt Meissner, Zürich.Anonymous sale; Christie’s, Amsterdam, 25 November 1991, lot 79.Jacobus A. Klaver, Amsterdam.


W. Schulz, Cornelis Saftleven 1607-1681. Leben und Werke mit kritischem

Katalog der Gemälde und Zeichnungen, Berlin - New York, 1978, no. 234.

54

KAREL LA FARGUE (VOORBURG 1738-1793 THE HAGUE)

A winter landscape with children playing on the ice

black chalk, grey and light blue wash, black chalk framing lines5√ x 8º in. (14.8 x 21 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Jacobus A. Klaver, Amsterdam (his stamp on the mount, not in Lugt); Sotheby’s, Amsterdam, 1 December, 1986, no. 47 (as Molenaer).


C. Dumas and M. Plomp, ‘Karel la Fargue (1730-1793) as a forger of seventeenth-century Dutch Drawings’, Oud Holland, 112, 1998, no. 95 (as 'after Nicolaes Molenaar').

52

53

54

30

56

ATTRIBUTED TO GEERTRUYDT ROGHMAN (AMSTERDAM 1640–1657)

A seated girl making lace

black chalk, stumping, brown ink framing lines7º x 5ƒ in. (18.5 x 13.7 cm.)

£700-1,000 $1,200-1,600� Ç890-1,300


B. Houthakker (L. 1272); Sotheby Mak van Waay, Amsterdam, 17 November 1975, lot 62.with C. G. Boerner, Düsseldorf.Anonymous sale; Christie’s, Amsterdam, 25 November 1991, lot 87. Jacobus A. Klaver, Amsterdam.

Geertruyt Roghman, the sister of the better known Roelant (1627-1662), was an engraver and etcher. This fgure is similar to one in the engraving Two women sewing (D. de Hoop Scheffer, Hollstein’s Dutch and Flemish etchings, Amsterdam, 1978, XX, no. 2-6 (1), ill.)

55

CONSTANTIJN VAN RENESSE (EINDHOVEN 1626-1680)

Head and shoulders of a bearded old man

pen and brown ink, coloured chalks, brown wash, the upper corners cut5 x 3√ in. (12.8 x 9.8 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


J. Richardson, Sen. (L. 2183). with C.G. Boerner, Düsseldorf.Anonymous sale; Sotheby Mak van Waay, 25 April 1983 (as attributed to Renesse).Anonymous sale; Christie’s, Amsterdam, 25 November 1991, lot 74.Jacobus A. Klaver, Amsterdam.


W. Sumowski, Drawings of the Rembrandt School, IX, New York, 1985, no. 2168a.

The drawing is dated by Sumowski (op. cit.) circa 1650-5.

55 56

31

57

CORNELIS DUSART (HAARLEM 1660-1704)

Peasants in a tavern

black chalk, pen and two shades of brown ink, brown and grey wash, watermark double headed eagle surmounted by a crown8≈ x 7º in. (21.8 x 18.7 cm.)

£5,000-8,000 $8,100-13,000� Ç6,400-10,000


L. Lucas (L. 1733a); by descent to his nephew Claude Lucas; Christie’s, London, 9 December 1949, lot 69 (as Dusart, with two other drawings by Dusart, 28 gns. to Schidloff.

We are grateful to Susan Anderson and Berhard Schnackenburg for confrming the attribution to Dusart on the basis of a digital photograph. Both suggest that the drawing might have been reworked by Dusart after or on an original sketch initially laid out by Adriaen van Ostade. The drawing in light brown ink is perhaps the work of Dusart.

32

58

JAN DE BISSCHOP (AMSTERDAM 1628-1671 THE HAGUE)

An allegorical female fgure

graphite, brown wash, watermark DE HAAS, brown ink framing lines9º x 7Ω in. (23.5 x 19 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500


Emile E. Wolf, New York.Anonymous sale; Christie’s, Amsterdam, 25 November 1991, lot 90.Jacobus A. Klaver, Amsterdam.

E X H I B I T E D :

Ithaca, Herbert F. Johnson Museum of Art, Dutch Drawings of the

Seventeenth Century from a collection, 1979, no. 44.


59


The Virgin and child, after Giulio Romano

with inscription ‘Giulio Romano’ and with number ‘11’pen and brown ink, brown wash9Ω x 7≈ in. (24 x 19.5 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Anonymous sale; Christie’s, London, 4 July 1972, lot 62.

The composition derives from a painting tentatively attributed to Giulio Romano and Fermo Ghisoni, formerly on the Parisian art market (see Giulio Romano, exh. cat., Mantua, Palazzo Ducale, 1989, p. 438, ill.).

58 59


60


Five studies of horses

traces of red chalk, pen and brown ink, brown wash1æ x 2¿ in. (4.4 x 5.3 cm.) and smaller (5)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


N.D. Goldsmid (L. 1962).J.J. Peoli (L. 2020); The American Art Association, New York, 8 May 1894 lot 54.

61

ATTRIBUTED TO JAN DE BISSCHOP (AMSTERDAM 1628-1671 THE HAGUE)

A gentleman in an interior, with a dog barking at a horse behind a railing

pen and brown ink, brown wash, brown ink framing lines8¬ x 7√ in. (22 x 20 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

60

61

34


65

WILLEM VAN DE VELDE I (LEIDEN 1611-1693 LONDON)

Admiral De Ruyter meeting Tromp aboard for a council of war after the Battle of Lowestoft in 1665

black chalk, pen and black ink, grey wash, watermark PB7¬ x 10æ in. (19.2 x 27.5 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


Nicholas Pocock (according to Houtakker 1970).Paul Oppé (according to Houtakker 1970).with B. Houthakker, cat. 1970, no. 68.

One of a series of drawings executed by the elder van de Velde of the Battle of Lowestoft on 13 June 1665, of which there are six in the Rijksmuseum (inv. nos. RP-T-00-387 to 391b) and one in the van Regteren Altena collection (see Christie’s, Amsterdam, 10 December 2014, lot 215.

64

HERMAN SAFTLEVEN (1609-1685)

The Rijnpoort, Arnhem

signed with monogram (lower right)black chalk, brown wash, watermark foolscap and countermark PZ, black ink framing lines11¿ x 16¬ in. (28.1 x 42.2 cm)

£5,000-7,000 $8,100-11,000� Ç6,400-8,900


Prince Wladimir Nikolaevich Argoutinsky-Dolgoroukoff (1874-1941) (L. 2602d); R.W.P. de Vries, Amsterdam, 27 March 1925, lot 334.


W. Schulz, Herman Saftleven 1609-1685: Leben und Werke mit einem

kritischen Katalog der Gemälde und Zeichnungen, Berlin, 1982, no. 653.

63

AERNOUT TER HIMPEL (AMSTERDAM 1634-1686)

Two fshermen, seen from the rear, in a landscape

signed ‘A. ter Himpel’pen and brown ink, grey wash, inscribed in a circle5º x 5º in. (13.2 x 13.2 cm.)

£700-1,000 $1,200-1,600� Ç890-1,300

62

ATTRIBUTED TO JAN ABRAHAMSZ. BEERSTRATEN (AMSTERDAM 1622-1666)

The ruins of the city hall in Amsterdam

with inscription ‘Ruins Rathaus A.dam 1652’red and black chalk, grey wash, black chalk framing lines12¿ x 12¿ in. (30.8 x 30.8 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


C. Hofstede de Groot (L. 561); C. G. Boerner, Leipzig, 4 November 1931, lot 205 (as R. Roghman).Anonymous sale; Christie’s, Amsterdam, 14 November 1988, lot 112 (as Circle of J. A. Beerstraten).Anonymous sale; Christie’s, Amsterdam, 10 November 1997, lot 73 (as Follower of J. A. Beerstraten).Jacobus A. Klaver, Amsterdam.

The Town Hall of Amsterdam, which was destroyed by a fre in 1652, is represented in a painting by Beerstraten (Amsterdam, Rijksmuseum, inv. no. SK-A-21) where it is depicted from a slightly different viewpoint.

62 63

65

64

66

ATTRIBUTED TO JAN LIEVENS (LEIDEN 1607-1674 AMSTERDAM)

A wooded landscape with a farm and haycart

pen and brown ink, brown ink framing lines, on Japan paper9º x 14≈ in. (23.4 x 37.3 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


J. de Vos Jbzn (L. 1450); Amsterdam, 22 May 1883, lot 302.Karl Eduard von Liphart; C.G. Boerner, Leipzig, 26 April 1898, lot 566.Anonymous sale; F. Muller, Amsterdam, 22-23 June 1910, lot 214.Otto von zur Mühler; Berlin, 5 July 1912, lot 313.Arnold Otto Meyer, Hamburg; C.G. Boerner, Leipzig, 19 March 1914, lot 325.The widow Galippe; Amsterdam, 22 June 1929, lot 349.Anonymous sale; de Vries, Amsterdam, 9 December 1930, lot 283.The Princes of Liechtenstein.with C.G. Boerner, Düsseldorf, cat. 1982, no. 30.Jacobus A. Klaver, Amsterdam.


H. Schneider, Jan Lievens, Haarlem, 1932, no. 2369B.M.D. Henkel, Catalogue van de Nederlandische

Teekeningen in het Rijksmuseum te Amsterdam. Deel I

REmbrandt en Zijn School, ‘s-Gravenhague, 1942, p. 91, under no. 1 (as a copy).W. Sumowski, Drawings of the Rembrandt School, New York, 1983, VII, under no. 1677 (as a copy).

67

SYBRAND FEITAMA (AMSTERDAM 1694-1758)

A landscape with travellers

signed and dated ‘S. Feitama f 1717.’pen and black ink, bodycolour, black ink framing lines5≈ x 8¬in. (14.8 x 22 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


C. Ploos van Amstel (L. 2034), with his associated inscription (verso).

68

GUILLAUME DUBOIS (HAARLEM C.1623-1680)

Landscape with some trees, a river in the foreground; and A landscape with a road by some houses

with inscription ‘S. Ruisdaal’ (verso, 1)black chalk, watermark crown probably Strasbourg lily (partly cut) (1)5æ x 7Ω in. (14.4 x 19.2 cm.)

a pair (2)

£1,200-1,800 $2,000-2,900� Ç1,600-2,300

We are grateful to Peter Schatborn for confrming the attribution on the basis of a digital photograph.

66

67

68

37

70

69

69

JACOB CATS (ALTONA 1741-1799 AMSTERDAM)

A landscape with a windmill and herdsmen with their fock of sheep; and A landscape with herdsmen and a carriage in the background

both signed and dated ‘J: Cats inv 1770’ (verso) black chalk, pen and brown ink, brown and grey wash, heightened with white, fragmentary watermark (2)4Ω x 7 in. (11.5 x 17.6 cm.); 4¡ x 7¡ in. (11.0 x 18.7 cm.)

a pair (2)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


Jacobus A. Klaver, Amsterdam.

70

JACOB CATS (ALTONA 1741-1799 AMSTERDAM)

A landscape with peasants outside a farm with a church in the background

signed and dated ‘J: Cats inv et fec 1786’ (verso)traces of black chalk, pen and brown ink, watercolour, brown ink framing lines4Ω x 7 in. (11.5 cm x 17.9 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


Jacobus A. Klaver, Amsterdam, (his stamp on the mount, not in Lugt).

73

*73

CHRISTOPH LUDWIG AGRICOLA (REGENSBURG 1667-1719)

A kingfsher ; and A sparrow

bodycolour on vellum11Ω x 8ƒ in. (29.3 x 21 cm.); 11æ x 8ƒ in. (29.8 x 21 cm.)

a pair (2)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


J. D. Böhm (L. 1442).

72

JOHANNES BRONKHORST (LEIDEN 1648-1727 HOORN)

A peacock, chickens and rabbits in a farmyard with a windmill and a village beyond

signed ‘J. Bronkhorst. fec:’bodycolour and watercolour, traces of black chalk, with brown ink framing lines, watermark Strasburg Lily12 x 8æ in. (30.2 x 22.3 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

72

71

HERMAN HENGSTENBURGH (HOORN 1667-1726)

Study of a Fritillary butterfy and its underside; and Study of a small Tortoiseshell butterfy and its underside

bodycolour, gum arabic, on vellum6Ω x 8¿ in. (16.4 x 20.5 cm.)

a pair (2)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Jacobus A. Klaver, Amsterdam.

71

39

74

JACOB DE WIT (AMSTERDAM 1695-1754)

The head of Christ

signed ‘JdWit’ (recto)black and white chalk, stumping, light brown wash14√ x 11¿ in. (37.8 x 28.2 cm.)

£3,000-4,000 $4,900-6,400� Ç3,900-5,100


C. Ploos van Amstel (L. 2034), with his associated inscription (verso). V. van Gogh; De Roos, Amsterdam, 2-3 December 1913, lot 900.

The present drawing is preparatory for the head of Christ of the Resurrection of Christ, painting today in the Catharijneconvent Museum in Utrecht (G. van de Hout and R. Schillemans, Putti en Cherubijntjes :

Het religieuze werk van Jacob de Wit (1695-1754), Haarlem-Amsterdam, 1995, no. 63, p. 144, ill.). A few preparatory drawings for this painting exist; one representing the composition in full belonged, as the present sheet, to the Van Gogh collection and was also sold in 1913 (De Roos, Amsterdam, 2-3 December 1913, lot 906; van de Hout and R. Schillemans, op. cit., p. 145).

40

75 (part lot)

75

CIRCLE OF WILLEM PIETERSZ. BUYTEWECH (ROTTERDAM 1591-1624)

A horseman

red chalk, pen and brown ink4æ x 3¬ in. (12 x 9.2 cm.); and Sheet of studies

with a horseman at the centre, by Anton Groner; and A horse race in an Italian town, Italian School, 17th Century (3)

£700-1,000 $1,200-1,600� Ç890-1,300


English private collection.

76

76

PIETER VAN BLOEMEN, CALLED STANDAART (ANTWERP 1657-1720)

A saddled horse (recto); Sketches (verso)

black chalk, grey wash (recto); black chalk (verso)10ƒ x 6Ω in. (26.3 x 16.7 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

The artist drew the same horse wearing a similar saddle, but seen from a slightly different angle, in a drawing in the National Museum, Oslo (Nederlandske tegningen (ca. 1600-ca. 1700) i

Nasjongalleriet, Oslo, 1976, no. 6, ill.).

We are grateful to Peter Schatborn for confrming the attribution on the basis of a photograph and for his help in cataloguing this lot.

77

GEORG PHILIPP RUGENDAS (AUGSBURG 1666-1742)

Cavalry skirmishes

red chalk, grey wash, one with watermark Strasburg lily10 x 12æ in. (25.6 x 32.3 cm.)

a pair (2)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500

41

78

77

PROPERTY FROM A SWISS PRIVATE COLLECTION

*78

JACQUES COURTOIS, CALLED IL BORGOGNONE (SAINT-HIPPOLYTE 1621-1676 ROME)

A battlefeld before a town, mountains in the background

with inscription ‘v. d. Meulen’ and with number ‘n° 167’ (verso).pen and brown ink, grey wash, watermark arrow, lower edge made up10ƒ x 14¡ in. (26.2 x 36.8 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300


C. Otto (L. 611c); C. G. Boerner, Leipzig, 7 november 1929, lot 96 as ‘Adam Frans van der Meulen’.

42


*80

ATTRIBUTED TO JEAN-BAPTISTE GREUZE (TOURNUS 1725-1805 PARIS)

Head of a young man looking to the left, wearing a necktie

with inscription ‘Greuze’ and ‘College de Besanço[n]/dessin de Greuze’ and numbered ‘N° 1.bis’ (recto)black chalk, stumping, traces of white heightening and stylus11Ω x 9Ω in. (29 x 24.1 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


Unidentifed collector’s mark (not in Lugt).

8079


*79

CIRCLE OF PIERRE MIGNARD (TROYES 1612-1695 PARIS)

Head of a man with a moustache and wearing a wig (recto); Studies of arms and hands (verso)

with number ‘23’ (recto and verso)black, red and white chalk (recto); black and white chalk (verso), on brown paper16¡ x 11Ω in. (41.4 x 29 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


Anonymous sale; Hôtel Drouot, Paris, 23 May 1930, lot 37 (as Mignard).

81

FRENCH SCHOOL, LATE 17TH CENTURY

A procession of gypsies, after Jacques Callot (Lieure 374)

pen and brown ink, bodycolour on vellum laid down on panel5≈ x 10º in. (14.3 x 26 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

82 No Lot

83


83

NICOLAS LANCRET (PARIS 1690-1743)

A standing female fgure, holding a fan in her right hand

red chalk, watermark grapes9Ω x 10¿ in. (24 x 26 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

A preparatory study for the woman in the centre background of Lancret’s painting La fête en plein air (G. Wildenstein, Lancret, Paris, 1924, no. 334). Another drawing for the same fgure was sold at Sotheby’s, New York, 30 April 1982, lot 51.

We are grateful to Mary Taverner Holmes for confrming the attribution to Lancret on the basis of a digital photograph.

84 i


84


An allegory with Fame, a River God and the Tiber; and Putti holding a medallion, a cornucopia and other instruments

black chalk, pen and black ink, grey and light brown wash, with fctive mount8√ x 11√ in. (22.5 x 28.8 cm.)

a pair (2)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

85


85

FRENCH SCHOOL, CIRCA 1730

An artist at his easel (recto); A landscape (verso)

black chalk, pen and brown ink5º x 7¿ in. (13.2 x 18 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

86 87


86

JEAN-BAPTISTE OUDRY (PARIS 1686-1755 BEAUVAIS)

Illustration of one of the Fables of Jean de La Fontaine: The crow, the gazelle, the tortoise and the rat (I)

signed and dated ‘JB. Oudry / 1733’brush and black ink, grey wash, heightened with white, on blue paper, with fctive mount12º x 10 in. (31 x 25.3 cm.)

£6,000-8,000 $9,700-13,000� Ç7,700-10,000


Purchased from the artist by Jean-Louis Regnard de Montenault, around 1751.Jean-Jacques de Bure, by 1828; A.-L. Potier, Paris 1-18 December 1853, part of lot 344 (1800 FF to Thibaudeau). Count Antoine Thibaudeau, Paris, by whom Possibly given to the actress Mme Doche, by whom sold with the rest of the series for 2,500 FF toThe bookseller Fontaine, by whom sold with the rest of the series for 5,000 FF toFélix Solar; Charles Pillet, Paris, 19 November-8 December 1860, part of lot 627 (6,100 FF to Cléder).Baron Isidore Taylor, Paris.The booksellers Morgand and Fatout, Paris, around 1876.Emile Péreire, Paris.Louis Olry-Roederer, Reims.with the Rosenbach Company, New York, 1923.Raphaël Esmérian; Palais Galliera, Paris, 6 June 1973, part of lot 46.


H.N. Opperman, Jean-Baptiste Oudry, New York and London, 1977, II, p. 707, no. D458.

E N G R A V E D :

in reverse for the Fables of La Fontaine, fable CCXXXVIII, pl. I.


87

JEAN-BAPTISTE OUDRY (PARIS 1686-1755 BEAUVAIS)

Illustration of one of the Fables of Jean de La Fontaine: The crow, the gazelle, the tortoise and the rat (III)

signed and dated ‘JB. Oudry / 1733’brush and black ink, grey wash, heightened with white, on blue paper, with fctive mount12º x 10¿ in. (31.1 x 25.8 cm.) (the sheet)

£6,000-8,000 $9,700-13,000� Ç7,700-10,000


see previous lot.


H.N. Opperman, Jean-Baptiste Oudry, New York and London, 1977, II, pp. 682-5, 707, no. D460.

E N G R A V E D :

in reverse for the Fables de La Fontaine, fable CCXXXVIII, pl. 3

see previous lot.

This and the following lot belong to a series of 276 drawings executed by the artist between 1729 and 1734 to illustrate the Fables of Jean de La Fontaine. Assembled in two albums, the series was published around 1755-59 after the drawings had been purchased by the collector Jean-Louis Regnard de Montenault (d. 1776).

The present sheet and the following lot illustrate the same fable: The

crow, the gazelle, the tortoise and the rat. For another drawing illustrating the same fable, see Christie’s, London, 10 July 2014, lot 153.

46

90


Bacchus, helped by a satyr, holding an empty wine urn over his head, another satyr seated next to him

pen and brown ink, brown wash, on two joined sheets11¬ in. (29.5 cm.) diam.

£700-1,000 $1,200-1,600� Ç890-1,300


89

CHARLES-DOMINIQUE-JOSEPH EISEN (VALENCIENNES 1720-1778 BRUSSELS)

The triumph of Love over Time

signed ‘ch. Eisen F.’graphite on vellum6¿ x 4¿ in. (15.5 x 10.4 cm.); and Portrait of a gentleman, attributed to Augustin de Saint-Aubin (2)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900



89 (part lot)

90


88

JEAN-BAPTISTE GREUZE (TOURNUS 1725-1805 PARIS)

Study of an arm (recto); Sketch of a seated female fgure (verso)

red chalk, fragmentary watermark8ƒ x 9ƒ in. (21 x 24 cm.)

£4,000-6,000 $6,500-9,600� Ç5,100-7,600


with H. Shickman, New York; from whom acquired by the former owner, and thence by descent.

The style of the drawing on the recto, which uses dense hatching to render the shadow, allows the sheet to be dated to the early stage of Greuze’s career, around the late 1750s. It can be compared stylistically to the study of A little

boy standing which was sold in these Rooms on 4 July 1984, lot 120.

88

92

RATTE (ACTIVE 18TH CENTURY)

Portrait of Mr Le Normand facing right; and Portrait of Mr Le Normand smiling, facing left

signed and dated ‘Ratte f. 1782.’ (recto, 1) and inscribed ‘Mr Le Normand’ (verso, 1); and signed and dated ‘Ratte 178[...]’ (recto, 2) and inscribed ‘Mr Le Normand’ (verso, 2)red chalk, red wash, circular4æ (12 cm.) diam.

a pair (2)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500

91


Portrait of a woman in profle to the left

black chalk, bodycolour, oval6≈ x 4√ in. (17 x 12.5 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

91

92

93 (part lot)


93

GABRIEL DE SAINT-AUBIN (PARIS 1784-1780)

Figures by a farm

black chalk, pen and brown ink2√ x 5º in. (7.2 x 13 cm.); and Two women at a window, attributed to Jean-Baptiste Mallet; and Three artists sketching in a landscape, attributed to Antoine-Pierre Mongin (3)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

95 (part lot)

94

•95

PIERRE LÉLU (PARIS 1741-1810)

An elegant assembly in a landscape; and Farmers and other fgures gathered outside an inn

pen and black ink, brown wash4Ω x 7 in. (11.5 x 17.8 cm.); 4Ω x 7¿ in. (11.2 x 18 cm.); and two other drawings by Lélu; and Saint Catherine, Saint Clara and another female saint

in adoration of the Trinity, attributed to Pietro Novelli, il Monrealese

(5)

£800-1,200 $1,300-1,900� Ç1,100-1,500


94

LOUIS BÉLANGER (PARIS 1756-1816 STOCKHOLM)

A wooded park with elegant fgures beside a lake

watercolour and bodycolour15¬ x 10º in. (39.5 x 25.9 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


with Wildenstein Gallery, October 1998.

96

LOUIS BÉLANGER (PARIS 1736-1816 STOCKHOLM)

A wooded river landscape with a watermill; and A rocky river landscape with a bridge below a convent

both signed and dated ‘Louis Belanger/ 1807’black chalk, charcoal, one with watermark E 1801

9¿ x 13 in. (23 x 33 cm.) a pair (2)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500

97

97

ATTRIBUTED TO HENRI-JOSEPH VAN BLARENBERGHE (LILLE 1741-1826)

A river landscape with travellers on a road and fshermen on a river; and A river landscape with travellers on a road

bodycolour8æ x 11¡ in. (22.0 x 28. cm.); 8√ x 11¿ in. (22.4 x 28.0 cm.)

a pair (2)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

96

50

99 (part lot)


99

JACQUES-DENIS ANTOINE (PARIS 1733-1801)

Design for a statue in a niche

with inscription ‘Composé par Antoine en 1760 [?]’ and with a long biographical inscription on the verso

graphite, pen and grey ink, grey and brown wash, a fctive mount14¿ x 8æ in. (36 x 22 cm.); and Figures conversing

among ruins, attributed to V.-J. Nicolle; and Two

designs for wall grotesques, attributed to G.-M. Oppenordt; and A Design for a decorative frieze, attributed to G.-P. Cauvet (5)

£1,200-1,800 $2,000-2,900� Ç1,600-2,300




98

JEAN-CHARLES DELAFOSSE (PARIS 1734-1789)

Designs for two trophies and a cartouche; and Another drawing of the same subject

both signed ‘J. C. delafosse’ and titled ‘Cour des Monnoyes’ and numbered ‘201’ (1) and ‘Litalie/Et/La religion’ (2)pencil, pen and black ink, grey wash, watermark feur-de-lys in an escutcheon14 x 7√ in. (35.6 x 20 cm.)

a pair (2)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Charles-Eugène Bérard; Paris, 21-25 November 1891, lot 107. Sir Francis Watson, and thence by descent to the present owner.


P. Fuhring, Design into Art, Drawings for

Architecture and Ornament, The Lodewijk

Houthakker Collection, London, 1989, p. 129, under no. 81. M. Myers, French Architectural and Ornament

Drawings of the Eighteenth Century, exhib. cat., New York, Metropolitan Museum of Art, 1991, under no. 33.

Intended to illustrate Delafosse’s Nouvelle

iconologie historique, ou Attributs hiéroglyphiques

[...], Paris, 1768, these two drawings were never engraved.

98

51

101 (part lot)


101


Design for a façade of a building; and Design for the lateral façade of the same building

inscribed ‘façade du coté de la place’ and with measurements (1); inscribed ‘façade laterale.’ and with measurements (2)graphite, pen and black ink, watercolour, fragmentary watermarks Honig & Zoonen12 x 22æ in. (30.3 x 87.7 cm.) (1); 11æ x 18Ω in. (29.8 x 47 cm.) (2); and Design for the façade of a building, French School, 18th Century

(3)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800




100

ANTOINE BERGOGNON (ACTIVE LATE 18TH CENTURY)

Design for the façade of a national bank

graphite, pen and black ink, grey wash12æ x 17Ω in. (32.2 x 44.1 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900



A design for a city executed by Bergognon in 1792 is in the Ecole des Beaux-Art, Paris (inv. PRA 114). According to notes from Sir Francis Watson the present drawing was engraved in the 17th ‘cahier’ of the Collection des Grands Prix, 1798 (see H. Rosenau, ‘The Engravings of the Grand Prix of the French Academy of Architecture’, Architectural History, III, 1960, pl. 98.).

100


102

DEROBE, ACTIVE LATE 18TH CENTURY

A design for a presbytery and formal garden

dated and signed ‘an / 11 Derobe’ and inscribed ‘Projet d’une/maison Presbytérale/à construite pour/la succursale de/Gibauné, canton de Colombey. 1er/arrondissement/communal du Dépt./de la Meurthe, par/le Soussigné/Architecte à Vaucouleurs/le 1er thermidor an/11 [20 July 1803] Derobe/n.a/La distribution du/jardin n’a aucun/rapport avec le devis’ and further inscribed with the name of streets and of the rooms in the housetraces of graphite, pen and black ink, watercolour22Ω x 13 in. (57.4 x 33 cm.); and Plan of a formal

garden, French School, 18th Century

(2)

£1,200-1,500 $2,000-2,400� Ç1,600-1,900



102

103

103


An architectural fantasy with elegant fgures

pen and black ink, watercolour9≈ x 17º in. (24.5 x 44 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

102

53


104

FIRMIN PERLIN (VERSAILLES 1747-1783 PARIS)

An architectural capriccio: a fountain fanked by temples and a colonnade

signed ‘Perlin inv. et del.’black chalk, pen and black ink, watercolour, heightened with white (partly oxidized), watermark D BLAUW15 x 11≈ in. (38.1 x 29.5 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Anonymous sale; Christie’s, London, 29 June 1971, lot 142.


107

ABRAHAM-LOUIS-RODOLPHE DUCROS (MOUDON 1748-1810 LAUSANNE)

The ruins of the Temple of Jupiter Serapis at Pozzuoli

signed and dated ‘Du Cros fecit Pouzul 1778.’black chalk, watercolour, heightened with white18Ω x 26æ in. (47 x 67.7 cm.)

£3,000-4,000 $4,900-6,400� Ç3,900-5,100


with Walker Galleries, London.with Leger Gallery, London; from whom purchased for £35 circa 1960 bySir Francis Watson, and thence by descent to the present owner.

Sir Francis Watson noted in his records that he had been motivated to buy this drawing because Ducros had exercized so signifcant an infuence on the development of watercolour drawing in England, particularly on draughtsmen such as John Robert Cozens (1752-1797) and J.M.W. Turner (1775-1851). His drawings were also much admired by Sir Richard Colt Hoare of Stourhead. The present drawing dates from Ducros’s frst visit to Naples and its surroundings in 1778 while he was accompanying Nicolaas Ten Hove on a journey to Sicily.

107

106

VICTOR-JEAN NICOLLE (PARIS 1754-1826)

View of Rome with the Trajan Column and the domes of the Churches of Santa Maria di Loreto and Santo Nome di Maria

with inscription ‘Vue prise au pied du Capitole vers la Colonne Trajane a Rome’ (on the mount)pen and brown ink, watercolour, inscribed in a circle3¿ x 3¿ in. (7.8 x 7.8 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

106


105

JEAN-ROBERT ANGO (ACTIVE ROME 1760-1773)

The creation of the world, after Michelangelo Buonarroti

red chalk5æ x 8Ω in. (14.3 x 21.5 cm.); and A river god, bust length, attributed to Antoine Coypel; Three studies of Renaissance military helmets, attributed to Michel-François Dandré-Bardon; Dogs hunting a wolf, after Jean-Baptiste Oudry; A female nude, standing, her right arm lifted, French School, 18th Century (5)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Probably anonymous sale; Paris, Palais Galliera, 30 March 1964, part of lot 1.

Ango made several copies after Michelangelo’s Sixtine Chapel, some of which are sketchier like the present sheet, others which are more fnished. The present drawing was probably part of a series of four albums from the collection of the Bailli de Breteuil (see S. Boyer, ‘Quelques propositions autour de Jean-Robert Ango’, Les cahiers d’histoire de l’art, no. 6, 2008, p. 940).

We are grateful to Sarah Boyer for confrming the attribution on the basis of a digital photograph and for her assistance with the cataloguing of the drawing.

105 (part lot)

55

109

BARTOLOMEO PINELLI (ROME 1781-1835)

The night prayer at Tivoli

signed ‘Pinelli Roma’black chalk, pen and brown ink, watercolour, with gum Arabic13æ x 17æ in. (35 x 45.3 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


Anonymous sale; Bonham’s, London, 19 November 1997.

Based on a composition by Franz Kaisermann of which there is a version in the present sale (lot 108).

109


108

FRANZ KAISERMANN (YVERDON 1765-1833 ROME)

The night prayer at Tivoli

signed, located and dated ‘ F Kaiserman Roma 1803’ (recto) and with inscription ‘La priere de Nuit a Tivoly’ (back of the mount)black chalk, watercolour12ƒ x 16æ in. (31.5 x 42.5 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500



108

56

110 (part lot)


110

CHARLES PERCIER (PARIS 1764-1838)

View of the courtyard of Palazzo Mattei, Rome, with statues and antique reliefs; and View of the interior of the Church of San Lorenzo fuori le mura, Rome

black chalk, pen and grey ink, watercolour, on etched outlines11¬ x 8 in. (29.4 x 20.3 cm.), 10æ x 9¿ in. (27.2 x 23.2 cm.); and A masquerade, with Punchinello

driving a chariot, Neapolitan School, 18th Century; and Figures in an interior,

gathered around a man dictating a letter, by David-Joseph Bles (4)

£1,200-1,800 $2,000-2,900� Ç1,600-2,300

These are plates 73 and 100 of Percier’s Palais,

Maisons, et autres édifces modernes, dessinés à

Rome, Paris, 1798.

111 (part lot)


111

CHARLES PERCIER (PARIS 1764-1838)

A monument with Napoleon as a winged Genius holding a Victory statuette under an arch

titled ‘ARMÉE D’ITALIE’ and ‘SAINTE/ INQUISITION’graphite, pen and black ink, watercolour, heightened with white, the background washed in grey bodycolour14º x 8Ω in. (36 x 21.8 cm.); and A design for an

elaborate console, Attributed to Pierre-François-Léonard Fontaine

(2)

£1,200-1,800 $2,000-2,900� Ç1,600-2,300




112

HENRI AUGUSTE (PARIS 1759-1816 HAITI)

A vegetable dish, on three paw feet, fnished with swan neck, the plain body, the handles as snakes, the cover with a fnial as a ring on a foliage terrace; and A vegetable dish, on three paw-feet, fnished with lions’ heads, the plain body, the handles as snakes, the covers with a fnial as double snakes on foiliage terrace

numbered ‘116 bis’ and ‘119’graphite, pen and black ink, grey wash11¿ x 16æ in. (28.3 x 42.5 cm.); 9¬ x 16Ω in.

(24.3 x 42 cm.) a pair (2)

£1,500-2,500 $2,500-4,000� Ç2,000-3,200


C. Odiot (his stamp, not in Lugt), with his numbers ‘119’ (1) and 116bis’.


115

ATTRIBUTED TO COSTANZO ANGELINI (MONTE SAN GIUSTO 1760-1853 NAPLES)

A group of 45 drawings

some signed ‘De angelis’ and with inscriptionsblack chalk, or graphite, on paper or tracing paper13√ x 19√ in. (35.5 x 50.7 cm.); and smaller (47)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900



114

LUDWIG SCHALLER (VIENNA 1804-1885 MUNICH)

Bust of a Niobid, after the antique

numbered ‘1226’black chalk, watermark J WHATMAN 180121Ω x 16Ω in. (54.2 x 42.1 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500

114

113 (part lot)


113

GERMAN SCHOOL, CIRCA 1799

After the hunt

signed and dated ‘[...] fecit / 1799’graphite on light brown paper8Ω x 17≈ in. (21.8 x 45.2 cm.); and Mother and child, by Lady Diana Beauclerk; Landscape, circle of Franz Innocenz Josef Kobell; Hagar and

Ishmael, by Bernhard Rode (4)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

115 (part lot)

60

*116

ATTRIBUTED TO JEAN-ANTOINE LINCK (GENEVA 1766-1843)

A man in a wagon by a river, a church with a monastery in the distance

bodycolour on linen18¿ x 23√ in. (46 x 60.4 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

117

118


117

JEAN-ANTOINE LINCK (GENEVA 1766-1843)

View of the Alps from Saint-Gervais-les-Bains, with the ‘Aiguilles de Tré-la-Tête’; and View of the Alps from Magland, with the north slope of the Mont-Blanc massif

signed ‘J. Ant. Linck.’ (recto) and inscribed ‘ Vue depuis St. Gervais les Bains. / avec les aiguilles du Trélatête / aujourd’hui le 24eme d’Avril / 1839/ Geneva’ (verso) (1); ‘Jn Ant. Linck. fec. 1836’ (recto) and inscribed ‘Vu du Mont Blanc du Dôme’ (on the back of the mount), des Aiguilles du Gouté, du Bionnassay, et/ Trélatête; des Glaciers du Bionnassey, et du Miage, du Prarion, et du/ Mont Joli, prise du Montferrant près de Magland/ fait par Jn. Ant.e Linck.1836.’ (2)bodycolour7Ω x 9≈ in. (18.5 x 24.5 cm.) a pair (2)

£2,000-4,000 $3,300-6,400� Ç2,600-5,100

*118

SWISS SCHOOL, LATE 18TH CENTURY

A wooded river landscape with the Château and town of Berthoud in the canton of Bern, Switzerland, with a draughtsman in the foreground; and A wooded river landscape with the Château of Brandis at Lützelfüh in the canton of Bern, Switzerland

with inscription ‘Vue de la ville et du Chateau de Berthoud/ Canton de Berne’ (verso) (1); with inscription ‘Vue de Chateau de Brandis/ Canton de Berne’ (verso) (2)traces of pencil, pen and black ink, grey wash, heightened with white13Ω x 20Ω in. (34.3 x 52 cm.)

a pair (2)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


121

PIERRE-FRANÇOIS-EUGéNE GIRAUD (PARIS 1806-1881)

A monk

signed and dated ‘Giraud 1840’graphite, watercolour, gum arabic16Ω x 12º in. (42 x 31 cm.); and A Horse, by Edouard Detaille; A landscape

with two shepherds, attributed to Jean-Léon Gérôme; An offcer of

the Napoleonic army, French School, circa 1800; A family fght, by Jean Béraud (5)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


120

PIERRE-LEONARD-FRANÇOIS FONTAINE (CERGY-PONTOISE 1762-1853 PARIS) AND ANTOINE CHAZAL (PARIS 1793-1854)

Portrait of Cardinal Anne-Louis-Henri de La Fare (1752-1829) standing on a pulpit in Reims cathedral

inscribed by Chazal ‘Fond composée et dessiné par Fontaine pour mon portrait en pied de Mgr / Le Cardinal Lafare.’ and ‘ Sacre de Charles X’ and ‘1825’ (on a strip of paper laid down on the bottom of the sheet)graphite, pen and grey ink, watercolour10ƒ x 7≈ in. (26.3 x 18.4 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800



The sitter was bishop of Nancy before emigrating to Vienna during the Revolution and returned to France only after the fall of Napoleon. He was made archbishop of Sens in 1817 and created cardinal in 1823. He gave a long address on the occasion of the coronation of King Charles X in the Reims cathedral on 29 May 1825.

This is a study for Chazal’s engraving for which he was paid 480 francs in 1827 and of which no proof is known (P. Nusbaumer, Antoine Chazal

1793-1854: Vie et oeuvre, Le Pecq-sur-Seine, 2012, pp. 383 and 483). As indicated in Chazal's inscription, the architect Fontaine – who along Percier had decorated the Reims cathedral for King Charles X's coronation – drew the background of the present drawing.

We are grateful to Philippe Nusbaumer for his help in cataloguing this lot.

120


119

FRANÇOIS-MARIUS GRANET (AIX-EN-PROVENCE 1775-1849)

A chapel with a cardinal seated at the left, and two ecclesiastics far right

black chalk, brown wash (some ink gall damage), watercolour11º x 7ƒ in. (28.4 x 18.8 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

119

123

ANTOINE-CHARLES-HORACE VERNET (PARIS 1769-1836)

Costume studies

pen and black ink, watercolour, indistinct watermark10¿ x 5º in. (25.7 x 38.8 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


The artist’s studio stamp (not in Lugt).With Claude Apcher; from whom purchased by the present owner.

123


122

EUGéNE-EMMANUEL AMAURY-DUVAL (PARIS 1808-1885)

Two seated female fgures, one holding an umbrella; and Studies of a female head and of her arm

charcoal, stumping (1), graphite (2)16≈ x 11ƒ in. (42.7 x 28.7 cm.); 12¿ x 7æ in. (31 x 19.8 cm.); and A head

of a man, and two other drawings, by Alphonse Legros; Two studies of a

bearded man’s head, by Jean-Hippolyte Flandrin; An angel, kneeling, and

holding a drapery, French School, around 1860; Standing fgure, wearing a

hood, by Edme-Alexis-Alfred Dehodencq (8)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


with Colnaghi, cat. French Drawing, Post Neoclassicism, 1975, no. 2, ill. Anonymous sale; Sotheby’s, London, 21 June 1984, lot 697.

E X H I B I T E D :

Montrouge, Salle des Fêtes, Amaury-Duval 1808-1885, 1974, no. 66.

The fgures on the recto of this drawing are studies for the women seated at the far right of Amaury-Duval’s painting Le jeu de boules, today in Orléans, Musée des Beaux-Arts.

122 (part lot)

121 (part lot)

124


124

ATTRIBUTED TO ANTOINE BERJON (LYON 1754-1843)

Studies of pink roses; and Studies of oleander

numbered ‘162’ (1); and ‘105’ (2)coloured chalks, on blue-green paper

19¬ x 13√ in. (50 x 35.1 cm.); and 18√ x 13¿ in. (47.8 x 33.5 cm.) a pair (2)

£800-1,200 $1,300-1,900� Ç1,100-1,500

125 126

125


Pears, peaches and plums

dated ‘juillet 1815.’graphite, watercolour and bodycolour11 x 9 in. (28 x 23 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

126


Apricots, peaches and plums

dated ‘aout 1816.’, further inscribed ‘abricots-pêche/ 28. aout ....16’, ‘Despalier’, and numbered ‘aout 1816.’graphite, watercolour, and bodycolour11¡ x 8¿ in. (29 x 20.5 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

65

127


Pears

dated ‘juillet 1825.’ and further inscribed ‘25 juillet:/ poires de la Magdaleine/ a longue queue’, ‘a courte queue’, dated ‘1818.’ (bottom) and numbered ‘62.’ (top)graphite, watercolour and bodycolour11 x 9 in. (28 x 22.8 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

130

PAUL-EMILE LECOMTE (PARIS 1877-1950)

View of a lake with sailing boats

signed and inscribed ‘Pour Madame Osenat avec les hommages de Paul Emile Lecomte”black chalk, watercolour8º x 9º in. (21 x 23.2 cm.); and two Landscape drawings, by Charles Damour; Portrait of a man, attributed to Hippolyte Flandrin; Study for a frescreen, French School, 19th Century

(5)

£700-1,000 $1,200-1,600� Ç890-1,300


The artist’s studio stamp (not in Lugt).


129

GEORGES-JULES-VICTOR CLAIRIN (PARIS 1843-1919 BELLE-LLE-EN-MER, MORBIHAN)

Interior of a church in Madrid

signed ‘G. Clairin’ (recto) and inscribed ‘ Madrid / 8be 1868’ (verso)black chalk, watercolour and bodycolour18¿ x 11√ in. (46.4 x 30.4 cm); and A landscape, by Richard Lux; and View of a Venetian canal with gondolas, attributed to Betsy Westendorp-Osieck (3)

£800-1,200 $1,300-1,900� Ç1,100-1,500


128

AUGUSTIN-ALEXANDRE DUMONT (PARIS 1801-1884)

View of Porta San Giovanni in Rome

inscribed and dated ‘porta S Giovanni / Roma / 22 Marzo 1824’graphite11 x 16¬ in. (27.7 x 42.2 cm.); and Roman ruins with the pyramid of

Caius Cestius, by Carlo Bonavia (2)

£800-1,200 $1,300-1,900� Ç1,100-1,500


with W.R. Jeudwine and Y. French, London, (cat. Four Centuries of Italian

Landscape, 1961, no. 46).Sir Francis Watson, and thence by descent to the present owner.

Originally from a sketchbook containing academic studies, but also with a few landscapes, all dating from shortly after 1823 when Dumont won the Prix de Rome for sculpture.

128 (part lot)

129 (part lot)

130 (part lot)


132

JULES DIDIER (PARIS 1831-1892)

View of the castle of Villeneuve-Loubet, near Cagnes-sur-Mer

signed, located and dated ‘JULES DIDIER Nice 1856’ (recto) and with inscription ‘Château de Villeneuve près Nice’ (on the mount)black chalk, watercolour, heightened with white13¿ x 17æ in. (33.4 x 46.4 cm.); and A

mountainous landscape, by Paul-Edmond Henry; and View of a street in Seville, French School, 19th century (3)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

E X H I B I T E D :

Lyon, Exposition universelle et internationale de

1894 à Lyon, 1894 (according to a label at the back of the mount)


131

GUSTAVE CLAUSSE (PARIS 1833-1914 CLAIREFONTAINE)

View of the cloister of the Jeronimos monastery in Belem

located, signed and dated ‘Cloitre de Belem _ G. Clausse 1888’black chalk, watercolour15Ω x 22º in. (39.5 x 56.6 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

Trained as an architect, Clausse pursued an administrative career while still designing some buildings. He also exhibited watercolours at the Salon and produced a few books including a monograph on the Sangallo family and travel books. He reproduced this watercolour as an engraving in his Espagne Portugal Notes historiques et artistiques sur les villes principales de la peninsule ibérique, published in Paris in 1889 (p.87).

The Jerónimos monastery is a masterpiece of Manueline Gothic architecture. Construction of the church and cloisters for the Hieronymite religious order began in 1502, on the orders of the Portuguese King, Dom Manuel I, who had vowed that he would build a monastery should Vasco da Gama return successfully from his voyage to India.

131

132 (part lot)

68

133

134

133

VICTOR HUGO (BESANÇON 1802-1885 PARIS)

A castle on a cliff

brown wash, black chalk, stumping, on wove paper4 x 7º in. (10 x 18.2 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300


With Roland Browse and Delbanco, London.With Felder Fine Art, London, 2001.

We are grateful to Pierre Georgel for confrming the attribution after frst-hand examination of the drawing.

134

JEAN-BAPTISTE-CAMILLE COROT (PARIS 1796-1875)

A view of Paris with Notre-Dame in the far distance, and sketches of fgures on horses and a man sawing (recto); Sketches of three fgures, two of whom are seated (verso)

graphite3æ x 5√ in. (9.5 x 15 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


with the artist’s studio stamp (L. 460a).

E X H I B I T E D :

Paris, Galerie Schmit, Corot dans les collections privées, 1996, no. D.8 (two details illustrated in P. Dieterle’s introduction).

According to a label on the back of the frame this drawing was originally part of a 53 page sketchbook used by Corot in 1823-24 (A. Robaut, L’œuvre de Corot, Paris, 1965, IV, no. 3066 ‘carnet 29’).

69

135 136 i


135

FRANÇOIS BONVIN (VAUGIRARD 1817-1887 SAINT-GERMAIN-EN-LAYE)

Portrait of a woman, bust-length

signed and dated ‘f. Bonvin 1861’, and an illegible inscriptioncharcoal, red and white chalk, on grey paper8Ω x 7º in. (21.5 x 18.5 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Mrs Paul Brodin, Paris.with Galerie Fischer-Kiener, Paris.


G. P. Weisberg, Bonvin, Paris, 1979, no. 270, ill.


136

THÉODULE RIBOT (1823-1891 COLOMBES)

Study of a head; and A woman descending a staircase

signed ‘t. Ribot’ (1); signed and dated ‘t. Ribot / 187[9?]’ (2)pen and black ink, black wash (1); brush and black wash (2), on wove paper6æ x 5º in. (17 x 13.3 cm.); 11Ω x 5≈ in. (29 x 14.4 cm.) (2)

£800-1,200 $1,300-1,900� Ç1,100-1,500

70

137 138


138

PIERRE PUVIS DE CHAVANNES (LYON 1824-1898 PARIS)

A mother and child in a landscape

signed and dedicated ‘a monsieur le Dr. de Grandmont / son bien devoué / P. Puvis de Chavannes’red chalk, stumping, on tracing paper40√ x 13¿ in. (40.2 x 33.5 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


with Galerie E. de Causans, Paris, where acquired by the previous owner, thence by descent.

E X H I B I T E D :

Paris, Grand Palais, and Ottawa, National Gallery of Canada, Puvis de

Chavannes 1824-1898, 1976-7, no. 99.


A. Brown Price, Pierre Puvis de Chavannes, A catalogue raisonné of the

painted work, New Haven and London, II, 2010, p. 302, under no. 323.

The drawing is a preparatory study for the fgures at the centre of the large painting The Summer (Paris, Musée d’Orsay) executed in 1873 and exhibited at the Salon of the same year (Brown Price, op. cit., no. 197). Puvis used it again in a later painting circa 1885-7, The young mother, also in the Musée d’Orsay (op. cit., no. 323).

*137

HENRI LANGEROCK (GAND 1830-1915 MARSEILLE)

An interior with a maid sleeping on a chair

signed ‘Karl Langerock’charcoal, bodycolour, with scratching out19¿ x 12Ω in. (48.5 x 32 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

71

140

139


140

THOMAS COUTURE (SENLIS 1815-1879 VILLIERS-LE-BEL)

Pierrot on trial

charcoal, on wove paper12¿ x 17º in. (31 x 43.7 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

A preparatory sketch for Couture’s Pierrot à la correctionelle, or The

Trial of Pierrot (The Cleveland Museum of Art, inv. no. 1980.250), a painting belonging to a series of seven works representing Commedia dell’arte subjects which the artist had executed between 1854-70. With this series Couture wanted to criticize the fraudulent justice operating in 19th-century France (see A. Boime, Thomas Couture and the eclectic

vision, Yale, 1980, pp. 293-325). Several studies, like the present sheet, prepare the fnal composition (op. cit., pp. 318-323).


139

ADOLPH FRIEDRICH ERDMANN VON MENZEL (BRESLAU 1815-1905 BERLIN)

A greetings card, with a caricature and extensive inscriptions

inscribed ‘Nehmen ehr Werthester Freund und Ihre verehrte Familie zu dieser Frist (1840) wenn auch verspätet, doch noch gar nicht verdünstet, die inningsten Wünsche von Ihrem Menzel nebts Mutter’pen and black ink, on a greeting card with scalloped edges3¿ x 4ƒ in. (8 x 11.2 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

141

141

GUSTAVE DORÉ (STRASBOURG 1832-1883 PARIS)

Boats in an dreamlike landscape; and A view of Paris and the Seine, with fgures on the river bank

woodcut and engraving block, on two joined pieces of boxwood, inked in white (1); woodcut block, inked in white and grey (2)12¿ x 9¡ in. (30.8 x 23.9 cm.); 6Ω x 6Ω in. (16.5 x 16.5 cm.) (2)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

142

142


Two knights, riding horses, fghting for a woman

signed ‘G Doré’pencil, brush and black ink, grey wash, heightened with white on three joined pieces of boxwood9æ x 7æ in. (24.7 x 19.8 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

E N G R A V E D :

by Héliodore Pisan, in Ariosto’s Orlando Furioso, Paris, 1879, poem XXIV, stanza 100.

143

143


The Concert

pencil, pen and black ink, watercolour and bodycolour, on three joined pieces of boxwood, stamped “PIERRON” (verso)9æ x 8º in. (24.9 x 21 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Provenance: The artist's studio stamp (L.681a).

This work might be an abandoned project for one of the plates designed by Gustave Doré to illustrate Blanchard Jerrold’s London.

A Pilgrimage (London, 1872).

73

144

145

144


Soldiers and dead bodies in a building destroyed by fre, a city in fames in the background

with the stamp ‘KIESZLING/ B278/ PARIS’ (verso)pencil, pen and black ink, grey wash, heightened with white, on two joined pieces of boxwood6º x 9¡ in. (16 x 23.8 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

Kieszling was one of the publishers who worked with Doré and pubished his Dante and Virgile of 1861.

145


The Ogre: a bedtime scene with a bearded man and fve children sleeping

signed ‘G Doré’pencil, brush and black ink, grey wash, bodycolour, on two joined pieces of boxwood7Ω x 9¿ in. (19.1 x 23.2 cm.), octagonal

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

E N G R A V E D :

as L’Ogre, in Le Petit Poucet from Les Contes de Perrault, Paris, Goupil et Cie, 1862, pl. 6.

*148

FRANCOIS-LOUIS-DAVID BOCION (LAUSANNE 1828-1890)

A sky at sunset

oil on canvas laid down on cardboard2Ω x 8√ in. (7.2 x 22.5 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


Alfred Berthoud (according to an inscription on the backing).

148


147

CHARLES DESPIAU (MONT-DE-MARSAN 1874-1946 PARIS)

A female nude on her back

signed ‘Despiau’red chalk, stumping14Ω x 10¿ in. (37 x 25.8 cm.); and two other Female nudes by Despiau (3)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


146

JEAN-BAPTISTE CARPEAUX (VALENCIENNES 1827-1875 COURBEVOIE)

Intertwined fgures

charcoal on brown paper11æ x 10 in. (29.7 x 25.4 cm.); and Studies for a sculpted group of Neptune and Amphitrite, French School, 19th Century (2)

£800-1,200 $1,300-1,900� Ç1,100-1,500


The artist’s studio stamp (L. 500).

Possibly a study for the Monument to Maréchal de Moncey for which there is a plaster dating from 1864 in the Petit Palais, Paris (The passions

of Jean-Baptiste Carpeaux, exh. cat. New York, Metropolitan Museum and Musée d’Orsay, Paris, 2014, no. 101, ill. p. 181).

146i 147 (part lot)

75

149

BENJAMIN ROBERT HAYDON (PLYMOUTH 1786-1846 LONDON)

Study for the head of Uriel for ‘Satan and Uriel’

indistinctly signed and inscribed ‘ Study from Antique/for Sat [an]/to guide if after/they must .../..../B Haydon’ (lower right)pencil and black chalk heightened with touches of white16¿ x 12¿ in. (41 x 30.6 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Leonard G. Duke.

150 No Lot

The present striking drawing of Uriel revealing himself to Satan, certainly shows the infuence of Fuseli, under whom Haydon studied. Haydon was said to have been transfxed as a child by an engraving of this subject by Fuseli. He was very pleased with the fnished work, thinking the archangel’s head the fnest thing he had ever done. The present drawing suggests that the initial sketches were done from the Antique. The oil painting, exhibited at the Royal Academy in 1845, no. 605 is now lost, although there was an engraving after it published in the Illustrated

London News. However, it was almost certainly painted on a grandscale as was Haydon’s manner. In the scene from Milton’s Paradise Lost Satan is disguised as a ’strippling cherub having just deceived Uriel, Regent of the Sun, into directing him to earthly paradise, he glances back furtively at the gigantic fgure of the archangel’. The painting was puchased by Haydon’s patron Edward Dennys.

B R I T I S H D R A W I N G S A N D W A T E R C O L O U R S ( L O T S 1 4 9 - 2 0 9 )

76

151

SIR THOMAS LAWRENCE, P.R.A. (BRISTOL 1769-1830 LONDON)

Portrait of a young lady, half-length, a fower in her hair and wearing a heart-shaped pendant

signed with initials and dated ‘T.L./Sep 14 1814’ (centre right) and indistinctly inscribed ‘Jane Eliza/C...’ (lower left)pencil and red chalk with grey and pink wash9 x 7 in. (22.8 x 17.7 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300

Although the identifcation of the sitter of this sensitive drawing has so far eluded us, it was drawn in 1814, when Lawrence was at the height of his fame. During this year he executed a chalk drawing of King George IV (K. Garlick, ‘A catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence’, Walpole Society, XXXIX, London, 1963, p. 227) and the Duke of Wellington.

152

SIR THOMAS LAWRENCE, P.R.A. (BRISTOL 1769-1830 LONDON)

Portrait of a lady traditionally identifed as Sarah Siddons (1755-1831), bust-length, in profle to the left

signed, inscribed and dated ‘To be kept dry and no[t]/hung in the Sun./Bath 19th Jany 1784/Lawrence.../Oct. 14-’ (on a label attached to the backboard) and with a further indistinct inscription (on the verso)pastel, oval11æ x 9æ in. (29.8 x 24.7 cm.)

£2,500-3,500 $4,100-5,600� Ç3,200-4,400


Anonymous sale; Christie’s, London, 9 December 1955, lot 205, as ‘Portrait of Mrs Siddons in white dress with powdered hair’ (34 gns to McLaran).Martin McLaran; Christie’s, London, 10 July 1990, lot 86. Anonymous sale; Christie’s, London, 5 June 2007, lot 46.

151152

77

153

DANIEL GARDNER, A.R.A. (KENDAL 1750-1805 LONDON)

Double portrait of two young girls, traditionally identifed as Harriet Fortescue and her sister April, gathering fowers

pencil, pastel and bodycolour, oval20Ω x 15æ in. (52 x 40 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


Marquess of Lothian.Possibly with Agnew’s, London.Possibly anonymous sale; Sotheby’s, London, 24 November 1965, lot 34 as ‘Harriet and Anne Fortescue’ (£230 to P. Polak).Anonymous sale; Christie’s, London, 2 March 1971, lot 76 (240 gns to Dr. Theodore Besterman).Anonymous sale; Christie’s, London, 8 June 2000, lot 77.Anonymous sale; Christie’s, London, 5 June 2006, lot 10.


G.C. Williamson, Daniel Gardner, London, 1921, p.134 as ‘Miss Fortescue and her sister playing with some fowers on a steep grassy bank’. N. Jeffares, Dictionary of Pastellists before 1800, online edition.

154

153

PROPERTY OF A GENTLEMAN

154

JOSEPH WILTON, R.A. (LONDON 1722-1803)

Study for a decorative frieze

red chalk7Ω x 16Ω in. (19 x 42 cm.); and Study of a Greek vase, pencil, attributed to James Bruce (1730-1794)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

It has not been possible to identify the sisters with absolute certainty. The pastel has previously been sold with the title Harriet and April Fortescue and Harriet and Anne Fortescue and with the note that Harriet and her sister later became the Hon. Mrs George Knox and Mrs Parkinson Buxton respectively. This previous cataloguing identifes Harriet as the daughter of Thomas Fortescue and his second Wife Mary Nicolson. Fortescue had a daughter Anna Maria by his frst wife. As the provenance is given as the Marques of Lothian this help helps to strengthen this identifcation as the 5th Marquess of Lothian was married to Thomas Fortescue’s sister Elizabeth (1745-1780); children of Chichester Fortescue (1718-1757) and Elizabeth Wesley. However it appears that the girls would be six years apart in age, which seems less credible from their portrait. Other possible candidates from the Fortescue family come with similar diffculties of age and differences in name.

There is another version of the present pastel, at Duff House, Aberdeenshire.


Sir Francis Watson and by descent to the present owner.

Joseph Wilton was a renowned sculptor, a member of the Royal Society of Arts and founding member of the Royal Academy. Drawings relating to various schemes and projects are housed in The Victoria & Albert Museum, London.

We are grateful to Charles Hind, Chief Curator and HJ Heinz Curator of Drawings for confrming the attribution of this drawing.

78

156

PAUL SANDBY, R.A. (NOTTINGHAM 1730-1809 LONDON)

The Onion Seller

pencil and grey and ochre wash7¡ x 4√ in. (18.2 x 12.5 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300


Lord Bruce (later Lord Elgin); Christie’s, London, 27 April 1965, lot 61 (as no. 8 of 12). Anonymous sale; Sotheby’s, London, 10 July 1997, lot 18. Anonymous sale; Sotheby’s, London, 26 March 2004, lot 92, where purchased by Mrs T.S. Eliot.

The present work is part of a series of drawings of London tradesmen and women which Sandby worked on in 1759 for a projected publication, London Cries, done from ye Life.

Sets of engravings of itinerant performers, hawkers and traders had been popular in Europe for centuries and ballads incorporating their street cries have been performed since the 15th Century. In 1688 Marcellus Laroon the Elder frst published his Cryes of the City of London, and these proved so popular they were regularly reissued throughout the 18th Century. They were issued in a revised state with changes to the costumes and faces by Louis-Philippe Boitard in 1750.

Only one set of twelve images of London Cries was published. Yet, Sandby produced numerous others. The present lot was formerly part of an almost complete album which was dispersed in these Rooms in 1965, and a number of drawings for the Cries are now in public institutions.

156

155

155

JONATHAN RICHARDSON, SEN. (1665-1745)

A portrait of Lady Mary Hervey, née Lepelle (1700-1768), head and shoulders within the memoir, ‘Letters of Lady Mary Lepelle’, 1821

signed with monogram ‘JR.’ (lower right) inscribed ‘Mary Le pelle’ [sic] and with inscription ‘Lady Harvey [sic]’ (lower left) pencil and wash on vellum4√ x 4º in. (12.4 x 10.8 cm.); the drawing laid down on the fy leaf of ‘Letters of Lady Mary Lepelle’, 1821 with illustrative notes by John Wilson Croker in a contemporary binding of polished tan calf, spine fully gilt; joints expertly repaired

£800-1,200 $1,300-1,900� Ç1,100-1,500


Jonathan Richardson Jun. (L. 2170).John Mitford, 1830.Marquess of Crewe, after 1911.

Mary Lepelle was a famous court beauty who married John Hervey in secret in 25 October 1720. She was the daughter of Brigadier-general Nicholas Lepelle. Charles Fairfax Murray identifed a second drawing of Lady Mary Hervey by Richardson in the Morgan Library, New York, in the Bull album. John Wilson Croker, who edited the frst edition of Mary Lepelle’s Letters in which the present drawing is included, was a friend of John Mitford (1781-1859) to whom this book frst belonged. Mitford formed an important book collection which was auctioned by Sotheby’s after his death in 1859 and realised the sum of £2,999.

79

157

ENGLISH SCHOOL, 18TH CENTURY

A lecture on astronomy

pencil, black and white chalk and grey wash13 x 19¬ in. (33 x 50 cm.)

£4,000-6,000 $6,500-9,600� Ç5,100-7,600


Leonard G. Duke.with Agnew’s, London.

The present drawing depicts a lecture on astronomy. The lecturer is pointing to an astronomical device which is demonstrating the principle of elliptical orbits of the planets. The larger orb that he is pointing to represents the sun and the two smaller the earth and the moon. The usual device used to discuss the orbit of the planets, the orrery, was frst designed in the early 18th Century, circa 1704 by the clockmakers George Graham and Thomas Tompion. They usually represent circular orbits but the present device is more elliptical, so it is diffcult to judge whether the device is meant to be an orrery or whether it is some other device. 158 No Lot

The 18th Century saw increased general interest in the sciences, with public lectures becoming more and more popular and scientists travelling around the country demonstrating scientifc instruments, experiments and principles. This burgeoning interest is demonstrated by paintings such as Joseph Wright of Derby’s A Philosopher lecturing on the Orrery, painted circa 1766 (Derby Museum and Art Gallery) and An Experiment on a

bird in an Air Pump, 1768 (National Gallery, London). George Romney’s Newton with the Prism, was also widely disseminated through engravings in the early 19th Century.

We are grateful to Rosemary Harden of the Fashion Museum, Bath for her help in dating the costumes of the sitters to late 1720s or 1730s. The seated fgure is wearing the fashionable undress of the period, of banyan or dressing gown and soft cap or nightcap. There are a number of portraits of artists and scientists wearing such costumes, including Sir Issac Newton (1643-1727).

160

161

159

159

THOMAS GAINSBOROUGH, R.A. (SUDBURY, SUFFOLK 1727-1788 LONDON)

A stream in a wooded landscape

pencil, grey wash and touches of red wash 7æ x 9æ in. (19.6 x 24.8 in.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

We are grateful to Hugh Belsey for dating this drawing to the early 1770s. For a comparable drawing from around this date see J. Hayes, The

Landscape Paintings of Thomas Gainsborough, London, 1982, I, p. 184, no. 325; II, no. 112, illustrated.

160

JOHN MARTIN (HAYDON BRIDGE, HEXHAM 1789-1854 DOUGLAS, ISLE OF MAN)

A Study for ‘Adam’s First Sight of Eve’

signed and dated ‘J Martin 1810’ (lower right)pencil and watercolour with scratching out, heightened with touches of white4√ x 7º in. (12.4 x 18.4 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

The present watercolour is related to Martin’s important oil painting, Adam’s frst sight of Eve, 1813 (Glasgow Museums), which was exhibited at the Royal Academy in 1813 with the quotation from Milton, ‘Nature herself, though pure of sinful thought, wrought on her so, that, seeing me, she turned.’ The setting in the picture is similar to that of the present watercolour, the main difference being in the pose of Adam and Eve.

We are grateful to Michael Campbell for his help in preparing this catalogue entry.

161

CHARLES CAMERON (1740- 1812 ST PETERSBURG)

The Empress Catherine the Great about to embark on a lake in the grounds of the Palace of Tsarkoe Selo, St Petersburg

pencil and watercolour12º x 16æ in. (31 x 42.5 cm.); and a portrait of Horace Walpole, traditionally attributed to Thomas Patch (1725-1782), pencil and ochre wash

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


with The Manning Gallery, London.Sir Francis Watson and by descent to the present owner.

E X H I B I T E D :

London, The Arts Council, ‘Charles Cameron c.1740-1812’ ,1968, number untraced.


L. Salminia-Haskell, ‘Charles Cameron at the Arts Council’, The Burlington

Magazine, Jan 1968, 110, no. 778. pl. 62.

Cameron was a Scotsman who became the court architect to Empress Catherine of Russia in 1778. He worked chiefy at the imperial residence, the Palace of Tsarko Selo near St Petersburg. He brought his own interpretation of anglicized palladianism to his extensive additions to the Royal palace evident in the much lauded Cold Baths and Agate Pavillion. The majority of the architect's work is held in the Hermitage Museum, St Petersburg.

81

162 163

163

JOHN DOWNMAN, A.R.A. (DEVON 1750-1824 WREXHAM)

Study of a dog

pencil, white and red chalk, with stump8æ x 7¬ in. (22.1 x 18.6 cm.)

£700-1,000 $1,200-1,600� Ç890-1,300


Mrs Benjamin (the artist’s daughter), according to a label on the reverseThomas Winstanley.Sir Francis Watson and by descent to the present owner.

The present drawing demonstrates Downman’s sensitive approach to portrait painting, whether capturing the likeness of a sitter for a commission or for more personal subjects, such as the present study. Other carefully executed portraits of animals include pets such as his favourite spaniel and his cat called ‘Tibby’ and wildlife that he saw in this garden such as a toad that lived in his pond, a robin and a dove.

162

THOMAS GAINSBOROUGH, R.A. (SUDBURY, SUFFOLK 1727-1788 LONDON)

Study of a donkey laden with panniers and accompanying fgure

stamped ‘T Gainsborough’ (lower centre) and stamped ‘T Gainsborough’ and ‘Gainsborough’ (upper centre, both overmounted) and indistinctly inscribed ‘Very....’ (along the lower edge)pencil, fragmentary watermark5æ x 7¡ in. (14.6 x 18.8 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300


Anonymous sale; Christie’s, London, 5 March 1974, lot 49 (130 gns to Hope).Anonymous sale; Christie’s, 5 November 1974, lot 40 (55 gns to Boyce).Anonymous sale; Sotheby’s, London, 18 November 1976, lot 193.


J. Hayes, ‘Gainsborough Drawings: A Supplement to the Catalogue Raisonné’, Master Drawings, XXI, no. 4, 1983, p. 391, no. 985. S. Sloman, ‘The Holloway Gainsborough: its subject re-examined’, Gainsborough’s House Review 1997/98, pp. 50-51, fg. 3.

For further information about the frst of these artist’s stamps, see Hayes, The Drawings of Thomas Gainsborough, 1970, vol. I, pp. 25-6. The present drawing would have been drawn from life, Hayes relates the technique to Peasant on Horseback (British Museum), op. cit., no. 819, pl. 36 and dates it to the early to mid 1750s.

165

FRANCIS WHEATLEY, R.A. (LONDON 1747-1801)

Itinerant potters on the roadside

signed and dated ‘F. Wheatley delt./1799’ (lower left)pencil and watercolour within the artist’s original wash-line mount14 x 10 in. (35.5 x 25.4 cm.)

£2,500-3,500 $4,100-5,600� Ç3,200-4,400

165

164

164

THOMAS ROWLANDSON (LONDON 1756-1827)

Labourers resting beneath a tree

numbered ‘24’ (upper right)pencil, pen and ink and watercolour4Ω x 7 in. (11.5 x 17.7 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500


Anonymous sale; Sotheby’s, London, 14 July 1988, lot 60.


Arthur N. Gilbey; Christie’s, London, 26 April 1940, lot 214 (55 gns to Fletcher).

Gilbey's sale in these Rooms included 36 examples of Wheatley's work, see I. Williams, ‘The A.N. Gilbey Collection of Early English Drawings’, Country Life, 13 April 1940.

83

166

FRANCIS WHEATLEY, R.A. (LONDON 1747-1801)

A young woman pouring milk,children and a dog; A woman with children by a gate

both signed and dated ‘F. Wheatley del.1795’ (lower left)pencil and watercolour14 x 10 in. (35.5 x 25.4 cm.) (2)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300

167-168 No Lots

166 (a pair)

84

169

JOHN CONSTABLE, R.A. (EAST BERGHOLT, SUFFOLK 1776-1837 HAMPSTEAD, LONDON)

Dedham church, Essex

inscribed and dated ‘22d Sept. 1815 - Dedham’ (lower left) and indistinctly inscribed in ink (verso)pencil6 x 3Ω in. ( 15.2 x 9 cm.)

£5,000-8,000 $8,100-13,000� Ç6,400-10,000


C. Bostock; Sotheby’s, London, 26 June 1946, part of lot 71 (£2,000 to Agnew’s). with Agnew’s, London, where purchased by Lord Ivor Spencer-Churchill, and by descent.


G. Reynolds, The Early Paintings and Drawings of

John Constable, London, 1996, p. 211, no. 15.38, pl. 1370.I. St John, Dedham Constable Country, Suffolk Walker, 2005, pp. 4, 5, illustrated.

Reynolds records this drawing as ‘untraced’. It is an exciting rediscovery of an unusual view of Dedham, a village about six miles from Constable’s home in East Bergholt. The church and neighbouring vicarage are the central focus of the composition which is a different vantage point from Constable’s other Dedham drawings of 1815. Other drawings depict the village and tall church tower from a distance, nestled in the landscape (see op.cit., nos. 15.44, 15.44a, 15.45, 15.46). Constable’s focus on the architecture may have been inspired by the re-modelling with gothic embellishments of the vicarage (on the right of the church) in 1815.

The present sheet is from a large sketch book of laid paper, which Constable was using in 1814 and in 1815 and which measured approximately 3æ x 6º (9.6 x 15.8 cm).

We are grateful to Anne Lyles for help in preparing this catalogue entry.

170 No Lot

�

85

171

THOMAS GIRTIN (LONDON 1775-1802)

On the road to Harrow-on-the-Hill

inscribed ‘on the road to Harrow on the Hill’ (lower left)pencil and watercolour6º x 7Ω in. (15.9 x 19 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500


Sir John Clermont Witt (L. 646a).Anonymous sale; Sotheby’s, London, 9 March 1989, lot 7.Anonymous sale; Sotheby’s, London, 14 November 1996, lot 132.

Another view of Harrow-on-the-Hill by Girtin is in the Yale Center for British Art, New Haven and dates to circa 1794. The present drawing is also datable to circa 1794.

Sir John Clermont Witt (1907-1982), the son of Sir Robert Witt, was, like his father a keen collector of drawings and a patron of the arts, serving as Chairman of the Trustees of the National Gallery, a Trustee of the Tate and member and then Vice-Chairman of the Arts Council.

86

172

THOMAS GIRTIN (LONDON 1775-1802)

View of Chepstow Castle with cattle watering in the foreground

inscribed ‘Chepstow Castle.’ (lower centre, on the mount) and with inscription ‘Formerly belonged to the Clare’s, Earle of Pembrooke; when built unknown’ (verso of the mount, possibly in James Moore’s hand)pencil and grey, blue, green and ochre washes, on the artist’s wash-line mount6æ x 8æ in. (17.2 x 22.3 cm.)

£7,000-10,000 $12,000-16,000� Ç8,900-13,000


James Moore and by descent to his widowMrs Moore, by 1799.and by descent toMiss Anne Miller, daughter of her frst cousin Rebecca Miller by 1835.Edward Mansel Miller and Helen Louisa Miller, 1890.Helen Louisa Miller by 1912.with the Palser Gallery, 1918.Thomas Girtin.A.J. Finberg.V. Rienaecker.Anonymous sale; Christie’s, London, 14 February 1978, lot 51.with Colnaghi’s, London.


R. Davies, ‘Thomas Girtin’s Water-Colours’, Studio, 1924, p. 7, pl 7, illustrated in colour.T. Girtin and D. Loshak, The Art of Thomas Girtin, 1954, pp. 4 and 136, no. 17.

E N G R A V E D :

G.I. Parkyns, with variations, for Monastic Ruins and Ancient Castles, part VIII, 1 January 1792.

Girtin and Loshak, op. cit., p. 136 suggests that the present drawing is after one by Edward Dayes, dated 1792, which was sold in these Rooms, 14 March 1952, lot 221. The drawing by Dayes was taken from an ‘on the spot’ sketch by James Moore, executed on 22 May 1789. The subject matter refects the antiquarian interests of Moore, Girtin’s frst patron, while stylistically, the infuence of Edward Dayes, to whom Girtin was apprenticed at this time, can be seen: Davies, loc. cit., notes the similarity between the present work and the Dayes drawing, ‘It would be diffcult to fnd any other instance of so perfect an assimilation of a master’s methods which is neither a copy nor a servile imitation, but simply an independent work done in a manner and with something more of the skill of the master’.

87

173

JOSEPH MALLORD WILLIAM TURNER, R.A. (LONDON 1775-1851) AND THOMAS GIRTIN (LONDON 1775-1802)

A view of the Villa Belvedere, from the Villa at Posillipo

pencil and watercolour 6¡ x 9¿ in. (16.2 x 23.2 cm.)

£4,000-6,000 $6,500-9,600� Ç5,100-7,600


P.F. Willert.Mrs A.T. Loyd.Anonymous sale; Christie’s, London, 18 November 2003, lot 18.

E X H I B I T E D :

C.L. Loyd, The Loyd Collection of Paintings and Drawings, London, 1967, p. 63, no. 107.

The present drawing relates to the second volume of drawings by John Roberts Cozens at the Whitworth Art Gallery, Manchester. It was probably executed from a tracing of the Whitworth drawing, which is now in the Beaumont Album of tracings at the Yale Center for British Art, New Haven.

The pencil work in the present watercolour was executed by Thomas Girtin with the wash being applied by Turner and was executed when Turner and Girtin were in the drawing academy of Dr Thomas Monro. The artist Joseph Farington (1747-1821), also associated with the academy, wrote in his Diary of 11 November 1798: ‘Girtin drew the outlines and Turner washed in the effects’.

88

175

174

175

CIRCLE OF PAUL SANDBY, R.A. (NOTTINGHAM 1731-1809 LONDON)

An angler on a river bank with cattle; and A man seated by a tree with cattle by a river

pencil, watercolour and bodycolour, circular7 in. (17.8 cm.) diam.

a pair (2)

£800-1,200 $1,300-1,900� Ç1,100-1,500

*174

CIRCLE OF PAUL SANDBY, R.A. (NOTTINGHAM 1731-1809 LONDON)

A capriccio landscape with a waterfall, herdsmen and cattle

watercolour and bodycolour11 x 15¡ in. (27.9 x 39 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500

*174A

THOMAS WALMSLEY (1763-1806)

A capriccio mountain landscape with a torrent

signed and dated ‘T Walmsley/1800’ (centre right, on the rock face)pencil, watercolour and bodycolour19 x 27 in. (48.2 x 68.6 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900

174A

89

178

WILLIAM PARS, A.R.A. (LONDON 1742-1782 ROME)

A view of Mogadino on Lake Maggiore, Switzerland

pencil, pen and grey ink and watercolour on the artist’s wash-line mount6º x 8¡ in. (15.9 x 21.2 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300


Edward Basil Jupp; Christie’s, London, 6 May 1884, part of lot 230 (76 gns to Waller).Thomas William Waller.Elizabeth Stauffer Moore and by descent toElizabeth Richardson Simmons; Christie’s, London, 12 November 1968, lot 139 (550 gns to Spink). with Leger Galleries, London, May 1975.with Colnaghi’s, London.

In the company of his patron Lord Palmerston, Pars' 1770 tour from Switzerland to Italy was the frst to record the dramatic scenery of the continent. Artists such as J. R. Cozens and Francis Towne were to follow his example. On Pars’ return, he exhibited eight works at the Royal Academy, works which Binyon called 'the earliest revelation of the high Alps to the untravelled English'.

177

LIEUTENANT-COLONEL WILLIAM READ (KENT 1780-1827 MADRAS)

A collection of fourteen views of Ireland including; Narrow-Water Castle, near Newry, Co. Down; View on the shore of Narrow-Water, Co. Down; View of Buncrana, Lough Swilly, Co. Donegal; View on the east shore of Lough Swilly, behind the Isle of Inch, Co. Donegal; View near Ballyshannon, Co. Donegal; View of Londonderry; View of Dunluce Castle, Co. Antrim; View of the Giants’ Causeway, Co. Antrim (illustrated); View of Earl’s Gift Castle, near Dunamanagh, Co. Tyrone; View of Strabane, Co. Tyrone; View of the Bridge at Dunamanagh, Co. Tyrone; The Gap at Dunamanagh, Co. Tyrone; View of a Castle

the majority inscribed with titles and dated variously ‘1815-1816’pencil and watercolour, eight on two joined sheets, two squared for transfer 6√ x 20º in. (17 x 51.5 cm.); and smaller (14)

£4,000-6,000 $6,500-9,600� Ç5,100-7,600

Read had a distinguished military career, joining as an Ensign of the Royal Staff Corps in 1800 he was promoted to Lieutenant-Colonel and deputy Quatermaster General by 1824 when he was posted to Madras. He was awarded the Peninsular Medal and the Naval General Service medal. He also painted landscape views and examples of his panoramic watercolours can be seen in the National Army Museum. The present collection of views suggest that he went on an extensive tour of Ulster recording notable landmarks such as the Giants Causeway and Dunluce Castle. 177

178

176

176

JOHN ‘WARWICK’ SMITH, O.W.S. (CUMBERLAND 1749-1831 LONDON)

View of a bridge over the River Trient, near Chamonix, on the French-Swiss border

pencil and watercolour12 x 17º in. (30.5 x 43.8 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300


with Agnew’s, London.

90

179

179


The Benedictine Abbey of La Trinità, Cava dei Tirreni, Salerno, Italy

signed and numbered ‘No 12-/John Smith’ (on the artist’s label attached to the backboard) and with a further number and inscription ‘2/16/JHD’ (on a label attached to the backboard)pencil and watercolour with scratching out, on the original wash-line mount, extended, along the upper and lower margins11√ x 17¬ in. (30.2 x 44.7 cm.) (2)

£4,000-6,000 $6,500-9,600� Ç5,100-7,600

A similar view previously mounted in an album is in the Oppé Collection, Tate, London and another album at the Manchester City Art Gallery contains views of ‘La Cava’. The present work is larger than the usual album size and is possiibly no. 12 of the nineteen watercolours which were Smith’s contribution to his frst Old Watercolour Society exhibition in 1807.

180

181

180


Tivoli, near Rome, with a woman and boy fording the River Aniene

signed, inscribed and dated ‘Tivoli. near Rome./J W Smyth 1796.’ (verso)pencil and watercolour on the original wash-line mount, overmounted12º x 17Ω in. (31.1 x 44.5 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


Mrs E.A. Isaacs; Christie’s, London, 2 March 1971, lot 36. with John Mitchell, London.

181

ANTHONY VANDYKE COPLEY FIELDING, P.O.W.S. (SOWERBY BRIDGE 1787-1855 WORTHING)

In the Highlands, Scotland

signed and indistinctly dated ‘Copley Fielding 1842 [?]’ (lower left) pencil and watercolour with gum arabic and with scratching out 7º x 10º in. (18.4 x 26 cm.)

£2,500-3,500 $4,100-5,600� Ç3,200-4,400


with Agnew’s, London, 1982. Anonymous sale; Christie’s, London, 9 December 2010, lot 1207.

91

182

183

184

182

WILLIAM CALLOW, R.W.S. (LONDON 1812-1908 GREAT MISSENDEN)

Figures in an extensive river landscape

signed ‘Wm Callow.’ (lower right)pencil and watercolour9 x 13 in. (23.8 x 33 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500

183

WILLIAM HAVELL (READING 1782-1857 LONDON)

A mountainous river landscape with a rainbow

watercolour with scratching out5 x 7Ω in. (12.7 x 19.2 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


with Spink, London.

E X H I B I T E D :

Reading, Reading City Museum and Art Gallery; William Havell Bicentenary

Exhibition, 1982, no. 18.


F. Owens, William Havell 1782-1857, Reading Museum and Art Gallery, 1981, p. 22.

The Reading exhibition catalogue notes the work’s similarity to an oil sketch on paper of Skelwith Force (no. 17 in the 1982 exhibition) and suggests that it may depict the same scene and was executed on the same trip. This trip was recorded in the diary of Jessy Harden on 11 August 1807: ‘We had visit from two artists introduced by William (W.H) Reinagle and Havell. We all walked to Skelwith and roamed by the bridge’.

184

THOMAS MILES RICHARDSON, JUN., R.W.S. (NEWCASTLE-UPON-TYNE 1813-1890)

Sunset near Bewcastle, Cumberland

signed ‘T.M. Richardson’ (lower left) pencil and watercolour heightened with touches of bodycolour and with scratching out8º x 12Ω in. (21 x 31.8 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


with Maas Gallery, London, 1965. Anonymous sale; Christie’s, London, 9 December 2010, lot 1204.

92

187

186

185

187

DAVID COX, SEN., O.W.S. (BIRMINGHAM 1783-1859)

Cutting ling

pencil and watercolour heightened with touches of white on oatmeal paper10¬ x 14¿ in. (27 x 34.7 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300


W. Stone Ellis, Streatham.with The Fine Art Society, London, May 1970, no. 10062.

186


A view of a town on a river, traditionally identifed as Stoke Bridge, Ipswich

pencil and watercolour heightened with touches of white7 x 10Ω in. (17.8 x 26.6 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300



Traditionally identifed as Stoke Bridge, Ipswich and there is a similarity between the overall shape and disposition of the buildings surrounding the bridge, when comparing this work to two works by the 19th Century painter, Isaac Shepherd, in the Colchester and Ipswich Museums, however the bridge appears to be rather different in Cox’s watercolour and there is no evidence that Cox ever visited East Anglia.

We are grateful to Timothy Wilcox for confrming the attribution of the present watercolour.

185


Tewkesbury Abbey, Gloucestershire from the River Avon with an angler in the foreground

with inscription ‘Near Tewkesbury on the Avon. Gloucestershire’ (verso) and with a further indistinct inscription ‘Tewkesbury/G[loucestershire]’ (verso)pencil and watercolour10º x 15º in. (26 x 38.6 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300


Sir John Clermont Witt (L. 646a). with Clarges Gallery, London.

For a note on the Sir John Clermont Witt, see lot 171.

We are grateful to Timothy Wilcox for dating this drawing to circa 1810-15.

93

190

PETER DE WINT, O.W.S. (STONE, STAFFORDSHIRE 1784-1849 LONDON)

A landscape with a herdswoman and cattle

watercolour7 x 11Ω in. (17.7 x 29.2 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500



189

JOHN VARLEY, O.W.S. (LONDON 1778-1842)

Thomson’s Tomb on the Thames

signed and dated ‘J. Varley 1824’ (lower right)pencil and watercolour with scratching out6 x 9¿ in. (15.2 x 23.1 cm.)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


with Agnew’s, London.Anonymous sale; Sotheby’s, London, 15 March 1990, lot 129, where purchased by Mrs T.S. Eliot.

189

190

188

PETER DE WINT, O.W.S. (STONE, STAFFORDSHIRE 1784-1849 LONDON)

Llandaff Cathedral, Wales

numbered ‘258’ (verso, according to the Agnew’s label)pencil and watercolour with scratching out, watermark ‘WHATMAN 1829’12√ x 19Ω in. (32.7 x 49.5 cm.)

£5,000-8,000 $8,100-13,000� Ç6,400-10,000


John Vaughan, 1848. with Agnew’s, London, 1918, where bought byWalter A. Barrett. with Andrew Wyld, London.

E X H I B I T E D :

London, Old Watercolour Society, 1848, no. 258. London, Agnew’s English Watercolours and Drawings, 1990, no. 60 (as A Ruined Abbey near the Banks of a

River, Mountains beyond). London, Andrew Wyld, Peter de Wint 1874 - 1849,

Colourist and countryman, 2005, no. 28.

De Wint frst visited Glamorgan in 1824. In the present watercolour, De Wint has modifed the topography surrounding the ruins to include mountains, which in reality are not there. Furthermore, as Andrew Wyld noted in his catalogue, the artist has ‘placed a tree to obscure the rather incongruous classical temple built in the 1740s by John Wood of Bath within the ruined nave’ (loc.cit.). De Wint was seeking to emphasise the romantic ruin, particularly as by 1848, extensive building work was underway to restore the cathedral.

188

94

191


Entrance to the port of Le Havre, France

signed and dated ‘William Callow 1898’ (lower right)pencil and watercolour18Ω x 25 in. (47 x 63.5 cm.)

£3,000-5,000 $4,900-8,000� Ç3,900-6,300


Mrs. Callow. Anonymous sale; Sotheby’s, London 14 March 1962, lot 22.C.E. Hanscombe and by descent in the family.

E X H I B I T E D :

London, Society of Painters in Watercolour, Summer 1898, no. 81.


H.M. Cundall, ed., William Callow, R.W.S. F.R.G.S. An Autobiography, London, 1908, pp. 89, no. 167, illustrated facing p. 88 (in colour).J. Reynolds, William Callow, London, 1980, p. 225.

Callow visited Le Havre on numerous occasions from 1835. Callow stated in his autobiography, that ‘In 1843 I exhibited a painting of the ‘Port of Havre at the Old Society. It was purchased by Mr Prinsep as a gift for a distinguished Indian, Dwarkanath Tagore, as it represented the place from which he embarked for England...[this drawing was] subsequently sent to him in India’ (Cundall, op. cit, p. 89). It is not known how similar the earlier watercolour is to the present one exhibited ffty-fve years later but the present watercolour remained with the artist’s family upon his death.

95

192


By the Venetian Column, Piazza delle Erbe, Verona, Italy

signed and dated ‘William/Callow/1867,’ (lower right) and with inscription ‘ Market Place at Verona’ (on the reverse) and numbered ‘No 2’ [crossed out] and ‘No 13’ (verso)pencil and watercolour, heightened with touches of bodycolour27Ω x 20º in. (69.8 x 51.4 cm.)

£8,000-12,000 $13,000-19,000� Ç11,000-15,000

E X H I B I T E D :

London, Society of Painters in Watercolour, Summer 1867, no. 171.


H.M. Cundall, William Callow R.W.S. F.R.G.S. An Autobiography, London, 1908, p. 157. J. Reynolds, William Callow, London, 1980, p. 215.

Callow undertook his frst visit to Italy including Verona, in the autumn of 1841. He described Verona as having ‘whole streets of fne palaces, intermingled with Roman and other antiquities’. Following his second trip of 1846 he wrote, ‘to my mind it ranks next to Venice in point of interest. The market-place was a great source of interest to us; Italian ladies with black veils wandered about and making purchases at the stalls covered with huge white umbrellas made an animated scene’ (op. cit., p. 98). The Piazza della Erbe is Roman in origin and originally served as the town’s forum, today it is still at the heart of the city.

96

193


On the Riva degli Schiavoni, Venice

signed and dated ‘Wm. Callow/1854’ (lower left)pencil and watercolour heightened with touches of bodycolour13æ x 19¬ in. (35 x 49.9 cm.)

£10,000-15,000 $17,000-24,000� Ç13,000-19,000

97

194


Entrance to the Port of Marseilles, France

signed and indistinctly dated ‘W. Callow 18[38]’ (lower right)pencil and watercolour heightened with bodycolour and with scratching out18æ x 25º in. (47.6 x 64.2 cm.)

£12,000-18,000 $20,000-29,000� Ç16,000-23,000


with Walker Galleries, London, 1932. P. Dangar, Armidale, New South Wales; Christie’s, London, 9 November 1971, lot. 57.

E X H I B I T E D :

London, Old Watercolour Society, 1838. Walker’s Galleries, 28th Annual exhibition of Early English Watercolours, 1932, no. 12.


H.M. Cundall ed., William Callow R.W.S. F.R.G.S. An Autobiography, London, 1908, p. 149. J. Reynolds, William Callow, London, 1980, pp. 149, 209.

During the summer of 1836, Callow undertook a walking tour through Southern France, which he recorded in detail in his dairy. He arrived in Marseilles via steamer from Arles on 24 July and recorded the fne view that this method of travel afforded of the port, with the mountains behind. It was probably this arrival which inspired the present watercolour.

There are at least two other similar views of the port of Marseilles. In about 1837, he was asked to produce two watercolours for lottery prizes for the Société des Amis des Arts and one of these was a view of the ‘Port of Marseilles’, which was won by King Louis-Philippe. A further watercolour of the same subject was exhibited at the ‘Royal Society of Painters in Watercolour’ in 1884 and is now in Towneley Hall Art Gallery and Museums, Burnley.

*195

JOHN SELL COTMAN (NORWICH 1782-1842 LONDON)

A continental town, traditionally called Toledo, Spain

pencil, pen and brown ink and watercolour9Ω x 13º in. (24.1 x 33.6 cm.)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800


C. E. Langston, Africa, ‘Rare Pictures found in South Africa’, June 1938.

In 1810 Cotman began producing architectural etchings and the strong, linear quality of the present watercolour clearly derives from this practice. Although Cotman made various tours to France in search of material for publication, (he made three tours to Normandy in 1817, 1818 and 1820) he never visited Spain. However, his friend and former pupil, the Rev. James Bulwer, who travelled in Spain, Portugal and Madeira, allowed Cotman the use of his sketchbooks. At least two other views similar to this one have been described as being of Toledo; one illustrated in G. Holme, The Water-

colour Drawings of John Sell Cotman, London, 1923, pl. 18 and a similar view appeared on the art market in 2005.

195

196

EDWARD WILLIAM COOKE, R.A. (LONDON 1811-1880 KENT)

Boats moored at Dieppe Harbour: low tide

signed ‘E.W. Cooke. ARA.’ (lower left)pencil and watercolour with scratching out6¬ x 10 in. (16.2 x 25.4 cm.)

£1,200-1,800 $2,000-2,900� Ç1,600-2,300

196

197

197

WILLIAM WYLD (LONDON 1806-1889 PARIS)

A château by a river; a Capriccio

signed with initials ‘WW’ (lower right)pencil and watercolour heightened with bodycolour and with scratching out5Ω x 9æ in. (14 x 24.7 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500


Anonymous sale; Sotheby’s, London, 11 November 1993, lot 204.

A pupil of Francia and friend of Bonington, Wyld lived mainly in Paris, but exhibited in London at the New Society of Painters in Watercolours.

99

198

EDWARD LEAR (LONDON 1812-1888 SAN REMO, ITALY)

Girgente, Sicily

inscribed and dated ‘Girgente June 1. 1847’ (lower left) and numbered ‘(82)’ (lower right) and further inscribed with colour notespencil, pen and brown ink, blue and ochre wash, on buff paper12¬ x 20Ω in. (32.2 x 50.2 cm.)

£7,000-10,000 $12,000-16,000� Ç8,900-13,000


Sir Franklin Lushington.with The Ruskin Gallery, Stratford-on-Avon.Mrs T.S. Eliot.

199

EDWARD LEAR (LONDON 1812-1888 SAN REMO, ITALY)

View of the aqueduct, Cairo, Egypt

inscribed and dated ‘CAIRO./January. 1849’ (lower left) and numbered ‘18’ (lower right) and extensively inscribed with colour notespencil, pen and brown ink and watercolour8 x 20Ω in. (20.3 x 52 cm.)

£6,000-8,000 $9,700-13,000� Ç7,700-10,000

Lear frst visited Sicily in the spring of 1842 returning in the early summer of 1847. He caught the steamer to Palermo, where he was met by John Proby, heir to the Earl of Carysfort, who wished to learn sketching from Lear. On 11 May they set out together, travelling all round the island, visiting Syracuse and Mount Etna. Of Girgente Lear wrote to his sister Ann ‘Nothing on earth can be so beautiful as Girgente with its 6 temples – I speak of the old town and the fowers and birds are beyond imagination lovely’.

Franklin Lushington (1823-1901) and Lear met on a voyage to Malta in the spring of 1849. They formed a close and life-long friendship. Lushington was the executor of Lear’s estate; Lear left all his papers and paintings to him, and the proceeds from the sale of the Villa Tennyson and its contents went to Franklin’s eldest daughter Louisa Gertrude.

Lear visited Egypt four times and the present view dates to his frst trip when after nine months of travelling through the eastern Mediterranean, he arrived in Cairo on 6 January 1849. On February 6 he and his friend John Cross set off on camels from Cairo to Sinai and Palestine. They spent three nights at the monastery at Sinai, but Lear took a fever and was forced to give up the trip and convalesce at Suez.

100

200

SIR EDWIN HENRY LANDSEER, R.A. (LONDON 1802-1873)

Gilbert Stuart Newton, R.A. (1794-1835), full-length in a frock coat, a double sided sheet of studies; and A study of Johnny Purves (d. 1867) of Purves Hall, Berwickshire

the frst numbered ‘23’ (centre, verso); the second inscribed and numbered ‘Glen Feshee ‘’devil’’ and ‘No 33’ (upper right) and further inscribed ‘Johnny Purves’ (verso)pen and brown ink; pen and brown and purple ink on paper, dry stamped ‘Invergarry’7 x 4 in. (17.7 x 10.1 cm.); and 1√ x 2Ω in. (4.7 x 6.4 cm.) (2)

£1,200-1,800 $2,000-2,900� Ç1,600-2,300


(1) with Lowell Libson, London, where purchased by the present owner. (2) Edward Ellice (1771-1863) and by descent to Russell Ellice; Sotheby’s, London, 24 June 1971, lot 38 (six in the lot).with Martyn Gregory, London, where purchased by the present owner, 2006.

A pupil of his uncle, the American painter, Gilbert Stuart (1755-1828), Gilbert Stuart Newton moved to Europe in 1817, initially visiting Italy and Paris before arriving in London. He was elected a Royal Academician in 1832, but by 1834 he began to lose his mind and was admitted to an asylum in Chelsea, where he died the following year. Landseer and Newton appear to have been friends, and had a number of close friends in common.

Colonel John Home Purves (c.1816-1867) was Equerry and Comptroller of the Household to HRH the Duchess of Cambridge (1797-1889). The stamp ‘Invergarry’ on the sheet refers to a part of the Ellice’s considerable estate and the drawing formed part of a group of studies made by Landseer when he was staying with Edward Ellice at his hunting lodge, Glenquoich Lodge.

101

*202

SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON)

‘Come dressed as you are’: Burne-Jones’ response to a dinner invitation

signed with initials and inscribed ‘’Come Dressed as you are’’/Dear Mrs Moscheles/Gladly, on Saturday/but really in These clothes?/yours very/truly/EBJ’ and with inscription ‘E. Burne Jones’ (lower left) on paper headed ‘The Grange, West Kensington, W.’ (upper right)pencil, pen and brown ink, fragmentary watermark ‘Antien...’ 5º x 3Ω in. (13.3 x 8.8 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

Felix Moscheles was named after his godfather, the composer, Felix Mendelssohn (1809 –1847). An ardent pacifst, Moscheles was also an artist as was his wife, Margaret. They often held soireés at their home in Cadogan Gardens and mixed with the artistic circles of the day. Felix was close friends with the writer and cartoonist George du Maurier (1834 – 1896) and wrote a series of reminiscences about their friendship, In

Bohemia with du Maurier, 1886.

We are grateful to John Christian for his help in preparing this catalogue entry.

201

SIR JOHN EVERETT MILLAIS, P.R.A., R.W.S. (SOUTHAMPTON 1829-1896 LONDON)

Studies for ‘North West Passage’, 1874

inscribed ‘artic./where the ship broke up’ (centre) and with inscription ‘Studies for ‘’The North-west Passage.1874’ (lower left)pencil10 x 7 in. (25.4 x 17.7 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500


Sir Francis Watson, and by descent to the present owner.

E X H I B I T E D :

London, Royal Academy of Arts, Millais Exhibition, 1967, no. 106, lent by Mr and Mrs Watson.

This drawing offers an important insight into alternative compositions considered by Millais for his sombre painting, the North West Passage

(Tate, London). In the drawing the old mariner points to a globe ‘where the ship broke up’ which refers to Sir John Franklin’s fateful voyage to fnd a sea route to the East via the Arctic in 1845. The globe does not appear in the fnished painting. The lower sketch suggests that Millais considered placing two fgures beside the mariner while the fnished painting depicts only one fgure, a young girl.

We are grateful to Malcolm Warner, Executive Director of the Laguna Art Museum for his help in preparing this catalogue entry.

102

203

JOHN MELHUISH STRUDWICK (LONDON 1849-1937)

Study of fgures in an interior (recto); with a subsidiary architectural studies (verso); and Study of two seated fgures with a child (recto); and subsidiary studies of trees and branches (verso)

pencil9√ x 7æ in. (25.1 x 19.7 cm.); 8æ x 9æ in. (22.2 x 24.6 cm.) (2)

£1,500-2,000 $2,500-3,200� Ç2,000-2,500


Both with Richard Feigen Gallery, Chicago as by Sir Edward Burne-Jones.

E X H I B I T E D :

(1) Santa Barbara, The Santa Barbara Museum of Art , January-March 1982, as by Sir Edward Burne-Jones.

204

STUDIO OF SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON)

Studies for the Apple Orchard in ‘Arthur in Avalon’

the frst inscribed in three places ‘TOP’ (variously)pencil16¿ x 22Ω in. (41 x 57.2 cm.); 12º x 18 in. (31 x 45.7 cm.) (2)

£2,000-3,000 $3,300-4,800� Ç2,600-3,800

Burne-Jones’ celebrated painting, The Sleep of King Arthur in Avalon (Museo de Arte, Ponce, Puerto Rico) is his largest and fnal painting. It was begun in 1881 as a mural for the library at Naworth Castle, the Cumbrian home of his friend and patron George Howard, 9th Earl of Carlisle (1843-1911). It is possible that the present drawings were executed by Burne-Jones’ studio assistant, Thomas Matthew Rooke (1842-1942). Rooke trained at South Kensington and the Royal Academy Schools before being taken on as Burne-Jones’s studio assistant in 1869 where he continued to work until his master’s death in 1898. Rooke was a skilled artist in his own right and the fne detail of these drawings is typical of his hand.


205

SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON)

A Study for 'St George and the Dragon': 'The return of the Princess'

black chalk heightened with white, on brown paper13 x 11æ in. (33 x 29.7 cm.)

£2,000-4,000 $3,300-6,500� Ç2,600-5,100


Anonymous sale; Christie’s, London, 20 January 1970, lot 54.

This study relates to the last painting in a series of seven illustrating the legend of St George. The fnished oil, Saint George and the Dragon: The return of the

Princess (Bristol City Art Gallery) shows Princess Sabra walking hand in hand with St George while female musicians form a procession around them. The paintings were commissioned in 1865 by Myles Birket Foster (1825-1899) to decorate his home at Witley, Surrey. Burne-Jones made a preliminary set of highly fnished pencil drawings, six of which are at the British Museum and there are more than sixty preparatory drawings in the Birmingham Museum and Art Gallery collection.


204

203

205

103

206

JAMES JACQUES JOSEPH TISSOT (NANTES 1836-1906 CHENECEY-BUILLON)

Portrait of Miss Golly Wilson, half-length, in profle to the left

inscribed ‘Miss Golly Wilson’ (upper left)pencil9 x 6æ in. (22.9 x 17.2 cm.)

£1,000-1,500 $1,700-2,400� Ç1,300-1,900


Sir Francis Watson, and by descent to the present owner.

This portrait can be dated to circa 1869-79 on account of the dress and hat. The sitter is not otherwise known but Tissot often drew pencil sketches for his friends that were independent studies in their own right. For another example of a lively pencil portrait see K. Matyjaszkiewicz, James Tissot, exh. cat. Barbican Art Gallery, 1984, no. 54, p. 109.

We are grateful to Krystyna Matyjaszkiewicz for her help in preparing this catalogue entry.

207

ALPHONSE LEGROS (DIJON 1837-1911 WATFORD)

Portrait of a young man

signed and dated ‘A. Legros/1889 ’ (upper right)silverpoint on cream prepared paper 12¡ x 9Ω in. (32.3 x 24.3 cm.)

£800-1,200 $1,300-1,900� Ç1,100-1,500

Legros moved from France to London in 1863 where he found success as an etcher, sculptor and painter. In 1876 he became Professor of Fine Art at the Slade School. With artists such as William Holman Hunt, Legros was part of a revival of the silverpoint technique which allowed for a clarity of line evident in this striking portrait. Several other silverpoint drawings by Legros are held in the National Portrait Gallery, London.

104

*208

FLORENCE CLAXTON (FL. 1859-1879)

The Choice of Paris - An Idyll

signed ‘Florence Claxton’ (lower left) and inscribed ‘A COCK WAS SCRATCHING UP THE STRAW IN A FARMYARD HE HIT UPON A JEWEL/HO! HE SAID HE ‘’YOU’RE A FINE THING NO DOUBT TO THOSE WHO PRIZE YOU BUT GIVE ME/A BARLEY- CORN BEFORE ALL THE PEARLS IN THE WORLD’’. ESOP [sic]’ (upper left) and ‘THE CHOICE OF PARIS. (An Idyll)’’ (on the mount) and further inscribed ‘The Choice of Paris. An Idyll/Florence Claxton’ (on the artist’s label on the backboard)pencil and watercolour with gum arabic, heightened with touches of bodycolour and gold on artist’s board9√ x 12Ω in. (25.1 x 31.7 cm.)

£5,000-8,000 $8,100-13,000� Ç6,400-10,000


with Agnew’s, London, where purchased by William E. Fredeman.

The original, oil version of this well-known satire on the Pre-Raphaelites was exhibited at the Portland Gallery in the spring of 1860 and was subsequently engraved, appearing in the Illustrated London News on 2 June. There are also at least four watercolour versions all differing in detail from each other and from the oil. Twelve years since the formation of the Pre-Raphaelite Brotherhood in 1848, the movement still aroused intense controversy and was the subject of jokes and ridicule in the press, such as Frederick Sandys’ celebrated engraving The Nightmare (1857) and George du Maurier’s Legend of Camelot, published in Punch in 1866.

Florence and her sister Adelaide were the daughters of Marshall Claxton, a minor painter of historical and biblical subjects. Florence exhibited at the Royal Academy and elsewhere and was also a prolifc illustrator of books and periodicals, much of her work appearing in a weekly paper called London Society.

Claxton based her satire on one of the most familiar subjects in classical mythology, the beauty contest in which the shepherd Paris awards a golden apple, to Venus, thus arousing the fury of her rivals, Juno and Minerva, and precipitating the Trojan War. In a room on the left, John Everett Millais, is seen presenting an apple to a grotesquely scrawny, red-haired Pre-Raphaelite ‘stunner’. Behind him a second painter examines the feet of another, equally hideous female model, while two more gaze at her with rapt adoration. References to Ruskin abound; the room is replete with details suggestive of Holman Hunt’s Awakening Conscience; portraits of Raphael, Van Dyck and Reynolds are hung with their faces to the wall; and an apostle from one of the Raphael Cartoons is shown the door.

The ivy-covered wall separating the interior from the landscape is of a type that features in many Pre-Raphaelite paintings, a reference which is emphasised by the depiction of an artist carefully studying the brickwork through opera glasses. The landscape contains fgures from Pre-Raphaelite paintings exhibited during the 1850s: Millais’ Blind Girl, Sir Isumbras, Vale

of Rest and Spring, Holman Hunt’s Scapegoat, John Brett’s Stonebreaker, W. L. Windus’s Burd Helen, and others. The blossom seen at the far right is a reference to Ruskin’s injunction to artists to study this as it appears against a blue spring sky, made in his Academy Notes of 1858.

105

209

GEORGE RICHMOND, R.A. (LONDON 1809-1896)

Portrait of the Hon. Norman Lister Melville (1839-1923), full-length, with cricket bat and stumps

signed and dated ‘Geo. Richmond delt 1845.’ (lower left) and inscribed ‘Norman Lister Melville/Aged 7/March 2nd ....1846 [?]/I am sorry to be obliged/to leave home before you return/this coat for Norman/.../yours most truly obliged/Geo Rich [mond]’ (on a label attached to the backboard) and with inscription ‘for Norman L. Melville’ (on a label attached to the backboard)pencil, black chalk, watercolour and bodycolour, with scratching out, arched26¿ x 15¡ in. (66.4 x 39 cm.)

£5,000-8,000 $8,100-13,000� Ç6,400-10,000


R. Lister, George Richmond, London, 1981, p. 166, no. 65.

The present watercolour is arguably one of Richmond’s most charming child portraits. Norman Lister Melville was the 4th child of John Thornton Leslie Melville and his 2nd wife Sophia Thornton. John and Sophia Melville, later 11th Earl and Countess of Leven and Melville, were close friends of the Richmonds. Richmond painted ffteen portraits of members of the Melville family between 1835 and1873. Norman Melville married Georgiana Bull, daughter of Captain William Shirley Bull on 4 December 1861. Lister, loc.cit., records a portrait of Mr Norman Melville, executed in 1845.

END OF SALE

106106

Index

AAgricola, C., 73

Amaury-Duval, E.-E., 122

Angelini, C., 115

Ango, J.-R., 105

Antoine, J.-D., 99

Auguste, H., 112

BBandinelli, B., 4

Barbieri, G. F., 18

Beerstraten, J.A., 62

Bélanger, L., 94, 96

Bergognon, A., 100

Berjon, A., 124

Bison, G.B., 46

Bisschop, J. de, 58, 59, 60,

61

Blarenberghe, H.-J. van, 97

Bloemen, P. van, 76

Bocion, F.-L.-D., 148

Bolognese School, 12

Bonvin, F., 135

Bronkhorst, J., 72

Burne-Jones, E., 202, 204, 205

Buytewech, W. P., 75

CCallow, W., 182, 191, 192,

193, 194

Cameron, C., 161

Canal, G. B., 40

Cantarini, S., 17, 19, 20

Carlevarijs, L., 48

Carpeaux, J.-B., 146

Cats, J., 69, 70

Chazal, A., 120

Clairin, G.-J.-V., 129

Clausse, G., 131

Claxton, F., 208

Constable, J., 169

Cooke, E., 196

Copley Fielding, A., 181

Corot, J.-B.C., 134

Cotman, J., 195

Courtois, J., 78

Couture, T., 140

Cox, D., 185, 186, 187

Crespi, G.M., 26

DDandini, C., 21

De Wint, P., 188, 190

Delafosse, J.-C., 98

Derobe, 102

Despiau, C., 147

Didier, J., 132

Diziani, G., 43

Doré, G., 141, 142, 143,

144, 145

Downman, J., 163

Dubois, G., 68

Ducros, A.-L.-R., 107

Dumont, A.-A., 128

Dusart, C., 57

EEisen, C.-D.-J., 89

English School, 157

FFeitama, S., 67

Florentine School, 9

Fontaine, P.-L.-F., 120

Fontebasso, F., 42

Fra Angelico, 7

French School, 34, 81, 84,

85, 90, 91, 101, 103, 125,

126, 127

GGainsborough, T., 159, 162

Gandolfi, U., 29, 30

Gardner, D., 153

German School, 51, 113

Giraud, P.-F.-E., 121

Girtin, T., 171, 172

Granet, F.-M., 119

Graziani, E., 22

Greuze, J.-B., 80, 88

Grimaldi, G. F., 23

Guardi, G., 47

Guercino, 18

HHavell, W., 183

Haydon, B., 149

Hengstenburgh, H., 71

Himpel, A., 63

Hugo, V., 133

IItalian School, 2, 10, 24, 31,

32, 33, 39

KKaisermann, F., 108

Kern, A., 36, 37

LLa Fargue, K., 54

Lancret, N., 83

Landseer, Sir E.H., 200

Langerock, H., 137

Lawrence, T., 151, 152

Lear, E., 198, 199, 200

Lecomte, P.-E., 130

Legros, A., 209

Lélu, P., 95

Lievens, J., 66

Linck, J. A., 116, 117

Lombard School, 5

Luti, B., 27, 28

MMaratti, C., 25

Martin, J., 160

Menzel, A. F., 139

Merli, A., 11

Mignard, P., 79

Millais, J.E., 201

NNicolle, V.-J., 106

Northern School, 8

OOrsoni, G., 35

Oudry, J.-B., 86, 87

PPars, W., 178

Percier, C., 110, 111

Pereda, A. de, 15

Perlin, F., 104

Pinelli, B., 109

Pippi, G., 1

Puvis de Chavannes, P., 138

RRatte, 92

Read, W., 177

Renesse, C. van, 55

Reni, G., 16

Ribot, T., 136

Richardson, J., 155

Richardson, T., 184

Richmond, G., 209

Roghman, G., 56

Romano, G., 1

Rosselli, M., 3

Rowlandson, T., 164

Rugendas, G.P., 77

SSaftleven, C., 52, 53

Saftleven, H., 64

Saint-Aubin, G. de, 93

Sandby, P., 156, 174, 175

Schaller, L., 114

Smith, J.W., 176, 179, 180

Spanish School, 13

Strudwick, J., 205

Swiss School, 118

TTiepolo, G.D., 45

Tissot. J.J.J., 206

Turner, J. & Girtin, T., 173

Vvan Honthorst, G., 14

Varley, J., 189

Vasari, G., 6

Veen, O. van, 50

Velde, W. van de, 65

Venetian School, 38, 41, 44

Vernet, A.-C.H., 123

WWalmsley, T., 174A

Wheatley, F., 165, 166

Wilton, J., 154

Wit, J. de, 74

Wyld, W., 197

ZZuccarelli, F., 49

107

Important Notices and Explanation of

Cataloguing Practice

IMPORTANT NOTICES

CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTIONFrom time to time, Christie’s 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, Christie’s 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 Christie’s holds such financial interest on its own we identify such lots with the symbol º next to the lot number.Where Christie’s has financed all or part of such interest through a third party the lots are identified in the catalogue with the symbol ºu. When a third party agrees to finance all or part of Christie’s 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 Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

ALL DIMENSIONS ARE APPROXIMATE

CONDITION Christie’s catalogues include references to condition only in descriptions of multiple works (such as prints, books and wine). For all other property, only alterations or replacement components are listed. Please contact the Specialist Department for a condition report on a particular lot. The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

30/09/14

PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER

PROTECTED SPECIESProperty made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife are marked with the symbol ~in the catalogue. Such material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whale bone and certain species of coral, together with Brazilian rosewood. Prospective purchasers are advised that several countries prohibit altogether the importation of property containing such materials, and that other countries require a permit (e.g., a CITES permit) from the relevant regulatory agencies in the countries of exportation as well as importation. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered and other protected wildlife material. The inability of a client to export or import property containing endangered and other protected wildlife material is not a basis for cancellation or rescission of the sale. Please note also that lots containing potentially regulated wildlife material are marked as a convenience to our clients, but Christie’s does not accept liability for errors or for failing to mark lots containing protected or regulated species.

RECENT CHANGES TO IMPORTS OF

ELEPHANT IVORY AND OTHER WILDLIFE

MATERIAL INTO THE USA

The USA has recently changed its policy on the import of property made of or containing elephant ivory. Only Asian Elephant ivory may be imported into the USA, and imports must be accompanied by DNA analysis and confirmation the object is more than 100 years old. We have not obtained a DNA analysis on any lot prior to sale and cannot indicate whether the elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any DNA analysis or other report required in connection with their proposed import of such property into the USA.

The USA is also currently requiring all imports of property made of or containing wildlife material to be accompanied by a scientific confirmation of species and in some cases an additional confirmation of age. We have not obtained such confirmations prior to sale (unless specifically indicated) and buyers will be responsible for the costs of any such additional confirmations or opinions required for their proposed import into the USA.

A buyer’s inability to export or import any lot containing elephant ivory or other wildlife material

is not a basis for cancelling the purchase.

POST 1950 FURNITUREAll 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.

EXPLANATION OF

CATALOGUING PRACTICE

Terms referred to in paragraph 2 are as follows:-

A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist.

In other cases, the following expressions, with the following meanings are used:

“Attributed to . . .”

in our opinion probably a work by the artist in whole or in part.

“Studio of . . .” “Workshop of . . .”

in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

“Circle of . . .”

in our opinion a work of the period of the artist and showing his influence.

“Follower of . . .”

in our opinion a work executed in the artist’s style but not necessarily by a pupil.

“Manner of . . .”

in our opinion a work executed in the artist’s style but of a later date.

“After . . .”

in our opinion a copy (of any date) of a work of the artist.

“Signed . . .” “Dated . . .” “Inscribed . . .”

in our opinion the work has been signed/dated/ inscribed by the artist. The addition of a question mark indicates an element of doubt.

“With signature . . .” “With date . . .” “With inscription . . .”

in our opinion the signature/date/inscription/ stamp is by a hand other than that of the artist

108

Buying at Christie’s

CONDITIONS OF SALEChristie’s Conditions of Sale and Limited Warranty are set out later in this catalogue. Bidders are strongly encouraged to read these as they set out the terms on which property is bought at auction.

ESTIMATES Estimates are based upon prices recently paid at auction for comparable property, condition, rarity, quality and provenance. Estimates are subject to revision. Buyers should not rely upon estimates as a representation or prediction of actual selling prices. Estimates do not include the buyer’s premium or VAT. Where “Estimate on Request” appears, please contact the Specialist Department for further information.

RESERVESThe reserve is the confidential minimum price the consignor will accept and will not exceed the low pre-sale estimate. Lots that are not subject to a reserve are identified by the symbol ) next to the lot number.

BUYER’S PREMIUMChristie’s charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% of the final bid price of each lot up to and including /50,000, 20% of the excess of the hammer price above /50,000 and up to and including /1,000,000 and 12% of the excess of the hammer price above /1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot. VAT is payable on the premium at the applicable rate.

PRE-AUCTION VIEWINGPre-auction viewings are open to the public free of charge. Christie’s specialists are available to give advice and condition reports at viewings or by appointment.

BIDDER REGISTRATIONProspective buyers who have not previously bid or consigned with Christie’s should bring:) 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.) For other business structures such as trusts, offshore companies or partnerships, please contact Christie’s Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply.) A financial reference in the form of a recent bank statement or a reference from your bank in line with your expected purchase level. Christie’s can supply a form of wording for the bank reference if necessary.) Persons registering to bid on behalf of someone who has not previously bid or consigned with Christie’s should bring identification documents not only for themselves but also for the party on whose behalf they are bidding, together with a signed letter of authorisation from that party. To allow sufficient time to process the information, new clients are encouraged to register at least 48 hours in advance of a sale.Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Clients who have not made a purchase from any Christie’s office within the last one year and those wishing to spend more than on previous occasions, will be asked to supply a new bank reference. For assistance with references, please contact Christie’s Credit Department at +44 (0)20 7389 2862 (London, King Street) or at +44 (0)20 7752 3137 (London, South Kensington). We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid.

REGISTERING TO BID ON SOMEONE ELSE’S BEHALFPersons bidding on behalf of an existing client should bring a signed letter from the client authorising the bidder to act on the client’s behalf. Please note that Christie’s does not accept payments from third parties. Christie’s can only accept payment from the client, and not from the person bidding on their behalf.

BIDDINGThe auctioneer accepts bids from those present in the sale-room, from telephone bidders, or by absentee written bids left with Christie’s in advance of the auction. The auctioneer may also execute bids on behalf of the seller up to the amount of the reserve. The auctioneer will not specifically identify bids placed on behalf of the seller. Under no circumstances will the auctioneer place any bid on behalf of the seller at or above the reserve. Bid steps are shown on the Absentee Bid Form at the back of this catalogue.

ABSENTEE BIDSAbsentee bids are written instructions from prospective buyers directing Christie’s to bid on their behalf up to a maximum amount specified for each lot. Christie’s staff will attempt to execute an absentee bid at the lowest possible price, taking into account the reserve price. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate.The auctioneer may execute absentee bids directly from the rostrum, clearly identifying these as “absentee bids”, “book bids”, “order bids” or “commission bids”. Absentee Bids Forms are available in this catalogue, at any Christie’s location, or online at christies.com.

TELEPHONE BIDSTelephone bids cannot be accepted for lots estimated below /2,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at +44 (0)20 7389 2658 (London, King Street) or +44 (0)20 7752 3225 (London, South Kensington). Arrangements to bid in languages other than English must be made well in advance of the sale date. Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation.

SUCCESSFUL BIDSWhile Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges. Successful bidders will pay the price of the final bid plus premium plus any applicable VAT.

PAYMENTBuyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer. Lots purchased in London may be paid for in the following ways: wire transfer, credit card: Visa and MasterCard & American Express only (up to /25,000), and cash (up to /5,000 (subject to conditions)), bankers draft (subject to conditions) or cheque (must be drawn in GBP on a UK bank; clearance will take 5 to 10 business days). Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 72 Lombard Street, London EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for international transfers, SWIFT LOYDGB2LCTY. For banks asking for an IBAN: GB81 LOYD 3000 0200 1727 10. Credit Card: Visa and MasterCard & American Express only. A limit of /25,000 for credit card payments will apply. This limit is inclusive of the buyer’s premium and any applicable taxes. Credit card payments at London sale sites will only be accepted for London sales. Christie’s will not accept credit card payments for purchases made in any other sale site. The fax number to send completed CNP (Card Member not Present) authorisation forms to is +44 (0) 20 7389 2821. The number to call to make a CNP payment over the phone is +44 (0) 20 7752 3388. Alternatively, clients can mail the authorisation form to the address below. Cash is limited to /5,000 (subject to conditions). Bankers Draft should be made payable to Christie’s (subject to conditions). Cheques should be made payable to Christie’s (must be drawn in GBP on a UK bank, clearance will take 5 to 10 business days).In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions.All mailed payments should be sent to:Christie’s, Cashiers’ Department, 8 King Street, St James’s, London, SW1Y 6QTPlease direct all inquiries to King Street Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863

VAT†VAT payable at 20% on hammer price and buyer’s premium* These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.Ω

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 20%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. Where applicable Customs duty will be charged (per rate specified by HMRC guidance) on the Hammer price and VAT will be payable at 20% on duty. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.α �Buyers�from�within�the�EU:�

VAT payable at 20% on just the buyer’s premium (NOT the hammer price). Buyers�from�outside�the�EU:�VAT payable at 20% on hammer price and buyer’s premium. If a buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Christie’s to this effect immediately

q Zero rated No VAT charged.

(no symbol) Auctioneers’ Margin Scheme In all other circumstances no VAT will be charged on the hammer price, but VAT payable at 20% will be added to the buyer’s premium which is invoiced on a VAT inclusive basis.

Wine�Auctions‡ This wine is in bond. You can choose to take the wine

in bond or duty paid. See the additional conditions of sale relating to wine for further details.

VAT�RefundsRefunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ωsymbol) if lots are exported within 30 days of collection. Valid export documents must be returned within the stipulated time frame. No refund will be paid out where the total amount is less than /100. UK & EU private buyers cannot reclaim VAT. Christie’s will charge /35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] non-EU buyers have failed to export their lots outside of the EU within the required time, HM Revenue & Customs will not allow a VAT refund to be made. This is a requirement of UK legislation and Christie’s do not have discretion to make exceptions to the rule. UK and EU private buyers cannot reclaim any VAT charged.

ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)If a lot is affected by this right it will be identified with the symbol λ next to the lot number. The buyer agrees to pay to Christie’s an amount equal to the resale royalty. Resale royalty applies where the Hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows:

Royalty For the portion of the Hammer Price (in Euro) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 0.25% in excess of 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

SHIPPINGIt is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s request and expense. Buyers should request an estimate for any large items or property of high value that require professional packing. A shipping form is enclosed with each invoice, alternatively buyers can visit www.christies.com/shipping to request a shipping estimate. For more information please contact the Shipping Department at + 44 (0)20 7389 2712 or via [email protected] for both London, King Street and London, South Kensington sales.

EXPORT OF GOODS FROM THE EUIf you are proposing to take purchased items outside the EU the following applies:Christie’s�Art�Transport:�If you use Christie’s Art Transport you will not be required to pay the VAT at the time of settlement.Christie’s�VAT�authorised�Shipper:If you use a Christie’s VAT authorised shipper you will not be required to pay the VAT at the time of settlement.Own�Shipper:VAT will be charged on the invoice, refundable by the VAT Department upon receipt of the appropriate official documents sent to us by your shipper.Hand-Carried:VAT will be charged on the invoice.This will be refunded by the VAT Department upon receipt of the appropriate official document.*, Ωor †Starred, Omega or Daggered lots – A C88 can be obtained from Christie’s Shipping Department .This document must be stamped by UK Customs on leaving the UK.(no symbol)Margin Scheme lots – Please obtain GB Tax Free form from the Cashiers. This document must be stamped by UK Customs on leaving the UK.Starred or Omega lots must be exported within 30 days of the date of collection. All other lots not subject to import VAT must be exported within three months of collection, and proof of export provided in the appropriate form.

EXPORT/IMPORT PERMITSBuyers should always check whether an export licence is required before exporting. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the rescission of any sale nor any delay in making full payment for the lot.Christie’s can advise buyers on the detailed provisions of the export licensing regulations and will submit any necessary export licence applications on request. However, Christie’s cannot ensure that a licence will be obtained. Local laws may prohibit the import of some property and/or may prohibit the resale of some property in the country of importation. For more information, please contact Christie’s Shipping Department at +44 (0)20 7389 2828 or the Museums, Libraries and Archives Council: Acquisitions, Export and Loans Unit at +44 (0)20 7273 8269/8267.

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Storage and Collection

Cadogan TaTe LTd’s Warehouse

241 Acton Lane,

Park Royal,

London NW10 7NP

Telephone: +44 (0)800 988 6100

Email: [email protected]

STORAGE & COLLECTION CHARGESSpecified lots, marked with a filled square ( ■ ) not cleared from Christie’s by 5.00 pm on the day of the sale and all sold and unsold lots not cleared from Christie’s by 5.00 pm on the fifth Friday following the sale will be removed to the warehouse of:Cadogan Tate Ltd241 Acton Lane, Park RoyalLondon NW10 7NPTelephone: +44 (0)800 988 6100Email: [email protected] will be available for collection on the first full business week after transfer to Cadogan Tate Ltd and every business weekday from 9.00 am to 5.00 pm.

Property, once paid, can be released to Christie’s

Fine Art Storage Services (CFASS) in London, New York or Singapore FreePort at any time for environmentally controlled long term storage, per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com, or contact [email protected]. Telephone: +44 (0)20 7622 0609 for details.

TRANSFER, STORAGE & RELATED

CHARGES (PER LOT)

CHARGES Furniture/ Pictures/ Large Objects Small Objects

Transfer/Admin /42.00 /21.00

Storage per day /5.25 /2.65

Extended The lower amount of 0.6% of Liability Charge: Hammer Price or 100% of the

above charges

All charges are subject to VAT. Very large or heavy items may be subject to a surcharge.

Please note that there will be no charge to

purchasers who collect their lots within two

weeks of this sale.

COLLECTION & PAYMENT OF ANY

CHARGES DUELots will be available for collection from Cadogan Tate Ltd241 Acton Lane, Park RoyalLondon NW10 7NPTelephone: +44 (0)800 988 6100Email: [email protected] every business day after the day of transfer, from 9.00 am until 5.00 pm. Lots may only be released by Cadogan Tate upona) production of the ‘Collection Order’ obtained from the cashier’s office at Christie’s, 85 Old Brompton Road, London SW7 or Christie’s, 8 King Street, London SW1 b) payment of any charges that may be due to Cadogan Tate LtdTo assist Cadogan Tate to provide a swift release please telephone on the business day prior to collection to ensure that Lots are available and to ascertain any charges due. If sending a carrier please ensure that they are provided with all necessary information, your written authority to collect, the Collection Order and the means to settle any charges.

COLLECTION FROM CADOGAN TATEPlease note that Cadogan Tate Ltd’s opening hours are Monday to Friday 9.00 am to 5.00 pm, and purchases transferred to their warehouse are not available for collection at weekends.

28/10/14

EXTENDED LIABILITY CHARGESAll services provided by Cadogan Tate Ltd (“Cadogan Tate”) will be subject to their standard Conditions of Business, copies of which are available at Christie’s South Kensington. Please note in particular that Cadogan Tate) does not accept any liability for damage or loss, due to its negligence or otherwise, exceeding the Hammer Price of a Lot plus associated Buyer’s Premium, or, at its sole option, the cost of repairing or replacing the damaged or missing Lot and) it reserves a lien over all goods in its possession for payment of storage and all other charges due to it and) it automatically arranges on behalf of the Lot’s owner and at the owner’s cost, insurance of the Lot for the sum of the Hammer price plus Buyer’s Premium. The Extended Liability Charge covers the Lot from the time of collection from the saleroom until release of the Lot to the owner or the owner’s agent. The Extended Liability Charge payable by the owner of the Lot is 0.6% of the sum of the Hammer Price and Buyer’s Premium or 100% of the transfer and storage charges, whichever is the smaller. This Extended Liability will not be arranged and no charge will be payable only on receipt by Cadogan Tate of advance written notice from the owner of the lot together with formal waiver of subrogation from the owners insurers.

Christie’s 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 Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.

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Conditions of Sale

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms governing the legal relationship of Christie’s and the seller with the buyer. You should read them carefully before bidding.

1. CHRISTIE’S AS AGENTExcept as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

2. CATALOGUE DESCRIPTIONS

AND CONDITIONLots are sold as described and otherwise in the condition they are in at the time of the sale, on the following basis.

(a) ConditionThe nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

(b) Cataloguing PracticeOur cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice, which appear after the catalogue entries.

(c) Attribution etcAny statements made by Christie’s about any lot, whether orally or in writing, concerning attribution to, for example, an artist, school, or country of origin, or history or provenance, or any date or period, are expressions of our opinion or belief. Our opinions and beliefs have been formed honestly and in accordance with the standard of care reasonably to be expected of an auction house of Christie’s standing, due regard having been had to the estimated value of the item and the nature of the auction in which it is included. It must be clearly understood, however, that, due to the nature of the auction process, we are unable to carry out exhaustive research of the kind undertaken by professional historians and scholars, and also that, as research develops and scholarship and expertise evolve, opinions on these matters may change. We therefore recommend that, particularly in the case of any item of significant value, you seek advice on such matters from your own professional advisers.

(d) EstimatesEstimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

(e) Fitness for PurposeLots sold are enormously varied in terms of age, category and condition, and may be purchased for a variety of purposes. Unless otherwise specifically agreed, no promise is made that a lot is fit for any particular purpose.

3. AT THE SALE(a) Refusal of admissionChristie’s has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.

(b) Registration before biddingProspective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. Prospective buyers must complete and sign a registration form with his or her name and permanent address, and provide identification before bidding. We may require the production of bank details from which payment will be made or other financial references.

(c) Bidding as principalWhen making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment.

(d) Absentee bidsWe will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and provided that we have exercised reasonable care in the handling of written bids, the volume of goods is such that we cannot accept liability in any individual instance for failing to execute a written bid or for errors and omissions in connection with it arising from circumstances beyond our reasonable control.

(e) Telephone bidsIf a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone but we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding arising from circumstances beyond our reasonable control.

(f) Currency converterAt some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter. Where these arise from circumstances beyond our reasonable control we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.

(g) Video or digital imagesAt some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image. We do not accept liability for such errors where they arise for reasons beyond our reasonable control.

(h) ReservesUnless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol ) next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

(i) Auctioneer’s discretionThe auctioneer has the right to exercise reasonable discretion in refusing any bid, advancing the bidding in such a manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive.

(j) Successful bid and passing of riskSubject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier.

4. AFTER THE SALE(a) Buyer’s premiumIn addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax. The buyer’s premium is 25% of the final bid price of each lot up to and including /50,000, 20% of the excess of the hammer price above /50,000 and up to and including /1,000,000 and 12% of the excess of the hammer price above /1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot, VAT is payable at the applicable rate.

(b) Artist’s Resale Right (“Droit de Suite”)If the Artist’s Resale Right Regulations 2006 apply to the lot the buyer also agrees to pay to us an amount equal to the resale royalty provided for in those Regulations. Lots affected are identified with the symbol λ next to the lot number.

(c) Payment and ownershipThe buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes or resale royalty) immediately after the sale. This applies even if the buyer wishes to export the lot and an export licence is, or may be, required. The buyer will not acquire title to the lot until all amounts due to us from the buyer have been received by us in good cleared funds even in circumstances where we have released the lot to the buyer.

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(d) Collection of purchasesWe shall be entitled to retain items sold until all amounts due to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, have been received in full in good cleared funds or until the buyer has performed any other outstanding obligations as we, at our sole discretion, shall require, including, for the avoidance of doubt, completing any anti-money laundering or anti-terrorism financing checks we may require to our satisfaction. In the event a buyer fails to complete any anti-money laundering or anti-terrorism financing checks to our satisfaction, Christie’s shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this, the buyer shall collect purchased lots within two calendar days from the date of the sale unless otherwise agreed between us and the buyer.

(e) Packing, handling and shippingAlthough we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot and in selecting third parties for these purposes, we are not responsible for the acts or omissions of any such third parties. Similarly, where we suggest other handlers, packers or carriers if so requested, our suggestions are made on the basis of our general experience of such parties in the past and we are not responsible to any person to whom we have made a recommendation for the acts or omissions of the third party concerned.

(f) Export licenceUnless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately after the sale nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export licence is required.

(g) Remedies for non paymentIf the buyer fails to make payment in full in good cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to, the following: (i) to charge interest at an annual rate equal to 5%

above the base rate of Lloyds TSB Bank Plc;(ii) to hold the defaulting buyer liable for the

total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law;

(iii) to cancel the sale;(iv) to resell the property publicly or privately on

such terms as we shall think fit;(v) to pay the seller an amount up to the net

proceeds payable in respect of the amount bid by the defaulting buyer;

(vi) to set off against any amounts which we, or Christie’s International plc, or any of its affiliates, subsidiaries or parent companies worldwide, may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer;

(vii) where several amounts are owed by the buyer to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, in respect of different

transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs;

(viii) to 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;

(ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us;

(x) to take such other action as we deem necessary or appropriate.

If we resell the property under paragraph (iv) above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all reasonable costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the seller under paragraph (v) above, the buyer acknowledges that Christie’s shall have all of the rights of the seller, however arising, to pursue the buyer for such amount.

(h) Failure to collect purchasesWhere purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us.

(i) Selling Property at Christie’sIn addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis.

5. LIMITED WARRANTYIn addition to Christie’s liability to buyers set out in clause 2 of these Conditions, but subject to the terms and conditions of this paragraph, Christie’s warrants for a period of five years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. headings having all capital-letter type) in this catalogue (as such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in this catalogue. Only UPPER CASE TYPE headings of lots in this catalogue indicate what is being warranted by Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s is not responsible for any errors or omissions in such material. The terms used in the headings are further explained in Important Notices and Explanation of Cataloguing Practice. The warranty does not apply to any heading which is stated to represent a qualified opinion. The warranty is subject to the following:

(i) It does not apply where (a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (b) correct identification of a lot can be demonstrated only by means of either a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.

(ii) The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Christie’s when the lot was sold at auction.

(iii) The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

(iv) The buyer’s sole and exclusive remedy against Christie’s and the seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither Christie’s nor the seller will be liable for any special, incidental or consequential damages including, without limitation, loss of profits nor for interest.

(v) The buyer must give written notice of claim to us within five years from the date of the auction. It is Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognised experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty.

(vi) The buyer must return the lot to the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.

6. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it.

7. SEVERABILITYIf any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

8. LAW AND JURISDICTIONThe rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of England. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of the United Kingdom.

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• DENOTES SALEROOM ENQUIRIES— Call the Saleroom or Office EMAIL— [email protected]

For a complete salerooms & offices listing go to christies.com

AUSTRIA

VIENNA

+43 (0)1 533 8812

Angela Baillou

BELGIUM

BRUSSELS

+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 (0)9 608 212

Barbro Schauman

(Consultant)

FRANCE

• PARIS

+33 (0)1 40 76 85 85

GERMANY

DÜSSELDORF

+49 (0)21 14 91 59 30

Arno Verkade

FRANKFURT

+49 (0)61 74 20 94 85

Anja Schaller

HAMBURG

+49 (0)40 27 94 073

Christiane Gräfin zu

Rantzau

MUNICH

+49 (0)89 24 20 96 80

Marie Christine Gräfin

Huyn

STUTTGART

+49 (0)71 12 26 96 99

Eva Susanne Schweizer

INDIA

• MUMBAI

+91 (22) 2280 7905

Sonal Singh

DELHI

+91 (98) 1032 2399

Sanjay Sharma

ISRAEL

TEL AVIV

+972 (0)3 695 0695

Roni Gilat-Baharaff

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

+31 (0)20 57 55 255

PEOPLES REPUBLIC

OF CHINA

BEIJING

+86 (0)10 8572 7900

• HONG KONG

+852 2760 1766

• SHANGHAI

+86 86 (0)21 6355 1766

Jinqing Cai

PORTUGAL

LISBON

+351 919 317 233

Mafalda Pereira

Coutinho

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Dalia Padilla

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(Consultant)

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UNITED STATES

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04/09/14

Worldwide Salerooms and European Offices

113

Christie’s Specialist Departments and Services

KEY TO ABBREVIATIONS

KS:

London, King Street

NY:

New York, Rockefeller Plaza

PAR:

Paris

SK:

London, South Kensington

DEPARTMENTS

AMERICAN FURNITURENY: +1 212 636 2230

AMERICAN INDIAN ARTNY: +1 212 606 0536

AMERICAN PICTURESNY: +1 212 636 2140

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

ANTIQUITIESSK: +44 (0)20 7752 3219

ARMS AND ARMOURSK: +44 (0)20 7752 3119

ASIAN 20TH CENTURY AND CONTEMPORARY ARTNY: +1 212 468 7133

AUSTRALIAN PICTURESKS: +44 (0)20 7389 2040

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BRITISH ART ON PAPERKS: +44 (0)20 7389 2278SK: +44 (0)20 7752 3293NY: +1 212 636 2085

BRITISH PICTURES 1500-1850KS: +44 (0)20 7389 2945

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FURNITUREKS: +44 (0)20 7389 2482SK: +44 (0)20 7389 2791

IMPRESSIONIST PICTURESKS: +44 (0)20 7389 2638SK: +44 (0)20 7752 3218

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TOPOGRAPHICAL PICTURESKS: +44 (0)20 7389 2040SK: +44 (0)20 7752 3291

TRIBAL AND PRE-COLUMBIAN ARTPAR: +33 (0)140 768 386

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TWENTIETH CENTURY DECORATIVE ART & DESIGNKS: +44 (0)20 7389 2140SK: +44 (0)20 7752 3236

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WATERCOLOURS AND DRAWINGSKS: +44 (0)20 7389 2257SK: +44 (0)20 7752 3293

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AUCTION SERVICES

CORPORATE COLLECTIONSTel: +44 (0)20 7389 2548 Email: [email protected]

FINANCIAL SERVICESTel: +44 (0)20 7389 2624Fax: +44 (0)20 7389 2204

HERITAGE AND TAXATIONTel: +44 (0)20 7389 2101Fax: +44 (0)20 7389 2300 EmIL:[email protected]

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESTel: +44 (0)20 7389 2343Fax: +44 (0)20 7389 2225 Email: [email protected]

MUSEUM SERVICES, UKTel: +44 (0)20 7389 2570 Email: [email protected]

PRIVATE SALESUS: +1 212 636 2034Fax: +1 212 636 2035

VALUATIONSTel: +44 (0)20 7389 2464Fax: +44 (0)20 7389 2038Email: [email protected]

OTHER SERVICES

CHRISTIE’S EDUCATIONLondonTel: +44 (0)20 7665 4350Fax: +44 (0)20 7665 4351Email: [email protected]

New YorkTel: +1 212 355 1501Fax: +1 212 355 7370Email: [email protected]

Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: [email protected]

CHRISTIE’S FINE ART STORAGE SERVICESLondon +44 (0)20 7622 0609 [email protected]

New York +1 212 974 4570 [email protected]

Singapore Tel: +65 6543 5252 Email: [email protected]

CHRISTIE’S INTERNATIONAL REAL ESTATENew YorkTel +1 212 468 7182Fax +1 212 468 [email protected]

LondonTel +44 20 7389 2551Fax +44 20 7389 [email protected]

Hong KongTel +852 2978 6788Fax +852 2845 [email protected]

27/05/14

114

JAN JOSEF HOREMANS I (Antwerp 1682–1759) A young boy drawing in a studio with subsidiary studies of a leaning man and a hand

red chalk · 12 1/4 x 7 3/4 in. (31.2 x 19.5 cm.)

Ç1,000–1,500

ContactBenjamin Peronnnet

[email protected]

+44 (0) 20 7389 2272

Viewing6–9 December

Cornelis Schuytsraat 57

1071 JG Amsterdam

Amsterdam • 10 December 2014

Part II

Dutch and Flemish drawings

from 1500 to 1900

Highlights Viewing28 November – 2 December

8 King Street

London SW1Y 6QT

115

christies.comContactJennifer Wright [email protected] +1 212 636 2384

Viewing24–29 January 20 Rockefeller Plaza New York, NY 10020

Old Master & British Drawings

New York • 29 January 2014

BARTOLOMÉ ESTEBAN MURILLO (Seville 1618–1682) Saint Joseph and the Christ Child with putti

with inscription ‘Murillo’ (brown ink, lower left) red, black and white chalk · 11Ω x 8Ω in. (29.1 x 21.6 cm.)

$60,000–80,000

116christies.com

ContactJennifer [email protected] +1 212 636 2384

Viewing17-21 January 20 Rockefella Plaza New York, NY 10020

Sold to beneft the Maurice Sendak Foundation

New York • 21 January 2015

JOHANN HEINRICH FÜSSLI, HENRY FUSELI, R.A. (ZURICH 1741 - 1825 LONDON)

Martha Hess as Silence

pencil and white chalk on buff paper · 22½ x 13 in. (54.5 x 33 cm.)

$120,000-180,000

Highlights Viewing28 November - 2 December 8 King Street London SW1Y 6QT

117

christies.comContactTim Schmelcher [email protected] +44 (0)20 7389 2268

Viewing28 November–2 December 8 King Street London SW1Y 6QT

Old Master Prints

London, King Street • 3 December 2014

FRANCISCO DE GOYA Y LUCIENTES (1746–1828) The Bulls of Bordeux (one plate illustrated)

complete set of four lithographs · 1825 · from the edition of one hundred impressions

£300,000–500,000

118

christies.comContactAlexandra McMorrow [email protected] +44 (0)20 7389 2538

Viewing5–9 December 8 King Street London SW1Y 6QT

19 Century European & Orientalist Art

London, King Street • 9 December 2014

FERNAND KHNOPFF (1858–1921) Clémentis

signed ‘FERNAND/KHNOPFF’ (lower left) · pastel on paper · 10 x 8Æ in. (25.4 x 22.2 cm.) · Executed circa 1914

£40,000–60,000

119

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Please also refer to the information contained in Buying at Christie’s. I request Christie’s to bid on the following lots up to the maximum price I have indicated for each lot. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus a buyer’s premium of 25% of the final bid price of each lot up to and including /50,000, 20% of the excess of the hammer price above /50,000 and up to and including /1,000,000 and 12% of the excess of the hammer price above /1,000,000, together with any VAT chargeable on the final bid and the buyer’s premium. VAT is chargeable on the purchase price of daggered (†) lots, and for buyers outside the EU on (α) lots, at the standard rate. VAT is chargeable on the purchase price of starred (*) lots at the reduced rate. Christie’s South Kensington is not able to notify successful bidders by telephone. While Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges.I understand that Christie’s provides the service of executing absentee bids for the convenience of clients and that Christie’s is not responsible for failing to execute bids or for errors relating to execution of bids. On my behalf, Christie’s will try to purchase these lots for the lowest possible price, taking into account the reserve and other bids. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If identical absentee bids are received for the same lot, the written bid received first by Christie’s will take precedence. Please contact the Telephone Bid office at least 24 hours in advance of the sale to make arrangements for telephone bidding. Tel: +44 (0)20 7752 3225All bids are subject to the terms of the Conditions of Sale and Limited Warranty printed in each Christie’s catalogue.

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UK£5,000 to UK£10,000 by UK£500s

UK£10,000 to UK£20,000 by UK£1,000s

UK£20,000 to UK£30,000 by UK£2,000s

UK£30,000 to UK£50,000 by UK£2,000, 5,000, 8,000

(ie: UK£32,000, 35,000,

38,000)

UK£50,000 to UK£100,000 by UK£5,000s

UK£100,000 to UK£200,000 by UK£10,000s

above UK£200,000 at auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

Auction Results: +44 (0)20 7839 9060

Absentee Bids Form Christie’s South Kensington

Absentee bids must be received at least 24 hours before the auction begins.

Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com

5877

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Old Master and British

Drawings and Watercolours

TUESDAY 2 DECEMBER 2014

85 Old Brompton Road, London SW7 3LD

CODE NAME: VERONA

SALE NUMBER: 5877

(Dealers billing name and address must agree with tax exemption certificate. Invoices cannot be changed after they have been printed.)

BID ONLINE FOR THIS SALE AT CHRISTIES.COM

09/08/13

120

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OMP & C19th PaintingsA1 Old Master and 19th Century Art Amsterdam 2 27 44 40L193 19th Century European Art including Orientalist Art King Street 2 48 72 76L1 Old Master and British Paintings King Street 5 119 181 190L195 Victorian and British Impressionist Pictures King Street 2 48 76 72L98 Topographical Pictures King Street 1 20 32 30N193 19th Century European Art New York 2 48 76 72N1 Old Master Paintings New York 3 71 108 114P1 Old Master & 19th Century European Paintings Paris 1 38 61 57K193 19th Century Paintings South Kensington 2 43 71 66K9 Old Master & Early British Drawings & Watercolours South Kensington 1 14 24 22K1 Old Master Paintings South Kensington 4 57 95 87K2 Victorian, Traditionalist & Sporting Pictures South Kensington 5 71 119 109K97 Australian Art South Kensington 1 14 24 22W9 Old Master & Early British Drawings & Watercolours Worldwide 4 95 152 144

OMP & 19TH CENTURY PAINTINGSContinental European and British paintings from the early Renaissance to the early 19th century. British and Irish Art from Tudor period to 1970, including pictures, works on paper, Sporting Art,Victorian and Scottish pictures. Continental European drawings from the early Renaissance to the early 19th century. Paintings, drawings and water-colors from the 19th century, including Romanticism, Genre, Realist, Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and nautical items, ship models and maritime instruments.

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16/10/14

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