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OLD MASTER

& BRITISH PAINTINGS


SOUTH KENSINGTON, THURSDAY 30 APRIL 2015

OLD MASTER &


BRITISH PAINTINGS
Thursday 30 April 2015

Melissa van Vliet


Head of Sale

AUCTION

STORAGE AND COLLECTION

Thursday 30 April 2015


at 2.00 pm Lots 401-576
85 Old Brompton Road
London SW7 3LD

Please refer to the important notice


on page 141. Please note that
Cadogan Tates opening hours are
Monday to Friday 9am to 5pm,
and purchases transferred to their
warehouse are not available for
collection at weekends.

AUCTION CODE AND NUMBER

In sending absentee bids or


making enquiries, this sale should
be referred to as ELOISE-10448

VIEWING
Flavia Lefebvre DOvidio

Saturday
Sunday
Monday
Tuesday
Wednesday

25
26
27
28
29

April
April
April
April
April

11.00
11.00
9.00
9.00
9.00

am
am
am
am
am

5.00
5.00
7.30
5.00
5.00

pm
pm
pm
pm
pm

AUCTIONEERS

Henry Pettifer and Nick Martineau


Lottie Gammie
SPECIALISTS

SERVICES

Melissa van Vliet


Head of Sale
Tel:+44 (0)20 7752 3256
Email: mvanvliet@christies.com

ABSENTEE BIDS

Flavia Lefebvre DOvidio


Tel:+44 (0)20 7752 3371
Email: fefebvre@christies.com

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Lottie Gammie
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EMAIL

First initial followed by last name @


christies.com (eg. Lottie Gammie =
lgammie@christies.com).
For general enquiries about this
auction, email should be addressed to
the auction administrator.
Front cover: Lot 542
Inside front cover: Lot 413
Opposite: Lot 497
Opposite department page: Lot 531
Opposite index: Lot 540
Inside back cover: Lot 562
Back cover: Lot 553

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OLD MASTER AND BRITISH PAINTINGS DEPARTMENT


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LONDON SOUTH KENSINGTON

LONDON KING STREET

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03/0315

AUCTION CALENDAR 2015


TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE.
CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
12 MARCH
VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART
LONDON, SOUTH KENSINGTON

1 APRIL
TOPOGRAPHICAL PICTURES,
THE WINKWORTH COLLECTION
LONDON, SOUTH KENSINGTON

13 MAY
THE VAN REGTEREN ALTENA
COLLECTION PART IV
AMSTERDAM

25 MARCH
DESSINS ANCIENS ET DU XIX SICLE
INC THE VAN REGTEREN ALTENA
COLLECTION PART III
PARIS

16 APRIL
19 TH CENTURY EUROPEAN
& ORIENTALIST ART
LONDON, SOUTH KENSINGTON

1 JUNE
RUSSIAN ART
LONDON, KING STREET

30 MARCH
TABLEAUX ANCIENS ET DU XIXEME
SICLE
PARIS

Subject to change.

30 APRIL
OLD MASTER PAINTINGS
LONDON, SOUTH KENSINGTON

9 JUNE
19 TH CENTURY EUROPEAN ART
& ORIENTALIST ART
LONDON, KING STREET

03/03/15

401

ATTRIBUTED TO THE STUDIO OF PEDRO ZUERA (HUESCA FL.1430-1469)


The Entombment
on gold ground panel, in an engaged frame
28 x 27 in. (71.3 x 69.8 cm.)

12,000-18,000

$19,000-27,000
17,000-25,000

402

MASTER OF CHARLES OF DURAZZO


(FLORENCE, LATE 14TH CENTURY)
A banquet in an encampment, a
wounded soldier, a man entering a city
and standing before a lady a cassone
panel
on gold ground panel, in an engaged frame
20 x 54 in. (52 x 138 cm.)

10,000-15,000

$16,000-23,000
14,000-21,000

PROVENANCE:

(Possibly) Count Leopold von Firmian,


Prince-Archbishop of Salzburg.
(Probably) Baron Karl Kuffner de Diszegh.
Baron Raoul and Baroness Tamara Kuffner de
Diszegh (ne Gorska, later de Lempicka),
their sale; Sothebys, New York, 18 November
1948, lot 37.
Anonymous Sale; Sothebys, London, 21 April
2005, lot 44 (31,200), when acquired by the
present owner.
LITERATURE:

E. Fahy, Florence and Naples: A Cassone Panel


in the Metropolitan Museum of Art in F. Avril
et al., Hommage Michel Laclotte: Etudes sur
la peinture du Moyen Age et de la Renaissance,
Milan, 1994, p. 242, note 26.

Baron Raoul Kuffner de Diszegh (1886-1961)


was the only son of the successful sugar
magnate Baron Karl Kuffner de Diszegh of
the extensive Austro-Hungarian Kuffner family
originally from Lundenburg, Moravia (nowadays
Breclav, Czech Republic). A substantial amount
of the picture collection of some 150 paintings
came from Baron Raouls mothers family, the
Counts von Firmian, notably Count Leopold von
Firmian, Prince-Archbishop of Salzburg. Baron
Raoul inherited the family estate and the sugar
factory in 1924 and under the infuence of his
mistress Tamara de Lempicka - the famed Art
Deco painter - he started exporting his collection
from Czechoslovakia in the early 1930s. He
subsequently sold all his properties in Central
Europe. In 1934 he married his mistress in Zurich
and spent their honeymoon in Egypt. In 1938
the couple had had valued a large part of their
collection including this cassone at Christies
in London, but with the approaching war the
couple decided to leave for America and left in
February 1939.

The Master of Charles of Durazzo has been


discussed by many scholars- ultimately Everett
Fahy in Florence and Naples: A Cassone Panel
in the Metropolitan Museum of Art, where he
lists the present lot amongst the pictures to be
added to the masters oeuvre (see LIT). Scholars
agree that the painter was Florentine, infuenced
by Orcagna and his followers. Federico Zeri dates
two cassone fronts by the Master (Victoria and
Albert Museum, London and Vitetti Collection,
Rome) to around 1400-1410, noting that these
are among the earliest surviving Florentine
Cassone panels. Other examples of cassone
panels by the Master of Charles of Durazzo are
now in the Metropolitan Museum of Art, New
York and in the Museo Nazionale del Bargello,
Florence. Another version of this composition is
in the Narodne Museum, Cracow (Czartoryski
collection, n. XII 198, see P. Schubring,
Cassoni, Leipzig 1915, plate XIV, fg. 97).
It has been previously noted that the story
illustrated might be that from the Gesta
Romanorum, in which the son of an Emperor
had adulterous relations with his step-mother
while his father was away at the wars.

403

CIRCLE OF THE MASTER OF THE MORRISON TRIPTYCH


(ANTWERP, ACTIVE FIRST QUARTER OF THE 16TH
CENTURY)
Saint John the Evangelist (recto);
Eve (verso) - the left wing of a triptych
oil on panel, shaped top
35 x 10 in. (90.8 x 26.7 cm.)

7,000-10,000

$11,000-15,000
9,800-14,000

PROVENANCE:

Collection of a European noble family, since at least mid-18th century.


Private collection, Brussels.

PROPERTY FROM A EUROPEAN PRIVATE COLLECTION (LOT 404)

404

GERMAN SCHOOL, 1515


Saint Valentine; and Saint Martin
the former inscribed and dated S. Vallarin. 1515 (lower centre);
the latter inscribed and dated MS. S. Martrin. 1515 (lower centre)
oil on panel, in an engaged frame
56 x 17 in. (143.5 x 45.1 cm.)

a pair (2)

20,000-30,000

403

$31,000-45,000
28,000-42,000

404

405

HISPANO-FLEMISH SCHOOL, 16TH CENTURY


Madonna and Child
on gold ground panel, unframed
9 x 7 in. (25.7 x 18.5 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

406

FOLLOWER OF JOOS VAN CLEVE


The Lamentation
oil on panel
28 x 20 in. (71.2 x 52.5 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

This lot relates to the altarpiece by van Cleve in the Muse du Louvre,
Paris.

407

STUDIO OF FRANS FLORIS (ANTWERP 1519/20-1570)


The Holy Kinship
oil on panel
21 x 31 in. (54 x 78.7 cm.)

15,000-20,000

$23,000-30,000
21,000-28,000

11

408

409

408

409

WORKSHOP OF DAVID VINCKBOONS


(MECHELEN 1576-BEFORE 1633 AMSTERDAM)
Soldiers forcing their way into a house in a village in winter

FLEMISH SCHOOL, 17TH CENTURY


A wooded landscape with a hunting party, mountains beyond

oil on panel
10 x 14 in. (26.6 x 35.5 cm.)

7,000-10,000

12

oil on copper
10 x 13 in. (26.7 x 35 cm.)

3,000-5,000
$11,000-15,000 
9,800-14,000

$4,600-7,500
4,200-7,000

410

MARTEN VAN CLEVE I


(ANTWERP C.1527-BEFORE 1581)
A visit to the wet nurse
oil on panel
11 x 26 in. (30 x 66.7 cm.)

25,000-35,000

$38,000-53,000
35,000-49,000

LITERATURE:

K. Ertz, C. Nitze-Ertz, Marten van Cleve


(1524-1581): Kritischer katalog der Gemlde und
Zeichnungen, Luca Verlag, Lingen, 2014, p. 187,
no. 111, illustrated.
Sold with a certifcate from Dr. Klaus Ertz (dated
6 October 2012) confrming the attribution.
The subject of the present lot must have been
a very successful one for Van Cleve. Klaus Ertz
mentions no less than thirteen examples in his
catalogue raisonn, of which six have a similar
composition to our painting (see K. Ertz). Of the
works that Ertz has dated, all originate from the

1570s except this lot, which he dates to 156570. This potentially places it amongst the earliest
known versions of this composition. Dr. Ertz
explains in the accompanying certifcate that
the size of our painting is unusual. The limited
height, but more extended width of panel has
led to the composition to be more spread out
compared to the others, for example the panel
in the Kunsthistorisches Museum, Vienna.
A farmer, his wife and their child are seated at
the table to the far left. The familiar gestures
between them indicate their family relations.
The man dressed in red is presumably a servant,
holding a piece of meat in one hand and a jug
in the other. The ffth fgure at the table is one
of the protagonists of the scene, according to
Ertz. His expensive clothing distinguishes him
from the farmer and his family, he is most
likely a nobleman or landlord. He looks on to
the centre of the room, where according to

Ertz, lays the key to understanding this scene.


The noblemans wife is kneeling by the fre,
beside a wet nurse feeding a baby. She holds
out a blanket, ready to wrap the baby in again.
Ertz has interpreted this as a scene where a
nobleman or landlord and his wife are visiting a
poor peasant family to have their child fed by a
wet nurse, presumably for a fee.
Besides the stark contrast in clothing, the room
in which this composition is set underlines the
differences between the noblemans family and
the farmers. The open doors and hole in the
wall to the far left emphasise the poor farmers
situation. His house can barely protect its
inhabitants against the elements. Food is strewn
over the foor and animals are living under
the same roof, including a pig eating from a
chamber pot.

13

411

ISAAC VAN OOSTEN (ANTWERP 1613-1661)


The Fall of Man in the Garden of Eden
oil on copper
27 x 41 in. (70 x 105.5 cm.)

12,000-18,000

PROVENANCE:

Anonymous sale; Sothebys, New York, 9 June 2011, Lot 35.

14

$19,000-27,000
17,000-25,000

412

ATTRIBUTED TO ABRAHAM
GOVAERTS (ANTWERP 1589-1626)
Ferries on an estuary stream
oil on copper, stamped on the reverse with the
maker's mark of Pieter Staes (active in Antwerp
c.1587-1610), the Antwerp hand and date 1604
8 x 11 in. (22.2 x 28.2 cm.)

8,000-12,000

$13,000-18,000
12,000-17,000

PROVENANCE:

Decock; sale, Charpentier, Paris, 12 May 1948,


lot 29, as 'Brueghel'.
It is suggested that the present, hitherto
unknown Ferries on an estuary stream is a
juvenile work by Abraham Govaerts, whose
career and oeuvre have been thoroughly
described by Ursula Haerting and Kathleen
Borms (Abraham Govaerts Die Waldmaler (1589
-1626) [2003]). Govaerts became a master in

the Antwerp guild of St. Luke in 1607/8, but his


independent career had already begun by the
previous year when he signed and dated, 1606,
the Inn in an wooded landscape in the Brussels
Museum of fne Arts. This is painted in the idiom
of Jan Brueghel the Elder, who had been active
in Antwerp since 1597 and whose infuence on
Govaerts is discussed by Haerting and Worms,
pp. 44ff. The debt in the present painting to
Brueghels art is even more obvious. In some
contrast is the Forest Landscape, which Haerting
and Borms believe to be Govaertss earliest
painting, where the inspiration of Gillis Claesz.
DHondecoeter is more apparent; his infuence
on the young Govaerts is discussed by them,
pp. 37ff. The Forest landscape is painted on a
copper support stamped by Pieter Staes and
dated 1605 , whereas the date on the present

support by Staes is 1604, which might suggest


an earlier use of it by the artist. Two other
copper supports by Staes, dated 1606 and 1609,
were also supplied to the young artist.

Detail of the reverse, showing the maker's mark


of Pieter Staes.

15

PROPERTY FROM A PRIVATE EUROPEAN


COLLECTION (LOT 413)

413

FOLLOWER OF PIETER BRUEGEL I


The Saint Johns Dancers in Molenbeeck
oil on panel
11 x 24 in. (30 x 62.5 cm.)

30,000-50,000

$46,000-75,000
42,000-70,000

PROVENANCE:

Anonymous sale; Christies, London, 14 May


1971, lot 107 as Pieter Brueghel the Younger.
with Gal. Boskovitch, Brussels, 1973.
EXHIBITED:

Nottingham, Dutch and Flemish Art,


September 1945, no. 32.
Middlesbrough, Municipal Art Gallery,
29 September-22 October 1949.
York, City of York Art Gallery, Masterpieces
from Yorkshire Houses, June 1951, no. 8
as Pieter Brueghel (sic.) the Elder.
Scarborough, Municipal Art Gallery,
Dutch Festival, June 1960.
LITERATURE:

S. Bergmans, Un Fragment peint du Plerinage


des Epileptiques Molenbeek-Saint-Jean, Oeuvre
perdu de Pierre Bruegel lAncien, Revue belge
darchologie et dhistoire de lart, XLI, 1972,
Brussels, 1974, pp. 41ff., fg. 1.
K. Ertz, Pieter Brueghel der Jngere, II, Lingen,
2002, p. 965, no. A.1398, illustrated.
The composition derives from a lost work of
Pieter Bruegel the Elder. Whether that prototype
was a painting or drawing is unknown however,
and its existence is presumed only through a
group of three engravings of 1642 by Henricus
Hondius. These divide the principle fgures of the
composition into three groups (in reverse), and
are accompanied by a description of the events
depicted: Vertooninge Hoe de Pelgerimmen, ops.

16

Ians-dagh, buyten Brussel, tot Meulenbeeck


danssen moeten, ende als sy over dese Brugh
gedanst hebben, ofte gedwongen werden op
desevolgende maniere, dan schijnen sy, voor
een Iaer, van de vallende Sieckte, genesen te zijn
[Images of How the pilgrims, on Saint Johns
Day, outside Brussels, have to dance their way to
Meulenbeeck, where, either willingly or forced,
have to cross the bridge there, and they will be
healed from disease for a year].
Hondiuss text then goes on to describe the
various elements of the scene, and attribute the
composition to den uytnemenden konstigen
Schilder Pieter Breugel. One might suppose,
from that, that Hondius was accurately refecting
three separate compositions by Breugel (two of
the engravings are also inscribed individually
P. Breugel inv and P.B. inv). However, crucially
Hondius text also refers to how ende dan
komen de Huyslieden van dier plaets, haer
lavende, ende wat warms in-gevende [And then
the villagers arrive who live near the bridge,
and they provide the group with something
to drink and something warm to eat]. This
evidently refers to fgures walking just beyond
the foreground procession represented here. It
is likely that Pieter Is prototype was of slightly
expanded dimensions, with other fgures and a
landscape beyond; Hondius himself then divided
that for his series of engravings.
This undivided and enlarged composition, with
added fgures, is known in fve works, including
one picture signed by Pieter Brueghel II, sold
at Christies, London, 6 December 2007, lot
26 (216,500) and four drawings (Vienna,
Albertina; Amsterdam, Rijksmuseum; Berlin,
Staatliche Museen, and a much looser sketch
recorded in the Witt Library as being in a

collection in Grenoble). Our picture however,


whilst it may derive in some way from the work
sold in 2007, is a unique composition, the only
example (either drawn or painted) to show just
the foreground characters.
That Bruegel was a witness to the events in the
composition, specifcally on the Feast of the
Nativity of the Baptist in 1564 (as recorded by
the inscription on the Vienna drawings, probably
recording one on the original), and that his
prototype was either a sketch drawn from life or
based on his frst-hand experience, is not only
possible, but also likely. The annual procession
of epileptics on the Feast Day of the Nativity
of Saint John the Baptist was a real historical
occurrence. The type of condition seems to have
been some form (or indeed maybe a number
of diffferent types) of dyskinesia (it is debatable
whether it was the same as the present day
St. Vitus Dance) that frst appeared in the
later fourteenth century in a number of mass
outbreaks, of which the frst was in Aachen
on 24 June 1374. The association with Saint
John derived from his being the Patron saint
of epileptics, and his therefore being invoked
for aid by sufferers and spectators; a parallel
association also existed with Saint Vitus, and
both names for the disease are found in early
sources, although the latters proved the
more enduring. Dancers would often also be
accompanied by musicians as it was believed at
that the order of music could heal both body
and soul (scholars such as Adam Milligan touted
music as a cure for the ailments of society as
well, imbuing it with the power to restrain
social vices). Seizures and fts would often thus
be treated by playing music in an attempt to
control the erratic spasms and gyrations of the
dancers.

414

415

414

415

ATTRIBUTED TO DAVID VINCKBOONS


(MECHELEN 1576-1633 AMSTERDAM)
The Adoration of the Shepherds

FOLLOWER OF JAN BRUEGHEL I


Allegory of Air

oil on panel, unframed


10 x 13 in. (25.4 x 35 cm.)

3,000-5,000

oil on canvas
27 x 36 in. (70 x 92.8 cm.)

4,000-6,000
$4,600-7,500 
4,200-7,000

PROVENANCE:

Mario Fumasoli (1901-1989), former Swiss ambassador in Buenos Aires and


Madrid.
with Legatt, London, where acquired by a private Swiss institution.

$6,100-9,000
5,600-8,400

416

417

PROPERTY OF LORD EGREMONT DL,


REMOVED FROM PETWORTH HOUSE
(LOTS 416, 454 & 510)

416

FOLLOWER OF JAN GRIFFIER


An extensive river landscape with drovers
and their cattle, mountains beyond
oil on canvas
19 x 25 in. (49.1 x 63.3 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

PROVENANCE:

George Wyndham, 3rd Earl of Egremont (17511837), by 1833, and at Petworth House, Sussex,
by 1837 (Inventory of Paintings, Sculpture and
Books at Petworth House, Property of The Late
George, 3rd Earl of Egremont), and by descent.
LITERATURE:

C.H. Collins Baker, Catalogue of the Petworth


Collection of pictures in the possession of
Lord Leconfeld, London, 1920, p. 119, no. 338,
as Swiss School, 18th Century.

PROPERTY OF A EUROPEAN FAMILY


(LOTS 417, 418, 461, 543 & 545)

417

GERRIT VAN HEES


(? 1615/35-1670 HAARLEM)
A shepherd with his fock and other
fgures on a path by a village
signed and dated G. van Hees / 1663[?]
(lower left, on the rock)
oil on panel
14 x 24 in. (35.8 x 61.2 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

418

419

420

PROPERTY OF A EUROPEAN FAMILY


(LOTS 417, 418, 461, 543 & 545)

418

419

420

CIRCLE OF ABRAHAM GOVAERTS


(ANTWERP 1589-1626)
An Arcadian wooded river landscape
with animals in the thickets, travellers
with a dog on a path beyond

CIRCLE OF THEOBALD MICHAU


(TOURNAI 1676-1765 ANTWERP)
A wooded landscape with a horse-drawn
wagon and travellers on a path

MARTEN RYCKAERT
(ANTWERP 1587-1631)
A wooded river landscape with fgures
hunting ducks and stags, a hilltop village
beyond

oil on panel, stamped on the reverse with the


coat-of-arms of the City of Antwerp and the
panel makers mark of Guilliam Aertssen
(active 1612-1626)
15 x 22 in. (38.8 x 56 cm.)

10,000-15,000

PROVENANCE:

with J.H. Carter, London.

$16,000-23,000
14,000-21,000

oil on panel
22 x 32 in. (56.5 x 81.9 cm.)

7,000-10,000

oil on copper

$11,000-15,000 3 x 5 in. (7.9 x 14.9 cm.)


9,800-14,000 10,000-15,000
$16,000-23,000

14,000-21,000
We are grateful to Drs. Luuk Pijl for confrming
the attribution on the basis of a photograph.
Drs. Pijl dates this work to the 1620s and notes
that the modest size of this copper combined
with the lush brushwork indicates that it was
destined for an Antwerp cabinet.

21

421

GORTZIUS GELDORP (LEUVEN 1553-1616 COLOGNE)


Portrait of a gentleman, half-length, in a black embroidered doublet and white ruff,
holding a branch of vine leaves, in a feigned oval; and Portrait of a lady, half-length,
in a black embroidered dress with a stomacher, wearing a gold chain, with a lace ruff
and headdress, holding a prayer book, in a feigned oval
the former inscribed AEtatis. suae.26 / Ano1613 (upper right)
oil on panel
28 x 21 in. (72.4 x 54.4 cm.)
in 18th century gilded frames

a pair (2)

10,000-15,000

22

$16,000-23,000
14,000-21,000

n*422

CIRCLE OF FRANS POURBUS II


(ANTWERP 1569-1622 PARIS)
Portrait of Maria Vertemata, three-quarter length, in a richly
embroidered oyster dress and bejewelled black dress, with
a gold chain, lace cuffs, ruff and head-dress, a lace-trimmed
napkin in her left hand, before a draped curtain
inscribed and dated MARIA VERTEMATA / ANIGARO / 1594 (upper left)
and Alla M (...) La Sig.ra / Maria Vertemata Paniga / rola (...) / MT (?)
(lower left)
oil on canvas
48 x 33 in. (124 x 85 cm.)

7,000-10,000

$11,000-15,000
9,800-14,000

422

423

FOLLOWER OF SIR ANTHONY VAN DYCK


Portrait of Nicholas Rockox (1560-1640), half length,
in black coat and a white ruff
oil on panel
6 x 6 in. (15.9 x 15.9 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

PROVENANCE:

Dr. L. Kroll, London.


The present lot relates to the panel sold in Sothebys, New York on 28
January 2010, lot 170. Van Dyck painted Rockox, who was mayor of
Antwerp no less than eight times between 1603 and 1625, on numerous
occasions. A three-quarter-length portrait can be found in the Hermitage,
St. Petersburg.

423

23

n424

AFTER SIR PETER PAUL RUBENS


The Virgin and Child with Saint George,
Mary Magdalene, Saint Jerome and Saint
Augustine
oil on canvas
104 x 76 in. (265.5 x 193.4 cm.)

7,000-10,000

$11,000-15,000
9,800-14,000

After the picture of c.1638-39, in Our Ladys


Chapel, Sint-Jacobskerk, Antwerp.

n425

FOLLOWER OF
SIR PETER PAUL RUBENS
The Death of Seneca
oil on canvas
74 x 49 in. (190 x 126 cm.)
in a late 17th century, early Rgence French
gilded frame with carved scallop shell corner
cartouches and fowered centred cartouches
linked by scrolling foliage and fowers on a crosshatched ground

15,000-25,000

$23,000-38,000
21,000-35,000

PROVENANCE:

George Fermor, 5th Earl of Pomfret (1824-1867),


by 1838, and by descent at Eaton Neston until
Sothebys, on the premises, 17 May 2005, lot 95,
when acquired by the present owner.

424

LITERATURE:

G. Baker, The History and Antiquities of the


County of Northamptonshire, 1838, part IV,
p. 145, Death of Seneca, Reubens (sic), as
hanging in The Gallery.
T.G. Litchfeld, 3 Bruton Street., London,
The Valuation and Inventory of the more
important Furniture, China, Articles of Vertu,
Decorations and Pictures at Easton Neston,
February 1889, typed document (family archive),
p. 41, 400,
as hanging in the Gardon Hall.
Messrs. Foster, Auctioneers & Valuers, Pall Mall,
London, Hon. Sir Thomas Hesketh, The Inventory
of the contents of the mansion Easton Neston
House, Towcester also certain China, Furniture,
and Cabinet Objects at 9 Montagu Square,

24

London, removed by Lady Hesketh from Easton


Neston House, August 1910, manuscript (Family
Archive), 1910, p. 12 as hanging in The Saloon.
Anonymous compiler, An Inventory of the
mansion and contents, Easton Neston House,
Towcester, types document (Family Archive),
1923, p. 19, item 8, 200, as hanging in the
Library.
Archibald Phillips, 16 Conduit Street, London,
W1, Inventory and Valuation of the Household
Furniture, ornamental objects, Pictures and
other items at Easton Neston House, Towcester,
Northants, February 1927, typed document
(Family Archive), 1927, p. 30, item 16. 150,
as hanging in the Library.

The prime version of Rubens Death of


Seneca is in the Alte Pinakothek, Munich
and dates to 1612-13. The soldiers to the
upper left are omitted in the former Easton
Neston painting and there are several similar
compositions recorded, including in Stockholm,
Nationalmuseum. For a discussion of the other
versions, see. E. McGrath, Subjects from History
1, Corpus Rubenianum, XIII, 1997, vol. I. fg
199 and vol. II pp. 296-7. These and the present
lot might have been painted in Rubens studio.

425

426

CIRCLE OF SIR PETER PAUL RUBENS


(SIEGEN, WESTPHALIA 1577-1640 ANTWERP)
Study of a cherub
oil on canvas
16 x 19 in. (42 x 50 cm.)
with a crowned armorial red wax seal of Saxony, dated 1741,
on the reverse

3,000-5,000

$4,600-7,500
4,200-7,000

This is a copy, very probably from Rubens studio, of the


central angel in the Nativity (see M. Jaffe, Rubens, Catalogo
Completo, 1989, no. 660).

PROPERTY OF A DECEASED ESTATE (LOTS 427 & 517)

427

ATTRIBUTED TO GORTZIUS GELDORP


(LEUVEN 1553-1618 COLOGNE)
Head of a lady, a fragment
oil on panel
16 x 14 in. (42.5 x 37.5 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

426

428

STUDIO OF SIR PETER PAUL RUBENS


(SIEGEN, WESTPHALIA 1577-1640 ANTWERP)
Portrait of Queen Isabella de Bourbon (1602-1644),
bust-length, in a red and gold dress, with a white
ruff and pearl earrings, pearls and feathers in her
hair
oil on canvas
17 x 14 in. (44.8 x 37.3 cm.)

15,000-20,000

$23,000-30,000
21,000-28,000

Rubens was in Madrid from September 1628 to April 1629


as an envoy of the Archduchess of Austria, Isabella Clara
Eugenia (1566-1633). Michael Jaff states in his article (M.
Jaff, Rubenss Portrait of Isabelle de Bourbon, Queen of
Spain, Artibus et Historia, vol. 13, no. 26, 1992, pp. 9-14.)
that between his diplomatic duties he had been granted
sittings with all members of the Spanish royal family, to paint
their heads. Rubens painted his study of Isabella de Bourbon
in the autumn of 1628. (sold at: Property of a Lady of Title;
Sothebys, London, 26 July 1972, lot 8, removed from Stobo
Castle, Peebleshire.) Jaff suggests that the studies were
brought to Rubens studio and were used to paint portraits for
the Infanta Isabella. They would have been kept to be used
as models for larger portraits that were required for offcial
purposes. The present lot is presumably based on this study.
427

428

27

429

430

429

430

ENGLISH SCHOOL, LATE 17TH CENTURY


Portrait of King Richard III (1452-1485), half-length, in a
blue, ermine lined mantel with lashed sleeves, a gold, jewelencrusted necklace and a black cap with a jewel-encrusted
brooch

ENGLISH SCHOOL, CIRCA 1700


Portrait of King Henry IV (1367-1413), half-length, in a green,
ermine lined velvet doublet with gold embroidery, holding a
sceptre and a red rose

inscribed .RICARDO. III (upper centre)


oil on panel
23 x 17 in. (58.7 x 43.7 cm.)

5,000-8,000

inscribed HENRICVS IIII and Henry 4th. / K. of Eng.d (upper left)


oil on canvas
20 x 16 in. (51.4 x 43 cm.)

3,000-5,000
$7,600-12,000 
7,000-11,000
431 NO LOT

28

$4,600-7,500
4,200-7,000

432

ENGLISH SCHOOL,
LATE 16TH CENTURY
Portrait of Henry Stanley, 4th Earl of
Derby, K.G. (1531-1593), bust-length,
in a black slashed doublet with a lacetrimmed ruff and a fur-lined coat,
wearing the Greater George and a black
bejewelled hat with a plume
inscribed with the sitters coat-of-arms within the
Garter motto and coronet (upper right)
oil on panel
24 x 19 in. (61 x 49.5 cm.)

5,000-8,000

Stanley was a prominent politician and diplomat


in his day. He entered parliament in 1559 and
succeeded his father as earl and lord lieutenant
of Lancashire in 1572. Stanley was admitted
a Knight of the Garter on 24 April 1574 and
appointed privy councillor on 20 May 1585. He
married Margaret (1540-1596), eldest daughter
of Henry Clifford, 2nd Earl of Cumberland
(1517-1570) and his frst wife Lady Eleanor
Brandon (1519-1547). Lady Brandon was the
daughter of Charles Brandon, 1st Duke of
Suffolk (1484-1545) and Princess Mary Tudor
(1496-1533) who was Henry VIIIs younger sister.

$7,600-12,000
7,000-11,000 According to a Heinz library card, this lot was

PROVENANCE:

J.B. Gold, 1964.


Anonymous sale; Sothebys, London, 11 July
1983, lot 63.

erroneously said to have been included in the


Shakespeare Exhibition in Stratford-on-Avon in
1964, as no. 7. Stanley was however a patron
of a company of actors: Derbys Men. His sons
Ferdinando Stanley, 5th Earl of Derby (15591594) and William Stanley, 6th Earl of Derby

(c.1561-1642) were also heavily involved with


theatre. Interestingly, a portrait of William
was included in this particular exhibition.
Derbys Men became famous under the
patronage of Ferdinando. Before succeeding
his father as earl in 1593 he even had his
own company of players: Stranges Men,
who were the leading company in England by
1592. Shakespeare was probably a member
of the company at that time. In the 20th
century William was primarily well known,
because he was put forward as the real
Shakespeare, these claims however were
unfounded. Nevertheless, William was a
gifted writer of comedies in his own right and
also had his own troupe of theatre players.
It is a popular claim that Shakespeare wrote
his A Midsummer Nights Dream for Williams
wedding to Elizabeth de Vere (1575-1624) in
1595.

29

433

CORNELIUS JONSON VAN CEULEN


(LONDON 1593-1661 UTRECHT)
Portrait of a gentleman, half-length, in
a black coat and white ruff, in a feigned
oval
signed with initials C.J. fecit (strengthened,
lower right)
oil on panel
26 x 19 in. (66.1 x 50.2 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

The present lot can be placed amongst the


earliest in Jonsons oeuvre. Very little is known
about his early career and training, but we
know that he was born in London and went to
Holland where he is suspected to have trained
as an artist. He is recorded back in England in
January 1619 and his earliest known works date
from the same year. The feigned oval is typical
of Jonsons early work, as is its distinct brown
pigment. The presence of a hand in a bustlength portrait in a feigned oval is more unusual.
The handling of the fesh tones in the sitters
face is characteristic for Jonson in this period.
It can be compared to Sir Alexander Temples
portrait of 1620 in the Yale Center for British
Art, Paul Mellon Collection, which has the same
polished quality. The radiance of Jonsons fesh
tones disappears in later portraits when his style
becomes more Dutch and realistic.
We are grateful to Karen Hearn for her
assistance in compiling this entry.

433

434

ENGLISH SCHOOL, 16TH CENTURY


An Allegory of Youth and Old Age
extensively inscribed (upper left, upper right and
lower centre)
oil on panel
20 x 20 in. (52 x 50.5 cm.)

10,000-20,000

$16,000-30,000
14,000-28,000

The poems upper left and right relate to verses


6 and 7 of Psalm 39. The second poem upper
right relates to part of a poem on a former
tomb in the church of St. Andrew, Holborn,
London, which was published in: J. Stow and J.
Mottley, A Survey of the cities of London and
Westminster, borough of Southwark, and parts
adjacent, London 1733. It was located on the
south wall of the choir by the tombs of Richard
Aldworth and his wife Elizabeth, deceased 1603.

PROVENANCE:

Anonymous sale [A. Warner]; Christies, London,


12 June 1964, lot 145 (35 gns. to Shelburn).
Anonymous sale; Sothebys, London, 11 July
1983, lot 66.

30

My Turtle gone,
all Joy is gone from me,
Ill mourne a while,
and after fee:
For Time brings
youthfull Youths to age,
And Age brings
Death, our Heritage.

Sadly the tombs no longer exist. Sir Christopher


Wren rebuilt the church from the foundations
between 1684 and 1687, but the publishing
date of the survey suggests that the tomb was
still there in the early part of the 18th century.
However, the church was destroyed during the
blitz.
Whilst it is unclear where the central poem
comes from, the second to last verse appears to
relate to one of the oldest and most well known
notions of mankind.
And as thow woldst be done vnto
So to th neighbour always doo
Do unto others as you would have them
do unto you features prominently in many
religions, philosophies and ethics. In England,
this notion was referred to as the Golden rule
from the 1670s onwards.

434

The poems all touch on the themes death,


age, youth and time, which is illustrated by
the dashing young man standing to the left,
opposite an older bearded man holding a skull
in his right hand and a prayer book in his left.
There is another skull by his feet. Hovering
above the men and between the poems is
Father Time, holding his attributes a scythe and
hourglass.

The young noble man bears a resemblance


to a portrait of Edward de Vere, 17th Earl of
Oxford (1550-1604), dated 1575 in the National
Portrait Gallery. De Vere was a courtier and
poet, and prominent among the literary circle
of his day. If the young noble man were indeed
de Vere, the poems in the present lot could
point to his poetry, he wrote sonnets and was

interested in re-working psalms. Or perhaps


de Veres presence between moralising and
admonitory poems is a reference to the scandals
surrounding the Earl during his lifetime.

31

435

n435

ENGLISH SCHOOL, 17TH CENTURY


Oliver Cromwell at the Battle of Worcester
oil on canvas
32 x 53 in. (82.5 x 134.6 cm.)

8,000-12,000

$13,000-18,000
12,000-17,000

PROVENANCE:

(Possibly) Andrew Lloyd, and by descent to,


William Reynolds Lloyd, Aston Hall, near Oswestry, Shropshire, and
by descent, until before 1623.
This rare depiction of Oliver Cromwell at Worcester, the last
battle of the English Civil War, which took place on 3 September
1651, is likely to have been commissioned by Andrew Lloyd,
a captain in Cromwells army. The picture hung at Aston Hall,
Shropshire, but would appear to have left the possession of the
Lloyd family before the contents of the house were auctioned by
Ludlow, Briscoe and Hughes, in a series of sales over nine days in
July 1923.

436

32

436

CIRCLE OF SIR ANTHONY VAN DYCK


(ANTWERP 1599-1641 LONDON)
Portrait of Philip Herbert, 1st Earl of
Montgomery and 4th Earl of Pembroke
(1584-1650), half-length, in a golden
doublet and lace collar, wearing the
Greater George
inscribed Earl of Pembroke (lower right)
oil on canvas
30 x 25 in. (76.3 x 63.5 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

PROVENANCE:

Sir William Fielding, 1st Earl of Denbigh (15821643).


Anonymous sale; Sothebys, London, 12 July
1995, lot 14, as Sir Anthony van Dyck and
Studio (18,000).
Compton Verney House Trust, 2004.
Anonymous sale; Sothebys, London, 6 June
2007, lot 6, as Studio of van Dyck (33,600).
LITERATURE:

G. Glck, van Dyck, Stuttgart, 1931, p. 444.


E. Larsen, LOpera Completa di van Dyck, 16261641, Milan, 1980, p. 116, no. 844.
E. Larsen, The Paintings of Anthony van Dyck,
Freren, 1988, II, p. 367, no. 939.
S. Barnes et. al., Van Dyck. A Complete Catalogue
of the Paintings, New Haven and London, 2004,
p. 571, under no. IV.183, as probably studio of
van Dyck.
ENGRAVED:

W. Hollar, 1642.

n437

AFTER SIR ANTHONY VAN DYCK


Portrait of Queen Henrietta Maria (16091669), full-length, in a blue dress with
red ribbons, with a pearl necklace and
earring
oil on canvas
75 x 43 in. (191.5 x 111.4 cm.)

10,000-15,000

$16,000-23,000
14,000-21,000

The prime version of this composition is the halflength portrait in The Royal Collection.

437

33

438

439

n438

n439

FOLLOWER OF SIR ANTHONY VAN DYCK


Portrait of a gentleman, full-length, in a black slashed doublet
and breeches, with a lace collar and gloves by a column,
with a landscape beyond

FOLLOWER OF SIR PETER LELY


Portrait of King James II (1633-1701),
full-length, in Garter Robes

oil on canvas, unframed


81 x 50 in. (206.1 x 127 cm.)

6,000-10,000

oil on canvas
90 x 56 in. (229 x 142 cm.)

4,000-6,000
$9,100-15,000
8,400-14,000

$6,100-9,000
5,600-8,400

PROVENANCE:

PROVENANCE:

Anonymous sale; Christies, London, 19 July 1985, lot 72,


as Circle of Sir Anthony van Dyck, inscribed The earl of Pembroke.
After the picture in the collection of Viscount Cobham, Hagley Hall

34

Melton Constable, Norfolk, until 1987.


Anonymous sale; Christies, London, 30 January 1987, lot 121.
Anonymous sale [The Property of a Gentleman]; Christies, London,
10 April 1992, lot 15.

440

440

GERARD SOEST (? C.1600-1681 LONDON)


Portrait of a lady, traditionally identifed as Rebecca, Lady
Williamson (d. 1722), bust-length, in a blue dress and
golden wrap, in a sculpted oval; and Portrait of a gentleman,
traditionally identifed as Sir Robert Williamson, 3rd Bt.
(1640-1707), bust-length, in a white shirt and grey wrap,
in a sculpted oval
both signed Soest Pinxit (centre left and right, respectively)
oil on canvas
30 x 25 in. (77.5 x 64 cm.)

a pair (2)

6,000-8,000

$9,100-12,000
8,400-11,000

441

AFTER SIR ANTHONY VAN DYCK


Portrait of the artist, bust-length in a feigned oval
oil on canvas, unlined, corners made up
25 x 19 in. (65 x 48.3 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

After the picture of circa 1640, in the National Portrait Gallery, London.
441

35

442

CIRCLE OF ANTONIO DAVID


(VENICE BEFORE 1684-1750 ROME)
Portrait of Maria Clementina Sobieska (1702-1735),
three-quarter-length, in a white dress and blue wrap
oil on copper, oval
7 x 5 in. (17.8 x 14 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

Born into Polish nobility, Maria Clementina Sobieska married James


Francis Edward Stuart, Prince of Wales, and gave birth to two sons, the
eldest being Charles Edward Stuart (1720-1788), known as Bonnie Prince
Charlie. An engraving related to the present composition was made by
Pierre Drevet.

442

n*443

CIRCLE OF SIR GODFREY KNELLER


(LBECK 1646-1723 LONDON)
Portrait of a gentleman, traditionally identifed as John Harvey
(1666-1742), half-length, in oyster robes
with identifying inscription Johannes Harvey / Arm. / De / Ickwell Bury /
Com, Bedford . / 1714 / painted by / Sir Godfrey Kneller (lower left)
oil on canvas
50 x 40 in. (127 x 102 cm.)

5,000-8,000

443

$7,600-12,000
7,000-11,000

THE PROPERTY OF A GENTLEMAN (LOTS 444 & 502)

n444

SIR GODFREY KNELLER (LBECK 1646-1723 LONDON)


Portrait of Elizabeth Skipwith, Lady Craven (1679-1704),
three-quarter-length, in a blue dress and red shawl,
a wooded river landscape beyond
with identifying inscription Lady Craven obiit 16 May 1704 (along the
upper edge)
oil on canvas
50 x 40 in. (127 x 102.2 cm.)

6,000-8,000

$9,100-12,000
8,400-11,000

PROVENANCE:

Estate of the 7th Earl of Craven; Phillips, London, 11 December 1984, lot 29.
Anonymous sale; Sothebys, London, November 14 1990, Lot 32.

444

n445

CHARLES JERVAS (DUBLIN C.1675-1739 LONDON)


Portrait of Jane du Cane, alias du Quesne (b.1711), threequarter-length, in a white silk dress with golden trimming and a
plumed hat, a cane in her left hand, a landscape beyond
with identifying inscription Jane Du Cane alias Du Quesne, Daughter /
of Richard Du cane alias Du Quesne, and / Anne Lyde, born on Friday the
22d ofJune / 1711.-. this Picture was drawn Anno.1729. / by Charles Jarvis
[sic] of St. Jamess. (on the reverse)
oil on canvas, unlined, unframed
49 x 40 in. (124.3 x 102.2 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

PROVENANCE:

Anonymous sale [Property of a Gentleman]; Sothebys, London,


24 November 1999, lot 18.
Jane du Cane was the daughter of Richard du Cane (1688-1741), M.P.
for Colchester, and his wife Anne Lyde. The du Cane family were a
Hugenot family, who arrived in England in the late sixteenth century to
escape persecution in the Spanish Netherlands. They were a powerful
and infuential family in London. The present sitters brother Peter (17131803) became a Director of the Bank of England, East India Company and
Vice-President of the London Infrmary. Du Cane married Charles Boehm
(1699-1769) in 1730, who came from an equally powerful Hugenot
family. Gawen Hamiltons magnifcent group portrait of circa 1734-5 at
Tate Britain commemorates their marriage and familys alliance.
445

37

446

ALLAN RAMSAY
(EDINBURGH 1713-1784 DOVER)
Portrait of a gentleman, half-length, in a blue cloak
and cravat, holding a tricorn
oil on canvas
30 x 25 in. (76.2 x 63.5 cm.)
in an English 18th century carved frame in the Louis XV style
with cabochon centres and shell corners

8,000-12,000

$13,000-18,000
12,000-17,000

PROVENANCE:

Art market, London, 1970s.


Private collection, Spain.
LITERATURE:

A. Smart, Allan Ramsay: A Complete Catalogue of His


Paintings, ed. J. Ingamells, New Haven and London, 1999,
p. 203, no. 594, fg. 493.
A chalk study, by Ramsay, of a three-quarter-length fgure
holding a tricorn (Edinburgh, National Gallery of Scotland)
relates closely to the present portrait (see Smart, loc. cit.
fg. 676).

446

447

ATTRIBUTED TO THOMAS HUDSON


(DEVON 1701-1779 TWICKENHAM)
Portrait of a lady, half-length, in a white
embroidered lace-trimmed dress and a bonnet,
seated in an interior
oil on canvas
29 x 24 in. (75.6 x 62.1 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

n448

THOMAS HUDSON
(DEVON 1701-1779 TWICKENHAM)
Portrait of a gentleman, three-quarter-length,
in Van Dyck costume, his left hand resting on a
stick, in a landscape
oil on canvas laid down on panel
48 x 37 in. (122 x 96.2 cm.)

20,000-30,000

$31,000-45,000
28,000-42,000

The sitter depicted here may be Thomas Osborne, 4th Duke


of Leeds (1713-1789).
447

38

448

39

n*449

DUTCH SCHOOL, CIRCA 1630


Portrait of a gentleman, half-length, in a black doublet with
lace-trimmed ruff and cuffs, his gloves in his right hand,
wearing his sword
oil on panel
40 x 31 in. (102.8 x 80 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

449

THE PROPERTY OF A GENTLEMAN (LOT 450)

n450

DUTCH SCHOOL, 1642


Portrait of a gentleman, aged 39, half-length, in a black coat
and white collar, a book in his left hand
inscribed with the sitters coat of arms and dated AEt. 39 / 1642
(upper left) and S.D.V. (on the book)
oil on panel
42 x 33 in. (107 x 84.5 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

PROVENANCE:

Mrs. Cunningham, Belgrave Square (according to an old label attached


to the frame)

450

40

451

ATTRIBUTED TO CORNELIS KETEL


(GOUDA 1548-1616 AMSTERDAM)
Portrait of a gentleman, probably a member of the van
Eversdijck family, aged 53, bust-length, in a feigned oval
inscribed with the sitters coat-of-arms (upper left), Ao. 1605.
(upper right), AET.s 53. (lower left) and .VIDs: 80 (lower right)
oil on panel
23 x 18 in. (59.8 x 46 cm.)

7,000-10,000

$11,000-15,000
9,800-14,000

PROVENANCE:

van de Werve dImmerseel, Antwerp.


Private collection, Belgium.
The distinctive coat-of-arms (upper left), with the three boar heads, had
been thought to indicate that the sitter of the present picture was a
member of the de Neuf family of Wommelgem and Immerseel, whose
arms were granted to the municipality of Wommelgem in 1840. However,
we know that in 1693, following the marriage of Simon de Neuf (16471714) to Jacqueline van Eversdijck, the de Neuf family had in fact been
given permission to use the arms of the van Eversdijck family - a golden
shield with three boar heads, akin to the one that appears here. Given
that this portrait pre-dates this association between the two families, it
would seem very likely that the sitter is in fact a van Eversdijck.

451

452

CIRCLE OF MICHIEL VAN MIEREVELT (DELFT 1566-1641)


Portrait of a gentleman, bust-length, in a black coat
and white ruff
oil on panel
19 x 15 in. (49 x 39.6 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

452

41

453

ATTRIBUTED TO CASPAR NETSCHER


(HEIDELBERG 1639-1684 THE HAGUE)
Portrait of Coenraad van Beuningen (1622-1693),
three-quarter-length, in a blue japonsche rok and
a lace stock, before a draped curtain
oil on canvas
19 x 15 in. (48.5 x 39.5 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

Coenraad van Beuningen is said to be shown here when he was 24 years


old. From a young age, he was a successful diplomat and member of the
Amsterdam city council. He was chosen mayor of Amsterdam six times
and represented Holland as an envoy in Sweden, Denmark, England
and France. Another version of the present portrait is in the Amsterdam
Historisch Museum.

453

PROPERTY OF LORD EGREMONT DL,


REMOVED FROM PETWORTH HOUSE (LOTS 416, 454 & 510)

454

AFTER REMBRANDT HARMENSZ. VAN RIJN


Self-portrait of the artist in a helmet
oil on panel
23 x 18 in. (60.2 x 46.6 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

PROVENANCE:

George Wyndham, 3rd Earl of Egremont (1751-1837), at Petworth House,


Sussex, by 1837 (Inventory of Paintings, Sculpture and Books at Petworth
House, Property of the Late George, 3rd Earl of Egremont), and by descent.
LITERATURE:

C.H. Collins Baker, Catalogue of the Petworth Collection of pictures in the


possession of Lord Leconfeld, London, 1920, p. 102, no. 71.
After the self-portrait, dated 1634, in the Staatliche Museen Kassel,
Gemldegalerie.

454

42

n455

JOHANN HULSMANN (ACTIVE COLOGNE 1632-1646)


The Abduction of the Women at the Dance of Shiloh
oil on canvas, unframed
58 x 79 in. (147.3 x 200.6 cm.)

10,000-15,000

$16,000-23,000
14,000-21,000

The ancient Shiloh was the religious capital of Israel in the time of the Judges. As described in
Judges 21, a war between tribes killed every man, woman and child of the tribe of Benjamin, save
for six hundred young men. After the war, the perpetrators repented and tried to fnd wives for
the surviving men, so that the tribe could perpetuate. Four hundred virgins were found in the only
city that was not guilty of the massacre. The other two hundred were kidnapped during a religious
celebration in Shiloh, when the daughters of the city went out to dance in the vineyards.

43

456

456

ADRIAEN ROMBOUTS (ACTIVE BRUSSELS C.1653-1670)


Peasants drinking and playing cards in a tavern
signed A. Rombou(...) .f (lower centre)
oil on canvas
17 x 21 in. (44.5 x 53.5 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

PROPERTY FROM A PRIVATE SWISS COLLECTION (LOT 457)

*457

FOLLOWER OF ADRIAEN VAN OSTADE


A man cutting fsh by a table with an earthenware jug
with monogram AV. O (lower centre)
oil on panel
9 x 7 in. (24.1 x 19.8 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

458

HENDRICK MARTENSZ. SORGH (ROTTERDAM 1609-1670)


A man smoking and drinking in a tavern
signed and dated Sorgh / 1669 (lower left)
oil on panel
10 x 8 in. (27.5 x 22.5 cm.)

7,000-10,000
457

$11,000-15,000
9,800-14,000

458

45

459

460

459

460

ATTRIBUTED TO CLAES WOU (AMSTERDAM 1592-1665)


A man-o-war off a rocky coast

ATTRIBUTED TO ABRAHAM DE VERWER


(BEFORE 1600-1650 AMSTERDAM)
A view of a Dutch fortifed town, possibly
a colonial fort in the Dutch East Indies

oil on panel
11 x 14 in. (28 x 37.9 cm.)

8,000-12,000

$13,000-18,000 oil on canvas


12,000-17,000 28 x 41 in. (72.5 x 104 cm.)
6,000-8,000

PROVENANCE:

Anonymous sale [Mr. W. Hood]; Christies, London, 8 November 1957,


lot 29, as Van de Velde (22 gns. to Corakin)
Anonymous sale; Galerie Lempertz, Munich, September 1979,
as Bonaventura Peeters (according to a label on the reverse)
We are grateful to Dr. Jeroen Giltaij for proposing the attribution
on the basis of photographs.

46

$9,100-12,000
8,400-11,000

PROVENANCE:

Anonymous sale; Sothebys, London, 27 October 1976, lot 20.


Anonymous sale; Sothebys, London, 7 July 1999, lot 470,
as 'Abraham de Verwer', when acquired by the present owner.

PROPERTY OF A EUROPEAN FAMILY (LOTS 417, 418, 461, 543 & 545)

461

HERMAN SAFTLEVEN
(ROTTERDAM 1609-1685 UTRECHT)
An extensive mountainous landscape with fgures resting
in the foreground, others harvesting, a river valley beyond
signed in monogram and dated HS / 1673 (lower left)
oil on panel
11 x 14 in. (27.8 x 37.8 cm.)

12,000-18,000

$19,000-27,000
17,000-25,000

PROVENANCE:

with Scheidwimmer, Munich.


LITERATURE:

Weltkunst, 15 March 1977, p. 472, illustrated.


Weltkunst, 1 April 1977, p. 646, illustrated.
W. Bernt, Die niederlndischen Maler und Zeichner des 17. Jahrhunderts,
III, Munich, 1980, p. 15, no. 1096.
W. Schulz, Herman Saftleven. 1609-1685. Leben und Werke. Mit einem
kritischen Katalog der Gemlde und Zeichnungen, Berlin and New York,
1982, p. 174, no. 188, fg. 48.

47

462

CIRCLE OF JOHN RILEY (LONDON 1646-1691)


Portrait of a gentleman, traditionally identifed
as John Churchill, 1st Duke of Marlborough
(1650-1722), half-length, in an ochre robe
with inscription Nicolas de Largilliere (on the reverse)
oil on canvas, oval
30 x 25 in. (76 x 64.5 cm.)
in an 18th century silver gilt frame

3,000-5,000

$4,600-7,500
4,200-7,000

462

n463

ATTRIBUTED TO JOHN GREENHILL


(SALISBURY C.1642-1676 LONDON)
Portrait of John Wood (c.1692-1748), three-quarterlength, in a brown coat and lace stocking, a dog
at his side, ships from the Honourable East India
Company beyond
oil on canvas
49 x 40 in. (125 x 102.2 cm.)

5,000-7,000

$7,600-11,000
7,000-9,700

PROVENANCE:

By descent in the sitters family, through Sir William Bowyer


Smyth, Bt. by May 1886 (according to an old label on the
reverse), until,
The Bowyer Smyth Heirlooms. Property removed from Hill Hall,
Theydon Mount, Epping, Essex; Christies, London, 29 April
1932, lot 102, as SIR P. LELY (20 gns. to Freeman).
Anonymous sale; Christies, London, 18 April 1996, lot 54.

463

464

NICOLAES MAES (DORDRECHT


1634-1693 AMSTERDAM)
Portrait of a gentleman, traditionally
identifed as James Butler, 2nd Duke
of Ormonde, K.G. (1665-1745), threequarter-length, in a golden doublet and
red mantle, a wooded landscape beyond
oil on canvas
25 x 21 in. (63.5 x 53.3 cm.)

6,000-8,000

$9,100-12,000
8,400-11,000

464

465

JACOB DE WET I
(HAARLEM C.1610-1671/2)
The meeting of David and Abigail
indistinctly signed J D W..T (lower centre)
oil on panel
20 x 26 in. (52 x 66 cm.)

5,000-7,000

$7,600-11,000
7,000-9,700

PROVENANCE:

Anonymous sale; Sothebys, Olympia, 6 July


2004, lot 434, when acquired by the present
owner.

465

49

466

STUDIO OF WILLEM VAN AELST


(DELFT 1627-1683/4 AMSTERDAM)
Peaches on a pewter plate with grapes, chestnuts
and hazelnuts on a partly draped stone ledge
signed Guillme van Aelst (upper left)
oil on canvas
25 x 20 in. (64.7 x 52.2 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

PROVENANCE:

Private Collection, Europe, 1860-1997.


with Johnny van Haeften, London, 1997-1998.
Anonymous Sale; Galerie Fischer, Luzern, 23/24 April 1998, lot 2014,
as W. van Aelst.
with Artemis Fine Arts, London, 1999-2000.
Anonymous sale; Sothebys, London, 11 December 2003, lot 168A,
when acquired by the present owner.
We are grateful to Fred Meijer, of the RKD, The Hague, for confrming
the attribution on the basis of photographs.

466

467

CHARLES CORNELISZ. DE HOOCH


(?THE HAGUE 1600/1606-1638 UTRECHT)
A fgure by a well in a grotto with a sarcophagus,
an arcade beyond
inscribed with occult symbols on the cartouches on the column
oil on panel
24 x 19 in. (61.5 x 49.5 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

PROVENANCE:

Anonymous sale [The Property of a Lady]; Christies, London, 5 July 1991,


lot 326 (21,000).
It has been suggested that the vegetation in the foreground may have
been executed by Mathias Withoos (Amersfoort 1627-1703 Hoorn),
while the fgure may be by a third hand.

467

468

WILLIAM GOWE FERGUSON


(SCOTTISH 1632/3- AFTER 1695)
A partridge, bullfnches and other birds, with hunting
paraphernalia, on a partially draped stone ledge
signed W.G. Ferguson.F. (centre, on the cage)
oil on canvas
24 x 21 in. (62.5 x 53.4 cm.)

5,000-7,000

$7,600-11,000
7,000-9,700

468

469

ISAC VROMANS
(? 1648/1668-C.1706 THE HAGUE?)
A forest foor with a snail on a tree trunk,
blackberries, butterfies and a bumblebee
indistinctly signed .... Isack .... (lower right)
oil on panel
11 x 9 in. (28.5 x 22.8 cm.)

1,500-2,000

$2,300-3,000
2,100-2,800

We are grateful to Fred Meijer, of the RKD, The Hague,


for confrming the attribution on the basis of photographs.

469

51

PROPERTY FROM THE ESTATE OF THE LATE MISS BARBARA JUDD


(LOTS 470-474)

470

CORNELIS SAFTLEVEN (GORINCHEM


1607-1681 ROTTERDAM)
A hoard of creatures with the Seven
Deadly Sins, before a tavern
indistinctly inscribed and dated ...de dian /
Anno 1653 (centre, on the fag)
oil on panel
13 x 16 in. (34.5 x 42.6 cm.)

10,000-15,000

$16,000-23,000
14,000-21,000

PROVENANCE:

Lionel Tollemache, 8th Earl of Dysart


(1794-1878), Ham House, Surrey, by 1844,
and by descent to,
William John Manners Tollemache, 9th Earl of
Dysart, DL (1895-1935), by whom bequeathed
with the house in 1935 to his second cousin,
Sir Lyonel Tollemache, 4th Bt. (1854-1952),
and by descent to his granddaughter
Barbara Judd (1926-2013).
LITERATURE:

W.C. Joel, A Catalogue and Valuation of the


Furniture, Plate, Books, Pictures and Engravings at
Ham House, Petersham, Surrey, Richmond, 1911,
p. 133, listed as D. Teniers.
C. Rowell ed. Ham House, 400 Years of Collecting
and Patronage, New Haven, 2013, Appendix 5:
The 1844 Inventory, p. 497, listed as Teniers.

This infernal view is set before the Evil Inn (in


Dutch 'quade harberge', Bax 1956 pp. 91-92): a
shady tavern in which secular music, gambling,
alcohol and prostitution lead to the sins of lust,
anger, vanity, greed, alcoholism and addiction
to gambling. The Seven Deadly Sins are depicted
in the painting and can be identifed through
Hieronymus Boschs Seven Deadly Sins and the
Four last Things (Museo del Prado, Madrid), in
which the deadly sins and their attributions are
individually depicted and identifed in Latin.
Following the concept that one sin leads to
another, the deadly sins are often depicted in
sequence. Inside the Evil Inn, men and women
are eating and drinking: referring to the sin of
gluttony (gula), similarly depicted in Boschs
tondo. A devil is leaving the Inn with two heavy
bags, probably full of money. In the scene of
envy (invidia) depicted by Bosch, a fgure is
similarly bent by the weight of his heavy burden.
A couple of steps beneath him a woman,
identifed as a procuress by her horned hat,
personifes lust (luxuria). The central donkeylike lady in lavish clothes and overly decorated
hat, with her hands to her hips, refers to pride
(superbia). The beaked monster nearby is
brandishing a spear to the sky: this is the typical
symbol for wrath (ira), also depicted in Boschs
Four Deadly Sins. To the lower left, monsters
have dropped to their knees to gather coins

from the foor, probably embodying the sin of


avarice (avaritia). The hunchbacked beggars in
the middle-ground might refer to sloth (accidia)
or, according to the scene from The Seven
Deadly Sins where a beggar appears, to greed
(avaritia).
Furthermore, the animals depicted in the panel
are all connected to the devil, which denotes the
roots of these sins. The musical company above
is playing instruments connected with secular
music, which in contrast with sacred music was
traditionally associated with sensual pleasure.
In the distance, an army of men is marching
against demons, symbolizing the fght of the
soul against evil.
To intensify the moralizing theme of the panel,
an old woman sits at the entrance of the inn,
quietly but steadily spinning her wheel amongst
this foolish party. She is probably Clotho, one
of the three fates, who spins the thread of life.
As a sort of memento mori she looks out at the
viewer admonishing to make the right choices
in life.
We are grateful to Fred Meijer, of the RKD,
The Hague, for confrming the attribution on the
basis of photographs.

471

PIETER NEEFS II
(ANTWERP 1620-AFTER 1675) AND
FOLLOWER OF FRANS FRANCKEN II
The interior of the Cathedral of Our Lady,
Antwerp, with mass being celebrated
on one of the altars, and other elegant
fgures conversing
signed and dated P. NEFS / 1656 (lower right,
on the column)
oil on panel
20 x 27 in. (50.8 x 69.8 cm.)

10,000-15,000

LITERATURE:

W.C. Joel, A Catalogue and Valuation of the


Furniture, Plate, Books, Pictures and Engravings at
Ham House, Petersham, Surrey, Richmond, 1911,
p. 130, listed as Steenwyck.
We are grateful to Fred Meijer, of the RKD,
The Hague, for proposing the attribution on the
basis of photographs.

$16,000-23,000 The painting is visible in a photograph of the


14,000-21,000 'Miniature Room' (now the 'Green Closet')
in Ham House, Surrey (Fig. 1).

PROVENANCE:

William John Manners Tollemache, 9th Earl of


Dysart, DL (1895-1935), Ham House, Surrey,
by 1904, by whom bequeathed with the house
in 1935 to his second cousin,
Sir Lyonel Tollemache, 4th Bt. (1854-1952),
and by descent to his granddaughter
Barbara Judd (1926-2013).

Fig. 1; The Green Closet, Ham House, showing lots


470 and 471 in situ, 1904.

53

472

472

CIRCLE OF JULES-CSAR-DENIS VAN


LOO (PARIS 1743-1821)
A wooded winter landscape with fgures
chopping wood beside a horse-drawn
cart with skaters on a frozen river, a
village beyond
oil on canvas
15 x 43 in. (40 x 109.5 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

PROVENANCE:

LITERATURE:

(Probably) Lionel Tollemache, 8th Earl of Dysart


(1794-1878), Ham House, Surrey, by 1844, and
by descent to,
William John Manners Tollemache, 9th Earl of
Dysart, DL (1895-1935), by whom bequeathed
with the house in 1935 to his second cousin,
Sir Lyonel Tollemache, 4th Bt. (1854-1952), and
by descent to his granddaughter Barbara Judd
(1926-2013).

(Probably) W.C. Joel, A Catalogue and Valuation


of the Furniture, Plate, Books, Pictures and
Engravings at Ham House, Petersham, Surrey,
Richmond, 1911, p. 109.
(Probably) C. Rowell ed. Ham House, 400 Years
of Collecting and Patronage, New Haven, 2013,
Appendix 5: The 1844 Inventory, p. 499, listed
as Polidore.
We are grateful to Ellis Dullaart, of the RKD,
The Hague, for proposing the attribution on
the basis of a photograph.

473

ATTRIBUTED TO ANTOINE
MONNOYER (PARIS 1670-1747
SAINT-GERMAIN-EN-LAYE)
Roses, parrot tulips, carnations, lilies
and other fowers in a wicker basket
on a stone ledge
with signature Baptiste (lower right)
oil on canvas
25 x 30 in. (63.5 x 76.2 cm.)

5,000-7,000

$7,600-11,000
7,000-9,700

We are grateful to Fred Meijer, of the RKD,


The Hague, for proposing the attribution on
the basis of a photograph.

473

474

ATTRIBUTED TO JAN PHILIPS VAN THIELEN


(MECHELEN 1618-1667)
Roses, parrot tulips, thistles, holly and other fowers with a
brimstone butterfy on a cartouche with a sculpted angel; and
Roses, a Turk-cap lily, narcissi, a parrot tulip and other fowers
on a cartouche with a sculpted angel - fragments
oil on canvas
22 x 16 in. (56 x 42.8 cm.)

(Probably) Lionel Tollemache, 8th Earl of Dysart (1794-1878), Ham House,


Surrey, by 1844, and by descent to,
William John Manners Tollemache, 9th Earl of Dysart, DL (1895-1935),
by whom bequeathed with the house in 1935 to his second cousin,
Sir Lyonel Tollemache, 4th Bt. (1854-1952), and by descent to his
granddaughter Barbara Judd (1926-2013).
LITERATURE:

a pair (2)

15,000-25,000

PROVENANCE:

$23,000-38,000
21,000-35,000

(Probably) W.C. Joel, A Catalogue and Valuation of the Furniture, Plate,


Books, Pictures and Engravings at Ham House, Petersham, Surrey,
Richmond, 1911, p. 138, listed as H. Verelst.
(Probably) C. Rowell ed. Ham House, 400 Years of Collecting and
Patronage, New Haven, 2013, Appendix 5: The 1844 Inventory, p. 499,
listed as Verelsh (sic).
We are grateful to Fred Meijer, of the RKD, The Hague, for proposing
the attribution on the basis of photographs.

55

475

476

n475

476

FOLLOWER OF CESARE DA SESTO


Salome with the head of Saint John the Baptist

CIRCLE OF ANDREA SABATINI, CALLED ANDREA


DA SALERNO (SALERNO C.1480-1530/1 GAETA)
Saint Jerome

oil on canvas
52 x 30 in. (133.4 x 78 cm.)

15,000-25,000

oil on panel, unframed


21 x 20 in. (54.5 x 52.8 cm.)

$23,000-38,000
21,000-35,000 6,000-8,000

$9,100-12,000
8,400-11,000

PROVENANCE:

(Possibly) Volterra Collection, Florence.


del Bene Family, Florence.
LITERATURE:

M. Carminati, Cesare da Sesto (1477-1523), Milan, 1994, pp. 208 and 210,
illustrated.

The present lot can be compared to a very similar panel, of closely


matching dimensions, the Stoning of Saint Stephen, catalogued as Circle
of Andrea da Salerno and sold, Christies, London, 3 December 2014, lot
162, for 20,000. Our picture would appear to be by the same hand as
the Saint Stephen and very likely part of the same series.

The present lot is an early version of the composition by Cesare da Sesto


in the Kunsthistorisches Museum, Vienna. Marco Carminati (op. cit., p.
210) does not exclude the possibility that this may be the picture made
by Ambrogio Figino (1553-1608) for the church of San Giovanni alle Case
Rotte in Milan.

57

n477

PSEUDO GERINO DA PISTOIA


(ACTIVE FLORENCE, LATE 15TH AND EARLY 16TH CENTURY)
Madonna and Child with Saints Peter and Paul
oil on panel, circular
31 in. (81 cm.) diameter

50,000-80,000

$76,000-120,000
70,000-110,000

PROVENANCE:

Kate C. Lefferts, USA.


LITERATURE:

F. Todini, La pittura umbra. Dal duecento al primo cinquecento, Milan, I, 1989, p. 76.
In his 1989 publication on early Umbrian pictures, La pittura umbra, Filippo Todini
identifed a small group of stylistically coherent devotional works, gathered together
under the name of Pseudo Gerino da Pistoia. A Florentine follower of Perugino, he was
infuenced by Andrea dAssisi, called lIngegno, and Rocco Zoppo, who, according to
Vasari, collaborated with Perugino in his work in the Sistine Chapel. The Pseudo Gerino,
whilst in many respects similar to Gerino da Pistoia (1480-after 1529), is distinguished
for his more decorative style, exemplifed in the present lot. Our tondo is comparable to
the picture of the same format in the Galleria Franchetti, Ca dOro in Venice and to the
altarpiece in the church of San Francesco, Fiesole, dated 1502. Other examples of his
work are in the Muses Royaux des Beaux-Arts, Brussels and in Vassar College, Museum
of Art, New York (see F. Todini, La pittura umbra, Milan, 1989, p. 76).
We are grateful to Dr Todini for confrming the attribution on the basis of a photograph,
and for his kind assistance in cataloguing the present lot.

58

478

FOLLOWER OF MARCO DOGGIONO


Madonna and Child before a draped curtain,
a landscape beyond
oil on panel, maroufaged
33 x 24 in. (84.7 x 61.6 cm.)

15,000-25,000

60

$23,000-38,000
21,000-35,000

479

CIRCLE OF PERINO DEL VAGA


(FLORENCE 1501-1547 ROME)
The Holy Family with the Infant Saint John the Baptist
inscribed ECCE AGNVS DEI (lower centre, on the scroll)
oil on panel
36 x 25 in. (92.7 x 65.2 cm.)

15,000-20,000

$23,000-30,000
21,000-28,000

PROVENANCE:

Barberini collection, Rome.

61

PROPERTY FROM DESCENDANTS OF DON MARIANO MALDONADO


Y DVALOS, 7TH COUNT OF VILLAGONZALO (1851-1901) (LOT 480)

n480

LUCA GIORDANO (NAPLES 1634-1705)


AFTER RAFFAELLO SANZIO, CALLED RAPHAEL
The Visitation
signed and dated LUCAS IORDANUS.F. / 1655. (lower centre)
and inscribed RAFAELURBINUS.IN; (lower left)
oil on canvas
78 x 56 in. (198 x 144.2 cm.)

30,000-50,000

$46,000-75,000
42,000-70,000

Previously unpublished, the present lot is a fascinating addition to Luca


Giordanos early oeuvre, demonstrating key aspects of the skill and bravura
that made his name as a young artist. Executed in 1655 when Giordano
was barely 20 years of age, the picture is a fnely detailed and faithful copy
of Raphaels Visitation, which was completed circa 1519, probably with
studio assistance, and now in the Prado, Madrid. Our picture squares with
what we know of Giordanos formative career: born to an artist father,

his early biographers present an image of a self-taught talent, who is


not mentioned as being schooled in the workshop of a master (though
many have presumed an apprenticeship with Ribera), but who instead
sharpened his skills by copying paintings, frescoes and sculptures in the
churches and galleries around Naples, and then later in Rome. These
impressive feats of imitation were key in his attempt to forge a reputation
as an artist of talent, one to match the masters of the sixteenth century.
According to his friend and biographer Antonio Palomino, Giordano
copyd many Originals of the most celebrated Painters, with so intense
an Application that, making himself perfect Master of the different Stile
and Manner of each, he attaind to imitate them all so well, that People
are every Day deceivd by his Paintings; now mimicking Raphael, then
following Titian, sometimes keeping Tintoret in his Eye (A. Palomino,
An Account of the Lives and Works of the Most Eminent Spanish
Painters, 1739, pp. 151-152). It was a measure of his versatility that he
was capable - from the very outset of emulating the classicism of the
high Renaissance, whilst at the same moment developing his own vein of
southern, tenebrist realism, one that has been frequently compared to,
and mistaken for, that of Ribera.
The dating of the present picture is signifcant. The year of 1655, inscribed
by Giordano, not only marks it out as one of his earliest dated works,
but also coincides with the year in which Raphaels original canvas
was removed from the church of San Silvestro in Aquila by Garca de
Avellaneda y Haro (1588-1670), then the Viceroy of Naples, on the orders
Philip IV of Spain. It was then taken to the Escorial, outside Madrid, where
it remained until being moved to the Prado in the 19th century. Giordano,
then, must have seen the picture either shortly before, or around the time
of, its removal from Aquila. Indeed, it is plausible that he may have been
commissioned to paint this replica, whose dimensions precisely match
those of the original, by the viceroy himself before Raphaels picture left
Italy defnitively. We know, in fact, that Giordano was commissioned
in Naples, at around this same time, by Garca de Avellaneda y Haro
to produce at least two large scale compositions, Saint Augustine and
Saint Monica (Madrid, Monastero de la Encarnacin) and Saint Raphael
Archangel and Tobias (untraced), the former signed and dated 1657
(O. Ferrari and G. Scavizzi, Luca Giordano. Lopera completa, Naples,
1992, II, p. 259, under A51). These two canvases were sent immediately
to Madrid, to the Marquis de Cortes. Though no supporting documents
have yet come to light, one might speculate that this present lot too
found its way to Spain in the same manner.

62

n481

FOLLOWER OF TIZIANO VECELLIO,


CALLED TITIAN
The Penitent Mary Magdalen
oil on canvas
45 x 38 in. (116.2 x 97.2 cm.)
in a tabernacle frame

5,000-8,000

$7,600-12,000
7,000-11,000

PROVENANCE:

Anonymous sale; Sothebys, Olympia, 20 April 2004, lot 221.


After the picture in the Hermitage Museum, Leningrad.

481

482

VENETIAN SCHOOL, 16TH CENTURY


Portrait of a gentleman, bust-length
oil on canvas, transferred from panel
17 x 13 in. (44.3 x 35 cm.)

3,000-5,000

482

$4,600-7,500
4,200-7,000

483

CIRCLE OF LEANDRO BASSANO (BASSANO DEL GRAPPA 1557-1622 VENICE)


The Mocking of Christ
oil on panel
17 x 13 in. (43.9 x 33.5 cm.)

6,000-8,000

$9,100-12,000
8,400-11,000
65

484

CIRCLE OF PAOLO CALIARI, IL VERONESE


(VERONA 1528-1588 VENICE)
Portrait of a lady, bust-length, in a black slashed
dressed with pearl necklaces
inscribed ANNO AETATIS SUE XXIIIII (upper centre)
oil on slate
13 x 11 in. (33.2 x 29 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

484

n485

FOLLOWER OF SOFONISBA ANGUISSOLA


Portrait of an elderly lady, three-quarter-length, in
a Savonarola chair, a prayer book in her right hand
oil on canvas
44 x 37 in. (112 x 94.5 cm.)

7,000-10,000

$11,000-15,000
9,800-14,000

PROVENANCE:

Anonymous Sale; Dorotheum, Vienna, 17 March 1970, lot 4,


as attributed to Sofonisba Anguissola, to the following,
Helen F. Boehm (19202010), New York,
her sale; Sothebys, New York, 16 May 1996, lot 154, as a self
portrait attributed to Sofonisba Anguissola, when acquired by
the present owner.

485

66

n486

STUDIO OF JACOPO BASSANO (BASSANO DEL GRAPPA C. 1510-1592)


The Supper at Emmaus
oil on canvas
45 x 75 in. (114.3 x 192.4 cm.)

15,000-20,000

$23,000-30,000
21,000-28,000

67

487

LAMBERT SUSTRIS
(AMSTERDAM C. 1510/15-AFTER 1560 VENICE)
Judith with the Head of Holofernes
oil on canvas
33 x 24 in. (84.2 x 63 cm.)

30,000-50,000

$46,000-75,000
42,000-70,000

Born and trained in Amsterdam, possibly as a pupil of Jan van Scorel,


Sustris travelled to Italy when he was still young, where his career
would fourish. By about 1535, he had reached Venice, where he
was evidently associated with Titians workshop, and seems to have
also absorbed the infuences of Tintoretto and Veronese. In 1548, he
travelled to Bavaria, and worked alongside Titian at the Imperial Court at
Augsburg, remaining there until at least 1553. At this time, he painted
both portraits - William IV, Duke of Bavaria sat to him for example and
history pictures, and the present lot would seem to date, stylistically, to
this same period. Another lesser version, or probably copy, is recorded in
the Witt library as being in Cologne. The composition can be compared
to another staging of the same subject, of slightly larger dimensions,
offered at Christies, London, 7 December 2010, lot 16, which is thought
to have been commissioned by Anton Fugger I (1493-1560) in Augsburg
at approximately the same time.
The attribution to Sustris has been endorsed by Dott. Vincenzo Mancini,
of the Fondazione Cini in Venice and author of a monograph on the artist,
on the basis of a photograph.

68

488

n488

NORTH ITALIAN SCHOOL, LATE 16TH CENTURY


Judith with the head of Holofernes
oil on panel, octagonal
29 x 28 in. (74.5 x 73.5 cm.)

6,000-8,000

$9,100-12,000
8,400-11,000

PROVENANCE:

Anonymous sale; Sothebys, London, 17 November 1982, lot 40,


as 'Follower of Lattanzio Gambara'.
Anonymous sale; Sothebys, London, May 30 1997, lot 193.

489

CIRCLE OF FEDERICO BAROCCI (URBINO 1535-1612)


Head of Christ
oil on panel
16 x 12 in. (41.7 x 30.8 cm.)

2,500-3,500

$3,800-5,300
3,500-4,900

The present lot relates to the head of Christ in Federico Baroccis


monumental altarpiece of The Last Supper, in the Cappella del Santissimo
Sacramento, Urbino Cathedral.
489

490

FLORENTINE SCHOOL, 16TH CENTURY


Head of a boy
oil on panel, unframed
19 x 15 in. (48.5 x 39.5 cm.)

6,000-8,000

$9,100-12,000
8,400-11,000

71

n491

CIRCLE OF GIUSEPPE PORTA, CALLED IL SALVIATI


(CASTELNUOVO DI GARFAGNANA 1520-1575)
Venus and Adonis
oil on canvas
54 x 57 in. (137.1 x 146.5 cm.)

12,000-18,000

$19,000-27,000
17,000-25,000

THE PROPERTY OF A GENTLEMAN (LOT 492)

n492

CIRCLE OF LODEWIJK TOEPUT,


CALLED LUDOVICO POZZOSERRATO
(ANTWERP 1550-1605 TREVISO)
Noli me tangere
491

oil on canvas, unframed


100 x 73 in. (254 x 185.4 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

PROVENANCE:

Anonymous sale; Sothebys, London, 28 may 1998, lot 73,


as Follower of Giorgio Vasari.

THE PROPERTY OF A GENTLEMAN (LOT 493)

n493

ATTRIBUTED TO NICCOL FRANGIPANE


(TARCENTO 1550/5-1600)
Satire on the performance of a madrigal
oil on canvas
52 x 78 in. (133.4 x 200 cm.)

25,000-35,000

$38,000-53,000
35,000-49,000

PROVENANCE:

(Possibly) Sir George Houstoun-Boswell, 4th Bt. (1877-1915),


Blackadder, Eldrom, Berwickshire; Christies, London, 23 April
1926, lot 107 as Aertsen (9 gns. to Moore).
Acquired by the father of the present owner, c.1970, and by
descent.
LITERATURE:

(Possibly) D.M. Hoffman, Niccolo Frangipane, The Burlington


Magazine, LXXXVIII, 1946, p. 46, fg. a.
(Possibly) B.W. Meijer, Niccol Frangipane collectanea, Amsterdam,
1974, p. 24, under no. 16, fg. 34, as an inferior copy.
492

72

493

Frangipane undoubtedly appears to best


advantage in his comical secular representations,
depicted in a realistic manner with a satirical and
often scabrous iconography. This Satire on the
performance of a madrigal relates to the signed
work, of similar dimensions, in the collection
of the Comte F. de Liederkecke, Chteau de
Leefdael, Belgium (see Meijer, op. cit., p. 23,
no. 16, fg. 33). With its lively composition and
naturalistic details, this subject is perhaps the
most successful of the artists non-religious
paintings.
Seated to the left of a table, four male singers are
performing. Their voices - from left to right bass,
alto, tenor and (probably) cantus - are indicated
not only by the partbooks they hold but also by
their age and appearance. They are singing one of
the elegant pieces from Franco-Flemish composer
Orlando di Lassos third book of Madrigals, a
setting of a sonnet by Pietro Bembo. Like the texts
of many other polyphonic madrigals, this sonnet
is a sentimental, docile lament intended to pay
homage to an idealized lady.

In direct contrast to the woeful and seriouslooking singers are the fgures gathered around
them, a motley crew clearly in a rowdy and
playful mood. They are, from left to right: a
satyr, sensuality personifed and crowned with
oak leaves; two peasants or shepherds with
pastoral instruments; in front of them, a Jew is
recognizable from his turban with a star, which
is about to be pulled by the satyr and which
was compulsory for sixteenth-century Venetian
Jews; a Bacchus fgure, looking drowsy and
corpulent; a sniggering man who is holding
his fnger mockingly to his mouth, apparently
amused at something not polite enough to be
mentioned out loud; a youth drinking from a
jug; and fnally a grinning man seated in the
right foreground.
The merriment and mockery, like the fnger
pointed in sarcasm by the last fgure, seem to
be aimed at the singers and caused in particular
by the affected nature of their love song, which
obviously puns upon carnal intention. This is
made plain by the suggestive still life on the

table, strategically placed and hidden behind


the tenors partbook: partly-sliced sausages
are grouped in the shape of a phallus, with
the aid of some bread. Subsequent and more
delicate sensibilities have deemed it necessary
to cover up part of the offending still life, but
the complete composition can still be seen in
the de Liederkecke picture. However, further
hints are to be found in other erotic insinuations
scattered throughout the painting, such as the
bowl of wine and bread Bacchus is holding in
one hand and the sausage in the other, the bare
thigh of the drinking youth and the predatory
attitude of the cat on the basss lap. The cat, a
well-established symbol of sexuality, is about to
pounce on the ring-ouzel perched on the swordhilt of the man seated in the foreground. The
oblivious bird joins in the singing presumably in
an attempt to fll the missing ffth part in Lassos
score. The underlying idea of this representation
is thus that there is a sub-current of eroticism
and carnal desires hiding behind the elevated
musical expression of infatuation.

73

494

SIENESE SCHOOL, 16TH CENTURY


The Annunciation
oil on copper
8 x 6 in. (20.8 x 16.8 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

495

VERONESE SCHOOL, 18TH CENTURY


The Holy Family with Saint John the Baptist
oil on canvas, unlined
8 x 11 in. (21.5 x 28 cm.)
with a red wax seal of the Accademia di Belle Arte di
Verona, probably dating from the 18th or early 19th
century, on the reverse

3,000-5,000

$4,600-7,500
4,200-7,000

PROVENANCE:

Accademia di Belle Arte di Verona.


It is highly likely that the painting entered into the
collection of the Accademia when it was under the
stewardship of Saverio Dalla Rosa (1745-1821) who
collected numerous Old Masters for the students
to study and which would go on to form the core
collection of the city museum.

496

494

CIRCLE OF LUDOVICO CARRACCI


(BOLOGNA 1555-1619)
Christ bearing the cross, supported
by Simon of Cyrene
oil on copper
12 x 9 in. (31 x 23.5 cm.)

20,000-30,000

$31,000-45,000
28,000-42,000

LITERATURE:

G. Feigenbaum, Ludovico Carracci. A Critical Study


of his Later Career and a Catalogue of his Paintings,
Princeton, 1984, p. 296, no. 60 as Ludovico Carracci.
A. Brogi, Il laboratorio dellIdeale: note sulla prima
attivit di Francesco Albani tra Bologna e Roma,
Paragone, 483, 1990, p. 50, fg. 39 as Francesco Albani.
C.R. Puglisi, Francesco Albani, New Haven and London,
1999, p. 226 as Ludovico Carracci.
A. Brogi, Ludovico Carracci, Bologna, 2001, I,
pp. 268-70, no. R46 and II, pl. 287 as Francesco Albani.
Whilst there is agreement that this fne small copper
dates to the 1590s, its attribution has been the subject
of some scholarly dispute. Fully given to Ludovico
Carracci by Gail Feigenbaum in her 1984 catalogue,
Alessandro Brogi instead believed the picture to be the
work of a young Francesco Albani (see Brogi, 1990);
Catherine Puglisi, however, most recently sided with
Feigenbaum in favouring the authorship of Ludovico.
495

74

496

75

PROPERTY OF A LADY OF TITLE (LOTS 497 & 508)

n497

FRANCESCO CURRADI (FLORENCE 1570-1661)


Bathsheba at her bath
oil on canvas
68 x 86 in. (174.8 x 220 cm.)

20,000-40,000

PROVENANCE:

Royal Military Academy, Woolwich.


with Colnaghi, London.
EXHIBITED:

London, Hazlitt Gallery, 17th and 18th Century


Paintings, 1968, no. 1.
London, Royal Academy of Arts, Painting in
Florence 1600-1700, 20 January-18 February
1979 and Fitzwilliam Museum, Cambridge,
27 February-28 March 1979, no. 9.
LITERATURE:

C. McCorquodale, A Dark Century. The English


Taste for Later Tuscan Painting, The Connoisseur,
200, 805, March 1979, pp. 171 and 173, fg. 4.
G. Cantelli, Repertorio della Pittura Fiorentina del
Seicento, Fiesole, 1983, p. 55.
F. Baldassari, La Pittura del Seicento a Firenze.
Indice degli artisti e delle loro opere, Turin, 2009,
p. 239.
ENGRAVED:

B. Eredi, Florence (as Matteo Rosselli).

76

$31,000-60,000
28,000-56,000

Though he escaped scholarly attention for


some time, the position of Francesco Curradi
as a leading fgure of early seventeenth
century Florentine art has by now been frmly
re-established. His unusually long life he lived
until he was 90 enabled him not only to
produce a signifcant body of work, but also to
bear witness to some key stylistic developments
that took place during these years. From
his mannerist beginnings in the workshop
of Giovanni Battista Naldini, he fourished,
cultivating a refned and elegant style, frmly
rooted in the principles of disegno that had so
strongly determined the course of Florentine
art in preceding centuries. Alongside Matteo
Rosselli, he can be considered as the precursor
of Carlo Dolci, who would take forward the
counter reformative art of Florence in the
succeeding generation.
The present lot belongs to Curradi's most
fruitful period. In 1620s and 30s, he produced
a rich vein of biblical and mythological pictures,
including the Tobias and the Angel at the
Southampton Art Gallery. Though our picture
has been known and admired by scholars for
some time, we can now date the work more
accurately, thanks to the statue of the putto,
astride a turtle, on the fountain in the upper
right. Its model is taken from one of the twelve
putti that decorate the famous Fontana del
Carciofo in the Boboli Gardens in Florence.

Recent research has indicated that these small


statues were designed by a number of different
sculptors, including Domenico Pieratti (16001656), who invented the putto borrowed
by Curradi here. Though the fountain was
not completed until 1639, Pierattis design
is documented in 1620-1, meaning that the
present picture must postdate those years. And
although the subject is listed as Susannah at
her bath in both recent literature and when
exhibited in the past, it is more likely that this
represents Bathsheba. In common with other
representations of the latter, David is seen
looking on from a distance: here he is shown
peering through a break in the trees stage left.
When the present lot was exhibited at the Royal
Academy and the Fitzwilliam in 1979, Charles
McCorquodale singled it out, together with the
aforementioned Tobias and the Angel, as one of
his most characteristic works, that revealed how
Curradi was fascinated by that most Baroque
of concepts, the affetti, or externalisation of
emotion through facial expression and gesture,
developing a style where many of the ideals
of the seicento in Florence are cystallised [],
ideals which were shared by the very young
Carlo Dolci... (op. cit.).
We are grateful to Dr Sandro Bellesi for his kind
assistance in cataloguing the present lot.

n*498

JACOPO VIGNALI (PRATOVECCHIO 1592-1664 FLORENCE)


Saint John the Baptist
inscribed ECCE AG.. DEI E.. (upper right, on the scroll)
oil on canvas
42 x 31 in. (107.3 x 80.5 cm.)

15,000-20,000

$23,000-30,000
21,000-28,000

We are grateful to Prof. Francesca Baldassari and Dott. Sandro Bellesi for confrming the attribution
to Vignali, on the basis of a photograph.

78

499

VINCENZO DANDINI (FLORENCE 1609-1675)


Diana
oil on canvas
30 x 24 in. (76.2 x 61.5 cm.)

15,000-25,000

PROVENANCE:

Private Collection, U.S.A., from whom purchased by the present owner.


LITERATURE:

$23,000-38,000 S. Bellesi, Tendenze e Orientamenti Naturalistici nella Pitture Fiorentina


21,000-35,000 della Prima Meta del Seicento, in P. Carofano et al., Luce e ombra :
caravaggismo e naturalismo nella pittura toscana del Seicento, Pisa, 2005,
pp. 41-73, p. 58 ff., under no. 32, illustrated on p. CVIII.

79

n500

ATTRIBUTED TO LOUIS FINSON


(BRUGES 1570/80-1617 AMSTERDAM)
Judith with the Head of Holofernes
oil on canvas
45 x 35 in. (114.8 x 90 cm.)

8,000-12,000

$13,000-18,000
12,000-17,000

PROVENANCE:

with Galleria Gilberto Zabert, Turin.


Louis Finson was born in Flanders and was schooled in the Mannerist style
of the late 16th century, most probably training with his father. Like many
young artists of his generation, he almost certainly went to Rome, and
is documented in Naples from 1604 until 1613. Naples, then the most
vibrant city of Southern Europe, played host to a community of foreign
artists, who were strongly infuenced by Caravaggio during his two visits
to the city in 1606-7 and 1609-10. Finson is often described as one of
his frst followers, copying Caravaggios works and owning at least two
paintings by him. Finsons style is undoubtedly linked to Caravaggio,
though it also shows the traces of his own early Mannerist formation,
which is evidenced here in this Judith with the Head of Holofernes.
After his spell in Naples, Finson moved to the South of France in 1613,
where he received a number of signifcant commissions. Following a
serious illness he then went to Paris before returning north and dying
in Amsterdam, in the house of his friend, and Neapolitan companion,
Abraham Vinck.
500

501

CIRCLE OF ADAM DE COSTER


(MECHELEN 1586-1643 ANTWERP)
A boy singing by candlelight
oil on canvas
27 x 22 in. (70.5 x 56 cm.)

4,000-6,000

501

80

$6,100-9,000
5,600-8,400

THE PROPERTY OF A GENTLEMAN (LOTS 444 & 502)

n502

MATTHIAS STOMER
(AMERSFOORT C.1600-C.1652 SICILY OR NORTHERN ITALY)
Saint Peter in jail
oil on canvas
38 x 49 in. (97.5 x 125.6 cm.)

30,000-50,000

$46,000-75,000
42,000-70,000

PROVENANCE:

Anonymous sale; Sothebys, London, 31 October 1990, lot 180.

81

503

CIRCLE OF MATTHIAS STOMER


(AMERSFOORT C.1600-C.1652
SICILY OR NORTHERN ITALY)
Saint John the Evangelist
oil on canvas, unframed
33 x 38 (85.7 x 97.9 cm.)

20,000-30,000

$31,000-45,000
28,000-42,000

PROVENANCE:

Anonymous sale; Christies, London,


24 March 1972, lot 22, as Matthias Stomer.

503

n504

FRENCH SCHOOL,
LATE 17TH CENTURY
Two putti mourning the dead Christ,
in a landscape
oil on canvas
29 x 31 in. (75.2 x 78.9 cm.)

3,000-5,000

504

82

$4,600-7,500
4,200-7,000

n*505

FRENCH SCHOOL, 17TH CENTURY


An Allegory of the Five Senses
oil on canvas
64 x 95 in. (163.4 x 241.6 cm.)

40,000-60,000

$61,000-90,000
56,000-84,000

83

506

506

AGOSTINO TASSI
(PONZANO ROMANO 1580-1644 ROME)
A river landscape with a ferry crossing and boat builders
at work on the bank
oil on panel, oval, unframed
11 x 16 in. (29.8 x 40.7 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

LITERATURE:

P. Cavazzini, Il Paesaggio con venditore di cocomeri e altre nuove


attribuzioni nel percorso di Agostino Tassi, Quaderni del Barocco - Dipinti
inediti del Barocco Italiano, Palazzo Chigi, Ariccia, 2015, p. 6, fg. 9.

507

CENTRAL ITALIAN SCHOOL, 18TH CENTURY


A bearded man reading
oil on canvas, unframed
22 x 17 in. (57.7 x 44.8 cm.)

4,000-6,000
507

$6,100-9,000
5,600-8,400

PROPERTY OF A LADY OF TITLE (LOTS 497 & 508)

508

CIRCLE OF DOMENICO FETTI


(?ROME 1588/1589-1623 VENICE)
The Good Samaritan
oil on canvas
23 x 17 in. (60 x 44 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

PROVENANCE:

William Beckford, Fonthill Abbey.


Francis Johnstone.
Anonymous sale; Dublin, April 1845, lot 1455.
Professor Thomas Bodkin; Sothebys, London, 11 November 1959, lot 34.
with Agnews, London, by 1960.
EXHIBITED:

Florence, Palazzo Pitti, Mostra della pittura italiana del sei e settencento, 1922,
no. 412.
Birmingham, City of Birmingham Museum and Art Gallery, Works of Art from
Midland Houses, July-September 1953, no. 157.
London, Thomas Agnew & Sons, The Seventeenth Century, July 1960, no. 10.
LITERATURE:

T. Borenius, Il contributo dellIngilterra alla Mostra di Palazzo Pitti, Dedalo,


1922-23, III, p. 96.
T. Bodkin, Domenico Feti, in Studies, September 1923, XII, pp. 604-12, pl. VI.
M. Nugent, Alla Mostra della Pittura italiana del 600 e 700, San Casciano Val di
Pesa, 1925, I, p. 66.
E.K. Waterhouse, Some Notes on the Exhibition of Works of Art from Midland
Houses at Birmingham, The Burlington Magazine, 1953, XCV, p. 305.
P. Askew, The Parable Paintings of Domenico Fetti, The Art Bulletin, 1961, XLIII,
p. 43, no. 7d.
R. Longhi, Note in margine al catalogo della Mostra sei-settecentesca del 1922,
Scritti giovanili, Florence, 1961, I, p. 501.
J.M. Lehmann, Domenico Fetti, Leben und Werk des rmischen Malers,
graduate thesis, Johann Wolfgang Goethe-Universitt, Frankfurt, 1967, p. 225,
no. 32.
E.A. Safarik, Fetti, Milan, 1990, pp. 104-5, no. 25h, as a copy.

508

The present lot relates to the picture of horizontal format by Fetti in the
Gemldegalerie, Dresden, which extends on both sides to include a classical
ruin far right, which probably alludes to the city of Jericho. The composition
has, however, achieved more popularity in its vertical format, of which
there are several known copies and studio versions, mostly of very similar
dimensions, with the picture in the Gallerie dellAccademia, Venice thought to
be autograph. Sarafk (op. cit.) lists the current picture, which was exhibited
as Fetti in Florence and London in the early twentieth century, as a copy most
closely related to the work in the Metropolitan Museum in New York, which
was in turn once thought to be autograph but subsequently downgraded.

509

GIACINTO BRANDI (GAETA OR POLI 1621-1691 ROME)


Head of a saint
oil on canvas
25 x 19 in. (65.5 x 49 cm.)

5,000-7,000

$7,600-11,000
7,000-9,700
509

85

PROPERTY OF LORD EGREMONT DL,


REMOVED FROM PETWORTH HOUSE
(LOTS 416, 454 & 510)

n510

FOLLOWER OF CLAUDE GELLE,


CALLED CLAUDE LORRAIN
A wooded landscape with peasants and
children dancing
oil on canvas
26 x 32 in. (66.1 x 82.3 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

PROVENANCE:

with Charles Birch, London, from whom


purchased for 30 gns., in 1803, by the following,
George Wyndham, 3rd Earl of Egremont
(1751-1837), at Petworth House, Sussex, by 1837
(Inventory of Paintings, Sculpture and Books at
Petworth House, Property of The Late George,
3rd Earl of Egremont), and by descent.
LITERATURE:

510

C.H. Collins Baker, Catalogue of the Petworth


Collection of pictures in the possession of Lord
Leconfeld, London, 1920, p. 119, no. 439,
as Herman van Swanevelt.

511 NO LOT

n512

CIRCLE OF CLAUDE GELLE, CALLED


CLAUDE LORRAIN (CHAMPAGNE
C. 1604/5-1682 ROME)
A Mediterranean port at sunset
oil on canvas
29 x 39 in. (75.5 x 99.2 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

FROM AN IMPORTANT PRIVATE COLLECTION


(LOTS 513 & 556)

n513

FOLLOWER OF CLAUDE GELLE,


CALLED CLAUDE LORRAIN
A wooded river landscape with travellers,
shepherds and their fock on a path,
a fortifed city beyond
oil on canvas
29 x 38 in. (74.2 x 98.8 cm.)

7,000-10,000


512

86

$11,000-15,000
9,800-14,000

513
PROVENANCE:

Welbore Ellis Agar (1735-1805), Commissioner of


Customs, by 1784, by whom bequeathed as part
of his collection to his illegitimate sons, Welbore
Felix Agar and Emmanuel Felix Agar; Christies,
London, 2-3 May 1806, lot 26, as Claude le
Lorain, Paysage montuux avec des fgures et
un troupeau qui passe une rivire (sic.) au gu:
tableau dun ton frache et agrable (acquired
before the sale, and before the English version
of the catalogue was printed, en bloc with the
whole Agar collection, by William Seguier on
behalf of Grosvenor),
Robert, 2nd Earl Grosvenor, later 1st Marquess of
Westminster (1767-1845), Eaton Hall, Cheshire;
sale, Peter Coxe, London, 27 June 1807, lot 87
(unsold), and by descent.
EXHIBITED:

London, Royal Academy, Exhibition of the Works


of the Old Masters, 1871, no. 192.
LITERATURE:

J. Young, Catalogue of the Pictures at Grosvenor


House, London, 1821, no. 132.
A. Jameson, Companion to the Most Celebrated
Private Galleries of Art in London, London, 1844,
p. 249, no. 27.

Mme. Pattison, Claude Lorrain, sa vie et ses


oeuvres, Paris, 1884, p. 235, no. 15.
P. Courthion, Claude Gelle, Paris, 1932, p. 56.
U. Christoffel, Poussin und Claude Lorrain,
Munich, 1942, p. 146,
M. Rthlisberger, Claude Lorrain, New York,
1979, I, p. 537, no. 282, II, fg. 366, under
Imitations and Copies.
ENGRAVED:

J. Young, 1821 (see literature).


This landscape was formerly owned by Welbore
Ellis Agar (1735-1805), the younger brother of
the 1st Viscount Clifden and the elder brother
of the 1st Earl of Normanton. Agar assembled
a prodigious collection of Old Masters, largely
acquired abroad, for the most part under the
aegis of Gavin Hamilton. Among the highlights
of the collection, which numbered around 130
pictures, were Raphaels Madonna of the Veil
(New Jersey, Princeton University Art Museum);
Poussins Achilles among the Daughters of
Lycomedes (Boston Museum of Fine Arts); and
Van Dycks Virgin and Child with St. Catherine
of Alexandria (New York, Metropolitan Museum

of Art), as well as several pictures by Claude. On


his death, having no direct heir, he bequeathed
the collection to his two illegitimate sons
Emmanuel Felix and Welbore Felix, who decided
to put the collection up for sale at Christies. The
auction was scheduled for 2nd-3rd May 1806,
with the present work appearing as lot 26.
However, before even the English copies of the
catalogue were printed (only a French version
exists), the brothers were approached by Lord
Grosvenor with a view to an en bloc purchase.
An initial price of 40,000 guineas was suggested
but was negotiated down to the fnal fgure of
30,000 guineas, which was agreed by mid-April,
marking one of the largest single purchases of a
picture collection transacted in this period.
The present lot was one of ten pictures given
to Claude listed in John Youngs Catalogue of
the Pictures at Grosvenor House, 1821, one of
which was sold recently at Christies, London, 7
December 2010, lot 51. The current work was,
though, subsequently downgraded, published
under imitations by Rthlisberger in his
catalogue raisonn.

87

514

CIRCLE OF JOSEPH WRIGHT OF DERBY, A.R.A


(DERBY 1734-1797)
Head study of a bearded man
oil on canvas
21 x 17 in. (53.3 x 43.2 cm.)

6,000-8,000

$9,100-12,000
8,400-11,000

PROVENANCE:

Anonymous sale; Christies, London, 19 June 1970, lot 8, as Benjamin


West (70 gns.)
Whilst the model for this head study is not known for certain, his
characterful appearance is not too distant from that of John Staveley, who
sat to Wright of Derby on a number of occasions and features in works
including The Captive, from Sterne (Vancouver Art Gallery; on permanent
loan to the National Gallery of Canada, Ottawa). Character studies of this
type, taken from life, were frequently practised by both Wright and Sir
Joshua Reynolds. The present lot would appear to date to circa 1770-80.

514

515

STUDIO OF SIR JOSHUA REYNOLDS P.R.A.


(PLYMPTON, DEVON 1723-1792 LONDON)
Portrait of a Nelly OBrien (c.1739-1768), three-quarter-length,
in white dress, with a pearl necklace and headdress, in a
wooded landscape
oil on canvas
29 x 25 in. (75.8 x 63.5 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

PROVENANCE:

Rev. B. Gibbons, and by descent to,


J. Gibbons, his sale; Christies, London, 26 May 1894, lot 54 (703 gns.
to Gray).
with Agnews, London, from whom acquired on 4 May 1896 by,
J.H.McFadden, from whom acquired on 12 July 1899 by the following,
with Agnews, London, from whom acquired on 18 July 1899 by,
S.T.Gooden.
E.M. Denny, 11 Bryanston Square, London, his sale; Christies, London,
31 March 1906, lot 47 (2500 gns. to Gooden & Fox).
with Gooden & Fox, London, from whom acquired in April 1906 by,
Frederick David Sassoon (1853-1917), and by descent to his daughter,
Mrs Paul Wallraf, formerly Muriel Ezra, frst wife of Alfred Ezra OBE of
Foxwarren Park, Cobham, Surrey, and by descent to,
Mrs Raymond Sawyer, ne Ruth Ezra, of Chestnut Lodge, Cobham, Surrey.
LITERATURE:

Agnews, Picture Stockbook no. 4, London.


A. Graves & W.V. Cronin, A History of the Works of Sir Joshua Reynolds,
P.R.A., London, 1899, II, p. 705.
D. Mannings, Sir Joshua Reynolds, A Complete Catalogue of his Paintings,
New Haven & London, 2000, I, no. 1355a, p. 356, as untraced.
515

88

516

GEORGE ROMNEY (DALTON-IN-FURNESS,


LANCASHIRE 1734-1802 KENDAL, CUMBRIA)
Portrait of a lady, bust-length, in a white dress
oil on canvas
19 x 15 in. (50 x 39.4 cm.)

6,000-10,000

$9,100-15,000
8,400-14,000

We are grateful to Alex Kidson for confrming the attribution to


George Romney after frst-hand inspection of the painting.

516

PROPERTY OF A DECEASED ESTATE (LOTS 427 & 517)

n517

GEORGE ROMNEY (DALTON-IN-FURNESS,


LANCASHIRE 1734-1802 KENDAL, CUMBRIA)
Portrait of John Sparling (d. 1778), half-length, in a black coat
oil on canvas
36 x 28 in. (92.2 x 71.6 cm.)

2,000-4,000

$3,100-6,000
2,800-5,600

PROVENANCE:

By descent through the sitters family to the present owner.


LITERATURE:

H. Ward and W. Roberts, Romney: a biographical and critical essay,


with a catalogue raisonn of his works, London, 1904, II, p. 148.
J. Longmore, Civic Liverpool in J. Belchem, et al., Liverpool 800, Liverpool,
2006, p. 137, illustrated.
The piece of wood attached to the reverse of the canvas is very likely
to have come from the paintings original stretcher. The inscription is
presumed to be by Romneys hand and states the name of the sitter,
his frst sitting and the ledger number 483. Ward and Roberts list John
Sparlings sittings on the 12th, 22nd, 26th, 27th, 29th, 31st of July 1793.
They have however misread the sitting of the 19th as the 12th.
This portrait will be included in the forthcoming catalogue raisonn of the
artists paintings being prepared by Alex Kidson, to whom we are grateful
for his assistance in the cataloguing of the picture.
517

89

518

519

518

PROVENANCE:

GEORGE SMITH OF CHICHESTER


(CHICHESTER C.1714-1776)
The Hop Pickers
oil on canvas
19 x 25 (48.5 x 64 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

Alan Tindal Lennox-Boyd, C.H., P.C., 1st Viscount


Boyd of Merton, of Merton-in-Penninghame, co.
Wigtown, by 1960. (according to a label on the
reverse)
with The Parker Gallery, London.
Anonymous sale; Christies, London, 8 June
2006, lot 104.
ENGRAVED:

F. Vivares, 1760

519

JOHN RATHBONE
(CHESHIRE C.1750-1807 LONDON)
A view of Conwy Castle, North Wales
signed and dated J.Rathbone (lower left)
oil on canvas
25 x 37 in. (64 x 94.2 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

520

n520

JAMES LAMBERT THE ELDER (1725-1788 NEAR LEWES)


An Italianate river landscape with fgures by a campfre,
overlooked by ruins on a hilltop, drovers crossing a bridge,
a town beyond
indistinctly signed Lambert (lower right)
oil on canvas
63 x 105 in. (160.1 x 266.8 cm.)

6,000-8,000

$9,100-12,000
8,400-11,000

PROVENANCE:

Anonymous sale; Sothebys, London, 1 July 2004, lot 143.

521

ENGLISH SCHOOL, CIRCA 1810


A wooded river landscape with a traveller reading on a bank,
a stag by a waterfall beyond
oil on canvas
29 x 25 in. (75 x 65 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

PROVENANCE:

with Spink, London.


Anonymous sale; Sothebys, London, 29 November 1978, lot 91, as F.
Towne.
with Ivo Bouwman, The Hague, 1979, when acquired by the family of the
present owner.

521

91

n522

AFTER THOMAS GAINSBOROUGH, R.A.


The Cottage Girl
oil on canvas
57 x 44 in. (142 x 112 cm.)
in an English 18th century Maratta frame

5,000-8,000

$7,600-12,000
7,000-11,000

PROVENANCE:

(Possibly) Richard Brinsley Sheridan (1751-1816), by 1814.


Wynn Ellis (1790-1875), by 1865, his sale (); Christies, London,
15 July 1876, lot 59, as Gainsborough (145 gns. to the following),
Henry Graves (18681953), by whom sold to the following,
Charles Robert Wynn-Carrington, 1st Marquess of Lincolnshire K.G.,
G.C.M.G., P.C., D.L., J.P. (1843 1928), 50 Grosvenor Street, London,
by 1895.
Frederick John Nettlefold (1833-1913), and by descent to the present
owner.
EXHIBITED:

(Possibly) London, British Institution, 1814, no. 60, as by Gainsborough


(lent by the Rt. Hon. R.B. Sheridan).
London, British Institution, 1865, no. 161, as by Gainsborough (lent by
Wynn Ellis).
London, Grafton Galleries, Fair Children, 1895, no. 103, as by
Gainsborough (lent by Lord Carrington).
LITERATURE:

522

C. Reginal Grundy, A Catalogue of the Pictures and Drawings in the


Collection of Frederick John Nettlefold, London, 1938, II, p. 102,
as by Gainsborough.
ENGRAVED:

G.H. Every.
After the picture in the National Gallery of Ireland, Dublin,
presented by Sir Alfred and Lady Beit.

THE PROPERTY OF A GENTLEMAN (LOTS 523-525)

n523

THOMAS BEACH
(MILTON ABBAS 1738-1806 DORCHESTER)
Portrait of Mrs. Helyar Junior, three-quarter-length, in a white
dress, with her two children Harriet and Henry, before a draped
column, a landscape beyond
inscribed T.Beach pinx. / 1786 (lower left)
oil on canvas
50 x 40 in. (128.2 x 102 cm.)
in an English 18th century carved and gilded Maratta frame

5,000-8,000

$7,600-12,000
7,000-11,000

PROVENANCE:

By descent through the sitters family at Coker Court, Yeovil, Somerset.


Colonel and Mrs Walker Heneage, by 1937, and by descent to the present
owner.
LITERATURE:

523

E.S. Beach, Portraits by Thomas Beach Catalogue Raisonne, London, 1934,


p. 64, no. 161.

524

525

n524

n525

THOMAS BEACH
(MILTON ABBAS 1738-1806 DORCHESTER)
Portrait of William Helyar (d.1820), three-quarter-length, in an
embroidered blue waistcoat and coat, holding a design for the
Georgian wing of Coker Court, standing before a column

THOMAS BEACH
(MILTON ABBAS 1738-1806 DORCHESTER)
Portrait of Elisabeth Helyar (d.1786) ne Weston, three-quarterlength, in an oyster dress with a lace shawl, holding a miniature
box, in an interior

oil on canvas
49 x 40 in. (145.8 x 102 cm.)
in an English 18th century carved and gilded Maratta frame

oil on canvas
49 x 40 in. (145.8 x 102 cm.)
in an English 18th century carved and gilded Maratta frame

5,000-8,000

$7,600-12,000 3,000-5,000
7,000-11,000 

$4,600-7,500
4,200-7,000

PROVENANCE:

PROVENANCE:

By descent through the sitters family at Coker Court, Yeovil, Somerset.


Colonel and Mrs Walker Heneage, by 1937.

By descent through the sitters family at Coker Court, Yeovil, Somerset.


Colonel and Mrs Walker Heneage, by 1937, and by descent to the present
owner.

EXHIBITED:

Bristol, Royal West of England Academy, Art Treasures of the West


Countries, 24 May - 26 June 1937, no. 125 (lent by Colonel and
Mrs. Walker Heneage).

EXHIBITED:

Bristol, Royal West of England Academy, Art Treasures of the West


Countries, 24 May-26 June 1937, no. 126 (lent by Colonel and Mrs. Walker
Heneage).

LITERATURE:

E.S. Beach, Portraits by Thomas Beach Catalogue Raisonn, London, 1934,


p. 63, no. 158.

LITERATURE:

E.S. Beach, Portraits by Thomas Beach, Catalogue Raisonne, London, 1934,


p. 63, no. 159.

Although traditionally attributed to William Chambers, Howard Colvin


notes that Joseph Dixon (d.1787) designed the Georgian wing at Coker
Court for William Helyar in 1766 (H. Colvin, A Biographical Dictionary
of British Architects 1600-1840, New Haven and London, 1995,
p. 306). Coker Court has its origins in the Middle Ages and remained in
the Courtenay family until 1591 and changed hands three times in the
following 25 years, the last being to Achdeacon Helyar in 1616, with
whose descendants it remained.

93

526

n526

ANTHONY DEVIS
(PRESTON, LANCASHIRE 1729-1816 ALBURY, SURREY)
A pastoral river landscape with an elegant couple conversing
signed and dated Ant. Devis 1775 (lower left)
oil on canvas
31 x 48 in. (80.3 x 122.2 cm.)

10,000-15,000

$16,000-23,000
14,000-21,000

A painter of landscapes in oil and watercolour, including many


topographical works, Anthony Devis travelled extensively in
Britain. He began his career early, for at the age of thirteen he
was already working as a painter in London before going on
to exhibit at both the Free Society of Artists and at the Royal
Academy. He retired to Surrey, where he continued to paint
his surroundings at Albury House.

n527

WILLIAM PAYNE
(PLYMOUTH C.1760-AFTER 1830
LONDON)
A coastal landscape with fgures
preparing their nets on the shore,
a town beyond
oil on canvas
29 x 40 in. (74 x 101.5 cm.)

5,000-8,000

527

$7,600-12,000
7,000-11,000

n528

EDMUND GARVEY R.A. (FL.1767-1813)


A view of Lake Geneva with the Mont Salve and Le Mle, the Mont Blanc beyond
oil on canvas
30 x 54 in. (76.5 x 137.8 cm)

15,000-20,000

$23,000-30,000
21,000-28,000

PROVENANCE:

with Sabin Galleries, London, where acquired in 1971 by the father of the present owner.
EXHIBITED:

(Probably) London, Royal Academy, either 1785, no. 425 (View of Geneva with the Glaciers), 1786,
no. 6 (Lake of Geneva, nr Lausanne), or 1786, no. 22 (Lake nr Geneva).
We are grateful to Michael Liversidge F.S.A., University of Bristol, for his thoughts on this painting.

95

*529

RICHARD COSWAY
(OKEFORD 1742-1821 LONDON)
Portrait of a lady and a young girl, full-length, the
lady in a black silk dress with a white lace shawl,
a black choker, from which hangs a portrait
miniature, and a black hat with black and white
feathers, the girl in a white chiffon dress with pink
bow and ribbons and a straw with pink ribbons
and lining, in an English landscape
oil on canvas
30 x 21 in. (76.9 x 53.4 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

PROVENANCE:

Anonymous sale; Sothebys, New York, 7 June 1978, lot 162.


with Gimpel & Weitzenhoffer, New York (according to an old
label on the reverse).
Anonymous sale; Christies, New York, 4 June 2003, lot 171.

530

CIRCLE OF JOHAN ZOFFANY, R.A. (FRANKFURTAM-MAIN 1733-1810 STRAND-ON-THE-GREEN)


Figure studies, in a feigned oval
oil on paper laid down on panel
7 x 9 in. (19 x 23 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

PROVENANCE:

with Agnews, London.

529

531

PHILLIPPE JACQUES DE LOUTHERBOURG, R.A.


(STRASBOURG 1740-1812 LONDON)
A view of a castle with a herdsman, his sheep,
goats and a donkey
signed and dated PILoutherbourg1764 (lower left)
oil on canvas
22 x 25 in. (55 x 64.2 cm.)

15,000-20,000

$23,000-30,000
21,000-28,000

PROVENANCE:

Anonymous sale [R.M. Napier-Kerr]; Christies, London,


22 November 1926, no. 27 (28 gns. to Visman).
Anonymous sale; Sothebys, London, 8 December 1965,
lot 67 (650).
Anonymous sale; Sothebys, London, 22 February 1967,
lot 82 (380 to the following),
with Leger Galleries, London, where acquired in February 1971
by the father of the present owner.
530

531

EXHIBITED:

LITERATURE:

(Possibly) Paris, Paris de Salon, 1765, no. 140


(according to labels on the reverse).
Baltimore, John Hopkins University, Landscape
Painting from Patinir to Hubert Robert, 1941,
no. 66.
London, Kenwood, Philippe-Jacques de
Loutherbourg, 1740-1812, 1973, no. 4.

G. de Batz, Masterpieces and the Artist,


The Connoisseur, CXLIX (1962), p. 274, no. 3,
p. 273, ill. no. 3.
E. Bukdahl, Diderot critique dart. I. Thorie et
pratique dans les Salons de Diderot, Copenhagen,
1982, M130.
O. Lefeuvre, Philippe-Jacques de Loutherbourg
1740-1812, Paris, 2012, p. 193, no. 26, unknown
location.

Both the brilliant, crisp colours as well as the


compositional ideas - such as the herd in the
foreground with an undulating landscape in
the middleground - recall 17th century Dutch
landscapes which Loutherbourg often looks
back to. The medieval castle, with the squared
tower fanked by lancets with broken arches
and a high pointed roof, is a distinct French
component in the picture. Loutherbourg paints
here the medieval castle for the frst time, it
will then become a successful and recurrent
element, especially in his paintings of 1767.

97

532

SIR THOMAS LAWRENCE, P.R.A.


(BRISTOL 1769-1830 LONDON)
Portrait of a gentleman, bust-length - unfnished
oil on canvas
21 x 17 in. (54.7 x 45.5 cm.)
inscribed Wilberforce - By Sir Thomas Lawrence from P. Rajons collection
(on the stretcher)

30,000-50,000

$46,000-75,000
42,000-70,000

PROVENANCE:

Richard Buckner (1812-1883), Cleveland Row,


St. Jamess; his sale, Christies, London,
22 February 1873, lot 114 (6 gns. to Johnson).
Paul-Adolphe Rajon (1843-1888); his sale (),
Christies, London, 15 July 1889, lot 216
(to Obach).
Maclean collection (according to an old label
on the reverse).
Private collection, France.
This striking portrait can be dated to the 1790s,
a key decade in Lawrence's career that began
with the exhibition of his celebrated full-length
portraits of Queen Charlotte (1789; London,
National Gallery) and Elizabeth Farren (1790;
New York, Metropolitan Museum of Art) at
the Royal Academy, and ended with the artist's
reputation as the leading portraitist of his
generation frmly established.

98

This spontaneously brushed and unfnished


head, revealing the artist's use of black chalk
directly onto the canvas, provides a fascinating
insight into Lawrences technique and approach
at the beginning of a commission, and can be
compared with the portrait of almost identical
dimensions of Colonel Thomas Wildman (1831;
Sothebys, London, 8 December 2011, lot 290,
for 51,650). Lady Elizabeth Leveson-Gower,
who sat to Lawrence in 1817-18 (Private
collection), recalled the artist executing the
preliminary sketch, saying 'what struck me
most... was the perfection of the drawing of
his portraits before any colour was put on - the
drawing by itself was so perfectly beautiful' that
it seemed 'almost a sin' to paint over it (Lord
Ronald Sutherland Gower, Sir Thomas Lawrence,
London, 1900, pp. 37-8).

As the inscription on the stretcher suggests,


the sitter was once thought to be William
Wilberforce (1759-1833), the politician,
philanthropist and one of the leaders of the
movement to abolish the slave trade. In the
second half of the nineteenth century the
picture was in the collection of the Victorian
portraitist Richard Buckner, and was later
owned by the French painter and print-maker,
Paul-Adolphe Rajon.
We are grateful to Brian Allen for confrming the
attribution to Lawrence, after inspection of the
original, and for dating the work to the 1790s.

533

FOLLOWER OF SIR THOMAS LAWRENCE, P.R.A.


Portrait of a lady, traditionally identifed as Lady
Pollock, half-length, in a black dress and red shawl
oil on canvas
30 x 25 in. (77.2 x 65 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

533

n534

SIR HENRY RAEBURN R.A.


(STOCKBRIDGE 1756-1823 EDINBURGH)
Portrait of a lady, traditionally identifed as
Mrs. Balfour, half-length, in a black dress
with a white bonnet
oil on canvas
30 x 25 in. (75.5 x 64 cm.)

5,000-8,000

534

$7,600-12,000
7,000-11,000

535

ALEXANDER NASMYTH (EDINBURGH 1758-1840)


A capriccio view of Dovedale, Derbyshire
oil on canvas
27 x 35 in. (68.6 x 89 cm.)

7,000-10,000

$11,000-15,000
9,800-14,000

Though the present landscape in the Peak District is somewhat changed, engravings
dating to the 18th century show the more rocky appearance of the straits of
Dovedale. Nasmyths view as shown here may have been an accurate representation
of a stretch of the river, or more likely it may be a looser interpretation, bringing
together different vantage points to achieve a more dramatic effect. It encapsulates
that which Wordsworth would later describe as romantic Dovedales spiry rocks
(W. Wordsworth, The Prelude, 1850, Book VI, II.193). In palette and mood, the
present lot is comparable to the Nasmyths view of Hawthornden Castle, near
Edinburgh, circa 1820 (Yale Center for British Art).

101

*536

THOMAS HEEREMANS
(HAARLEM 1641-1694)
The beach at Scheveningen,
with fshermen selling their
catch
signed[?] and dated THMANS 1668
(THM linked, lower centre)
oil on panel
16 x 21 in. (41.9 x 54.2 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

536

n537

FOLLOWER OF PHILIPS
WOUWERMAN
A battle between Turks
and Christians
oil on canvas
32 x 41 in. (81.5 x 105 cm.)

6,000-8,000 $9,100-12,000

8,400-11,000
The composition is based on
the original of c.1668 in the
Gemldegalerie, Dresden.

537

102

n*538

CIRCLE OF JACOB VAN RUISDAEL (HAARLEM 1628/9-1682 AMSTERDAM)


A wooded river landscape with travellers in a wagon being attacked by bandits,
a village with a church beyond
with signature and date vRuysdael. / 1664. (vR linked, lower left)
oil on canvas
40 x 60 in. (102.5 x 153 cm.)

10,000-15,000

$16,000-23,000
14,000-21,000

LITERATURE:

S. Slive, Jacob van Ruisdael - A Complete Catalogue of his Paintings, Drawings and Etchings,
New Haven and London, 2001, p. 644, no. dub90, (dub=doubtful), illustrated.
We are grateful to Ellis Dullaart, of the RKD, The Hague, for her assistance in cataloguing this lot.
Dullaart agrees with Slive that the staffage could be attributed to Johannes Lingelbach and proposes
that an Amsterdam artist, familiar with the work of Jacob Ruisdael and Jan Wijnants, painted the
foliage. Lingelbach, Ruisdael and Wijnants all worked in Amsterdam in the 1660s.

103

n539

FRENCH SCHOOL, 17TH CENTURY


An engraving after a portrait of Balthasar Gerberius (1592-1667), a sash, sword,
plums and grapes, an apple and fgs in a silver tazza on a partially draped table
inscribed AEtatis suae 42 / Ao 1634 / D. Balthazar Gerberius Eques primus post renovationem
/ Foederis cum Hisapniarum kege anno 1630. a Potentissimo / et Sereniissimo Carolo Magnae
Britanniae Franciae et / Hyberniae Rege, Bruxellas Prolegatus Ao 1634 (lower centre)
oil on canvas
31 x 38 in. (80.8 x 98.1 cm.)

15,000-20,000

104

$23,000-30,000
21,000-28,000

540

EDWARD COLLIER (BREDA C.1640-?1710 ?LEIDEN)


A trompe loeil of letters, an engraving after a portrait of Erasmus of Rotterdam
(1466-1536), a quill, a pocket-watch, a stick of red wax and other objects
signed and inscribed Edward Collier / Painter at / Leyden (centre right)
oil on canvas
21 x 26 in. (54 x 67 cm.)

15,000-20,000

$23,000-30,000
21,000-28,000

105

n541

ADRIAAN VAN DER CABEL (RIJSWIJK, NEAR THE HAGUE 1630/1-1705 LYON)
A coastal landscape with a man-o-war and other vessels on the water, elegant
fgures on horseback on the shore, a fortress beyond
oil on canvas
50 x 81 in. (128 x 207.5 cm.)

10,000-15,000

106

$16,000-23,000
14,000-21,000

PROPERTY FROM A EUROPEAN COLLECTION


(LOTS 542 & 552)

n542

ANTON GOUBAU
(ANTWERP 1616-1698)
An Italianate classical landscape with
fgures resting near a fountain, others
making merry, a town by a river beyond
signed and dated A. GOVBAV F. Ao 1654 and
inscribed SPQR (centre right, on the fountain)
oil on canvas
39 x 53 in. (100.3 x 134.6 cm.)
in an 18th century English carved and gilded
frame

25,000-35,000

$38,000-53,000
35,000-49,000

This unpublished work is a fne addition to


the relatively small known corpus of Goubau,
which totals fewer than 60 works according
to Agnes Tieze (see A. Tieze, Anton Goubau
(1616-1698), Stuttgart, 2004, p. 112). Schooled
in Antwerp, he left his native city at some point
before 1642 to travel to Paris and then on to
Rome, where he settled as part of the second
generation of bamboccianti, who had travelled
from northern Europe in the 1640s. Unlike
many of his contemporaries who had made
the same journey and subsequently chose to
stay on in Italy, Goubau went back to Antwerp,
where he is recorded by 1650. There he set up a
successful workshop which would run for some
40 years: he trained, amongst others, Nicolas de
Largillire and Jan Frans van Bloemen.

Our picture, which postdates his Rome trip,


is one of his most pleasing treatments of the
southern market and harbour scenes that
established his popularity back in his home
town. Set amongst idyllic, crumbling ruins
and illuminated by warm early evening light,
a group of travellers seems to be resting after
a hunt. The cast of characters on show some
on horseback, others conversing and merry
making, some elegant, others not is varied and
spirited in nature. In their arrangement they are
not dissimilar to the group in the landscape in
Braunschweig, Herzog Anton Ulrich-Museum
(Tieze, A15), though the mood he achieves
in the present picture is brighter and more
colourful. In its overall scope and quality, the
composition can also be favourably compared to
The Art Lesson, dated 1662 (Antwerp, Koninklijk
Museum voor Schoone Kunsten; Tieze, A21).

107

PROPERTY OF
A EUROPEAN FAMILY
(LOTS 417, 418, 461, 543 & 545)

543

JAN WOUWERMAN
(HAARLEM 1629-1666)
A wooded river landscape with
fgures on a path, a ruined
castle beyond
signed JWouwerman (JW linked,
lower right)
oil on panel
12 x 17 in. (32 x 44.1 cm.)

6,000-8,000 $9,100-12,000

8,400-11,000
PROVENANCE:

with Scheidwimmer, Munich, 1972.


Anonymous sale [The Property of
a Private Collector, New York],
Sothebys, New York, 2 November
1978, lot 62.
with Scheidwimmer, Munich, 1985,
when acquired by the present owner.
543

544

JAN VAN OS
(MIDDELHARNIS 1744-1808
THE HAGUE)
Shipping in calm waters with
fshermen unloading their
catch
oil on canvas
20 x 24 in. (51.5 x 61.5 cm.)

4,000-6,000

544

108

$6,100-9,000
5,600-8,400

PROPERTY OF A EUROPEAN FAMILY (LOTS 417, 418, 461, 543 & 545)

545

KLAES MOLENAER (HAARLEM 1630-1676 PARIS)


The beach at Scheveningen, with elegant fgures and fshermen selling their catch
signed and dated K Molenaer / 1659 (KM linked, lower centre)
oil on panel
19 x 27 in. (50.2 x 68.7 cm.)

8,000-12,000

$13,000-18,000
12,000-17,000

PROVENANCE:

Major W.W. Hicks Beach,


his sale; Christies, London, 24 March 1972, lot 43.

109

545A

JAN MORTEL (LEIDEN 1650-1719)


An orange, roses, partially peeled lemon, strawberries in a
Wanli kraak porcelain plate with butterfies on a stone ledge,
before a sculpted urn, a statue of Fortuna in a garden beyond
signed Mortel . fec: (strengthened, on the ledge)
oil on panel
19 x 15 in. (49.6 x 38.1 cm.)

8,000-12,000

$13,000-18,000
12,000-17,000

PROVENANCE:

Anonymous sale; Sothebys, London, 29 April 1937, lot 70, as J. Mortel.


Private Collection, United Kingdom.
We are grateful to Fred Meijer, of the RKD, The Hague, for confrming
the attribution on the basis of photographs and for dating the picture
to the 1680s or early 1690s.

545A

546

JACOBUS LINTHORST (AMSTERDAM 1745-1815)


A pineapple, grapes, peaches, melons, corn, plums and stocks
on a stone ledge with butterfies in a landscape
with indistinct signature I... Mignon f (lower left)
oil on panel
24 x 19 in. (62.2 x 50.2 cm.)

12,000-18,000

$19,000-27,000
17,000-25,000

We are grateful to Fred Meijer, of the RKD, The Hague, for confrming the
attribution on the basis of photographs.

546

110

547

JAN VAN OS (MIDDELHARNIS 1744-1808 THE HAGUE)


Peonies, roses, an iris and other fowers in a vase with putti,
with a birds nest and peaches, a pineapple, a pomegranate,
grapes and other fruit on a stone ledge

30,000-50,000

with Rayner MacConnal, London, before 1968.


Private collection, Vienna, and by descent to the present owner.
LITERATURE:

signed J. Van Os, fecit (lower right, on the ledge)


oil on panel
27 x 20 in. (68.5 x 52.3 cm.)

PROVENANCE:

P. Mitchell, Jan van Os. 1744-1808, Leigh-on-Sea, 1968, p. 31, no. 62.

$46,000-75,000
42,000-70,000
111

548

n*548

549

CIRCLE OF FRANZ WERNER VON TAMM


(HAMBURG 1658-1724 VIENNA)
Peonies, carnations, roses, hydrangeas, tulips, morning glory
and other fowers in a wicker basket on a stone ledge, with
plums, grapes, lemons and other fruit in a wicker basket with
grapes, plums, a gourd, fgs, lemons, strawberries, blackberries
on stone steps with caterpillars, dragonfies and a snail

FOLLOWER OF NICCOLINO VAN HOUBRAKEN


Poppies, snowdrops and other fowers, a landscape beyond;
and Poppies and other fowers on a river bank, a waterfall
beyond

oil on canvas, unlined, unframed


43 x 55 in. (110.2 x 140.3 cm.)

6,000-8,000

8,000-12,000

549

oil on canvas
18 x 27 in. (47 x 68.6 cm.)

a pair (2)


$13,000-18,000
12,000-17,000

$9,100-12,000
8,400-11,000

n550

FOLLOWER OF FRANOIS DE TROY


Portrait of a lady, as Venus, three-quarter-length, in
a white dress with a pink wrap, with Cupid,
in a wooded landscape
oil on canvas, made up to an oval
57 x 45 in. (145.5 x 116.2 cm.)

6,000-8,000

$9,100-12,000
8,400-11,000

PROVENANCE:

Anonymous sale; Sothebys, London, 14 December 2000, l


ot 165.

550

n551

FRENCH SCHOOL, 18TH CENTURY


Portrait of a gentleman, half-length, in a blue
waistcoat trimmed with gold, and a blue velvet
coat and cravat,
before a draped curtain
oil on canvas
50 x 39 in. (126.9 x 99.8 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

551

113

PROPERTY FROM A EUROPEAN COLLECTION (LOTS 542 & 552)

552

JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)


An Italianate landscape with washerwomen by a river, mountains beyond; and An Italianate wooded
landscape at dusk, with herdsmen and their fock near a waterfall, mountains beyond
the former signed and dated Jean Pillement / 1793 (lower left)
oil on canvas
8 x 12 in. (21.3 x 31.5 cm.) and 9 x 12 in. (22.8 x 32.8 cm.)

a pair (2)

20,000-30,000


114

$31,000-45,000
28,000-42,000

553

ATTRIBUTED TO ANTOINE VESTIER


(AVALLON 1740-1824 PARIS)
Portrait of a lady, half-length,
in a grey dress
oil on panel, oval
28 x 23 in. (73.2 x 59 cm.)
in a Louis XVI style rectangular giltwood and
gesso frame, 19th century, surmounted by a
tied festive ribbon, with berried laurel swags,
the outer edge carved with egg-and-dart, the
later spandrels raised with foliate scroll work

7,000-10,000

$11,000-15,000
9,800-14,000

PROVENANCE:

Anonymous sale; Charpentier, Paris, 7 June 1955,


lot 58, as Johann-Ernst Heinius.
The nude breast and soft smile constitute a new
artistic formula in pre-revolutionary portraiture
in France. While in earlier paintings these two
attributes would allude to sexual behavior with
a moralizing message, commonly representing
prostitutes, in the second half of the 18th
century they promoted a new concept of female
identity.

In the Age of Enlightenment both new medical


texts analyzing the physical constitution of
women, and Rousseau through his Julie, ou
la Nouvelle Hlose (1761) and mile, ou De
lducation (1762), popularized a new and
powerful image of the maternal woman, known
as the 'good wife' and 'good mother'.
The portrait is therefore an allusion to the
sitters sexual and maternal nature, relating both
aspects to physical pleasure, which had recently
been given legitimation.

115

554

NORTH ITALIAN SCHOOL, 18TH CENTURY


Portrait of a lady, half-length, in a green dress and a red
wrap, holding carnations
oil on canvas laid down on board
32 x 25 in. (83 x 64.3 cm.)

5,000-7,000

$7,600-11,000
7,000-9,700

554

555

FIRMIN MASSOT (GENEVA 1766-1849)


Portrait of a lady, traditionally identifed as Julie Masbou,
ne Garrigues, full-length, in a golden dress with a turban,
in an elegant interior, a landscape beyond
oil on canvas, unlined
37 x 27 in. (83 x 69.5 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

EXHIBITED:

(Probably) Geneva, Firmin Massot, 1860, no. 26.


LITERATURE:

J. Crosnier, La peinture lexposition du Centenaire in Nos Anciens


et leurs oeuvres, Geneva, 1917, p. 52, illustrated p. 51.
The present lot is sold with a certifcate of authenticity by Ms Valerie
Louzier-Gentaz, 2001.

555

116

FROM AN IMPORTANT PRIVATE COLLECTION (LOTS 513 & 556)

n556

FRENCH SCHOOL, 18TH CENTURY


Peonies, carnations, daisies and other fowers in a wicker basket with putti on
a draped table in a garden; and Hydrangeas, parrot tulips, peonies, carnations,
and other fowers in a wicker basket with putti on a draped table in a garden
oil on canvas
104 x 47 in. (264 x 120.2 cm.)

a pair (2)

10,000-15,000

$16,000-23,000
14,000-21,000
117

557

SOUTH GERMAN SCHOOL, 18TH CENTURY


A river god holding a child in a landscape, with putti holding laurel
wreaths
oil on canvas, shaped top, relined onto a square canvas
43 x 20 in. (110 x 53 cm.)

5,000-8,000

$7,600-12,000
7,000-11,000

558

ATTRIBUTED TO ADRIAEN VAN DER WERFF


(ROTTERDAM 1659-1722)
The Penitent Magdalene
oil on panel
12 x 16 in. (32.5 x 41.5 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

The present lot relates to a lost painting of similar composition (see B. Gaehtgens,
Adrian van der Werff, Munich, 1987, p. 355, no. 100).

559

VENETIAN SCHOOL, 18TH CENTURY


A wooded river landscape with Venus reclining, a city beyond
7 x 9 in. (19.5 x 24 cm.)

2,000-3,000


557

558

118

559

$3,100-4,500
2,800-4,200

560

GASPAR LOPEZ (NAPLES C. 1650-1732 FLORENCE OR VENICE)


AND ATTRIBUTED TO PLACIDO COSTANZI (ROME 1702-1759)
Two putti by an urn with roses, tulips and other fowers, near a tomb, a fountain and
a village beyond; and Two putti with roses, carnations and other fowers in a sculpted
urn in a wooded landscape
oil on canvas
27 x 19 in. (65.8 x 49.8 cm.)

a pair (2)

15,000-20,000

$23,000-30,000
21,000-28,000

119

561

GASPARD DUGHET,
CALLED GASPARD POUSSIN
(ROME 1615-1675)
A view of Tivoli with classical
fgures conversing on a shore
oil on canvas
29 x 38 in. (73.7 x 97 cm.)

5,000-7,000 $7,600-11,000

7,000-9,700
561A

ATTRIBUTED TO
JOACHIM FRANZ BEICH
(RAVENSBURG 1665-1748
MUNICH)
A wooded river landscape
with classical fgures fshing,
mountains beyond; and
A wooded river landscape
with drovers and their cattle,
mountains beyond
oil on canvas
14 x 19 in. (36 x 48.5 cm.)

a pair (2)
561

6,000-8,000 $9,100-12,000

8,400-11,000

561A

120

562

JAN FRANS VAN BLOEMEN, CALLED LORIZZONTE


(ANTWERP 1662-1749 ROME)
A wooded river landscape with classical fgures conversing, towns beyond
oil on canvas, unlined
29 x 39 in. (75 x 99 cm.)

25,000-35,000

$38,000-53,000
35,000-49,000

PROVENANCE:

with Colnaghi, London, where acquired in May 1971 by the father of the present owner.
LITERATURE:

A. Busiri Vici, Jan Frans Van Bloemen Orizzonte e lorigine del paesaggio romano
settecentesco, Rome, 1974, no. 183, whereabouts unknown.

121

122

563

ANDREA LOCATELLI
(ROME 1695-1741)
A wooded river landscape with fsherman
on the shore,
a town on a hilltop beyond

PROVENANCE:

oil on canvas
20 x 29 in. (52.5 x 74.5 cm.)
in a Carlo Maratta frame

EXHIBITED:

30,000-50,000

$46,000-75,000
42,000-70,000

Knapp-Fisher Collection.
with Agnews, London, where acquired in
February 1971 by the father of the present
owner.

Milan, Palazzetto Serbelloni, Maestri italiani del


600 e 700, 25 October-15 November 1964,
cat. 28, p. 60.
LITERATURE:

A. Busiri Vici, Andrea Locatelli and Roman


Landscape Painting of the Eighteenth Century,
Rome, 1976, no. 56, whereabouts unknown.

The composition of the present lot is very


typical for Locatelli, with two groves of trees
framing the hilltop town in the distance. This
arrangement, with the classical fgures in the
foreground, can also be found in paintings
by his contemporary Jan Frans van Bloemen.
Locatelli painted an almost identical version, of
unknown whereabouts, which is of somewhat
lesser quality. It is very rare for Locatelli to
repeat a composition, however if it proved very
successful, he would paint another, but would
always incorporate minor differences.

564

FOLLOWER OF GASPAR
VAN WITTEL, IL VANVITELLI
A view of Tivoli with an artist
sketching on a shore and other
fgures
signed[?] A.v.(?) Fe: (lower left)
oil on canvas
14 x 18 in. (35.5 x 46 cm.)

4,000-6,000

$6,100-9,000
5,600-8,400

564

565

FRANCESCO IGNAZIO
BORGOGNONE (1660-1731)
A wooded river landscape
with travellers on a path
and fshermen on a shore,
mountains beyond
oil on canvas
18 x 24 in (46 x 61.5 cm.)

3,000-5,000

$4,600-7,500
4,200-7,000

The present lot should be compared


to a similar landscape in the Royal
Collection, Turin.

565

124

n566

MARCANTONIO FRANCESCHINI
(BOLOGNA 1648-1729)
Rest during the Flight into Egypt
oil on canvas
45 x 69 in. (115.7 x 177 cm.)

10,000-15,000

$16,000-23,000
14,000-21,000

PROVENANCE:

(Probably) Sig.r Gio. Batt. Ferrari, Genova, 1704.

The present lot clearly relates to an early


drawing of the same subject at the Narodni
Gallery, Prague, which Dwight Miller dates
to circa 1690 (see C.D. Miller, Marcantonio
Franceschini, Turin, 2001, p. 308, no. 102, illus.
p. 309). Furthermore, it is probably the painting
registered in c. 33v from the Libro dei Conti:
'Dal Sig.r Gio. Batt. Ferrari Genovese per caparra
dun quadro grande e modelletto del detto
dipinto col ritorno dallEgitto della Vegine, Gesu
fanciullo, S. Giuseppe et angeli, daccordo in
coppie cento doppie 30, L. 450' (30 December
1704, see C.D. Miller & F. Chiodini, Il libro dei
conti di Marcantonio Franceschini, Bologna,

2014, pp. 165-66). The subject matches the


above description and the amount of money
paid seems correct in relation to the dimensions
of our painting.
We are grateful to Dr. Chiodini for his kind
assistance in cataloguing this lot and for
suggesting the possibility that the picture was
executed in collaboration with Luigi Quaini
(1643-1717). Former assistant of Guercino,
Quaini worked with Franceschini during the
beginning of his career, taking part in all his
most important large-scale commissions until at
least 1712.

125

567

GIOVANNI PAOLO PANINI (PIACENZA 1691-1765 ROME)


An architectural capriccio with a Sibyl preaching
signed with initials I.P.P. / 1750 (lower left)
oil on canvas
19 x 25 in. (48.5 x 65.5 cm.)

20,000-30,000

$31,000-45,000
28,000-42,000

PROVENANCE:

Marguerite Le Comte (Paris c.1719-c.1786),


possibly since 1763-64.
with Hazlitt, Gooden & Fox, London, from whom
acquired in July 1971 by the father of the present
owner.
EXHIBITED:

London, Hazlitt, Gooden & Fox, Painting in Italy


from the Sixteenth to the Eighteenth Century,
November 1971, no. 12, reproduced.
ENGRAVED:

Elisabeth Cousinet-Lempereur.

The present lot was hitherto known to scholars


only through its engraving by Elisabeth
Cousinet-Lempereur (b. 1726), which bears the
inscription: Jean Paul Pannini Pinx. E.C. Femme
Lempereur sculp. / LES TROIS COLONNES
DE CAMPO VACCINO / Ddi Madame Le
Comte / Tableau tir du Cabinet de Madame
le Comte / dun pied et demi de haut, sur 2 p.
de large / A Paris, chs Lempereur graveur du
Roy, Rue de la Harpe vis--vis la rue Serpente.
/ Par son trs humble et trs Obisant serviteur
Lempereur. This indicates that the painting was
thus engraved when it belonged to Marguerite
Le Comte, alongside its pendant, Preaching
of a Sybil with the Pyramid of Cestius, which
was likewise engraved and inscribed. The
latter, which is likely to be the one published
by Arisi as Panini, private collection, Cremona
(Arisi 1986, cat. 44; 44 x 61 cm.), could have
been painted by Ghisolf, as David Marshall
suggests in his article (David R. Marshall, Early
Panini Reconsidered: The Esztergom 'Preaching
of an Apostle' and the Relationship between
Panini and Ghisolf, Artibus et Historiae, Vol.
18, no. 36., 1997, pp. 137-199). As Marshall
demonstrates, it was not uncommon for Panini
to paint works to pair with those by Ghisolf.
Marguerite Le Comte (Paris c.1719-c.1786) was
an amateur printmaker and engraved portraits
of Clement XIII and Cardinal Alessandro Albani.
She travelled to Italy in 1763-64 with her lover
Claude-Henri Watelet, and it could have been
then that Marguerite le Comte acquired the
pair. She knew Hubert Robert, who dedicated
a series of etchings to her (Cayeux, 1985, pp.
65-67) and it is possible that she knew Panini
too, although he would die the following year.

Fig 1: Francesco Guardi, A Ruined Arch with a


Domed Church in the Distance and Figures, formerly
with Jean-Luc Barconi, London

126

The composition was then copied by Francesco


Guardi (fg. 1; New York, Adam Williams
Fine Art, Master Paintings and Sculpture,
16 January-13 February 2003, no.15b, lent by

Giancarlo Baroni) in what looks like his only


homage to Panini. Considering the mirrored
orientation of the two works, it seems that
Guardi has lifted the composition from the
engraving, however the similar tonalities would
suggest that Guardi had seen and was inspired
by the original painting.
As Marshall notes, 'Although the three columns
are identifed in the Lempereur engraving as
those of the Temple of Castor Pollux in the
Forum, they are not completely based on them:
the shafts in our picture are unfuted, the
capitals have more in common with those of
the Temple of Vespasian, and the arrangement
of the entablature does not correspond to the
upward tapering of those of the Temple of
Castor and Pollux' (op. cit.). The round temple
behind the three columns, which is quite
generic, appears often in Paninis early maturity,
and is reminiscent of Marco Riccis etchings.
The vase as well is a Panini invention, with the
fgures (presumably bacchantes and maenads)
relating to the Borghese vase, and the fne
acanthus ornament at the base to the Medici
vase: these two vases, similar to each other,
were the best-known monumental antique
vases in Rome in Paninis time. He often includes
similar examples related to them in his capricci,
and almost invariantly they have a wedge
missing from the rim at the right, similar to that
found here. The Chiton Torso, seen on the left
here, is a rare motif, although the statue was
highly visible in the Vatican. Marshall argues in
his article that the depiction of the torso in this
painting derives from a composition by Ghisolf
which he names the Esztergom composition. A
variant of the present lot, dated to 1750, is in
the Louvre (in deposit at Valence).
We are grateful to Professor David Marshall for
his kind assistance in the cataloguing of this
picture.

568

JOHANN MELCHIOR ROOS


(FRANKFURT 1659-1731)
A wooded landscape with white deer;
and A wooded landscape with a stag
and deer
the latter signed and dated JRoos fecit / 16...
(JR linked, lower right)
oil on copper
13 x 19 in. (34.9 x 48.9 cm.)

a pair (2)

6,000-8,000

$9,100-12,000
8,400-11,000

569

GIUSEPPE ZAIS (CANALE DAGORDO


1709-1781 TREVISO)
A capriccio with travellers on a track and
shepherds with their focks before the
Arch of Giano al Velabro, a river and a
village beyond
oil on canvas
28 x 43 in. (72 x 110.3 cm.)

6,000-8,000

$9,100-12,000
8,400-11,000

n570

CIRCLE OF GIOVANNI PAOLO PANINI


(PIACENZA 1691-1765 ROME)
An architectural capriccio with classical
fgures conversing
568

oil on canvas
30 x 36 in. (76.6 x 91.5 cm.)

7,000-10,000

$11,000-15,000
9,800-14,000

n571

ATTRIBUTED TO PHILIP PETER ROOS,


CALLED ROSA DA TIVOLI
(ST. GOAR 1657-1706 ROME)
A shepherd resting with sheep, goats
and a bull, in a mountainous landscape
oil on canvas
44 x 60 in. (112 x 154.5 cm.)

5,000-7,000


569

128

$7,600-11,000
7,000-9,700

570

571

129

n572

FOLLOWER OF
GIAMBATTISTA TIEPOLO
The banquet of Cleopatra and
Marc Anthony
oil on canvas
48 x 58 in. (123.3 x 147.4 cm.)

7,000-10,000

$11,000-15,000
9,800-14,000

572

573

CIRCLE OF JOSEPH HEINZ II


(AUGSBURG 1600-1678
VIENNA)
The Piazzetta, Venice, with the
Libreria, the Ducal Palace and
the columns of San Marco and
San Teodoro, looking south
towards San Giorgio Maggiore
oil on canvas
26 x 38 in. (67.8 x 96.8 cm.)

10,000-15,000

573

130

$16,000-23,000
14,000-21,000

n574

STUDIO OF CARLE VAN LOO


(NICE 1705-1765 PARIS)
Allegory of Comedy
inscribed Aristophane / Mnandre
(lower centre)
oil on canvas
42 x 56 in. (106.8 x 142.4 cm.)

4,000-6,000
$6,100-9,000
5,600-8,400


PROVENANCE:

Anonymous sale; Christies, London,


28 October 1955, lot 129, as RAOUX
(320 gns to Smith).
The present lot is a workshop
replica of the original composition
painted by the artist for Madame
de Pompadour (1721-1764) for the
Chateau de Bellevue, now in the
Pushkin Museum, Moscow
(no. 742).

574

n575

CIRCLE OF GIOVANNI
PAOLO PANINI
(PIACENZA 1691-1765
ROME)
An architectural capriccio with
the Pantheon, an obelisk, an
equestrian statue and a ruined
temple, with classical fgures
conversing in the foreground
inscribed M.AGRIPPA.L.F.COS.
TERTIVM. (on the Pantheon)
oil on canvas
44 x 56 in. (112.2 x 144.2 cm.)

20,000-30,000

$31,000-45,000
28,000-42,000

575

131

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION (LOT 576)

576

THE MASTER OF THE LANGMATT FOUNDATION VIEWS, APOLLONIO


DOMENICHINI? (ACTIVE VENICE C. 1740-1770)
The Piazzetta, Venice, with fgures conversing near the Libreria and the Campanile;
and The Piazetta, Venice, with fgures watching a puppet show and others
conversing before the Ducal Palace and St. Marks Basilica
oil on canvas
14 x 22 in. (35.6 x 55 cm.)

a pair (2)

30,000-50,000

$46,000-75,000
42,000-70,000

PROVENANCE:

with Koetser, London, 1965.


We are grateful to Charles Beddington for proposing the attribution to the Master of the Langmatt
Foundation Views on the basis of photographs.

132

133

Index
A

van Aelst, 466


Anguissola, 485

Gainsborough, 522
Garvey, 528
Geldorp, 421, 427
German School, 404
Giordano, 480
Goubau, 542
Govaerts, 412, 418
Greenhill, 463
Griffier, 416

Nasmyth, 535
Neefs, 471
Netscher, 453
North Italian School, 488,
554

von Tamm, 548


Tassi, 506
van Thielen, 474
Tiepolo, 572
Titian, 481
de Troy, 550

B
Barocci, 489
Bassano, J., 486
Bassano, L., 483
Beach, 523-525
Beich, 561A
Borgognone, 565
Brandi, 509
Bruegel, 413
Brueghel, 415

C
van der Cabel, 541
Carracci, 496
Central Italian School, 507
Cesare da Sesto, 475
van Cleve, J., 406
van Cleve, M., 410
Collier, 540
de Coster, 501
Cosway, 529
Curradi, 497

D
Dandini, 499
David, 442
Devis, 526
Dughet, 561
Dutch School, 449, 450
van Dyck, 423, 436,-438, 441

E
English School, 429, 430,
432, 434, 435, 521

F
Ferguson, 468
Fetti, 508
Finson, 500
Flemish School, 409
Florentine School, 490
Floris, 407
Franceschini, 566
Frangipane, 493
French School, 504, 505,
539, 551, 556

134

H
Heeremans, 536
van Hees, 417
Heinz, 573
Hispano-Flemish School, 405
de Hooch, 467
van Houbraken, 549
Hudson, 447, 448
Hulsmann, 455

J
Jervas, 445
Jonson, 433

K
Ketel, 451
Kneller, 443, 444

L
Lambert, 520
Lawrence, 532, 533
Lely, 439
Linthorst, 546
van Loo, 472, 574
Locatelli, 563
Lopez, 560
Lorrain, 510, 512, 513
de Loutherbourg, 531

M
Maes, 464
Massot, 555
Master of
Charles of Durazzo, 402
Master of the Langmatt
Foundation Views, 576
Master of the Morrison
Triptych, 403
Michau, 419
Mierevelt, 452
Molenaer, 545
Monnoyer, 473
Mortel, 545A

O
dOggiono, 478
van Oosten, 411
Orizzonte, 562
van Os, 544, 547
van Ostade, 457

P
Panini, 567, 570, 575
Payne, 527
Perino del Vaga, 479
Pillement, 552
Pourbus, 422
Pozzoserrato, 492
Pseudo Gerino da Pistoia, 477

R
Raeburn, 534
Ramsay, 446
Rathbone, 519
Rembrandt, 454
Reynolds, 515
Riley, 462
Rombouts, 456
Romney, 516, 517
Roos, 568
Rosa da Tivoli, 571
Rubens, 424-426, 428
van Ruisdael, 538
Ryckaert, 420

S
Sabatini, 476
Saftleven, C., 470
Saftleven, H., 461
Salviati, 491
Sienese School, 494
Smith of Chichester, 518
Soest, 440
Sorgh, 458
South German School, 557
Stomer, 502, 503
Sustris, 487

V
Vanvitelli, 564
Venetian School, 482, 559
Veronese, 484
Veronese School, 495
de Verwer, 460
Vestier, 553
Vignali, 498
Vinckboons, 408, 414
Vromans, 469

W
van der Werff, 558
de Wet, 465
Wou, 459
Wouwerman, J., 543
Wouwerman, P., 537
Wright of Derby, 514

Z
Zais, 569
Zoffany, 530
Zuera, 401

Conditions of Sale
CONDITIONS OF SALE
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out
the terms on which we offer the lots listed in this
catalogue for sale. By registering to bid and/or
by bidding at auction you agree to these terms so
you should read them carefully before doing so.
You will find a glossary at the end explaining the
meaning of the words and expressions coloured
in bold.
Unless we own a lot, marked with a symbol ,
Christies acts as agent for the seller.
A BEFORE THE SALE
1 DESCRIPTION OF LOTS
(a) Certain words used in the catalogue description
have special meanings. You can find details of
these on the page headed Important Notices and
Explanation of Cataloguing Practice which forms
part of these terms. You can find a key to the
Symbols found next to certain catalogue entries
under the section of the catalogue called Symbols
Used in this Catalogue.
(b) Our description of any lot in the catalogue,
any condition report and any other statement
made by us (whether orally or in writing) about
any lot, including about its nature or condition,
artist, period, materials, approximate dimensions
or provenance are our opinion and not to be
relied upon as a statement of fact. We do not carry
out in-depth research of the sort carried out by
professional historians and scholars. All dimensions
and weights are approximate only.
2 OUR RESPONSIBILITY FOR OUR
DESCRIPTION OF LOTS
We do not provide any guarantee in relation to
the nature of a lot apart from our authenticity
warranty contained in paragraph E2 and to the
extent provided in paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions
can vary widely due to factors such as age, previous
damage, restoration, repair and wear and tear. Their
nature means that they will rarely be in perfect
condition. Lots are sold as is, in the condition
they are in at the time of the sale, without any
representation or warranty or assumption of liability
of any kind as to condition by Christies or by the
seller.
(b) Any reference to condition in a catalogue
entry or in a condition report will not amount to a
full description of condition, and images may not
show a lot clearly. Colours and shades may look
different in print or on screen to how they look
on physical inspection. Condition reports may be
available to help you evaluate the condition of a
lot. Condition reports are provided free of charge
as a convenience to our buyers and are for guidance
only. They offer our opinion but they may not refer
to all faults, inherent defects, restoration, alteration
or adaptation because our staff are not professional
restorers or conservators. For that reason they are
not an alternative to examining a lot in person
or taking your own professional advice. It is your
responsibility to ensure that you have requested,
received and considered any condition report.
4 VIEWING LOTS PRE-AUCTION
(a) If you are planning to bid on a lot, you should
inspect it personally or through a knowledgeable
representative before you make a bid to make sure
that you accept the description and its condition.
We recommend you get your own advice from a
restorer or other professional adviser.
(b) Pre-auction viewings are open to the public
free of charge. Our specialists are available to
answer questions at pre-auction viewings or by
appointment.
5 ESTIMATES
Estimates are based on the condition, rarity,
quality and provenance of the lots and on
prices recently paid at auction for similar property.
Estimates can change. Neither you, nor anyone
else, may rely on any estimates as a prediction
or guarantee of the actual selling price of a lot or
its value for any other purpose. Estimates do not
include the buyers premium or any applicable
taxes.

Buying at Christies

6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.

2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
report for any item which does not have a report if the but not limited to completing any anti-money
request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks
date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
7 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B
REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVE terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
catalogues, at any Christies office or by choosing
(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
licence, national identity card or passport) and, if christies.com. We must receive your completed
not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.

C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol ; next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVE (as shown above in Section B6);
and
(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve,
the auctioneer will generally decide to open the
bidding at 50% of the low estimate for the lot.
If no bid is made at that level, the auctioneer may
decide to go backwards until a bid is made, and
then continue up from that amount. In the event
that there are no bids on a lot, the auctioneer may
deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.

9 LOCAL BIDDING LAWS


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

THE BUYERS PREMIUM, TAXES


AND ARTISTS RESALE ROYALTY
1 THE BUYERS PREMIUM
In addition to the hammer price, the successful
bidder agrees to pay us a buyers premium
on the hammer price of each lot sold. On all
lots we charge 25% of the hammer price up
to and including j50,000, 20% on that part of
the hammer price over j50,000 and up to and
including j1,000,000, and 12% of that part of the
hammer price above j1,000,000.
2 TAXES
The successful bidder is responsible for any applicable
tax including any VAT, sales or compensating use
tax or equivalent tax wherever they arise on the
hammer price and the buyers premium. It is
the buyers responsibility to ascertain and pay all
taxes due. You can find details of how VAT and
VAT reclaims are dealt with in the section of the
catalogue headed VAT Symbols and Explanation.
VAT charges and refunds depend on the particular
circumstances of the buyer so this section, which
is not exhaustive, should be used only as a general
guide. In all circumstances EU and UK law takes
precedence. If you have any questions about VAT,
please contact Christies VAT Department on +44
(0)20 7389 9060 (email: VAT_london@christies.
com, fax: +44 (0)20 3219 6076).
3 ARTISTS RESALE ROYALTY
In certain countries, local laws entitle the artist or
the artists estate to a royalty known as artists resale
right when any lot created by the artist is sold. We
identify these lots with the symbol next to the
lot number. If these laws apply to a lot, you must
pay us an extra amount equal to the royalty. We
will pay the royalty to the appropriate authority on
the sellers behalf.
The artists resale royalty applies if the hammer
price of the lot is 1,000 euro or more. The total
royalty for any lot cannot be more than 12,500
euro. We work out the amount owed as follows:
Royalty for the portion of the hammer price
(in euros)
4% up to 50,000
3% between 50,000.01 and 200,000
1% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
over 500,000, the lower of 0.25% and 12,500 euro.
We will work out the artists resale royalty using the
euro to sterling rate of exchange of the European
Central Bank on the day of the auction.
E
WARRANTIES
1 SELLERS WARRANTIES
For each lot, the seller gives a warranty that the
seller:
(a) is the owner of the lot or a joint owner of
the lot acting with the permission of the other
co-owners or, if the seller is not the owner or a joint
owner of the lot, has the permission of the owner to
sell the lot, or the right to do so in law; and
(b) has the right to transfer ownership of the lot
to the buyer without any restrictions or claims by
anyone else.
If either of the above warranties are incorrect, the
seller shall not have to pay more than the purchase
price (as defined in paragraph F1(a) below) paid
by you to us. The seller will not be responsible to
you for any reason for loss of profits or business,
expected savings, loss of opportunity or interest,
costs, damages, other damages or expenses. The
seller gives no warranty in relation to any lot
other than as set out above and, as far as the seller
is allowed by law, all warranties from the seller
to you, and all other obligations upon the seller
which may be added to this agreement by law, are
excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the lots in
our sales are authentic (our authenticity warranty).
If, within five years of the date of the auction, you
satisfy us that your lot is not authentic, subject to the
terms below, we will refund the purchase price paid
by you. The meaning of authentic can be found in
the glossary at the end of these Conditions of Sale. The

terms of the authenticity warranty are as follows:


(a) It will be honoured for a period of five years
from the date of the auction. After such time, we
will not be obligated to honour the authenticity
warranty.
(b) It is given only for information shown in
UPPERCASE type in the first line of the
catalogue description (the Heading). It does
not apply to any information other than in the
Heading even if shown in UPPERCASE type.
(c) The authenticity warranty does not apply
to any Heading or part of a Heading which
is qualified. Qualified means limited by a
clarification in a lots catalogue description or
by the use in a Heading of one of the terms listed
in the section titled Qualified Headings on the
page of the catalogue headed Important Notices
and Explanation of Cataloguing Practice. For
example, use of the term ATTRIBUTED TO
in a Heading means that the lot is in Christies
opinion probably a work by the named artist but no
warranty is provided that the lot is the work of the
named artist. Please read the full list of Qualified
Headings and a lots full catalogue description
before bidding.
(d) The authenticity warranty applies to the
Heading as amended by any Saleroom Notice.
(e) The authenticity warranty does not apply
where scholarship has developed leading to a change
in generally accepted opinion. Further, it does not
apply if the Heading either matched the generally
accepted opinion of experts at the date of the sale or
drew attention to any conflict of opinion.
(f) The authenticity warranty does not apply if
the lot can only be shown not to be authentic by
a scientific process which, on the date we published
the catalogue, was not available or generally
accepted for use, or which was unreasonably
expensive or impractical, or which was likely to
have damaged the lot.
(g) The benefit of the authenticity warranty
is only available to the original buyer shown on
the invoice for the lot issued at the time of the
sale and only if the original buyer has owned the
lot continuously between the date of the auction
and the date of claim. It may not be transferred to
anyone else.
(h) In order to claim under the authenticity
warranty you must:
(i) give us written details, including full supporting
evidence, of any claim within five years of the date
of the auction;
(ii) at Christies option, we may require you to
provide the written opinions of two recognised
experts in the field of the lot mutually agreed by
you and us in advance confirming that the lot is
not authentic. If we have any doubts, we reserve
the right to obtain additional opinions at our
expense; and
(iii) return the lot at your expense to the saleroom
from which you bought it in the condition it was
in at the time of sale.
(i) Your only right under this authenticity
warranty is to cancel the sale and receive a refund
of the purchase price paid by you to us. We
will not, in any circumstances, be required to pay
you more than the purchase price nor will we
be liable for any loss of profits or business, loss of
opportunity or value, expected savings or interest,
costs, damages, other damages or expenses.
(j) Books. Where the lot is a book, we give an
additional warranty for 14 days from the date of
the sale that if on collation any lot is defective in
text or illustration, we will refund your purchase
price, subject to the following terms:
(a) This additional warranty does not apply to:
(i) the absence of blanks, half titles, tissue guards
or advertisements, damage in respect of bindings,
stains, spotting, marginal tears or other defects not
affecting completeness of the text or illustration;
(ii) drawings, autographs, letters or manuscripts,
signed photographs, music, atlases, maps or
periodicals;
(iii) books not identified by title;
(iv) lots sold without a printed estimate;
(v) books which are described in the catalogue as
sold not subject to return; or
(vi) defects stated in any condition report or
announced at the time of sale.
(b) To make a claim under this paragraph you must
give written details of the defect and return the lot
to the sale room at which you bought it in the same
condition as at the time of sale, within 14 days of
the date of the sale.

F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of j5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London, SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights we have by
law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;

(ii) we can cancel the sale of the lot. If we do this,


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

137

H TRANSPORT AND SHIPPING


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

138

material is from the African elephant, we will not


be obliged to cancel your purchase and refund the
purchase price.
(d) Lots containing material that originates
from Burma (Myanmar)
Lots which contain rubies or jadeite originating in
Burma (Myanmar) may not generally be imported
into the United States. As a convenience to US
buyers, lots which contain rubies or jadeite of
Burmese or indeterminate origin have been marked
with the symbol in the catalogue. In relation to
items that contain any other types of gemstones
originating in Burma (e.g. sapphires) such items may
be imported into the United States provided that the
gemstones have been mounted or incorporated into
jewellery outside of Burma and provided that the
setting is not of a temporary nature (e.g. a string).
(e) Lots of Iranian origin
Some countries prohibit or restrict the purchase and/
or import of Iranian-origin works of conventional
craftsmanship (works that are not by a recognised
artist and/or that have a function, for example:
carpets, bowls, ewers, tiles, ornamental boxes). For
example, the USA prohibits the import of this
type of property and its purchase by US persons
(wherever located). Other countries, such as Canada,
only permit the import of this property in certain
circumstances. As a convenience to buyers, Christies
indicates under the title of a lot if the lot originates
from Iran (Persia). It is your responsibility to ensure
you do not bid on or import a lot in contravention
of the sanctions or trade embargoes that apply to you.
(f) Gold
Gold of less than 18ct does not qualify in all
countries as gold and may be refused import into
those countries as gold.
(g) Jewellery over 50 years old
Under current laws, jewellery over 50 years old
which is worth j34,300 or more will require an
export licence which we can apply for on your
behalf. It may take up to eight weeks to obtain the
export jewellery licence.
(h) Watches
(i) Many of the watches offered for sale in
this catalogue are pictured with straps made of
endangered or protected animal materials such as
alligator or crocodile. These lots are marked with
the symbol ~ in the catalogue. These endangered
species straps are shown for display purposes only
and are not for sale. Christies will remove and
retain the strap prior to shipment from the sale
site. At some sale sites, Christies may, at its sole
option, make the displayed endangered species strap
available to the buyer of the lot free of charge if
collected in person from the sale site within one
year of the date of the sale. Please check with the
department for details on a particular lot.
(ii) The importation of luxury watches such as
Rolex into the United States is highly restricted.
Such watches may not be shipped to the United
States and can only be imported personally.
Generally, a buyer may import only one watch into
the United States at a time. In this catalogue, these
watches have been marked with a . This will not
affect your responsibility to pay for the lot. For
further information please contact our specialists in
charge of the sale.
For all symbols and other markings referred to in
paragraph H2, please note that lots are marked as a
convenience to you, but we do not accept liability
for errors or for failing to mark lots.
I
OUR LIABILITY TO YOU
(a) We give no warranty in relation to any
statement made, or information given, by us or our
representatives or employees, about any lot other
than as set out in the authenticity warranty and,
as far as we are allowed by law, all warranties and
other terms which may be added to this agreement
by law are excluded. The sellers warranties
contained in paragraph E1 are their own and we
do not have any liability to you in relation to those
warranties.
(b) (i) We are not responsible to you for any reason
(whether for breaking this agreement or any other
matter relating to your purchase of, or bid for, any
lot) other than in the event of fraud or fraudulent
misrepresentation by us or other than as expressly set
out in these Conditions of Sale; or
(ii) give any representation, warranty or guarantee
or assume any liability of any kind in respect of
any lot with regard to merchantability, fitness
for a particular purpose, description, size, quality,
condition, attribution, authenticity, rarity,
importance, medium, provenance, exhibition
history, literature, or historical relevance. Except as
required by local law, any warranty of any kind is
excluded by this paragraph.

(c) In particular, please be aware that our written


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

to those proceedings), we agree we will each try to


settle the dispute by mediation following the Centre
for Effective Dispute Resolution (CEDR) Model
Mediation Procedure. We will use a mediator affiliated
with CEDR who we and you agree to. If the dispute is
not settled by mediation, you agree for our benefit that
the dispute will be referred to and dealt with exclusively
in the courts of England and Wales. However, we will
have the right to bring proceedings against you in any
other court.

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

Vat Symbols and Explanation


You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of
the catalogue headed Conditions of Sale
VAT payable
Symbol
No
Symbol

We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.

We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.

The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
; If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
; If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)

For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.

VAT refunds: what can I reclaim?


If you are:
A non VAT registered
UK or EU buyer
UK VAT registered
buyer

No refund is possible
No symbol and

* and

EU VAT registered
buyer

No Symbol, and #

Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
The VAT amount in the buyers premium cannot be refunded. However,
on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT
rules (as if the lot had been sold with a symbol).
See below for the rules that would then apply.

If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.

* and

The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

Non EU buyer
No Symbol

1. We CANNOT offer refunds of VAT


amounts or Import VAT to buyers who do
not meet all applicable conditions in full. If
you are unsure whether you will be entitled
to a refund, please contact Client Services at
the address below before you bid.
2. No VAT amounts or Import VAT
will be refunded where the total refund is
under j100.
3. In order to receive a refund of VAT
amounts/Import VAT (as applicable) nonEU buyers must:

The VAT amount in the buyers premium cannot be refunded.


However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol). Subject to HMRCs rules,
you can then reclaim the VAT charged through your own VAT return.

We will refund the VAT amount in the buyers premium.

and

We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.

(wine only)

No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in the
buyers premium cannot be refunded to non-trade clients.

* and

We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.

(a) have registered to bid with an address


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

We charge a processing fee of j35.00


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

in a manner that infringes the rules outlined


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

7. All reinvoicing requests must be


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

Symbols used in this catalogue


The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed
Conditions of Sale.

Christies has a direct financial interest in the


lot. See Important Notices and Explanation of
Cataloguing Practice.

Owned by Christies or another Christies


Group company in whole or part. See Important
Notices and Explanation of Cataloguing Practice.

Christies has a direct financial interest in the lot


and has funded all or part of our interest with the
help of someone else. See Important Notices and
Explanation of Cataloguing Practice.

Artists Resale Right. See Section D3 of the


Conditions of Sale.

Lot offered without reserve which will be sold


to the highest bidder regardless of the pre-sale
estimate in the catalogue.
~
Lot incorporates material from endangered
species which could result in export restrictions.
See Section H2(b) of the Conditions of Sale.

Lot which may not be able to be shipped to the


US. See Section H2(h)of the Conditions of Sale.

Lot containing jadeite and rubies from Burma or


of indeterminate origin. See Section H2(d) of the
Conditions of Sale.
?, *, , , #,
See VAT Symbols and Explanation.

See Storage and Collection Pages on South


Kensington sales only.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.

Important Notices and Explanation of


Cataloguing Practice
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which it
owns in whole or in part. Such property is identified in
the catalogue with the symbol next to its lot number.
On occasion, Christies has a direct financial interest in
lots consigned for sale, which may include guaranteeing a
minimum price or making an advance to the consignor that
is secured solely by consigned property. Where Christies
holds such financial interest on its own we identify such lots
with the symbol next to the lot number. Where Christies
has financed all or part of such interest through a third party
the lots are identified in the catalogue with the symbol
. When a third party agrees to finance all or part of
Christies interest in a lot, it takes on all or part of the
risk of the lot not being sold and will be remunerated in
exchange for accepting this risk based on a fixed fee if the
third party is the successful bidder or on the final hammer
price in the event that the third party is not the successful
bidder. The third party may also bid for the lot. Where it
does so, and is the successful bidder, the remuneration may
be netted against the final purchase price. If the lot is not
sold, the third party may incur a loss. Please see http://
www.christies.com/financial-interest/ for a more
detailed explanation of minimum price guarantees and
third party financing arrangements.
Where Christies has an ownership or financial interest
in every lot in the catalogue, Christies will not designate
each lot with a symbol, but will state its interest at the
front of the catalogue.
POST 1950 FURNITURE
All items of post-1950 furniture included in this sale are
items either not originally supplied for use in a private home
or now offered solely as works of art. These items may not
comply with the provisions of the Furniture and Furnishings
(Fire) (Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations). Accordingly, these items should not
be used as furniture in your home in their current condition.
If you do intend to use such items for this purpose, you must
first ensure that they are reupholstered, restuffed and/or
recovered (as appropriate) in order that they comply with the
provisions of the Regulations.

140

FOR PICTURES, DRAWINGS, PRINTS AND


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

The date given for Old Master, Modern and


Contemporary Prints is the date (or approximate date
when prefixed with circa) on which the matrix was
worked and not necessarily the date when the impression
was printed or published.
*This term and its definition in this Explanation of
Cataloguing Practice are a qualified statement as to
authorship. While the use of this term is based upon
careful study and represents the opinion of specialists,
Christies and the consignor assume no risk, liability
and responsibility for the authenticity of authorship
of any lot in this catalogue described by this term, and
the authenticity warranty shall not be available with
respect to lots described using this term.

Storage and Collection


STORAGE & COLLECTION CHARGES
Specified lots, marked with a filled square ( ) not
cleared from Christies by 5.00 pm on the day of
the sale and all sold and unsold lots not cleared from
Christies by 5.00 pm on the fifth Friday following
the sale will be removed to the warehouse of:
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
Lots 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 Christies
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
Christies and clients enjoy complete confidentiality.
Visit www.cfass.com, or contact london@cfass.com.
Telephone: +44 (0)20 7622 0609 for details.
TRANSFER, STORAGE & RELATED
CHARGES (PER LOT)
CHARGES

Furniture/
Large Objects

Transfer/Admin
Storage per day
Extended
Liability Charge:

j42.00
j21.00
j5.25
j2.65
The lower amount of 0.6% of
Hammer Price or 100% of the
above charges

Pictures/
Small Objects

All charges are subject to VAT. Very large or heavy


items may be subject to a surcharge.

COLLECTION & PAYMENT OF ANY


CHARGES DUE
Lots will be available for collection from
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
on every business day after the day of transfer,
from 9.00 am until 5.00 pm.
Lots may only be released by Cadogan Tate upon
a) production of the Collection Order
obtained from the cashiers office at
Christies, 85 Old Brompton Road, London SW7
or Christies, 8 King Street, London SW1
b) payment of any charges that may be due to
Cadogan Tate Ltd
To 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 TATE
Please note that Cadogan Tate Ltds 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.

EXTENDED LIABILITY CHARGES


All services provided by Cadogan Tate Ltd
(Cadogan Tate) will be subject to their standard
Conditions of Business, copies of which are
available at Christies 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 Buyers
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 Lots
owner and at the owners cost, insurance of the
Lot for the sum of the Hammer price plus Buyers
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 owners agent. The Extended Liability Charge
payable by the owner of the Lot is 0.6% of the
sum of the Hammer Price and Buyers 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.
Christies Fine Art Storage Services (CFASS)
also offers storage solutions for fine art, antiques and
collectibles in New York and Singapore FreePort.
CFASS is a separate subsidiary of Christies and
clients enjoy complete confidentiality.
Visit www.cfass.com for charges and other details.

Please note that there will be no charge to


purchasers who collect their lots within two
weeks of this sale.

Cadogan TaTe LTds Warehouse


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

141

Worldwide Salerooms and European Offices


AUSTRIA
VIENNA

INDIA
MUMBAI

RUSSIA
MOSCOW

UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON

+43 (0)1 533 881214


Angela Baillou

+91 (22) 2280 7905


Sonal Singh

BELGIUM
BRUSSELS

DELHI

+7 495 937 6364


+44 20 7389 2318
Katya Vinokurova

+91 (98) 1032 2399


Sanjay Sharma

SPAIN
BARCELONA

ISRAEL
TEL AVIV

+34 (0)93 487 8259


Carmen Schjaer

+972 (0)3 695 0695


Roni Gilat-Baharaff

MADRID

+32 (0)2 512 88 30


Roland de Lathuy
DENMARK
COPENHAGEN

+45 3962 2377


Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI

+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS

+33 (0)1 40 76 85 85
GERMANY
DSSELDORF

+49 (0)21 14 91 59 352


Arno Verkade
FRANKFURT

+49 (0)173 317 3975


Anja Schaller
(Consultant)
HAMBURG

+49 (0)40 27 94 073


Christiane Grfin zu
Rantzau
MUNICH

+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART

+49 (0)71 12 26 96 99
Eva Susanne Schweizer

DENOTES SALEROOM

ITALY
MILAN

+39 02 303 2831


ROME

+39 06 686 3333


Marina Cicogna
MONACO

+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM

+31 (0)20 57 55 255


NORWAY
OSLO

+47 975 800 78


Katinka Traaseth
(Consultant)
PEOPLES REPUBLIC
OF CHINA
BEIJING

+86 (0)10 8572 7900


HONG KONG

+852 2760 1766


SHANGHAI

+86 86 (0)21 6355 1766


Jinqing Cai

+34 (0)91 532 6626


Juan Varez
Dalia Padilla
SWEDEN
STOCKHOLM

+46 (0)70 5368 166


Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
SWITZERLAND
GENEVA

+41 (0)22 319 1766


Eveline de Proyart
ZURICH

+41 (0)44 268 1010


Dr. Bertold Mueller
TURKEY
ISTANBUL

+90 (532) 558 7514


Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI

+971 (0)4 425 5647

+44 (0)20 7839 9060

+44 (0)20 7930 6074


NORTH AND
NORTHEAST

+44 (0)20 7752 3004


Thomas Scott
NORTHWEST AND
WALES

+44 (0)20 7752 3004


Jane Blood
SOUTH

+44 (0)1730 814 300


Mark Wrey
SCOTLAND

+44 (0)131 225 4756


Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN

+44 (0)20 7389 2032


CHANNEL ISLANDS

+44 (0)1534 485 988


Melissa Bonn
(Consultant)
IRELAND

+353 (0)59 86 24996


Christine Ryall
(Consultant)
UNITED STATES
NEW YORK

+1 212 636 2000

PORTUGAL
LISBON

+351 919 317 233


Mafalda Pereira
Coutinho
(Independent
Consultant)

ENQ UI RI ES Call the Saleroom or Office


For a complete salerooms & offices listing go to christies.com

E MA I L info@christies.com
16/02/15

142

Christies Specialist Departments and Services


DEPARTMENTS
AMERICAN FURNITURE

NY: +1 212 636 2230


AMERICAN INDIAN ART

NY: +1 212 606 0536


AMERICAN PICTURES

NY: +1 212 636 2140


ANGLO-INDIAN ART

KS: +44 (0)20 7389 2570


ANTIQUITIES

INDIAN
CONTEMPORARY ART

KS: +44 (0)20 7389 2700


NY: +1 212 636 2189
INTERIORS

SK: +44 (0)20 7389 2236


NY: +1 212 636 2032
ISLAMIC WORKS OF ART

POSTERS
PRINTS

KS: +44 (0)20 7389 2328


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

KS: +44 (0)20 7389 2700


SK: +44 (0)20 7752 3239

KS: +44 (0)20 7389 2343

JAPANESE
WORKS OF ART

KS: +44 (0)20 7389 2057

RUSSIAN WORKS OF ART


TRAVEL, SCIENCE AND
NATURAL HISTORY

ARMS AND ARMOUR

KS: +44 (0)20 7389 2591


SK: +44 (0)20 7752 3239

SK: +44 (0)20 7752 3119

JEWELLERY

ASIAN 20TH CENTURY


AND CONTEMPORARY ART

KS: +44 (0)20 7389 2383


SK: +44 (0)20 7752 3265

NY: +1 212 468 7133

LATIN AMERICAN ART

AUSTRALIAN PICTURES

NY: +1 212 636 2150

KS: +44 (0)20 7389 2040

MARITIME PICTURES

BOOKS AND
MANUSCRIPTS

SK: +44 (0)20 7752 3284


NY: +1 212 707 5949

SWISS ART

KS: +44 (0)20 7389 2674


SK: +44 (0)20 7752 3203

MINIATURES

KS: +44 (0)20 7389 2650

TOPOGRAPHICAL
PICTURES

BRITISH & IRISH ART

MODERN DESIGN

KS: +44 (0)20 7389 2682


NY: +1 212 636 2084
SK: +44 (0)20 7752 3257

SK: +44 (0)20 7389 2142

KS: +44 (0)20 7389 2040


SK: +44 (0)20 7752 3291

SK: +44 (0)20 7752 3219

BRITISH ART ON PAPER

KS: +44 (0)20 7389 2278


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

KS: +44 (0)20 7389 2945


CARPETS

KS: +44 (0)20 7389 2370


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

KS: +44 (0)20 7389 2577


SK: +44 (0)20 7752 3239
CLOCKS

KS: +44 (0)20 7389 2357

KS: +44 (0)20 7389 2699


NINETEENTH CENTURY
EUROPEAN PICTURES

KS: +44 (0)20 7389 2443


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

KS: +44 (0)20 7389 2347


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

KS: +44 (0)20 7389 2251


OLD MASTER PICTURES

ORIENTAL CERAMICS
AND WORKS OF ART

SK: +44 (0)20 7752 3026


FURNITURE

KS: +44 (0)20 7389 2482


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

KS: +44 (0)20 7389 2638


SK: +44 (0)20 7752 3218

SILVER

KS: +44 (0)20 7389 2666


SK: +44 (0)20 7752 3262
ZUR: +41 (0) 44 268 1012

TWENTIETH CENTURY
BRITISH ART

KS: +44 (0)20 7389 2446


SK: +44 (0)20 7389 2502

EUROPEAN CERAMICS
AND GLASS

KS: +44 (0)20 7389 2331


SK: +44 (0)20 7389 2794

NINETEENTH CENTURY
FURNITURE AND
SCULPTURE

KS: +44 (0)20 7389 2531


SK: +44 (0)20 7752 3250

SK: +44 (0)20 7752 3215

SCULPTURE

TRIBAL AND
PRE-COLUMBIAN ART

CONTEMPORARY ART

COSTUME, TEXTILES
AND FANS

SK: +44 (0)20 7752 3291

SK: +44 (0)20 7752 3365

MUSICAL INSTRUMENTS

PAR: +33 (0)140 768 386

KS: +44 (0)20 7389 2684


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

KS: +44 (0)20 7389 2140


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

KS: +44 (0)20 7389 2446


SK: +44 (0)20 7389 2502

Tel: +44 (0)20 7389 2548


Email: norchard@
christies.com
FINANCIAL SERVICES

Tel: +44 (0)20 7389 2624


Fax: +44 (0)20 7389 2204
HERITAGE AND
TAXATION

New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu

Tel: +44 (0)20 7389 2101


Fax: +44 (0)20 7389 2300
Email:rcornett@christies.
com
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES

Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES

Tel: +44 (0)20 7389 2343


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

Tel: +44 (0)20 7389 2570


Email: llindsay@christies.
com

New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE

PRIVATE SALES

US: +1 212 636 2034


Fax: +1 212 636 2035

New York
Tel +1 212 468 7182
Fax +1 212 468 7141

VALUATIONS

Tel: +44 (0)20 7389 2464


Fax: +44 (0)20 7389 2038
Email: mwrey@christies.
com

info@christiesrealestate.com

London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
info@christiesrealestate.com

info@christiesrealestate.com

KS: +44 (0)20 7389 2468


SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS

WINE

POST-WAR ART

CHRISTIES EDUCATION

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

VICTORIAN PICTURES

PHOTOGRAPHS

SK: +44 (0)20 7752 3275

CORPORATE
COLLECTIONS

Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646

KS: +44 (0)20 7389 2257


SK: +44 (0)20 7752 3293

POPULAR CULTURE
AND ENTERTAINMENT

OTHER SERVICES

SK: +44 (0)20 7752 3218

SK: +44 (0)20 7752 3235


KS: +44 (0)20 7389 2292

AUCTION SERVICES

SK: +44 (0)20 7752 3208

KS: +44 (0)20 7752 3366

KEY TO ABBREVIATIONS

KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/11/14

Retrace the footsteps of the Grand Tour, discover the stories behind famous battles,
people and provenance, and learn about methods and materials in the fne and decorative arts,
with our specialist-led tours of the upcoming sales of Old Master Pictures,
European Noble and Private Collections, and Around the World.

Explore the Sales at Christies South Kensington


with Specialist-led Tours
Saturday 25 April 2015
Gallery tours
11am and 12pm

Christies
South Kensington
85 Old Brompton Road
London SW7 3LD

Please register your


interest at
rsvp@christies.com

Kindly supported by

Children welcome
Sole UK affiliate of
Christies International Real Estate

European Noble & Private Collections


London, South Kensington 30 April 2015
Including property from:

Viewing

Contact

Descendants of His Royal Highness Prince Ferdinand of Bavaria, Infante of Spain (18841958)
The Royal House of Saxony, the House of Wettin A. L. (Albertine Line)
Heinrich Ahasverus Count von Lehndorff-Steinort (19091944)
The Blair Charitable Trust, removed From Blair Castle, Blair Atholl, Scotland

25 29 April
85 Old Brompton Road
London SW7 3LD

Charlotte Young
cyoung@christies.com
+44 (0) 20 7389 2730

Fine & Rare Wines


Including Three Exceptional Private Collections

London, King Street 30 April 2015


Contact
Chris Munro
cmunro@christies.com
+44 (0) 20 7752 3140

christies.com

Jewellery
London, South Kensington 14 April 2015
Viewing

Contact

1013 April 2015


85 Old Brompton Road
London SW7 3LD

Geoff Young
gyoung@christies.com
+44 (0)20 7752 3267

THREE DIAMOND AND GEM-SET ALLEGRA RINGS,


BY DE GRISOGONO)
1,400 1,600 each

ANTON GRAFF (17361813)


Stillleben, verschiedene Frchte und ein Eichhrnchen
Oil on canvas, 48 x 62 cm.
CHF15,00025,000

Swiss Art
Zurich 5 May 2015
Viewing

Contact

14 May 2015
Kunsthaus Zrich, Vortragssaal
8001 Zurich

Hans-Peter Keller
hkeller@christies.com
+41 (0) 44 268 10 12

christies.com

Old Master & British Paintings

Written Bids Form

THURSDAY 30 APRIL 2015 AT 2.00 PM

Christies South Kensington

85 Old Brompton Road, London SW7 3LD


CODE NAME: ELOISE
SALE NUMBER: 10448

(Dealers billing name and address must agree with tax


exemption certificate. Invoices cannot be changed after
they have been printed.)

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

10448

BID ONLINE FOR THIS SALE AT CHRISTIES.COM


Client Number (if applicable)

Sale Number

Billing Name (please print)

BIDDING INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments) of up to 10 per cent.
The auctioneer will decide where the bidding should
start and the bid increments. Written bids that do not
conform to the increments set below may be lowered
to the next bidding interval.
UK50 to UK 1,000

by UK50s

UK1,000 to UK2,000

by UK100s

UK2,000 to UK3,000

by UK200s

UK3,000 to UK5,000

by UK200, 500, 800


(eg UK4,200, 4,500, 4,800)

UK5,000 to UK10,000

by UK500s

UK10,000 to UK20,000

by UK1,000s

UK20,000 to UK30,000

by UK2,000s

UK30,000 to UK50,000

by UK2,000, 5,000, 8,000


(eg UK32,200, 35,000,
38,000)

UK50,000 to UK100,000

by UK5,000s

UK100,000 to UK120,000

by UK10,000s

Above UK200,000

at auctioneers discretion

Address

Post Code

Daytime Telephone

Evening Telephone

Fax (Important)

Email

Please tick if you prefer not to receive information about our upcoming sales by e-mail
I have read and understood thIs WrItten BId Form and the CondItIons oF sale - Buyers agreement

Signature

If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or
passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank
statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore
companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on
the information you should supply. If you are registering to bid on behalf of someone who has not previously
bid or consigned with Christies, please attach identification documents for yourself as well as the party on
whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients,
clients who have not made a purchase from any Christies office within the last two years, and those wishing
to spend more than on previous occasions will be asked to supply a bank reference.

The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful, the amount payable
will be the sum of the hammer price and the buyers
premium (together with any taxes chargeable on the hammer
price and buyers premium and any applicable Artists Resale
Royalty in accordance with the Conditions of Sale). The buyers
premium rate shall be an amount equal to 25% of the hammer
price of each lot up to and including j50,000, 20% on any
amount over j50,000 up to and including j1,000,000 and 12%
of the amount above j1,000,000. For wine and cigars there is a
flat rate of 17.5% of the hammer price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christies receive written bids on a lot for
identical amounts and at the auction these are the highest bids on
the lot, Christies will sell the lot to the bidder whose written bid
it received and accepted first.
5.
Written bids submitted on no reserve lots will, in the
absence of a higher bid, be executed at approximately 50% of the
low estimate or at the amount of the bid if it is less than 50%
of the low estimate.
I understand that Christies written bid service is a free service
provided for clients and that, while Christies will be as careful as
it reasonably can be, Christies will not be liable for any problems
with this service or loss or damage arising from circumstances
beyond Christies reasonable control.

PLEASE PRINT CLEARLY


Lot number
(in numerical order)

Maximum Bid UK
(excluding buyers premium)

Lot number
(in numerical order)

Maximum Bid UK
(excluding buyers premium)

If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS


Please quote number below:

Auction Results: +44 (0)20 7839 9060

06.02.15

OMP & 19TH CENTURY PAINTINGS

expert knowledge beautifully presented

Continental European and British paintings from the early Renaissance


to the early 19th century. British and Irish Art from Tudor period
to 1970, including pictures, works on paper, Sporting Art,Victorian
and Scottish pictures. Continental European drawings from the early
Renaissance to the early 19th century. Paintings, drawings and watercolors from the 19th century, including Romanticism, Genre, Realist,
Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and
nautical items, ship models and maritime instruments.

Code

Subscription Title

Location

A1
L193
L1
L195
L98
N193
N1
P1
K193
K9
K1
K2
K97
W9

OMP & C19th Paintings


Old Master and 19th Century Art
19th Century European Art including Orientalist Art
Old Master and British Paintings
Victorian and British Impressionist Pictures
Topographical Pictures
19th Century European Art
Old Master Paintings
Old Master & 19th Century European Paintings
19th Century Paintings
Old Master & Early British Drawings & Watercolours
Old Master Paintings
Victorian, Traditionalist & Sporting Pictures
Australian Art
Old Master & Early British Drawings & Watercolours

Amsterdam
King Street
King Street
King Street
King Street
New York
New York
Paris
South Kensington
South Kensington
South Kensington
South Kensington
South Kensington
Worldwide

www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings

Issues
2
2
5
2
1
2
3
1
2
1
4
5
1
4

UKPrice

US$Price

EURPrice

27
48
119
48
20
48
71
38
43
14
57
71
14
95

44
72
181
76
32
76
108
61
71
24
95
119
24
152

40
76
190
72
30
72
114
57
66
22
87
109
22
144

Christies
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairwoman and CEO
Stephen Brooks, Global Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Franois-Henri Pinault,
Jussi Pylkknen, Global President

Sophie Carter, Company Secretary


CHRISTIES EXECUTIVE
Patricia Barbizet, Chairwoman and CEO
Jussi Pylkknen, Global President
Stephen Brooks, Global Chief Operating Officer
CHRISTIES EMERI
CHAIRMANS OFFICE
Viscount Linley, Honorary Chairman
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Olivier Camu, Philippe Garner, Richard Knight,
Francis Outred, Andreas Rumbler,
Franois de Ricqles
DIRECTORS
Edouard Boccon-Gibod, Prof. Dr. Dirk Boll,
Roland de Lathuy, Eveline de Proyart,
Roni Gilat-Baharaff, Christiane Rantzau,
Jop Ubbens, Juan Varez
CHRISTIES EMERI
ADVISORY BOARD
Pedro Girao, Chairman,
Patricia Barbizet, Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg, Laurence Graff,
H.R.H. Prince Pavlos of Greece,
Marquesa de Bellavista Mrs Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi

Charles Cator, Deputy Chairman,


Christies International

CHRISTIES UK
CHAIRMANS OFFICE
Orlando Rock, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Daniel Baade, Philip Belcher,
Jeremy Bentley, Ellen Berkeley, Jill Berry,
Peter Brown, James Bruce-Gardyne, Sophie Carter,
Benjamin Clark, Christopher Clayton-Jones,
Karen Cole, Isabelle de La Bruyere, Leila de Vos,
Nicole Dembinska, Paul Dickinson,
Harriet Drummond, Julie Edelson,
Hugh Edmeades, David Elswood, David Findlay,
Margaret Ford, Daniel Gallen, Karen Harkness,
Philip Harley, James Hastie, Karl Hermanns,
Paul Hewitt, Rachel Hidderley, Mark Hinton,
Nick Hough, Michael Jeha, Donald Johnston,
Erem Kassim-Lakha, William Lorimer,
Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Clarice Pecori-Giraldi,
Benjamin Peronnet, Henry Pettifer,
Steve Phipps, Will Porter, Paul Raison,
Tara Rastrick, William Robinson, John Stainton,
Alexis de Tiesenhausen, Lynne Turner, Jay Vincze,
Andrew Ward, David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Simon Andrews, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Grace Campbell, Lucy Campbell, Jason Carey,
Romilly Collins, Ruth Cornett, Nicky Crosbie,
Sigrun Danielsson, Armelle de Laubier-Rhally,
Sophie DuCret, Anna Evans, Arne Everwijn,
Adele Falconer, Nick Finch, Peter Flory,
Elizabeth Floyd, Christopher Forrest,
Giles Forster, Sarah Ghinn, Zita Gibson,
Alexandra Gill, Sebastian Goetz, John Green,
Simon Green, David Gregory, Mathilde Heaton,
Annabel Hesketh, Sydney Hornsby,
Peter Horwood, Simon James, Sabine Kegel,
Hans-Peter Keller, Tjabel Klok, Quincy Kresler,
Robert Lagneau, Nicholas Lambourn,
Joanna Langston, Tina Law, Darren Leak,
Adriana Leese, Brandon Lindberg, Laura Lindsay,
David Llewellyn, Murray Macaulay,
Sarah Mansfield, Nicolas Martineau,

Christie, Manson & Woods Ltd. (2015)

Roger Massey, Joy McCall, Neil McCutcheon,


Daniel McPherson, Neil Millen, Edward Monagle,
Jeremy Morgan, Leonie Moschner,
Giles Mountain, Chris Munro, Rupert Neelands,
Liberte Nuti, Beatriz Ordovs, Rosalind Patient,
Keith Penton, Romain Pingannaud,
Sara Plumbly, Caroline Porter, Michael Prevezer,
Anne Qaimmaqami, Marcus Rdecke,
Pedram Rasti, Amjad Rauf, Sandra Romito,
Tom Rooth, Alice de Roquemaurel,
Francois Rothlisberger, Patrick Saich,
Tim Schmelcher, Rosemary Scott, Tom Scott,
Nigel Shorthouse, Dominic Simpson, Nick Sims,
Katie Siveyer, Nicola Steel, Robin Stephenson,
Kay Sutton, Rakhi Talwar, Nicolette Tomkinson,
Jane Turner, Thomas Venning, Sophie Wiles,
Mark Wilkinson, Bernard Williams,
Georgina Wilsenach, Toby Woolley, Geoff Young
ASSOCIATE DIRECTORS
Guy Agazarian, Cristian Albu, Jennie Amos,
Ksenia Apukhtina, Katharine Arnold,
Alexis Ashot, Alexandra Baker,
Fiona Baker, Virginie Barocas-Hagelauer,
Carin Baur, Sarah Boswell, Mark Bowis,
Clare Bramwell, John Caudle, Dana Chahine,
Marie-Louise Chaldecott, Sophie Churcher,
Marion Clermont, Helen Culver Smith,
Laetitia Delaloye, Charlotte Delaney,
Freddie De Rougemont, Grant Deudney,
Eva-Maria Dimitriadis, Howard Dixon,
Virginie Dulucq, Joe Dunning, Antonia Essex,
Kate Flitcroft, Nina Foote, Eva French,
Pat Galligan, Keith Gill, Andrew Grainger,
Leonie Grainger, Julia Grant, Pippa Green,
Angus Granlund, Christine Haines, Coral Hall,
Charlotte Hart, Evelyn Heathcoat Amory,
Anke Held, Valerie Hess, Carolyn Holmes,
Amy Huitson, Adrian Hume-Sayer,
James Hyslop, Helena Ingham, Pippa Jacomb,
Guady Kelly, Clementine Kerr, Hala Khayat,
Alexandra Kindermann, Mark Henry Lamp,
Tom Legh, Timothy Lloyd, Graeme Maddison,
Stephanie Manstein, Astrid Mascher,
Michelle McMullan, Kateryna Merkalenko,
Toby Monk, Sarah OBrien, Samuel Pedder-Smith,
Suzanne Pennings, Louise Phelps, Sarah Rancans,
Lisa Redpath, David Rees, Alexandra Reid,
Sumiko Roberts, Sangeeta Sachidanantham,
Pat Savage, Catherine Scantlebury,
Julie Schutz, Hannah Schweiger, Mark Silver,
James Smith, Graham Smithson, Mark Stephen,
Annelies Stevens, Charlotte Stewart,
Dean Stimpson, Gemma Sudlow,
Dominique Suiveng, Cornelia Svedman,
Nicola Swain, Iain Tarling, Sarah Tennant,
Timothy Triptree, Flora Turnbull, Lisa Varsani,
Julie Vial, Anastasia von Seibold, Amelia Walker,
Tony Walshe, Chris White, Rosanna Widen,
Ben Wiggins, Annette Wilson, Julian Wilson,
Elissa Wood

09/03/15

85 Old Brompton Road London SW7 3LD

+44 (0)20 7930 6074 telephone +44 (0)20 7389 2869 facsimile

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