OLD MASTER PAINTINGS - Bonhams Bonhams 1793 Limited Registered No. 4326560 Registered Office:...

OLD MASTER PAINTINGSWednesday 4 July 2018

Bonhams 1793 LimitedRegistered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax

Bonhams International BoardRobert Brooks Co-Chairman,Malcolm Barber Co-Chairman, Colin Sheaf Deputy Chairman, Matthew Girling CEO, Patrick Meade Group Vice Chairman,Jon Baddeley, Rupert Banner, Geoffrey Davies, Jonathan Fairhurst, Asaph Hyman, James Knight, Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright.

Bonhams UK Ltd DirectorsColin Sheaf Chairman, Harvey Cammell Deputy Chairman, Antony Bennett, Matthew Bradbury, Lucinda Bredin, Simon Cottle, Andrew Currie, Jean Ghika, Charles Graham-Campbell, Matthew Haley, Richard Harvey, Robin Hereford, David Johnson, Charles Lanning, Grant MacDougall

Gordon McFarlan, Andrew McKenzie, Simon Mitchell, Jeff Muse, Mike Neill, Charlie O’Brien, Giles Peppiatt, India Phillips, Peter Rees, John Sandon, Tim Schofield, Veronique Scorer, Robert Smith, James Stratton, Ralph Taylor, Charlie Thomas, David Williams, Michael Wynell-Mayow, Suzannah Yip.

BONHAMS OLD MASTERS DEPARTMENT

Andrew McKenzie Director, Head of Department, London

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Lisa Greaves Department Director and Head of Sale London –

Bun Boisseau Junior Cataloguer, London

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Caroline Oliphant Group Head of Pictures London –

Mark Fisher Director, European Paintings, Los Angeles

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Brian Koetser Consultant London

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Poppy Harvey-Jones Junior Specialist London

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Madalina Lazen Senior Specialist, European Paintings New York

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Bonhams 1793 LimitedRegistered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax

Bonhams International BoardRobert Brooks Co-Chairman,Malcolm Barber Co-Chairman, Colin Sheaf Deputy Chairman, Matthew Girling CEO, Patrick Meade Group Vice Chairman,Jon Baddeley, Rupert Banner, Geoffrey Davies, Jonathan Fairhurst, Asaph Hyman, James Knight, Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright.

Bonhams UK Ltd DirectorsColin Sheaf Chairman, Harvey Cammell Deputy Chairman, Antony Bennett, Matthew Bradbury, Lucinda Bredin, Simon Cottle, Andrew Currie, Jean Ghika, Charles Graham-Campbell, Matthew Haley, Richard Harvey, Robin Hereford, David Johnson, Charles Lanning, Grant MacDougall

Gordon McFarlan, Andrew McKenzie, Simon Mitchell, Jeff Muse, Mike Neill, Charlie O’Brien, Giles Peppiatt, India Phillips, Peter Rees, John Sandon, Tim Schofield, Veronique Scorer, Robert Smith, James Stratton, Ralph Taylor, Charlie Thomas, David Williams, Michael Wynell-Mayow, Suzannah Yip.

VIEWINGSaturday 30 June, 11am - 5pmSunday 1 July, 11am - 5pmMonday 2 July, 9am - 4.30pmTuesday 3 July, 9am - 4.30pmWednesday 4 July, 9am - 12pm

SALE NUMBER 24650

CATALOGUE £25.00

OLD MASTER PAINTINGSWednesday 4 July 2018, at 2pm 101 New Bond Street, London

BIDS+44 (0) 20 7447 7447+44 (0) 20 7447 7401 faxTo bid via the internet please visit www.bonhams.com

Bidding by telephone will only be accepted on lots with a lower estimate in excess of £1,000.

Please note that bids should besubmitted no later than 4pm onthe day prior to the sale. Newbidders must also provide proofof identity when submitting bids.Failure to do this may result inyour bid not being processed.

Live online bidding is available for this salePlease email [email protected] ‘live bidding’ in the subjectline 48 hours before the auctionto register for this service.

ENQUIRIESSpecialists Andrew McKenzie+44 (0) 20 7468 [email protected]

Caroline Oliphant+44 (0) 20 7468 [email protected]

Lisa Greaves+44 (0) 20 7468 [email protected]

Poppy Harvey-Jones+44 (0) 20 7468 [email protected]

Bun Boisseau+44 (0) 20 7468 [email protected]

ConsultantsBrian Koetser

CUSTOMER SERVICESMonday to Friday 8.30am to 6pm+44 (0) 20 7447 7447

Please see back of catalogue for important notice to bidders

ILLUSTRATIONSFront cover: Lot 111Back cover: Lot 62Inside front cover: Lot 100 (detail)Inside back cover: Lot 37

IMPORTANT INFORMATIONThe United States Government has banned the import of ivory into the USA. Lots containing ivory are indicated by the symbol Ф printed beside the lot number in this catalogue.

SALE INFORMATION

BIDS+44 (0) 20 7447 7447+44 (0) 20 7447 7401 faxTo bid via the internet please visitwww.bonhams.com

PAYMENTSBuyers+44 (0) 20 7447 7447+44 (0) 20 7447 7401 fax

SellersPayment of sale proceeds+44 (0) 20 7447 7447+44 (0) 20 7447 7401 fax

VALUATIONS, TAXATION & HERITAGE+44 (0) 20 7468 8340+44 (0) 20 7468 5860 [email protected]

CATALOGUE SUBSCRIPTIONSTo obtain any Bonhams catalogue or to take out an annual subscription:Subscriptions Department+44 (0) 1666 502200+44 (0) 1666 505107 [email protected]

SHIPPINGFor information and estimateson domestic and internationalshipping as well as exportlicenses please contact AlbanShipping on +44 (0) 1582 493 [email protected]

BUYERS COLLECTION &STORAGE AFTER SALELOTS MARKED TP

All sold lots marked TP will beremoved to Cadogan Tate, 241Acton Lane, London, NW10 7NPfrom 9am Thursday 5 July 2018and will be available from 12pm Friday 6 July 2018 and then everyworking day between 9am and4.30pm by appointment only.

A booking email or phone call arerequired in advance to ensure lotsare ready at time of collection.Photographic ID will be requiredat time of collection. If a thirdparty is collecting for you writtenauthorisation is required in advancefrom you and photographic ID of the third party is requested at the time of collection.

To arrange a collection timeplease send a booking email [email protected] ortelephone call to +44 (0)800 9886100 to unsure lots are ready attime of collection.

All other sold lots will remain in thecollections room at New BondStreet without charge until 5.30pmWednesday 18 July 2018. Lotsnot collected by this time will beremoved to Cadogan Tate, 241Acton Lane, London, NW10 7NP& will be available from 9am Friday 20 July 2018 handling and storage charges will apply.

STORAGE AND HANDLINGCHARGES ON SOLD LOTSRETURNED TO CADOGAN TATE

StorageStorage will be free of charge forthe first 14 calendar days from &including the sale date Wednesday4 July 2018.

Charges will apply fromThursday 19 July 2018.

Large Paintings:£5.70 per day + VATAll other Paintings:£2.85 per day + VAT(Note: Charges apply every dayincluding weekends and PublicHolidays)

HandlingAfter the first 14 calendar daysfollowing the sale, the followinghandling charges apply per Lot:Large Paintings £42.00+ VATAll other Paintings £21.00+ VAT

Loss and DamageExtended Liability cover to the valueof the Hammer price will be chargedat 0.6% but capped at the totalvalue of all other charges

VATWill be applied at the currentrate on all above charges

The following symbol isused to denote that VATis due on the hammer priceand buyer’s premium

† VAT 20% on hammer priceand buyer’s premium

* VAT on imported items ata preferential rate of 5% onhammer price and theprevailing rate on buyer’s premium

Y These lots are subject toCITES regulations, pleaseread the information in theback of the catalogue.

PaymentAll charges due to CadoganTate may be paid to them in advanceor at the time of collection from theirwarehouse. Payment may be madeby cash, cheque with banker’s card,credit, or debit card (Please note:Amex is not accepted).

Information on chargesdue is available by email at [email protected] telephone on+44 (0) 800 988 6100

Payment in Advance(Telephone to ascertain amount due)by: cash, cheque with banker’scard, credit or debit card.

Payment at time of collection by:cash, cheque with banker’s card,credit or debit card.

Cadogan Tate

West Acton Station

Park Royal

StationNorth Acton

Station

Park Royal

Acton Cemetery

iWestern Ave A40

Western Ave A40

Coronation Road

Park Royal Road

Chas

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Central Middlesex Hospital

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For details of the charges payable in addition to the final Hammer Price of each Lotplease refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

1 *WILLEM VERELST (LONDON 1704-1752)Portrait of Elizabeth Horton, full-length, in a silver and red riding habit, standing in a landscape with her horse, dogs and a groom oil on canvas 76.4 x 63.8cm (30 1/16 x 25 1/8in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance The Collection of Paul Mellon His sale, Sotheby’s, London, 18 November 1981, lot 95 With Richard Green Fine Paintings, London, where purchased by the present owner in January 1984 Exhibited London, Royal Academy, Painting in England 1700-1850, from the Collection of Mr and Mrs Paul Mellon, Virginia, 1964-5, cat. no. 25 The sitter (d. 1740) was the daughter of Christopher Horton of Catton, Derbyshire. She married Bowyer Adderely of Hams Hall, Warwickshire, in 1726. They had three children. The identity of the sitter comes from an early inscription on a label attached to the reverse.

OLD MASTER PAINTINGS | 5


2FOLLOWER OF HUGO VAN DER GOES (GHENT CIRCA 1440-1482 OUDERGEM)The Virgin and Child in a landscape oil on panel 20.5 x 15.2cm (8 1/16 x 6in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

The present composition is related to a drawing attributed to the Workshop of Rogier van der Weyden in the Museum Boijmans van Beuningen in Rotterdam (inv. no. 9). A print after this drawing in the Metropolitan Museum, New York, is attributed to Johannes Wierix and a very similar Virgin and Child, signed by Hieronymus Wierix and published by Hans van Luyck, is in the Royal Library of Belgium, Brussels. Joris van Grieken further observes that the latter print is closer in style to Hugo van der Goes, whose influence can also be detected in the present lot (see: J. van Grieken, ‘Rogier van der Weyden’s Late Reception in Prints (c. 1500-1600)’, in Rogier van der Weyden in Context, eds. L. Campbell et al., Paris-Leuven-Walpole, 2012, pp. 358-360).

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3CIRCLE OF AMBROSIUS BENSON (CIRCA 1495-1550 BRUGES)The Bust of a woman with a jewelled headdress inscribed ‘IA. 15.Z0.R’ (upper left and upper right) oil on panel34.6 x 26.6cm (13 5/8 x 10 1/2in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000



4VENETIAN SCHOOL, 16TH CENTURYPortrait of a gentleman, half-length, in brown costume oil on canvas 74.6 x 57cm (29 3/8 x 22 7/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

8 | BONHAMS


5BERGAMO SCHOOL, 16TH CENTURYPortrait of a gentleman, three-quarter-length, in black costume, standing before a green curtain, a view to a landscape beyond oil on canvas 129.7 x 95.7cm (51 1/16 x 37 11/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000


6 TP

STUDIO OF SIR PETER LELY (SOEST 1618-1680 LONDON)A double portrait of Arthur Capel, 1st Earl of Essex and Elizabeth, Countess of Essex, seated before a landscape oil on canvas 102.7 x 127.9cm (40 7/16 x 50 3/8in).

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

Provenance In the collection of the present owner’s family since the late 1960s


The primary version of the present portrait is in the National Portrait Gallery, London (inv. no. NPG 5461). The sitters, Arthur (1631-1683), the son of Arthur Capel, 1st Baron Capel of Hadham and Elizabeth Morrison, the sole heir of Cassiobury House, Watford, and Lady Elizabeth Percy, daughter of Algernon Percy, 10th Earl of Northumberland and Lady Anne Cecil, married at Petworth in 1653. Under Charles II Arthur conducted a prominent career as a statesman; he was made 1st Earl of Essex in 1661, served as Lord Lieutenant of Ireland 1672-77 and First Lord of the Treasury in 1679. Around 1680, his political attitude changed dramatically, most likely caused by the prospect of a Catholic monarch, and he became implicated in the Rye House Plot in 1683 against the King and his brother, James Duke of York. Subsequently he was imprisoned in the Tower of London and while awaiting execution was discovered there with his throat cut. Although inconclusive the evidence suggests suicide as most likely.

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7 TP

MARY BEALE (BARROW 1633-1699 LONDON)Portrait of Charles Beale (1632-1705), half-length, seated in a brown gown oil on canvas 126.5 x 103.2cm (49 13/16 x 40 5/8in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance With Sidney Sabin, London

Charles Beale was the devoted husband and studio manager of Mary Beale. They married in 1652. Having been deputy-clerk of the Patents Office from circa 1660-64 he moved his family to Albrook, (now Allbrook), Otterbourne, Hampshire, to escape the plague. While his ‘Dearest & Most Indefatigable Heart’ (to quote from his notebook) was industriously employed, Charles Beale assumed responsibility for organising the commissions and payments and preparing artists’ colours. His notebooks provide an exceptional amount of documentation for an artist of this period. They tell us how by 1681 Mary’s commissions were beginning to diminish but she busied herself with producing pictures for ‘study and improvement’, experimenting with informal poses, and using alternatives to artists’ canvas. Mary’s portraits of her husband are noted for their informality and are amongst her finest works. The present painting seems to be painted on a type of coarse twill-weave fabric identical to that of the portrait of Charles Beale Jnr., of circa 1681, and the pensive and introspective, albeit affectionate, nature of the two compositions suggests strongly that they were painted at about the same time.


8CORNELIS CORNELISZ. VAN HAARLEM (HAARLEM 1562-1638)The Last Supper signed with monogram and dated ‘CH 1636’ (lower right, the C and H in ligature) oil on panel 37.5 x 44.3cm (14 3/4 x 17 7/16in).

£6,000 - 8,000 €6,800 - 9,100 US$8,100 - 11,000


Provenance Sale, Bonhams, London, 5 July 2006, lot 14, where purchased by the present owner The present composition is similar to that listed in Pieter J.J van Thiel, Cornelis Cornelisz van Haarlem, Doornspijk, 1999, no. 75, pl. 363, as whereabouts unknown.

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9CIRCLE OF PIETER BALTENS (ANTWERP CIRCA 1526-CIRCA 1584)A busy market scene bears signature and date ‘BS 1625’ (lower right) oil on panel 37.5 x 49.5cm (14 3/4 x 19 1/2in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

Provenance With L. Koetser, London, from whom purchased on 16 June 1959 for £400, probably by Mr Court Sale, Sotheby’s, Olympia, 4 December 2004, lot 479 Private Collection, Europe


10 TP

GASPAR PIETER VERBRUGGHEN THE YOUNGER (ANTWERP 1664-1730)A lady standing beside a sculpted stone urn adorned with roses, tulips, crown imperials, convolvulus and other flowers oil on canvas 114 x 148.5cm (44 7/8 x 58 7/16in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance Private Collection, Belgium, acquired by the 1960s (as by Jan Baptist Bosschaert) and thence by descent We are grateful to Dr. Fred Meijer for confirming the attribution of the still life in the present composition to Verbrugghen. Verbrugghen was known to collaborate with the Antwerp artist, Peeter-Frans Bailliu (1644-1727), who painted the vases, figures and grisailles in some of his compositions; Verbrugghen also collaborated with the figure painters, Jacob Leyssens (1661-1710), Mattheus Terwesten (1670-1757) and Peeter Ykens (1648-1695), the latter having been suggested for the present work, which would further suggest a date of the first half of the 1690s for this work.

For details of the charges payable in addition to the final Hammer Price of each Lotplease refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.14 | BONHAMS


11ATTRIBUTED TO MICHIEL JANSZ. VAN MIEREVELDT (DELFT 1567-1641)Portrait of Pieter Van Der Meer, bust-length, in black costume and a white ruffbears inscription ‘AETAT:SUAE. **/.ANNO 1610.’ (upper left) oil on panel 61.1 x 49cm (24 1/16 x 19 5/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Engraved Willem Jacobsz. Delff, 1610

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12STUDIO OF MICHIEL JANSZ. VAN MIEREVELDT (DELFT 1567-1641)Portrait of Elizabeth of Bohemia, bust-length, in black and gold costume with a white lace ruff oil on panel60.9 x 48.9cm (24 x 19 1/4in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

The present painting appears to use as its source Miereveldt’s portrait of Elizabeth of Bohemia, aged 27, now in the Collection of Her Majesty the Queen (Royal Collection inv. no. 404006).



These elements in the sky, however, can be found in an engraving of upright format by what is thought to be an anonymous Flemish printmaker possibly after Gillis Coignet of circa 1580; although this also incorporates a shower of gold coins. A further version, thought to be partly by Titian, in the Hermitage, St. Petersburg, includes golden coins along with the other distinctive elements of the Apsley House version, as well as the head of Jupiter in the clouds but no eagle. In their 2014 article Falomir and Joannides draw attention to a statement of Karel van Mander that Anthonis Mor made various copies for Philip, including one of Titian’s ‘wonderfully well painted’ Danaë. They suggest that this happened ‘probably soon after it arrived in Flanders’; and they suppose that the present copy, which certainly does not seem to be Spanish, was based on the one by Mor, which must therefore itself have been full-size. Hope’s subsequent article, on the other hand, argues that Philip II’s Danaë was recorded in Spain by the end of 1553, and had presumably been sent there directly from Venice, suggesting that Mor must therefore have made his copy in Spain, most probably when he was working there for Philip in or about 1559–61.

13 * TP

NETHERLANDISH SCHOOL, LATE 16TH CENTURYDanaë oil on panel 153.5 x 194.4cm (60 7/16 x 76 9/16in).

£18,000 - 25,000 €21,000 - 29,000 US$24,000 - 34,000

Provenance Frederick Mont Collection, New York, before 1967 (according to Fondazione Zeri entry 45043) Sale, Dorotheum, Vienna, 10 June 1998, lot 7 (as Friedrich Sustris) Literature M. Falomir (ed.) with the participation of Paul Joannides and Elisa Mora,’Dánae y Venus y Adonis, las primeras “poesías” de Tiziano para Felipe II’ in Boletín del Museo del Prado, numero extraordinario, 2014 C. Hope, ‘Titian’s Danae for Philip II of Spain: a clarification’, in Burlington Magazine, CLVII, October 2015, pp. 672-677, ill., fig. 3 The three best known versions of this subject are what was most likely Titian’s original, now in the Museo del Prado, Madrid (oil on canvas, 129.8 x 181.2 cm.); that in the National Museum of Capodimonte, Naples (oil on canvas 120 x 172 cm.), and the version which in his article of 2015 Charles Hope believes to be partly after Titian, which is in the Wellington Collection, Apsley House, London (oil on canvas, 115 x 194 cm.). The present work, although evidently by a northern hand, comes closest to the Apsley House version in terms of its composition and differs from the Prado and Capodimonte versions most notably: since Danae’s left leg is draped; the shower of gold is of golden rain; not gold coins; in the pose of the maid (the Naples versions includes a Cupid here); and in the presence of the head of Jupiter and the eagle. Although the latter are not present in the Apsley House version, this is most likely because it has been cut down at some point.

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14GIUSEPPE DE GOBBIS (ACTIVE VENICE 1772-1783)Il Parlatorio delle Monache oil on canvas 81.8 x 114.4cm (32 3/16 x 45 1/16in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance With Brame & Lorenceau, Paris Sale, Christie’s, London, 23 March 1973, lot 99 (4,200 gns. to Eisenbeiss) Sale, Christie’s, London, 17 July 1981, lot 33 (£6,500) Sale, Christie’s, New York, 18 January 1983, lot 131 (for $15,000) The Collection of Rudolf Nureyev Sold by Order of the Rudolf Nureyev Dance Foundation and Ballet Promotion Foundation, Christie’s, New York, 13 January 1995, lot 116 Sale, Christie’s, New York, 29 January 1999, lot 20

Often coupled with images of the Ridotto, the present composition clearly enjoyed great popularity as attested to by the numerous versions which exist. In his book on Pietro Longhi, Pignatti was the first to suggest the hand of Giuseppe de Gobbis in several works of this particular composition: see for example those formerly in the collection of Dr. Olof Sundin and sold at Sotheby’s on 15 May 1929, lot 28 and 291. A further version of the present composition and its companion, Il Ridotto, is in the San Diego Museum of Art, California (accession no. 1950.96 and 97). The scene depicted in the current work is the Parlatorio delle Monache or Nun’s Parlour in San Zaccaria. It shows the day on which the novices, pictured here crowding behind the grated windows, wait to receive a visit from their family and friends. A string quartet is on hand, far left, to entertain the visitors. This particular subject had been treated earlier, by Francesco Guardi (1712-1793) in a work, similarly paired with a depiction of the Ridotto, which are both now in Ca’ Rezzonico, Venice. One of the principal followers of Pietro Longhi, the Veronese artist Giuseppe de Gobbis has been identified as the author of a group of paintings in Ca’ Rezzonico, the Philadelphia Museum of Art and the Salom Collection, Segromigno Monte, on the basis of Anna Pallucchini’s study of paintings formerly in Palazzo Stucky. His works, like Longhi before him, are classic depictions of the Venetian contemporary life to which fashionable Europe was so attracted during the latter years of the Serene Republic.

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15 * TP

ATTRIBUTED TO PIETER MULIER THE YOUNGER, CALLED TEMPESTA (HAARLEM CIRCA 1637-1701 MILAN)Shipping in stormy seas oil on canvas 114 x 175.2cm (44 7/8 x 69in).

£6,000 - 8,000 €6,800 - 9,100 US$8,100 - 11,000



16ENGLISH SCHOOL, 17TH CENTURYEikon Basilike: Portrait of King Charles I, full-length, wearing robes of State and an ermine-lined cloak, kneeling inscribed ‘SPLENDIDAM AT GRAVEM / VANITAS/ MVNDI CALCO’ (lower right); inscribed ‘ASPERAM AT LEVEM/ GRATIA/ CHRISTI TRACTO/ IN VERBO TVOSPES MEA’ (centre right); inscribed ‘COELI SPECTO/ BEATAM ET AETERNAM’ (upper right); inscribed ‘CLAR MENS MENTIS/ IMMOTA TRIVMPHANS/ CRESIT SUE PONDERE VIRUS’ (upper left); and inscribed with text from from the Eikon ‘Though clogged with weights of miserys / As palme deprest I higher rise / And as the unmoored rock outbraves / The boisterous winds & raging waves / Soe Triumph I & in dark night / Of sad afflictions shine more bright / That splendid, but yett toilesome crowne / Regardlesly I trample downe / With joy I take this crown of thorne / Though sharpe yett easie to be borne / That glorious happie crowne I see / Deprived where of I cannot be / Grace/ I slight varie thinges I take what / Doth freely give in glorie place’ (on pillar, centre left) oil on canvas 86.5 x 65cm (34 1/16 x 25 9/16in).

£7,000 - 10,000 €6,800 - 9,100 US$8,100 - 11,000 Provenance Possibly commissioned by James Dalyrmple, 1st Viscount Stair (1619-1695) Probably by descent to Sir John Dalrymple, 5th Baronet and 8th Earl of Stair (1771-1853) Thence certainly by descent at Oxenfoord Castle to John Dalrymple, 13th Earl of Stair (1906-1996), by whom offered Sale, Christie’s, London, 12 May 1978, lot 78 Later acquired by Ronald and Dani Riches, Monmouth Plantation, Mississippi, USA

This rare English icon is a unique posthumous image of the beheaded monarch. On the 9 February 1649, only ten days after King Charles was executed at Whitehall, the Eikon Basilike was published. It was a masterstroke of Royalist propaganda and immediately re-inforced the image of Charles as a martyr. At the Restoration, a commemoration of the king on 30 January was added to the Book of Common Prayer. The frontispiece of the original Eikon Basilike was illustrated with an engraving by William Marshall (fig.1) and, in a subsequent edition, by Wenceslaus Hollar (fig.2). The present painting clearly relates to these printed images. However, there are multiple compositional as well as textual differences and this is the only image of the Eikon Basilike currently recorded in oil. Although it must remain hypothesis, it is possible that the oil painting was commissioned by James Dalrymple, 1st Viscount Stair, who served as Secretary to the commission which was sent to The Hague by the Scottish Parliament in order to negotiate with the future Charles II. Immediately after the Restoration in 1660, James Dalrymple was appointed as a judge in the Court of Session indicating a reward for his strong royalist loyalty. If this hypothesis is correct, the work is likely to have been commissioned in the 1660s.

Fig. 1 William Marshall, King Charles I, 1649, Line engraving

Fig. 2 Wenceslaus Hollar, King Charles I, 1649, Etching

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17DOMENICO PULIGO (FLORENCE 1492-1527)The Madonna and Child with attendant angels oil on panel 75.3 x 53.3cm (29 5/8 x 21in).

£15,000 - 20,000€17,000 - 23,000US$20,000 - 27,000

Provenance Sale, Sotheby’s, London, 18 February 1987, lot 3 With The Walpole Gallery, London, 1991 (cat. no. 9) Sale, Christie’s, London, 7 July 2006, lot 138 Another version of the present lot is in the museum of Palazzo Martelli, Florence. A black chalk study for this composition, by Puligo, was offered at Sotheby’s, New York, 26 January 2005, lot 89.

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Federico Zeri was the first to construct a corpus of work by the Master of the Stockholm Pietà, identifying a group of paintings, which in general had previously been given to Giovanni Antonio Bazzi, called Sodoma or his circle. Naming them after the work that he considered the most important – the Pietà in the Nationalmuseum, Stockholm - Zeri assembled a group of paintings with a highly individual and distinctive style. Clearly influenced by the youthful work of Sodoma, the artist appears to have eschewed the more conventional, classicizing forms of the Italian Renaissance; indeed the present work was previously given to both Sodoma and Rosso Fiorentino1. The figure types in the present Holy Family with the Infant Saint John the Baptist, and other works given to the Master, also find inspiration in Leonardo’s Milanese models. This Lombard influence, combined with the presence of works by the Master in prominent collections from Milan, such as those of Manfredo Settala and Giovan Battista Visconti, as may be the case with this work, strongly suggest that the artist was active there2. Notes 1. F. Zeri, “The Master of the Stockholm Pietà”, in Burlington Magazine, 92, no. 565, April 1950, p. 111. 2. F. Frangi, in Pinacoteca Ambrosiana. Dipinti dalla metà del Cinquecento alla metà del Seicento, Milan 2006, pp. 238-241, n. 298-299.

18MASTER OF THE STOCKHOLM PIETÀ (ACTIVE LOMBARDY 16TH CENTURY)The Holy Family with the Infant Saint John the Baptist oil on panel 93.5 x 64.3cm (36 13/16 x 25 5/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Possibly the Collection of Giovanni Battista Visconti (1722-1784), Milan With A. Morandotti, Rome, circa 1945Collection of the Fondazione Boris Christoff, Italy Literature F. Zeri, ‘The Master of the Stockholm Pietà’, in The Burlington Magazine, vol. 92, no. 565, April, 1950, pp.108, 110-111, ill. fig. 21 M. Bona Castellotti, Collezionisti a Milano nel ‘700. Giovanni Battista Visconti, Gian Matteo Pertusati, Giuseppe Pozzobonelli, Florence, 1991, p.52, note 42 (as possibly the work by ‘Sordo’)

LOTS 18 - 20 TO BE SOLD ON BEHALF OF THE FONDAZIONE BORIS CHRISTOFF

For details of the charges payable in addition to the final Hammer Price of each Lotplease refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OLD MASTER PAINTINGS | 25


19GIACOMO FRANCESCO CIPPER, CALLED IL TODESCHINI (FELDKIRCH 1667-1738 MILAN)A boy holding two ducks oil on canvas 114 x 88.8cm (44 7/8 x 34 15/16in). unframed

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

Provenance With Morandotti, Rome, 1950s or 1960sCollection of the Fondazione Boris Christoff, Italy Literature F. Arisi, Natura morta tra Milano e Parma in età barocca, Piacenza, 1995, p. 475 and p. 485, ill. pl. 681 Arisi suggests an approximate date of 1730 for the present painting.

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20 TP

JOHANN ANTON EISMANN (SALZBURG 1604-1698 VENICE)A harbour with figures on the quayside in the foreground and ships at anchor in the bay beyond oil on canvas 96.5 x 153cm (38 x 60 1/4in).

£25,000 - 35,000 €29,000 - 40,000 US$34,000 - 47,000

Provenance Possibly the Collection of Conte Ercole Giusti, SS Apostoli, Verona, 1718 With A. Morandotti, Rome, 1969Collection of the Fondazione Boris Christoff, Italy

Literature Possibly B. dal Pozzo, Le vite de’ pittori, de gli scultori, et architetti veronesi, 1718 p.298 ( sei pezzi di Paefi di Eifmann contenenti vno vn fualiglio; vn’ altro Porto di Mare, e gli altri quatro, antichita’ e figure) ‘Notable Works of Art now on the Market’ supplement in The Burlington Magazine, CXI 1969, no. 795, pl. XLII (as Francesco Simonini) E. A. Safarik, ‘Johann Anton Eismann’, in Saggi e Memorie di Storia dell’Arte, X, 1976, p. 73, cat. no. 53, and p. 132, ill. fig. 26 In his article on Eismann, Safarik suggests that the present work may have formed part of a larger group of five works seen at the house of the Conte Ercole Giusti in SS Apostoli in Verona. The stylistic affinities together with the particularly large proportions of the present work and the four others of similar dimensions suggests that they may have been intended to hang together (see E. A, Safarik, ‘Johann Anton Eismann’, in Saggi e Memorie di Storia dell’Arte, X, 1976, p. 73, cat. nos 47, 48, 52, 53, and 56). By 1663, Eismann had settled permanently in Venice, where he had found great success. Many of the works which Safarik identifies as earlier than this date, tend to be found in locations outside of Italy, suggesting that Eismann was active both within and outside the country. He therefore dates the group of ‘Veronese’ pictures to a much later point in the artist’s career.



OTHER PROPERTIES

21 TP

NICOLAS REGNIER (MAUBEUGE 1590-1667 VENICE)The Punishment of Midas oil on canvas 123.5 x 162cm (48 5/8 x 63 3/4in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance Sale, Algranti, Bologna, 18 March 1989, lot 52 Sale, Semenzato, 10 December 1989, no. 40 Sale, Étude Tajan, 12 June 1995, lot 38 Sale, Sotheby’s, London, 4 December 1997, lot 215, where purchased by the present owners

Literature A. Lemoine, Nicolas Régnier: Peintre, collectionneur et marchand d’art, Paris, 2007, p. 264, no. 71 In her catalogue entry for the work, Lemoine suggests that the present painting was executed during Régnier’s Venetian period, the artist having moved to the Republic in 1626. She suggests that there may be studio participation, particularly in the right-hand section of the composition. Régnier has used the figure of Guido Reni’s Saint John the Baptist in the Wilderness for the Church of the Eremitani, Padua, as his inspiration for Apollo in the present painting. This figure of the Paduan Saint John served as a model on numerous occasions for Régnier.

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22MATTHIAS STOM (AMERSFOORT CIRCA 1600- CIRCA 1652 SICILY OR NORTHERN ITALY)Saint Matthew by candlelight oil on canvas 76.5 x 64.1cm (30 1/8 x 25 1/4in). unframed

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance Sale, Christie’s, London, 25 April 2001, lot 52 We are grateful to Prof. Wayne Franits for confirming the attribution to Matthias Stom, upon inspection of colour photographs.


LOTS 23 - 26THE PROPERTY OF THE DUKE OF LEINSTER

Leicester House

From the time of their progenitor, Maurice FitzGerald, Lord of Lanstephan, and his sons the FitzGeralds who played a major role in the Norman invasion of Ireland in 1169, the FitzGerald dynasty continued to be central to Irish history. Indeed, it is of no small significance that the family’s coat-of-arms, showing a red saltire on a white field was the precursor for Saint Patrick’s flag which was incorporated into the Union Jack to represent the Union with Ireland in 1800. With regard to the supporters in the FitzGerald’s heraldic achievement there are two legends about how the Chained Ape came to supplant the bear. The more likely one describes a fire at Woodstock Castle, near Athy in Co. Kildare, which was a square-keeped Norman stronghold that the Irish were endlessly besieging in the early 14th century. John Fitz Thomas, afterwards Earl of Kildare was an infant in the Castle at the time of the fire. In the smoke and confusion, the inhabitants fled the castle abandoning the children. When the servants returned and searched for the baby, his room was in smouldering ruins. However, soon after, a strange noise was heard from the battlements and on looking up, they saw the Ape, who was

normally kept chained, holding the baby in his arms. In memory and gratitude the Earl adopted the Ape as his supporter.

The main branch of the FitzGerald family were Earls of Kildare from 1316 and as cousins of the Royal House of Tudor through their descent from Maurice’s mother, Nesta (the daughter of Rhys ap Tewdr) the family came to yet further prominence in the late 15th and 16th centuries when Gearóid Mór, 8th Earl of Kildare, and his son Gearóid Óg, 9th Earl of Kildare, were Lords Deputy of Ireland. From 1761 they were Marquesses of Kildare and from 1766 Dukes of Leinster (and Premier Peers of Ireland). Yet beside having such a prominent position in the British establishment they also became so intermingled with the native Gaelic Irish that they were later described as ‘more Irish than the Irish themselves.’ Gerald FitzGerald. 3rd Earl of Desmond, who was also known by the Irish Gaelic, Gearóid Iarla (Earl Gerald), while being Lord Chief Justice of Ireland in 1367, wrote poetry in the Gaelic tongue, most famously the poem Mairg adeir olc ris na mnáibh (“Speak not ill of womenkind”). Thomas

The Fitzgerald Earls and Marquesses of Kildare and Dukes of Leinster

THE LEINSTER FAMILY

Leinster House

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Carton House

FitzGerald, 10th Earl of Kildare, who died in 1537 and was known as ‘Silken Thomas’, led an unsuccessful insurrection in Ireland, while Lord Edward FitzGerald, the fifth son of James FitzGerald, 1st Duke of Leinster and Lady Emily Lennox was a leading figure in the 1798 Irish Rebellion. Considered to be a martyr to Irish nationalism, Lord Edward’s subsequent reputation as a romantic nationalist rather than a true revolutionary belies the reality that he was a committed republican. While not allying himself with his son’s radicalism, the 1st Duke was himself a focus of Irish national sentiment in the eighteenth century and is remembered in particular for his petition to the king in 1754 which gave offence by its assumption that he had a hereditary right to be in the Irish government.

The original seat of the family was Maynooth Castle in County Kildare until it was replaced by the 1st Duke with Carton House, a grand and elegant classical country house in Waterford designed by the acclaimed architect, Richard Cassels in 1739. The 1st Duke also employed Cassels to build his palatial Dublin residence, Leinster

House, facing Merrion Square. When it was first built in 1745–48 as Kildare House it was located on the isolated south side of the city, far from the main locations of fashionable residences at that time, but the Earl predicted that others would follow and indeed in succeeding decades Merrion Square and FitzWilliam Square became the primary location of choice for the residences of the aristocracy, with many of their northside properties being sold (many subsequently deteriorating and ending up as slums). No mansion in Dublin ever matched it for its sheer size or status; its first and second floors were used as the floor model for none other than the White House in Washington DC, while the house itself was used as a model for the original stone-cut White House exterior. From 1922 Leinster House was used as the parliament building of the Irish Free State and is now the meeting place of Dáil Éireann and Seanad Éireann, the two houses of the Oireachtas: thus, as the present day seat of the Irish Parliament the term ‘Leinster House’ has become a metonym for Irish political activities



23HUGH DOUGLAS HAMILTON (DUBLIN 1740-1808)Portrait of Emilia Olivia, Duchess of Leinster signed ‘H.Hamilton Pinx’ (lower left) pastel on paper 82 x 64.2cm (32 5/16 x 25 1/4in).

£40,000 - 60,000 €46,000 - 68,000 US$54,000 - 81,000

Provenance The sitter and thence by descent to the present owner Literature Notes on the pictures & at Carton, Kilkea Castle, 13 Dominick Street, Dublin and 6 Carlton House Terrace, London, 1885, p. 39 (as in the Duke’s Dressing Room) W.G. Strickland, ‘Hugh Douglas Hamilton, portrait-painter’, in Walpole Society, vol. II, 1912-13, p. 108 B. FitzGerald, ‘Carton’, in Country Life, 14 November 1936, p. 519, ill., fig. 10 A. Crookshank, ‘Irish artists and their portraiture’, in Connoisseur, December 1969, vol. 172, pp. 240-43, ill., fig. 9 W.G. Strickland, A Dictionary of Irish Artists, Shannon, 1969, vol. I, p. 441 N.Jeffares, Dictionary of Pastellists before 1800, London, 2006, p. 228, ill N.Jeffares, Dictionary of Pastellists before 1800, online, no. J.375.1647

Fig. 1 Hugh Douglas Hamilton, Portrait of William Robert Fitzgerald, later 2nd Duke of Leinster

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The Hon. Emilia Olivia Usher (c.1755-1798) was the daughter of Lord St George of Headford Castle, Co. Galway, and she married William Robert FitzGerald (1749-1804), 2nd Duke of Leinster, in 1775 (fig. 1). Her husband had inherited debts which her dowry of £68,000 did much to alleviate, but theirs was by no means simply a marriage of convenience, they are known to have been genuinely fond of each other and in due course they had ten children together. The young couple makes an appearance in one of the set of four demesne landscapes of Carton painted by Thomas Roberts in 1774-6, The sheet of water shows them approaching a boat in the idyllic park created by William’s father in the style of Capability Brown (see: W. Laffan & B. Rooney, Thomas Roberts, Tralee, 2009, p.277, cat. 64-67). They most probably commissioned the pair of full-length pastel portraits from Hugh Douglas Hamilton, of which the present lot is one, in the late 1770s. The Duke is shown standing beside draped columns and opening a book of Leinster estate maps in his library at Carton, by contrast his wife is standing beside a balustrade on a terrace with a park as backdrop. The two portraits are recorded as hanging in the Duke’s Dressing Room in the Carton inventory of 1885 (p.39) and they remain among the most spectacular examples of Hamilton’s pastels.

The Duke was a major patron of Hugh Douglas Hamilton, no fewer than 38 pastel portraits were listed in Carton and other FitzGerald properties, 28 of which hung as a display around the walls of the Study. The Duchess also sat to Hamilton for an oil portrait, on panel, 25.1 x 20.9 cm., that was sold at Christie’s New York, 26 January 2012, lot 279.

Hugh Douglas Hamilton began his career apprenticed to a pattern-drawer in Dublin; however, soon after his move to London in 1764 he began to specialise in small-scale oval pastel portraits on paper which clearly enjoyed some success as in 1769 he was commissioned to draw King George III and four of his sons. Hamilton’s pastels are recognisable for the detail and modelling they convey despite their small size and for the hatching and overdrawn outlines that he added in fine graphite. By the late 1770s he was back in Ireland and was producing pastel portraits of a number of aristocratic patrons including the Duke of Leinster. In 1779 he left for Italy, spending 13 years in Rome and Florence portraying many of the visiting grand-tourists both in pastel and oil. One of the most impressive pastels from this period was that which he sent to the Royal Academy for the 1791 exhibition showing his friend Antonio Canova (1757-1822) with Henry Tresham (1751-1791) and Canova’s sculpture Cupid and Psyche.

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24SIR JOSHUA REYNOLDS P.R.A. (PLYMPTON 1723-1792 LONDON)Portrait of Emily Mary, Duchess of Leinster, bust-length, in a pink dress and ermine shawl, within a painted oval oil on canvas 86.2 x 62.6cm (33 15/16 x 24 5/8in).

£60,000 - 80,000 €68,000 - 91,000 US$81,000 - 110,000

Provenance The sitter and thence by descent to the present owner

Exhibited London, Royal Academy, 1879, no. 16 (incorrectly described as ‘Emily, wife of 2nd Duke’) Dublin, Municipal Gallery of Modern Art, Paintings from Irish Collections, 1957, no. 145 Literature Notes on the pictures & at Carton, Kilkea Castle, 13 Dominick Street, Dublin and 6 Carlton House Terrace, London, 1885, p. 25 (as in the Dining Room) A. Graves and W. Cronin, A History of the Works of Joshua Reynolds, P.R.A,, London, 1898, vol. II, p. 575, ill. opposite p. 744 E.K. Waterhouse, Reynolds, London, 1941, p. 66 Paintings from Irish Collections, exh. cat., Dublin, 1957, p. 30, no. 145 D. Mannings, Sir Joshua Reynolds, A Complete Catalogue of His Paintings, New Haven and London, 2000, cat. no. 621, p. 191 Engraved Richard Josey, 1879

Portrait of Emily Mary, Duchess of Leinster, 1753, after Sir Joshua Reynolds

‘Thought the most handsomest woman in England’- Sir Joshua Reynolds, 1753

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The present painting was dated by Waterhouse to circa 1775 but in fact the sitter was in London only from the end of February to the beginning of May 1774 (visiting her dying sister, Caroline, Lady Holland) so the portrait must have been painted then (the Pocket Books for 1774-76 are missing). A payment of 35 guineas is recorded in the Ledger in October 1775. At that time the Duchess was living in France so this payment must have been made by a third party, perhaps her son the second Duke (who paid 70 guineas for his own portrait in May 1775). James Northcote, who worked in Reynolds’s studio between 1771-1775, recalled that the artist painted ‘an excellent head of the Duchess of Leinster’ which Edmund Burke also praised highly but with which the artist expressed dissatisfaction.

Emilia Mary was born on 6 October 1731, the second of the seven surviving children of Charles Lennox, 2nd Duke of Richmond and Lennox and Sarah, daughter of William Cadogan, Earl Cadogan. Lady Emily Lennox, as she was known, was also a god-daughter of George II. She spent her early years at Goodwood House in Sussex, before her marriage. Emily could not have been a better match for the holder of Ireland’s most ancient peerage who was to become its premier Duke. She had what the artist of the present portrait termed a ‘sweetness of expression’, accompanied by outstanding intelligence (she had a standing order in London for all the new books, as well as reading political pamphlets, novels, poetry, and plays) and influential political contacts. Not only was her father a prominent courtier, her sister, (Georgiana) Caroline was married to the brilliant Whig politician, Henry Fox. A political hostess, it is believed that Emily carefully steered Kildare towards decisions or actions he later adopted as his own. On a visit to London in 1753 she arranged to pay a Mr Jones at White’s Club 2 guineas per annum to keep Kildare informed of events. During an acrimonious phase in her husband’s political career she owned that she enjoyed a ‘good fight’ and corresponded with Henry Fox concerning politics. It was because of her involvement in these spheres that for many years Emily was known as ‘the Queen of Ireland’. Her advice and connections played their part in obtaining Kildare a Marquessate in 1761, and the Dukedom of Leinster in 1766. Leinster died in 1773 leaving Emily a jointure of £3,000, and £1,000 for the children still in her care, together with Carton and its furnishings, provided she did not remarry. However, it is widely believed that by 1771 Emily was in love with her children’s tutor, the Scotsman William Ogilvie. At first she had asked the philosopher Jean-Jacques Rousseau to come to her home in Ireland to educate her children, but when he refused she employed Ogilvie instead. It is believed that Emily may have married Ogilvie, who was nine years younger than her, in August 1774. Certainly there was a public scandal when Charles Coote, Earl of Bellamont, nearly refused to marry her daughter Emily on this account. Her biographer, Mary Delany recorded: ‘People wonder at her marriage, as she is reckoned one of the proudest and most expensive women in the world but perhaps she thought it incumbent (as Lady Brown says of her Grace) to marry and make an honest man of him. There were three children by this second alliance, two of whom survived to adulthood. In all Emily had twenty-two children during thirty years of regular childbearing.

Potrait of James Fitzgerald, Duke of Leinster by Robert Hunter

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25WILLIAM ASHFORD P.R.H.A. (BIRMINGHAM 1746-1824 DUBLIN)Views of Maynooth Castle the former signed and dated ‘W. Ashford/1779’ (lower left); and the latter signed and dated ‘W. Ashford/1780’ (lower left) a pair, oil on canvas 61.1 x 83.1cm (24 1/16 x 32 11/16in). (2)

£80,000 - 120,000 €91,000 - 140,000 US$110,000 - 160,000

Provenance Commissioned by William FitzGerald, 2nd Duke of Leinster, and thence by descent to the present owner Literature Notes on the pictures & at Carton, Kilkea Castle, 13 Dominick Street, Dublin and 6 Carlton House Terrace, London, 1885, p. 31 (as in the passage by the main staircase) W.G. Strickland, A Dictionary of Irish Artists, Shannon, 1969, vol. I, p. 11 A. Crookshank and The Knight of Glin, The Painters of Ireland c.1660-1920, London, 1979, p. 136

It seems likely that William Ashford’s first commission from the 2nd Duke of Leinster was to complete the set of six views in the Carton Demesne left unfinished by the death of Thomas Roberts in 1778. Ashford, in a remarkably short space of time, had advanced from being a slightly pedestrian flower painter in the manner of Monnoyer to becoming one of the most accomplished and sought-after view painters in Ireland, culminating in his election as the first President of the Royal Hibernian Academy in 1823, the year before his death. This fine pair of views of Maynooth Castle, painted in the Anglo-Irish Romantic tradition, were commissioned two years after Ashford first met the 2nd Duke. They are both listed in the Carton inventory of 1885 (p. 31) as hanging in the passage by the principle staircase. Maynooth Castle was the family seat until its destruction. The original keep, which was constructed in circa 1203, was enlarged in the 15th century and became the centre of FitzGerald power until 1534, when ‘Silken Thomas’ (Offaly), the son of the 9th Earl of Kildare, led a rebellion to Dublin Castle, where he threw down the sword of state. A ten day siege of Maynooth by the English under William Skeffington ensued, during which much of the fabric of the building was destroyed by heavy siege ordnance and ‘Silken Thomas’ and his five uncles were captured. They were executed for treason at Tyburn in 1537.

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26ARTHUR DEVIS (PRESTON 1712-1787 BRIGHTON)James, 20th Earl of Kildare and his wife Emily Mary in the grounds of Carton, seated at a table in the garden, she holding plans for a new bridge signed and dated ‘Art: Devis fe. 1753’ (lower centre) oil on canvas 63.4 x 76.6cm (24 15/16 x 30 3/16in).

£80,000 - 120,000 €91,000 - 140,000 US$110,000 - 160,000

Provenance The sitter, Emily Mary, Duchess of Leinster, who bequeathed the picture to her sister Caroline, Lady Holland By descent until bequeathed by a subsequent Lady Holland in 1845 to William, 3rd Duke of Leinster, and thence by family descent to the present owner Exhibited Dublin, Municipal Gallery of Modern Art, Paintings from Irish Collections, May-August 1957, no. 118 Literature Notes on the pictures & at Carton, Kilkea Castle, 13 Dominick Street, Dublin and 6 Carlton House Terrace, London, 1885, p. 39 (as in the Duchess’s Siting Room) Paintings from Irish Collections, exh. cat., Dublin, 1957, p. 25, no. 118 E. Mallins and the Knight of Glin, Lost Demesnes: Irish landscape gardening, London, 1976, pp.56-57, ill., pl. 58 E. D’Oench, Arthur Devis (1712-1787): Master of the Georgian Conversation Piece, unpublished PhD dissertation, Yale University, May 1979, p. 329, no. 62 E. D’Oench, The Conversation Piece: Arthur Devis and His Contemporaries, New Haven, 1980, p. 83, no. 62 W. Laffan and B. Rooney, Thomas Roberts. Landscape and patronage in eighteenth-century England, Tralee, 2009, p. 288


Emilia Mary Lennox married James FitzGerald, 20th Earl of Kildare and the future 1st Duke of Leinster, at Richmond House, her parents’ London residence. Their wedding was said to be the most magnificent, talked of, and exaggerated of the time. At first Emily’s parents, the Duke and Duchess of Richmond, opposed the match preferring an Englishman, and her marriage settlement gained renown since, in the words of Horace Walpole, her parents had not ‘given her a shilling’. However, this was evidently exaggerated: Emily in fact received £10,000, the same as her two younger sisters — and even if she had come without money she had significant other attractions, as are noted in the footnote for lot 24. The marriage was happy and Kildare and Emily had nineteen children.

It is appropriate that the Countess of Kildare is holding the plans in Devis’s portrait since she played an important role in the development of the house and estate of Carton as it now is: in particular, she created the Chinese Room (later the bedroom to Queen Victoria) and decorated the famous Shell Cottage on the estate with shells from around the world. Carton is held to have become the model on which all Irish gardens were based after the grounds were redesigned in the naturalistic style of Lancelot ‘Capability’ Brown, incorporating an informal park, artificial lake, and island; roads were re-routed, field boundaries removed, and a kitchen garden, melon ground, and hothouses added. The bridge itself was built by Thomas Ivory to designs inspired by drawings by Isaac Ware that had appeared in his Complete Body of Architecture of 1755 (fig. 1).

Fig. 1 A Plan and Elevation of a Bridge in Carton Park

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OTHER PROPERTIES

27 TP

FOLLOWER OF ANTONIO BELLUCCI (PIEVE DI SOLIGO 1654-1726)The Rape of Europa oil on canvas 156.5 x 129.5cm (61 5/8 x 51in).

£12,000 - 18,000 €14,000 - 21,000 US$16,000 - 24,000


28 * TP

VENETIAN SCHOOL, LATE 17TH CENTURYDiana and Endymion oil on canvas 147.2 x 196cm (57 15/16 x 77 3/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000



29 TP

FLORENTINE SCHOOL, 16TH CENTURYThe Madonna and Child with the Infant Saint John the Baptist and angels oil on panel, tondo 84.8 cm. (33 3/8 in.) diameter

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance Sale, Dorotheum, Vienna, 21 October 2014, lot 79 (EUR 79,000), where purchased by the present owners The composition of the present lot clearly enjoyed some popularity in 16th Century Tuscany. It takes as its source the Madonna and Child with the Infant Saint John the Baptist with Angels by Lorenzo di Credi now in the Uffizi, Florence (inv. no. 1890, n. 3244). Other painters also followed this basic compositional structure such as the artist known as ‘Tommaso’ in his Madonna and Child with the Infant Saint John the Baptist with Angels now in the Petit Palais, Musée des Beaux Arts de la Ville de Paris (inv. PPP2525). At the time of the sale at the Dorotheum in 2014, Filippo Todini suggested an attribution to the Master of the Naumburg Madonna (active Florence circa 1485–1550) for the present painting.

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30 TP

ATTRIBUTED TO JOHANN KUPETZKI (PEZINOK CIRCA 1667-1740 NUREMBERG)Portrait of a gentleman, three-quarter-length, in a fur-trimmed cloak, holding a letter oil on canvas 152.8 x 103.4cm (60 3/16 x 40 11/16in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

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31 * TP

CIRCLE OF GIUSEPPE BONITO (CASTELLAMMARE 1707-1789 NAPLES)An artists’ studio oil on canvas 110.3 x 184.6cm (43 7/16 x 72 11/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000


32ATTRIBUTED TO FREDERICK VAN VALKENBORCH (ANTWERP CIRCA 1570-1623 NUREMBERG)A nocturnal river landscape with a castle and peasants near a campfire oil on copper 30.5 x 41.3cm (12 x 16 1/4in).

£6,000 - 8,000 €6,800 - 9,100 US$8,100 - 11,000

Provenance Sale, Sotheby’s, London, 28 October 1987, lot 21 (as Paul Bril) Sale, Sotheby’s, Olympia, 8 April 2003, lot 140 (as Circle of Frederick van Valkenborch) Sale, Dorotheum, Vienna, 29 September 2004, lot 135 (as Frederick van Valkenborch, sold for 40,000 EUR) Private Collection, Europe



33PALAMEDES PALAMEDESZ. I (LONDON 1607-1638 DELFT)A cavalry skirmish indistinctly signed and dated ‘Pal***163*’ (lower right) oil on panel 60.1 x 81.2cm (23 11/16 x 31 15/16in).

£4,000 - 6,000 €4,600 - 6,800 US$5,400 - 8,100

Provenance Lt. Col. Henry Courtney Brocklehurst (1888-1942), Swythamley Park, near Macclesfield Exhibited On loan to West Park Museum, Macclesfield, circa 1936-2017



34 * TP

NEAPOLITAN SCHOOL, 17TH CENTURYThe Pietà oil on canvas 104 x 165.8cm (40 15/16 x 65 1/4in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

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35 * TP

FLORENTINE SCHOOL, 17TH CENTURYPortrait of a gentleman, standing three-quarter-length, in green embroidered costume, holding a plumed hat and a spear oil on canvas 129.4 x 95.8cm (50 15/16 x 37 11/16in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000



36 TP

EMILIAN SCHOOL, EARLY 17TH CENTURYTancred baptising Clorinda oil on canvas 133.5 x 206.5cm (52 9/16 x 81 5/16in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance Sale, Sotheby’s, 12 July 1978, lot 76 (as Giuseppe Caletti, called il Cremonese, one of a pair) Sale, Christie’s London, 11 December 1981, lot 2 (as Pier Francesco Mola) Sale, Christie’s London, 8 December 1989, lot 121 (as Pier Francesco Mola) Literature T. Pignatti, Five Centuries of Italian Painting, 1300-1800, from the Collection of the Sarah Campbell Blaffer Foundation, Texas, 1985, p. 134

First published in 1977 by Erich Schleier, the author of the present painting’s former pendant Erminia and Vafrino mourning the death of Tancred (now in the Sarah Campbell Blaffer Foundation, Museum of Fine Arts, Houston, Texas), has been under discussion ever since.

In his 1977 article Erich Schleier proposed an attribution to Pier Francesco Mola for the Erminia and Vafrino1. The pair was then offered on the art market the following year as by Giuseppe Caletti, called il Cremonese (c. 1600-c.1660), an artist of Cremonese origins active mainly in Ferrara. When the pair was later sold by Christie’s on 8 December 1989, lot 121, as the work of Pier Francesco Mola, an alternative attribution to the Bolognese Emilio Savonanzi (1580-1666) was suggested. In his most recent monograph on Mola, Francesco Petrucci does not accept the attribution of the Erminia and Vafrino mourning the death of Tancred and lists it under ‘Doubtful and Rejected works2. Whilst the landscape in the present painting does certainly recall those of Pier Francesco Mola, such as that in his Bacchus and Ariadne, now in the Herzog Anton Ulrich Museum, Brunswick, the figures are less like his. Notes 1. See E. Schleier, ‘Pier Francesco Mola and S. Maria della Quercia’, in Antichita’ viva, vol. 16, no. 6 (1977), pp. 21-22 2. See F. Petrucci, Pier Francesco Mola (1612-1666) Materia e colore nella pittura del ‘600, Rome 2012, p. 493, cat. no. E35 (Doubtful and Rejected works)

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37THOMAS ROWLANDSON (LONDON 1756-1827)A Master of the Ceremonies introducing a partner pen, brown ink and grey wash on laid paper 25.6 x 36.5cm (10 1/16 x 14 3/8in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance With Leger Gallery, London, 1976 Private Collection, UK Literature J. Grego, Rowlandson the Caricaturist, London, 1880, p.326, ill Engraved Etching published by Samuel William Fores, 1795 The satirical appeal of Rowlandson’s work still strikes home today but there would have been an added piquancy for his contemporaries who would have recognised the people featured in some of his more significant drawings. We know the subject of the present watercolour which dates from 1785 from the print published by Samuel Fores (fig. 1), one of a group of Rowlandson works from the 1780s that were issued as etchings in 1795. The scene shows the Master of Ceremonies introducing an elderly dandy to a pair of ladies who are themselves far from in the first flush of youth, but what they lack in looks they make up for in improbably large wigs and feathered headdresses; to the right a group of robust ladies are dancing with rather more enthusiasm than grace. This is Bath, where throughout the 18th century polite society went for ‘the season’ to take the waters, socialise, attend balls, gamble and generally to see and be seen.

Fig. 1 Thomas Rowlandson, A Master of the Ceremonies, hand coloured etching, published by Samuel William Fores in 1795

Fig. 2 Portrait of James King, Master of the Ceremonies

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The role of the Master of Ceremonies was a key one. It had grown out of the need, at the start of the century, for someone to organise entertainment for those who had come to the city seeking the curative properties of the spa waters and before long he had become a kind of social ringmaster. The most celebrated Master of Ceremonies was ‘Beau’ Nash who reigned over Bath from 1704 to 1761 but by the time of Rowlandson’s drawing, the two Masters of Ceremonies were Richard Tyson and James King, the latter being the likely subject of the present watercolour. King (fig. 2) had served in the British army during the American war and took up his role in Bath in 1785 where he was elected M.C. of the Lower (Assembly) Rooms. In 1805 he became M.C. of the more prestigious Upper Rooms where he managed proceedings until his death in 1816 and even made a fictional appearance in Jane Austen’s novel Northanger Abbey when he introduced Henry Tilney to Catherine Morland. King’s lucrative job involved visiting new arrivals in the city, partly to vet them and assess their suitability to join the 500 or so people who had pre-booked tables, but also to collect a subscription which would permit them to attend the balls, gambling tables and baths. This would have allowed him to get to know everyone in the city and gather the intelligence essential for someone who was expected to make the most appropriate introductions and even to match-make. Part concierge, part diplomat, King was tasked not only with introducing newcomers but also with managing the dance floor, overseeing the smooth running of proceedings and diffusing situations at risk of combustion. The beau monde who congregated in Bath every year provided perfect material for Rowlandson’s pen and the gouty gentlemen, ageing ladies and quack doctors were immortalised in a set of 12 prints published from his drawings in 1798 under the title of The Comforts of Bath. He was not the first to draw on the city as a source of comic satire, Christopher Anstey’s book The New Bath Guide or the Memoirs of the Blunderhead Family of 1766 described Bath through the prism of two social ingénues fresh from the country and it enjoyed huge popular success over the last decades of the century. Rowlandson’s prodigious output included landscapes and scenes of everyday life which he sketched with remarkable speed and facility, but his name will always be synonymous with social satire thanks to the wide circulation of prints made from his watercolours. The present example embodies the skillfully-drawn, humorous social commentary for which he is so well known and dates from the decade in which he produced his finest work. Among his greatest achievements were the large-scale, sophisticated compositions painted in the 1780s which he exhibited at the Royal Academy and were intended to rival oil paintings. Some of the most memorable are Vauxhall Gardens (see: J. Baskett and D. Snellgrove, The drawings of Thomas Rowlandson in the Paul Mellon Collection no 12, pp 13-14), Box Lobby Loungers (Getty Museum, 84. GG. 645) An English Review and A French Review (Collection of Her Majesty the Queen, inv. no. R.L.13720 and 13721).


38GEORGE STUBBS ARA (LIVERPOOL 1724-1806 LONDON)Men loading sheaves of corn onto a cart, with two young girls gleaning signed and dated ‘Geo: Stubbs pinxit/1785’ (lower right) oil on millboard 67.8 x 97.7cm (26 11/16 x 38 7/16in).

£350,000 - 450,000 €400,000 - 510,000 US$470,000 - 610,000

Provenance Possibly Stubbs’s studio sale, 26 May 1807, lot 76, as Landscape, a View from Nature during the Corn Harvest; Men loading a Cart with Corn, and Women and Children gleaning, (sold for £43. 1s) Revd R.L. Barker, Charlbury, 1886 The Collection of Major Roller Tadley By whom sold, Christie’s, London, 10 December 1910, lot 88 (as The Harvest-Wagon, sold for 6? gns to Renton) Col. G.M.Barnett, Glympton Park, 1939 With Leggatt Brothers, from whom purchased by a private collector Sale, Christie’s, London, 22 March 1974, lot 36 (bt Roy Miles) Private Collection, UK With Anthony Mould, London, 2006, from whom purchased by the present private collector Literature Possibly Index of Paintings sold in the British Isles, during the Nineteenth Century (IPSBI), subtitled The Provenance Index of the Getty Art History Information Program, Santa Barbara, California, as vols. I-IV, 1988-99 J. Egerton, George Stubbs, Painter, Catalogue Raisonné, London, 2007, pp. 478-9, cat. no. 252, ill.

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Seven harvesting paintings by Stubbs are known: four oils, including the present work, painted in the 1780s, followed a decade later by three enamels. This subject which the artist turned to at this time reflects a deliberate pause in his output in which he sought to diversify his subject-matter and make it more appealing to the public; an approach that most evidently paid off since his Reapers and Haymakers, which now hang in Tate Britain, remain among the most celebrated images of Stubbs’s output and indeed of the entire canon of great British art. In many ways they anticipate a bucolic perception of rural England that Constable went on to cement in the nation’s identity. In his choice of subject Stubbs may have been partly influenced by the current popularity of picturesque rural subjects by Gainsborough, Wheatley and Morland, as well as some of the many illustrators of James Thomson’s Seasons (first published 1726-30). Nonetheless, the lyrical yet realistic manner with which Stubbs here depicts the skilled movements of the labourers loading hay is entirely unique to his abilities. Perhaps one crucial reason why Stubbs continues to appeal to modern values is his rare empathy with the more humble representatives of humanity. It has been remarked that many details in Stubbs’s earlier pictures, notably the groups of grooms and stable-lads rubbing down a horse after exercise in the Goodwood Racing picture of the early 1760s or in the 1765 Gimcrack on Newmarket Heath seem to anticipate the dispassionate sympathy with which he portrayed

the skilled, intent and unselfconscious demeanour of his labourers in the fields; but these remain details in larger compositions. Only in his compositions of 1785 do such figures take centre-stage and occupy it as fully, though less self-consciously, as do the upper-class sitters in The Milbanke and Melbourne Families, for example. That he made his original observations for this composition at first-hand is evident from the preliminary drawings made from nature. The first day of Stubbs’s sale included ‘Six studies of the Reapeer [sic], and two finished drawings of ditto’ (lot 17), ‘A capital Drawing, the original design for the Corn Field with Reapers’ (lot 28) and ‘Ditto, ditto, the original design for the Painting of the Hay Field and Men loading a Hay Cart’ (lot 30). How far such drawings related to the finished compositions of these subjects, or what clues they might have contained to the precise location for the original studies, however, is impossible to tell since all the drawings in Stubbs’s sale have disappeared without trace. The earliest of Stubbs’s harvesting paintings are Haymakers and Reapers, each dated 1783 (in oil on panel, 91.5 x 137.2 cm.), now in the Berstead Collection, Upton House (The National Trust), which were then developed into the Haymakers and Reapers, each dated 1785 and on panel, 89.5 x 132.5 and 90 x 137 cm. respectively, now in Tate Britain. These were exhibited at the Royal Academy in 1786 and engraved by the artist in 1791.

Fig. 1 George Stubbs A.R.A. (1724-1806), Haymakers, 1783 Fig. 2 George Stubbs A.R.A. (1724-1806), Reapers, 1783

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‘This subject remains among the most celebrated images of Stubbs’s output and indeed of the entire canon of great British art’

66 | BONHAMS

Judy Egerton believes that the present painting can be accepted as either the picture in the artist’s posthumous sale in 1807 (size given in an annotated copy of the catalogue,according to Egerton, ‘as “2 1/2 x 3”, i.e. 27 x 36 in. [noted in the IPSBI reprint of the sale catalogue]), or a study for it. Lot 74 in the same sale, “Landscape painted from Nature, at the time of the Hay Harvest, with Mowers and Haymakers”, annotated as the same size, and bought by anon. for £31.10s., may have been the pendant picture, but is now untraced’. Egerton further writes that ‘Perhaps Stubbs’s purpose in painting this (?and the pendant picture) on the comparatively insubstantial support of millboard was to try out designs using some of the preliminary studies not used for his larger paintings, producing something more than a sketch, but less than his highly finished harvesting scenes of 1785. Stubbs used millboard of much the same size for his painting of two monkeys for John Hunter (now in the Hunterian Museum of the Royal College of Surgeons). The two figures of younger girls gleaning do not appear in Stubbs’s earlier harvesting scenes; nor do the figures of the labourers replicate those in the paintings of 1783 and 1785, although the pose of the

man seen from behind pitchforking sheaves on to the cart is fairly close to that in the Haymakers of 1785. The present composition further conflates motifs from both Stubbs’s harvesting pictures of 1785, including the haycart from the 1785 Haymakers (see fig. 1), the two already harnessed draught-horses waiting to draw it and the foreground detail of the sheaves of wheat sheltering a jug and a bottle from the 1785 Reapers (see fig. 2). The poses of some of the labourers (particularly that of the man on top of the cart, seen from behind) also appear to anticipate those in the artist’s oval Haymaking scene painted in enamel in 1794 (Lady Lever Art Gallery, National Museums Liverpool; see fig.3). Like the present work, this omits the female figure that appears to the left of the 1783 version and in the centre of that of 1785. Stubbs painted two further oval versions of the Reapers in enamels: the companion to the aforementioned work in the Lady Lever Art Gallery; and that in the Yale Center for British Art, Paul Mellon Collection), both dated 1795, which are fairly closely based on the 1785 pair, albeit with fewer figures.

Fig. 3 George Stubbs, Haycarting. Image Courtesy of National Museums Liverpool, Lady Lever Museum

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39PHILIPS WOUWERMAN (HAARLEM 1619-1668)A hawking party with figures resting by a fountain, an extensive landscape beyond signed with monogram ‘PLS.W’ (lower centre) oil on panel 47.6 x 64.7cm (18 3/4 x 25 1/2in).

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

Provenance (Possibly) Stadholder of Brussels, circa 1700 (according to literature) With Jan Peter Snijers, Antwerp, from whom acquired for 514 florins by the following Willem Lormier (1682-1758), The Hague, by 1752 His sale, Franken, The Hague, 4 July 1763, lot 324 (900fl. to Yver) Possibly, sale, Amsterdam, 17 September 1766, lot 73 or 106 (as ‘Dit Stuk is uit het Cabient van den Heer Lormier’, sold for 1145fl. to Puthof) Acquired by Captain Baillie for the following Sir James Lowther, 1st Earl of Lonsdale (1736-1802), Lowther Castle, Cumbria, (inv. no. 235) and thence by descent to the Trustees of the 7th Earl of Lonsdale

Literature W. Lormier, Magazine Catalogue Willem Lormier, The Hague, December 1754, no. 337 G. Hoet, Catalogus of Naamlijst van schilderijen met derzelver prijzen..., The Hague, 1752-70, vol. II, p. 446 P. Terwesten, Catalogus of Naamlijst van Schilderijen, met derzelver pryzen zedert den 22. August 1752 tot der 21. November 1768 verkogt, The Hague, 1770, no. 335 J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, London, 1829, no. 53; and 1842, no. 53 G.F. Waagen, Treasures of Art in Great Britain, London, 1854, vol. III, p. 261 (as ‘A rich, attractive, and very careful composition, executed in the master’s second manner, but heavy and cold in tone’) C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, Esslingen and Paris, 1909, pp. 417-8, no. 539 B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, Doornspijk, 2006, vol. I, p. 261, no. A225a

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40JACQUES COURTOIS, CALLED IL BORGOGNONE (SAINT-HYPPOLITE 1621-1676 ROME)A cavalry battle before the walls of a town oil on canvas 60.2 x 99.4cm (23 11/16 x 39 1/8in).

£6,000 - 8,000 €6,800 - 9,100 US$8,100 - 11,000

We are grateful to Prof. Giancarlo Sestieri who has confirmed the attribution to Courtois on the basis of colour photographs.



41 TP

JACQUES D’ARTHOIS (BRUSSELS 1613-1686)A wooded landscape with Diana and her nymphs hunting a stag oil on canvas 207 x 274cm (81 1/2 x 107 7/8in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

A pair of paintings that are loosely related to the present work and to the following lot, attributed to Jacques d’Arthois which were previously in the Liechtenstein Collection, Schloss Vaduz, were sold at Christie’s London,9 July 2008, lot 118 (oil on canvas, 101.4 x 108 cm., depicting Meleager and Atalanta leading the hunt for the Calydonian boar; and Meleager dealing the death blow to the boar).

ProvenancePrivate Collection, UK

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42 TP

JACQUES D’ARTHOIS (BRUSSELS 1613-1686)A wooded landscape with a boar hunt oil on canvas 207 x 274cm (81 1/2 x 107 7/8in).

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

The staffage in the present composition is close in style to David Teniers the Younger (1610-1690), who was known to have collaborated with Jacques d’Arthois.

ProvenancePrivate Collection, UK



43 * TP

CHARLES-ANDRÉ, CALLED CARLE VAN LOO (NICE 1705-1765 PARIS)Fortitude oil on canvas 159.3 x 127.8cm (62 11/16 x 50 5/16in).

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

Provenance Possibly Carle Vanloo (listed in his posthumous inventory, dated 5 August 1765, no. 91, priced 36 livres) Possibly his sale, Paris, Basan, 12 September 1765, lot 3, for 632 livres Possibly The Collection of Augustin Blondel de Gagny, Paris, his sale, Paris, Remy, 10-24 December 1776, lot 239, for 1200 livres to Colignon (circa 168 x 141 cm.) Exhibited Possibly Paris, Salon, 1742, no. 17 Literature Possibly Abbé P.-F. Guyot Desfontaines, ‘Expositions des Tableaux de l’Académie de peintures et de Sculptures’, in Observations sur les écrits modernes. vol. xxix, 29 August 1742, letter ccccxxxv, p. 354 (ms. in the Bibliothèque Nationale Impr., Z56955) Possibly ‘Catalogue abregé des ouvrages .. exposés dans le Salon du Louvre, le 25 Août dernier ...’, in Mercure de France, 1742, p. 2056, no. 2

Possibly, A. Dezallier d’Argenville, Voyage pittoresque de Paris; ou indication de tout ce qu’il y a de plus beau dans cette grande ville en peinture, sculpture & architecture, 5th ed., Paris, 1770, p. 131 (where the painting is described as in Blondel de Gagny’s collection) Possibly l. Reau, ‘Carle Vanloo (1705-1765)’, in Archives de l’art Français, vol. xix, 1935-37, pp. 39 and 77, no. 14 (under lost paintings) Two other unsigned versions of the present composition by Vanloo are known: an unsigned version in the Musée Cheret, Nice (see M.-C. Sahut, Carle Vanloo: Premier Peintre du Roi, 1977, p. 56, cat. no. 87); and Sale, Sotheby’s London, 16 December, 1999, lot 191. Both paintings have been tentatively linked with the painting listed in the artist’s possession at the time of his death, and later in the collection of the eminent statesman Blondel de Gagny, although the measurements of none of the versions correspond precisely with those given in the catalogue of the 1776 De Gagny sale. Cleaning of the Sotheby’s version revealed pentimenti on the left shoulder, on the right leg, and on the leash, as if the artist altered the position of the lion. Interestingly from that perspective, the present composition extends further to the right to allow the lion to be positioned further to the right and includes a tree above the lion’s head.

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44CIRCLE OF MICHELANGELO MERISI DA CARAVAGGIO (CARAVAGGIO 1573-1610 PORTO ERCOLE)Saint Francis in contemplation oil on canvas, unlined 115.5 x 93cm (45 1/2 x 36 5/8in).

£50,000 - 70,000 €57,000 - 80,000 US$67,000 - 94,000 Literature M. Marubbi, Da Lotto a Caravaggio. La collezione e le ricerche di Roberto Longhi, exh. cat., Venice, 2016, p. 97 (under cat. no. 18)

THE SOPRINTENDENZA ALLE BELLE ARTI ITALIANA CONSIDERS THIS PAINTING TO BE A WORK OF NATIONAL IMPORTANCE AND REQUIRES IT TO REMAIN IN ITALY; IT CANNOT THEREFORE BE EXPORTED FROM ITALY. THE WORK WILL BE AVAILABLE TO VIEW IN ROME BETWEEN 18-21 JUNE

The present work is the only known period copy, with differences, after Caravaggio’s original Saint Francis in Meditation now in the Museo di Ala Ponzone in Cremona. The original composition is generally considered to have been executed at some point towards the very end of Caravaggio’s time in Rome or possibly to his stay in Paliano, where he had taken refuge under the protection of the Colonna family. Little is known of the history of the original San Francesco in Cremona. A Saint Francis in meditation was recorded in the collection of Monsignor Benedetto Ala, Governor of Rome between 1604 and 1610. Ala is most likely to have come into possession of the painting before 1610, the year in which he moved to Urbino as bishop, the city where he remained until his death in 1620. The most likely date of execution for the original at Cremona is generally thought to be 1606. Most probably painted shortly after the artist’s departure from Rome as a consequence of Caravaggio’s murder of Ranuccio Tomassoni (28 May 1606), the artist has used his own features to depict the Saint in penitence, perhaps as a reflection of his own state of mind at that moment, or even as an offering to the Governor of Rome at the time, Monsignor Ala, the first known owner of the painting. An inscription on the frame of the Cremona San Francesco (‘Con. S.ti Franci) suggests that at some point later, the work may have been deposited at the Cistercian convent of Santa Maria in Monte Oliveto at Castell’Arquato. The existence of the only other known copy of the San Francesco, dating to the second half of the 17th Century, now at the Museo della Collegiata di Castell’Arquato, near Piacenza, seems to confirm that the original was in Cremona within decades of it being painted. In his catalogue entry for the original, Mario Marubbi also refers to the present painting. He suggests that Caravaggio’s San Francesco may already have also enjoyed some notoriety in Rome, given the presence of this painting, which is believed to be contemporary in date to the original (see M. Marubbi, ibid p.97). The original then found its way back into the Ala collection, presumably through inheritance to the marchese Filippo Ala Ponzone who donated it in 1879, as an anonymous work, to his native city of Cremona. The present painting has approximately the same proportions in the figure as the Cremona work but the dimensions differ, with the current San Francesco being shorter and very slightly wider. Differences between the two canvases are discernible such as the absence of the halo in the present work and in the detail of the book, lower left, but the greatest difference is in the trunk of the tree and the leaves themselves, which are oak leaves in the present painting as opposed to laurel in the original. Infra-red imaging does not reveal any kind of grid for transfer and the artist of the current painting also appears to have rethought the position of one of the fingers on the Saint’s clasped hands suggesting that the present work was conceived as an independent work and not simply as a slavish copy.

Fig. 1 Caravaggio, Saint Francis, Museo Civico, Cremona

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45JOHANN AMANDUS WINCK (EICHSTÄTT 1748-1817 MUNICH)Peaches, pears, an apple, plums and grapes in a porcelain bowl with other fruit on a stone ledge with a Robin and various insects; and Apples, grapes, pears and strawberries in a porcelain bowl and other fruit on a stone ledge with a goldfinch and various insects the former signed and dated ‘Joan.Amand. Winck. 1802’ (lower left) and the latter signed with initials ‘JW’ (lower centre) a pair, oil on copper 30.5 x 42.2cm (12 x 16 5/8in). (2)

£40,000 - 60,000 €46,000 - 68,000 US$54,000 - 81,000

Provenance Sale, Christie’s, New York, 16 January 1992, lot 3 (as property of a private collector) With Robbig, Munich, before October 1992, where purchased by the present owner’s father Little is known of Johann Amandus Winck’s life. He was the son of Johann Chrysostomus (1725-1795), and nephew of Christian Winck (1738-1797), both of whom were popular artists at this time. He is thought to have trained in Antwerp and the influence of Dutch still life painters, such as Abraham Mignon and Jan van Huysum, is clearly evident in his works.


46COENRAET ROEPEL (THE HAGUE 1678-1748)Peaches, plums, grapes and other fruit in a landscape oil on canvas 67.1 x 51.7cm (26 7/16 x 20 3/8in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000


Provenance Formerly in the collection of the Belgian architect Jules Dormal (1846–1924) Private Collection, South America We are grateful to Dr. Fred Meijer for confirming the present painting to be an autograph work by Coenrat Roepel (private communication).

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47JAN PAUWEL GILLEMANS THE ELDER (ANTWERP 1618-1675)A still life of fruit with a monkey and parrot signed ‘J.P. Gillemans’ (lower right) oil on panel 47.8 x 65.5cm (18 13/16 x 25 13/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance Private Collection, Paris Sale, Europauction, Paris, 21 June 2013, lot 6 (as Jan Pauwel Gillemans the Younger), where purchased by the present owner We are grateful to Dr. Fred Meijer for confirming the attribution to Gillemans the Elder, upon inspection of colour photographs.


Sir Robert Burdett, 4th Baronet, was the posthumous son of Sir Robert Burdett, 3rd Baronet of Bramcote Warwickshire, and his wife the Hon. Elizabeth, daughter of William Tracy, 4th Viscount Tracy. His grandfather had died four months before his father so Burdett succeeded the baronetcy at his birth. Having completed his education at New College, Oxford, he served as High Sheriff of Derbyshire and then, in 1748, he was returned as Member of Parliament for Tamworth, a position he held for the next 20 years. In 1759, Robert Burdett commissioned the London architect David Hiorns to design Foremarke Hall in Derbyshire intended as a stately home for his son, Francis Burdett. The present portrait was executed by Francis Cotes at a point when his work was very much in demand. In 1767, two years after he was appointed Director of the Society of Artists, Cotes completed two royal commissions in oil - Queen Charlotte with Charlotte, Princess Royal (Royal Collection inv. no. 452805) and Princess Louisa and Princess Caroline (Royal Collection inv. no. 404334) - and was also charged by Sir Robert Burdett to carry out portraits of his family. Two three-quarter length depictions of his son (Francis Burdett, 1743-1794) and his daughter (Elizabeth, died 1804) were sold in these rooms on 6 December 2006, lots 38 and 39, the latter signed and also dated 1767. Cotes also portrayed Burdett’s first wife, Elizabeth, daughter of Charles Sedley, in the same year and the portrait was sold by the 7th Baronet in 1953, at the same time as the current work. The following year, 1768, Cotes was invited to become one of the founder members of the Royal Academy but died just two years later aged 44.

48FRANCIS COTES (LONDON 1726-1770)Portrait of Robert Francis Burdett, 4th bt., three-quarter length in a red coat and standing before a green brocade curtain signed and dated ‘FCotes px.t/ 1767’ (lower right) and bears inscription ‘Sir Robert Burdett IV. Bt/ B. 1716- D. 1797/ F. COTES, R.A.’ (on reverse) oil on canvas 126.3 x 100.2cm (49 3/4 x 39 7/16in).

£25,000 - 35,000 €29,000 - 40,000 US$34,000 - 47,000

Provenance The sitter and thence by descent to Sir Francis Burdett, 7th Bt., Ramsbury Manor, Ramsbury, Wiltshire, by whom offered Sale, Sotheby’s, London, 2 December 1953, lot 41 (bt. Leggatt) With Leggatt Brothers, London With Gooden and Fox, London Literature C.H. Collins Baker, British Painting, London, 1933, opposite p. 96, pl. 61 (incorrectly identified as ‘Sir Francis Burdett’) E.M. Johnson, Francis Cotes: Complete Edition with a Critical Essay and a Catalogue, London, 1976, pp. 84-85, no. 214, ill. fig. 62



49ENGLISH SCHOOL, CIRCA 1630Portrait of a child, full-length, standing, holding a toy lance, with his dog inscribed and dated ‘ETATIS.SVI. XXI, Mo. Ao 1630’ (upper right) oil on canvas 111.1 x 92.4cm (43 3/4 x 36 3/8in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance The Collection of Charles Kirkpatrick Sharpe (1781-1851), Hoddam, Dumfriesshire, and thence by descent to his nephew Rev. William Kirkpatrick Riland Bedford (1826-1905), of Sutton Coldfield, and thence by descent to his son Rev. William Campbell Riland-Bedford (died 1922), Kennilworth Road, Leamington Spa, before 1919 (all according to a label on the reverse) Literature S. Hoppen, Picture Perfect, London, 2004, ill. p. 51 While the style of the composition, and the fashion of the costume of the present portrait would appear to indicate an English origin for the painting, the painterly technique is reminiscent of the works of some of the provincial artists working in North Holland (Friesland) at this date.

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50 TP

STUDIO OF FRANS SNYDERS (ANTWERP 1579-1657)A fish stall with a view to fishermen unloading their catch on the beach beyond oil on canvas 163 x 239cm (64 3/16 x 94 1/8in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

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51ANGLO-DUTCH SCHOOL, LATE 16TH/EARLY 17TH CENTURYPortrait of Sir Francis Drake (circa 1540-1596), three-quarter-length, in half-armour, blackened and gilded, ornately decorated with depictions of trophies of arms, holding a baton in his right hand and a rapier in his left, standing beside a plumed helmet on a table draped with a green cloth oil on canvas 104.6 x 79.7cm (41 3/16 x 31 3/8in).

£300,000 - 500,000 €340,000 - 570,000 US$400,000 - 670,000

Provenance Private Collection, UK until 1972 Subsequently acquired by the current private collector Exhibited Devon, Buckland Abbey, April 2016 - April 2018 Literature A. Haldane, ‘A portrait of Sir Francis Drake? A belief in the possible’, in The British Art Journal, vol. XIV, no. 3, 2013 - 2014, pp. 42-44

Fig. 1 Infrared Reflectography of the present lot

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Following its publication in The British Art Journal, the present portrait has since been widely accepted by the leading scholars on English portraiture of this period as depicting the great Elizabethan seafarer, Sir Francis Drake, painted possibly before his successful circumnavigation of the globe in 1577. The portrait has spent the last two years in the Drake Chamber of Buckland Abbey, Drake’s home and now a National Trust property. Scientific analysis confirms that the technique and materials are consistent with those used in the 1570s; while also showing that the painting must have been well-planned prior to execution and includes a few minor pentimenti, such as the change of contour of the breast plate of the armour to the right (the sitter’s left shoulder; fig. 1). All of this, along with the age of the sitter, the fashion of his armour and the dress allows the possibility that this portrait is one of the earliest known images in the iconography of this English national hero. In August 1573 Drake had returned from the Spanish West Indies with considerable plunder. He had entered the service of Walter Devereux, Earl of Essex, and this portrait, showing him as a man of worth, wealth and social standing, would be appropriate for this moment in his life. Indeed, Essex himself is shown in similar attire in his portrait dated 1572 which is now in the National Portrait Gallery in London. The style of armour depicted here, like that shown in the portrait of Sir Philip Sidney at Blickling Hall (see fig. 6) is of a north Italian fashion, probably made in Milan to judge from the form of the breastplate which emulated the “peascod” form of doublet then in vogue. The pattern of the etching is a common one for such armour and is usually referred to as ‘Pisan’ by the collector because so much of it was kept in Pisa into the 19th century for use in the city’s annual ‘Gioco del Ponte’. In general, the armour was white (that is polished bright) with white etching on a stipple black background. The armours in this and the Sidney portrait are exceptional in being blued or blackened with gilt etching. It is thought likely that the armour in both these portraits was owned or borrowed as a studio-prop by the artist, rather than having been painted from life since the articulation of the couters (or elbow-defences) of the armour depicted would not work in real life and the helmet is depicted with three gorget-plates front and back when two would have been typical. The armour, ornately designed and clearly expensive, displays a number of armorial emblems which seem intended to convey a strong message, displaying trophies of arms relating to the military success, prowess or aspiration of the sitter. Drake himself was not granted a coat-of-arms until 1581, in grateful recognition of his circumnavigation, and these generic symbols would at this date have been the best way to project an image of status. The helmet is of the type intended for the tilt and since Drake bears a lady’s favour on his arm the armour depicted here is most probably intended to be tournament armour. There is a number of portraits, the earliest of which would appear to be from the 17th century, which had hitherto identified the sitter in the present work as Drake’s military rival, Sir John Norreys. The basis for this identification was a portrait which carries an identifying inscription ‘Sr Jehan Nooris’, by George Perfect Harding, executed in 1818. The image from which Harding was working, and from which he copied the inscription exactly, is a portrait in a private collection in Ireland. Drake and Norreys were keen rivals in the court of Elizabeth I and their paths as military figures often coincided and collided. Both Drake and Norreys were in Ireland in 1575 and, after the attack of the Spanish

Fig. 2 Detail of eye

Fig. 3 Marcus Gheerhardts (c. 1561/2-1636), Portrait of Sir Francis Drake

Fig. 4 Detail of wart

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Plate 3. Macro detail of the recto, visible light, eye showing the grey colouring and detail.

Plate 4. Macro detail of the recto, visible light, showing the wart on the nose of the sitter, which is clearly an original element of the painting, clearly traversed by the craquelure.

Plate 5. Macro detail of the recto, visible light, showing the fading and loss of the red lake glaze of the plumage in the helmet. The pigment is best preserved in the depths of the brush strokes.

12

Plate 3. Macro detail of the recto, visible light, eye showing the grey colouring and detail.

Plate 4. Macro detail of the recto, visible light, showing the wart on the nose of the sitter, which is clearly an original element of the painting, clearly traversed by the craquelure.

Plate 5. Macro detail of the recto, visible light, showing the fading and loss of the red lake glaze of the plumage in the helmet. The pigment is best preserved in the depths of the brush strokes.

‘A merchant, a pirate and hero of the Armada’

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Armada in 1588, Drake and Norreys were given a dual command to destroy the remaining ships from the Armada, to support the rebels in Lisbon against Philip II of Spain, and to take the Azores. It is not surprising, therefore, that the figures of Drake and Norreys should have often been viewed in parallel. However, not only does the inscription of the portrait in Ireland seem to have been added, and compressed into a narrow band above the sitter’s head, but the portrait bears little facial resemblance to Norreys, most importantly in the respect that he is not known to have had a skin tag, or wart. It is this crucial factor when coupled with the overall likeness which now confirms that both the present portrait and the portrait in the private collection in Ireland in fact depict Drake. In the general physiognomical perspective Drake is known to have had light coloured eyes (fig. 2), as can be seen in Marcus Gheeraerts the Younger’s portrait in the National Maritime Museum (fig. 3). He also seems to have had tightly curled brown hair, as can be found in his portraits by Nicholas Hilliard, Jean Rabel and Jodocus Hondius. More specifically, however, Drake is known to have had two warts: one of these was on the left hand side of his nose and was clearly illustrated in a number of lifetime images of Drake, including the Gheeraerts portrait, painted in 1591, as well as the portrait by an unknown hand in the National Portrait Gallery, painted circa 1581. The engraving by Jodocus Hondius is also known, executed circa 1583, which shows Drake with this wart, mole or skin tag. Hondius is recorded as having known Drake personally and it would seem probable that the artist based his 1583 engraving on an ad vivum knowledge of his sitter. While the present portrait is the only one known that is painted from the sitter’s right hand side, close examination of this and the Gheeraerts portrait, however, both also show a second wart on the bridge of Drake’s nose (fig. 4). The existence of this second wart is reinforced by a pen and ink sketch by Henry Bone, executed in 1813, which clearly shows the dot of a second wart between the eyes. Bone wrote beneath his pen and ink sketch that he had used the portrait of Drake at Knole as the basis for his work. The Knole portrait is clearly derived from the Gheeraerts portrait, which now therefore seems to be the primary evidence for Drake’s second wart. Furthermore, the engraving by Thomas de Leu, after the portrait by Jean Rabel, also clearly shows the two warts (fig. 5) and, although there are portraits of Drake which do not show the second wart, it remains a crucial physiognomic factor in favour of the identification of the present sitter as Drake. While the author of the present portrait has not been identified it has been suggested that it has close affinities with the portrait of Sir Philip Sidney at Blickling Hall (fig. 6) in which the sitter is wearing almost identical armour. As well as being a poet and scholar, Sidney was General of Horse and Governor of Flushing; he conducted a successful raid on the Spanish forces near Axe in 1583 and it is thought that these two works were probably part of a series of depictions of military heroes from the court of Elizabeth I of England. A further comparable portrait is that of Sir Richard Grenville in the National Portrait Gallery (fig. 7). A cousin of Drake, Grenville was a soldier, an armed merchant fleet owner, privateer, colonizer, and explorer who took part in the early English attempts to settle the New World, while also later participating in the fight against the Spanish Armada. A proposed patent to Grenville for activities against the Spanish was initially granted, but was rescinded a year later on the

Fig 5 Thomas de Leu (1560-1612), Sir Francis Drake, after Jean Rabel (1545–1603). Line engraving

Fig 6 Portrait of Sir Philip Sidney (1554-1586)

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grounds that England was still using diplomacy with Spain and had been at great pains to rebuild her relations with Philip II after the tensions of 1568–71. It was these plans that were usurped and were eventually executed by Drake when he circumnavigated the globe in 1577. This caused some bad blood between the two Devonians and is the reason why Grenville refused to ever serve with his cousin in any capacity. Interestingly and rather ironically it was from this arch-rival of his that, acting through two intermediaries and unbeknownst to Grenville, Drake purchased Grenville’s former seat of Buckland Abbey

in Devon, further cementing his status at that time and later establishing it as his longstanding family seat (fig. 8). Drake was born in Tavistock, Devon, the eldest of the twelve sons of Edmund Drake, a farmer and Protestant preacher and early on came to live in Plymouth with his kinsman, William Hawkins. This association had a lasting influence on the young Francis: as he grew up, he served for several years under William’s second son, John and seemed to model himself on this older relative who had established a reputation in trading and seafaring. First enlisted by Elizabeth I in 1572 as a privateer in the Americas, Francis Drake was key to gaining much of England’s riches and naval successes, taking the treasure the Spanish had brought back from the Americas. Hence to the Spanish he was ‘El Draque’ (The Dragon), a pirate and a constant threat. King Philip II of Spain was said to have offered the huge sum of 20,000 ducats (£4 million) for Drake’s life. Although vital to the British government and the Queen herself, even the English were ambivalent in their view of Drake: the Queen’s minister, Lord Burghley, was highly critical of Drake’s behaviour but did concede that he was a good weapon against the Spanish. Queen Elizabeth had to maintain a public attitude of disapproval for his unlawful methods, to try and prevent hostile relations with Spain, but she quietly approved of the treasure he returned. After Magellan Drake was the second man to ever voyage round the world and the first Englishman to do so. The trip lasted 3 years from 1577-1580. Six ships in total, with Drake onboard the Pelican – renamed the Golden Hind- headed for Brazil and then round the Strait of Magellan in 1578 for the Pacific. Coming to moor in 1579 at what today is San Francisco, he did not hesitate in claiming the territory for England, naming it ‘Nova Albion’, before crossing the Pacific, passing through the Indian Ocean, past Indonesia and all the way back to England. Following this remarkable achievement, Queen Elizabeth honoured Drake, not only with £10,000, but also with a knighthood, making a gentleman of the one-time pirate. That same year Nicholas Hilliard painted his portrait, a miniature that can be seen at the National Portrait Gallery, and the best of several likenesses made just after his return. As time passed Drake became more thick set: the painting in the National Maritime Museum,

usually attributed to Marcus Gheeraerts and dated 1591, shows a decidedly older Drake, heavy of body and thin of hair, with a beard going grey and a somewhat sinking chin. It was almost inevitable that a man so popular would be named to sit in parliament, which Drake did in 1581 (for an unknown constituency) and again in 1584 (for Bossiney); in the latter parliament he was appointed to a committee considering a bill for Walter Raleigh’s colonization in America. In 1593 he was elected one of the members for the significant constituency of Plymouth, and took a more active role in the Commons than previously. Not a parliamentary leader, Drake nonetheless had the opportunity to serve on committees with such men as Philip Sidney, Christopher Hatton, and Richard Grenville, whose friendship and influence he was glad to have.

Drake’s first wife, Mary Newman, died just 12 years after they married but in 1585, he married again, to Elizabeth Sydenham, who was 20 years younger than him and a wealthy heiress. With their combined fortune, they lived in Buckland Abbey. In his raids of 1586 on Santo Domingo on the island of Española, moving on to Cartegena, across to Cuba and then up the coast to Florida, Drake proved himself once again to be brave and unrelenting in battle, but he displayed little understanding of the command process, and his

idea of capturing isolated towns to hold for ransom was a complete failure. Even so his reputation in Spain grew yet further as an embarrassment to the king and an object of fear in every colonial town and the greatest threat in the English arsenal. Drake was later involved in the destruction of a Spanish fleet at Cadiz in 1587, in what became known as ‘singeing the King of Spain’s beard’. The attacked fleet was to be part of the Armada, and this action delayed it for a year. Very famously Drake was then given the position of Vice Admiral to Lord Howard of Effingham in 1588, to fight the Spanish Armada. Broadside positioning, devised by Drake, was a success. He ordered the British ships to sail in a line further away from the Spanish ships than would normally be advised. They would then shoot from this position, which proved very effective in defeating the Spanish. Drake’s voyage in 1596 was to be his last. His attempts to attack Spanish vessels in San Juan, Puerto Rico were failing and he then contracted what we now know to be dysentery which killed him on 28 January, on board the Defiance. His body, dressed in armour in accordance with his request, was encased in a lead coffin and lowered into the sea near Panama, a fitting end for a man so celebrated for his maritime exploits: a merchant, a pirate and hero of the Armada.

Fig. 7 Portrait of Sir Richard Grenville

Fig. 8 Buckland Abbey, Devon

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52ATTRIBUTED TO DAVID BAILLY (LEIDEN 1584-1657)Portrait of Jacoba van Erp (1608-1664), bust-length, in black costume and lace collarcharged with the sitter’s coat-of-arms (upper right)oil on panel 71.8 x 61cm (28 1/4 x 24in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance The Collection of A. Holzman, by whom soldC. F. Roos, Amsterdam, 31 October 1905, lot 102Hendriks sale, C. F. Roos, Amsterdam, 17-18 November, 1908, lot 47 (both as by Dirck Dircksz. van Santvoort)The Estate of Herbert L Pratt II (1900-1974), USA, and thence by descent to the present owner

A portrait of the sitter’s husband, Guillielmo Bartolotti van den Heuvel (1602-1658), also attributed to David Bailly, was offered at Sotheby’s New York on 30 January 2015, lot 445.



53MATTHEUS WYTMANS (GORINCHEM CIRCA 1640- 1689 UTRECHT?)Portrait of a young man, three-quarter-length, seated in a garden with a peacock signed ‘M. wytmans’ (on table, lower right) oil on panel 28.7 x 22.7cm (11 5/16 x 8 15/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

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54GERMAN SCHOOL, 17TH CENTURYPortrait of a gentleman, half-length, in black and white costume, before a red curtain; and Portrait of a lady, half-length, in black and white costume, before a red curtain the first monogrammed, inscribed and dated ‘JRS/ NAT. D.18.AVG/ANO 1635/ PIC.D.6.APR/ANO 1660’ (centre right); and the second monogrammed, inscribed and dated ‘HRS/ PICTA ANO 1661/ 10 APRIL’ (lower left) a pair, oil on copper, ovals 12.4 x 10.7cm (4 7/8 x 4 3/16in). (2)

£4,000 - 6,000 €4,600 - 6,800 US$5,400 - 8,100

Provenance With Sydney van der Bergh, before 1968 Sale, Christie’s, Laren, 18 October 1975, lot 273 Exhibited Laren, Singer Museum, Two Collections of Dutch Paintings, from the fifteenth to the seventeenth Century, 1959, no. 75a and b Leiden, Stedelijk Museum de Lakenhal, Old Masters, 1965, no. 40 and 41 Given the biographical details that appear beneath the monograms, they may denote the initials of those people portrayed.



55 TP

STUDIO OF LODOVICO CARDI, CALLED IL CIGOLI (CASTELLO DI CIGOLI, NEAR SAN MINIATO 1559-1613 ROME)Jacob’s dream oil on canvas 115.2 x 142cm (45 3/8 x 55 7/8in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance A noble family, Lombardy, from whom acquired by the present owner

The present work is derived from Cigoli’s vertical composition of Jacob’s dream, of which four autograph versions exist: in the Musée des Beaux-Arts, Nancy, signed and dated 1593, (oil on panel transferred to canvas, 173 x 134cm); at Burghley House, Lincolnshire (on canvas, 150.5 x 130cm); a work offered at Parke-Bernet, New York, 2 November 1978, lot 156 (on canvas, 179 x 140cm); and in the Uffizi Gallery, Florence (on canvas, 186 x 129cm).

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56FOLLOWER OF MARCELLO VENUSTI (MAZZO DI VALTELLINA 1512-1579 ROME)The Madonna and Child with the Infant Saint John the Baptist oil on canvas 50.2 x 41.2cm (19 3/4 x 16 1/4in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance Sale, Dorotheum, 16 April 2008, lot 204 (EUR 24,000), where purchased by the present owner



57FLORENTINE SCHOOL, EARLY 17TH CENTURYA theatre scene with an audience watching a performance of the commedia dell’arte, with Columbina and her maid, Scaramucia, il Capitano, il Dottore and two Zanni oil on panel 19.1 x 38.2cm (7 1/2 x 15 1/16in).

£5,000 - 7,000 €5,700 - 8,000 US$6,700 - 9,400

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58ATTRIBUTED TO FRANCESCO RIZZO DA SANTACROCE (ACTIVE VENICE, 1507-CIRCA 1545)The Madonna and Child with Saints Catherine of Alexandria and Joseph oil on panel 56.4 x 75.5cm (22 3/16 x 29 3/4in). unframed

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Private Collection, Northern Italy Sale, Dorotheum, Vienna, 6 October 2009, lot 45, where purchased by the present owner



59SCHOOL OF DELFT, 17TH CENTURYA still life with strawberries, pears and cherries in porcelain bowls, together with a bread roll on a silver plate, a roemer, a tazza, a jug, two pipes and burning taper, all on a draped table-top oil on panel 41.8 x 78.8cm (16 7/16 x 31in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance Private Collection, Europe, since 1930s, by whom offered Sale, Sotheby’s, Amsterdam, 7 May 2008, lot 34 (as Attributed to Gillis de Bergh) The four-pointed bread roll appears to be a Delft feature, found with Cornelis Jacobsz. Delff (1570-1643) and the early works of his pupil, Gillis de Bergh (1600-1669), as well as in still lifes by Abraham van Beijeren from around the time when he was working in Delft (between 1657 and 1663).

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60 *ARNOLD HOUBRAKEN (DORDRECHT 1660-1719 AMSTERDAM)Diana and Actaeon signed ‘A. Houbraken.’ (centre left) oil on canvas 48.2 x 63.7cm (19 x 25 1/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance Sale, Phillips, London, 16 February 1993, lot 121

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61CAREL VAN SAVOY (ANTWERP 1619-1665 AMSTERDAM)Portrait of a lady, three-quarter-length, in a black dress holding a fan and standing before a column signed and dated ‘C.v. Savoy/ 1657’ (lower left) oil on canvas 104.4 x 89.4cm (41 1/8 x 35 3/16in).

£12,000 - 18,000 €14,000 - 21,000 US$16,000 - 24,000

Provenance Collection of A. Troubnikoff, Paris (according to Witt Library mount) Sale, Paris, 18 February 1914, lot 99 (according to the RKD) Reputedly, Fontaneda Collection, Spain, from whom acquired by the present owner’s father, approximately 20 years ago



62WORKSHOP OF JAN BRUEGHEL THE YOUNGER (ANTWERP 1601-1678)An extensive bouquet of mixed spring and summer flowers in a wooden tub beside a squirrel oil on panel 106.2 x 75.6cm (41 13/16 x 29 3/4in).

£70,000 - 100,000 €80,000 - 110,000 US$94,000 - 130,000

Provenance With Kunsthandel Van Diemen, Amsterdam With Walter Paech, Amsterdam, 1936 (his catalogue as by Jan Brueghel I) With the Schlichter Gallery, London, 1937 Private Collection, Middleton Park, Middleton Stoney, Oxfordshire, since at least 1955 Literature The Illustrated London News, 10 April 1937, p. 34 (as by Jan Brueghel ‘de velours’)

The present composition would appear to be of equal merit to two other known versions: a smaller version that was offered as Jan Brueghel II by Sotheby’s Monaco, 2 July 1993, lot 79, on panel, 64.5 x 49.5 cm.; and a version at Musée des Beaux Arts, Strasbourg (traditionally described as Jan Brueghel the Elder). The present work differs from the latter in particular with the incorporation of the squirrel, lower left, and the iris, amaryllis and lilies in the place of a white rose, top left. A lesser quality copy which combined elements of both compositions was offered at Marc-Arthur Kohn, Paris, 10 June 1997, lot 10. While the quality of the present work is comparable to a number of impressive compositions on this scale which had traditionally been attributed to Jan Brueghel the Younger, current scholarship now takes a more cautious approach to the output of this artist’s studio from which the extent of the master’s participation cannot be known with certainty in those works which are not signed. The unusually large size is comparable to the most ambitious and monumental productions of Jan Brueghel the Younger’s workshop, such as the still life of flowers in a sculpted vase, on panel, 123.2 x 94 cm., which was offered at Christie’s, 10 December, 2012, lot 20. We are grateful to Fred Meijer for his assistance in the cataloguing of this work.

The Drawing Room, Middleton ParkMiddleton Park, Middleton Stoney, Oxfordshire

102 | BONHAMS


63 TP

JOSEPH TEAL COOPER (BURFORD 1682-1743 KINGS LYNN)Melons, grapes, peaches and other fruit in landscape signed ‘Teal Cooper.’ (lower right) oil on canvas 86.7 x 131.6cm (34 1/8 x 51 13/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance Private Collection, Dorset

Joseph Teal Cooper was the first significant professional native painter of fruit and flower still-lifes in England. George Vertue recognised that he was ‘very skilful in painting fruit and flowers’. Given the similarity of Cooper’s fruit pieces to the work of such Neapolitan painters as Luca Forte, Paolo Porpora and the Netherlandish immigrant Abraham Brueghel, it has been suggested that Cooper received some training in Naples. His work, especially signed examples, is rare to come on to the market and only one attributed work (an unsigned still of fruit on a shelf at Plas Newydd, Anglesey), is in any public collection in the United Kingdom.

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64ROBERT FAGAN (CORK CIRCA 1745-1816)Portrait of the artist’s daughter, Estina Fagan held by her nurse, a mountainous landscape beyond oil on canvas 88.2 x 74.2cm (34 3/4 x 29 3/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Presumably Estina Fagan, the artist’s daughter, who married William Baker of Bayfordbury, Hertfordshire, in 1809, and thence by descent to Lieut. William Lewis Clinton-Baker, R.N., of Bayfordbury, by whom offered Sale, Christie’s, London, 1 June 1945, lot 87 (as by ‘L. Fagan’, 20 gns. to Wolf)

This unfinished sketch depicts the artist’s daughter, Estina (c.1790-1859) held by her nurse before an Italianate landscape. Fagan moved to Italy in 1784 and married here twice, both times to Italian women. Estina, the daughter of the artist and his first wife, Anna Maria Aloisa Rosa Ferri, married William Bayfordbury in 1809. The present work was offered for sale in 1945, along with three other portraits catalogued as ‘L.Fagan’, by William Lewis Clinton, Estina’s great grandson.



65ATTRIBUTED TO JACOPO DEL CONTE (FLORENCE 1510-1598 ROME)Portrait of a lady, half-length, seated by a table, in black costume oil on slate 88.7 x 69.2cm (34 15/16 x 27 1/4in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

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66GIULIO RAIBOLINI, CALLED GIULIO FRANCIA (BOLOGNA 1487-1540)The Holy Family with Saint Catherine of Alexandria oil on panel 76.4 x 63.6cm (30 1/16 x 25 1/16in).

£25,000 - 35,000 €29,000 - 40,000 US$34,000 - 47,000

We are grateful to Prof. Emilio Negro and Dottssa Nicosetta Roio for confirming the attribution to Giulio Francia upon inspection of a colour photograph. The figure of the Madonna repeats that in the Mystic Marriage of Saint Catherine with Saint Joseph, now in the Collection of Michele Tossani, Bologna, and the present Saint Catherine also appears in Giulio Francia’s work of the same subject, offered at Sotheby’s 18 May 1978, lot 319 (see E. Negro and N. Roio, Francesco Francia e la sua Scuola 1998, pp 307-308, cat. nos 294 and 296 respectively).


67THOMAS GAINSBOROUGH (SUDBURY 1727-1788 LONDON)Portrait of Lady Caroline Draper (circa 1730-1769), half-length, in a blue dress with a white lace cap held with blue ribbons, within a painted oval oil on canvas 77 x 63.2cm (30 5/16 x 24 7/8in). in a hollow-carved frame

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance By family descent from the sitter’s sister to Lady Catherine Drummond With Agnews, London, 1919 C.W.Cargill, Stanmore, Lanark A.J. Sulley Collection His sale, Christie’s, London, 1 June 1934, lot 6 (bought in) Sale, Christie’s, London, 3 May 1936, lot 36, (bt. Hughes) Charlotte Drummond Collection Her sale, Sotheby’s, London, 27 June 1962, lot 97 Private Collection, USA With Trosby Art Galleries, Palm Beach, 1960s Private Collection, USA, by whom offered Sale, Bonhams, London, 4 July 2007, lot 61 Literature E. Waterhouse, Gainsborough, London, 1958, cat. no. 209, p. 64


The great granddaughter of King Charles II and Nell Gwyn, through the first duke of St Albans, Caroline Beauclerk presented her husband, William Draper, with more social than financial benefits upon their marriage in 1756. By this time Draper had already enjoyed a successful military career, seeing action at both the Battle of Falkirk and Culloden. The year after his marriage, he was commissioned as a Lieutenant Colonel and commanded to raise a regiment of Foot for service in the East Indies. His regiment played a crucial role at the siege of Madras in September 1758 and he was later offered command of the British forces on the Coromandel coast, although he declined the offer, pleading ill-health and returned to England. At the outbreak of war with Spain in 1762, Draper was promoted Brigadier-General ‘in the East Indies only’ and sent to the Philippines to coordinate a pre-emptive strike against the Spanish in Manila. Draper and Vice-Admiral Samuel Cornish, his joint commander, seized the city on 6 October 1762 but by the time they had returned to England the following April with news of the victory, the treaty of Paris, ending the Seven Years War, was already signed and Manila restored to Spain without compensation. With the prize money from his military success, he built Manila Hall at Clifton near Bristol, to which he retired with Caroline, and two years later, was made a Knight Companion of the Order of the Bath. He later came back to public attention with the public correspondence he exchanged with the anonymous writer Junius, a political insider intent on savaging the government of King George III. The public humiliation that this exchange caused, Sir William having published his letters under his own name, is said to have contributed to the early death of Caroline in the autumn of that year. She, whom Sir William referred to as ‘sweet spirit-lulling Caroline’ in his poem to his friend Christopher Anstey in 1767, had never been very robust and she died childless. She had made her will in 1769 and was buried in St Augustine-the-Less on August 19th. A portrait by Gainsborough of Sir William, on a larger scale than that of his wife, can now be seen in the De Young Memorial Museum, San Francisco (acc. no. 60.29). At the time of the 2007 sale Hugh Belsey confirmed the attribution to Gainsborough upon firsthand inspection of the painting and suggested a date of the early 1760s. The portrait will be included in his forthcoming catalogue raisonné of the artist. Waterhouse dates both of the Draper portraits to the later part of the 1760s.

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68FOLLOWER OF DOMENICO BECCAFUMI (MONTAPERTI NEAR SIENA CIRCA 1486-1551 SIENA)The Marriage of the Virgin oil on panel, with extensions 29 x 82.5cm (11 7/16 x 32 1/2in).

£25,000 - 35,000 €29,000 - 40,000 US$34,000 - 47,000


Provenance With Agnews and Sons, London (according to a label on the reverse) Collection of Major E. O Kay Sale, Sotheby’s, London, 16 November 1955, lot 143 (bt. Thorogood) Sale, Sotheby’s, London, 9 December 1959, lot 4 Sale, Christie’s, London, 13 December 2000, lot 79 (as circle of Beccafumi)

110 | BONHAMS


69ATTRIBUTED TO DOMENICO PULIGO (FLORENCE 1492-1527)Portrait of a young woman as a Sibyl oil on panel 48.3 x 36.5cm (19 x 14 3/8in).

£25,000 - 35,000 €29,000 - 40,000 US$34,000 - 47,000

Provenance The Collection of Dr. Ludwig Mond, London (before 1909) By descent to Sir Alfred Moritz Mond, 1st Lord Melchett of Landford (until 1930) Private Collection, England With the Arcade Gallery, London, 1969 Private Collection, England By whom sold, Bonhams London, 13 April 2011, lot 13 Sale, Dorotheum, Vienna, 12 October 2011, lot 493, where purchased by the present owner


70ATTRIBUTED TO APOLLONIO DOMENICHINI (VENICE CIRCA 1740-1760), FORMERLY KNOWN AS THE MASTER OF THE LANGMATT FOUNDATION VIEWSThe Grand Canal with the Palazzo Balbi seen from the east oil on canvas 38.7 x 57cm (15 1/4 x 22 7/16in). in a carved and gilt wood frame

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000


In frame

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71 TP

JACOPO AMIGONI (VENICE 1682-1752 MADRID)Portrait of Princess Mary (1723-1772), full-length, in a pink dress, seated in an interior oil on canvas 126.8 x 97.2cm (49 15/16 x 38 1/4in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance Sale, Sotheby’s, London, 18 November 1987, lot 34 The Collection of Barry Byrne, by whom offered Sale, Christie’s, Sydney, 16 July 1992, lot 752

The fourth daughter of King George II and Queen Caroline, Princess Mary was born at Leicester House in 1723. She married the Landgrave Frederick of Hesse-Kassel, only son and heir of William VIII, Landgrave of Hesse-Kassel, by proxy at the Chapel Royal, St. James’s Palace, and then in person at Cassel in 1740. The marriage proved an unhappy one although the couple did go on to have three surviving sons. In 1756 Mary moved with her children to Denmark to take care of the children of her sister, Louise, Queen of Denmark who had died five years previously. Jacopo Amigoni came to England in 1729 and remained for the following ten years, his stay interrupted only by a brief visit to France in 1736. In the early 1730s he turned to portraiture and is known to have carried out several royal commissions, including portraits of at least 4 of the King’s daughters.



72GIOVANNI BATTISTA SALVI, CALLED IL SASSOFERRATO (SASSOFERRATO 1609-1685 ROME) AND STUDIOMater Dolorosa oil on canvas 48.8 x 37.3cm (19 3/16 x 14 11/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Probably, Rev. Sir Cavendish H. Foster, Bt. (1817-1890), Co. Louth, Ireland, before 1873 Acquired by the present owner’s mother in Bournemouth in 1974 and thence by family descent Exhibited Probably, Dublin, Industrial Exhibition Palace, Loan Museum of Art Treasures, 1873, cat. no. 319 (as ‘Carlo Dolci (old copy)’, according to a label on the reverse)

We are grateful to François Macé de Lépinay for confirming the attribution upon inspection of colour photographs.

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73ANTON RAPHAEL MENGS (AUSSIG 1728-1779 ROME)The Rest on the Flight into Egypt oil on panel 42.6 x 32.2cm (16 3/4 x 12 11/16in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance With Derek Johns, London, from whom acquired by Collection of Bernard C. Solomon, USA, by whom offered Sale, Christie’s, New York, 26 January 2005, lot 43



74 TP

JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)Chinoiserie figures in a boat beside a garden pavilion oil on canvas 241 x 212.5cm (94 7/8 x 83 11/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Probably David Garrick, Fuller House, Hampton, near London With Galerie Gildas Guédel, Paris Private Collection, Europe

Literature M. Gordon-Smith, ‘The Influence of Jean Pillement on French and English Decorative Art’, in Artibus et Historiae, n. 41 M. Gordon-Smith, Pillement, Krakow, 2006, pp. 54-55, fig. 36, ill. p. 58 The present work was probably commissioned by David Garrick, the famous Shakespearean actor. It was part of a large-scale decorative scheme that adorned the drawing room of Fuller House, the actor’s residence in Hampton, near London. Garrick acquired Fuller House in 1755 and commissioned Robert Adam, Thomas Chippendale and Capability Brown to redesign and redecorate the house and gardens. Garrick was introduced to Pillement by Charles Leviez, another well-known actor, in 1757. An invoice, dated 16 July 1757, records that Garrick paid the artist £150 to decorate several rooms in his new home.

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Five further chinoiserie wall panels of varying sizes, now in private collections in France, are also thought to have formed part of the same decorative scheme. The measurements of each of these six large works closely matches the window and wall designs of the original building plans for the drawing room at Fuller House. Furthermore, the inventory of Garrick’s estate, produced after his death in 1779, states that the drawing room was ‘fitted up entirely in the Chinese taste hung round with Canvas and ornamented with paintings formed by panels in borders of papier Machee’. Each of this set of six works shows similar markings around the edges which Gordon-Smith suggests are the traces of the earlier papier mache borders (see: M. Gordon-Smith, ibid, p. 55). The present picture was engraved by P.C. Canot in 1759, with a few differences, for Pillement’s series Scènes chinoises.

75 TP

CIRCLE OF NICOLAS BAUDESSON (TROYES CIRCA 1611-1680 PARIS)A basket of poppies, roses tulips and other flowers with fruit on a stone ledge oil on canvas 86.8 x 125.6cm (34 3/16 x 49 7/16in).

£12,000 - 18,000 €14,000 - 21,000 US$16,000 - 24,000



76CLAUDE JOSEPH VERNET (AVIGNON 1714-1789 PARIS)A cove on a rocky Mediterranean coast, with small vessels and fishermen signed and dated ‘Joseph Vernet/f. Romae/ 1747’ (lower right) oil on canvas 32 x 49.5cm (12 5/8 x 19 1/2in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance The Earls of Bessborough, Stanstead Park, Sussex (according to a label on the reverse) Sale, Sotheby’s, London, 10 April 2003, lot 100 The attribution to Vernet was endorsed by Dr. Philip Conisbee at the time of the last sale. The architecture in the present work bears a resemblance to the Villa Costaguti (now Borghese) in Anzio.

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77 TP

JOHN SINGLETON COPLEY (BOSTON 1737-1815 LONDON)Portrait of a lady, said to be Charlotte Pochin of Barkby Hall, Leicestershire, three-quarter-length, in a blue dress with a lace bonnet, holding an ivory knotting-shuttle oil on canvas 127.8 x 101.7cm (50 5/16 x 40 1/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance By descent in the Packe-Drury-Lowe family of Prestwold Hall, Leicestershire, until acquired by the present owner in May 1998



Exhibited London, Royal Academy, Winter exhibition, 1872, no. 223 (as Paolo Veronese) London, The New Gallery, Exhibition of Venetian Art, 1894-5, no. 274 (as Paolo Veronese) Literature Catalogo dei quadri esistenti nella Galleria Manfrin in Venezia, Venice, 1856, no. 236 R. Marini Tutta la pittura di Paolo Veronese, Milan, 1968, no. 424 (as attributed to Veronese) T. Pignatti, Veronese, Venice, 1976, p. 190, no. A156, v. II, fig. 856 (erroneously given as on canvas) Two other paintings of this subject by Veronese himself are known; one in the Palazzo Bianco, Genoa, the other in the Musée du Louvre, Paris.

78CIRCLE OF PAOLO CALIARI, CALLED PAOLO VERONESE (VERONA 1528-1588 VENICE)Susannah and the Elders oil on panel 45.3 x 53.2cm (17 13/16 x 20 15/16in). in a carved and gilt Sansovino style frame

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance The Manfrin Collection (a family of Venetian tobacco merchants who owned Giorgione’s Tempest) The Collection of the Cavendish-Bentinck family by 1872, by descent to George Augustus Frederick Cavendish Bentinck M.P., sold by his executors Sale, Christie’s, London, 11 July 1891, lot 608 (as P. Veronese) The Collection of Sir William Farrer, London, after 1894 His granddaughter, the Hon. Mrs Helen Bruce, and thence by descent Sale, Sotheby’s, London, 16 March 1966, lot 62 Sale, Sotheby’s, London, 5 July 1967, lot 81 (bt. Mr Fordham) Private Collection, UK, thence by descent to the present owners

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79 *VERONESE SCHOOL, LATE 16TH CENTURYSaint Sebastian oil on canvas 105.6 x 79.2cm (41 9/16 x 31 3/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000



80ANGELICA KAUFFMANN (COIRE 1740-1807 ROME)Portrait of Elizabeth Kerr, née Fortescue, Marchioness of Lothian, half-length, in a white muslin dress and headdress with gold embroidery, a pearl necklace and a green shawl oil on canvas 77.3 x 64cm (30 7/16 x 25 3/16in).

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

Provenance By descent from the sitter to her son, Vice Admiral Lord Mark Robert Kerr (1776-1840) To his son Hugh Seymour McDonnell, 4th Earl of Antrim (1812-1855) To his daughter Lady Helen Laura McDonnell (d.1922), wife of Rear-Admiral Sir Malcolm MacGregor, 4th Bt, and thence by descent until acquired by the present owner Dr. Bettina Baumgärtel has seen this painting first-hand and has confirmed the attribution. She will be including it in her forthcoming monograph on the artist. Professor Wendy Wassying Roworth has corroborated this opinion. Elizabeth Kerr (1745-1780) was the daughter of Chichester Fortescue of Dromeskin, Co. Louth, and his wife The Hon Elizabeth Wesley. She married General William John Kerr, 5th Marquess of Lothian, in 1762 and together they had seven children. No fewer than four portraits of her were painted by Kauffmann’s friend and fellow artist Sir Joshua Reynolds between 1769 and 1771, one of which hangs at Blickling Hall in Norfolk and another at Fyvie Castle, Scotland. Angelica Kauffmann was Swiss by birth but she moved to London in 1766 where she became a founding member of the Royal Academy. Her portraits, poetical and mythological subjects were in great demand and she collaborated on decorative schemes with architects such as Robert Adam and James ‘Athenian’ Stuart. Her enormous popularity gave rise to prints after her works by Bartolozzi and Cipriani and her influence as an artist was felt well into the 19th century.

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81JAN BAPTIST WEENIX (AMSTERDAM 1621-CIRCA 1660 DEUTECUM)An Italianate landscape with a Moorish rider conversing with a shepherdess resting on the roadside, a ruined Roman aqueduct beyond signed ‘Gio Batta Weenix’ (on ground, lower left) oil on canvas 60 x 69cm (23 5/8 x 27 3/16in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance With Sala Peres, Barcelona, 1954 (according to a label on the reverse)

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82JAN VAN HUCHTENBURG (HAARLEM 1647-1733 AMSTERDAM)A military encampment signed and dated ‘JHuchtenburg */1694’ (lower left) oil on canvas 58.2 x 74.2cm (22 15/16 x 29 3/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Sale, Charlton Hall Galleries, Paris, 11 June 1959, lot 122



83 TP

LUIS TAPIA (ACTIVE MEXICO, EARLY 19TH CENTURY)Portrait of Hernan Cortés, full-length, wearing armour and holding a baton, standing beside his gloves and helmet on a draped table signed ‘L. Tapia pinto Hernan’ (on the reverse of the original canvas, see fig. 1) and charged with the sitter’s coat-of-arms (upper left) oil on canvas 193 x 110cm (76 x 43 5/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Private Collection, USA

Cortés was one of the most important historical figures of the sixteenth-century. He was born in Medellin and pursued a remarkable life as a conquistador in Cuba and Mexico. He was responsible for defeating the Aztec Empire and bringing Mexico under the control of Charles V.

For his great success in Mexico, Cortés was created Marqués del Valle de Oaxaca by Charles V and granted the coat-of-arms which is prominently displayed in the present portrait. As well as the double-headed black eagle of the Emperor himself, the arms also incorporate in the second quarter the three crowns representing the three Aztec emperors of the conquest era (Montezuma, Cuitlahuac, and Cuauhtémoc) and in the third quarter the Aztec capital of Tenochtitlan transformed into the 16th century city which Cortés renamed as Mexico City. Encircling the central shield are symbols of the seven city-states around Lake Texcoco which Cortés defeated, with the lords

Fig. 1

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84CIRCLE OF WILLEM KEY (BREDA CIRCA 1515-1568 ANTWERP)Portrait of a gentleman, traditionally identified as the Duke of Montmorency (1493-1567), bust-length, in fur-trimmed, black costume oil on panel, tondo 18.2cm (7 3/16in). diameter

£6,000 - 8,000 €6,800 - 9,100 US$8,100 - 11,000

A version of the present portrait (oil on panel, 19.1 cm. diam.) which had been traditionally identified as the Duke of Montmorency, was in a sale at Christie’s South Kensington, 10 July 2009, lot 90 (as Follower of Jean Clouet).

“to be shown as prisoners bound with a chain which shall be closed with a lock beneath the shield”. The motto in Latin translates as “The judgment of the lord apprehends them and his strength strengthens my arm”.

This portrait is one of a very small number of portraits recorded by the artist. In this instance Tapia was clearly copying the portrait of Cortés which was commissioned for the Church and Hospital de Jesús Nazareno in Mexico City. This hospital was founded by Cortés on the spot where he and the Aztec King, Montezuma II, met for the first time in 1519. Cortés’s bones were eventually moved there in the late eighteenth century. The original composition is directly related to the portrait of Charles V by Titian. This portrait was destroyed by a fire in El Pardo Palace in 1604 and Juan Pantoja de la Cruz painted a copy now in the Museo del Prado, Madrid.



85 * TP

CIRCLE OF PETER VAN LINT (ANTWERP 1609-1690)Christ in the House of Mary and Martha oil on canvas 129.3 x 134.4cm (50 7/8 x 52 15/16in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

Provenance Acquired by the present owners’ family in Johannesburg, South Africa in the late 1960s and thence by descent

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LOTS 86 - 94PROPERTY OF A PRIVATE AMERICAN COLLECTOR18th century Sèvres porcelain from the same collection will be offered in our sale of Fine European Ceramics on 5 July, lots 158-190


86 *FRANÇOIS DE NOMÉ (METZ 1593-CIRCA 1644 NAPLES)A capriccio view of an Italian piazza with a royal procession oil on canvas 50.6 x 75.3cm (19 15/16 x 29 5/8in).

£30,000 - 50,000 €34,000 - 57,000 US$40,000 - 67,000

Provenance With Knoedler, New York, by 1961 The Collection of Harry Brooks, New York, by whose family offered Sale, Christie’s, New York, 30 January 2014, lot 247, where purchased by the present owner Literature F. Sluys, Didier Barra et François de Nomé dits Monsu Desiderio, Paris, 1961, pp. 60-1, no. 16, ill (listed under works by Didier Barra and his studio, with incorrect dimensions) M.R. Nappi, François de Nomé e Dider Barra: l’enigma Monsù Desiderio, Milan, 1991, p. 192, no. A112, ill. (with incorrect dimensions) Exhibited Dallas, The Dallas Museum for Contemporary Arts, The Art that Broke the Looking Glass, 14 November-31 December 1961, no. 46, as ‘Monsù Desiderio’ In her entry for the present work, Maria Rosaria Nappi notes how the artist has created an idealized view constructed from buildings taken from the Piazzetta San Marco, Venice, and the Piazza Reale, Naples. Dr. Sluys suggests that the figures are by Belisario Corenzio (Peloponnese circa 1558-1643 Naples).

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87 *SCHOOL OF MANTUA, 16TH CENTURYSaint John the Baptist oil on panel 50.1 x 35.3cm (19 3/4 x 13 7/8in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance Private Collection, Italy Sale, Christie’s, South Kensington, 29 March 2017, lot 30, where purchased by the present owner

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88 TP

ITALIAN SCHOOL, MID 16TH CENTURYThe Virgin and Child with Saint Anne and the Infant Saint John the Baptist oil on panel 112 x 89.8cm (44 1/8 x 35 3/8in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance The Collection of Robert de Balkany, Rome & the Côte d’Azur, by whom offered Their Sale, Christie’s, London, 22 March 2017, lot 62, where purchased by the present owner



89 *JAN BRUEGHEL THE YOUNGER (ANTWERP 1601-1678) AND HENDRICK VAN BALEN (ANTWERP CIRCA 1575-1632)Venus, Bacchus and Ceres feasting in a wooded glade oil on copper 30.9 x 35.3cm (12 3/16 x 13 7/8in).

£40,000 - 60,000 €46,000 - 68,000 US$54,000 - 81,000

Provenance With Siegfried Kuhnke, Munich, 1982 Sale, Christie’s, London, 9 December 2005, lot 114 Sale, Sotheby’s, London, 7 July 2016, lot 119, where purchased by the present owner Literature Weltkunst, 52, 15 October 1982, p. 2773, advertisement, ill (as by Hendrick van Balen) K. Ertz, Jan Breughel de Jüngere, Freren, 1984, p. 382, cat. no. 217, ill.

Numerous variations on the present figure composition are known. The staffage of the present Feast of Bacchus approximately repeats that in the work, signed by van Balen and offered at Christie’s London on 6 July 2010, lot 14, previously with the Müllenmeister Gallery, Solingen (see: ibid p. 377, cat. no. 211, ill. pl. 45), but with a distant view to a lake-side landscape on the left. Dr. Klaus Ertz dates the Müllenmeister version to the late 1620s but at the time of the 2005 sale, he suggested a slightly later date of circa 1630 for the present copper. A further version, signed by Abraham Govaerts was offered at Sotheby’s, London, on 16 December 1999, lot 151. A related sketch of the figure group, by van Balen, is in the collection at Yale University Art Gallery (inv. no. 1961.63.85, fig. 1). At the time of publishing his monograph on Jan Brueghel the Younger in 1984, Dr Ertz tentatively suggested that the figures in the present Feast of Bacchus were by Hendrick van Balen although he had not had the opportunity to inspect the painting first-hand. By the time of the 2005 sale, however, he had seen the picture in the flesh and confirmed the attribution to van Balen although noting that the artist had employed the help of a studio assistant in parts. In the 2005 auction, the present copper was offered with a certificate from Ertz, dated 14 October 2005, confirming his attribution to Jan Brueghel the Younger and Hendrick van Balen.

Fig 1. Hendrick Van Balen, Venus, Bacchus and Ceres

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90 *SÉBASTIEN BOURDON (MONTPELLIER 1616-1671 PARIS)King Solomon sacrificing to the Idols oil on canvas, extended by approximately 3cm. down the left edge 74.1 x 91.3cm (29 3/16 x 35 15/16in).

£40,000 - 60,000 €46,000 - 68,000 US$54,000 - 81,000

Provenance Probably, Verrier Collection, France, by whom offered Sale, Paris, 18-23 November 1776, lot 62 (sold 1,201 livres to Joly) The Tronchin Collection, Château de Bessinge, Cologny, before 1777, from whom acquired by Xavier Givaudan, in 1938 and thence by descent to his grandson, by whom offered Sale, Christie’s, New York, 27 April 2017, lot 182, where purchased by the present owner Literature J. Crosnier, ‘Bessinge’, in Nos Anciens et leurs oeuvres, Geneva, 1908, pp. 93-94 R. Loche, De Genève à l’Ermitage: Les collections François Tronchin, exh. cat., Geneva, 1974, pp. 197-8, no. 1, ill. p. 197 (as in the Givaudan Collection, under ‘Quelques tableaux ayant appartenu à la famille Tronchin’) J. Thuillier, Sébastien Bourdon 1616-1671: catalogue critique et chronologique de l’œuvre complet, Paris, 2000, p. 151, no. 3 Exhibited Montpellier, Musée Fabre, and Strasbourg, Galerie de l’Ancienne Douane, Sébastien Bourdon 1616-1671, 7 July 2000-4 February 2001, cat. no. 3

Almost certainly identifiable as the painting by Sébastien Bourdon described as a ‘Sacrifice’, of these dimensions and showing 14 figures, the present work was offered in the Paris sale of the Collection of a Monsieur Verrier in 1776. A sketch in the margin of the sale catalogue, annotated by Gabriel St-Aubin, shows that it was indeed of the same composition. The following year the painting was certainly already in the collection of François Tronchin of Waldkirch when it was mentioned in a letter to him from J. R. Sinner who was preparing his Voyage historique et litteraire dans la Suisse occidentale, later published in 1781. The work then remained in the Tronchin collection at the family’s Château de Bessinge in Cologny, near Geneva and was part of the group of works sold, along with the Château, to Xavier Givaudan in whose family it stayed until the sale last year. The dating of the present King Solomon sacrificing to the Idols has not been fully established although in his entry for the work in his oeuvre complet, Thullier places it very early on in the artist’s career, between 1636 and 1638 during his early years in Rome. Bourdon is first recorded in the city in 1636 and remained there for three years; the stay proved a formative experience in the young artist’s development. Whilst in Rome he studied the works not just of Claude Lorrain and Nicolas Poussin, but also of Caravaggio and the Bamboccianti such as Pieter van Laer. This eclectic, wide-ranging study in Rome informed Bourdon’s mature style, the origins of which can be seen in the present painting.

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91 *HENDRIK VAN BALEN THE ELDER (ANTWERP 1575-1632) AND JAN BRUEGHEL THE ELDER (BRUSSELS 1568 - 1625 ANTWERP)The Feast of the Gods, possibly the Wedding of Peleus and Thetis oil on copper 11.4 x 15.2cm (4 1/2 x 6in).

£70,000 - 100,000 €80,000 - 110,000 US$94,000 - 130,000

Provenance The Collection of Don Alfonso de Rojas, Alicante, 1928 Private Collection, Switzerland, 1998 Private Collection, France, 2004 With Galerie Bernheimer, Munich, by 2007 Sale, Sotheby’s, London, 6 July 2017, lot 104, where purchased by the present owner Literature K. Ertz and C. Nitze-Ertz, Pieter Brueghel il Giovane (1564–1637/8): Jan Brueghel il Vecchio (1568–1625): tradizione e progresso: una famiglia di pittori fiamminghi tra Cinque e Seicento, exh. cat., Lingen 1998, p. 196, under cat. no. 57, ill, fig. 1 K. Ertz and C. Nitze-Ertz, Jan Brueghel der Ältere (1568–1625). Kritischer Katalog der Gemälde, Lingen 2008–10, vol. II, p. 811, cat. no. 406, ill., p. 813

The Feast of the Gods is a subject that Hendrick van Balen turned to many times in his career, often in collaboration with Jan Brueghel the Elder, as is the case with the present work. Other examples can be found in his more elaborate Gathering of the Gods at the National Gallery of Denmark, Copenhagen (inv. No. Sp. 744) and the much larger panel of the Feast of the Gods now in the Alte Pinakothek, Munich (inv. No. 848). Both of these latter works were also the product of an artistic collaboration between Hendrick van Balen the Elder and Jan Brueghel the Elder. Ertz attributes the present Feast of the Gods to van Balen but suggests that Brueghel completed the small landscape and still life details. He believes it could be a preliminary work for the larger copper of the same subject now in a Swiss private collection (29.5 x 41.3 cm.; see Ertz 2008-10, p. 811, cat. no. 405, ill. p. 812) albeit with differences in the choice of background and a slightly reduced number of participants. For both the present and the Swiss work, Ertz suggests a date of circa 1608 and places it after another collaborative work between Brueghel and van Balen, The Marriage Feast of Bacchus now at the Gemäldegalerie, Dresden (inv. No. 919).

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92 *JAN MYTENS (THE HAGUE CIRCA 1614-1670)Daifilo pours Granida a drink of water oil on panel 73.3 x 60.2cm (28 7/8 x 23 11/16in).

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

Provenance Sale, Christie’s, New York, 6 April 2006, lot 255 Sale, Sotheby’s, London, 8 December 2016, lot 140, where purchased by the present owner .


The present painting takes as its subject Granida and Daifilo from Pieter Cornelisz. Hooft’s popular pastoral play Granida published in 1615. It shows the moment when the Persian princess Granida, having become separated from her hunting party, meets the shepherd Daifilo who fetches her water and falls in love with her. Overcoming a number of obstacles, they are eventually permitted to marry. The subject was clearly popular and provided inspiration for numerous Dutch painters of the period such as Gerrit van Honthorst. Jan Mytens treated this subject on another occasion in a signed double portrait dateable to 1660 now in the Rijksmuseum (inv. no. SK-A-1856). The pair of putti in the present painting appears in a further work by the artist, signed and dated 1646, of Bacchus and Ariadne, now in the Hermitage St. Petersburg (inv. no. 3422). At the time of 2016 sale, Dr. Fred Meijer endorsed the attribution to Mytens, and suggested a date of before 1660. At the time of the 2006 sale, Dr. Rudi Eckart also confirmed the attribution.

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93 *GIUSEPPE ZOCCHI (FLORENCE 1711-1767)The Flaying of Marsyas; and The Judgment of Midas a pair, oil on canvas 59.2 x 47cm (23 5/16 x 18 1/2in). (2)

£100,000 - 150,000 €110,000 - 170,000 US$130,000 - 200,000

Provenance Private Collection, Genoa Sale, Cambi, Genoa, 17-20 September 2007, lot 1052 (as Giovanni Paolo Panini) Sale, Bonhams, London, 6 July 2016, lot 44, where purchased by the present owners


Fig. 1 Giuseppe Zocchi: Il gioco del volano. Florence, Opificio delle Pietre Dure.

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Whilst he was perhaps best known for views of the city of Florence and its surroundings, Giuseppe Zocchi’s output, was both prodigious and varied. As a young man, he came under the protection of the Marchese Andrea Gerini (1691 – 1766), an intellectual and patron of the arts from a noble Florentine family, who sent the artist to study the works of his contemporaries in Bologna, Rome, Milan and Venice during which time Zocchi was exposed to the work of artists such as Canaletto, Marieschi and Panini. On his return to Florence, the Marchese commissioned Zocchi to produce the Selection of XXIV Views of the principal Districts, Squares, Churches, and Palaces of the City of Florence and of Views of Villas and of Places in Tuscany; a two fold series of engravings of the city and its environs intended to give to visitors as a memento of their stay in the city. In the years following publication of this series in 1744, Zocchi embarked on one of the most industrious periods of his career. He produced drawings and engravings for various printed works such as the Azioni gloriose degli

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uomini illustri fiorentini espresso co’loro ritratti nelle volte della Real Galleria di Toscana, amongst others, he took part in the decorative scheme of the church of San Carlo dei Barnabiti, and completed numerous other public and private commissions throughout Tuscany including the decoration of the archbishop’s palace in Pisa and the Palazzo Rinuccini in Florence. From 1750 onwards, Zocchi was taken on by the ‘Galleria dei Lavori in Pietre Dure’ in Florence to supply drawings and painted models for the Grand ducal workshop. He remained in this position until his death from the plague in 1767. The present pair of paintings offers a potentially important and interesting addition to the oeuvre of Giuseppe Zocchi from the late 1740s or early 1750s. The distinctive, silvery palette of the present works along with the softer treatment of the foliage suggest the hand of Giuseppe Zocchi. However, the type and subject are unusual for

Fig. 2 Giuseppe Zocchi The Judgement of Midas, Gabinetto dei Disegni e delle Stampe degli Uffizi

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the artist and show him at his most Panini-like. Other works which reveal the influence of the earlier artist can be found in his Triumph of David, now in a private collection but perhaps the painting in which he comes closest to Panini is his Predica di una sibilla in the Musée de la Chartreuse, Douai (see A. Tosi, Inventare la Realta’. Giuseppe Zocchi e la Toscana del Settecento, Florence, 1997, ill. p. 118 and p.264 respectively). Further comparisons may be drawn with his designs of the early 1750s for the Opificio delle Pietre Dure in Florence (for example, fig. 1) although the present pair show a greater degree of refinement and polish than these latter paintings with the figures more compact and finer in quality than the Pietre Dure studies. Whilst there are small changes in the composition, the source for the Judgment of Midas is surely the pen and ink sketch of the same subject at the Uffizi, Florence (Santarelli 6407, fig. 2). The same distinctive loose hand, with a strong diagonal bent used to describe the foliage, can be identified with a further pen and ink study, also showing figures amongst ruins (Santarelli 6408). This latter drawing was attributed by Edward Maser to Giuseppe Zocchi (see: E. Maser, ‘Drawings by Giuseppe Zocchi for works in Florentine Mosaics’, in Master Drawings 5, 1967, no. 1, p. 47-53). Both of these drawings are clearly by the same hand; however, no final work in the Opificio delle Pietre Dure exists for either drawing. The same distinctive diagonal hatching for the foliage can also be seen in Zocchi’s preparatory sketches for Smell and Touch and Taste in the Opificio delle Pietre Dure (see: A. Tosi, Inventare la realta’. Giuseppe Zocchi e la Toscana nel Settecento, Florence, 1997 p. 142, ill.). A further comparative example could be found in his study La Moscacieca, also in the Uffizi, done in preparation for a work that was never executed. This latter drawing shows not only the diagonal hatching but also the pools of dark wash used to create the shadows and form the figures. Given the very close stylistic affinities between the Judgment of Midas sketch in the Uffizi and the studies by Zocchi for his completed works at the Opificio delle Pietre Dure an attribution to Zocchi for the former is entirely plausible. With the clear relationship between the pen and ink sketch and the current Judgment of Midas on canvas, the present pair of paintings can be considered a significant addition to the work of Giuseppe Zocchi.

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94GIUSEPPE ZOCCHI (FLORENCE 1711-1767)Architectural capricci with figures amongst classical ruins a pair, oil on canvas 88.3 x 119.2cm (34 3/4 x 46 15/16in). (2)

£18,000 - 25,000 €21,000 - 29,000 US$24,000 - 34,000

Provenance The Collection of Dimitri Sursock, Beirut and London Thence by descent until offered Sale, Sotheby’s, New York, 27 January 2017, lot 439, where purchased by the present owner

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OTHER PROPERTIES

95PIETER JACOB HOREMANS (ANTWERP 1700-1776 MUNICH)Elegant figures dining in a landscape; The Musical recital the former signed and dated ‘P.Horemans./ 1745.’ (lower right) and the latter signed and dated ‘P.Horemans./ 1745.’ (lower left) a pair, oil on canvas 75.5 x 101cm (29 3/4 x 39 3/4in). (2)

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

Provenance Sale, Christie’s, New York, 10 January 1980, lot 100 Sale, Sotheby’s, London, 17 April 1996, lot 30, where purchased by the present owners



Dr. Olga Nefedova believes the present painting to be a late work by the artist and has drawn comparison with a drawing in the Akademie der Bildenden Kunste in Vienna, dating to 1727; it shows a woman in similar contrapposto stance with one arm extended, in mirror image of the present composition. Vanmour travelled to Constantinople as a result of his association with Charles, Marquis de Ferriol. Ferriol was appointed French ambassador to the Sublime Porte in 1699 and asked Vanmour to accompany him to record the locals. The resulting costume studies were published by Ferriol as engravings when he returned to France in 1711 under the title of Recueil de cent estampes représentant différentes nations du Levant. The present work may show a European: a number of travellers had themselves portrayed in Ottoman dress as a souvenir of their time in the Levant.

96JEAN-BAPTISTE VANMOUR (VALENCIENNES 1671-1737 CONSTANTINOPLE)Study of a young lady in Ottoman dress in an interior oil on canvas 40.6 x 29.2cm (16 x 11 1/2in).

£12,000 - 18,000 €14,000 - 21,000 US$16,000 - 24,000

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97 * TP

VENETIAN SCHOOL, 16TH CENTURYDiana with her hounds oil on canvas 115.5 x 152.7cm (45 1/2 x 60 1/8in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000



98ADRIAEN VAN DE VELDE (AMSTERDAM 1636-1672)Drovers resting with their flock in a landscape signed and dated ‘A.V. velde f/ 1668’ (lower right) oil on panel 48.3 x 39.2cm (19 x 15 7/16in).

£15,000 - 20,000 €17,000 - 23,000 US$20,000 - 27,000

Provenance Earl of Portarlington (his seal on reverse) The Collection of G.H. Tite, London, before 1912 Purchased by the present owner’s grandfather, most probably in the 1920s Literature H. de Groot, A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century, London, 1912, vol. IV, p. 518, cat. no. 217

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99DUTCH SCHOOL, 17TH CENTURYPortrait of a child, full-length, standing holding a rose oil on canvas 95.1 x 61.8cm (37 7/16 x 24 5/16in).

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000



100WILLEM VAN MIERIS THE ELDER (LEYDEN 1662-1747)Bacchus and Ariadne signed and dated ‘WVan Mieris. Fec. Ano. 1730’ (lower left) oil on canvas 76.2 x 83.8cm (30 x 33in).

£60,000 - 80,000 €68,000 - 91,000 US$81,000 - 110,000

Provenance A private castle in Flanders for several generations, from which acquired by the present owner’s family in this century While Willem’s early works followed the technique and subject-matter of his father, Frans van Mieris’s late paintings, in his later works especially Willem concentrated more than his father had on history, classical and pastoral scenes. In this unusually large work of 1730 which shows the master at the height of his technical virtuosity before the decline that has been detected in some of his later works, we find him applying the aesthetic ideals of classical late 17th century art theory, in combination with the technique of the Leiden ‘Fine’ Painters.

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101 TP

JOHN OPIE RA (TREVELLAS 1761-1807 LONDON)A girl slumbering under a tree in a landscape oil on canvas 127 x 101.6cm (50 x 40in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Exhibited Possibly, London, Royal Academy, 1795, no. 124 (titled A Country Girl)

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102 TP

STUDIO OF JOHN WOOTTON (SNITTERFIELD 1682-1764 LONDON)Flying Childers and other horses being rubbed down at Newmarket with William, 2nd Duke of Devonshire looking on oil on canvas 101.8 x 126.8cm (40 1/16 x 49 15/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Probably, The Collection of John Jolliffe, MP., UK, circa 1720, and thence by descent to The Collection of the Lords Hylton, Ammerdown Park (according to a label on the reverse) With Pawsey and Payne, London, 1924, where probably purchased by

Marshall Sewall, USA, by whom bequeathed to The Samuel P. Harn Museum of Art, University of Florida, Gainsville, by whom offered Sale, Christie’s, New York, 6 December, 1996, lot 14, where purchased by the present owner Flying Childers, bred by Colonel Leonard Childers, sired by the Darley Arabian and out of Betty Leedes, was foaled in 1715 and sold to the Duke of Devonshire as a yearling. He went on to become one of the most celebrated horses in early racing history and was famously undefeated. Flying Childers ran a trial run over the 3 mile 6 furlong and 93 yard Round Course at Newmarket in 1721. Childers, carrying the most weight, defeated Almanzor (also a son of the Darley Arabian) and the Duke of Rutland’s Brown Betty and is said to have covered the course in a remarkable time of 6 minutes 40 seconds, which is almost a mile a minute.



103 * TP

CIRCLE OF BARTOLOMEO PASSAROTTI (BOLOGNA 1529-1592)The Madonna and Child enthroned with Saints Francis of Assisi and Dominic oil on panel 161.7 x 128.1cm (63 11/16 x 50 7/16in).

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

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104ANTWERP SCHOOL, EARLY 17TH CENTURYThe Holy Trinity oil on panel, stamped with panelmaker’s mark of the hands and castle of the city of Antwerp and LS of Lambrecht Steens I 122.8 x 93.2cm (48 3/8 x 36 11/16in).

£12,000 - 18,000 €14,000 - 21,000 US$16,000 - 24,000

Three comparable versions of the present composition are held by Belgian museums, alternatively attributed to: Artus Wollfort (1581-1641) (123 x 94.5 cm., Groeningemuseum, Bruges), Pieter II Claeissens (1601-1625) (height 125 cm., Taxandriamuseum Turnhout) and Nicolas De Liemacker (1601-1646) (116 x 91 cm. the Ghent Museum voor Schone Kunsten); while a further, unattributed version (100 x 130 cm.), is in the church of Sint-Clemens, Watermaal-Bosvoorde.


105JOSÉ DE ARELLANO (MADRID 1665-CIRCA 1710)A still life of roses, poppies, chrysanthemums and other flowers in a basket on a stone ledge; and A still life of roses, a tulip, a carnation and other flowers in a basket on a stone ledge both bear signature ‘J. de Arellano’ (lower right, one possibly over an earlier signature) a pair, oil on canvas 32.2 x 45cm (12 11/16 x 17 11/16 in). (2)

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

Many elements of the still life in the former painting were repeated in a work by the artist, signed ‘Joseph dearrellano, fa’, on canvas 66 x 66 cm., which was offered at the Dorotheum. 11 June 2012, lot 246.


106GIUSTINO MENESCARDI (MILAN 1720-1776 VENICE)Alexander paying homage to Jupiter at the Temple of Jupiter oil on canvas 66.1 x 82.8cm (26 x 32 5/8in).

£5,000 - 7,000 €5,700 - 8,000 US$6,700 - 9,400

Exhibited Thessalonika, Alexander the Great in European Art: Thessalonika ‘97, Cultural Capital of Europe, 22 September 1997- 11 January 1998, no. 11 Literature N. Hadjinicolaou (ed.), Alexander the Great in European Art, Thessalonika, 1997, no. 11, pp. 183-184, ill. (catalogue entry written by George Knox)

The present painting was first recognised as the work of Menescardi by Filippo Pedrocco, while Egidio Martini then pointed out that it belongs to the painter’s early period when his compositions were strongly influenced by those of Sebastiano Ricci. Professor George Knox dated the present painting to the 1740s. Although Knox proposed that this painting may have been intended as an overdoor, it may also conceivably have been one of a group of modelli for a decorative scheme based on the Life of Alexander the Great. Another work from the same series is The Family of Darius before Alexander (Trafalgar Galleries - Anniversary Exhibition, 1996, no. 13). Also very possibly from the same series, according to Knox, are Menescardi’s Alexander and Diogenes (57 x 82 cm.) reproduced in Helbing, Kunsthaus Zürich, 25/6.2. 1924, fig. 469 (which bore an attribution to Domenico Tiepolo at that time), and two drawings, respectively at the Boijmans van Beuningen Museum, Rotterdam, and the Pinacoteca Ambrosiana in Milan, which portray Alexander and Diogenes and The Meeting of Alexander with Thalestris, Queen of the Amazons. When Alexander determined to visit the Temple of Jupiter Ammon in the Libyan desert, a trip of some 400 miles, he was guided by Jupiter and a flock of crows. On arriving at the temple he learnt from an oracle that his father was immortal, which allowed him henceforth to claim semi-divine status. According to Knox this subject is extremely rare and there is apparently no other example of it in 18th century Venetian art.



107PIETRO FACCHETTI (MANTUA 1535-1619 ROME)Portrait of the architect, Domenico Fontana (1543-1607), three-quarter-length, seated beside a desk with a book in one hand and a pair of dividers in the other, a view of the dome of Saint Peter’s, Rome, beyond oil on canvas 119.7 x 102.6cm (47 1/8 x 40 3/8in).

£50,000 - 70,000 €57,000 - 80,000 US$67,000 - 94,000

Provenance King Umberto II of Italy (1904-1983), by whom given to the present owner’s uncle, Marchese Cesare Alberto Godi di Godio, Minister Plenipotentiary in the Italian diplomatic service, and thence by descent

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The celebrated Renaissance architect, Domenico Fontana was born at Melide, a village on Lake Lugano which was at that time a joint possession of the Swiss cantons of the old Swiss Confederacy. He went to Rome in 1563, before the death of Michelangelo, to join his elder brother, Giovanni, who was also an architect. Here he won the confidence of Cardinal Montalto, later Pope Sixtus V, who entrusted him in 1584 with the erection of the Cappella del Presepio in the Basilica di Santa Maria Maggiore which is based on a Greek Cross and has been admired for its remarkably well-balanced structure. For

the Cardinal he then constructed the Palazzo Montalto near Santa Maria Maggiore. Following Cardinal Montalto’s election as Sixtus V, the Pope appointed Fontana Architect of Saint Peter’s, bestowing upon him, among other distinctions, the title of Knight of the Golden Spur. He added the lantern to the dome of Saint Peter’s and proposed the prolongation of the interior in a well-defined nave. Hence the prominence of the great basilica in the present portrait. In 1586 Fontana erected the 327 tonne obelisk in the Square of Saint Peter’s. This feat of engineering took the concerted effort of 900 men, 75 horses and countless pulleys and metres of rope. Fontana himself gave a detailed account of the event in Della transportatione dell’obelisco Vaticano e delle fabriche di Sisto V (Rome, 1590; see figs. 1 and 2). Fontana also used his remarkable engineering skills in order to erect three other ancient obelisks: on the

Piazza del Popolo, the Piazza di Santa Maria Maggiore, and the Piazza di San Giovanni in Laterano - to universal acclaim at the time and celebrated today as classic elements of Rome’s topography. Indeed, without Fontana’s numerous contributions Rome would lack much of its striking present day visual identity.

Of more architectural importance were the alterations he made to the Basilica di San Giovanni in Laterano, around 1586, where he introduced into the loggia of the north façade an imposing double arcade of wide span and ample sweep, and probably added the two-story portico of the Scala Santa. His secular buildings included the Lateran Palace, also begun in 1586, the monumental, unembellished style of which he repeated in his design for the later part of the Vatican, which contains the present papal residence. The same general style was employed again in the additions to the Quirinal Palace. Fontana furthermore designed the transverse arms separating the courtyards of the Vatican and collaborated with his brother in the design of fountains, for example, the Fontana dell’Acqua Paola and the Fontana di Termini. Facchetti was a Mantuan artist who was long active in Rome under the patronage of Pope Sixtus V. He painted a mural in the Sala Sistina of the Vatican Library which depicts a multiple portrait of Domenico Fontana presenting the plans of the Library to Sixtus V. Fontana’s portrait was also painted by Federico Zuccaro, formerly in the collection of Giuseppe Bossi and now in the Pinacoteca di Brera, Milan. We are grateful to Antonio Vannugli, Associate Professor University of Eastern Piedmont, for his assistance in cataloguing this portrait.

Fig. 1

Fig. 2

‘Without Fontana’s numerous contributions Rome would lack much of its striking present day visual identity’



108 * TP

ATTRIBUTED TO BERNHARD KEIL, CALLED MONSÙ BERNARDO (ELSINORE 1624-1687 ROME)A boy and a girl playing in an orchard with a dog oil on canvas 164.5 x 122.2cm (64 3/4 x 48 1/8in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance Private Collection, Scotland With Kunsthandel P. de Boer, Amsterdam, 1950s Collection of F.J Sandbergen, The Netherlands, before 1986 Thence by descent until Sale, Christie’s, London, 2 November 2001, lot 98

Literature W. Sumowski, Gemälde der Rembrandt-Schüler, vol. III, Landau/ Pfalz, 1986, p. 1462, no. 955, ill., p. 1465 (as Bernard Keil) M. Heimbürger, Bernardo Keilhau, detto Monsù Bernardo, Rome, 1988, p. 282, no. AR1, ill (under ‘Attribuzioni Respinte’) Sumowski, loc. cit., regarded the present lot as an autograph work by Keil and dated it to circa 1660, a period in which the artist was transitioning to a more Italian style. Although stylistically the work does not fit with much of Keil’s later works, he notes comparisons to Man and woman playing instruments and Boy and a girl teasing a sleeping youth (ibid, p. 1463, nos. 966 and 967). Heimburger rejects the attribution to Keil in her 1988 monograph and suggests, with corrobation from the RKD and Rijksmuseum, that the artist is unlikely to be Dutch. She proposes that the artist might be Spanish and suggests that it could be by Pedro Nuñez de Villavicencio (1635-1700).

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109ANDREA LOCATELLI (ROME 1693-CIRCA 1741)Classical figures resting in an Italianate landscape with a figure drawing water at a waterfall oil on canvas 75.2 x 106.2cm (29 5/8 x 41 13/16in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance Acquired by the present owner’s grandfather in the 1920s and thence by descent An almost identical version of the present composition by Andrea Locatelli, oil on canvas, 72.3 x 96.5 cm., was sold at Christie’s, 10 December. 1982, lot 35.



110GIOVANNI BALDUCCI, CALLED IL COSCI (FLORENCE 1560-1603 NAPLES)The Last Supper; The Calling of Saints Peter and Andrew; Saint Peter Baptising the Centurion; Saints Peter and John healing the Lame Man; Saint Peter healing with his shadow a set of five, oil on panel the first 19.8 x 76.6 cm. (7 7/8 x 30 1/8 in.); the second two 19.8 x 56.2 cm. ( 7 7/8 x 22 1/8 in.); the last two 19.7 x 47.1 cm. (7 3/4 x 18 1/2 in.) (5)

£20,000 - 30,000 €23,000 - 34,000 US$27,000 - 40,000

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111 * TP

LAVINIA FONTANA (BOLOGNA 1552-1614 ROME)Portrait of Gerardo Giavarini, three-quarter-length, standing in an interior beside a table covered with a carpet on which rests a knight’s helmet with his right hand showing a chiaroscuro monochrome drawing depicting Venus and Cupid inscribed ‘AETATIS SUAE ANNORUM XXV’ (on edge of table, lower left) and bears inscription and date ‘GERARDO GIAVARI/ NI CAVALLIERE/ CONTE PALATINO/ E PAGGIO DI PAPA/ CLEMENTE VIII/ MENTRE DIMORO/ IN BOLOGNA L’ANNO/ 1598’ (upper right) oil on canvas 130 x 103.5cm (51 3/16 x 40 3/4in).

£80,000 - 120,000 €91,000 - 140,000 US$110,000 - 160,000

Provenance Private Collection, Wales, since at least 1927 and thence by descent to the present owners

Fig. 1 Guido Reni: Facade of a triumphal monument with three scenes depicting deeds of Pope Clement VIII, a temporary decoration for the entry of Pope Clement VIII in Bologna in 1598

Gerardo Giavarini was among those young Bolognese men in their twenties whom Pope Clement VIII created Knights Palatine, Counts and Pages during his stay in Bologna in 1598 and when he was back in Rome after having subjugated Ferrara, in gratitude for the welcome he had received from the city. This event was a matter of pride which inspired some of these young men to commemorate their investiture by having their portraits painted. Another such portrait of one of these young Bolognese men that is known is that of Lattanzio Graffi, created a page in the same circumstances, which is attributed to Bartolomeo Cesi (Genus Bononiae Collection, Bologna). The painting shows a compositional approach that has been repeatedly used by Lavinia Fontana in male portraits: the style of drawing and the colour scheme are very close to those of the painter who by the late 1590s was a well-known professional in her city, known for having made numerous portraits of men and women of good Bolognese society. The drawing with its amorous subject which the young man shows to us probably indicates that this painting was dedicated to his betrothed love. The theme of the Venus and Cupid was treated by Fontana in other paintings, such as the canvas, 215 x 134 cm., dated 1585 in a private collection, Venice, and the design reproduced here resumes these models. Stylistic comparison with other known works by the artist suggests that the present portrait may have been realised by Lavinia Fontana a few years before her transfer to Rome in 1603 at the invitation of Pope Clement VIII. Much praised in her lifetime, Fontana is now regarded as the first woman to achieve financial and critical success as a painter in Counter-Reformation Italy. We are grateful to Dottssa. Maria Theresa Cantaro and Antonio Vannugli, Associate Professor, University of Eastern Piedmont, for their assistance in cataloguing this portrait and confirming the attribution based on digital photographs.

Fig. 2 Guido Reni: The Porta Galliera, the entrance gate to Bologna and drawbridge with temporary decorations for the entry of Pope Clement VIII

‘Much praised in her lifetime, Fontana is now regarded as the first woman to achieve financial and critical success as a painter in Counter-Reformation Italy’

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112JOHN CONSTABLE R.A. (SUFFOLK 1776-1837 HAMPSTEAD)View on the Orwell near Ipswich inscribed and dated ‘Ipswich/5 Aug 1815’ (lower right) pencil on laid paper 14.3 x 20.6cm (5 5/8 x 8 1/8in). with a second landscape sketch verso

£10,000 - 15,000 €11,000 - 17,000 US$13,000 - 20,000

Provenance Seago Collection, UK, by whom offered Sale, Christie’s, London, 8 June 1976, lot 172 Collection of William Jenkins Esq, and thence by descent to the present owner Literature G. Reynolds, The Early Paintings and Drawings of John Constable, New Haven and London, p.207, nos. 15.14, 15.15, ill., pl. 1225 Constable made another study on the same day: Shipping near Ipswich, now in the collection of the Victoria and Albert Museum, London (inv. no. 308-1888), was part of the large bequest made to the museum by Minna Constable, the artist’s daughter. Both drawings were sketched while Constable was returning from visiting the Rev. F.H. Barnwell at Brightwell where he painted the small oil painting of Brightwell Church and Village now in the collection of Tate Britain (inv. no. 3121). When the present drawing was offered at Christie’s in 1976 it came from the property of a Mr Seago. Edward Seago (1910-1974) was a Norwich-born landscape artist whose paintings of East Anglian waterways, characterized by low horizons and billowing skies, show a clear debt to Constable and it seems very likely that he was the previous owner of this atmospheric pencil sketch.

Verso

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113JEAN BAPTISTE GREUZE (TOURNUS 1725-1805 PARIS)Study of the head of a girl red chalk on laid paper, laid down on card 39.3 x 31.8cm (15 1/2 x 12 1/2in).

£8,000 - 12,000 €9,100 - 14,000 US$11,000 - 16,000

Provenance Anonymous 18th century French mounter of drawings (Frits Lugt. 172: laid down on characteristic mount) Collection of Rudolf von Gutmann Sale, Sotheby’s, London, 5 July 1993, lot 66, where purchased by the present owner The present work is clearly a study that appealed strongly to Greuze as he used it as the basis for a number of oil paintings including The Morning Prayer in the Musée Fabre, Montpellier and Last Breath of Innocence with Adam Williams Fine Art, New York, but the finished work that most closely reflects it is that titled The Souvenir in the Wallace Collection, London.

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114FRANÇOIS BOUCHER (PARIS 1703-1770)Two studies of a young man’s head bears early inscription ‘f.Boucher’ (lower right) black and white chalk on blue paper 22.2 x 30.5cm (8 3/4 x 12in).

£7,000 - 10,000 €8,000 - 11,000 US$9,400 - 13,000

Provenance Charles E. Slatkin Galleries, New York Collection of David Daniels, USA His sale, Sotheby’s, London, 25 April 1975, lot 67 Sale, Sotheby’s, London, New York, 12 January 1994, lot 61 Exhibited Minneapolis, The Minneapolis Institute of Arts, Drawings and Watercolors from Minnesota Private Collections, 13 May- 13 June 1971, cat. no. 10

We are grateful to Alistair Laing for confirming the attribution to Boucher, upon inspection of colour photographs.


NTB/MAIN/1.2018/V2

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3. DESCRIPTIONS OF LOTS AND ESTIMATES

Contractual Description of a Lot The Catalogue contains an Entry about each Lot. Each Lot is sold by its respective Seller to the Buyer of the Lot as corresponding only with that part of the Entry which is printed in bold letters and (except for the colour, which may be inaccurately reproduced) with any photograph of the Lot in the Catalogue. The remainder of the Entry, which is not printed in bold letters, represents Bonhams’ opinion (given on behalf of the Seller) about the Lot only and is not part of the Contractual Description in accordance with which the Lot is sold by the Seller.

Estimates In most cases, an Estimate is printed beside the Entry. Estimates are only an expression of Bonhams’ opinion made on behalf of the Seller of the range where Bonhams thinks the Hammer Price for the Lot is likely to fall; it is not an Estimate of value. It does not take into account any VAT or Buyer’s Premium payable or any other fees payable by the Buyer, which are detailed in paragraph 7 of the Notice to Bidders, below. Lots can in fact sell for Hammer Prices below and above the Estimate. Any Estimate should not be relied on as an indication of the actual selling price or value of a Lot. Estimates are in the currency of the Sale.

Condition Reports In respect of most Lots, you may ask for a Condition Report on its physical condition from Bonhams. If you do so, this will be provided by Bonhams on behalf of the Seller free of charge. Bonhams is not entering into a contract with you in respect of the Condition Report and accordingly does not assume responsibility to you in respect of it. Nor does the Seller owe or agree to owe you as a Bidder any obligation or duty in respect of this free report about a Lot, which is available for your own inspection or for inspection by an expert instructed by you. However, any written Description of the physical condition of the Lot contained in a Condition Report will form part of the Contractual Description of the Lot under which it is sold to any Buyer.

The Seller’s responsibility to you The Seller does not make or agree to make any representation of fact or contractual promise, Guarantee or warranty and undertakes no obligation or duty, whether in contract or in tort (other than to the eventual Buyer as set out above), in respect of the accuracy or completeness of any statement or representation made by him or on his behalf, which is in any way descriptive of any Lot or as to the anticipated or likely selling price of any Lot. Other than as set out above, no statement or representation in any way descriptive of a Lot or any Estimate is incorporated into any Contract for Sale between a Seller and a Buyer.

Bonhams’ responsibility to you You have the opportunity of examining the Lot if you want to and the Contract for Sale for a Lot is with the Seller and not with Bonhams; Bonhams acts as the Seller’s agent only (unless Bonhams sells the Lot as principal).

Bonhams undertakes no obligation to you to examine, investigate or carry out any tests, either in sufficient depth or at all, on each Lot to establish the accuracy or otherwise of any Descriptions or opinions given by Bonhams, or by any person on Bonhams’ behalf, whether in the Catalogue or elsewhere.

You should not suppose that such examinations, investigations or tests have occurred.

Bonhams does not make or agree to make any representation of fact, and undertakes no obligation or duty (whether in contract or tort) in respect of the accuracy or completeness of any statement or representation made by Bonhams or on Bonhams’ behalf which is in any way descriptive of any Lot

or as to the anticipated or likely selling price of any Lot. No statement or representation by Bonhams or on its behalf in any way descriptive of any Lot or any Estimate is incorporated into our Buyer’s Agreement.

Alterations Descriptions and Estimates may be amended at Bonhams’ discretion from time to time by notice given orally or in writing before or during a Sale.

THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT EXAMINED ON YOUR BEHALF BEFORE THE SALE.

4. CONDUCT OF THE SALE

Our Sales are public auctions which persons may attend and you should take the opportunity to do so. We do reserve the right at our sole discretion to refuse admission to our premises or to any Sale without stating a reason. We have complete discretion as to whether the Sale proceeds, whether any Lot is included in the Sale, the manner in which the Sale is conducted and we may offer Lots for Sale in any order we choose notwithstanding the numbers given to Lots in the Catalogue. You should therefore check the date and starting time of the Sale, whether there have been any withdrawals or late entries. Remember that withdrawals and late entries may affect the time at which a Lot you are interested in is put up for Sale. We have complete discretion to refuse any bid, to nominate any bidding increment we consider appropriate, to divide any Lot, to combine two or more Lots, to withdraw any Lot from a Sale and, before the Sale has been closed, to put up any Lot for auction again. Auction speeds can exceed 100 Lots to the hour and bidding increments are generally about 10%. However these do vary from Sale to Sale and from Auctioneer to Auctioneer. Please check with the department organising the Sale for advice on this. Where a Reserve has been applied to a Lot, the Auctioneer may, in his absolute discretion, place bids (up to an amount not equalling or exceeding such Reserve) on behalf of the Seller. We are not responsible to you in respect of the presence or absence of any Reserve in respect of any Lot. If there is a Reserve it will normally be no higher than the lower figure for any Estimate in the Catalogue, assuming that the currency of the Reserve has not fluctuated adversely against the currency of the Estimate. The Buyer will be the Bidder who makes the highest bid acceptable to the Auctioneer for any Lot (subject to any applicable Reserve) to whom the Lot is knocked down by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be settled by the Auctioneer in his absolute discretion. All bids tendered will relate to the actual Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This equipment is provided as a general guide as to the equivalent amount in certain currencies of a given bid. We do not accept any responsibility for any errors which may occur in the use of the currency converter. We may use video cameras to record the Sale and may record telephone calls for reasons of security and to assist in solving any disputes which may arise in relation to bids made at the Sale. At some Sales, for example, jewellery Sales, we may use screens on which images of the Lots will be projected. This service is provided to assist viewing at the Sale. The image on the screen should be treated as an indication only of the current Lot. It should be noted that all bids tendered will relate to the actual Lot number announced by the Auctioneer. We do not accept any responsibility for any errors which may occur in the use of the screen.

5. BIDDING

We do not accept bids from any person who has not completed and delivered to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form. You will be asked for proof of identity, residence and references, which, when asked for, you must supply if your bids are to be accepted by us. Please bring your passport, driving licence (or similar photographic proof of identity) and proof of address. We may request a deposit from you before allowing you to bid. We may refuse entry to a Sale to any person even if that person has completed a Bidding Form.

NOTICE TO BIDDERS

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Bidding in person You should come to our Bidder registration desk at the Sale venue and fill out a Bidder Registration Form on (or, if possible, before) the day of the Sale. The bidding number system is sometimes referred to as “paddle bidding”. You will be issued with a large card (a “paddle”) with a printed number on it. This will be attributed to you for the purposes of the Sale. Should you be a successful Bidder you will need to ensure that your number can be clearly seen by the Auctioneer and that it is your number which is identified as the Buyer’s. You should not let anyone else use your paddle as all Lots will be invoiced to the name and address given on your Bidder Registration Form. Once an invoice is issued it will not be changed. If there is any doubt as to the Hammer Price of, or whether you are the successful Bidder of, a particular Lot, you must draw this to the attention of the Auctioneer before the next Lot is offered for Sale. At the end of the Sale, or when you have finished bidding please return your paddle to the Bidder registration desk.

Bidding by telephone If you wish to bid at the Sale by telephone, please complete a Telephone Bidding Form, which is available from our offices or in the Catalogue. Please then return it to the office responsible for the Sale at least 24 hours in advance of the Sale. It is your responsibility to check with our Bids Office that your bid has been received. Telephone calls will be recorded. The telephone bidding facility is a discretionary service and may not be available in relation to all Lots. We will not be responsible for bidding on your behalf if you are unavailable at the time of the Sale or if the telephone connection is interrupted during bidding. Please contact us for further details.

Bidding by post or fax Absentee Bidding Forms can be found in the back of this Catalogue and should be completed and sent to the office responsible for the Sale. It is in your interests to return your form as soon as possible, as if two or more Bidders submit identical bids for a Lot, the first bid received takes preference. In any event, all bids should be received at least 24 hours before the start of the Sale. Please check your Absentee Bidding Form carefully before returning it to us, fully completed and signed by you. It is your responsibility to check with our Bids Office that your bid has been received. This additional service is complimentary and is confidential. Such bids are made at your own risk and we cannot accept liability for our failure to receive and/or place any such bids. All bids made on your behalf will be made at the lowest level possible subject to Reserves and other bids made for the Lot. Where appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer’s bidding increments. New Bidders must also provide proof of identity and address when submitting bids. Failure to do this will result in your bid not being placed.

Bidding via the internet Please visit our Website at http://www.bonhams.com for details of how to bid via the internet.

Bidding through an agent Bids will be accepted as placed on behalf of the person named as the principal on the Bidding Form although we may refuse to accept bids from an agent on behalf of a principal and will require written confirmation from the principal confirming the agent’s authority to bid. Nevertheless, as the Bidding Form explains, any person placing a bid as agent on behalf of another (whether or not he has disclosed that fact or the identity of his principal) will be jointly and severally liable with the principal to the Seller and to Bonhams under any contract resulting from the acceptance of a bid. Subject to the above, please let us know if you are acting on behalf of another person when bidding for Lots at the Sale.

Equally, please let us know if you intend to nominate another person to bid on your behalf at the Sale unless this is to be carried out by us pursuant to a Telephone or Absentee Bidding Form that you have completed. If we do not approve the agency arrangements in writing before the Sale, we are entitled to assume that the person bidding at the Sale is bidding on his own behalf. Accordingly, the person bidding at the Sale will be the Buyer and will be liable to pay the Hammer Price and

Buyer’s Premium and associated charges. If we approve the identity of your client in advance, we will be in a position to address the invoice to your principal rather than you. We will require proof of the agent’s client’s identity and residence in advance of any bids made by the agent on his behalf. Please refer to our Conditions of Business and contact our Customer Services Department for further details.

6. CONTRACTS BETWEEN THE BUYER AND SELLER AND THE BUYER AND BONHAMS

On the Lot being knocked down to the Buyer, a Contract for Sale of the Lot will be entered into between the Seller and the Buyer on the terms of the Contract for Sale set out in Appendix 1 at the back of the Catalogue. You will be liable to pay the Purchase Price, which is the Hammer Price plus any applicable VAT. At the same time, a separate contract is also entered into between us as Auctioneers and the Buyer. This is our Buyer’s Agreement, the terms of which are set out in Appendix 2 at the back of the Catalogue. Please read the terms of the Contract for Sale and our Buyer’s Agreement contained in the Catalogue in case you are the successful Bidder. We may change the terms of either or both of these agreements in advance of their being entered into, by setting out different terms in the Catalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale. You should be alert to this possibility of changes and ask if there have been any.

7. BUYER’S PREMIUM AND OTHER CHARGES PAYABLE BY THE BUYER

Under the Buyer’s Agreement, a premium (the Buyer’s Premium) is payable to us by the Buyer in accordance with the terms of the Buyer’s Agreement and at rates set out below, calculated by reference to the Hammer Price and payable in addition to it. For this Sale the following rates of Buyer’s Premium will be payable by Buyers of Lots:

25% up to £175,000 of the Hammer Price 20% from £175,001 to £3,000,000 of the Hammer Price 12.5% from £3,000,001 of the Hammer Price

Storage and handling charges may also be payable by the Buyer as detailed on the specific Sale Information page at the front of the catalogue.

The Buyer’s Premium and all other charges payable to us by the Buyer are subject to VAT at the prevailing rate, currently 20%.

VAT may also be payable on the Hammer Price of the Lot, where indicated by a symbol beside the Lot number. See paragraph 8 below for details.

On certain Lots, which will be marked “AR” in the Catalogue and which are sold for a Hammer Price of €1,000 or greater (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale), the Additional Premium will be payable to us by the Buyer to cover our Expenses relating to the payment of royalties under the Artists Resale Right Regulations 2006. The Additional Premium will be a percentage of the amount of the Hammer Price calculated in accordance with the table below, and shall not exceed €12,500 (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale).

Hammer Price Percentage amount From €0 to €50,000 4%From €50,000.01 to €200,000 3%From €200,000.01 to €350,000 1%From €350,000.01 to €500,000 0.5%Exceeding €500,000 0.25%

8. VAT

The prevailing rate of VAT at the time of going to press is 20%, but this is subject to government change and the rate payable will be the rate in force on the date of the Sale.

The following symbols, shown beside the Lot number, are used to denote that VAT is due on the Hammer Price and Buyer’s Premium:† VAT at the prevailing rate on Hammer Price and Buyer’s

PremiumΩ VAT on imported items at the prevailing rate on Hammer

Price and Buyer’s Premium

* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer’s Premium

G Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer’s Premium

• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer’s Premium

a Buyers from within the EU: VAT is payable at the prevailing rate on just the Buyer’s Premium (NOT the Hammer Price). Buyers from outside the EU: VAT is payable at the prevailing rate on both Hammer Price and Buyer’s Premium. If a Buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Bonhams immediately.

In all other instances no VAT will be charged on the Hammer Price, but VAT at the prevailing rate will be added to Buyer’s Premium which will be invoiced on a VAT inclusive basis.

9. PAYMENT

It is of critical importance that you ensure that you have readily available funds to pay the Purchase Price and the Buyer’s Premium (plus VAT and any other charges and Expenses to us)in full before making a bid for the Lot. If you are a successful Bidder, payment will be due to us by 4.30 pm on the second working day after the Sale so that all sums are cleared by the eighth working day after the Sale. Payments made by anyone other than the registered Buyer will not be accepted. Bonhams reserves the right to vary the terms of payment at any time.

Bonhams’ preferred payment method is by bank transfer. You may electronically transfer funds to our Trust Account. If you do so, please quote your paddle number and invoice number as the reference. Our Trust Account details are as follows: Bank: National Westminster Bank Plc Address: PO Box 4RY 250 Regent Street London W1A 4RY Account Name: Bonhams 1793 Limited Trust Account Account Number: 25563009 Sort Code: 56-00-27 IBAN Number: GB 33 NWBK 560027 25563009 If paying by bank transfer, the amount received after the deduction of any bank fees and/or conversion of the currency of payment to pounds sterling must not be less than the sterling amount payable, as set out on the invoice. Payment may also be made by one of the following methods: Sterling personal cheque drawn on a UK branch of a bank or building society: all cheques must be cleared before you can collect your purchases and should be made payable to Bonhams 1793 Limited. Cash: you may pay for Lots purchased by you at this Sale with notes or coins in the currency in which the Sale is conducted (but not any other currency) provided that the total amount payable by you in respect of all Lots purchased by you at the Sale does not exceed £3,000, or the equivalent in the currency in which the Sale is conducted, at the time when payment is made. If the amount payable by you for Lots exceeds that sum, the balance must be paid otherwise than in coins or notes; this limit applies to both payment at our premises and direct deposit into our bank account.

Debit cards (including China Union Pay (CUP) cards and debit cards issued by Visa and MasterCard only). There is no limit on payment value if payment is made in person using Chip & Pin verification. Payment by telephone may also be accepted up to £5,000, subject to appropriate verification procedures, although this facility is not available for first time buyers. If the amount payable by you for Lots exceeds that sum, the balance must be paid by other means.

Credit cards (including China Union Pay (CUP) cards and credit cards issued by Visa and MasterCard only). There is a £5,000 limit on payment value if payment is made in person using Chip & Pin verification.

It may be advisable to notify your debit or credit card provider of your intended purchase in advance to reduce delays caused by us having to seek authority when you come to pay.

Note: only one debit or credit card may be used for payment of an account balance. If you have any questions with regards to card payments, please contact our Customer Services Department.

10. COLLECTION AND STORAGE

The Buyer of a Lot will not be allowed to collect it until payment in full and in cleared funds has been made (unless we have made a special arrangement with the Buyer). For collection and removal of purchased Lots, please refer to Sale Information at the front of the Catalogue. Our offices are open 9.00am – 5pm Monday to Friday. Details relating to the collection of a Lot, the storage of a Lot and our Storage Contractor after the Sale are set out in the Catalogue.

11. SHIPPINGFor information and estimates on domestic and international shipping as well as export licenses please contact Alban Shipping on +44 (0) 1582 493 [email protected]

12. EXPORT/TRADE RESTRICTIONS

It is your sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licence(s). Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. The detailed provisions of the export licencing arrangements can be found on the ACE website http://www.artscouncil.org.uk/what-we-do/supporting-museums/cultural-property/export-controls/export-licensing/ or by phoning ACE on +44 (0)20 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions. The refusal of any import or export licence(s) or any delay in obtaining such licence(s) shall not permit the rescission of any Sale nor allow any delay in making full payment for the Lot. Generally, please contact our shipping department before the Sale if you require assistance in relation to export regulations.

13. CITES REGULATIONS

Please be aware that all Lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may be requested from:

Animal Health and Veterinary Laboratories Agency (AHVLA) Wildlife LicencingFloor 1, Zone 17, Temple Quay House2 The Square, Temple QuayBRISTOL BS1 6EBTel: +44 (0) 117 372 8774

14. THE SELLERS AND/OR BONHAMS’ LIABILITY

Other than any liability of the Seller to the Buyer of a Lot under the Contract for Sale, neither we nor the Seller are liable (whether in negligence or otherwise) for any error or misdescription or omission in any Description of a Lot or any Estimate in respect of it, whether contained in the Catalogue or

otherwise, whether given orally or in writing and whether given before or during the Sale. Neither we nor the Seller will be liable for any loss of Business, profits, revenue or income, or for loss of reputation, or for disruption to Business or wasted time on the part of management or staff, or for indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract (if any) or statutory duty, restitutionary claim or otherwise. In any circumstances where we and/or the Seller are liable in relation to any Lot or any Description or Estimate made of any Lot, or the conduct of any Sale in relation to any Lot, whether in damages, for an indemnity or contribution, or for a restitutionary remedy or otherwise, our and/or the Seller’s liability (combined, if both we and the Seller are liable) will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract (if any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) our liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or by the negligence of any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law or (v) our undertakings under paragraphs 9 (in relation to specialist Stamp or Book Sales only) and 10 of the Buyer’s Agreement. The same applies in respect of the Seller, as if references to us in this paragraph were substituted with references to the Seller.

15. BOOKS

As stated above, all Lots are sold on an “as is” basis, subject to all faults, imperfections and errors of Description save as set out below. However, you will be entitled to reject a Book in the circumstances set out in paragraph 11 of the Buyers Agreement. Please note that Lots comprising printed Books, unframed maps and bound manuscripts are not liable to VAT on the Buyer’s Premium.

16. CLOCKS AND WATCHES

All Lots are sold “as is”, and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, Bonhams makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Bidders should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.

17. FIREARMS – PROOF, CONDITION AND CERTIFICATION

Proof of Firearms The term “proof exemption” indicates that a firearm has been examined at a Proof House, but not proved, as either (a) it was deemed of interest and not intended for use, or (b) ammunition was not available. In either case, the firearm must be regarded as unsafe to fire unless subsequently proved. Firearms proved for Black Powder should not be used with smokeless ammunition.

The term “Certificate of Unprovability” indicates that a firearm has been examined at a Proof House and is deemed both unsuitable for proof and use. Reproof is required before any such firearm is to be used.

Guns Sold as Parts Barrels of guns sold as parts will only be made available for

sleeving and measurements once rendered unserviceable according to the Gun Barrel Proof Act of 1968 to 1978 and the Rules of Proof.

Condition of Firearms Comment in this Catalogue is restricted, in general, to exceptional condition and to those defects that might affect the immediate safety of a firearm in normal use. An intending Bidder unable to make technical examinations and assessments is recommended to seek advice from a gunmaker or from a modern firearms specialist. All prospective Bidders are advised to consult the ˚ of bore and wall-thickness measurements posted in the saleroom and available from the department. Bidders should note that guns are stripped only where there is a strong indication of a mechanical malfunction. Stripping is not, otherwise, undertaken. Guns intended for use should be stripped and cleaned beforehand. Hammer guns should have their rebound mechanisms checked before use. The safety mechanisms of all guns must be tested before use. All measurements are approximate.

Original Gun Specifications Derived from Gunmakers The Sporting Gun Department endeavours to confirm a gun’s original specification and date of manufacture with makers who hold their original records.

Licensing Requirements Firearms Act 1968 as amended Bonhams is constantly reviewing its procedures and would remind you that, in the case of firearms or shotguns subject to certification, to conform with current legislation, Bonhams is required to see, as appropriate, your original registered firearms dealer’s certificate / shot gun certificate / firearm certificate / museum firearms licence / Section 5 authority or import licence (or details of any exemption from which you may benefit, for instance Crown servant status) for the firearm(s) you have purchased prior to taking full payment of the amount shown on your invoice. Should you not already be in possession of such an authority or exemption, you are required to initially pay a deposit of 95% of the total invoice with the balance of 5% payable on presentation of your valid certificate or licence showing your authority to hold the firearm(s) concerned.

Please be advised that if a successful Bidder is then unable to produce the correct paperwork, the Lot(s) will be reoffered by Bonhams in the next appropriate Sale, on standard terms for Sellers, and you will be responsible for any loss incurred by Bonhams on the original Sale to you.

In the case of RFD certificates and Section 5 authorities, we wish to keep an up-to-date copy on file. Please supply us with a Fax or photocopy. It would be helpful if you could send us an updated copy whenever your certificate or authority is renewed or changed.

Lots marked ‘S1´ and bearing red labels are Section 1 firearms and require a valid British Firearms certificate, RFD Licence or import licence.

Lots marked ‘S2’ and bearing blue labels are Section 2 firearms and require a valid British Shotgun certificate, RFD licence or import licence.

Lots marked ‘S5´ and bearing specially marked red labels are Section 5 prohibited firearms and require a valid Section 5 Authority or import licence.

Lots marked with a ‘S58´ and bearing yellow labels are for obsolete calibres and no licence is required unless ammunition is held.

Unmarked Lots require no licence.

Please do not hesitate to contact the Modern Sporting Gun Department should you have any queries.

Taxidermy and Related Items As a Seller of these articles, Bonhams undertakes to comply fully with Cites and DEFRA regulations. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange.

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18. FURNITURE

Upholstered Furniture Whilst we take every care in cataloguing furniture which has been upholstered we offer no Guarantee as to the originality of the wood covered by fabric or upholstery.

19. JEWELLERY

Gemstones Historically many gemstones have been subjected to a variety of treatments to enhance their appearance. Sapphires and rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or resin for the same purpose. Other treatments such as staining, irradiation or coating may have been used on other gemstones. These treatments may be permanent, whilst others may need special care or re-treatment over the years to retain their appearance. Bidders should be aware that Estimates assume that gemstones may have been subjected to such treatments. A number of laboratories issue certificates that give more detailed Descriptions of gemstones. However there may not be consensus between different laboratories on the degrees, or types of treatment for any particular gemstone. In the event that Bonhams has been given or has obtained certificates for any Lot in the Sale these certificates will be disclosed in the Catalogue. Although, as a matter of policy, Bonhams endeavours to provide certificates from recognised laboratories for certain gemstones, it is not feasible to obtain certificates for each Lot. In the event that no certificate is published in the Catalogue, Bidders should assume that the gemstones may have been treated. Neither Bonhams nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any Lots subsequent to the Sale.

Estimated Weights If a stone(s) weight appears within the body of the Description in capital letters, the stone(s) has been unmounted and weighed by Bonhams. If the weight of the stone(s) is stated to be approximate and does not appear in capital letters, the stone(s) has been assessed by us within its/their settings, and the stated weight is a statement of our opinion only. This information is given as a guide and Bidders should satisfy themselves with regard to this information as to its accuracy.

Signatures 1. A diamond brooch, by Kutchinsky When the maker’s name appears in the title, in Bonhams’ opinion the piece is by that maker.

2. A diamond brooch, signed Kutchinsky Has a signature that, in Bonhams’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

3. A diamond brooch, mounted by Kutchinsky Has been created by the jeweller, in Bonhams’ opinion, but using stones or designs supplied by the client.

20. PHOTOGRAPHS

Explanation of Catalogue Terms• “Bill Brandt”: in our opinion a work by the artist.• “Attributed to Bill Brandt”: in our opinion probably a work by

the artist, but less certainty to authorship is expressed than in the preceding category.

• “Signed and/or titled and/or dated and/or inscribed”: in our opinion the signature and/or title and/or date and/or inscription are in the artist’s hand.

• “Signed and/or titled and/or dated and/or inscribed in another hand”: in our opinion the signature and/or title and/or date and/or inscription have been added by another hand.

• The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot Description). A vintage photograph is one which was made within approximately 5-10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be later, “printed later” will appear in the Lot Description.

• Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the Catalogue without margins illustrated.

• All photographs are sold unframed unless stated in the Lot Description.

21. PICTURES

Explanation of Catalogue Terms The following terms used in the Catalogue have the following meanings but are subject to the general provisions relating to Descriptions contained in the Contract for Sale:• “Jacopo Bassano”: in our opinion a work by the artist.

When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named;

• “Attributed to Jacopo Bassano”: in our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category;

• “Studio/Workshop of Jacopo Bassano”: in our opinion a work by an unknown hand in a studio of the artist which may or may not have been executed under the artist’s direction;

• “Circle of Jacopo Bassano”: in our opinion a work by a hand closely associated with a named artist but not necessarily his pupil;

• “Follower of Jacopo Bassano”: in our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil;

• “Manner of Jacopo Bassano”: in our opinion a work in the style of the artist and of a later date;

• “After Jacopo Bassano”: in our opinion, a copy of a known work of the artist;

• “Signed and/or dated and/or inscribed”: in our opinion the signature and/or date and/or inscription are from the hand of the artist;

• “Bears a signature and/or date and/or inscription”: in our opinion the signature and/or date and/or inscription have been added by another hand.

22. PORCELAIN AND GLASS

Damage and Restoration For your guidance, in our Catalogues we detail, as far as practicable, recorded all significant defects, cracks and restoration. Such practicable Descriptions of damage cannot be definitive, and in providing Condition Reports, we cannot Guarantee that there are no other defects present which have not been mentioned. Bidders should satisfy themselves by inspection, as to the condition of each Lot. Please see the Contract for Sale printed in this Catalogue. Because of the difficulty in determining whether an item of glass has been repolished, in our Catalogues reference is only made to visible chips and cracks. No mention is made of repolishing, severe or otherwise.

23. VEHICLES

The Veteran Car Club of Great Britain Dating Plates and Certificates When mention is made of a Veteran Car Club Dating Plate or Dating Certificate in this Catalogue, it should be borne in mind that the Veteran Car Club of Great Britain using the services of Veteran Car Company Ltd, does from time to time, review cars already dated and, in some instances, where fresh evidence becomes available, the review can result in an alteration of date. Whilst the Club and Veteran Car Company Ltd make every effort to ensure accuracy, the date shown on the Dating Plate or Dating Certificate cannot be guaranteed as correct and intending purchasers should make their own enquiries as to the date of the car.

24. WINE

Lots which are lying under Bond and those liable to VAT may not be available for immediate collection.

Examining the wines It is occasionally possible to provide a pre-Sale tasting for larger parcels (as defined below). This is generally limited to more recent and everyday drinking wines. Please contact the department for details.

0It is not our policy to inspect every unopened case. In the case of wines older than 20 years the boxes will usually have been opened and levels and appearance noted in the Catalogue where necessary. You should make proper allowance for variations in ullage levels and conditions of corks, capsules and labels.

Corks and Ullages Ullage refers to the space between the base of the cork and the wine. Ullage levels for Bordeaux shaped bottles are only normally noted when below the neck and for Burgundy, Alsace, German and Cognac shaped bottles when greater than 4 centimetres (cm). Acceptable ullage levels increase with age; generally acceptable levels are as follows:

Under 15 years old – into neck or less than 4cm15 to 30 years old – top shoulder (ts) or up to 5cmOver 30 years old – high shoulder (hs) or up to 6cm

It should be noted that ullages may change between publication of the Catalogue and the Sale and that corks may fail as a result of transporting the wine. We will only accept responsibility for Descriptions of condition at the time of publication of the Catalogue and cannot accept responsibility for any loss resulting from failure of corks either before or after this point.

Options to buy parcels A parcel is a number of Lots of identical size of the same wine, bottle size and Description. The Buyer of any of these Lots has the option to accept some or all of the remaining Lots in the parcel at the same price, although such options will be at the Auctioneer’s sole discretion. Absentee Bidders are, therefore, advised to bid on the first Lot in a parcel.

Wines in Bond Wines lying in Bond are marked Δ. All Lots sold under Bond, and which the Buyer wishes to remain under Bond, will be invoiced without VAT or Duty on the Hammer Price. If the Buyer wishes to take the Lot as Duty paid, UK Excise Duty and VAT will be added to the Hammer Price on the invoice.

Buyers must notify Bonhams at the time of the sale whether they wish to take their wines under Bond or Duty paid. If a Lot is taken under Bond, the Buyer will be responsible for all VAT, Duty, clearance and other charges that may be payable thereon.

Buyers outside the UK must be aware that any forwarding agent appointed to export their purchases must have a movement certificate for Lots to be released under Bond.

Bottling Details and Case Terms The following terms used in the Catalogue have the following meanings:CB – Château bottled DB – Domaine bottledEstB – Estate bottled BB – Bordeaux bottledBE – Belgian bottledFB – French bottledGB – German bottledOB – Oporto bottledUK – United Kingdom bottledowc – original wooden caseiwc – individual wooden caseoc – original carton

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SYMBOLS

THE FOLLOWING SYMBOLS ARE USED TO DENOTE

Y Subject to CITES regulations when exporting these items outside the EU, see clause 13.

TP Objects displayed with a TP will be located at the Cadogan Tate warehouse and will only be available for collection from this location.

W Objects displayed with a w will be located in the Bonhams Warehouse and will only be available for collection from this location.

Δ Wines lying in Bond.AR An Additional Premium will be payable to us by the Buyer

to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See clause 7 for details.

The Seller has been guaranteed a minimum price for the Lot, either by Bonhams or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful Sale or a financial loss if unsuccessful.

Bonhams owns the Lot either wholly or partially or may otherwise have an economic interest.

Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into

the USA.

•, †, *, G, Ω, a see clause 8, VAT, for details.

DATA PROTECTION – USE OF YOUR INFORMATION

Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London, W1S 1SR or by email from [email protected]

APPENDIX 1

CONTRACT FOR SALE

IMPORTANT: These terms may be changed in advance of the Sale of the Lot to you, by the setting out of different terms in the Catalogue for the Sale and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale at the Sale venue. You should be alert to this possibility of changes and ask in advance of bidding if there have been any.

Under this contract the Seller’s liability in respect of the quality of the Lot, it’s fitness for any purpose and its conformity with any Description is limited. You are strongly advised to examine the Lot for yourself and/or obtain an independent examination of it before you buy it.

1 THE CONTRACT

1.1 These terms govern the Contract for Sale of the Lot by the Seller to the Buyer.

1.2 The Definitions and Glossary contained in Appendix 3 in the Catalogue are incorporated into this Contract for Sale and a separate copy can also be provided by Bonhams on request. Where words and phrases are used which are in the List of Definitions, they are printed in italics.

1.3 The Seller sells the Lot as the principal to the Contract for Sale, such contract being made between the Seller and you through Bonhams which acts in the sole capacity as the Seller’s agent and not as an additional principal. However, if the Catalogue states that Bonhams sells the Lot as principal, or such a statement is made by an announcement by the Auctioneer, or by a notice at the Sale, or an insert in the Catalogue, then Bonhams is the Seller for the purposes of this agreement.

1.4 The contract is made on the fall of the Auctioneer’s hammer in respect of the Lot when it is knocked down to you.

2 SELLER’S UNDERTAKINGS

2.1 The Seller undertakes to you that:

2.1.1 the Seller is the owner of the Lot or is duly authorised to sell the Lot by the owner;

2.1.2 save as disclosed in the Entry for the Lot in the Catalogue, the Seller sells the Lot with full title guarantee or, where the Seller is an executor, trustee, liquidator, receiver or administrator, with whatever right, title or interest he may have in the Lot;

2.1.3 except where the Sale is by an executor, trustee, liquidator, receiver or administrator the Seller is both legally entitled to sell the Lot, and legally capable of conferring on you quiet possession of the Lot and that the Sale conforms in every respect with the terms implied by the Sale of Goods Act 1979, Sections 12(1) and 12(2) (see the Definitions and Glossary);

2.1.4 the Seller has complied with all requirements, legal or otherwise, relating to any export or import of the Lot, and all duties and taxes in respect of the export or import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) been paid and, so far as the Seller is aware, all third parties have complied with such requirements in the past;

2.1.5 subject to any alterations expressly identified as such made by announcement or notice at the Sale venue or by the Notice to Bidders or by an insert in the Catalogue, the Lot corresponds with the Contractual Description of the Lot, being that part of the Entry about the Lot in the Catalogue which is in bold letters and (except for colour) with any photograph of the Lot in the Catalogue and the contents of any Condition Report which has been provided to the Buyer.

3 DESCRIPTIONS OF THE LOT

3.1 Paragraph 2.1.5 sets out what is the Contractual Description of the Lot. In particular, the Lot is not sold as corresponding with that part of the Entry in the Catalogue which is not printed in bold letters, which merely sets out (on the Seller’s behalf) Bonhams’ opinion about the Lot and which is not part of the Contractual Description upon which the Lot is sold. Any statement or representation other than that part of the Entry referred to in paragraph 2.1.5 (together with any express alteration to it as referred to in paragraph 2.1.5), including any Description or Estimate, whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise, and whether by or on behalf of the Seller or Bonhams and whether made prior to or during the Sale, is not part of the Contractual Description upon which the Lot is sold.

3.2 Except as provided in paragraph 2.1.5, the Seller does not make or give and does not agree to make or give any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact, or undertake any duty of care, in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by or on behalf of the Seller including by Bonhams. No such Description or Estimate is incorporated into this Contract for Sale.

4 FITNESS FOR PURPOSE AND SATISFACTORY QUALITY

4.1 The Seller does not make and does not agree to make any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact in relation to the satisfactory quality of the Lot or its fitness for any purpose.

4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods Act 1979 or otherwise, as to the satisfactory quality of the Lot or its fitness for any purpose.

5 RISK, PROPERTY AND TITLE

5.1 Risk in the Lot passes to you when it is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. The Seller will not be responsible thereafter for the Lot prior to you collecting it from Bonhams or the Storage Contractor, with whom you have separate contract(s) as Buyer. You will indemnify the Seller and keep the Seller fully indemnified from and against all claims, proceedings, costs, expenses and losses arising in respect of any injury, loss and damage caused to the Lot after the fall of the Auctioneer’s hammer until you obtain full title to it.

5.2 Title to the Lot remains in and is retained by the Seller until the Purchase Price and all other sums payable by you to Bonhams in relation to the Lot have been paid in full to, and received in cleared funds by, Bonhams.

6 PAYMENT

6.1 Your obligation to pay the Purchase Price arises when the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot.

6.2 Time will be of the essence in relation to payment of the Purchase Price and all other sums payable by you to Bonhams. Unless agreed in writing with you by Bonhams on the Seller’s behalf (in which case you must comply with the terms of that agreement), all such sums must be paid to Bonhams by you in the currency in which the Sale was conducted by not later than 4.30pm on the second working day following the Sale and you must ensure that the funds are cleared by the seventh working day after the Sale. Payment must be made to Bonhams by one of the methods stated in the Notice to Bidders unless otherwise agreed with you in writing by Bonhams. If you do not pay any sums due in accordance with this paragraph, the Seller will have the rights set out in paragraph 8 below.

7 COLLECTION OF THE LOT

7.1 Unless otherwise agreed in writing with you by Bonhams, the Lot will be released to you or to your order only when Bonhams has received cleared funds to the amount of the full Purchase Price and all other sums owed by you to the Seller and to Bonhams.

7.2 The Seller is entitled to withhold possession from you of any other Lot he has sold to you at the same or at any other Sale and whether currently in Bonhams’ possession or not until payment in full and in cleared funds of the Purchase Price and all other sums due to the Seller and/or Bonhams in respect of the Lot.

7.3 You will collect and remove the Lot at your own expense from Bonhams’ custody and/ or control or from the Storage Contractor’s custody in accordance with Bonhams’ instructions or requirements.

7.4 You will be wholly responsible for packing, handling and transport of the Lot on collection and for complying with all import or export regulations in connection with the Lot.

7.5 You will be wholly responsible for any removal, storage or other charges or Expenses incurred by the Seller if you do not remove the Lot in accordance with this paragraph 7 and will indemnify the Seller against all charges, costs, including any legal costs and fees, Expenses and losses suffered by the Seller by reason of your failure to remove the Lot including any charges due under any Storage Contract. All such sums due to the Seller will be payable on demand.

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8 FAILURE TO PAY FOR THE LOT

8.1 If the Purchase Price for a Lot is not paid to Bonhams in full in accordance with the Contract for Sale the Seller will be entitled, with the prior written agreement of Bonhams but without further notice to you, to exercise one or more of the following rights (whether through Bonhams or otherwise):

8.1.1 to terminate immediately the Contract for Sale of the Lot for your breach of contract;

8.1.2 to resell the Lot by auction, private treaty or any other means on giving seven days’ written notice to you of the intention to resell;

8.1.3 to retain possession of the Lot;

8.1.4 to remove and store the Lot at your expense;

8.1.5 to take legal proceedings against you for any sum due under the Contract for Sale and/or damages for breach of contract;

8.1.6 to be paid interest on any monies due (after as well as before judgement or order) at the annual rate of 5% per annum above the base rate of National Westminster Bank Plc from time to time to be calculated on a daily basis from the date upon which such monies become payable until the date of actual payment;

8.1.7 to repossess the Lot (or any part thereof) which has not become your property, and for this purpose (unless the Buyer buys the Lot as a Consumer from the Seller selling in the course of a Business) you hereby grant an irrevocable licence to the Seller by himself and to his servants or agents to enter upon all or any of your premises (with or without vehicles) during normal Business hours to take possession of the Lot or part thereof;

8.1.8 to retain possession of any other property sold to you by the Seller at the Sale or any other auction or by private treaty until all sums due under the Contract for Sale shall have been paid in full in cleared funds;

8.1.9 to retain possession of, and on seven days written notice to sell, Without Reserve, any of your other property in the possession of the Seller and/or of Bonhams (as bailee for the Seller) for any purpose (including, without limitation, other goods sold to you) and to apply any monies due to you as a result of such Sale in satisfaction or part satisfaction of any amounts owed to the Seller or to Bonhams; and

8.1.10 so long as such goods remain in the possession of the Seller or Bonhams as its bailee, to rescind the contract for the Sale of any other goods sold to you by the Seller at the Sale or at any other auction or by private treaty and apply any monies received from you in respect of such goods in part or full satisfaction of any amounts owed to the Seller or to Bonhams by you.

8.2 You agree to indemnify the Seller against all legal and other costs of enforcement, all losses and other Expenses and costs (including any monies payable to Bonhams in order to obtain the release of the Lot) incurred by the Seller (whether or not court proceedings will have been issued) as a result of Bonhams taking steps under this paragraph 8 on a full indemnity basis together with interest thereon (after as well as before judgement or order) at the rate specified in paragraph 8.1.6 from the date upon which the Seller becomes liable to pay the same until payment by you.

8.3 On any resale of the Lot under paragraph 8.1.2, the Seller will account to you in respect of any balance remaining from any monies received by him or on his behalf in respect of the Lot, after the payment of all sums due to the Seller and to Bonhams, within 28 days of receipt of such monies by him or on his behalf.

9 THE SELLER’S LIABILITY

9.1 The Seller will not be liable for any injury, loss or damage caused by the Lot after the fall of the Auctioneer’s hammer in respect of the Lot.

9.2 Subject to paragraph 9.3 below, except for breach of the express undertaking provided in paragraph 2.1.5, the Seller will not be liable for any breach of any term that the Lot will correspond with any Description applied to it by or on behalf of the Seller, whether implied by the Sale of Goods Act 1979 or otherwise.

9.3 Unless the Seller sells the Lot in the course of a Business and the Buyer buys it as a Consumer,

9.3.1 the Seller will not be liable (whether in negligence, other tort, breach of contract or statutory duty or in restitution or under the Misrepresentation Act 1967, or in any other way) for any lack of conformity with, or inaccuracy, error, misdescription or omission in any Description of the Lot or any Entry or Estimate in relation to the Lot made by or on behalf of the Seller (whether made in writing, including in the Catalogue, or on the Website, or orally, or by conduct or otherwise) and whether made before or after this agreement or prior to or during the Sale;

9.3.2 the Seller will not be liable for any loss of Business, Business profits or revenue or income or for loss of reputation or for disruption to Business or wasted time on the part of the Buyer or of the Buyer’s management or staff or, for any indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract, statutory duty, restitutionary claim or otherwise;

9.3.3 in any circumstances where the Seller is liable to you in respect of the Lot, or any act, omission, statement, or representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for a restitutionary remedy or in any way whatsoever, the Seller’s liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract, statutory duty, bailee’s duty, restitutionary claim or otherwise.

9.4 Nothing set out in paragraphs 9.1 to 9.3 above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by the Seller’s negligence (or any person under the Seller’s control or for whom the Seller is legally responsible), or (iii) acts or omissions for which the Seller is liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law.

10 MISCELLANEOUS

10.1 You may not assign either the benefit or burden of the Contract for Sale.

10.2 The Seller’s failure or delay in enforcing or exercising any power or right under the Contract for Sale will not operate or be deemed to operate as a waiver of his rights under it except to the extent of any express waiver given to you in writing. Any such waiver will not affect the Seller’s ability subsequently to enforce any right arising under the Contract for Sale.

10.3 If either party to the Contract for Sale is prevented from performing that party’s respective obligations under the Contract for Sale by circumstances beyond its reasonable control or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 6.

10.4 Any notice or other communication to be given under the Contract for Sale must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission, if to the Seller, addressed c/o Bonhams at its address or fax number in the Catalogue (marked for the attention of the Company Secretary), and if to you to the address or fax number of the Buyer given in the Bidding Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

10.5 If any term or any part of any term of the Contract for Sale is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

10.6 References in the Contract for Sale to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees and agents.

10.7 The headings used in the Contract for Sale are for convenience only and will not affect its interpretation.

10.8 In the Contract for Sale “including” means “including, without limitation”.

10.9 References to the singular will include reference to the plural (and vice versa) and reference to any one gender will include reference to the other genders.

10.10 Reference to a numbered paragraph is to a paragraph of the Contract for Sale.

10.11 Save as expressly provided in paragraph 10.12 nothing in the Contract for Sale confers (or purports to confer) on any person who is not a party to the Contract for Sale any benefit conferred by, or the right to enforce any term of, the Contract for Sale.

10.12 Where the Contract for Sale confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of the Seller, it will also operate in favour and for the benefit of Bonhams, Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee and agent of Bonhams and such companies, each of whom will be entitled to rely on the relevant immunity and/or exclusion and/or restriction within and for the purposes of Contracts (Rights of Third Parties) Act 1999, which enables the benefit of a contract to be extended to a person who is not a party to the contract, and generally at law.

11 GOVERNING LAW

All transactions to which the Contract for Sale applies and all connected matters will be governed by and construed in accordance with the laws of that part of the United Kingdom where the Sale takes place and the Seller and you each submit to the exclusive jurisdiction of the courts of that part of the United Kingdom, save that the Seller may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the laws of the relevant jurisdiction. Bonhams has a complaints procedure in place.

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APPENDIX 2

BUYER’S AGREEMENT

IMPORTANT: These terms may be changed in advance of the Sale of the Lot to you, by the setting out of different terms in the Catalogue for the Sale and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale at the Sale venue. You should be alert to this possibility of changes and ask in advance of bidding if there have been any.

1 THE CONTRACT

1.1 These terms govern the contract between Bonhams personally and the Buyer, being the person to whom a Lot has been knocked down by the Auctioneer.

1.2 The Definitions and Glossary contained in Appendix 3 to the Catalogue for the Sale are incorporated into this agreement and a separate copy can also be provided by us on request. Where words and phrases which are defined in the List of Definitions are used in this agreement, they are printed in italics. Reference is made in this agreement to information printed in the Notice to Bidders, printed in the Catalogue for the Sale, and where such information is referred to it is incorporated into this agreement.

1.3 Except as specified in paragraph 4 of the Notice to Bidders the Contract for Sale of the Lot between you and the Seller is made on the fall of the Auctioneer’s hammer in respect of the Lot, when it is knocked down to you. At that moment a separate contract is also made between you and Bonhams on the terms in this Buyer’s Agreement.

1.4 We act as agents for the Seller and are not answerable or personally responsible to you for any breach of contract or other default by the Seller, unless Bonhams sells the Lot as principal.

1.5 Our personal obligations to you are governed by this agreement and we agree, subject to the terms below, to the following obligations:

1.5.1 we will, until the date and time specified in the Notice to Bidders or otherwise notified to you, store the Lot in accordance with paragraph 5;

1.5.2 subject to any power of the Seller or us to refuse to release the Lot to you, we will release the Lot to you in accordance with paragraph 4 once you have paid to us, in cleared funds, everything due to us and the Seller;

1.5.3 we will provide guarantees in the terms set out in paragraphs 9 and 10.

1.6 We do not make or give and do not agree to make or give any contractual promise, undertaking, obligation, Guarantee, warranty, representation of fact in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by us or on our behalf or by or on behalf of the Seller (whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise), and whether made before or after this agreement or prior to or during the Sale. No such Description or Estimate is incorporated into this agreement between you and us. Any such Description or Estimate, if made by us or on our behalf, was (unless Bonhams itself sells the Lot as principal) made as agent on behalf of the Seller.

2 PERFORMANCE OF THE CONTRACT FOR SALE

You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.

3 PAYMENT

3.1 Unless agreed in writing between you and us or as otherwise set out in the Notice to Bidders, you must pay to us by not later than 4.30pm on the second working day following the Sale:

3.1.1 the Purchase Price for the Lot;

3.1.2 a Buyer’s Premium in accordance with the rates set out in the Notice to Bidders on each lot, and

3.1.3 if the Lot is marked [AR], an Additional Premium which is calculated and payable in accordance with the Notice to Bidders together with VAT on that sum if applicable so that all sums due to us are cleared funds by the seventh working day after the Sale.

3.2 You must also pay us on demand any Expenses payable pursuant to this agreement.

3.3 All payments to us must be made in the currency in which the Sale was conducted, using, unless otherwise agreed by us in writing, one of the methods of payment set out in the Notice to Bidders. Our invoices will only be addressed to the registered Bidder unless the Bidder is acting as an agent for a named principal and we have approved that arrangement, in which case we will address the invoice to the principal.

3.4 Unless otherwise stated in this agreement all sums payable to us will be subject to VAT at the appropriate rate and VAT will be payable by you on all such sums.

3.5 We may deduct and retain for our own benefit from the monies paid by you to us the Buyer’s Premium, the Commission payable by the Seller in respect of the Lot, any Expenses and VAT and any interest earned and/or incurred until payment to the Seller.

3.6 Time will be of the essence in relation to any payment payable to us. If you do not pay the Purchase Price, or any other sum due to us in accordance with this paragraph 3, we will have the rights set out in paragraph 7 below.

3.7 Where a number of Lots have been knocked down to you, any monies we receive from you will be applied firstly pro-rata to pay the Purchase Price of each Lot and secondly pro-rata to pay all amounts due to Bonhams.

4 COLLECTION OF THE LOT

4.1 Subject to any power of the Seller or us to refuse to release the Lot to you, once you have paid to us, in cleared funds, everything due to the Seller and to us, we will release the Lot to you or as you may direct us in writing. The Lot will only be released on production of a buyer collection document, obtained from our cashier’s office.

4.2 You must collect and remove the Lot at your own expense by the date and time specified in the Notice to Bidders, or if no date is specified, by 4.30pm on the seventh day after the Sale.

4.3 For the period referred to in paragraph 4.2, the Lot can be collected from the address referred to in the Notice to Bidders for collection on the days and times specified in the Notice to Bidders. Thereafter, the Lot may be removed elsewhere for storage and you must enquire from us as to when and where you can collect it, although this information will usually be set out in the Notice to Bidders.

4.4 If you have not collected the Lot by the date specified in the Notice to Bidders, you authorise us, acting as your agent and on your behalf, to enter into a contract (the “Storage Contract”) with the Storage Contractor for the storage of the Lot on the then current standard terms and conditions agreed between Bonhams and the Storage Contractor (copies of which are available on request). If the Lot is stored at our premises storage fees at our current daily rates (currently a minimum of £3 plus VAT per Lot per day) will be payable from the expiry of the period referred to in paragraph 4.2. These storage fees form part of our Expenses.

4.5 Until you have paid the Purchase Price and any Expenses in full the Lot will either be held by us as agent on behalf of the Seller or held by the Storage Contractor as agent on behalf of the Seller and ourselves on the terms contained in the Storage Contract.

4.6 You undertake to comply with the terms of any Storage Contract and in particular to pay the charges (and all costs of moving the Lot into storage) due under any Storage Contract. You acknowledge and agree that you will not be able to collect the Lot from the Storage Contractor’s premises until you have paid the Purchase Price, any Expenses and all charges due under the Storage Contract.

4.7 You will be wholly responsible for packing, handling and transport of the Lot on collection and for complying with all import or export regulations in connection with the Lot.

4.8 You will be wholly responsible for any removal, storage, or other charges for any Lot not removed in accordance with paragraph 4.2, payable at our current rates, and any Expenses we incur (including any charges due under the Storage Contract), all of which must be paid by you on demand and in any event before any collection of the Lot by you or on your behalf.

5 STORING THE LOT

We agree to store the Lot until the earlier of your removal of the Lot or until the time and date set out in the Notice to Bidders, on the Sale Information Page or at the back of the catalogue (or if no date is specified, by 4.30pm on the seventh day after the Sale) and, subject to paragraphs 6 and 10, to be responsible as bailee to you for damage to or the loss or destruction of the Lot (notwithstanding that it is not your property before payment of the Purchase Price). If you do not collect the Lot before the time and date set out in the Notice to Bidders (or if no date is specified, by 4.30pm on the seventh day after the Sale) we may remove the Lot to another location, the details of which will usually be set out in the relevant section of the Catalogue. If you have not paid for the Lot in accordance with paragraph 3, and the Lot is moved to any third party’s premises, the Lot will be held by such third party strictly to Bonhams’ order and we will retain our lien over the Lot until we have been paid in full in accordance with paragraph 3.

6 RESPONSIBILITY FOR THE LOT

6.1 Only on the payment of the Purchase Price to us will title in the Lot pass to you. However under the Contract for Sale, the risk in the Lot passed to you when it was knocked down to you.

6.2 You are advised to obtain insurance in respect of the Lot as soon as possible after the Sale.

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7 FAILURE TO PAY OR TO REMOVE THE LOT AND PART PAYMENTS

7.1 If all sums payable to us are not so paid in full at the time they are due and/or the Lot is not removed in accordance with this agreement, we will without further notice to you be entitled to exercise one or more of the following rights (without prejudice to any rights we may exercise on behalf of the Seller):

7.1.1 to terminate this agreement immediately for your breach of contract;


7.1.3 to remove, and/or store the Lot at your expense;

7.1.4 to take legal proceedings against you for payment of any sums payable to us by you (including the Purchase Price) and/or damages for breach of contract;

7.1.5 to be paid interest on any monies due to us (after as well as before judgement or order) at the annual rate of 5% per annum above the base lending rate of National Westminster Bank Plc from time to time to be calculated on a daily basis from the date upon which such monies become payable until the date of actual payment;

7.1.6 to repossess the Lot (or any part thereof) which has not become your property, and for this purpose (unless you buy the Lot as a Consumer) you hereby grant an irrevocable licence to us, by ourselves, our servants or agents, to enter upon all or any of your premises (with or without vehicles) during normal business hours to take possession of any Lot or part thereof;

7.1.7 to sell the Lot Without Reserve by auction, private treaty or any other means on giving you three months’ written notice of our intention to do so;

7.1.8 to retain possession of any of your other property in our possession for any purpose (including, without limitation, other goods sold to you or with us for Sale) until all sums due to us have been paid in full;

7.1.9 to apply any monies received from you for any purpose whether at the time of your default or at any time thereafter in payment or part payment of any sums due to us by you under this agreement;

7.1.10 on three months’ written notice to sell, Without Reserve, any of your other property in our possession or under our control for any purpose (including other goods sold to you or with us for Sale) and to apply any monies due to you as a result of such Sale in payment or part payment of any amounts owed to us;

7.1.11 refuse to allow you to register for a future Sale or to reject a bid from you at any future Sale or to require you to pay a deposit before any bid is accepted by us at any future Sale in which case we will be entitled to apply such deposit in payment or part payment, as the case may be, of the Purchase Price of any Lot of which you are the Buyer.

7.2 You agree to indemnify us against all legal and other costs, all losses and all other Expenses (whether or not court proceedings will have been issued) incurred by us as a result of our taking steps under this paragraph 7 on a full indemnity basis together with interest thereon (after as well as before judgement or order) at the rate specified in paragraph 7.1.5 from the date upon which we become liable to pay the same until payment by you.

7.3 If you pay us only part of the sums due to us such payment shall be applied firstly to the Purchase Price of the Lot (or where you have purchased more than one Lot pro-rata towards the Purchase Price of each Lot) and secondly to the Buyer’s Premium (or where you have purchased more than one Lot pro-rata to the Buyer’s Premium on each Lot) and thirdly to any other sums due to us.

7.4 We will account to you in respect of any balance we hold remaining from any monies received by us in respect of any Sale of the Lot under our rights under this paragraph 7 after the payment of all sums due to us and/or the Seller within 28 days of receipt by us of all such sums paid to us.

8 CLAIMS BY OTHER PERSONS IN RESPECT OF THE LOT

8.1 Whenever it becomes apparent to us that the Lot is the subject of a claim by someone other than you and other than the Seller (or that such a claim can reasonably be expected to be made), we may, at our absolute discretion, deal with the Lot in any manner which appears to us to recognise the legitimate interests of ourselves and the other parties involved and lawfully to protect our position and our legitimate interests. Without prejudice to the generality of the discretion and by way of example, we may:

8.1.1 retain the Lot to investigate any question raised or reasonably expected by us to be raised in relation to the Lot; and/or

8.1.2 deliver the Lot to a person other than you; and/or

8.1.3 commence interpleader proceedings or seek any other order of any court, mediator, arbitrator or government body; and/or

8.1.4 require an indemnity and/or security from you in return for pursuing a course of action agreed to by you.

8.2 The discretion referred to in paragraph 8.1:

8.2.1 may be exercised at any time during which we have actual or constructive possession of the Lot, or at any time after such possession, where the cessation of such possession has occurred by reason of any decision, order or ruling of any court, mediator, arbitrator or government body; and

8.2.2 will not be exercised unless we believe that there exists a serious prospect of a good arguable case in favour of the claim.

9 FORGERIES

9.1 We undertake a personal responsibility for any Forgery in accordance with the terms of this paragraph 9.

9.2 Paragraph 9 applies only if:

9.2.1 your name appears as the named person to whom the original invoice was made out by us in respect of the Lot and that invoice has been paid; and

9.2.2 you notify us in writing as soon as reasonably practicable after you have become aware that the Lot is or may be a Forgery, and in any event within one year after the Sale, that the Lot is a Forgery; and

9.2.3 within one month after such notification has been given, you return the Lot to us in the same condition as it was at the time of the Sale, accompanied by written evidence that the Lot is a Forgery and details of the Sale and Lot number sufficient to identify the Lot.

9.3 Paragraph 9 will not apply in respect of a Forgery if:

9.3.1 the Entry in relation to the Lot contained in the Catalogue reflected the then accepted general opinion of scholars and experts or fairly indicated that there was a conflict of such opinion or reflected the then current opinion of an expert acknowledged to be a leading expert in the relevant field; or

9.3.2 it can be established that the Lot is a Forgery only by means of a process not generally accepted for use until after the date on which the Catalogue was published or by means of a process which it was unreasonable in all the circumstances for us to have employed.

9.4 You authorise us to carry out such processes and tests on the Lot as we in our absolute discretion consider necessary to satisfy ourselves that the Lot is or is not a Forgery.

9.5 If we are satisfied that a Lot is a Forgery we will (as principal) purchase the Lot from you and you will transfer the title to the Lot in question to us, with full title guarantee, free from any liens, charges, encumbrances and adverse claims, in accordance with the provisions of Sections 12(1) and 12(2) of the Sale of Goods Act 1979 and we will pay to you an amount equal to the sum of the Purchase Price, Buyer’s Premium, VAT and Expenses paid by you in respect of the Lot.

9.6 The benefit of paragraph 9 is personal to, and incapable of assignment by, you.

9.7 If you sell or otherwise dispose of your interest in the Lot, all rights and benefits under this paragraph will cease.

9.8 Paragraph 9 does not apply to a Lot made up of or including a Chinese painting or Chinese paintings, a motor vehicle or motor vehicles, a Stamp or Stamps or a Book or Books.

10 OUR LIABILITY

10.1 We will not be liable whether in negligence, other tort, breach of contract or statutory duty or in restitution or under the Misrepresentation Act 1967 or in any other way for lack of conformity with or any inaccuracy, error, misdescription or omission in any Description of the Lot or any Entry or Estimate in respect of it, made by us or on our behalf or by or on behalf of the Seller (whether made in writing, including in the Catalogue, or on the Bonhams’ Website, or orally, or by conduct or otherwise) and whether made before or after this agreement or prior to or during the Sale.

10.2 Our duty to you while the Lot is at your risk and/or your property and in our custody and/or control is to exercise reasonable care in relation to it, but we will not be responsible for damage to the Lot or to other persons or things caused by:

10.2.1 handling the Lot if it was affected at the time of Sale to you by woodworm and any damage is caused as a result of it being affected by woodworm; or

10.2.2 changes in atmospheric pressure; nor will we be liable for:

10.2.3 damage to tension stringed musical instruments; or

10.2.4 damage to gilded picture frames, plaster picture frames or picture frame glass; and if the Lot is or becomes dangerous, we may dispose of it without notice to you in advance in any manner we think fit and we will be under no liability to you for doing so.

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7 FAILURE TO PAY OR TO REMOVE THE LOT AND PART PAYMENTS

7.1 If all sums payable to us are not so paid in full at the time they are due and/or the Lot is not removed in accordance with this agreement, we will without further notice to you be entitled to exercise one or more of the following rights (without prejudice to any rights we may exercise on behalf of the Seller):

7.1.1 to terminate this agreement immediately for your breach of contract;


7.1.3 to remove, and/or store the Lot at your expense;

7.1.4 to take legal proceedings against you for payment of any sums payable to us by you (including the Purchase Price) and/or damages for breach of contract;

7.1.5 to be paid interest on any monies due to us (after as well as before judgement or order) at the annual rate of 5% per annum above the base lending rate of National Westminster Bank Plc from time to time to be calculated on a daily basis from the date upon which such monies become payable until the date of actual payment;

7.1.6 to repossess the Lot (or any part thereof) which has not become your property, and for this purpose (unless you buy the Lot as a Consumer) you hereby grant an irrevocable licence to us, by ourselves, our servants or agents, to enter upon all or any of your premises (with or without vehicles) during normal business hours to take possession of any Lot or part thereof;

7.1.7 to sell the Lot Without Reserve by auction, private treaty or any other means on giving you three months’ written notice of our intention to do so;

7.1.8 to retain possession of any of your other property in our possession for any purpose (including, without limitation, other goods sold to you or with us for Sale) until all sums due to us have been paid in full;

7.1.9 to apply any monies received from you for any purpose whether at the time of your default or at any time thereafter in payment or part payment of any sums due to us by you under this agreement;

7.1.10 on three months’ written notice to sell, Without Reserve, any of your other property in our possession or under our control for any purpose (including other goods sold to you or with us for Sale) and to apply any monies due to you as a result of such Sale in payment or part payment of any amounts owed to us;

7.1.11 refuse to allow you to register for a future Sale or to reject a bid from you at any future Sale or to require you to pay a deposit before any bid is accepted by us at any future Sale in which case we will be entitled to apply such deposit in payment or part payment, as the case may be, of the Purchase Price of any Lot of which you are the Buyer.

7.2 You agree to indemnify us against all legal and other costs, all losses and all other Expenses (whether or not court proceedings will have been issued) incurred by us as a result of our taking steps under this paragraph 7 on a full indemnity basis together with interest thereon (after as well as before judgement or order) at the rate specified in paragraph 7.1.5 from the date upon which we become liable to pay the same until payment by you.

7.3 If you pay us only part of the sums due to us such payment shall be applied firstly to the Purchase Price of the Lot (or where you have purchased more than one Lot pro-rata towards the Purchase Price of each Lot) and secondly to the Buyer’s Premium (or where you have purchased more than one Lot pro-rata to the Buyer’s Premium on each Lot) and thirdly to any other sums due to us.

7.4 We will account to you in respect of any balance we hold remaining from any monies received by us in respect of any Sale of the Lot under our rights under this paragraph 7 after the payment of all sums due to us and/or the Seller within 28 days of receipt by us of all such sums paid to us.

8 CLAIMS BY OTHER PERSONS IN RESPECT OF THE LOT

8.1 Whenever it becomes apparent to us that the Lot is the subject of a claim by someone other than you and other than the Seller (or that such a claim can reasonably be expected to be made), we may, at our absolute discretion, deal with the Lot in any manner which appears to us to recognise the legitimate interests of ourselves and the other parties involved and lawfully to protect our position and our legitimate interests. Without prejudice to the generality of the discretion and by way of example, we may:

8.1.1 retain the Lot to investigate any question raised or reasonably expected by us to be raised in relation to the Lot; and/or

8.1.2 deliver the Lot to a person other than you; and/or

8.1.3 commence interpleader proceedings or seek any other order of any court, mediator, arbitrator or government body; and/or

8.1.4 require an indemnity and/or security from you in return for pursuing a course of action agreed to by you.

8.2 The discretion referred to in paragraph 8.1:

8.2.1 may be exercised at any time during which we have actual or constructive possession of the Lot, or at any time after such possession, where the cessation of such possession has occurred by reason of any decision, order or ruling of any court, mediator, arbitrator or government body; and

8.2.2 will not be exercised unless we believe that there exists a serious prospect of a good arguable case in favour of the claim.

9 FORGERIES

9.1 We undertake a personal responsibility for any Forgery in accordance with the terms of this paragraph 9.

9.2 Paragraph 9 applies only if:

9.2.1 your name appears as the named person to whom the original invoice was made out by us in respect of the Lot and that invoice has been paid; and

9.2.2 you notify us in writing as soon as reasonably practicable after you have become aware that the Lot is or may be a Forgery, and in any event within one year after the Sale, that the Lot is a Forgery; and

9.2.3 within one month after such notification has been given, you return the Lot to us in the same condition as it was at the time of the Sale, accompanied by written evidence that the Lot is a Forgery and details of the Sale and Lot number sufficient to identify the Lot.

9.3 Paragraph 9 will not apply in respect of a Forgery if:

9.3.1 the Entry in relation to the Lot contained in the Catalogue reflected the then accepted general opinion of scholars and experts or fairly indicated that there was a conflict of such opinion or reflected the then current opinion of an expert acknowledged to be a leading expert in the relevant field; or

9.3.2 it can be established that the Lot is a Forgery only by means of a process not generally accepted for use until after the date on which the Catalogue was published or by means of a process which it was unreasonable in all the circumstances for us to have employed.

9.4 You authorise us to carry out such processes and tests on the Lot as we in our absolute discretion consider necessary to satisfy ourselves that the Lot is or is not a Forgery.

9.5 If we are satisfied that a Lot is a Forgery we will (as principal) purchase the Lot from you and you will transfer the title to the Lot in question to us, with full title guarantee, free from any liens, charges, encumbrances and adverse claims, in accordance with the provisions of Sections 12(1) and 12(2) of the Sale of Goods Act 1979 and we will pay to you an amount equal to the sum of the Purchase Price, Buyer’s Premium, VAT and Expenses paid by you in respect of the Lot.

9.6 The benefit of paragraph 9 is personal to, and incapable of assignment by, you.

9.7 If you sell or otherwise dispose of your interest in the Lot, all rights and benefits under this paragraph will cease.

9.8 Paragraph 9 does not apply to a Lot made up of or including a Chinese painting or Chinese paintings, a motor vehicle or motor vehicles, a Stamp or Stamps or a Book or Books.

10 OUR LIABILITY

10.1 We will not be liable whether in negligence, other tort, breach of contract or statutory duty or in restitution or under the Misrepresentation Act 1967 or in any other way for lack of conformity with or any inaccuracy, error, misdescription or omission in any Description of the Lot or any Entry or Estimate in respect of it, made by us or on our behalf or by or on behalf of the Seller (whether made in writing, including in the Catalogue, or on the Bonhams’ Website, or orally, or by conduct or otherwise) and whether made before or after this agreement or prior to or during the Sale.

10.2 Our duty to you while the Lot is at your risk and/or your property and in our custody and/or control is to exercise reasonable care in relation to it, but we will not be responsible for damage to the Lot or to other persons or things caused by:

10.2.1 handling the Lot if it was affected at the time of Sale to you by woodworm and any damage is caused as a result of it being affected by woodworm; or

10.2.2 changes in atmospheric pressure; nor will we be liable for:

10.2.3 damage to tension stringed musical instruments; or

10.2.4 damage to gilded picture frames, plaster picture frames or picture frame glass; and if the Lot is or becomes dangerous, we may dispose of it without notice to you in advance in any manner we think fit and we will be under no liability to you for doing so.

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10.3.1 We will not be liable to you for any loss of Business, Business profits, revenue or income or for loss of Business reputation or for disruption to Business or wasted time on the part of the Buyer’s management or staff or, if you are buying the Lot in the course of a Business, for any indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

10.3.2 Unless you buy the Lot as a Consumer, in any circumstances where we are liable to you in respect of a Lot, or any act, omission, statement, representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for a restitutionary remedy or in any way whatsoever, our liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot plus Buyer’s Premium (less any sum you may be entitled to recover from the Seller) irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

You may wish to protect yourself against loss by obtaining insurance.

10.4 Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law, or (v) under our undertaking in paragraph 9 of these conditions.

11 BOOKS MISSING TEXT OR ILLUSTRATIONS

Where the Lot is made up wholly of a Book or Books and any Book does not contain text or illustrations (in either case referred to as a “non-conforming Lot”), we undertake a personal responsibility for such a non-conforming Lot in accordance with the terms of this paragraph, if:

the original invoice was made out by us to you in respect of the Lot and that invoice has been paid; and

you notify us in writing as soon as reasonably practicable after you have become aware that the Lot is or may be a non-conforming Lot, and in any event within 20 days after the Sale (or such longer period as we may agree in writing) that the Lot is a non-conforming Lot; and

within 20 days of the date of the relevant Sale (or such longer period as we may agree in writing) you return the Lot to us in the same condition as it was at the time of the Sale, accompanied by written evidence that the Lot is a non-conforming Lot and details of the Sale and Lot number sufficient to identify the Lot.

but not if:

the Entry in the Catalogue in respect of the Lot indicates that the rights given by this paragraph do not apply to it; or

the Entry in the Catalogue in respect of the Lot reflected the then accepted general opinion of scholars and experts or fairly indicated that there was a conflict of such opinion; or

it can be established that the Lot is a non-conforming Lot only by means of a process not generally accepted for use until after the date on which the Catalogue was published or by means of a process which it was unreasonable in all the circumstances for us to have employed; or

the Lot comprises atlases, maps, autographs, manuscripts, extra illustrated books, music or periodical publications; or

the Lot was listed in the Catalogue under “collections” or “collections and various” or the Lot was stated in the Catalogue to comprise or contain a collection, issue or Books which are undescribed or the missing text or illustrations are referred to or the relevant parts of the Book contain blanks, half titles or advertisements.

If we are reasonably satisfied that a Lot is a non- conforming Lot, we will (as principal) purchase the Lot from you and you will transfer the title to the Lot in question to us, with full title guarantee, free from any liens, charges, encumbrances and adverse claims and we will pay to you an amount equal to the sum of the Purchase Price and Buyer’s Premium paid by you in respect of the Lot.

The benefit of paragraph 10 is personal to, and incapable of assignment by, you and if you sell or otherwise dispose of your interest in the Lot, all rights and benefits under this paragraph will cease.

12 MISCELLANEOUS

12.1 You may not assign either the benefit or burden of this agreement.

12.2 Our failure or delay in enforcing or exercising any power or right under this agreement will not operate or be deemed to operate as a waiver of our rights under it except to the extent of any express waiver given to you in writing. Any such waiver will not affect our ability subsequently to enforce any right arising under this agreement.

12.3 If either party to this agreement is prevented from performing that party’s respective obligations under this agreement by circumstances beyond its reasonable control or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 3.

12.4 Any notice or other communication to be given under this agreement must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission (if to Bonhams marked for the attention of the Company Secretary), to the address or fax number of the relevant party given in the Contract Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

12.5 If any term or any part of any term of this agreement is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

12.6 References in this agreement to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees and agents.

12.7 The headings used in this agreement are for convenience only and will not affect its interpretation.

12.8 In this agreement “including” means “including, without limitation”.

12.9 References to the singular will include reference to the plural (and vice versa) and reference to any one gender will include reference to the other genders.

12.10 Reference to a numbered paragraph is to a paragraph of this agreement.

12.11 Save as expressly provided in paragraph 12.12 nothing in this agreement confers (or purports to confer) on any person who is not a party to this agreement any benefit conferred by, or the right to enforce any term of, this agreement.

12.12 Where this agreement confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of Bonhams, it will also operate in favour and for the benefit of Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee and agent of Bonhams and such companies, each of whom will be entitled to rely on the relevant immunity and/or exclusion and/or restriction within and for the purposes of Contracts (Rights of Third Parties) Act 1999, which enables the benefit of a contract to be extended to a person who is not a party to the contract, and generally at law.

13 GOVERNING LAW

All transactions to which this agreement applies and all connected matters will be governed by and construed in accordance with the laws of that part of the United Kingdom where the Sale takes (or is to take) place and we and you each submit to the exclusive jurisdiction of the courts of that part of the United Kingdom, save that we may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the laws of the relevant jurisdiction. Bonhams has a complaints procedure in place.

DATA PROTECTION – USE OF YOUR INFORMATION

Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London W1S 1SR, United Kingdom or by email from [email protected].

APPENDIX 3

DEFINITIONS AND GLOSSARY

Where these Definitions and Glossary are incorporated, the following words and phrases used have (unless the context otherwise requires) the meanings given to them below. The Glossary is to assist you to understand words and phrases which have a specific legal meaning with which you may not be familiar.

LIST OF DEFINITIONS

“Additional Premium” a premium, calculated in accordance with the Notice to Bidders, to cover Bonhams’ Expenses relating to the payment of royalties under the Artists Resale Right Regulations 2006 which is payable by the Buyer to Bonhams on any Lot marked [AR] which sells for a Hammer Price which together with the Buyer’s Premium (but excluding any VAT) equals or exceeds 1000 euros (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale).“Auctioneer” the representative of Bonhams conducting the Sale.

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“Bidder” a person who has completed a Bidding Form. “Bidding Form” our Bidding Registration Form, our Absentee Bidding Form or our Telephone Bidding Form. “Bonhams” Bonhams 1793 Limited or its successors or assigns. Bonhams is also referred to in the Buyer’s Agreement, the Conditions of Business and the Notice to Bidders by the words “we”, “us” and “our”.“Book” a printed Book offered for Sale at a specialist Book Sale.“Business” includes any trade, Business and profession.“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to in the Contract for Sale and the Buyer’s Agreement by the words “you” and “your”.“Buyer’s Agreement” the contract entered into by Bonhams with the Buyer (see Appendix 2 in the Catalogue). “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in the Notice to Bidders. “Catalogue” the Catalogue relating to the relevant Sale, including any representation of the Catalogue published on our Website.“Commission” the Commission payable by the Seller to Bonhams calculated at the rates stated in the Contract Form.“Condition Report” a report on the physical condition of a Lot provided to a Bidder or potential Bidder by Bonhams on behalf of the Seller.“Conditions of Sale” the Notice to Bidders, Contract for Sale, Buyer’s Agreement and Definitions and Glossary. “Consignment Fee” a fee payable to Bonhams by the Seller calculated at rates set out in the Conditions of Business.“Consumer” a natural person who is acting for the relevant purpose outside his trade, Business or profession. “Contract Form” the Contract Form, or vehicle Entry form, as applicable, signed by or on behalf of the Seller listing the Lots to be offered for Sale by Bonhams. “Contract for Sale” the Sale contract entered into by the Seller with the Buyer (see Appendix 1 in the Catalogue). “Contractual Description” the only Description of the Lot (being that part of the Entry about the Lot in the Catalogue which is in bold letters, any photograph (except for the colour) and the contents of any Condition Report) to which the Seller undertakes in the Contract of Sale the Lot corresponds.“Description” any statement or representation in any way descriptive of the Lot, including any statement or representation relating to its authorship, attribution, condition, provenance, authenticity, style, period, age, suitability, quality, origin, value, estimated selling price (including the Hammer Price).“Entry” a written statement in the Catalogue identifying the Lot and its Lot number which may contain a Description and illustration(s) relating to the Lot.“Estimate” a statement of our opinion of the range within which the hammer is likely to fall.“Expenses” charges and Expenses paid or payable by Bonhams in respect of the Lot including legal Expenses, banking charges and Expenses incurred as a result of an electronic transfer of money, charges and Expenses for loss and damage cover, insurance, Catalogue and other reproductions and illustrations, any customs duties, advertising, packing or shipping costs, reproductions rights’ fees, taxes, levies, costs of testing, searches or enquiries, preparation of the Lot for Sale, storage charges, removal charges, removal charges or costs of collection from the Seller as the Seller’s agents or from a defaulting Buyer, plus VAT if applicable.“Forgery” an imitation intended by the maker or any other person to deceive as to authorship, attribution, origin, authenticity, style, date, age, period, provenance, culture, source or composition, which at the date of the Sale had a value materially less than it would have had if the Lot had not been such an imitation, and which is not stated to be such an imitation in any description of the Lot. A Lot will not be a Forgery by reason of any damage to, and/or restoration and/ or modification work (including repainting or over painting) having been carried out on the Lot, where that damage,restoration or modification work (as the case may be) does not substantially affect the identity of the Lot as one conforming to the Description of the Lot.“Guarantee” the obligation undertaken personally by Bonhams to the Buyer in respect of any Forgery and, in the case of specialist Stamp Sales and/or specialist Book Sales, a Lot made up of a Stamp or Stamps or a Book or Books as set out in the Buyer’s Agreement.“Hammer Price” the price in the currency in which the Sale is conducted at which a Lot is knocked down by the Auctioneer.

“Loss and Damage Warranty” means the warranty described in paragraph 8.2 of the Conditions of Business. “Loss and Damage Warranty Fee” means the fee described in paragraph 8.2.3 of the Conditions of Business.“Lot” any item consigned to Bonhams with a view to its Sale at auction or by private treaty (and reference to any Lot will include, unless the context otherwise requires, reference to individual items comprised in a group of two or more items offered for Sale as one Lot).“Motoring Catalogue Fee” a fee payable by the Seller to Bonhams in consideration of the additional work undertaken by Bonhams in respect of the cataloguing of motor vehicles and in respect of the promotion of Sales of motor vehicles.“New Bond Street” means Bonhams’ saleroom at 101 New Bond Street, London W1S 1SR.“Notional Charges” the amount of Commission and VAT which would have been payable if the Lot had been sold at the Notional Price.“Notional Fee” the sum on which the Consignment Fee payable to Bonhams by the Seller is based and which is calculated according to the formula set out in the Conditions of Business.“Notional Price” the latest in time of the average of the high and low Estimates given by us to you or stated in the Catalogue or, if no such Estimates have been given or stated, the Reserve applicable to the Lot.“Notice to Bidders” the notice printed at the back or front of our Catalogues.“Purchase Price” the aggregate of the Hammer Price and VAT on the Hammer Price (where applicable), the Buyer’s Premium and VAT on the Buyer’s Premium and any Expenses.“Reserve” the minimum price at which a Lot may be sold (whether at auction or by private treaty).“Sale” the auction Sale at which a Lot is to be offered for Sale by Bonhams.“Sale Proceeds” the net amount due to the Seller from the Sale of a Lot, being the Hammer Price less the Commission, any VAT chargeable thereon, Expenses and any other amount due to us in whatever capacity and howsoever arising.“Seller” the person who offers the Lot for Sale named on the Contract Form. Where the person so named identifies on the form another person as acting as his agent, or where the person named on the Contract Form acts as an agent for a principal (whether such agency is disclosed to Bonhams or not), “Seller” includes both the agent and the principal who shall be jointly and severally liable as such. The Seller is also referred to in the Conditions of Business by the words “you” and “your”.“Specialist Examination” a visual examination of a Lot by a specialist on the Lot.“Stamp” means a postage Stamp offered for Sale at a Specialist Stamp Sale.“Standard Examination” a visual examination of a Lot by a non-specialist member of Bonhams’ staff. “Storage Contract” means the contract described in paragraph 8.3.3 of the Conditions of Business or paragraph 4.4 of the Buyer’s Agreement (as appropriate). “Storage Contractor” means the company identified as such in the Catalogue.“Terrorism” means any act or threatened act of terrorism, whether any person is acting alone or on behalf of or in connection with any organisation(s) and/or government(s), committed for political, religious or ideological or similar purposes including, but not limited to, the intention to influence any government and/or put the public or any section of the public into fear.“Trust Account” the bank account of Bonhams into which all sums received in respect of the Purchase Price of anyLot will be paid, such account to be a distinct and separate account to Bonhams’ normal business bank account. “VAT” value added tax at the prevailing rate at the date of the Sale in the United Kingdom.“Website” Bonhams Website at www.bonhams.com “Withdrawal Notice” the Seller’s written notice to Bonhams revoking Bonhams’ instructions to sell a Lot. “Without Reserve” where there is no minimum price at which a Lot may be sold (whether at auction or by private treaty).

GLOSSARY

The following expressions have specific legal meanings with which you may not be familiar. The following glossary is intended to give you an understanding of those expressions but is not intended to limit their legal meanings:

“artist’s resale right”: the right of the creator of a work of art to receive a payment on Sales of that work subsequent to the original Sale of that work by the creator of it as set out in the Artists Resale Right Regulations 2006. “bailee”: a person to whom goods are entrusted. “indemnity”: an obligation to put the person who has the benefit of the indemnity in the same position in which he would have been, had the circumstances giving rise to the indemnity not arisen and the expression “indemnify” is construed accordingly.“interpleader proceedings”: proceedings in the Courts to determine ownership or rights over a Lot.“knocked down”: when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.“lien”: a right for the person who has possession of the Lot to retain possession of it.“risk”: the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “title”: the legal and equitable right to the ownership of a Lot.“tort”: a legal wrong done to someone to whom the wrong doer has a duty of care.

SALE OF GOODS ACT 1979

The following is an extract from the Sale of Goods Act 1979:

“Section 12 Implied terms about title, etc

(1) In a contract of sale, other than one to which subsection (3) below applies, there is an implied term on the part of the seller that in the case of a sale he has a right to sell the goods, and in the case of an agreement to sell he will have such a right at the time when the property is to pass.

(2) In a contract of sale, other than one to which subsection (3) below applies, there is also an implied term that-

(a) the goods are free, and will remain free until the time when the property is to pass, from any charge or encumbrance not disclosed or known to the buyer before the contract is made, and

(b) the buyer will enjoy quiet possession of the goods except in so far as it may be disturbed by the owner or other person entitled to the benefit of any charge or encumbrance so disclosed or known.

(3) This subsection applies to a contract of sale in the case of which there appears from the contract or is to be inferred from its circumstances an intention that the seller should transfer only such title as he or a third person may have.

(4) In a contract to which subsection (3) above applies there is an implied term that all charges or encumbrances known to the seller and not known to the buyer have been disclosed to the buyer before the contract is made.

(5) In a contract to which subsection (3) above applies there is also an implied term that none of the following will disturb the buyer’s quiet possession of the goods, namely:

(a) the seller;

(b) in a case where the parties to the contract intend that the seller should transfer only such title as a third person may have, that person;

(c) anyone claiming through or under the seller or that third person otherwise than under a charge or encumbrance disclosed or known to the buyer before the contract is made.

(5A) As regards England and Wales and Northern Ireland, the term implied by subsection (1) above is a condition and the terms implied by subsections (2), (4) and (5) above are warranties.”

NTB/MAIN/1.2018/V2

Bonhams Specialist Departments 19th Century PaintingsUKCharles O’ Brien+44 20 7468 8360U.S.AMadalina Lazen+1 212 644 9108

20th Century British ArtMatthew Bradbury+44 20 7468 8295

Aboriginal ArtFrancesca Cavazzini+61 2 8412 2222

African, Oceanic & Pre-Columbian Art U.S.AFredric Backlar+1 323 436 5416

American PaintingsLiz Goodridge+1 917 206 1621

AntiquitiesFrancesca Hickin+44 20 7468 8226

Antique Arms & Armour UKDavid Williams+44 20 7393 3807U.S.APaul Carella+1 415 503 3360

Art Collections, Estates & ValuationsHarvey Cammell+44 (0) 20 7468 8340

Art Nouveau & Decorative Art & DesignUKMark Oliver+44 20 7393 3856U.S.ABenjamin Walker+1 212 710 1306Dan Tolson+1 917 206 1611

Australian ArtMerryn Schriever+61 2 8412 2222Alex Clark+61 3 8640 4088

Australian Colonial Furniture and Australiana+61 2 8412 2222

Books, Maps & Manuscripts UKMatthew Haley+44 20 7393 3817U.S.ACatherine Williamson+1 323 436 5442

British & European GlassUKJohn Sandon+44 20 7468 8244U.S.A.Suzy Pai+1 415 503 3343

British CeramicsUKJohn Sandon+44 20 7468 8244

California & American PaintingsScot Levitt+1 323 436 5425

[email protected].+1 415 503 3392

Chinese & Asian ArtUKAsaph Hyman+44 20 7468 5888U.S.ADessa Goddard+1 415 503 3333HONG KONGXibo Wang+852 3607 0010AUSTRALIAYvett Klein+61 2 8412 2222

ClocksUKJames Stratton+44 20 7468 8364U.S.AJonathan Snellenburg+1 212 461 6530

Coins & MedalsUKJohn Millensted+44 20 7393 3914U.S.APaul Song+1 323 436 5455

Contemporary Art UKRalph Taylor+44 20 7447 7403U.S.AJeremy Goldsmith+1 917 206 1656

Entertainment MemorabiliaUKKatherine Schofield+44 20 7393 3871U.S.A Catherine Williamson+1 323 436 5442

European Ceramics UKSebastian Kuhn+44 20 7468 8384U.S.A+1 415 503 3326

FurnitureUKThomas Moore+44 20 8963 2816U.S.AAndrew Jones+1 415 503 3413

European Sculptures & Works of ArtUKMichael Lake+44 20 8963 6813

Greek ArtAnastasia Orfanidou+44 20 7468 8356

Golf Sporting MemorabiliaKevin McGimpsey+44 131 240 2296

Irish ArtPenny Day+44 20 7468 8366

Impressionist & Modern ArtUKIndia Phillips+44 20 7468 8328U.S.ANathania Nisonson+1 917 206 1617

Indian, Himalayan &Southeast Asian ArtH.K.Edward Wilkinson+852 2918 4321U.S.AMark Rasmussen+1 917 206 1688

Islamic & Indian ArtOliver White+44 20 7468 8303

Japanese ArtUKSuzannah Yip+44 20 7468 8368U.S.AJeff Olson+1 212 461 6516

JewelleryUKJean Ghika+44 20 7468 8282U.S.ACaroline Morrissey+1 212 644 9046HONG KONGGraeme Thompson+852 3607 0006

Marine ArtUKVeronique Scorer+44 20 7393 3962

Mechanical MusicJon Baddeley+44 20 7393 3872

Modern, Contemporary & Latin American ArtU.S.AAlexis Chompaisal+1 323 436 5469

Modern & Contemporary Middle Eastern ArtNima Sagharchi+44 20 7468 8342

Modern & Contemporary South Asian ArtTahmina Ghaffar+44 207 468 8382

Modern DesignGareth Williams+44 20 7468 5879

Motor CarsUKTim Schofield+44 20 7468 5804U.S.AMark Osborne+1 415 503 3353EUROPEPhilip Kantor+32 476 879 471

AutomobiliaUKToby Wilson+44 8700 273 619Adrian Pipiros+44 8700 273621

MotorcyclesBen Walker+44 8700 273616

Native American ArtIngmars Lindbergs+1 415 503 3393

Natural HistoryU.S.AClaudia Florian+1 323 436 5437

Old Master PicturesUKAndrew Mckenzie+44 20 7468 8261U.S.AMark Fisher+1 323 436 5488

Orientalist ArtCharles O’Brien+44 20 7468 8360

PhotographyU.S.ALaura Paterson+1 917 206 1653

Prints and MultiplesUKLucia Tro Santafe+44 20 7468 8262U.S.AMorisa Rosenberg+1 323 447 9374

Russian ArtUKDaria Chernenko +44 20 7468 8334U.S.AYelena Harbick+1 212 644 9136

Scientific InstrumentsJon Baddeley+44 20 7393 3872U.S.A.Jonathan Snellenburg+1 212 461 6530

Scottish PicturesChris Brickley+44 131 240 2297

Silver & Gold BoxesUKEllis Finch+44 20 7393 3973U.S.AAileen Ward+1 323 436 5463

South African ArtGiles Peppiatt+44 20 7468 8355

Sporting GunsPatrick Hawes+44 20 7393 3815

Travel PicturesVeronique Scorer+44 20 7393 3962

Urban ArtGareth Williams+44 20 7468 5879

Watches & WristwatchesUKJonathan Darracott+44 20 7447 7412U.S.A.Jonathan Snellenburg+1 212 461 6530H.K.Tim Bourne+852 3607 0021

WhiskyUKMartin Green+44 (0) 131 225 2266 U.S.AErin McGrath+1 415 503 3363HONG KONGDaniel Lam+852 3607 0004

WineUKRichard Harvey+44 (0) 20 7468 5811U.S.AKate Wollman+1 415 503 3221Erin McGrath+1 415 503 3363HONG KONGDaniel Lam +852 3607 0004

To e-mail any of the below use the first name dot second name @bonhams.com eg. [email protected]

SD26/04/18

UNITED KINGDOM

London101 New Bond Street •London W1S 1SR+44 20 7447 7447+44 20 7447 7400 fax

Montpelier Street •London SW7 1HH+44 20 7393 3900+44 20 7393 3905 fax

South East England

Guildford Millmead,Guildford,Surrey GU2 4BE+44 1483 504 030+44 1483 450 205 fax

Isle of Wight+44 1273 220 000

Representative:Brighton & HoveTim Squire-Sanders+44 1273 220 000

West Sussex+44 (0) 1273 220 000

South WestEngland

Bath Queen Square HouseCharlotte StreetBath BA1 2LL+44 1225 788 988+44 1225 446 675 fax

Cornwall – Truro 36 Lemon StreetTruroCornwallTR1 2NR+44 1872 250 170+44 1872 250 179 fax

ExeterThe LodgeSouthernhay West Exeter, DevonEX1 1JG+44 1392 425 264 +44 1392 494 561 fax

TetburyEight Bells House14 Church StreetTetburyGloucestshireGL8 8JG+44 1666 502 200+44 1666 505 107 fax

Representatives:DorsetBill Allan+44 1935 815 271

East Anglia and Bury St. EdmundsMichael Steel+44 1284 716 190

NorfolkThe Market PlaceReephamNorfolk NR10 4JJ+44 1603 871 443+44 1603 872 973 fax

Midlands

Knowle The Old HouseStation RoadKnowle, SolihullWest MidlandsB93 0HT+44 1564 776 151+44 1564 778 069 fax

OxfordBanbury RoadShipton on CherwellKidlington OX5 1JH+44 1865 853 640+44 1865 372 722 fax

Yorkshire & North East England

Leeds The West WingBowcliffe HallBramhamLeedsLS23 6LP+44 113 234 5755+44 113 244 3910 fax

North West England

Chester 2 St Johns Court,Vicars Lane,Chester,CH1 1QE+44 1244 313 936+44 1244 340 028 fax

ManchesterThe Stables213 Ashley RoadHale WA15 9TB+44 161 927 3822+44 161 927 3824 fax

Channel Islands

JerseyLa ChasseLa Rue de la ValleeSt MaryJersey JE3 3DL+44 1534 722 441+44 1534 759 354 fax

Representative:Guernsey+44 1481 722 448

Scotland

Edinburgh •22 Queen StreetEdinburghEH2 1JX+44 131 225 2266+44 131 220 2547 fax

Bonhams West of ScotlandKirkhill HouseBroom Road EastNewton MearnsGlasgowG77 5LL+44 141 223 8866

Wales

Representatives:CardiffJeff Muse+44 2920 727 980

EUROPE

AustriaThomas Kamm+49 (0) 89 2420 [email protected]

BelgiumBoulevardSaint-Michel 1011040 Brussels+32 (0) 2 736 [email protected] France4 rue de la Paix75002 Paris+33 (0) 1 42 61 10 [email protected] Germany - CologneKatharina Schmid+49 (0) 221 9865 3419+49 (0) 1579 2346 [email protected]

Germany - MunichMaximilianstrasse 5280538 Munich+49 (0) 89 2420 [email protected] Germany - StuttgartNeue Brücke 2New Bridge Offices70173 Stuttgart+49 (0) 711 2195 [email protected] Greece7 Neofytou Vamva StreetAthens 10674+30 (0) 210 3636 [email protected] Ireland31 Molesworth StreetDublin 2+353 (0) 1 602 [email protected] Italy - MilanVia Boccaccio 2220123 Milano+39 0 2 4953 [email protected] Italy - RomeVia Sicilia 5000187 Roma+39 06 485 [email protected] The NetherlandsDe Lairessestraat 1541075 HL Amsterdam+31 (0) 20 67 09 [email protected] PortugalRua Bartolomeu Dias nº160. 1ºBelem1400-031 Lisbon+351 218 293 [email protected] Spain - BarcelonaTeresa Ybarra+34 930 156 686 +34 680 347 [email protected] Spain - MadridNúñez de Balboa no 4-1C28001 Madrid+34 915 78 17 [email protected]

SwedenIngrid Bjäringer+46 (0)709 79 90 [email protected]

Switzerland - GenevaRue Etienne-Dumont 101204 Geneva+41 (0) 22 300 [email protected]

Switzerland - ZurichAndrea BodmerDreikönigstrasse 31a8002 Zürich+41 44 281 [email protected]

MIDDLE EASTIsraelJoslynne Halibard+972 (0)54 553 [email protected]

NORTH AMERICAUSA

San Francisco •220 San Bruno AvenueSan FranciscoCA 94103+1 (415) 861 7500+1 (415) 861 8951 fax

Los Angeles •7601 W. Sunset BoulevardLos AngelesCA 90046+1 (323) 850 7500+1 (323) 850 6090 fax

New York •580 Madison AvenueNew York, NY10022+1 (212) 644 9001+1 (212) 644 9007 fax

Representatives: Arizona Terri Adrian-Hardy+1 (602) 859 [email protected]

CaliforniaCentral ValleyDavid Daniel+1 (916) 364 [email protected]

CaliforniaPalm SpringsBrooke Sivo+1 (760) 350 [email protected] CaliforniaSan DiegoBrooke Sivo+1 (760) 567 [email protected]

ColoradoLance Vigil+1 (720) 355 [email protected]

FloridaApril Matteini+1 (305) 978 [email protected]

GeorgiaMary Moore Bethea+1 (404) 842 [email protected]

IllinoisRicki Blumberg Harris+1 (773) 267 [email protected]

MassachusettsAmy Corcoran+1 (617) 742 [email protected]

NevadaDavid Daniel+1 (775) 831 [email protected]

New MexicoTerri Adrian-Hardy+1 (602) 859 [email protected]

OregonSheryl Acheson+1 (971) 727 [email protected]

TexasAmy Lawch+1 (713) 621 [email protected]

VirginiaGertraud Hechl+1 (202) 422 2733 [email protected]

Washington Heather O’Mahony+1 (206) 566 [email protected]

Washington DCMid-Atlantic RegionGertraud Hechl+1 (202) 422 2733washingtonDC @bonhams.com

CANADAToronto, Ontario • Kristin Kearney340 King St East2nd Floor, Office 213Toronto ON M5A 1K8+1 (416) 462 [email protected]

Montreal, QuebecDavid Kelsey+1 (514) 894 [email protected]

SOUTH AMERICABrazil+55 11 3031 4444+55 11 3031 4444 fax

ASIAHong Kong • Suite 2001One Pacific Place88 QueenswayAdmiraltyHong Kong+852 2918 4321+852 2918 4320 [email protected]

BeijingJessica ZhangSuite 511Chang An Club10 East Chang An AvenueBeijing 100006+86(0) 10 6528 0922+86(0) 10 6528 0933 [email protected]

SingaporeBernadette Rankine11th Floor, Wisma Atria435 Orchard RoadSingapore 238877+65 (0) 6701 8038+65 (0) 6701 8001 [email protected]

Taiwan37th Floor, Taipei 101 TowerNo. 7 Xinyi Road, Section 5Taipei, 100+886 2 8758 2898+886 2 8758 2897 [email protected]

AUSTRALIASydney97-99 Queen Street, Woollahra, NSW 2025Australia+61 (0) 2 8412 2222+61 (0) 2 9475 4110 [email protected]

MelbourneComo HouseComo AvenueSouth Yarra Melbourne VIC 3141Australia+61 (0) 3 8640 4088+61 (0) 2 9475 4110 [email protected]

AFRICANigeriaNeil Coventry+234 (0)8110 033 792+27 (0)7611 [email protected]

South Africa - JohannesburgPenny Culverwell+27 (0)71 342 [email protected]

International Salerooms, Offices and Associated Companies (• Indicates Saleroom)

G-NET02/05/18

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening Fax

Preferred number(s) in order for Telephone Bidding (inc. country code)

E-mail (in capitals)

I am registering to bid as a private buyer I am registering to bid as a trade buyer

If registered for VAT in the EU please enter your registration here:

/ - -

This sale will be conducted in accordance with Bonhams’ Conditions of Sale and bidding and buying at the Sale will be regulated by these Conditions. You should read the Conditions in conjunction with the Sale Information relating to this Sale which sets out the charges payable by you on the purchases you make and other terms relating to bidding and buying at the Sale. You should ask any questions you have about the Conditions before signing this form. These Conditions also contain certain undertakings by bidders and buyers and limit Bonhams’ liability to bidders and buyers.

Data protection – use of your informationWhere we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected].

Notice to Bidders.Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference.

If successfulI will collect the purchases myselfPlease contact me with a shipping quote (if applicable)

Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding)Please circle your bidding method above.

Paddle number (for office use only)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form.Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.

If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids.General Bid Increments:£10 - 200 .....................by 10s£200 - 500 ...................by 20 / 50 / 80s£500 - 1,000 ................by 50s£1,000 - 2,000 .............by 100s£2,000 - 5,000 .............by 200 / 500 / 800s£5,000 - 10,000 ...........by 500s

£10,000 - 20,000 .........by 1,000s£20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s£50,000 - 100,000 .......by 5,000s£100,000 - 200,000 .....by 10,000sabove £200,000 ...........at the auctioneer’s discretion

Telephone or Absentee (T / A) Lot no. Brief description

MAX bid in GBP (excluding premium & VAT)

Covering bid *

The auctioneer has discretion to split any bid at any time.

Please note that all telephone calls are recorded.

FOR WINE SALES ONLY

Please leave lots “available under bond” in bond Please include delivery charges (minimum charge of £20 + VAT)

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding.

UK/01/18

Please tick if you have registered with us before

By providing your email address above, you authorise Bonhams to send to this address information relating to Sales, marketing material and news concerning Bonhams. Bonhams does not sell or trade email addresses.

Old Master Paintings Wednesday 4 July 2018

24650 New Bond Street, London

A Amigoni, Jacopo 71Anglo-Dutch School 51Antwerp School 104Arellano, José de 105Arthois, Jacques d’ 41, 42Ashford, William 25

BBailly, David 52Balducci, called il Cosci, Giovanni 110Balen the Elder, Hendrik van 91Baltens, Pieter 9Baudesson, Nicolas 75Beale, Mary 7Beccafumi, Domenico 68Bellucci, Antonio 27Benson, Ambrosius 3Bergamo School 5Bonito, Giuseppe 31Boucher, François 114Bourdon, Sébastien 90Brueghel the Younger, Jan 62, 89

CCaravaggio, Michelangelo Merisi da 44Cardi, called il Cigoli, Lodovico 55Cipper, Giacomo Francesco 19Constable, John 112Conte, Jacopo del 65Cooper, Joseph Teal 63Copley, John Singleton 77Cotes, Francis 48Courtois, Jacques 40

DDevis, Arthur 26Domenichini, Apollonio 70Dutch School 99

EEismann, Johann Anton 20Emilian School 36English School 49

FFacchetti, Pietro 107Fagan, Robert 64Florentine School 29, 35, 57Fontana, Lavinia 111

GGainsborough, Thomas 67German School 54Gillemans the Elder, Jan Pauwel 47Gobbis, Giuseppe de 14Goes, Hugo van der 2Greuze, Jean Baptiste 113

HHaarlem, Cornelis Cornelisz. van 8Hamilton, Hugh Douglas 23Horemans, Pieter Jacob 95Houbraken, Arnold 60Huchtenburg, Jan van 82

IItalian School 88

KKauffmann, Angelica 80Keil, called Monsù Bernardo, Bernhard 108Key, Willem 84Kupetzki, Johann 30

LLely, Sir Peter 6Lint, Peter van 85Locatelli, Andrea 109Loo, Charles-André, called Carle van 43

MMantua, School of 87Menescardi, Giustino 106Mengs, Anton Raphael 73Miereveldt, Michiel Jansz. van 11, 12Mieris the Elder, Willem Van 100Mulier the Younger, called Tempesta, Pieter 15Mytens, Jan 92

NNeapolitan School 34Netherlandish School 13Nomé, François de 86

OOpie, John 101

PPalamedesz. I, Palamedes 33Passarotti, Bartolomeo 103Pillement, Jean-Baptiste 74Puligo, Domenico 17, 69

RRaibolini, called Giulio Francia, Giulio 66Regnier, Nicolas 21Reynolds, Sir Joshua 24Roepel, Coenraet 46Rowlandson, Thomas 37

SSantacroce, Francesco Rizzo da 58Sassoferrato, Giovanni Battista Salvi, called il 72Savoy, Carel van 61School of Delft 59Snyders, Frans 50Stockholm Pietà, Master of the 18Stom, Matthias 22Stubbs, George 38

TTapia, Luis 83

VValkenborch, Frederick van 32Vanmour, Jean-Baptiste 96Velde, Adriaen van de 98Venetian School 4, 28, 97Venusti, Marcello 56Verbrugghen the Younger, Gaspar Pieter 10Verelst, Willem 1Vernet, Claude Joseph 76Veronese School 79Veronese, Paolo Caliari, called Paolo 78

WWeenix, Jan Baptist 81Winck, Johann Amandus 45Wootton, John 102Wouwerman, Philips 39Wytmans, Mattheus 53

ZZocchi, Giuseppe 93, 94

INDEX

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