modern british and irish art - bonhams

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MODERN BRITISH AND IRISH ARTWednesday 18 November 2015

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 1793 Ltd DirectorsRobert Brooks Co-Chairman,Malcolm Barber Co-Chairman, Colin Sheaf Deputy Chairman, Matthew Girling CEO, Patrick Meade Group Vice Chairman,Geoffrey Davies, Jonathan Horwich, James Knight, Caroline Oliphant, Hugh Watchorn.

Bonhams UK Ltd DirectorsColin Sheaf Chairman, Jonathan Baddeley, Antony Bennett, Matthew Bradbury, Lucinda Bredin, Harvey Cammell, Simon Cottle, Andrew Currie, Paul Davidson, Jean Ghika, Charles Graham-Campbell, Miranda Leslie, Richard Harvey, Robin Hereford, Asaph Hyman, Charles Lanning, Gordon McFarlan,

Andrew McKenzie, Simon Mitchell, Jeff Muse, Mike Neill, Charlie O’Brien, Giles Peppiatt, Peter Rees, Iain Rushbrook, John Sandon, Tim Schofield, Veronique Scorer, James Stratton, Roger Tappin, Ralph Taylor, Shahin Virani, David Williams, Michael Wynell-Mayow, Suzannah Yip.













VIEWING

New Bond Street, London Saturday 14 November 11.00 to 17.00Sunday 15 November 11.00 to 17.00Monday 16 November 09.00 to 16.30Tuesday 17 November 09.00 to 16.30Wednesday 18 November 09.00 to 13.00

SALE NUMBER 22810

CATALOGUE £20.00

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MODERN BRITISH AND IRISH ART Wednesday 18 November 2015, at 15.00101 New Bond Street, London

Bonhams,Park Royal

West Acton Station

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SALE INFORMATION

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SENIOR MANAGEMENT AND SPECIALIST STAFF

MATTHEW BRADBURY Director, UK Board

PENNY DAY Department Director and Head of Sale

CHRISTOPHER DAWSON Senior Specialist

INGRAM REID Junior Specialist

JANE BEATTIE Irish Representative

JONATHAN HORWICH Global Director of Fine Art

1AR

KEITH VAUGHAN (1912-1977)Coffee Pot Still Life signed with initials ‘K.V.’ (lower right)gouache 27 x 38 cm. (10 3/4 x 15 in.) Executed circa 1950

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance With Austin Desmond Fine Art, London Prof. J.N. Ball Private Collection, U.K. Exhibited London, Austin Desmond Fine Art, Keith Vaughan, 1987, cat.no.60

Vaughan, usually celebrated for his male nude paintings, was also a highly accomplished painter of landscapes and still life subjects. During the late 1940s and early 1950s he produced a range of paintings representing groups of figures acting out enigmatic relationships within the confines of sparsely furnished rooms. Often, in such works, tables are laid out with a variety of symbolic, domestic objects that seem to take on greater significance because of their proximity to the

emotionally charged figures. In time, Vaughan began to explore still life as an independent subject. In 1950 for example, he exhibited thirty of his new gouaches at the Redfern Gallery. Nine of them were still life paintings of jugs, cups and coffee pots accompanied by various citrus fruits carefully placed on coloured tablecloths and balconies. In an unpublished studio notebook, dating from 1963, Vaughan wrote:

My early pictures were not, of course, pure gouache. They were mixtures of wax crayon, Indian ink and gouache. And the chemical properties of these different kinds of materials to a large extent determine their own control. They react on each other in certain ways which can be exploited but can not be prevented. You might call it a volatile medium.

His use of these materials was influenced by the work of Graham Sutherland and Henry Moore and, through them, he obtained a new pictorial variety and surface richness. It was Sutherland who taught Vaughan how to incorporate wax resist into his painting, demonstrating for him the process during the early 1940s. The technique depends on the principle that oily wax repels water-based pigments. When a wash is brushed over an area previously treated with crayon, it is immediately repelled and breaks up into mottled deposits on the wax-coated surface. In this manner Vaughan has achieved remarkable textural results.

We are grateful to Gerard Hastings, author of Drawing to a Close: The Final Journals of Keith Vaughan (Pagham Press, 2012) and Keith Vaughan: The Photographs (Pagham Press, 2013), for compiling this catalogue entry and to Anthony Hepworth for his assistance in cataloguing this lot.

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2AR

KEITH VAUGHAN (1912-1977)Landscape with Figures titled and dated ‘Landscape with Figures 1944’ (on the backing sheet, beneath the mount) wash, gouache, pen and ink 26.7 x 36.2 cm. (10 1/2 x 14 1/4 in.)

£12,000 - 18,000 €16,000 - 24,000 US$19,000 - 28,000

Provenance With Leicester Galleries, London, 1966, where acquired by the father of the present owner Private Collection, U.K. Exhibited London, Leicester Galleries, June-August 1966, cat.no.35

This small but intense painting is quintessentially Neo-Romantic in style and follows a long tradition in British painting of figures reclining in a landscape. During the Eighteenth and Nineteenth centuries Joseph Wright of Derby (Sir Brooke Boothby, 1781), William Blake and Samuel Palmer then, more latterly, John Craxton (Poet in a Landscape, and Dreamer in a Landscape, 1942) and John Minton each depicted isolated male figures, sheltering from a frequently hostile landscape.

In the present work a young man lies within a tangle of fern leaves and undergrowth, oblivious to the distant calls of his companion. Both Vaughan and Craxton admitted that these images were consciously part of a process of self-preservation that they developed and evolved at a time of war and in the face of social hostilities. We can interpret the figure here as a quasi self-portrait since Vaughan, serving in the Non-Combatant Corps in the heart of the Yorkshire countryside, speaks in his journal of a deep sense of isolation from his comrades. Melancholic by temperament and a loner by choice, he spent much of his free time making drawings and recording observations concerning the character and quality of the landscape.

The influence of his mentor, Graham Sutherland, of course may be detected in the imagery. However, Vaughan’s conception of a moonlit landscape is infinitely more human and more touching. Similarly the methods and materials he employs reflect, not only Sutherland’s techniques, but were also conditioned by rationing and the constraints of army life that precluded large-scale work. Vaughan created a portable studio which he could squeeze into his knap-sack, and with these humble tools created a series of intense, jewel-like paintings.

We are grateful to Gerard Hastings, author of Drawing to a Close: The Final Journals of Keith Vaughan (Pagham Press, 2012) and Keith Vaughan: The Photographs (Pagham Press, 2013), for compiling this catalogue entry and to Anthony Hepworth for his assistance in cataloguing this lot.

MODERN BRITISH AND IRISH ART | 9

3AR

JOHN CRAXTON R.A. (1922-2009)Spring Leaves signed ‘Craxton’ (upper right) and dated ‘March 1943’ (upper left) ink and gouache 34.3 x 30.2 cm. (13 1/2 x 11 3/4 in.)

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance Acquired directly from the Artist by a friendGifted to the present owner’s mother from the above in the early 1990s, thence by family descent to the present ownerPrivate Collection, U.K. We are grateful to Ian Collins for his assistance in cataloguing this lot.

4AR

JOHN MINTON (1917-1957)The Bullfighter signed and dated ‘Minton/April 1941’ (on the corner of the wall) gouache, pen and ink 50.4 x 63 cm. (19 3/4 x 24 3/4 in.)

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance With Redfern Gallery, London, March 1945, where acquired by Sigmund Pollitzer Esq., by whom gifted to the family of the present owner prior to 1984, thence by descent Private Collection, U.K. Although dated 1941, this painting is a throwback to interests that John Minton had developed in the late 1930s, first at St John’s Wood Art School and then in Paris. It draws on his interest in ballet, in the French Neo-Romantics and on his fascination with the ruined town of Les Baux, in Provence.

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While at art school, Minton had met Michael Ayrton and also Ayrton’s friend Michael Middleton. All three friends read James Thrall Soby’s After Picasso (1935) which, according to Minton, ‘became our Bible’. Its importance lay in the fact that it had identified a reaction against cubist-inspired abstraction and, in its place, a desire to replace emotional restraint with poetic intensity. Soby directed Minton’s attention to the Surrealists and the French Neo-Romantics, in particular the Paris-based Russians, Eugène Berman and Pavel Tcheltichew, and the Frenchman Christian Bérard, who looked to Picasso’s Blue and Rose period for inspiration. ‘The Neo-Romantic painters’, Soby pronounced, ‘are filling their canvases with unashamed poignancy’. Soby’s book sent Minton in December 1938 to Paris, where Ayrton joined him in the spring of 1939. It was in Paris that Minton first began to experiment with the striking perspectives and stagey vistas employed by both the Neo-Romantics and the Surrealists. Likewise the Neo-Romantics’ heavy use of blue encouraged his leaning at this time towards monochromatic effects. He and Ayrton, conscious that they were following in the footsteps of Bérard, went to Provence and twice visited the ruined Les Baux. ‘Les Baux is an extraordinary place,’ Minton wrote to his friend Edie Lamont, ‘– once the capital of Provence, there are now forty-eight inhabitants, and the rest is in fantastic ruins with enormous rocks strewn about in curious positions. The whole atmosphere is charged with romantic desolation. I did a lot of paintings and crowds of little drawings.’

The Bullfighter is one of several images from this period that draw on Minton’s memory of Les Baux and which make use of shards of rock and sharply etched shadows. He frequently introduced into these works solitary figures, in a wistful manner reminiscent of Bérard’s waifs and strays. But The Bullfighter may contain a more specific literary or balletic source, for the details of the broken pot, the dead figure, the butterfly and the suggestion, on the rocky wall behind, of a recent shooting, create a melancholy and fateful mood. By August 1939, when he began a self-portrait with the Seine in the background, he was beginning to be critical of his youthful enthusiasms and described the painting as ‘all very blue, with lots of bogus Berman quality’. Minton did not exhibit The Bullfighter until March 1945 when it was hung at the Redfern. He had regularly shown work in group exhibitions at this gallery since 1943. It had, and still has, a lower ground floor. Minton’s friends, Robert Colquhoun and Robert MacBryde, teasingly referred to it as ‘Min’s bargain basement’, perhaps because they were a little envious of his sales. All quotations can be found in Frances Spalding’s Dance Till the Stars Come Down: A Biography of John Minton and we are grateful to her for compiling this catalogue entry.


5ALFRED WALLIS (1855-1942)Two Master signed ‘A WALLIS’ (upper left) pencil and oil on card 17.2 x 40 cm. (6 3/4 x 15 3/4 in.)

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance Acquired by the founder of Portal Gallery, London Private Collection, U.K. Exhibited London, The Waddington Galleries

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6ALFRED WALLIS (1855-1942)Boats in a harbour signed ‘A WALLIS’ (upper right) pencil and oil on paper 26.7 x 33 cm. (10 1/2 x 13 in.)

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance Acquired directly from the Artist by Mr. & Mrs. Lowenstein in the early 1940s, thence by family descent to the present owner Private Collection, U.K. Mr. & Mrs. Lowenstein were close friends of Naum Gabo and his wife Miriam. It was on their invitation that the Lowenstein’s visited St. Ives, probably in the spring of 1942, and were introduced to the town’s artistic community including Ben Nicholson and Barbara Hepworth. They visited Wallis at home and, both impressed with his pictures and as a token of patronage, acquired several works for 2 shillings and 6 pence.


7ALFRED WALLIS (1855-1942)Train Crossing Tamar pencil and oil on card 7.3 x 22.5 cm. (2 7/8 x 8 7/8 in.)

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance Wittington Collection With Wills Lane Gallery, St Ives, where acquired by the present owner in the 1980s Private Collection, U.K.

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8AR

BEN NICHOLSON O.M. (1894-1982)May 60 (Duomo, Pisa, now Leaning Tower) signed, titled and dated ‘NICHOLSON May 60/(Duomo, Pisa, now/leaning tower) (verso) mixed media on paper, on the artist’s prepared board 46.2 x 60.4 cm. (18 1/8 x 23 3/4 in.) (the whole)

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

Provenance With Galleria Gian Ferrari, Milan Exhibited Milan, Galleria Lorenzelli, Ben Nicholson, November 1960 (ill. pl.32) We are grateful to Dr. Sophie Bowness for her assistance in cataloguing this lot.


9AR

HENRY MOORE O.M., C.H. (1898-1986)Illustration for ‘A Land: Knights and Kirtled Ladies Waiting for Creation’ mixed media on paper 40 x 29.5 cm. (15 3/4 x 11 5/8 in.) Executed in 1950, this work is recorded with the Henry Moore Foundation as HMF 2610

£15,000 - 25,000 €20,000 - 34,000 US$23,000 - 39,000

Provenance Acquired directly from the Artist by Jacquetta Hawkes in 1951, thence by family descent to the present owner Private Collection, U.K.

Exhibited London, Institute of Contemporary Arts, Henry Moore: Figures in Space, Drawings, 1953 Wakefield, Yorkshire Sculpture Park, Henry Moore: Back to a Land, 7 March-6 September 2015, unnumbered (col.ill) Literature Jacquetta Hawkes, A Land, The Cresset Press Ltd., London, 1951, p.120, pl.B (col.ill.) Ann Garrould (ed.), Henry Moore, Volume 4, Complete Drawings 1950-76, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2003, pp.22-23, cat.no.AG.50.49 (ill.b&w) The archaeologist and writer Jacquetta Hawkes and her husband the playwright J.B. Priestley were friends of the Moore’s. The present work was commissioned as an illustration for Hawkes’ 1951 extended poem A Land.

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10AR

HENRY MOORE O.M., C.H. (1898-1986)Illustration for ‘A Land: His Lines Follow Life back into the Stone’ mixed media on paper 40 x 29.2 cm. (15 3/4 x 11 1/2 in.) Executed in 1950, this work is recorded with the Henry Moore Foundation as HMF 2609

£15,000 - 25,000 €20,000 - 34,000 US$23,000 - 39,000

Provenance Acquired directly from the Artist by Jacquetta Hawkes in 1951,thence by family descent to the present owner Private Collection, U.K.

Exhibited London, Institute of Contemporary Arts, Henry Moore: Figures in Space, Drawings, 1953 Wakefield, Yorkshire Sculpture Park, Henry Moore: Back to a Land, 7 March-6 September 2015, unnumbered (col.ill & col.ill gallery brochure) Literature Jacquetta Hawkes, A Land, The Cresset Press Ltd., London, 1951, p.120, pl.A (col.ill.) Ann Garrould (ed.), Henry Moore, Volume 4, Complete Drawings 1950-76, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2003, pp.22-23, cat.no.AG.50.48 (ill.b&w) The archaeologist and writer Jacquetta Hawkes and her husband the playwright J.B. Priestley were friends of the Moore’s. The present work was commissioned as an illustration for Hawkes’ 1951 extended poem A Land.


11AR

HENRY MOORE O.M., C.H. (1898-1986)Study of Madonna and Child signed ‘Moore’ (lower right) wash, pencil, wax resist and ink 38.4 x 29.2 cm. (15 1/8 x 11 1/2 in.)

£30,000 - 50,000 €41,000 - 68,000 US$46,000 - 77,000

Provenance The Artist, circa 1950s by whom given to Duncan Guthrie, thence by family descent to the present owner Private Collection, U.K.

This newly discovered Henry Moore work on paper is an interesting and informative emergence, both spontaneous and accomplished in its execution. It relates directly to Moore’s large stone carving known as Claydon Madonna and Child (1948-49). This commissioned sculpture followed arguably the sculptor’s most significant work of the war period, Madonna and Child at St. Matthew’s in Northampton (1943-44). The carving in Northampton is of a greater size and the positioning and volume of the Child is granted more presence by Moore, in contrast to Claydon’s sculpture where the infant is nestled into his mother’s torso and partly enveloped by her protective and over-sized arms. Of the latter sculpture Berthoud comments:

The Claydon Madonna, as the carving came to be called, was destined for a site in the south transept of St Peter’s church there. Carved from the same honey-coloured Hornton stone as her Midlands sister [the Northampton Madonna and Child], she was at four feet tall a good deal smaller. As first completed, Moore reckoned she lacked sufficient majesty, so he added a crown, building it up over several days with ground stone and fixative (Roger Berthoud, The Life of Henry Moore, Giles de la Mare Publishers, London, 2003, p.259).

With this in mind, the present lot would appear to be a preparatory work for Claydon Madonna and Child as the crown has been omitted. However, the same attention to detail has been applied to the Madonna’s drapery, especially over her legs where the artist seems to be particularly interested in how the material can suggest and even accentuate the human form beneath.

The genesis for Claydon Madonna and Child came from Sir Jasper Ridley who wanted a memorial to his son killed during the Second World War. He had worked with Sir Kenneth Clark whilst the Madonna at Northampton was selected and lived at Mockbeggars Hall near the Suffolk village of Claydon. Since 1978, following the closure of St Peter’s, the Claydon Madonna has been displayed at the larger parish church close by in Barham. The move was overseen by Moore himself and Berthoud remarks, ‘It has aroused more interest there, being better lit and more prominent. (Loc. Cit.) Duncan Guthrie was the founder of the National Fund for Research into Poliomyelitis & Other Crippling Diseases, a charitable organisation now known as Action Medical Research. Following the charity’s foundation in 1952, Guthrie inaugurated a series of Christmas seals as a fundraiser and invited Henry Moore to provide a design, which forms the present work.

This work will be formally recorded with The Henry Moore Foundation and we are grateful for their assistance in cataloguing this lot.

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12* AR

JOHN PIPER C.H. (1903-1992)Untitled oil on canvas laid on board 15.8 x 20.3 cm. (6 1/4 x 8 in.) Painted circa 1945-50

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance With Stephen Mazoh, Baltimore, where acquired by the present owner Private Collection, U.S.A.

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13AR JOHN PIPER C.H. (1903-1992)Garn Fechan inscribed ‘GARNFARW’ (on the stretcher) oil on canvas 71.1 x 91.4 cm. (28 x 36 in.) Painted in 1978

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance The Artist, thence by family descent Private Collection, U.K. Exhibited London, Waddington Galleries, John Piper, A Retrospective, Works from the Artist’s Studio, 12 January-5 February 1994, cat.no.27 (col.ill.)


14AR

GRAHAM SUTHERLAND O.M. (1903-1980)Figure and Vine signed and dated ‘Sutherland 1948’ (lower right) oil on canvas 53.9 x 65.1 cm. (21 1/4 x 25 5/8 in.) Please note there is another painting by the same hand verso

£130,000 - 180,000 €180,000 - 240,000 US$200,000 - 280,000

Provenance With Lefevre Gallery, London Dr. Alistair Hunter With Leicester Galleries, London, 1956 F.J. Lyons, London Sale; Christie’s, London, 11 October 1974, lot 297, where acquired by Shorham Sale; Christie’s, London, 4 December 1979, lot 56 With Ivor Braka, London Lord Harris of Peckham With Zangrilli & Co, London, where acquired by the present owner Private Collection, U.K. Exhibited London, Hanover Gallery, Graham Sutherland, June-July 1948, cat.no.6 Canada and U.S.A., British Council, Exhibition of British Painting, 1951 Venice, British Pavilion, XXVI Biennale, 1952 Possibly London, Redfern Gallery, Graham Sutherland, Keith Vaughan, November-December 1952, cat.no.354 (as Figure and Vine Structure) Boston, Institute of Contemporary Art, Graham Sutherland and Henry Moore, 1953, cat.no.10 (where dated 1947); this exhibition travelled to Palm Beach and Houston Brighton, Art Gallery and Museum, The Wilfred Evill Exhibition, 1965 Basle, Kunsthalle, Graham Sutherland, February-March 1966, cat.no.48 Munich, Haus der Kunst, Graham Sutherland, March-May 1967, cat.no.20; this exhibition travelled to The Hague, Gemeentemuseum, June-July, Berlin, Haus am Waldsee, August-September and Cologne, Wallraf-Richartz Museum, October-November London, Lefevre Gallery, Paintings and Watercolours by Graham Sutherland, April-May 1975, cat.no.10 (ill.)

Literature Robert Melville, Sutherland, Ambassador Editions, London, 1950, cat.no.41 (ill.) H.P. Juda, Graham Sutherland, Ambassador Editions, London, 1950, pl.3 (ill.) Douglas Cooper, The Work of Graham Sutherland, Lund Humphries, London, 1961, p.76, pl.89b (ill.b&w, where dated 1947) W. Boyd, Graham Sutherland, Bernard Jacobson Gallery, London, 1993, cat.no.14 (ill.)

Figure and Vine was flrst exhibited at the seminal Hanover Gallery exhibition in 1948 to great acclaim and was later chosen to be exhibited at the Venice Biennale in 1952 and many other major Sutherland exhibitions since including The Wilfred Evill exhibition in 1965. In mood, Figure and Vine, is characteristically ambivalent, its exotic theme and luminous colour undercut by more sinister suggestions inherent in the spikiness of certain forms, almost reminiscent of barbed wire, as well as the dominant black plane to the right of the painting. It is one of the most signiflcant paintings from the cluster of work depicting vine pergolas, a theme which epitomised the persistence of tradition, even primitive, forms of rural existence within the arid, sun-baked landscape he encountered in the South of France. In terms of palette Sutherland absorbed the influence of Matisse and Picasso whilst in the region, which he first visited in 1947, but the more sinister forms owe a debt to post-war thinking and indeed his friend Francis Bacon. Sutherland was a great champion of the younger artist and Bacon was invited to stay with Sutherland in France first in 1947 and they worked, gambled with and visited each other many times until Bacon left the region in 1949. In the 1951 ICA exhibition Raymond Mortimer wrote, ‘In 1938 Mr. Sutherland’s first one-man show came to me as an exhilarating revelation. My confidence in my high estimate of his powers came then, and still comes, partly from a lack of affinity between his art and my taste or temperament. We may easily exaggerate the merits of work that expresses in a congenial idiom feelings akin to our own. To impress us profoundly with an art that runs counter to our fortified preferences implies a stature that amounts to genius.

Verso

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15AR

SHEILA FELL R.A. (1931-1979)Winter Under Skiddaw signed ‘Fell’ (lower right) and indistinctly inscribed (on the canvas overlap) oil on canvas 25.4 x 30.4 cm. (10 x 12 in.) Painted in 1965

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance Miss L. Rawlings Acquired by the present owner in 2005 Private Collection, U.K. Exhibited Salford, Museum and Art Gallery, Sheila Fell, 21 October-2 December 1990, cat.no.44; this exhibition travelled to London, Royal Academy of Arts, 15 December-15 January 1991

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16AR

SHEILA FELL R.A. (1931-1979)Solway Plain Under Snow signed ‘Fell’ (lower right) oil on canvas 50.8 x 60.9 cm. (20 x 24 in.)

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

Provenance Private Collection, U.K.


17AR W

SIR KYFFIN WILLIAMS R.A. (1918-2006)Capel Caersalem, Mynydd Bodafon, Anglesey signed with initials ‘KW’ (lower right); signed again and titled ‘Capel Caersalem, Mynydd Bodafon, Anglesey Kyffin Williams’ (on the stretcher) oil on canvas 91.4 x 121.9 cm. (36 x 48 in.)

£12,000 - 18,000 €16,000 - 24,000 US$19,000 - 28,000

Provenance Acquired directly from the Artist by the mother of the present owner Private Collection, U.K.

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18AR SIR KYFFIN WILLIAMS R.A. (1918-2006)Anglesey Cottages, Penmynydd signed with initials ‘KW’ (lower right) oil on canvas 51 x 67cm. (20 x 27 in.)

£12,000 - 18,000 €16,000 - 24,000 US$19,000 - 28,000

Provenance With Tegfryn Art Gallery, Menai Bridge, where acquired by the father of the present owner Private Collection, U.K.


19AR

HELEN BRADLEY (1900-1979)An outing to lake Windermere; Morning signed ‘HELEN BRADLEY’ and with fly insignia (lower left) watercolour and gouache 36.8 x 53.9 cm. (14 ½ x 21 ¼ in.)

£10,000 - 15,000 €14,000 - 20,000 US$15,000 - 23,000

Provenance Acquired directly from the Artist by the present owner in 1973 Private Collection, U.K.

Please note that this work is accompanied by a signed, inscribed and dated artist’s card as follows: ‘On the morning of our outing to Windermere/Mother, Aunt Mary and Aunt Francis took/George and I down to the edge of the Lake./The water was very still, and although/it was only April, the day was soft, warm/and misty. Mr Taylor (The Bank Manager)/had taken Miss Carter (who wore Pink) across/the Lake to have Lunch with some friends/we were going to meet Grandpa and/father at a farm and have Ham and/Eggs and lots of good things to eat/afterward we were going back to the/Lake so that George could fish and the/year was April 1908/Helen Layfield Bradley 1973’ The lot is also accompanied by copies of a series of letters and Christmas cards from the artist to the present owner.

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20AR

HELEN BRADLEY (1900-1979)An outing to lake Windermere; Late Afternoon signed ‘HELEN BRADLEY’ and with fly insignia (lower right) watercolour and gouache 36.8 x 53.9 cm. (14 ½ x 21 ¼ in.)

£10,000 - 15,000 €14,000 - 20,000 US$15,000 - 23,000

Provenance Acquired directly from the Artist by the present owner in 1973 Private Collection, U.K.

Please note that this work is accompanied by a signed, inscribed and dated artist’s card as follows: ‘”Come along George, we are all ready to/go home” said mother, Mr Taylor (the/Bank Manager) has brought Miss Carter (who/wore Pink) safely back across the Lake/and father is helping to pull the boat/ashore. Although George fished all/afternoon he didn’t catch anything. The/soft mists of the morning were clearing/and Grandpa said the sun would break/through as we drove nearer to Blackpool/and the sea. Everyone thought Mr Taylor/would propose to Miss Carter, but she was/very quiet on the way home. “Ha well”, said/Aunt Mary, “it looks as though things haven’t/gone quite right for her” George and I said/goodbye to a beautiful day and went to sleep/and the year was April 1908/Helen Layfield Bradley April 1973’. The lot is also accompanied by copies of a series of letters and Christmas cards from the artist to the present owner.


21AR

HELEN BRADLEY (1900-1979)Ruth & Naomi signed ‘HELEN BRADLEY’ and with fly insignia (lower right); titled ‘Ruth & Naomi’ (on a label attached verso) and inscribed ‘After so much rain, the weather improved at/Easter, but a sad thing happened, Poor Mrs Clark/lost both her sons. They were killed in a mine/so Grandma, feeling very sorry for her Grandma/said “let us all take bunches of Daffodils up to their/grave in Greenacres Cemetery”. It was a lovely day/as we walked up the hillside and there we met/poor Mrs Clark and Ruth, her youngest son’s wife./”How are you, dear Mrs Clark”, said Grandma,/”I shall not be lonely now”, said Mrs Clark “look/who’s come to live with me, our dear Ruth”, “why/that is nice” said Grandma, “its just like the lovely/story of Naomi and Ruth, isn’t it” “Ruth who came/to her mother-in-law Naomi and said”, “wither thou/goest, I go also”, Mrs Clark and Ruth came to/live in Lees and were very happy. Ruth married/again and had three little boys, so Mrs Clark’s life/was full and happy and the year was 1906’ (on a second label attached verso) oil on canvasboard 45.7 x 61.1 cm. (18 x 24 in.)

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Provenance With W.H. Patterson, London, circa 1980, where acquired by the present owner Private Collection, Belgium Literature Helen Bradley, ‘In the Beginning’ Said Great Aunt Jane, Jonathan Cape, London, 1975, p.15 (col.ill)

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22 * AR

HELEN BRADLEY (1900-1979)Saturday Morning signed with fly insignia (lower left); further signed, indistinctly inscribed and dated ‘Helen Layfield Bradley 1969’ (on a label attached verso) oil on canvas laid on board 45.7 x 60.9 cm. (18 x 24 in.)

£30,000 - 50,000 €41,000 - 68,000 US$46,000 - 77,000

Provenance With Mercury Gallery, London, 13 June 1969, where acquired by Mr. & Mrs. W. Earl Goldenberg Private Collection, U.S.A.


TEN WORKS ON PAPER BY L. S. LOWRY R.A. (1887 - 1976)

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23AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)Children with Dog signed with initials and dated ‘LSL/73’ (lower right) biro 14.8 x 10.4 cm. (5 3/4 x 4 1/4 in.)

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance Alick Leggat With Crane Kalman Gallery, London With Grove Fine Art, Manchester, 30 April 2007, where acquired by the family of the present owner Private Collection, U.K. The present work is accompanied by a letter dated 23 April 2007 from The Lowry, Salford.


24AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)Two Gentlemen, Two Dogs signed with initials and dated ‘LSL/73’ (lower right) biro 14.8 x 10.6 cm. (5 3/4 x 4 1/4 in.)

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance Alick Leggat With Crane Kalman Gallery, London With Grove Fine Art, Manchester, 30 April 2007, where acquired by the family of the present owner Private Collection, U.K. The present work is accompanied by a letter dated 23 April 2007 from The Lowry, Salford.

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25AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)Yachts signed and dated ‘L S LOWRY 02’ (lower right) pencil and wash with white heightening 6.3 x 11.1 cm. (2 1/2 x 4 3/8 in.)

£30,000 - 50,000 €41,000 - 68,000 US$46,000 - 77,000

Provenance: Leo Solomon (Principle of Rochdale Art College) Thence by descent Sale; Sotheby’s, London, 13 December 2007, lot 56 With Neptune Fine Art, Belper, 11 October 2009, where acquired by the present owners Private Collection, U.K. Exhibited London, Royal Academy of Arts, L.S. Lowry 1887-1976, 4 September-14 November 1976, no.1 (ill.) Literature Mervyn Levy, The Drawings of L.S. Lowry, Jupiter Books, London, 1976, pl.1 (ill.b&w)

Started when I was fifteen. Don’t know why. Aunt said I was no good for anything else, so they might as well send me to Art School. I didn’t mind. (L.S. Lowry quoted in Shelley Rohde, L.S. Lowry, A Life, Haus Publishing Ltd, London, 2007, p.26). Yachts is thought to be the earliest surviving drawing by the artist, executed at fifteen years of age and listed as No.1 in Mervyn Levy’s The Drawings of L.S. Lowry. It was completed at Lytham St. Annes where the Lowry family often spent their summer holidays and is a poignant introduction to the artist’s long and celebrated career. By 1905 Lowry had been accepted to the Manchester School of Art as an evening pupil in preparatory antique and freehand drawing and not surprisingly produced competent and classical work with a true understanding of draughtsmanship. Lowry’s style eventually matured into the figurative urban images we are so familiar with today but alongside this and throughout his career was an obsession with the sea. In a taped recording with Gerald B Cotton, Lowry talked with passion of his days spent with the herring fleet seventy-five miles out into the North Sea off Peterhead or Frazerburgh, his parents waiting for him on the shore. Lowry was intoxicated by it and saw the same struggle amongst the currents that occupied the people among whom he lived and worked, the ‘Battle of Life’. Images of yachts at Lytham are a central part of the artist’s oeuvre and span from the time of the present work to the 1970s.

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26AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)A Country Road signed with initials and dated ‘L S L/3rd April 1961’ (verso) pencil 20 x 25.4 cm. (7 7/8 x 10 in.)

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance Professor H.B. Maitland, thence by descent to Mrs. M. Dickie Sale; Sotheby’s, London, 16 March 1977, lot 108, where acquired by the present owner Private Collection, U.K. Canadian-born Hugh Maitland and L.S. Lowry shared a friendship which lasted more than 30 years. Maitland was a Professor of bacteriology at Manchester University and Lowry would often visit him on Sundays. Maitland recorded some of their many conversations, the tapes of which are held in the archives at The Lowry, Salford and also informed Shelley Rohde in the writing of her biography on the Artist.


27AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)A Country Drive signed with initials and dated ‘L S L/3rd April 1961’ (verso) pencil 20.3 x 25.4 cm. (8 x 10 in.)

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

Provenance Professor H.B. Maitland, thence by descent to Mrs. M. Dickie Sale; Sotheby’s, London, 16 March 1977, lot 109, where acquired by the present owner Private Collection, U.K. Canadian-born Hugh Maitland and L.S. Lowry shared a friendship which lasted more than 30 years. Maitland was a Professor of bacteriology at Manchester University and Lowry would often visit him on Sundays. Maitland recorded some of their many conversations, the tapes of which are held in the archives at The Lowry, Salford and also informed Shelley Rohde in the writing of her biography on the Artist.

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Verso

28AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)People waiting pencil 33.6 x 48.3 cm. (13 1/4 x 19 in.) Please note there is another drawing by the same hand verso

£12,000 - 18,000 €16,000 - 24,000 US$19,000 - 28,000

Provenance The Artist’s estate, where acquired by David Wheatley Esq. His sale; Bonhams, London, 29 November 2005, lot 59, where acquired by the present owner Private Collection, U.K. David Wheatley (1949-2009) was a television director who had a long running association with the BBC working on series’ such as Omnibus and Arena. In 1980 he had been approached to produce a film related to Shelly Rohde’s book L.S. Lowry, A Private View and the resultant film by the same name was honoured by the British Press Guild as the Best Documentary Drama of the Year. Whilst filming in Lowry’s studio he discovered the present lot, along with a number of other drawings, concealed between the drawers of the artist’s flatbed chest. He was permitted by Carol Lowry to retain the works for his own collection.

29AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)Factory gate signed and dated ‘L.S. Lowry 1953’ (lower left) pencil 25.6 x 35.6 cm. (10 1/8 x 14 in.)

£40,000 - 60,000 €54,000 - 81,000 US$62,000 - 93,000

Provenance Dr F.H. Kroch (1904-1983), thence by family descent to the present owner Private Collection, U.K. Dr F.H. Kroch founded Lankro Chemicals (now called Akcros Chemicals) in Eccles in 1937. The ‘Lan’ part of the name refers to Lancashire and the ‘kro’ to Kroch. Under Kroch’s leadership throughout the 1940s, ‘50s and ‘60s the company grew to become one of the area’s largest employers. In 1967 Dr Kroch was made a Freeman of Eccles in recognition of his work in the community and in 1973 was created a Commander of the British Empire. Two paintings by Lowry formally in the collection of Dr Kroch are now in public ownership; The Sea (1963) hangs in The Lowry, Salford and Old Salford Street Scene (1922) in the National Museum, Wales.

Simply titled Factory gate, Lowry’s instantly recognisable urban images rarely depict a specific location but, rather an amalgamation of various areas and buildings with which he has become deeply familiar over the years. The gate is a recurring motif in the artist’s work and as in the present example acts as a division between working life and more general daily routine in the north-west. Once the threshold has been crossed, life amongst the factories which can be seen billowing smoke begins. The gate dominates the central composition and with the heavy shading that Lowry uses throughout becomes almost foreboding with our eye instantly drawn towards it. Factory gate, executed in 1953, is closely related to another earlier drawing titled The Gateway (1931), which depicts the Improved Industrial Dwellings also known as the Greengate Industrial Dwellings in Salford. Built in 1870 to provide accommodation for traders such as stonemasons, blacksmiths, bookbinders and bricklayers, they were constructed in two parallel blocks four storeys high with two shops which were joined by a gateway fitted with iron gates. As in The Gateway, the shape of the entrance has been altered and the industrial setting enhanced. Despite his interest in these gates spanning four decades, Lowry neither depicted them accurately or consistently; ‘they are fat or thin with tops rounded or straight; they may or may not be topped by a flagpole; even the shape of the archway has been changed, as has the number of stones on top of the gates themselves’ (Judith Sandling and Mike Leber, Lowry’s City, A Painter and his Locale, Lowry Press, Salford, 2000, p.57). Further views of the gateway based on the now demolished Salford Improved Industrial Dwellings can be found in paintings such as The Factory Gate (1951) and Man Going to Work (Figure in a Gateway) (1964).

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30AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)Caerlaverock Castle signed and dated ‘L S Lowry June 23. 64’ (lower right) and inscribed ‘From Uncle Laurie/to/nephew Geoff with/love/Caerlaverock Castle/Dumfries’ (verso) pencil and felt-tip pen 14 x 21 cm. (5 1/2 x 8 1/4 in.)

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance With Neptune Fine Art, Belper, where acquired by the present owner Private Collection, U.K. Literature Mervyn Levy, The Drawings of L.S. Lowry, Public and Private, Jupiter Books, London, 1976, pl.218 (ill.b&w)


31AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)Lytham, St. Annes signed with initials ‘LSL’ (lower right) pencil, wash and chalk 12.5 x 17.8 cm. (4 7/8 x 7 in.) Executed in 1918

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance The Artist, from whom acquired by Monty Bloom, from whom acquired by the present owner, 1968 Private Collection, U.K. The present work was given by Monty Bloom on the occasion of a home visit in the winter of 1968. Bloom made the visit to view a number of fine Russian silver pieces which had belonged to the family, including an Imperial sword, to purchase for his own collection. In return Bloom offered two L.S. Lowry works by way of exchange and the present work was selected.

32AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)Cumberland Coast signed and dated ‘L.S Lowry 1960’ (lower left) pencil 25.4 x 35.6 cm. (10 x 14 in.)

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Provenance With The Lefevre Gallery, London With Neptune Fine Art, Belper, where acquired by the present owner Private Collection, U.K.

Lowry often visited Cumberland where his friend and important patron Reverend Geoffrey Bennett and his wife Alice lived. Reverend Bennett had been manager of the National Westminster Bank in Cleator Moor and then Maryport before becoming a vicar. Lowry also visited the region to see the painter Sheila Fell for whom he had become a mentor following her first exhibition at the Beaux Arts Gallery in London in 1955. By 1956 he had visited and agreed with her parents to pay the sum of £3 per week to the artist who, like many of course, was struggling to find her feet and benefited greatly from his purchases and encouragement. Executed in 1960, one can imagine the present work might have been completed during one of Lowry and Fell’s excursions along the Cumberland coast. Recollecting these trips, the artist commented; ‘When he was in Cumberland with me we would go out together while I was doing seascapes, really big ones out in the open air in the wind, and when we carried one back to the car and put it in he would clamber in after it with his walking stick and his hat and sit there proprietorially and proud, as if he had done the work himself. Mostly he would just sit and watch or go for a walk; sometimes he too would draw’ (Shelley Rohde, L.S. Lowry, Lowry Press, Salford Quays, 1999, p.266).

46 | BONHAMS

33AR

LAURENCE STEPHEN LOWRY R.A. (1887-1976)The Gossips, Two Ladies signed and dated ‘L.S LOWRY 1961’ (lower right); signed again and inscribed ‘TWO LADIES/L.S Lowry/not for sale’ (verso) oil on board 45.7 x 27.9 cm. (18 x 11 in.) Please note that this work is accompanied by a photograph of L.S. Lowry with the late Monty Bloom and the present work, signed and inscribed ‘I think he gets his hats/from Lincoln Bennett’s/L.S. Lowry’ (lower left); further inscribed in Monty Bloom’s hand ‘With love/to/Doris’ (verso) (2)

£80,000 - 150,000 €110,000 - 200,000 US$120,000 - 230,000

Provenance The Artist Monty Bloom With Hamet Gallery, London, where acquired by Mrs. Doris Bloom Her sale; Christie’s, London, 9 June 2000, lot 148, where acquired by the present owner Private Collection, U.K. Exhibited Sheffield, Graves Art Gallery, The Works of L.S. Lowry, 15 September-14 October 1962, cat.no.91 (lent by the Artist) Newcastle-upon-Tyne, Stone Gallery, The Monty Bloom Collection, October-November 1964, cat.no.23 (ill.) Southport, Atkinson Art Gallery, The Bloom Collection, 1967 London, Hamet Gallery, L.S. Lowry, September-October 1972, cat.no.26 (ill.)

The present work was purchased from the 1972 exhibition by Doris Bloom on the advice of her cousin Monty Bloom. By the 1960s Lowry had begun to focus more intently on single and groups of figures. Whereas previously we viewed them from afar, often as part of an industrial setting, they now took centre stage within the composition and adopted a personality. This deep focus, which creates a psychological angle, was particularly appealing to Lowry who commented ‘I think this is my best period...I think I am saying more, going deeper into life than I did’ (L.S. Lowry quoted in Michael Howard, Lowry, A Visionary Artist, Lowry Press, Salford, 2000, p.201). His views were seemingly shared by one of his most ardent patrons, Monty Bloom, who was the original owner of the present work and stands next to the picture alongside the artist in the accompanying photograph to this lot. Monty Bloom, a successful Manchester businessman, saw great depth in these figurative pictures and his collecting of them bordered upon obsession as he accumulated a hundred or so bought in bulk. The two ladies in the present work, with their hint of grotesque, dominate the composition with Lowry’s trademark white background operating as a metaphor for the gap between us and the subject. As is often the case with these works, the artist gives a sense of the figures lurching into our space as they move briskly through the pictorial space nattering away to one another.

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34AR

HELEN BRADLEY (1900-1979)It’s Going to be a Beautiful Sunny Evening when we get to Blackpool signed with fly insignia (lower right); further signed, inscribed and dated ‘”It’s going to be a beautiful Sunny Evening/When we get to Blackpool”, said mother, and/we could see the drab towns being left/behind and the real country beginning with/lush pastures filled with cows and lots of big/trees. Father, Mother, George & I and the dogs, Gyp and Barney/Grandma and the three aunts were in a second/class compartment. Chatting away and planning/all the outings we were going to have when we/got to Blackpool. Mr Taylor (the Bank Manager) had/to travel first class along with Miss Carter (who/wore pink) and Mrs Maitland and Emily. Grandma,/the aunts, Miss Carter, Mrs Maitland and Emily took a house/in Lytham Road, while Mr Taylor had lodgings a few/doors away, to be near, so as to look after the ladies./Father, Mother, George & I and the dogs and cats stayed with/Grandpa and had a lovely time and the year was 1906/Helen Layfield Bradley 1970’ (on a label verso) oil on canvas laid on board 60.9 x 121.9 cm. (24 x 48 in.)

£60,000 - 80,000 €81,000 - 110,000 US$93,000 - 120,000

Provenance With Mercury Gallery, London, 29 March 1972, where acquired by Jonathan Cape Ltd., London Private Collection, U.K. Literature Helen Bradley, And Miss Carter Wore Pink; Scenes from an Edwardian Childhood, Jonathan Cape, London, 1971, p.11 (col.ill.) A letter from the artist to the present owner’s family discusses the painting “I’m glad you’ve got the picture of the Train going to Blackpool. Have you looked closely at the two men in the Hen Pens. The man with the Rhode Island Hens is holding out a White Egg. His hens always lay Brown Eggs. So where had it come from?”.

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35AR

CHRISTOPHER RICHARD WYNNE NEVINSON A.R.A (1889-1946)Road through a forest signed ‘C.R.W. NEVINSON’ (lower left) oil on canvas 60 x 44.8 cm. (23 5/8 x 17 5/8 in.) Please note that there is another painting by the same hand verso

£10,000 - 15,000 €14,000 - 20,000 US$15,000 - 23,000

Provenance Poole Hall, Nantwich, Cheshire Peter Francis Clegg Private Collection, U.K. Sale; Bonhams, London, 30 June 2010, lot 30, where acquired by the present owner Private Collection, U.K. The composition of the present work relates to C.R.W. Nevinson’s Autumn Sunshine, a reproduction of which was published in Apollo magazine in November 1929. The image verso relates to a recurrent motif which first appears in the mezzotint Wind (1918), then in the watercolour Wind in the Treetops (circa 1927, Birmingham City Museum and Art Gallery). An oil also titled Wind in the Trees was exhibited at the New English Art Club in 1929. We are grateful to Christopher Martin for his assistance in cataloguing this lot.

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36AR

JOHN NORTHCOTE NASH R.A. (1893-1977)The Sluice signed ‘John Nash’ (lower left) oil on canvas 45.7 x 60.9 cm. (18 x 24 in.)

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance With The Goupil Gallery, London Private Collection, Ireland A painting by the artist dating to 1930 and titled The Sluice Gate (sold in 1996 for £11,500) depicted Wormingford Mill in Essex, an area where Nash lived and painted for over fifty years. It is likely the present work is the same sluice from a different view.


37AR

ALGERNON CECIL NEWTON R.A. (1880-1968)In Chilham Valley, Kent signed with monogram (lower left) oil on canvas 68.5 x 91.4 cm. (27 x 36 in.) Painted in 1955

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance Probably acquired from the 1956 exhibition by the present owner’s family Thence by descent Private Collection, U.K. Exhibited London, Royal Academy of Arts, 1956, cat.no.494 Sheffield, Graves Art Gallery, Algernon Newton R.A. 1880-1968, 26 July-26 August 1980, cat.no.57; this exhibition travelled to Plymouth, City Art Gallery and Museum, 13 September-12 October and London, Royal Academy of Arts, 1 November -7 December

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In the early years of the twentieth century, Gill learnt letter cutting at the Westminster Technical Institute, and lettering from the calligraphic master Edward Johnston. He set himself up as a self-employed letter cutter in 1903 and for the next seven years had a most successful career in this profession. In 1909 Gill collaborated with Johnston on a loose-leaf portfolio of sixteen plates called Manuscript & Inscription Letters, published in September of that year. For the portfolio illustrations, Gill cut two Hoptonwood stone panels with alphabets and numerals, one of which was in incised italics, while the other was in raised letters and numbers, and these were represented by photographs. The italic one, which measured 11 x 17 inches, was cast into plaster by C.Smith and Sons, plaster moulders of Kentish Town, and sold to students of lettering. The present lot is very similar to the stone one that Gill carved for the portfolio, but is larger. This means that Gill must have cut another stone panel in 1909 of incised letters and numbers, and then also had this one cast in a plaster edition, presumably by C. Smith and Sons. We are grateful to Dr Judith Collins for compiling this catalogue entry.

38ERIC GILL A.R.A. (1882-1940)Alphabet signed with initials and dated ‘AERG 09’ (lower right) plaster 31.8 x 57.2 cm. (12 1/2 x 22 1/2 in.)

£4,000 - 6,000 €5,400 - 8,100 US$6,200 - 9,300


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39 * AR

SIR JACOB EPSTEIN (1880-1959)Augustus John bronze with a green patina on a wooden base 37.1 cm. (15 5/8 in.) high (excluding the base) Conceived in 1916

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance Private Collection, U.S.A. Exhibited London, Leicester Galleries, The Sculpture of Jacob Epstein, February-March 1917, cat.no.16 (the plaster cast) London, Leicester Galleries, 50 Years of Bronzes and Drawings by Sir Jacob Epstein 1880-1959, June-July 1960, cat.no.11 (another cast)

Literature Bernard Van Dieren, Epstein, John Lane, New York, 1920, pl.XLI (ill., another cast) Arnold Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. A Series of Conversations on Art, Heinemann, London, 1931, p.171 Jacob Epstein, Let there be Sculpture, Michael Joseph, London, 1940, pp.107-108 Robert Black, The Art of Jacob Epstein, World Publishing Company, New York and Cleveland, 1942, cat.no.47, pl.76 (ill., another cast) Richard Buckle, Jacob Epstein, Sculptor, Faber & Faber, London, 1963, pp.82-85, pl.127 (ill., another cast) E.P. & B.A. Schinman, Catalogue of the Collection of Edward P. Shinman, Farleigh Dickinson University Press, New Jersey, 1970, p.43 (ill., another cast) Evelyn Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, p.139, cat.no.72 (ill.b&w, another cast)


40 * AR

AUGUSTUS EDWIN JOHN O.M. (1878-1961)Self Portrait signed ‘John’ (centre right) pencil 39.7 x 35.6 cm. (15 5/8 x 14 in.)Executed circa 1901

£30,000 - 50,000 €41,000 - 68,000 US$46,000 - 77,000

Provenance Harold Eves, thence by family descent to the present owner Private Collection, U.K.

After leaving the Slade in 1898 at the age of 20, Augustus John’s draughtsmanship was already being compared to the techniques of the Old Masters. John’s habit of combining swiftly drawn bold lines with delicate pencil work characterises some of his very best drawings - drawings that were made on the spur of the moment as opposed to the numerous commissioned portraits of later years. This self portrait has not been seen in public for over a century, so it is all the more surprising to be confronted with the steady, clear gaze of the young artist looking straight out at us from beneath a fez hat. It makes an interesting comparison with his self portrait etchings, executed 1901 -1906, in which the artist poses in different hats, altering his appearance and perhaps becoming a stranger to himself. We see him in a broad brimmed hat, a high crowned hat, a fur cap, and ‘in a hat with untidy hair and beard’, a description that could equally fit the present work, and which makes it seem so alive.

Harold ‘Bunny’ Eves was a solicitor and represented a number of well known Modern British artists in the first half of the 20th century - possibly including Augustus John - whom he knew through his brother Reginald Grenville Eves R.A., a noted portrait painter whose sitters included Lawrence of Arabia and Thomas Hardy. It is probable that the present work was acquired by Eves on the advice of his close friend Jack Knewstubbe of the Chenil Gallery.

We are grateful to Rebecca John for compiling this catalogue entry.

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41AR

JACK BUTLER YEATS (1871-1957)Pound Street Band signed ‘JACK B. YEATS’ (upper right) and inscribed ‘THE POUND STREET BAND’ (on the back of the mount) pencil, pen and ink and watercolour 20.3 x 13.3 cm. (8 x 5 1/4 in.) Executed circa 1912

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance Purchased by Colonel W.M. MacDonald at the 1919 exhibition Joseph Abernethy, Dunedin Sale; Christie’s, London, 22 May 1998, lot 102, where acquired by the present owner Private Collection, U.K.

Exhibited Birmingham, Theatre Exhibition, 1917 Dublin, Mills Hall, Drawing and Pictures of Life in the West of Ireland, April-May 1919, cat.no.17 Literature J.B. Yeats, Life in the West of Ireland, Dublin, 1912, pl.29 (ill.) H. Pyle, The Different Worlds of Jack B Yeats, His Cartoons and Illustrations, Dublin, 1994, cat.no.1551 Yeats’s Life in the West of Ireland, published in 1912, was a compilation of drawings made by the artist referring to incidents and characters that he saw on his return to the West from Devon every year. The drawings may all have been produced from around 1904 until 1912, or close to the time of publication since the size and treatment is uniform. The work was issued in a special edition of 150 numbered copies, each with an original sketch signed by the author.

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42 * AR

AUGUSTUS EDWIN JOHN O.M. (1878-1961)Mrs Helen Georgiana St Clair Baddeley née Grant bears signature (lower right) pencil and chalk 34.5 x 22.8 cm. (13 5/8 x 9 in.)Executed circa 1903-6

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance Harold Eves, thence by family descent to the present owner Private Collection, U.K.

Helen Grant was born in 1864, daughter of the Clerk of the Desk of the House of Lords. In 1894 she married Welbore St Clair Baddeley, friend of Whistler, Kipling and Richard Burton and author of books on historical Gloucestershire and travels in Italy and Russia. Helen Grant was described by Augustus J.C. Hare (1836-1903) in ‘The Story of my Life’ as ‘the second of three beautiful sisters whom all the great artists wanted to paint’. The present work is one of three known portraits in red and black chalks, this being the finest in execution.

Harold ‘Bunny’ Eves was a solicitor and represented a number of the artists in the first half of the 20th century - possibly including Augustus John - whom he knew through his brother Reginald Grenville Eves R.A., a noted portrait painter whose sitters included Lawrence of Arabia and Thomas Hardy. It is probable that the present work was acquired by Eves on the advice of his close friend Jack Knewstubbe of the Chenil Gallery.

We are grateful to Rebecca John for compiling this catalogue entry.


43AR

SIR WINSTON SPENCER CHURCHILL O.M., HON. R.A. (1874-1965)Silver Life oil on canvas 48 x 35.5 cm. (19 7/8 x 14 in.) Painted in the 1930s

£100,000 - 150,000 €140,000 - 200,000 US$150,000 - 230,000

Provenance The Studio, ChartwellArabella Spencer-Churchill (1949-2007)Private Collection Literature David Coombs, Churchill, His Paintings, Hamish Hamilton, London, 1967, cat.no.174, p.146, (ill.b&w) David Coombs and Minnie S. Churchill, Sir Winston Churchill, His Life and his Paintings, Running Press, Pennsylvania, 2004, cat.no.C174 (col.ill., p.133) By any objective standards, this painting is a splendid example of ‘Modern British Art’. That it is by Winston Churchill may come as a surprise to many – but not to those who, in recent times especially, have come to appreciate the real quality of his best work. Churchill only began his “adventures with a paint brush” at the age of forty during the First World War when, in 1915 he was forced to take public responsibility for the Allied disaster at the Dardanelles. This led to his resignation as First Lord of the Admiralty and to his feeling that he was politically finished. Winston became profoundly depressed, so much so that his wife Clementine feared for his life. However, the “muse of painting” came to his rescue when Churchill and his family were enjoying a country holiday that same summer at an old farm house near Godalming in Surrey. He had been encouraged by his sister-in-law Gwendoline to try his hand at painting in watercolour but finding this too exacting he decided that to work in oils would better accord with his temperament. Having secured canvases, brushes and paints, Winston was unsure how to begin until encouraged by the unexpected arrival of Hazel, artist wife of the painter John Lavery, who showed him what he needed to do - with such success that he was set for the rest of his life on “painting as a pastime”. Afterwards, when time allowed Churchill worked in Lavery’s London studio developing his technique and, more to the point, building his self-confidence as a painter, although he never lost his feelings of inadequacy in this regard, generally preferring to exhibit, when offered the opportunity, under a pseudonym. By 1921, Churchill’s work as a painter was of sufficient quality for him to show some of his works at the Galerie Druet in Paris, arranged by his friend and long-time painting companion Charles Montag.

Given Churchill’s over arching fame as a politician and a writer, and remembering the self-deprecating way he was wont to describe his paintings, it is important to be reminded of his genuine friendships with professional artists. He enjoyed their unreserved company and accepted their criticisms while respecting their work, as they did his. Three friendships were especially important for Churchill. First as already mentioned, John Lavery and then in the late 1920s Walter Sickert who had known Clementine Churchill years before when she was living in Dieppe with her mother. Alerted by a newspaper account of Clementine’s bruising encounter with a London bus, Sickert called to see her at Winston’s official residence in Downing Street (he was at the time Chancellor of the Exchequer) and the two men became friends, talking about painting there and when visiting the Churchills’ country home, Chartwell in Kent. In two letters Walter instructed Winston in the former’s preference for painting in layers over a white ground and subsequently too introduced him to the idea of using photographs, as a compositional aid. But it was in the following decade when Churchill was out of power, that he was to meet another eminent British artist William Nicholson, who as Winston told John Rothenstein, Director of the Tate Gallery later: “was the person who taught me most about painting.” Nicholson came to Chartwell first in the summer of 1934 commissioned by a group of friends to paint a conversation piece, a double portrait, of Winston and Clementine in celebration of their Silver Wedding. Nicholson was, in their daughter Mary Soames’ words “a man of enormous and idiosyncratic charm... who soon became a favourite with the whole family” staying with them long and often in the years that followed. This picture Silver Life (a title I now admit I first gave it when compiling my original catalogue of Churchill’s paintings in 1965, some 500 in total) shows Winston painting freely, expertly and with absolute confidence, having chosen, rather typically, an unusually complex subject. Three pieces of silver are grouped on the lowest shelf of a whatnot – a small tiered table used for displaying ornaments much favoured in Victorian and Edwardian homes. Each piece of silver sparkles and reflects the light in the room and reflects too the dark perspectives of the polished wood of the table. There can be little doubt that this picture was painted under the influence of William Nicholson – a peerless master of still-life painting. Which being said, Silver Life is in its characteristic dash and verve and decided inclusion of a diaphanous curtain, representative in every way of Churchill’s own and very best work. We are grateful to David Coombs for compiling this catalogue entry.

The silver lidded vases with ladles in the present work are currently on display at Chartwell and are believed to be the work of Mappin & Webb, circa 1915 (copies of 1790s condiment vases).

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44AR

CHRISTOPHER RICHARD WYNNE NEVINSON A.R.A. (1889-1946)London from Parliament Hill signed ‘C.R.W. Nevinson’ (lower left) wash, gouache and pastel 25.3 x 35.6 cm. (10 x 14 in.)

£25,000 - 35,000 €34,000 - 47,000 US$39,000 - 54,000

Provenance Acquired from the 1924 exhibition by A.G. Matthews Esq., thence by family descent Private Collection, U.K. Exhibited London, The Leicester Galleries, Exhibition of Works by C.R.W. Nevinson, 1924, cat.no.142 Nevinson produced an etching of the same composition by the same title in 1923 (see above). Jonathan Black notes that this ‘was a view with which Nevinson would have been familiar since childhood. The Nevinson family had lived very near Parliament Hill on Hampstead, at 44 Savernake Road, from 1896 to 1901. The heath and the hill had close associations with two of Nevinson’s self-proclaimed artistic heroes, Constable and Turner, in the early nineteenth century.’ (Jonathan Black, C.R.W. Nevinson, The Complete Prints, Lund Humphries in association with Osborne Samuel, London, pp.52-53). We are grateful to Christopher Martin for his assistance in cataloguing the present lot.

Christopher Richard Wynne Nevinson, London from Parliament Hill etching printed with tone

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45SIR JOHN LAVERY R.A., R.S.A., R.H.A. (1856-1941)Portrait of a young lady signed and dated ‘J Lavery 1886’ (on a canvas fragment attached to the stretcher) oil on canvas 77.5 x 64.2 cm. (30 1/2 x 25 1/4 in.)

£10,000 - 15,000 €14,000 - 20,000 US$15,000 - 23,000

Provenance With Frederick Thom Gallery, Toronto Acquired by the present owner in 1993 Private Collection, U.K.

When he returned from France at the end of 1884, the young John Lavery immediately re-established his studio in Glasgow. Living in Paisley, within easy commuting distance, he was looking for an eye-catching subject that would give much-needed publicity, when he painted The Tennis Party (Aberdeen Art Gallery). This iconic picture, after being exhibited in London and Edinburgh, secured a gold medal at the Paris Salon, and effectively launched his career. A controversial canvas like this would open the door to more lucrative portrait commissions.

As his reputation grew, Lavery secured the patronage of William Mackean, Lord Provost of Paisley, and other prominent citizens of the town. Mackean’s connections, he later recalled, helped to open doors for him – including those of Windsor Castle, when he secured a sitting from Queen Victoria in 1889. The cotton kings of Paisley also required portraits and among these were the Fulton, Coats and Clark families, whose wives and daughters were booked for sittings. James Fulton for instance, requested portraits of his daughters, Alice and Eva (Paisley Museum and Art Gallery, Renfrewshire Council Collections), and we find

them appearing in other compositions of the period. Yet although much is known about these commissions, much remains to be discovered and while we may observe a facial resemblance between the auburn-haired Eva Fulton and the present blonde sitter, we cannot definitively say that she is a Fulton. By the same token, a comparable unidentified portrait, Girl with Fur Wrap, (Private Collection) also of 1886, shows a model wearing a white dress with shoulder ribbons, similar to those in the present example, although again, hair colourings are different.

The young lady’s dress in the present canvas, at least in its upper portion, is nevertheless of great interest, being modelled on one designed by Worth, and worn by the subject in Whistler’s Harmony in White and Ivory, Lady Colin Campbell (unlocated, probably destroyed). Lavery, who was aware of the great importance of the American artist for members of his generation, met him at this time and was showing at the Society of British Artists when the Lady Colin Campbell portrait was exhibited. Pictorial harmony was, and would remain, a primary characteristic of his approach to the sitter and his subject in the present canvas was ‘symphonic’ in the Whistlerian sense - silver-blues in her glove ties, complementing subtle notes of cream, gold and pink in the hair and dress accessories.

Thus, a charming young woman, dressed in a ball gown, poses in the painter’s studio. The artist may well be echoing his early canvas, After the Dance, 1883 (Private Collection), but this picture avoids all sense of coquetry. The ebonized ladder back chair on which she sits appears in other pictures – notably in Finale, 1885-7 (Private Collection) – but again, narrative is banished. Placed under strong light, the girl’s face is nevertheless, not devoid of allure, and while Lavery’s models and his movements between Glasgow and London in 1886 and 1888 remain largely undocumented, we can make clear judgements concerning his aesthetic direction. In this the charming Portrait of a Young Woman marks a vital way-stage.

We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.

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comments, ‘what that great hulking lout in his mother’s shop must feel like I don’t know’ (Charles Sargeant Jagger quoted in Ann Compton, The Sculpture of Charles Sargeant Jagger, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2004, p.21). The Military Service Act, which came into force on March 2nd, 1916, introduced conscription to the UK with those who appealed against active duty facing locally established tribunals whose job was to decide between ‘conscience or cowardice’. During the first six months of the Act more than 750,000 cases were heard by tribunals with only a small number recognised as ‘legitimate’. Indeed, the anonymous sitter in the present work would have been one of only 16,000 conscientious objectors registered from March of 1916 to the end of the war. These civilians were allocated alternative service of ‘national importance’ which was primarily unarmed duties in the Non-Combatant Corps, Royal Army Medical Corps or labour such as farm or factory work. Conscientious objectors were often shamed, perhaps best illustrated by the white feather that was issued to men not in uniform and organisations such as the No-Conscription Fellowship sought wider pacifism with prominent individuals such as Bertrand Russell and Ramsay MacDonald supporting it. The determination in the face of the sitter in the present work cannot be disputed as he stares intently at us the viewer, alone in the darkness, steadfast in his belief and committed to his cause (for whatever reason). Painted in 1917 and exhibited at the Royal Academy in that year (the artist’s first appearance at the institution), one can imagine the interrogation he might have faced in front of a tribunal and the resolve with which he would have needed to maintain. Despite his situation, Jagger has created a stylish portrait with a striking use of light which appears both characterful and evocative. It is a searching picture which whilst serious is at the same time finished with a degree of flamboyance and theatre which Jagger often incorporated into his portraiture. Amongst David Jagger’s most celebrated works are portraits of Lieutenant-General Robert Baden-Powell (1929, Baden-Powell House) and Sir Winston Churchill. A significant number of his portraits were of anonymous sitters such as Portrait of an Officer of the RAF during World War II (1941). The world auction record for the artist was set in these rooms with Olga selling for £40,000 on 28 March 2006.

46AR

DAVID JAGGER R.O.I. (1891-1958)The Conscientious Objector signed ‘David Jagger’ (on a label attached to the frame) oil on canvas laid on board 55.2 x 46 cm. (21 3/4 x 18 in.) Painted in 1917

£5,000 - 8,000 €6,800 - 11,000 US$7,700 - 12,000

Provenance Acquired by the family of the present owner prior to 1972 Private Collection, U.K. Exhibited London, Royal Academy of Arts, 1917, cat.no.494 David Jagger was born in Kilnhurst, near Rotherham in 1891 and attended the Sheffield School of Art together with his sister Edith and brother Charles. The sibling trio were known to exhibit together as ‘The Jagger Family’ and Charles in particular went on to enjoy much success as a sculptor with esteemed works including the Royal Artillery Memorial at Hyde Park Corner and the Great Western Railway War Memorial in Paddington station. A true ‘military man’, brother Charles had given up a scholarship in Rome to join the army and initially served with the Artists’ Rifles before moving to the Worcestershire Regiment in 1915 with whom he served in Gallipoli and at the Western Front. He saw much action and was awarded the Military Cross for gallantry after having held his position during the Battle of Neuve Eglise in April 1918 where he was stranded with only fifty men and very little ammunition, eventually being shot through the left lung in an exchange of machine gun fire. David Jagger did not serve, possibly on the grounds of ill health, which seems to have been a source of some tension between the brothers. In a letter to Violet Constance Smith dated 1 December 1915, Charles

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47 * SIR JOHN LAVERY R.A., R.S.A., R.H.A. (1856-1941)House Tops, Tetuan, View from the House of the British Minister signed ‘J Lavery’ (lower left); signed again and dated ‘John Lavery/1912’ (verso) oil on canvasboard 25.2 x 35.4 cm. (10 x 14 in.)

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Provenance With Scott & Fowles, New York Private Collection, U.S.A.

Thirty-seven miles due east of Tangier, Tétouan was the first stopping point on John Lavery’s first overland journey to Fez in the spring of 1906 (see Selwyn Brinton, ‘An English Artist in Morocco’, The Connoisseur, 1907, pp. 34-41). On this memorable expedition he was accompanied by the Times correspondent, Walter Harris, the writer, RB Cunninghame Graham, and a party of thirteen armed guards. Although relatively close to Tangier, the final section of the road to Tétouan lay through Rif Mountain passes that were patrolled by the notorious brigand, El Raisuli. Having successfully negotiated them the travellers descended into the Martil Valley and the picturesque Hispano-Moorish city lay before them. In the short time he spent there, the artist completed a number of small oil sketches in its colourful streets.

Significantly the journey to this beautiful ancient settlement on the coast was not repeated until 1912. During the intervening years, lawlessness in the country was rife until Marshal Lyautey, at the head of a French force invaded Morocco to restore order and lift the siege of Fez. Thereafter the Sultan abdicated and the country became a French protectorate. British Moroccan interests had already been effectively secured by the Treaty of Algeciras, signed in 1906.

None of the current civil tension is apparent however in the present rooftop view of the peaceful city, completed in the early months of the year during the Laverys annual winter sojourn in North Africa. That year, the most important social event of the season was the marriage of Lavery’s daughter, Eileen, at his house in Tangier. All of the European expatriate community attended. Although the painter was very active on this particular stay, no other oil sketches of Tétouan are known in 1912. The striking mountain range and patchwork of streets and houses, conveyed in confident, fluid brushstrokes, was however, not to be missed and one can imagine that renewed acquaintance with this striking scene provided respite from the wedding preparations. The view, including the white mosque tower in the foreground, remains largely unchanged to this day.

We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.

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48 * AR

PAUL HENRY R.H.A. (1876-1958)Cabins by a Lough: West of Ireland signed ‘Paul Henry’ (lower left) oil on panel 33.4 x 40.6 cm. (11 7/8 x 16 in.)

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Provenance Private Collection, U.S.A. Stylistically this work is presumed to have been painted circa 1934-39 and will be recorded as cat.no.1299 in Dr Brian Kennedy’s ongoing catalogue raisonné on the artist. We are grateful to Dr Brian Kennedy for his assistance in cataloguing this lot.


49WALTER RICHARD SICKERT A.R.A. (1860-1942)The Gateway to Euston Station signed ‘Sickert’ (lower right) oil on canvas 51 x 40.5 cm. (20 x 16 in.) Painted 1910-14

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

ProvenanceSylvia GosseWith The Redfern Gallery, LondonAcquired by the family of the present owner in 1950, thence by descentPrivate Collection, U.K.

ExhibitedLeeds, Temple Newsam House, The Life Work of Walter Richard Sickert, 28 March-31 May 1942, cat.no.161London, Da Vinci Gallery, Paintings and Drawings by Sickert, 6 May-30 June 1947, cat.no.6Liverpool, Walker Art Gallery, Personal Choice, Paintings & Sculpture from Local Private Collections, July 19-August 20 1961, cat.no.73Wallasey, Festival of the Arts, An Exhibition of British Paintings and Sculpture, 25 October-6 November 1965, cat.no.29

This previously untraced work depicts the Euston Arch gateway entrance to Euston station. The arch was erected as part of the station’s original construction in 1837 and demolished in the 1960s.

We are grateful to Dr. Wendy Baron for her assistance in cataloguing the present work.

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Dame Elisabeth Frink is internationally celebrated as a leading figure of the art of post-war Britain. Acclaim came early for Frink when, at the age of 21, the Tate Gallery acquired a bird sculpture from her first exhibition. Following this she was courted by the media, admired by the public and showcased through major and successful exhibitions both domestically and internationally. She was awarded D.B.E. in 1982, and received numerous and notable public commissions throughout her career. Across five decades her work, rendered in an instantly characteristic yet constantly developing aesthetic of brutal beauty, examines the conditions of humanity across the second half of the 20th Century.

As an artist Frink matured extremely quickly. Within the first decade of her career she had explored motifs such as birds, horses, soldiers, dogs and heads that would then reoccur as themes right until her final works. She also arrived at a preferred technique almost immediately. She worked in plaster over armature which allowed her to both carve and model at once, and at an extremely rapid pace. She worked in solitude on the plasters, with no assistants, and would follow the foundry process with the closest of scrutiny ensuring, as she put it, she had ‘the last word’1. Arguably it is this speed, single-mindedness and boldness of process that imbues her bronzes with a living quality rarely achieved in the medium.

Born in 1930, Frink came of age against the backdrop of WWII and the aftermath of nuclear threat. With a military father, the experiences reported from the front line deeply affected her and the psychological scars she witnessed manifested themselves in many of her formative works. Arguably these scars never healed within her oeuvre. Always a politically and socially engaged individual, her work latterly stemmed from reports of global conflicts. The celebrated, menacing thug bully-boy Goggle Heads are a representation of General Mohamed Oufkir (who was implicated in the assassination of the leader of the Moroccan Independence party) and she followed closely the events of the Algerian War and in response created the Tribute Heads as, in her own words ‘a tribute to people who have died for their beliefs’2. Although perhaps foremost a figurative artist, Frink had a country childhood which indebted her with a great fondness for animals. Often in her work Frink would turn to imagery of creatures and beasts and it is important to recognise that her animals do not inhabit a separate sphere from the remainder of her sculpture. She is most purposeful in selecting animals which have historic connotations and then, through sculpting them in the eternal medium of bronze, they become a mirror device to mankind’s presence.

Frink is an artist who is quite rightly central to the dialogues of post-war British Art, to figurative sculpture and of course to the history of female artists. The following ten sculptures and two drawings, all from private collections, offer a selected overview of Frink’s complex, and crucial output.

1. Frink in Ianthe Ruthven, ‘A Sculptor’s Conscience’, Independent Magazine, 1 May 1993, p.342. Frink in conversation with Norman St John-Stevens, 1981.

TWELVE WORKS BY DAME ELISABETH FRINK R.A. (1930-1993)


50 * AR

DAME ELISABETH FRINK R.A. (1930-1993)Dog 1 signed and numbered ‘Frink 3/8’ (on the base) bronze with a brown patina 32.5 cm. (12 3/4 in.) long Conceived in 1980

£40,000 - 60,000 €54,000 - 81,000 US$62,000 - 93,000

Provenance With The Everard Read Gallery, Johannesburg, 23 June 1983, where acquired by the present owner Private Collection, South Africa Literature Jill Wilder (ed.), Elisabeth Frink, Sculpture Catalogue Raisonné, Harpvale, Salisbury, p.193, cat.no.252 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.145, cat.no.FCR286 (ill.b&w, another cast)

Frink first employed a canine motif in 1957 for the life-sized Blind Beggar and Dog, one of her earliest major commissions for Bethnal Green Borough Council. The core theme of the work is the reliance of the ailed human on the dog for guidance. Frink sculpted dogs again on more than a dozen occasions throughout her life. They appear in various poses but, unlike her representations of other animals such as horses or buffalos which may take recumbent and restful positions, the dogs in each instance remain alert and watchful. Yet, as is so often the case in Frink’s art, a contradictory nature is at the centre of the work. For although the dogs are presented as vigilant and loyal, they are also expectant as to the actions and wants of their masters. As such it is the symbiotic relationship of man and beast that becomes the primary concern of these works. Frink comments ‘I think man is dependant on animals and this dependency puts an awful responsibility on the animal: they have to lump it. Your dog is entirely dependant on you – your needs, your whims, how you are feeling. For this he gives us undying devotions. Its an extraordinary relationship.’ (Edward Lucie-Smith and Elisabeth Frink, Frink: A Portrait, Bloomsury, London, 1994, p.121).

The present owner of the work recalls ‘We were many years ago guests of Elisabeth and her husband at their charming rambling farm house in Dorset and the dog was their own. He enjoyed the lamb bones on the Persian rugs which were tossed to him by the family during the meal! A most memorable visit. He was a Hungarian Vizsla.’

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51AR

DAME ELISABETH FRINK R.A. (1930-1993)Eagle signed and numbered ‘Frink 12/12’ (on the base) bronze with a brown patina on a bronze base 15.3 cm. (6 in.) high (including the base)

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance Acquired directly from the Artist by Lady Susana Walton, by whom given to the present owner Private Collection, U.K.

Lady Susana Walton and her husband the composer Sir William Walton were friends and patrons of the artist. In 1976 Frink sculpted a portrait bust of Sir William as a commission by the Royal Festival Hall (FCR263). We are grateful to the Estate of Elisabeth Frink for confirming that this is an unrecorded work and will be included in the Estate’s database.

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52AR DAME ELISABETH FRINK R.A. (1930-1993)Boar signed ‘Frink’ (on the base) bronze with a dark brown patina 22.9 cm. (9 in.) long Conceived in 1967-8

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Exhibited London, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 Febuary-24 March 1985 (another cast)

Literature Jill Wilder (ed.), Elisabeth Frink Sculpture; Catalogue Raisonné, Harpvale, London, 1984, cat.no.171, p.172-173 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.112, cat.no.FCR198

Boars reoccur in both Frink’s sculpture and drawing from 1957 until the mid-1970s. Annette Ratuszniak comments ‘In 1955 Frink married the architect Michel Jammet, from a French family that lived in Dublin. When traveling around Ireland, Frink saw a lot of Celtic sculpture. Although not drawing directly upon Celtic imagery or myths, she was interested in the psychological relations between humans and animals. In Irish mythology boars were ‘above all symbols of warfare and aggression’. (Annette Ratuszniak (ed), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.56). This work was commissioned by The Zoological Society of London.


53AR

DAME ELISABETH FRINK R.A. (1930-1993)Horse in the Rain IV signed and numbered ‘Frink/10/10’ (underneath) bronze with a brown patina 43.3 cm. (17 in.) long Conceived circa 1984

£70,000 - 100,000 €95,000 - 140,000 US$110,000 - 150,000

Provenance With Beaux Arts, London, where acquired by the present owner Private Collection, U.K. Exhibited London, Beaux Arts, Frink, 7 June-8 July 2006 (another cast) Literature Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.163, cat.no.FCR328 (col.ill, another cast)

Amongst the most familiar of Frink’s motifs, the examination of horses dates back to her earliest works of the 1950s, however it is the equine subjects which dominated her output between 1969 and 1985 that receive the highest acclaim:

This is Frink at her most relaxed. She knew everything about horses, and had the ability to sculpt them with both broad consequence and, at the same time, exacting precision. This accounts for their strength and agility. There’s hardly any detail, but they are so alive that you expect one at any moment to flick a fly away with the swish of its tail or shake of its head. (Julian Spalding, in Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.18)

Following a move to the south of France in 1967 Frink became fascinated by the Camargue horses, a wild and ancient breed indigenous to the region. These horses suited her purpose far more than those she had previously been familiar with as a keen rider in her youth. She elaborates; ‘The horse sculptures are nothing to do with the horse you see here in England – the hunter, the show horse, the race horse. They’re much more to do with the ancient spirit of the horse and with its evolution in relation to Man. The animals I make are far more what I feel for them than what they are in real life. I’m imprecise about the muscles... I’m much more interested in the spirit of the animal. I get into the inside of the animal and the outside takes care of itself (Edward Lucie-Smith and Elisabeth Frink, Frink, A Portrait, Bloomsbury, London, 1994, p.50).

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54 * AR

DAME ELISABETH FRINK R.A. (1930-1993)Soldiers Head I signed and numbered ‘Frink 1/6’ (on the back of the neck) bronze with a brown patina 36.8 cm. (14 1/4 in.) high Conceived in 1965

£30,000 - 50,000 €41,000 - 68,000 US$46,000 - 77,000

Provenance With Waddington Galleries, Montreal, circa 1974, where acquired by the present owner Private Collection, Canada Exhibited London, Waddington Galleries, Elisabeth Frink, 30 November 1965 (another cast) London, Battersea Park, Sculpture in the Open Air: An Exhibition of Contemporary British Sculpture, 20 May-September 1966 (another cast) London, Waddington Galleries, Elisabeth Frink, 11 October-4 November 1972 (another cast) London, Beaux Arts, Frink: Sculpture, Drawings and Prints, 1998 Literature Jill Wilder (ed.), Elisabeth Frink, Sculpture Catalogue Raisonné, Harpvale, Salisbury, pp.162-163, cat.no.117 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.94, cat.no.FCR141 (ill.b&w, another cast)

Frink comments; ‘In the mid sixties I made a series of soldier’s heads which were rather brutal. They had pigtails. I like the idea of the head being terminated in some kind of ribbon at the back. The pigtail in my sculptures was rather like a cardinal’s ribbon. I was married to a man, Edward Pool, whose head was rather like this – no pigtail, but bearded, a fine head – and I incorporated his beard into the shape of a head so each sculpture, indirectly based on this man, had a rather massive jaw.’ (in Jill Wilder (ed.), Elisabeth Frink Sculpture; Catalogue Raisonné, Harpvale, London, 1984, p.37). Edward (or Ted) Pool was Frink’s second husband whose severe war wounds acted as a constant reminder of the violence of her times. Anti-militant, Frink engaged her sculpture to combat ideas of celebrating war and violence. The solider is not presented as a functioning military machine but a disfigured, stupefied and helpless being. Conceived in her most active year, Soldier’s Head I is an early example of Frink’s use of the form of the head as a ‘vehicle for emotion’ and would receive early praise with Edward Mullins declaring; ‘These blunt representations of the hireling thug are in my view her most interesting yet’ (Edward Mullins, ‘Grown-Up Prodigies’, The Sunday Telegraph, 5 December, 1965, p.12).

Themes first explored in the Soldier’s Head works were then developed in the equally combative and iconic Goggle Heads and then resolved in the restful Tribute Heads a decade later.

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55AR DAME ELISABETH FRINK R.A. (1930-1993)Eagle Maquette signed ‘Frink’ and stamped ‘8.10’ (on the bronze base) bronze with a brown patina on a stone base 29.5 cm. (11 5/8 in.) high (excluding the stone base) Conceived in 1984

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Provenance With Beaux Arts, London, where acquired by the present owner Private Collection, U.K. Literature Edward Lucie-Smith, Elisabeth Frink; Sculpture Since 1984 And Drawings, Art Books International, London, 1994, p.145, cat.no.SC11a (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink; Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.166, cat.no.333 (col.ill, another cast)

The present work is a maquette for Eagle, 1986, Grosvenor Square, London which was commissioned by the Eagle Squadron Association to crown the monument commemorating the 244 Americans and the 16 British fighter pilots and other personnel who served in the three Royal Air Force Eagle Squadrons prior to the participation of the United States of America in the Second World War.

56AR

DAME ELISABETH FRINK R.A. (1930-1993)Mirage II signed and numbered ‘Frink/4/5’ (on the base) bronze with a dark brown patina 91.4 cm. (36 in.) high Conceived in 1967

£30,000 - 50,000 €41,000 - 68,000 US$46,000 - 77,000

Provenance With Osborne Samuel, London, where acquired by the present owner Private Collection, U.K. Exhibited London, Waddington Galleries, Elisabeth Frink, 11 October-4 November 1972 (another cast) Wakefield, Yorkshire Sculpture Park, Elisabeth Frink: Open Air Retrospective, 1983 (another cast) London, Royal Academy of Arts, Elisabeth Frink, Sculpture and Drawings 1952-1984, 1985 (another cast) Hong Kong, The Rotunda, Exchange Square, Elisabeth Frink: Sculpture & Drawings, part of Hong Kong Festival, 1989 (another cast) Washington, The National Museum for Woman in the Arts, Elisabeth Frink: Sculpture and Drawings 1950-1990, 1990 (another cast) London, Beaux Arts, Frink: Sculpture, Drawings and Prints, 1998 (another cast) London, Beaux Arts, Frink, 2006 (another cast) London and Bath, Beaux Arts, Frink, 2009 (another cast) Literature Jill Wilder (ed.), Elisabeth Frink, Sculpture Catalogue Raisonné, Harpvale, Salisbury, 1984, p.171, cat.no.162 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.108, cat.no.FRC187 (ill.b&w., another cast)

Like her contemporaries whose work of the period was generalised under the term ‘Geometry of Fear’, Frink in the late ‘50s and ‘60s engaged with the heavy sense of dread that came from living in a newly nuclear-enabled world. She called upon the symbolism of birds as harbingers of this potential catastrophic violence. They appeared as blinded, sharp-beaked aggressors, distorted and stalking which took on an archaic form and crowed towards unknown horrors. This brutal aesthetic dominated her output until 1967 when she moved to the south of France. The light brighter and the air warmer, her entire output shifted accordingly. The Mirage works were the first bird pieces produced there and although they retain many similar qualities to their predecessors, they are decidedly more evolved. Inspired by local flamingos, which when viewed from afar in intense heat, became distorted by mirage to become even more slender, the sculptures’ surface becomes smoother and more finessed and the form sleeker and more stylised.

86 | BONHAMS

57AR

DAME ELISABETH FRINK R.A. (1930-1993)Dog signed and numbered ‘Frink 49/50’ (on the left hind paw) bronze with a dark brown patina 29.2 cm. (11 1/2 in.) high Conceived in 1992

£50,000 - 80,000 €68,000 - 110,000 US$77,000 - 120,000

Provenance With Courcoux & Courcoux Contemporary Art Limited, London (as Childhood), 15 January 1997, where acquired by the present owner Private Collection, U.K. Exhibited Salisbury, Salisbury Library and Galleries, Elisabeth Frink: A Certain Unexpectedness, 1997 (another cast) Literature Edward Lucie-Smith, Elisabeth Frink; Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.20 & 191, cat.no.SC73 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink; Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, pp.188-189, cat.no.401 (ill.b&w, another cast)

The work was cast as part of a project to raise funds for the Hospital of Sick Children, Great Ormond Street, London. Please note that this work is accompanied by a copy of the Courcoux & Courcoux Contemporary Art Limited invoice and certificate of authentication.

88 | BONHAMS

58AR

DAME ELISABETH FRINK R.A. (1930-1993)Small Standing Dog signed and numbered ‘3/8/Frink’ (on the right hind paw) bronze with a light brown patina 34.7 cm. (13 3/4 in.) long Conceived and cast in 1991

£50,000 - 80,000 €68,000 - 110,000 US$77,000 - 120,000

Provenance Acquired directly from the Artist by the present owner, 15 December 1991 Private Collection, U.K. Literature Edward Lucie-Smith, Elisabeth Frink, Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.191, cat.no.SC63 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.187, cat.no.FCR394 (col.ill, another cast) Please note that this work is accompanied by a copy of the Artist’s invoice.


59AR

DAME ELISABETH FRINK R.A. (1930-1993)Golden Eagle signed and numbered ‘Frink/2/9’ (underneath) bronze with a golden brown patina 10.6 cm. (4 1/4 in.) high Conceived in 1978

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance Acquired by the present owner circa 1985 Private Collection, U.K. Literature Jill Wilder (ed.), Elisabeth Frink, Sculpture Catalogue Raisonné, Harpvale, Salisbury, 1984, p.190, cat.no.243 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.140, cat.no.FCR273 (col.ill, another cast)

90 | BONHAMS

60AR DAME ELISABETH FRINK R.A. (1930-1993)Small Bird II signed and numbered ‘Frink/1/7’ (on the base) bronze with a brown patina 35.6 cm. (14 in.) high Conceived in 1964

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance Acquired directly from the Artist by the family of the present owner Private Collection, U.K. Literature Jill Wilder (ed.), Elisabeth Frink, Sculpture Catalogue Raisonné, Harpvale, Salisbury, 1984, pp.160-161, cat.no.109 (ill.b&w, another cast) Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, pp.90-91, cat.no.FCR133 (col.ill, another cast)


61AR

DAME ELISABETH FRINK R.A. (1930-1993)Dog signed and dated ‘Frink 58’ (lower right) watercolour 74.9 x 57.2 cm. (29 1/2 x 22 1/2 in.)

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance Acquired directly from the Artist by the family of the present owner Private Collection, U.K.

92 | BONHAMS

62AR

DAME ELISABETH FRINK R.A. (1930-1993)Wounded Horse signed and dated ‘Frink ‘87’ (lower left) charcoal and gouache 99.1 x 73.7 cm. (39 x 28 in.)

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance With Beaux Arts, Bath, circa 1987, where acquired by the present owner Private Collection, U.K.


63AR

IVON HITCHENS (1893-1979)View of Iping titled ‘View of Iping’ (verso); inscribed and dated ‘Iping 1940’ (on the canvas overlap) oil on canvas 40.6 x 107.9 cm. (16 x 42 1/2 in.)

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Provenance Gifted by the Artist’s wife to the family of the present owner in the 1980s Private Collection, U.K.

Please note that this work has been authenticated by John Hitchens, the artist’s son, and bears a studio stamp (verso). In 1940 Hitchens moved to West Sussex after his house was bombed, making the present view of Iping (dating from the same year) one of the first paintings of his new environs.

94 | BONHAMS

64AR

IVON HITCHENS (1893-1979)Dunford Stream in April, No.1 signed ‘Hitchens’ (lower right) oil on canvas 43 x 144.9 cm. (17 x 57 in.) Painted 1954-62

£25,000 - 35,000 €34,000 - 47,000 US$39,000 - 54,000

Provenance Acquired directly from the Artist by the present owner Private Collection, U.K.

The present work is the first of two known paintings of this title, the second being numbered as such and dated to the same period of 1954-62 (see Peter Khoroche, Ivon Hitchens, Lund Humphries, Aldershot, 2007, p.146, pl.118). Dunford Stream in April No.2 was sold at auction for £20,900 on 10 November 1989. This lot is a fully realised and successful example dating from a time of extraordinary professional achievement for the artist. Painted on a large scale and acquired directly from the artist, the work is rich with a fresh variety of colour and full dynamic brushstrokes. The Sussex landscape comes alive as our vision is directed up, down, across, back and forth over every inch of the canvas.


65AR

IVON HITCHENS (1893-1979)Algerian Courtyard signed ‘Hitchens’ (lower right); further signed, inscribed and dated ‘Algerian Courtyard/1960/by IVON HITCHENS/Greenleaves Petworth. Sussex’ (on a label attached to the stretcher) oil on canvas 55.9 x 83.8 cm. (22 x 33 in.)

£30,000 - 40,000 €41,000 - 54,000 US$46,000 - 62,000

Provenance With The Waddington Galleries, London, 12 October 1961, where acquired by Peter Inchbald, thence by descent to the present owner Private Collection, U.K.

Peter Inchbald, cousin to Michael Inchbald, (whose wife, Jaqueline Duncan, founded the Inchbald School of Design), was an alumnus of Sir John Cass Institute and the Royal Academy schools where he was a contemporary of Anthony Caro and Sandra Blow. A painter, sculptor and silversmith in his own right, he was also Managing Director of Walker and Hall, where he gave David Mellor and Robert Welch some of their first commissions. He was a leading advocate of modern design serving on the Council of Industrial Design (now the Design Council) in the 1950s and 1960s during the Sir Gordon Russell era. In later years he returned to painting, sculpture, and lastly writing when he wrote the popular Franco Corti series.

96 | BONHAMS

66AR

SIR MATTHEW SMITH (1879-1959)Still life with Bananas oil on canvas 27.3 x 43.2 cm. (10 3/4 x 17 in.) Painted circa 1950

£15,000 - 25,000 €20,000 - 34,000 US$23,000 - 39,000

Provenance Sale; Christie’s, London, 9 June 2000, lot 87 (as Still life with bananas, apples and grapes) Private Collection, U.K. Literature John Gledhill, Matthew Smith, Catalogue Raisonné of the Oil Paintings, Lund Humphries, London, 2009, p.251, cat.no.683 (ill.b&w) We are grateful to Dr John Gledhill for his assistance in cataloguing this lot.


67CHRISTOPHER WOOD (1901-1930)Tulips and Fruit oil on board 46.7 x 38.7 cm. (18 3/5 x 15 1/4 in.) Painted in 1925

£30,000 - 50,000 €41,000 - 68,000 US$46,000 - 77,000

Provenance With The Redfern Gallery, London, circa 1940s, where acquired by John Bryan (1911-1969), thence by family descent to the present owner Private Collection, U.K. Exhibited London, The New Burlington Galleries, Christopher Wood, Exhibition of Complete Works, arranged by The Redfern Gallery, 3 March-2 April 1938, cat.no.1 Literature Eric Newton, Christopher Wood, 1901-1930, The Redfern Gallery, London, 1938, p.66, cat.no.104 John Bryan was an Oscar winning director and film producer who, alongside David Lean, Ronald Neame and Anthony Havelock-Allen formed Cineguild Productions in 1944. Cineguild produced some of the finest British cinema of the 1940s including Brief Encounter, Great Expectations and Oliver Twist. In 1945 Cineguild produced the film adaptation of Sir Noel Coward’s Blithe Spirit in which the set was dressed with a number of pictures by Wood.

98 | BONHAMS

68RODERIC O’CONOR (1860-1940)Seated Nude, Half-length stamped with atelier stamp (verso) oil on canvas 64.8 x 54.6 cm. (25 1/2 x 21 1/2 in.) Painted circa 1923-6, please note there is another work by a different hand verso

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

Provenance Sale; Hotel Drout, Paris, Vente O’Conor, 7 February 1956 With Godolphin Gallery, Dublin, 1978 D.T.H. Clarke Sale; Christie’s, R.H.A. Gallagher Gallery, Dublin, 28 June 1995, lot 34 Private Collection, U.K. Exhibited London, Browse & Darby, Roderic O’Conor, 26 October-26 November 1994, cat.no.26 Literature Jonathan Benington, Roderic O’Conor: a Biography with a Catalogue of his Work, Dublin, 1992, p.222, cat.no.267 The sitter for the present work has been identified as Renée Honta, the Artist’s mistress and later wife. The painting verso of a Millhouse Landscape is believed to be in her hand.

100 | BONHAMS

69 * AR

CHARLES GINNER A.R.A. (1878-1952)Homage to Gauguin signed ‘C. GINNER’ (lower right) oil on canvas 35.5 x 30.5 cm. (14 x 12 in.) Painted in 1942

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

Provenance Anton Lock, Esq. His sale; Christie’s, London, 17 November 1978, lot 24 Sale; Sotheby’s, London, 23 May 1984, lot 97 Private Collection, U.S.A. Exhibited The London Group, 1942 Literature Notebooks, vol. III, p.223


70GLYN WARREN PHILPOT R.A. (1884-1937)Mimosa signed with initials ‘GP’ (lower right) oil on canvas 81.3 x 60.5 cm. (32 x 23 7/8 in.) Painted 1933-34

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

Provenance The family of the Artist Private Collection, U.K. Exhibited London, Redfern Gallery, 4-27 November 1937 Possibly London, Tate Gallery Literature A.C. Sewter, Glyn Philpot 1884-1937, B.T. Batsford, London, 1951, pl.82 (ill.b&w) J.G.P. Delaney, Glyn Philpot, His Life and Art, Ashgate, Aldershot, 1999, p.150

102 | BONHAMS

71AR TRISTRAM HILLIER R.A. (1905-1983)Still life with loaf and jug signed with monogram (lower left) oil on canvas 40.4 x 56 cm. (15 7/8 x 22 1/8 in.) Painted circa 1955, there is another painting by the same hand verso

£10,000 - 15,000 €14,000 - 20,000 US$15,000 - 23,000



72AR

TRISTRAM HILLIER R.A. (1905-1983)Wine Jug with Glass and Pipe signed and dated ‘Hillier. 79’ (lower right); titled and dated again ‘”WINE JUG WITH GLASS AND PIPE”. 1979’ (on the canvas overlap) oil on canvas 40.6 x 35.6 cm. (16 x 14 in.)

£4,000 - 6,000 €5,400 - 8,100 US$6,200 - 9,300


104 | BONHAMS

73AR TRISTRAM HILLIER R.A. (1905-1983)The Days of Wrath oil on canvas 70.2 x 63 cm. (27 15/8 x 24 3/4 in.) Painted in 1935

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000



74GLYN WARREN PHILPOT R.A. (1884-1937)Le Jongleur Du Notre Dame signed and dated ‘Glyn Philpot 1928’ (lower right) oil on canvas 50.8 x 40.5 cm. (20 x 16 in.)

£10,000 - 15,000 €14,000 - 20,000 US$15,000 - 23,000

Provenance Gwen, Lady Melchett The Hon. Mrs. K. Wallace With The Fine Art Society, London, where acquired by the present owner Private Collection, U.K. Exhibited London, Royal Academy of Arts, 1928, cat.no.493 London, Tate Gallery, Paintings and Sculptures by the late Glyn Philpot, 14 July-28 August 1938, cat.no.19 Brighton, Brighton Art Gallery, Glyn Philpot R.A., 3 April-3 May 1953, cat.no.19 London, Leighton House, Glyn Philpot, Drawings, Paintings and Sculpture, 7-28 February 1959, cat.no.35 Oxford, Ashmolean Museum, Glyn Philpot R.A.: A Commemorative Exhibition, 15 September-28 November 1976, cat.no.19 London, National Portrait Gallery, Glyn Philpot 1884-1937, Edwardian

Aesthete to Thirties Modernist, 9 November 1984-10 February 1985, cat.no.41 (ill.b&w) London, The Fine Art Society, Spring 1987, cat.no.19 London, The Fine Art Society, Glyn Philpot R.A., 17 November 1997-16 January 1998, cat.no.10 (col.ill) Literature R.A. Illustrated, Royal Academy of Arts, London, 1928, pl.68 (ill.) A.C. Sewter, Glyn Philpot 1884-1937, B.T. Batsford, London, 1951, pl.61 (ill.b&w) J.G.P. Delaney, Glyn Philpot, His Life and Art, Ashgate, Aldershot, 1999, p.85, pl.C18 (col.ill.) Deeply felt and successful is Le Jongleur de Notre Dame. A simple, touching work, it reflects a more popular, and sentimental, side of Catholic devotion. Derived ultimately from a medieval mystery play, the story was treated by Anatole France in Etui de Nacre (1892) and by Jules Massenet in an opera (1902) with the same name as Glyn’s painting. Jean, having failed as a juggler, enters a monastery out of hunger and discouragement. While all the monks, artists and artisans are labouring to prepare to celebrate the feast of the Blessed Virgin Mary, he resolves to honour the Virgin in the only way he knows, doing his juggling routine before her statue in the chapel. When the scandalized prior and monks try to seize him, a miracle occurs: the statue of Our Lady raises it’s hands and blesses the head of Jean who dies in ecstasy. Glyn depicts the Madonna tenderly wiping his sweating face...Unlike no other painting of this period in style or subject, it illustrates clearly how Glyn would choose a style that was appropriate to a particular subject. (J.G.P. Delaney, Glyn Philpot, His Life and Art, Ashgate, Aldershot, 1999, p.85).

106 | BONHAMS

75AR CHRISTOPHER RICHARD WYNNE NEVINSON A.R.A. (1889-1946)‘What shall we do with the drunken sailor?’ signed ‘C.R.W. Nevinson’ (lower left) oil on canvas 76.2 x 60.9 cm. (30 x 24 in.)

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance Sale; Phillips, London, 7 March 2001, lot 40 (as Buskers) With Paisnel Gallery, London (as Back Street, Montparnase) [sic] Private Collection, U.K. Exhibited Probably London, Leicester Galleries, Paintings and Watercolours by C.R.W Nevinson, October, 1928, cat.no.55 Probably London, City Art Gallery, Exhibition of Works by C.R.W. Nevinson, 1929, cat.no.4 Probably London, Royal Society of British Artists, 1940, cat.no.128 The present work is also known by the title Buskers, works by both titles are listed in the 1928 and 1929 exhibitions. We are grateful to Christopher Martin for his assistance in cataloguing this lot.


76AR

DANIEL O’NEILL (1920-1974)Margarita signed ‘D O’Neill’ (lower right) and titled ‘MARGARITA’ (verso) oil on board 60.9 x 45.7 cm. (24 x 18 in.)

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Provenance With Waddington Galleries, Montreal Private Collection, Northern Ireland In 1946, an exhibition of Daniel O’ Neill’s works was shown at the Victor Waddington Gallery, Dublin, with an impressive twenty-one out of twenty-three pictures finding buyers. He went on to exhibit and sell his work regularly through the gallery until 1969, when he met George McClelland, the influential Belfast dealer. Probably dating to the 1950s, Margarita presents us with a single, female figure in profile, a motif the artist returned to time and again. The luminosity of her skin and brooding backdrop create drama and an emotional intensity that is typical of his work during this period. Liam Kelly of The University of Ulster described this quality as ‘imaginative, often haunting, melancholic interaction between figure and environment, mood and circumstance’ (The Hunter Gatherer: The Collection of George and Maura McClelland at the Irish Museum of Modern Art, London, 2005, p.54).

108 | BONHAMS

77AR

GERARD DILLON (1916-1971)Wood Lover signed ‘Gerard Dillon’ (lower left) and titled ‘WOOD LOVER’ (on the canvas overlap) oil on canvas 45.7 x 30.5 cm. (18 x 12 in.)

£5,000 - 8,000 €6,800 - 11,000 US$7,700 - 12,000

Provenance Acquired from The Mercury Gallery by the present owner Private Collection, U.K.

ExhibitedLondon, The Mercury Gallery, Gerard Dillon, 1967, no.16 In his later work, Dillon drew inspiration from Chagall and Gauguin and often painted dream-like landscapes peopled by pierrots and strange hallucinatory figures, as in the present example.

We are grateful to Karen Reihill for her assistance in cataloguing this lot.

110 | BONHAMS

78AR

GERARD DILLON (1916-1971)Ruined Cottage signed ‘Gerard Dillon’ (lower left); titled ‘Ruined/Cottage’ (verso) oil on board 45.6 x 55.5 cm. (18 x 21 3/4 in.)

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance Private Collection, Ireland

ExhibitedDublin, Dawson Gallery, Early Paintings of The West, 1971, no.14

We are grateful to Karen Reihill for her assistance in cataloguing this lot.


79 * AR W

WILLIAM ROBERTS R.A. (1895-1980)The Rape of the Sabines signed ‘William/Roberts’ (lower left) oil on canvas 152.3 x 109.3 cm. (60 x 42 in.) Painted in 1955-56

£100,000 - 150,000 €140,000 - 200,000 US$150,000 - 230,000

Provenance Ernest Cooper, Esq. His sale; Sotheby’s, London, 22 November 1972, lot 90, where acquired by C.H. Administration, Ltd Sale; Sotheby’s, London, 23 May 1984, lot 203With Belgrave Gallery, London, where acquired by the present owner Private Collection, U.S.A. Exhibited London, Royal Academy of Arts, 1956, cat.no.422 London, Tate Gallery, William Roberts; A Retrospective Exhibition, arranged by the Arts Council of Great Britain, 20 November-19 December 1965, cat.no.91; this exhibition travelled to Newcastle, Laing Art Gallery, 1-22 January 1966 and Manchester, Whitworth Art Gallery, 29 January-19 February Worthing Art Gallery, Paintings and Drawings by William Roberts, 1972, cat.no.56 Southampton, Southampton Art Gallery (on loan) London, Belgrave Gallery, 1985, cat.no.25 Literature William Roberts, Paintings, 1917-1958, Canale, London, 1960, p.54 (ill.b&w) The Rape of the Sabines was originally owned by Ernest Cooper, among Roberts’ most important and loyal patrons. The men were introduced to one another by Sarah, the artist’s wife, who was a good friend of Ernest’s first wife. In the immediate post-war years Ernest Cooper was one of the country’s most enthusiastic advocates of health foods and owned a successful business producing what might now be termed ‘organic produce’. Roberts and Cooper became close friends and he would go on to acquire many significant paintings by the artist, including Bank Holiday in the Park (1921), The Playground (1934-35), The Errand Boys (1936-37), Self Portrait (1948-49) and The Temptation of St. Antony (1950-51) among others. As Andrew Gibbon Williams comments:

Roberts accorded Cooper the singular honour of being allowed to accompany him on his daily research hikes through London, and during the immediate post-war period the anti-social artist and the health food entrepreneur could often be found taking tea together in the Lyons Corner House at Marble Arch. Roberts and Cooper also took to playing chess, even though Roberts was apparently not proficient at the game. (Andrew Gibbon Williams, William Roberts, an English Cubist, Lund Humphries, Aldershot, 2004, p.108). The present painting depicts one of the most pictorially documented legends in the early history of Rome, when Romulus founded the city and began the process of finding wives for its new male Roman inhabitants, thus securing its future generations. At the Festival of Neptune Equester organised by the city’s leader, neighbouring communities, among them the Sabines, were invited to meet the Romans and only on the signal of Romulus did the aggression commence. However, in this context the rape does not describe the sexual violation of the women, but rather refers to their abduction. Only unmarried females were taken, with a view to future marriage, and according to some they were promised civic and property rights. Roberts introduces his own unique interpretation to the episode, by depicting the figures in quasi-modern dress, a favoured technique in religious paintings by his contemporary, Sir Stanley Spencer R.A. (1891-1959). The composition is saturated with colours and patterns which accentuate the rhythmic flow of the various figure groups. Whilst clearly depicting a serious and sober subject, Roberts is still able to incorporate his personalised sense of humour, which became more pronounced through the 1950s and in to the latter part of his career; a small, friendly looking dog paws helplessly at one of the assailants, whilst an infant hides behind an elderly matriarch dressed in black from head to foot, wielding a wooden beating implement. Her fully clothed body contrasts sharply with the young, bare breasted Sabine woman beneath. Both their struggles are seemingly in vain as the muscular and stylised men overpower their targets. First exhibited at the Royal Academy in 1956, two years before William Roberts was granted his title of Associate of the Royal Academy, the present painting forms part of a series of large-scale canvases begun in the early part of the decade. Andrew Gibbon Williams remarks on these: They are distinguished by their sheer virtuosity of compositional invention, brilliant colouration, exaggerated stylisation and dramatic chiaroscuro effects, and they obtruded magnificently from the mass of pedestrian work on display at the Royal Academy’s summer show where most of them first appeared. For many of these pictures, Roberts turned again to the Bible and Classical mythology for subject-matter that might lend itself to modern narrative interpretation, and the results amounts to a baroque extravaganza, as if the artist were trying to emulate the theatricality of the sixteenth-century Italian master Caravaggio. (Op.Cit. p.116)

112 | BONHAMS

80 * AR

HENRY MOORE O.M., C.H. (1898-1986)Maquette for Draped Reclining Figure bronze with a dark green patina on a wooden base 16.5 cm. (6 1/2 in.) long (excluding the base) Conceived in 1952 and cast by 1953, in an edition of 10

£50,000 - 80,000 €68,000 - 110,000 US$77,000 - 120,000

Provenance The Artist With Laing Galleries, Toronto, where acquired by H.R. Milner in 1961 and thence by descent Private Collection, Canada Exhibited Antwerp, Henry Moore, 1953, cat.no.14 (as Definitive maquette for Time/Life, this cast, lent by the Artist) Edmonton, Canada, The Edmonton Art Gallery, The H.R. Milner Collection, from 28 May 1976, cat.no.47 (as Reclining Woman, this cast) Literature Alan Bowness, Henry Moore; Sculpture and Drawings Volume 2, Sculpture 1955-64, Lund Humphries, London, 1986, pp.44-45, cat.no.335 (ill.b&w pl.100, another cast)

Drapery played a very important part in the shelter drawings I made in 1940 and 1941 and what I began to learn then about its function as form gave me the intention, sometime or other, to use drapery in sculpture in a more realistic way than I had ever tried to use it in my carved sculpture. And my first visit to Greece in 1951 perhaps helped to strengthen this intention . . . Drapery can emphasise the tension in a figure, for where the form pushes outwards, such as on the shoulders, the thighs, the breasts, etc., it can be pulled tight across the form (almost like a bandage), and by contrast with the crumpled slackness of the drapery which lies between the salient points, the pressure from inside is intensified . . . Drapery can also, by its direction over the form, make more obvious the section, that is, show shape. It need not be just a decorative addition, but can serve to stress the sculptural idea of the figure. (Henry Moore quoted in Sculpture in the Open Air: A Talk by Henry Moore on his Sculpture and its Placing in Open-Air Sites, edited by Robert Melville and recorded by the British Council 1955). H.R. Milner, known as Ray, was an Edmonton lawyer and businessman, at one time Chairman of International Utilities (natural gas), and was invested in 1970 as a Companion of the Order of Canada. Another cast of this work is in the collection of The Israel Museum, Jerusalem.

114 | BONHAMS

81W

GLYN WARREN PHILPOT R.A. (1884-1937)Fragment of a Figure numbered ‘1/8’ (on the reverse of the leg) bronze with a silver patina on a marble base 71.8 cm. (28 1/4 in.) high (excluding the base) Conceived circa 1922 and cast as a unique work in lead, the bronze edition of 8 cast in 1986

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance The family of the Artist Private Collection, U.K. Exhibited London, Grosvenor Galleries, Paintings & Sculpture by Glyn Philpot, April, 1923, cat.no.23 (lead cast) London, Tate Gallery, Exhibition of Paintings and Sculpture by the Late Glyn Philpot, 1884-1937, 14 July-28 August 1938, cat.no.IV (lead cast) London, Leighton House, 1936, cat.no.69 (lead cast) London, National Portrait Gallery, Glyn Philpot 1884-1937 Edwardian Aesthete to Thirties Modernist, 9 November 1984-10 February 1985, cat.no.122 (another cast) London, Leighton House, Glyn Philpot, The Bronzes, 30 June-12 July 1986, cat.no.8 (another cast) London, The Fine Art Society, Glyn Philpot R.A., 17 November 1997-16 January 1998, cat.no.70 (another cast)

116 | BONHAMS

82 * AR

HENRY MOORE O.M., C.H. (1898-1986)Sculptural Form signed and numbered ‘Moore 2/9’ (on the base) bronze with a green patina 20.4 cm. (8 in.) high (including base) Conceived in 1962

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance With Marlborough Gallery, London Acquired from the above, and thence by descent to the present owner Private Collection, U.S.A. Literature Alan Bowness, Henry Moore; Sculpture and Drawings Volume 3, Sculpture 1955-64, Lund Humphries, London, 1986, cat.no.505b (ill.b&w, another cast) John Hedgecoe, A Monumental Vision, The Sculpture of Henry Moore, Collins & Brown, London, 1998, pp.228-229, cat.no.472 (coll.ill., another cast)


83 * AR

HENRY MOORE O.M., C.H. (1898-1986)Ideas for Sculpture signed and dated ‘Moore/37.’ (lower left) pen and ink, wash, charcoal and pastel 19.7 x 25 cm. (9 3/4 x 7 3/4 in.) This work is registered with the Henry Moore Foundation as HMF 1364a

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance With The Zwemmer Gallery, London, cat.no.470 Private Collection, Canada

118 | BONHAMS

84AR HENRY MOORE O.M., C.H. (1898-1986)Standing Figures signed and dated ‘Moore 50.’ (lower right) pencil and crayon 29.2 x 23.7 cm. (11 1/2 x 9 3/4 in.) This work is registered with the Henry Moore Foundation as HMF 2653

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance Private European Collection Literature Ann Garrould (ed.), Henry Moore, Volume 4, Complete Drawings 1950-76, The Henry Moore Foundation in association with Lund Humphries, Much Hadham & London, 2003, p.34, cat.no.AG.50-51.30 (ill.b&w)


85AR

HENRY MOORE O.M., C.H. (1898-1986)Reclining Figure No.1 bronze with a green patina on a wooden base 20.5 cm. (8 in.) long (excluding base) Conceived in 1952, from an edition of 9

£50,000 - 70,000 €68,000 - 95,000 US$77,000 - 110,000

ProvenanceWith The Lefevre Gallery, London, 1955 where purchased by the family of the present ownerPrivate Collection, U.K.

ExhibitedLiverpool, Walker Art Gallery, Personal Choice, Paintings & Sculpture from Local Private Collections, July 19-August 20 1961, cat.no.56

LiteratureAlan Bowness, Henry Moore; Sculpture and Drawings Volume 2, Sculpture 1949-54, Lund Humphries, London, 1986, cat.no.327, pl.94 (ill.b&w, another cast)John Hedgecoe, A Monumental Vision, The Sculpture of Henry Moore, Collins & Brown, London, 1998, p216, cat.no.302 (ill.b&w, another cast)

Part of the inspiration behind the use of the reclining figure by Henry Moore in his sculpture was grounded in practicalities. During the earliest period of his work Moore was carving in various stones and woods. He explained his reasoning behind this by commenting, ‘Now if you like to carve the human figure in stone, as I do, the standing pose is no good. Stone is not so strong as bone, and the figure will break off at the ankles and topple over. The early Greeks solved this problem by draping the figure and covering the ankles. Late on they supported it against a silly tree trunk. But with either the seated or the reclining figure one doesn’t have this worry. And between them are enough variations to occupy any sculptor for a lifetime’ (Philip James (ed.), Henry Moore on Sculpture, Macdonald & Co. Ltd., London, 1966, p.264). He went on to discuss how the reclining figure was also the most versatile of poses, ‘The seated figure has to have something to sit on. You can’t free it from its pedestal. A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity. Also, it has repose. And it suits me – if you know what I mean.’ (Loc. Cit.)

Many of the bronzes, which Moore executed during the 1950s have their genesis in much earlier works made at the beginning of his career and, Reclining Figure No.1 is no exception. The positioning of the limbs of the present work are fundamentally the same as those in Reclining Woman, conceived in 1926. This is probably the earliest sculpture of the Reclining Figure motif in Moore’s oeuvre and, in both works the female form can be seen relaxing on one elbow. One leg is resting flat on the base, slightly bent, and the other is raised in the air but with its foot still in contact with the ground, thus creating an almost pierced form, which would be used frequently in his later reclining figures. Although both bodies are in a state of inertia the feeling of alertness is conveyed by the raised torsos, outstretched necks and vertical positioning of the heads. Only the positioning of the rear arm of the two sculptures differs slightly; in the present work it is allowed to fall behind the figures’ midriff, out of sight of the viewer. However, Reclining Figure No. 1 is not simply a piece of repetition on the 1926 sculpture. Interesting experimentation has been introduced to the figure’s torso with a distortion of the rib cage by the hollowing out of its centre and accentuation of its basic form. In Reclining Figure No.1 therefore, even after twenty years of obsessively working with the same motif, the spectator is presented with a fresh analysis of one of Moore’s most enduring themes.

120 | BONHAMS

Property from the Collection of a Harvard Professor and his Wife

86 * AR

PAUL FEILER (1918-2013)Black Rocks with Blue Harbour signed and dated ‘FEILER 53’ (lower right); further signed, titled and dated again ‘PAUL FEILER/BLACK ROCKS/WITH BLUE HARBOUR/18 11 53’ (verso) and signed again ‘PAUL FEILER’ (on the frame) oil on board 45.7 x 30.2 cm. (18 x 11 7/8 in.)

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

The works Feiler produced between 1950 and 1957 belong to what can be considered his first mature phase of painting and are arguably his most succinct. It would be easy to consider many of these works, including the present lot, as abstract but an observational approach to painting was extremely important to him. Up until a firm move into pure abstraction, commencing in the late 1960s, his overarching credence was to ‘write down in paint’ his studies of the world around him. Black Rocks with Blue Harbour was painted in 1953 and depicts the craggy Atlantic coast of Cornwall that Feiler was intimately acquainted with and is so celebrated for today.

122 | BONHAMS

Various Properties

87AR

ALAN DAVIE C.B.E., R.A. (1920-2014)Millers Maze signed and dated ‘Alan Davie 59’ (lower centre) and titled ‘MILLERS MAZE’ (on a label attached verso) oil on paper laid on board 43.8 x 55.8 cm. (17 1/4 x 22 in.)

£5,000 - 7,000 €6,800 - 9,500 US$7,700 - 11,000

Provenance With Gimpel Fils Gallery, London, November 1960, where acquired by Frank Avray Wilson, thence by descent to the present owner Private Collection, U.K.

124 | BONHAMS

88AR

ROBYN DENNY (1930-2014)Graffiti 2 signed, titled and dated ‘Robyn Denny/GRAFFITI 2/1975-76’ (on the stretcher) oil on canvas 106.8 x 91.4 cm. (46 x 36 in.)

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance Acquired by the present owner circa 2008 Private Collection, U.K.

Oils from the same series as the present lot are in the Government Art Collection (Graffiti 1, 1975-76 and Graffiti 3, 1975-76). Denny used imagery from this series as the basis for a group of prints by the same titles in etching and aquatint.


89AR

DENIS MITCHELL (1912-1993)St Merryn signed with initials, dated, numbered and titled (DAM/71/4/7/St. MERRYN’ (under the base) part polished bronze with a green patina on a slate base 34.2 cm. (13 1/2 in.) high (excluding base)

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance Acquired directly from the Artist by the father of the present owner Private Collection, U.K.

Exhibited London, Marjorie Parr Galleries, 1971 (another cast) St Ives, Penwith Galleries (another cast) Malta, National Museum, Denis Mitchell, British Council Touring Exhibition, 1973-1979, cat.no.17 (ill.b&w, another cast); this exhibition travelled to Cyprus, Greece, Yugoslavia, Malaysia, Indonesia, New Zealand and Korea (another cast) St Ives, Wills Lane Gallery (another cast) Oxford, Oxford Gallery, 1974 (another cast) Bath, Festival Gallery, Denis Mitchell, April 1978, cat.no.28 (another cast) Swansea, Glynn Vivian Art Gallery, Denis Mitchell, 6 October-3 November 1979, cat.no.25 (ill.b&w, another cast) Newlyn, Newlyn Art Gallery, Denis Mitchell, Sculpture & Drawings, 1-27 November, 1985, cat.no.26 (ill.b&w, another cast) London, Crane Kalman, Denis Mitchell, 9 October-1 November 1986, cat.no.6 (another cast)

126 | BONHAMS

90 * AR

LYNN CHADWICK R.A. (1914-2003)Miniature Figure III stamped with initial and numbered ‘C/C41S/23/30’ (under the base) bronze with a brown patina and polished face 9 cm. (3 3/4 in.) high (including the base) Conceived in 1986

£5,000 - 7,000 €6,800 - 9,500 US$7,700 - 11,000

Literature Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, Lund Humphries, Aldershot, 2006, pp.366-367, cat.no.C41S (ill.b&w, another cast)


91AR

LYNN CHADWICK R.A. (1914-2003)Maquette III Walking Woman stamped with initial and numbered ‘C/C15/8/9’ (underneath) bronze with a black patina 47.6 cm. (18 3/4 in.) high Conceived in 1984

£30,000 - 50,000 €41,000 - 68,000 US$46,000 - 77,000

Provenance The family of the Artist Exhibited London, Marlborough Fine Art, October-December 1984 (ill., another cast) Literature Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, Lund Humphries, Aldershot, 2006, p.344, cat.no.C15 (ill.b&w, another cast)

For an artist who had been part of the Geometry of Fear group thirty years earlier, it is fitting that the present work should embrace such geometry – diamonds, verticals, horizontals and circles are all to be found working harmoniously together to form the elegant figure of Maquette III Walking Woman.

The viewer’s eye is drawn upwards along the body to the lozenge face and then down and outwards along the billowing drapery which swirls dramatically at the back. The single female strides forward, full of the taut energy associated with his figures dating from this period. Unlike the large version Walking Woman (213 cms. high) and most of the maquettes for it however, the elongated face and presence of feet in this example deliver a sense of poised naturalism.

128 | BONHAMS

92AR W

CRAIGIE AITCHISON C.B.E., R.A. (1926-2009)Crucifixion, Blue and Yellow, Montecastelli oil on canvas 142.2 x 111.8 cm. (56 x 44 in.) Painted in 2004

£60,000 - 80,000 €81,000 - 110,000 US$93,000 - 120,000

Provenance With Timothy Taylor Gallery, London, where acquired by the present owner Private Collection, U.K. Literature Cate Haste, Craigie Aitchison, A Life in Colour, Lund Humphries, Farnham, 2014, p.190, pl.179 (col.ill.) Crucifixion, Blue and Yellow, Montecastelli is reproduced as a full page colour plate in Cate Haste’s 2014 book Craigie Aitchison, A Life in Colour, introducing chapter 7. It is undoubtedly among the artist’s most vividly coloured and impressive late paintings. First encountered in 1955 whilst a Slade student, with his close artist friend Myles Murphy on their road trip across France and Italy, the Tuscan and Umbrian landscapes of central Italy had an immediate

impact on the way Craigie perceived colour. The clarity and intensity of the light in the region produced in his paintings what Murphy described as ‘an equality of colour’. Half a century later Craigie would draw on this lasting inspiration whilst painting the present picture, a work of mesmerising visual impact with a harmonious balance. The canvas is divided into two clearly defined equal parts, the sun bleached yellow earth and radiant blue of the Mediterranean sky. The crucifix, supporting the limp and emaciated body of Christ links the two segments, whilst the brilliant white of the dove fluttering above further serves to unite the composition. The crucifixion motif first appeared in Craigie’s work as far back as the late 1950s, inspired by his visits to altarpieces in Italian churches, and they became his most recognised and frequent subject in the following decades, critically acclaimed and with broad commercial appeal. Other British artists of the period tackled this subject, including Graham Sutherland (1903-1980), but only Craigie embraced it in an almost obsessive way. By 1975 his passion for the Italian landscape compelled Craigie to acquire a large farmhouse in Montecastelli, set in the expansive Umbrian countryside, which incorporated a medieval chapel containing an altar and cross. He returned here regularly to paint and Crucifixion, Blue and Yellow, Montecastelli sets the climax of the Passion in this sun drenched setting, referenced by the three cypress trees on the horizon. Christ’s moribund body is positioned off centre, accentuating his isolation and helplessness, and the brilliant colour is in stark contrast to the vast majority of depictions of this subject throughout Western art.

130 | BONHAMS

93AR

CRAIGIE AITCHISON C.B.E., R.A. (1926-2009)Dead Bird I signed, inscribed and dated ‘Craigie Aitchison/Montecastelli/2000/DEAD/BIRD/I’ (verso) oil on canvasboard 10 x 12.4 cm. (3 7/8 x 4 7/8 in.)

£5,000 - 7,000 €6,800 - 9,500 US$7,700 - 11,000

Provenance With Timothy Taylor Gallery, London Private Collection, U.K. The present work is the first from a series of six dead birds that Craigie produced and was painted in Montecastelli (see note to previous lot).

132 | BONHAMS

94AR CRAIGIE AITCHISON C.B.E., R.A. (1926-2009)White Sunset signed, dated and titled ‘Craigie Aitchison/March, 2007/White Sunset’ (on the canvas overlap) oil on canvas 30.5 x 25.4 cm. (12 x 10 in.)

£10,000 - 15,000 €14,000 - 20,000 US$15,000 - 23,000

Provenance Acquired directly from the artist by the present owner Private Collection, U.K.


95AR

EUAN UGLOW (1932-2000)Cephalus and Aurora (after Poussin) indistinctly inscribed (verso) oil on board 26.5 x 32.4 cm. (10 1/2 x 12 3/4 in.) Painted in 1953, also called Copy of a Poussin (1954)

£7,000 - 10,000 €9,500 - 14,000 US$11,000 - 15,000

Provenance With Beaux Arts Gallery, London, June 1961, where acquired by Peter Snow, thence by descent to the present owner in 2000 Private Collection, U.K. Exhibited London, Beaux Arts Gallery, Euan Uglow, Painting and Drawings, from 1 July 1961, cat.no.4 London, Whitechapel Art Gallery, Euan Uglow, organised by the Arts Council of Great Britain, 18 April-19 May 1974, cat.no.9; this exhibition travelled to Truro, Royal Institution of Cornwall, 7-28 June, Middlesbrough, Teesside Art Gallery, 20 July-24 August, Manchester, Peterloo Gallery, 3-28 October and Brighton, Gardner Centre for the Arts, University of Sussex, 5-27 October

London, South Bank Centre, Past & Present: Contemporary Artists Drawing from the Masters, 1987, organised by National Touring Exhibitions, this exhibition travelled to Manchester, City Art Gallery, 3 October-1 November, Birmingham, City Art Gallery, 7 November-13 December, Hull, Ferens Art Gallery, 19 December-31 January 1988, Nottingham, Castle Museum, 6 Febuary-5 March, Norwich, School of Art, 12 March-23 April London, The Artist’s House, Memory of Peter Snow, March 2005 Literature Susan Campbell, Euan Uglow: Some Memories of the Painter, Collected by Susan Campbell, Browse & Darby, London, 2003, p.44 Bruce Laughton, William Coldstream, New Haven and London, 2004, pp.155 & 208-10 Catherine Lampert, Euan Uglow, The Complete Paintings, Yale University Press, New Haven and London, 2007, p.19, cat.no.50 (col.ill) Peter Snow (1927-2008) was a theatre designer and artist. Like Uglow, he exhibited works with the Beaux Arts Gallery (paintings of “kitchen sink” school style in 1957) and held a teaching position at the Slade School of Design Art (heading the Theatre Design department between 1967 and 1992). Snow purchased the present work from Helen Lessore of the Beaux Arts Gallery with proceeds from his own exhibition sales. We are grateful to Catherine Lampert for her assistance in cataloguing this lot.

134 | BONHAMS

96AR

CRAIGIE AITCHISON C.B.E., R.A. (1926-2009)Nativity and Angels oil on canvas 40.7 x 30.4 cm. (16 x 12 in.)

£12,000 - 18,000 €16,000 - 24,000 US$19,000 - 28,000

Provenance With The New Art Centre, London, circa 1960 where acquired by the present owner Private Collection, U.K. Exhibited Wiltshire, Rabley Drawing Centre, Craigie Aitchison R.A., A Life in Colour, Painting and Print 1952 - 2009, 5-15 March 2015


97AR

EUAN UGLOW (1932-2000)Girl Lying on Grass oil on panel 29.7 x 38 cm. (11 3/4 x 15 in.) Painted circa 1964

£15,000 - 20,000 €20,000 - 27,000 US$23,000 - 31,000

Provenance The Westinghouse Art Collection, U.S.A. Sale; Phillips, London, 5 October 1999, lot 73 With Abbott & Holder, London, November 1999, where acquired by the present owner Private Collection, U.K. Literature Catherine Lampert, Euan Uglow, The Complete Paintings, Yale University Press, New Haven and London, 2007, p.80, cat.no.184 (col.ill) Of the present work Lampert notes ‘Walking through the meadow at Somerton in Suffolk after breakfast, Clare Barker, Uglow’s wife, lay down and he asked her not to move. She posed for hours, becoming sunburnt. Many years later Uglow remarked to a friend and ex-student, Robert Dukes, that he took liberties with the pose because he was in love with his model’ (Catherine Lampert, Euan Uglow, The Complete Paintings, Yale University Press, New Haven and London, 2007, p.80). We are grateful to Catherine Lampert for her assistance in cataloguing this lot.

136 | BONHAMS

98AR

BASIL BLACKSHAW (BORN 1932)Blond Traveller signed, dated and titled ‘BLOND TRAVELLER/BLACKSHAW/85.’ (verso) oil and pencil on canvas 44.4 x 35.5 cm. (17 1/2 x 14 in.)

£18,000 - 25,000 €24,000 - 34,000 US$28,000 - 39,000

Provenance Private Collection, Ireland

Basil Blackshaw is one of the most highly rated Irish artists to have emerged during the 20th century. Often painting the rural landscape and its animals, he is also a talented portraitist and during 1984-85 undertook a series of ‘Traveller Paintings’. Acclaimed for their raw colour and immediacy, they were not imagined people. Every sitter was a known individual that the artist had met and became interested by, drinking companions and local characters. The superb Head of Travellers were far from lovely – no stage Irish rustics these; instead the artist gave us stripped-down, direct faces. There was an effect almost of a blurred out-of-focus photograph in these faces, a sensation which has echoed in many of his figures over the years. (Mike Catto, Basil Blackshaw – Painter, 1985) Dated one year later and of almost identical composition, the present work appears to be a reworking of Head of Traveller I (from The Vincent Ferguson Collection, sold for £46,850 in 2009). That Blackshaw revisited this work would suggest that it was a person or image he was particularly fond of. Our subject is presented here as a ‘blonde with a smear of mouth distinctly at odds with demure clothes’ (Art critic Elliott Sherman), her eyes alert and shadowed in blue watch something out of our view. As with the other examples from the series, the surface itself is beautifully sketchy and energetic, reflecting the rough and ready nature of his beloved travellers in paint.

138 | BONHAMS

99AR

LOUIS LE BROCQUY H.R.H.A. (1916-2012)Lemon signed, dated twice and titled ‘Le Brocquy 72/82/LEMON/1972-82’ (verso); further signed, titled and dated again ‘LEMON/LE BROCQUY 1972-82’ (on the canvas overlap) oil on canvas 38.1 x 45.7 cm. (15 x 18 in.)

£25,000 - 35,000 €34,000 - 47,000 US$39,000 - 54,000

Provenance With Gimpel Fils, London With Charles Gilmore, Belfast, where acquired by the present owner Private Collection, Northern Ireland Exhibited Turin, Galleria la Bussola, Louis le Brocquy, 1974, cat.no.59

140 | BONHAMS

100AR

TONY BEVAN R.A. (BORN 1951)Upturned Hands signed with initials and dated ‘TB 91’ (lower right) mixed media on paper 57.7 x 76.2 cm. (22 3/4 x 30 in.)

£6,000 - 8,000 €8,100 - 11,000 US$9,300 - 12,000

Provenance Private Collection, France A related composition is in the collection of the Portland Art Museum.

142 | BONHAMS

101AR

ANTHONY HILL (BORN 1930)Low Relief 2 signed with initials, inscribed, dated twice and signed again ‘LOW RELIEF II/AH/63 65/ANTHONY HILL/RELIEF/CONSTRUCTION/1963-65’ (verso) melamine relief 59.5 x 121.4 cm. (23 3/8 x 47 3/4 in.) (unframed)

£5,000 - 7,000 €6,800 - 9,500 US$7,700 - 11,000

Provenance With Kasmin Ltd, London, The Peter Stuyvesant Foundation, London Sale; Sotheby’s, London, 11 November 1987, lot 242, where acquired by the present owner Private Collection, U.K. Exhibited London, Kasmin Ltd, Anthony Hill, 1966 London, Tate Gallery, Recent British Painting, 1967, cat.no.57 Adelaide, Festival of Arts, Special Exhibition at The Art Gallery of South Australia, Recent British Paintings, 1970, cat.no.54 Literature Alan Bowness, Recent British Painting, Lund Humphries, London, 1968, p.107, cat.no.57 (ill.)


AAitchison, Craigie

BBevan, TonyBlackshaw, BasilBradley, Helen

CChadwick, LynnChurchill, Sir Winston SpencerCraxton, John

DDavie, AlanDenny, RobynDillon, Gerard

EEpstein, Sir Jacob

FFeiler, PaulFell, SheilaFrink, Dame Elisabeth

GGill, EricGinner, Charles

HHenry, PaulHill, AnthonyHillier, TristramHitchens, Ivon

JJagger, DavidJohn, Augustus Edwin

LLavery, Sir JohnLe Brocquy, LouisLowry, Laurence Stephen

92, 93, 94, 96

10098

19, 20, 21, 22, 34

90, 91433

8788

77, 78

39

8615, 16

50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61,62

3869

48101

71, 72, 7363, 64, 65

4640, 42

45, 4799

23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33

MMinton, JohnMitchell, DenisMoore, Henry

NNash, John NorthcoteNevinson, Christopher Richard WynneNewton, Algernon CecilNicholson, Ben

OO’Conor, RodericO’Neill, Daniel

PPhilpot, Glyn WarrenPiper, John

RRoberts, William

SSickert, Walter RichardSmith, Sir MatthewSutherland, Graham

UUglow, Euan

VVaughan, Keith

WWallis, AlfredWilliams, Sir KyffinWood, Christopher

YYeats, Jack Butler

489

9, 10, 11, 80, 82, 83, 84, 85

3635, 44, 75

378

6876

70, 74, 8112, 13

79

496614

95, 97

1, 2

5, 6, 717, 18

67

41

ARTIST LOT NO

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HAROLD HARVEY (BRITISH, 1874-1941)Iris pickersSigned and dated ‘Harold Harvey 26’ (lower right)Oil on canvas51 x 45.5cm (20 1/16 x 17 15/16in).£20,000 - 30,000

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CHRISTOPHER RICHARD WYNNE NEVINSON A.R.A (BRITISH, 1889-1946)Twilight (Black 10) The rare drypoint, 1916, a good impression with rich burr and delicate plate tone, on F. J. Head & Co. hand-made laid, signed in pencil, from the edition of 75, with margins201 x 152mm (8 x 6in) (PL)£15,000 - 20,000

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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

Brighton & Hove19 Palmeira SquareHove, East SussexBN3 2JN+44 1273 220 000+44 1273 220 335 fax

Guildford Millmead,Guildford,Surrey GU2 4BE+44 1483 504 030+44 1483 450 205 fax

Isle of Wight+44 1273 220 000

Representative:KentGeorge Dawes+44 1483 504 030

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

WinchesterThe Red HouseHyde StreetWinchesterHants SO23 7DX+44 1962 862 515+44 1962 865 166 fax

Tetbury22a Long StreetTetburyGloucestershireGL8 8AQ+44 1666 502 200+44 1666 505 107 fax

Representatives:DorsetBill Allan+44 1935 815 271

East Anglia

Bury St. Edmunds21 Churchgate StreetBury St EdmundsSuffolk IP33 1RG+44 1284 716 190+44 1284 755 844 fax

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

Oxford •Banbury RoadShipton on CherwellKidlington OX5 1JH+44 1865 853 640+44 1865 372 722 fax

Yorkshire & North East England

Leeds 30 Park Square West Leeds LS1 2PF+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

Glasgow176 St. Vincent Street,GlasgowG2 5SG+44 141 223 8866+44 141 223 8868 fax

Representatives:Wine & SpiritsTom Gilbey+44 1382 330 256

Wales

Cardiff7-8 Park Place,Cardiff CF10 3DP+44 2920 727 980+44 2920 727 989 fax

EUROPE

AustriaTuchlauben 81010 Vienna+43 (0) 1 403 [email protected]

BelgiumBoulevardSaint-Michel 1011040 Brussels+32 (0) 2 736 [email protected] DenmarkHenning Thomsen+45 4178 [email protected] France4 rue de la Paix75002 Paris+33 (0) 1 42 61 10 [email protected] Germany - CologneAlbertusstrasse 2650667 Cologne+49 (0) 221 2779 [email protected] Germany - MunichMaximilianstrasse 5280538 Munich+49 (0) 89 2420 [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 0 6 48 [email protected]

The NetherlandsDe Lairessestraat 1541075 HL Amsterdam+31 (0) 20 67 09 [email protected] PortugalRua Bartolomeu Dias nº 160. 1ºBelem1400-031 Lisbon+351 218 293 [email protected]

Russia – MoscowAnastasia Vinokurova+7 964 562 [email protected] Russia - St. PetersburgMarina Jacobson+7 921 555 [email protected] Spain - BarcelonaTeresa Ybarra+34 930 087 [email protected] Spain - MadridNunez de Balboa no 4-1A28001 Madrid+34 915 78 17 [email protected] Spain - MarbellaJames Roberts+34 952 90 62 [email protected] SwitzerlandRue Etienne-Dumont 101204 Geneva+41 (0) 22 300 [email protected]

MIDDLE EASTDubaiDeborah Najar+971 (0)56 113 [email protected]

IsraelJoslynne 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 (480) 994 5362

CaliforniaCentral ValleyDavid Daniel+1 (916) 364 1645

Southern CaliforniaChristine Eisenberg+1 (949) 646 6560

ColoradoJulie Segraves+1 (720) 355 3737

FloridaPalm Beach +1 (561) 651 7876Miami +1 (305) 228 6600Ft. Lauderdale +1 (954) 566 1630

GeorgiaMary Moore Bethea+1 (404) 842 1500

IllinoisRicki Blumberg Harris+1 (312) 475 3922+1 (773) 267 3300

MassachusettsBoston/New EnglandAmy Corcoran+1 (617) 742 0909

NevadaDavid Daniel+1 (775) 831 0330

OregonSheryl Acheson+1(503) 312 6023

PennsylvaniaMargaret Tierney+1 (610) 644 1199

TexasAmy Lawch+1 (713) 621 5988

Washington Heather O’Mahony+1 (206) 218 5011

Washington DCMid-Atlantic RegionMartin Gammon+1 (202) 333 1696

CANADA

Toronto, Ontario • Jack Kerr-Wilson20 Hazelton AvenueToronto, ONTM5R 2E2+1 (416) 462 [email protected]

Montreal, QuebecDavid Kelsey+1 (514) 341 [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]

BeijingHongyu YuSuite 511Chang An Club10 East Chang An AvenueBeijing 100006+86(0) 10 6528 0922+86(0) 10 6528 0933 [email protected]

JapanAkiko TsuchidaLevel 14 Hibiya Central Building1-2-9 Nishi-ShimbashiMinato-kuTokyo 105-0003+81 (0) 3 5532 8636+81 (0) 3 5532 8637 [email protected]

SingaporeBernadette Rankine11th Floor, Wisma Atria435 Orchard RoadSingapore 238877+65 (0) 6701 8038+65 (0) 6701 8001 [email protected]

TaiwanSummer Fang37th Floor, Taipei 101 TowerNor 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)7065 888 [email protected]

South Africa - JohannesburgPenny Culverwell+27 (0)71 342 [email protected]

International Salerooms, Offices and Associated Companies (• Indicates Saleroom)

G-NET23/10/15

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 UKPhilip Keith+44 2920 727 980U.S.AFredric Backlar+1 323 436 5416

American PaintingsAlan Fausel+1 212 644 9039

AntiquitiesMadeleine Perridge+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.AFrank Maraschiello+1 212 644 9059

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

Australian Colonial Furniture and Australiana+1 415 861 7500

Books, Maps & Manuscripts UKMatthew Haley+44 20 7393 3817U.S.AChristina Geiger+1 212 644 9094

British & European GlassUKSimon Cottle+44 20 7468 8383U.S.A.Suzy Pai+1 415 503 3343

British & European Porcelain & Pottery UKJohn Sandon+44 20 7468 8244U.S.APeter Scott+1 415 503 3326

California & American PaintingsScot Levitt+1 323 436 5425

[email protected] Rahimipour+1 415 503 3392

Chinese & Asian ArtUKAsaph Hyman+44 20 7468 5888U.S.ADessa Goddard+1 415 503 3333HONG KONG +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 MemorabiliaUK+44 20 7393 3844U.S.A Catherine Williamson+1 323 436 5442

Furniture & Works of ArtUKGuy Savill+44 20 7468 8221U.S.AAndrew Jones+1 415 503 3413

Greek ArtOlympia Pappa+44 20 7468 8314

Golf Sporting MemorabiliaKevin Mcgimpsey+44 131 240 2296

Irish ArtPenny Day+44 20 7468 8366

Impressionist & Modern ArtUKIndia Phillips+44 20 7468 8328U.S.ATanya Wells+1 917 206 1685

Islamic & Indian ArtClaire Penhallurick+44 20 7468 8249

Japanese ArtUKSuzannah Yip+44 20 7468 8368U.S.AJeff Olson+1 212 461 6516

JewelleryUKJean Ghika+44 20 7468 8282U.S.ASusan Abeles+1 212 461 6525AUSTRALIAAnellie Manolas+61 2 8412 2222HONG KONGGraeme Thompson+852 3607 0006

Marine ArtUKVeronique Scorer+44 20 7393 3962U.S.AGregg Dietrich+1 917 206 1697

Mechanical MusicJon Baddeley+44 20 7393 3872

Modern, Contemporary & Latin American ArtU.S.AAlexis Chompaisal+1 323 436 5469

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 ArtJim Haas+1 415 503 3294

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.AJudith Eurich+1 415 503 3259

Portrait MiniaturesUK+44 20 7393 3986

Prints and MultiplesUKRupert Worrall+44 20 7468 8262U.S.AJudith Eurich+1 415 503 3259

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 BoxesUKMichael Moorcroft+44 20 7468 8241U.S.AAileen Ward+1 800 223 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 6530HONG KONGNicholas Biebuyck+852 2918 4321

WhiskyUKMartin Green+44 1292 520000U.S.AJoseph Hyman+1 917 206 1661HONG KONGDaniel Lam+852 3607 0004

WineUKRichard Harvey+44 (0) 20 7468 5811U.S.ADoug Davidson+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]

SD30/9/15

NTB/MAIN/09.15

This notice is addressed by Bonhams to any person who may be interested in a Lot, including Bidders and potential Bidders (including any eventual Buyer of the Lot). For ease of reference we refer to such persons as “Bidders” or “you”. Our List of Definitions and Glossary is incorporated into this Notice to Bidders. It is at Appendix 3 at the back of the Catalogue. Where words and phrases are used in this notice which are in the List of Definitions, they are printed in italics.

IMPORTANT: Additional information applicable to the Sale may be set out in the Catalogue for the Sale, in an insert in the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well. Announcements affecting the Sale may also be given out orally before and during the Sale without prior written notice. You should be alert to the possibility of changes and ask in advance of bidding if there have been any.

1. OUR ROLE

In its role as Auctioneer of Lots, Bonhams acts solely for and in the interests of the Seller. Bonhams’ job is to sell the Lot at the highest price obtainable at the Sale to a Bidder. Bonhams does not act for Buyers or Bidders in this role and does not give advice to Buyers or Bidders. When it or its staff make statements about a Lot or, if Bonhams provides a Condition Report on a Lot it is doing that on behalf of the Seller of the Lot. Bidders and Buyers who are themselves not expert in the Lots are strongly advised to seek and obtain independent advice on the Lots and their value before bidding for them. The Seller has authorised Bonhams to sell the Lot as its agent on its behalf and, save where we expressly make it clear to the contrary, Bonhams acts only as agent for the Seller. Any statement or representation we make in respect of a Lot is made on the Seller’s behalf and, unless Bonhams sells a Lot as principal, not on our behalf and any Contract for Sale is between the Buyer and the Seller and not with us. If Bonhams sells a Lot as principal this will either be stated in the Catalogue or an announcement to that effect will be made by the Auctioneer, or it will be stated in a notice at the Sale or an insert in the Catalogue.

Bonhams does not owe or undertake or agree to any duty or responsibility to you in contract or tort (whether direct, collateral, express, implied or otherwise). If you successfully bid for a Lot and buy it, at that stage Bonhams does enter into an agreement with the Buyer. The terms of that contract are set out in our Buyer’s Agreement, which you will find at Appendix 2 at the back of the Catalogue. This will govern Bonhams’ relationship with the Buyer.

2. LOTS

Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue (see paragraph 3 below), Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. They may not reveal the true condition of the Lot. A photograph or illustration may not reflect an accurate reproduction of the colour(s) of the Lot. Lots are available for inspection prior to the Sale and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price (including the Hammer Price). It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. In particular, parts may have been replaced or renewed and Lots may not be authentic or of satisfactory quality; the inside of a Lot may not be visible and may not be original or may be damaged, as for example where it is covered by upholstery or material. Given the age of many Lots they may have been damaged and/or repaired and you should not assume that a Lot is in good condition. Electronic or mechanical parts may not operate or may not comply with current statutory requirements. You should not assume that electrical items designed to operate on mains electricity will be suitable for connection to the mains electricity supply and you should obtain a report from a qualified electrician on their status before

doing so. Such items which are unsuitable for connection are sold as items of interest for display purposes only. If you yourself do not have expertise regarding a Lot, you should consult someone who does to advise you. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests. Please ask our staff for details.

Any person who damages a Lot will be held liable for the loss caused.

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. 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

NTB/MAIN/09.15

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. Storage charges and Expenses are also payable by the Buyer as set out in the Buyer’s Agreement. All the sums payable to us by the Buyer are subject to VAT. For this Sale the following rates of Buyer’s Premium will be payable by Buyers of Lots:

25% up to £50,000 of the Hammer Price20% from £50,001 to £1,000,000 of the Hammer Price12% from £1,000,001 of the Hammer Price

The Buyer’s premium is payable for the services to be provided by Bonhams in the Buyer’s Agreement which is contained in the Catalogue for this Sale and for the opportunity to bid for the Lot at the Sale.

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 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. Unless agreed by us in advance payments made by anyone other than the registered Buyer will not be accepted. Payment will have to be by one of the following methods (all cheques should be made payable to Bonhams 1793 Limited). Bonhams reserves the right to vary the terms of payment at any time.

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;

Cash: you may pay for Lots purchased by you at this Sale with notes, coins or travellers cheques 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, notes or travellers cheques;

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 PlcAddress: PO Box 4RY250 Regent StreetLondon W1A 4RYAccount Name: Bonhams 1793 Limited Trust AccountAccount Number: 25563009Sort Code: 56-00-27IBAN 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.

Debit cards: there is no additional charge for purchases made with personal debit cards, issued by a UK bank. Debit cards issued by an overseas bank, deferred and company debit cards and all credit cards will be subject to a 2% surcharge;

Credit cards: Visa and Mastercard only. Please note there is a 2% surcharge on the total invoice value when payments are made using credit cards. It may be advisable to notify your card provider of your intended purchase in advance to reduce delays caused by us having to seek authority when you come to pay. If you have any questions with regard to payment, please contact our Customer Services Department.

China UnionPay (CUP) debit cards: No surcharge for using CUP debit cards will apply on the first £100,000 invoiced to a Buyer in any Sale; a 2% surcharge will be made on the balance over £100,000.

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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. SHIPPING

Please refer all enquiries to our shipping department on:Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 Email: [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.

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

Ruby and Jadeite Ruby and jadeite gemstones of Burmese (Myanmar) origin may not be imported into the US. Rubies and jadeite of non–Burmese origin require certification before import into the US and it is the Buyer’s responsibility to obtain all relevant and required export/import licences, certificates and documentation before shipping. Failure by the Buyer to successfully import goods into the US does not constitute grounds for non payment or cancellation of Sale. Bonhams will not be responsible for any additional costs in this regard howsoever incurred.

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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.

It 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 and VAT is payable by the purchaser, at the standard rate, on the Hammer Price, unless the wines are to remain under Bond. Buyers requiring their wine to remain in Bond must notify Bonhams at the time of the Sale. The Buyer is then himself responsible for all duty, clearance VAT and other charges that may be payable thereon. All such Lots must be transferred or collected within two weeks of the Sale.

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.

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

≈ Please note that as a result of recent legislation ruby and jadeite gem stones of Burmese (Myanmar) origin may not be imported into the US. Rubies and jadeite of non-Burmese origin require certification before import into the US.

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.

NTB/MAIN/09.15

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 three months’ 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.

NTB/MAIN/09.15

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, 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.

NTB/MAIN/09.15

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;

7.1.2 to retain possession of the Lot;

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.

NTB/MAIN/09.15

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.

NTB/MAIN/09.15

“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.”

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].

Credit and Debit Card Payments There is no surcharge for payments made by debit cards issued by a UK bank. All other debit cards and all credit cards are subject to a 2% surcharge on the total invoice price.

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 successful

I will collect the purchases myself

Please 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:

Please indicate Telephone or Absentee (T / A)

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 I will collect from Park Royal or bonded warehouse 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/06/14

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.

Modern British and Irish Art

22810 New Bond Street

Wednesday 18 November 2015

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].

Credit and Debit Card Payments There is no surcharge for payments made by debit cards issued by a UK bank. All other debit cards and all credit cards are subject to a 2% surcharge on the total invoice price.

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 successful

I will collect the purchases myself

Please 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:

Please indicate Telephone or Absentee (T / A)

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 I will collect from Park Royal or bonded warehouse 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/06/14

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.

New Bond Street

Wednesday 18 November 2015

International Auctioneers and Valuers – bonhams.com

Bonhams101 New Bond Street London W1S 1SR +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax

MO

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RITISH

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ew Bond Street, London Ӏ W

ednesday 18 Novem

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modern british and irish art - bonhams

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