Modern British and Irish Art

SOUTH KENS INGTON

Modern British and Irish Artincluding works formerly

in the private collection of

Sir Noël Coward

Thursday 19 March 2015

2

1

Subject to change

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INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

MODERN BRITISH AND CONTEMPORARY ART DEPARTMENTS

28/01/15

SENIOR DIRECTORS

MODERN BRITISH & IRISH ARTAndré Zlattinger Tel:+44 (0)20 7389 2074Will PorterTel:+44 (0)20 7389 2688Nick Orchard Tel:+44 (0)20 7389 2548Philip Harley Tel:+44 (0)20 7389 2687Rachel Hidderley Tel:+44 (0)20 7389 2684

INTERNATIONAL DIRECTORSMartha Baer (Post-War and Contemporary Art)Tel: +1 212 636 2071Mariolina Bassetti(Post-War and Contemporary Art)Tel: +39 06 686 33 30Giovanna Bertazzoni (Impressionist/Modern Art)Tel: +44 (0)20 7389 2542Olivier Camu (Impressionist/Modern Art)Tel: +44 (0)20 7389 2450Cyanne Chutkow(Impressionist/Modern Art)Tel: +1 212 636 2089Brett Gorvy (Post-War and Contemporary Art)Tel: +1 212 636 2342Loic Gouzer(Post-War and Contemporary Art)Tel: +1 212 636 2248Marianne Hoet(Post-War and Contemporary Art)Tel: +32 2 289 13 39Conor Jordan(Impressionist/Modern Art)Tel: +1 212 636 2074Sharon Kim(Impressionist/Modern Art)Tel: +1 212 636 2068Brooke Lampley(Impressionist/Modern Art)Tel: +1 212 636 2091John Lumley (Impressionist/Modern Art)Tel: +44 (0)20 7389 2055Robert Manley(Post-War and Contemporary Art)Tel: +1 212 636 2381Adrien Meyer(Impressionist/Modern Art)Tel: +1 212 636 2056Francis Outred(Post-War and Contemporary Art)Tel: +44 (0)20 7389 2270Laura Paulson (Post-War and Contemporary Art)Tel: +1 212 636 2134Jussi Pylkkänen (Impressionist/Modern Art)Tel: +44 (0)20 7389 2452Andreas Rumbler(Impressionist/Modern Art)Tel: +41 (0)44 268 10 17Jay Vincze (Impressionist/Modern Art)Tel: +44 (0)20 7389 2536Barrett White(Post-War and Contemporary Art)Tel: +1 212 636 2358

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Impressionist and Modern ArtJulie KimTel: +1 212 636 2317

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Post-War & Contemporary Art UKZoe AinscoughTel: +44 (0)20 7389 2958

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Impressionist and Modern ArtNina FooteTel: +44 (0)20 7389 2675

Impressionist and Modern ArtEileen BrankovicTel: +1 212 636 2198

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PRIVATE SALESImpressionist and Modern ArtNew YorkAdrien MeyerTel: +1 212 636 2056

LondonLiberté NutiTel: +44 (0)20 7389 2441

New York Stefan Kist, Senior Business Director Tel: +1 212 636 2205

Post War & Contemporary ArtNew YorkAlexis Klein Tel: +1 212 641 3741

LondonBeatriz OrdovasTel: +44 (0)20 7389 2920

WORLDWIDE LONDON (KING STREET)

MODERN BRITISH & IRISH ARTAndré ZlattingerPhilip HarleyRachel HidderleyWill PorterNick OrchardPippa JacombAngus GranlundAlice MurrayTel: +44 (0)20 7389 2681

IMPRESSIONIST AND MODERN ARTGiovanna BertazzoniOlivier CamuJay VinczeLiberté NutiJason CareyCornelia SvedmanMichelle McMullanAdrienne Everwijn-DumasKeith GillAntoine LebouteillerOttavia MarchitelliAnnie WallingtonAnna Povejsilova

Tel: +44 (0)20 7389 2638

POST-WAR AND

CONTEMPORARY ARTFrancis Outred Hugues JoffreLeonie MoschnerDina AminDarren LeakAlice de RoquemaurelBeatriz OrdovasRosanna WidenLeonie GraingerKatharine Arnold Tom Best Cristian Albu Jacob Uecker Alexandra Werner Alessandro Diotallevi Paola Fendi Tel: +44 (0)20 7389 2221

LONDON (SOUTH KENSINGTON)

MODERN BRITISH & IRISH ARTAngus Granlund Tel: +44 (0)20 7752 3107

IMPRESSIONIST AND

MODERN ARTNatalie Radziwil Imogen KerrAlbany BellTel: +44 (0)20 7389 2137

POST-WAR AND

CONTEMPORARY ARTBianca Chu Zoe KlemmeTel: +44 (0)20 7389 2502

HONG KONGEric ChangElaine HoltJilly DingTel: +852 2978 9985

NEW YORK

IMPRESSIONIST AND MODERN ARTBrooke Lampley Cyanne ChutkowConor JordanSharon KimAdrien MeyerJessica FertigDavid Kleiweg de ZwaanMorgan OsthimerVanessa FuscoSarah El-Tamer Allegra BettiniEmma Hanley Alexander BerggruenAlyssa Ovadis Isabel EllimanTel: +1 212 636 2050

POST-WAR AND

CONTEMPORARY ARTLoic GouzerBarrett WhiteAndy MassadJonathan LaibMartha BaerIngrid DudekKoji InoueSara FriedlanderJennifer YumAlexis KleinAmelia ManderscheidSaara PritchardMichael GumenerEdouard BenvenisteEdward TangAna Maria CelisTel: +1 212 636 2100

PARIS IMPRESSIONIST AND

MODERN ARTAnika GuntrumTudor DaviesPierre Martin-VivierTatiana Ruiz SanzFanny SaulayOlivia de FayetThomas MorinTel: +33 (0)1 40 76 85 91

POST-WAR AND

CONTEMPORARY ARTEdmond Francey Laetitia BauduinChristophe Durand-RuelPaul NyzamEtienne SallonEkaterina KlimochkinaTel: +33 (0)1 40 76 84 34

IRELANDChristine RyallTel: +353 (0)59 86 24996

EDINBURGHBernard WilliamsTel: +44 (0)131 225 4756/7

CHESHIREJane BloodTel: +44 (0)1270 627024

AUSTRALIARonan SulichTel: +612 93 26 14 22

CANADABrett SherlockTel: +1 647 519 0957

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CONDITIONS OF SALE

This auction is subject to Important Notices, Conditions of Sale and to Reserves

BUYING AT CHRISTIE’S

For an overview of the process, see the Buying at Christie’s section.

[15]

AUCTION

Thursday 19 March 2015

at 10.30 am Lots 1-194

85 Old Brompton Road

London SW7 3LD

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as CARMEN-10442


Please refer to the important notice

on page 125. Please note that

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Monday to Friday 9am to 5pm,

and purchases transferred to their

warehouse are not available for

collection at weekends.

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RESEARCH

Olya Alekseeva Albany Bell Alice Murray

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First initial followed by last name @christies.com (eg. Angus Granlund = [email protected]). For general enquiries about this auction, email should be addressed to the auction administrator.

Cover: Lot 30 (detail)Inside front cover: Lot 122 (detail) Inside back cover: Lot 6Back cover: Lot 123 and 183

VIEWING

Saturday 14 March 11.00 am - 5.00 pm

Sunday 15 March 11.00 am - 5.00 pm

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Tuesday 17 March 9.00 am - 5.00 pm

Wednesday 18 March 9.00 am - 5.00 pm

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William Porter, Nicholas Orchard

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Modern British and Irish Art including works formerly in the private collection of Sir Noël Coward Thursday 19 March 2015

Angus Granlund

Head of Sale

Tel:+44 (0)20 7752 3240

Pippa Jacomb

Associate Director

Tel:+44 (0)20 7389 2293

William Porter

Senior Director

Tel:+44 (0)20 7389 2688

Carmen Kabel

Administrator

4

At a London party to celebrate Noël’s 70th birthday his old friend Lord Louis Mountbatten said of him:

‘There are probably greater painters than Noël, greater novelists than Noël, greater librettists, greater composers of music, greater singers, greater dancers, greater comedians, greater tragedians, greater stage producers, greater flm directors, greater cabaret artistes, greater TV stars. If there are, there are twelve different people. Only one man combined all twelve different labels - ‘The Master’.’

He could easily have added several more. And yet Noël’s own verdict - as expressed in the lyrics to If Love Were All - was that the most he had was ‘just a talent to amuse’. And as for being The Master - ‘Oh, you know – Jack of all trades - master of none.’ You have to be English to recognise duplicitous self-deception when you see it! A talent to confuse - among many others.

You don’t write over ffty plays (some still to be produced), numerous flms in which he either starred, wrote, directed (and on occasion all three), more than four hundred songs, a substantial amount of verse (he never called it poetry), two and a half autobiographies, thirty years’ worth of a Diary, a ballet, a novel, and hundreds of letters to and from anyone one had ever heard of in the arts, literature, politics and quite a few one had not, without being a genius.

PROPERTY FORMERLY IN THE PRIVATE COLLECTION OF SIR NOËL COWARD

By the 1930s he was already well established in London and New York. And it was then another Muse came calling. He began to paint.

From childhood he’d produced colourful caricatures of famous historical fgures such as Nell Gwynn and Anna Pavlova and his concept of ladies of high fashion. But then there was a gap until sometime in the early thirties when - as his secretary Cole Lesley recorded - ‘he began again, painting from time to time in water colours, usually seascapes with ships … rather naïve but, as in everything he attempted, with a style of his own.’ The Kentish coast and countryside around his home, Goldenhurst, provided his early inspiration.

Then one Sunday he visited his sometime friend Winston Churchill at Chartwell, Churchill’s own country retreat. Churchill himself was more than a competent amateur painter and - as in all things – a man of frm opinion. He commanded Noël to give up watercolours and paint (as he did) in oils instead: ‘That way you can paint over your mistakes.’ Noël took the great man’s advice and took to the new medium as easily as he had taken to the old one.

In the post-war years, painting became something of an obsession with him and it wasn’t long before he’d infested his two closest companions - Coley and Graham Payn - with the bug. They all painted, as Noël recalled, like competitive maniacs and also critics.

AN INTRODUCTION BY BARRY DAY

Noel Coward circa 1969/70. Photo: Horst Tappe. © Photograph by Horst Tappe, Camera Press London.

5

Coley tried to copy the Impressionists. ‘Monet, Monet, Monet – that’s all you think about’, Noël chided him.

It wasn’t long before he’d decided what to call his own style: ‘Touch-and-Gauguin.’ He had Jamaica to blame for that …

Noël had frst visited the island at the insistence of his wartime spy boss, ‘Little Bill’ Stephenson that he take a brief rest before resuming his diplomatic mission and troop concerts. He was enchanted with what he saw and vowed to return after the war - which he duly did. It wasn’t long before he’d built two modest homes there and he would spend as much time there as his many other activities permitted. The location provided endless inspiration and in retrospect it can be seen that few painters of note (except Gauguin) dealt with the tropics in such detail and with such freedom of expression.

By now he was beginning to sense that in this medium - as in so many others - he really did have something to offer and with modest immodesty he confded to his Diary in 1955, ‘compared to the pretentious muck in some London galleries … my amateur efforts appear brilliant.’

And once again, whenever they could, the Three Artistic Musketeers ‘painted away like crazy.’ ‘Little Lad (Graham) is at work upon a very large ruined cathedral. I can’t think why he has such a penchant for hysterical Gothic. Perhaps he was assaulted in childhood by a nun … I, swifter than the eye can

follow, have fnished a group of negroes and am now busy with a crowded fairground with swings and roundabouts and what should be a Ferris wheel but looks like a steel ovary. The trouble with me is that I don’t know the meaning of peur ... I keep on doing lots of people walking about and I’m sick to death of them.’

And later ... ‘I am painting hundreds and hundreds of people on beaches and esplanades. It is my new ‘style’. My present masterpiece has to date one hundred and seventy when last counted and it isn’t half done. Coley, with his passion for statistics, says that means three hundred and forty shoes.’

After he was knighted in 1970 - an honour Churchill had personally stymied as far back as 1942, even though King George VI had approved it - Noël more or less retired. He published nothing new. He even stopped keeping his Diary. Presumably he felt he had said all he wanted to say. His point had been proved over and over again.

The one thing he never stopped doing however, was painting. It was his personal window to another world. And it was clearly one that others wished to share. When in 1988, Graham Payn, who was now running the Coward Estate, decided to put some of Noël’s work up for auction at Christie’s, Noël would have been gratifed to see the result. Proceeds almost trebled expectations. His ‘amateur efforts’ had, indeed, turned out to be brilliant.

In Las Vegas, 1955. © Bettmann/CORBIS.

6

l*1

DEREK HILL (1916-2000)

Portrait of Noël Cowardsigned with initials ‘D.H.’ (lower centre)oil on canvas, unframed19æ x 18 in. (50.3 x 45.3 cm.)

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

Cole Lesley, Coward’s secretary, remembers how Derek Hill taught Noël Coward, Graham Payn and himself, some of the basic preparations of painting in oil. ‘Derek Hill, although still young, was already a formidably good painter. Derek himself had been infuenced and helped by Edward (Molynieux) and later by Bernard Berenson, and he is now represented in the Tate and many other galleries of note. He kindly and patiently taught us much technically, including especially the colour with which to prime our canvases; up until then we had been painting straight on to the bright whiteness’. (C. Lesley, The Life of No‘l Coward, London, 1976, p. 240).

Indeed Hill taught many people to realise their artistic potential. H.R.H. Prince of Wales reminisced that ‘He was a priceless companion; a man of endlessly amusing, if naughty, stories about everybody who was anybody. As a painter, he was a perceptive observer of character both of person and the landscape. It always fascinated me how, as a young man, his great skill seemed to be in painting portraits.’ (Introduction to Christie’s studio sale of Derek Hill, 17 May 2001).

Derek Hill painted many other notable sitters, including Sir John Gielgud, Sir Alec Guinness and L.P. Hartley and in doing so became a life long friend to many of his subjects. Lord Gowrie best encapsulates this when he says that ‘Hill’s portraits are not commissioned. They are encounters, relationships.’ (G. Gowrie, Derek Hill An Appreciation, London, 1987, p. 8).

Derek Hill painting Noël Coward.

8

•l*2

MATI KLARWEIN (1932-2002)

Portrait of Sir Noël Cowardsigned and dated ‘Mati 58’ (upper left)oil and tempera on board15Ω x 14Ω in. (39.4 x 36.9 cm.)

£800-1,200 $1,300-1,800 €1,100-1,600

PROVENANCE:A gift from the artist to Sir Noël Coward.

l*3

SIR NOËL COWARD (1899-1973)

Portrait of a young mansigned ‘NOEL COWARD’ (lower left)oil on canvas, unframed24 x 18 in. (61 x 45.7 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

l*4


A Jamaican ladyoil on board, unframed8 x 8 in. (20.3 x 20.3 cm.)

£1,500-2,000 $2,300-3,100 €2,100-2,700

l*5


The red hatoil on canvas, unframed9Ω x 7Ω in. (24.1 x 19 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

l*6


The View from Firefyoil on canvas20 x 24 in. (50.8 x 61.3 cm.)Painted circa 1955.

£10,000-15,000 $16,000-23,000 €14,000-20,000

LITERATURE:S. Morley, Out in the Midday Sun The Paintings of Noël Coward, Oxford, 1988, pp. 78, 79, illustrated.

In the 1950s Coward began to feel that his frst home in Jamaica, Blue Harbour, had become too busy to work at, and so in 1955 he built Firefy, a modest one-bedroomed house with spectacular views across the Caribbean.

Noël Coward painting at Firefy. © NC Aventales AG 1961.

‘Firefy Hill has given me the most valuable benison of all: time to read and write and think and get my mind in order ... I love this place. It deeply enchants me. Whatever happens to this silly world, nothing much is likely to happen here.’

12

•l*7


Sleeping amongst the palmssigned ‘Noël Coward’ (lower right)pencil on board, unframed14Ω x 20 in. (36.8 x 50.8 cm.)

£800-1,200 $1,300-1,800 €1,100-1,600

•l*8


The Duetpencil and oil on canvas-board, unframed15 x 18 in. (38.1 x 45.7 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

•*9

ENGLISH SCHOOL, 20TH CENTURY

Male nude studywith signature ‘Orpen’ (lower right)charcoal25Ω x 18 in. (54.5 x 45.6 cm.)

£400-600 $610-920 €540-810

We are very grateful to the Orpen Research Project for their assistance in preparing this catalogue entry.

l*10


Dancing Couplesigned ‘Noel Coward’ (lower right)pencil, felt-tipped pen and watercolour13Ω x 9Ω in. (34.2 x 24.2 cm.)

£1,500-2,500 $2,300-3,800 €2,100-3,400

l*11


Seated Mansigned ‘Noël Coward’ (lower right)pencil, felt-tipped pen and watercolour13¬ x 9Ω in. (34.6 x 24.2 cm.)

£1,500-2,500 $2,300-3,800 €2,100-3,400

14

l*13


Sailor, Manhattansigned ‘NOËL COWARD’ (lower right)oil on canvas, unframed16º x 11√ in. (41 x 30 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

•l*12

OLIVER MESSEL (1904-1978)

Study of a Boysigned ‘Oliver Messel’ (lower right)charcoal and coloured chalks14 x 11 in. (35.5 x 28 cm.)Together with Two acrobats by Dmitri Bouchène and Head of a girl by an unknown hand. (3)

£800-1,200 $1,300-1,800 €1,100-1,600

*14

GLYN WARREN PHILPOT, R.A. (1884-1937)

Head of a Negrooil on canvas24æ x 14æ in. (62.9 x 37.5 cm.)Painted in 1937.

£15,000-20,000 $23,000-31,000 €21,000-27,000

PROVENANCE:Miss G. Cross.

EXHIBITED:London, Leighton House Museum, Drawings, Paintings and Sculpture by Glyn Warren Philpot R.A. 1884-1937, February 1959, no. 63: this exhibition was toured by the Fine Arts Exhibitions Bureau, 1959-60.Worthing, Art Gallery, Glyn Philpot An Exhibition of Paintings and Drawings, September - October 1962, no. 26.

l*15


The Railwaysigned with initials ‘DH’ (lower right)oil on canvas24æ x 30¿ in. (62.9 x 76.5 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:Purchased by Sir Noël Coward at the 1947 exhibition.

EXHIBITED:London, Leicester Galleries, Exhibition of work by Derek Hill, May 1947, no. 34.

•l*16


On leavesigned with initials and dedicated ‘D.H./to/N.C.’ (lower right)pencil and wash9º x 7¡ in. (23.5 x 18.8 cm.)

£600-800 $920-1,200 €810-1,100

•*17

FRENCH SCHOOL, EARLY 20TH CENTURY

Direction de Parisindistinctly signed (lower right)oil on canvas16 x 24 in. (40.6 x 61 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:with Leicester Galleries, London.

l*18


Sloane Square nocturnesigned with initials ‘DH’ (lower right)oil on canvas28 x 36º in. (71 x 92 cm.)

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

18

•l*21

AUGUSTUS JOHN, O.M., R.A. (1878-1961)

Seated Girlsigned ‘John’ (lower right)pencil9 x 7Ω in. (22.8 x 19 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

We are very grateful to Rebecca John for her assistance in preparing the catalogue entries for lots 21, 141-143, 151, 154, 162 and 164.

*20

EUGÈNE BOUDIN (1824-1898)

Pardon en Bretagnestamped with initials ‘E.B’ (lower right)pencil, watercolour and gouache10º x 8Ω in. (26 x 21.6 cm.)Executed circa 1865-70.

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:with Redfern Gallery, London.

Manuel Schmit has confrmed the authenticity of this work and it will be included in the forthcoming Catalogue Raisonné of the works on Paper of Eugène Boudin (1824-1898).

*19

WALTER RICHARD SICKERT, A.R.A. (1860-1942)

The Tiffsigned ‘Sickert’ (lower left), signed again ‘Sickert’ (lower right)ink10æ x 8æ in. (27.4 x 22.2 cm.)Executed circa 1911.

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:Miss Lowe.with Roland, Browse and Delbanco, London, 1960.Dame Rebecca West, 1962, by whom gifted to Sir Noël Coward.

EXHIBITED:London, Roland, Browse and Delbanco, Sickert 1860-1942, March - April 1960, no. 39.Brighton, Royal Pavilion, Sussex Festival Exhibition, Sickert, June 1962, no. 25.

LITERATURE:G. White, ‘Sickert Drawings’, Image, no. 7, Spring 1952, p. 40, illustrated.W. Baron, Sickert, London, 1973, under no. 331.W. Baron, Sickert Paintings & Drawings, London, 2006, pp. 392-3, no. 389.3, illustrated.

*22

JAMES DICKSON INNES (1887-1914)

Camden Town: Night Scenesigned and dated ‘D Innes/07’ (lower centre)oil on canvas14 x 18 in. (35.7 x 45.7 cm.)

£15,000-25,000 $23,000-38,000 €21,000-34,000


EXHIBITED:London, Leicester Galleries, An important exhibition of paintings and water-colours by J.D. Innes, February 1952, no. 52.

LITERATURE:J. Hoole and M. Simons, James Dickson Innes 1887-1914, Farnham, 2013, p. 162, no. JDI72.

Painted in 1907, Camden Town: Night Scene is an early example painted while Innes was still a student at the Slade. It is the only recorded view of an outdoor urban scene of London, making it an extremely rare example of the artist’s work.

We are very grateful to John Hoole for his assistance in preparing this catalogue entry.

20

l*23

EDWARD SEAGO, R.W.S., R.B.A. (1910-1974)

Street in Moroccosigned ‘Edward Seago’ (lower left), dedicated and dated ‘For Noël from Ted 1967’ (lower right)pencil and watercolour13º x 20Ω in. (33.4 x 52 cm.)

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

PROVENANCE:A gift from the artist to Sir Noël Coward in 1967.

•l*24

ANDRÉ EUGÈNE LOUIS CHOCHON (1910-2005)

Scène de ruesigned ‘A. Chochon’ (lower right)oil on canvas16º x 12æ in. (41.5 x 32.5 cm.)

£500-700 $770-1,100 €680-940

*25

WALTER STUEMPFIG (1914-1970)

Boys Playing in a Square, Philadelphiaindistinctly signed and dated ‘54 STUEMPFIG’ (on the base of the statue)oil on canvas30 x 40 in. (76.2 x 101.6 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

l*26

EDWARD SEAGO, R.W.S., R.B.A. (1910-1974)

Towards Westminstersigned ‘Edward Seago’ (lower left), dedicated and dated ‘For Noel/from/Ted/1972’ (on the reverse)oil on board16 x 12 in. (40.8 x 30 cm.)

£15,000-25,000 $23,000-38,000 €21,000-34,000

PROVENANCE:A gift from the artist to Sir Noël Coward in 1972.

Edward Seago thought highly of Coward. In a letter of 6 July 1966 Seago writes, ‘I’m still very thrilled to think that the man who’s [sic] work I admire far more than that of anyone else in his art – or several arts for that matter – should profess a liking for my pictures.’

Seago became a close friend of Coward’s and painted three portraits of him. The most famous of these hangs in the Garrick Club in London.

22

EXHIBITED:Munich, Glaspalast, Offzieller Katalog der Münchener Jahresausstellung, 1903, as ‘Wein, Weib und Gesang’.Paris, Galerie Cardo, Walter R. Sickert, November - December 1930, no. 57, as ‘Scène du Théâtre’. London, Leicester Galleries, New Year Exhibition of Paintings, Drawings and Sculpture by Nineteenth and Twentieth Century Artists, January 1952, no. 56.

LITERATURE:L. Browse, Sickert, London, 1960, p. 64, pl. 12.W. Baron, Sickert, London, 1973, no. 79.W. Baron, Sickert Paintings & Drawings, London, 2006, p. 215, no. 98.2, illustrated.

The previous owner of this lot, Hugh ‘Binkie’ Beaumont, was one of the most infuential theatre producers in London during the middle of the 20th Century. Setting up H.M. Tennant Ltd in 1936 with Harry Tennant, he went on to produce many successful productions, including Noël Coward’s Present Laughter and Blithe Spirit.

*27


The Toast (Trelawney of the Wells)signed ‘Sickert.’ (lower left)oil on canvas18 x 15º in. (45.7 x 38.3 cm.)Painted in 1898.

£20,000-30,000 $31,000-46,000 €27,000-40,000

PROVENANCE:André Gide.Purchased by Hugh Beaumont at the 1952 exhibition.

l*29

OLIVER MESSEL (1904-1978)

Portrait of Adrianne Allensigned ‘OLIVER MESSEL’ (lower right)oil on canvas40 x 30 in. (101.6 x 76.2 cm.)Painted circa 1929.

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:A gift from the artist to Adrianne Allen on her marriage to Raymond Massey in 1929, and gifted by her to Sir Noël Coward in 1939.

Adrianne Allen was an English actress, best known for her performance in the original 1930 West End production of Noël Coward’s Private Lives, in which she played Sybil alongside Gertrude Lawrence, Laurence Olivier and Coward himself. First noticed in 1926 by the theatrical producer Basil Dean, at her graduation show at the Royal Academy of Dramatic Art, Allen began her career as Nina Vansittart in Coward’s play Easy Virtue, later going on to star in his play The Rat Trap, alongside her husband to be Raymond Massey. After their frst appearance on stage together in 1930 Coward and Allen became close friends and in the 1950s both moved to the region of Montreaux in Switzerland, with Allen settling in Glion-sur-Montreux and Coward close by in Les Avants.

l*28

SIR WILLIAM ROTHENSTEIN (1872-1945)

Portrait of Gladys Calthropoil on canvas40 x 26 in. (101.6 x 66 cm.)Painted in 1922.

£5,000-7,000 $7,700-11,000 €6,800-9,400

PROVENANCE:with Lefevre Gallery, London.

Coward met Gladys Calthrop socially in the early 1920s. Gladys was a leading British stage designer and designed costumes and sets for many of his shows until the 1940s. Their frst collaboration was in 1924 at the Everyman Theatre in Hampstead where Calthrop designed the stage sets for The Vortex.

24

*30

CHRISTOPHER WOOD (1901-1930)

Fishing Village, Cornwallsigned and dated ‘Christopher Wood/1926’ (lower left)oil on canvas20 x 24 in. (51 x 61.2 cm.)

£70,000-100,000 $110,000-150,000 €95,000-130,000

EXHIBITED:London, Redfern Gallery, Christopher Wood Exhibition of Complete Works, March - April 1938, no. 143.

LITERATURE:E. Newton, Christopher Wood 1901-1930, London, 1938, p. 66, no. 131.

Fishing Village, Cornwall was painted in 1926, the year that Christopher Wood frst visited St Ives in Cornwall. The Cornish coast had a deep impact on Wood, and from this year until his untimely death in 1930, the artist painted a number of harbour and coastal scenes both in Cornwall and in Brittany, which rank among the greatest paintings in his oeuvre. With a directness and simplicity, in Fishing Village, Cornwall, Wood has depicted a quintessential Cornish town with an array of bold colours. Under the bright blue sky, the white houses of the village gleam, while in the foreground the harbour is flled with two boats foating on the deep turquoise sea.

Wood had, since 1921, been living and working predominantly in Paris. Having met many of the leading fgures of the avant-garde and seen the myriad of modern styles and artistic techniques being used in the French capital, Wood recognised the importance of forging his own, unique artistic style. He wrote in 1925, the year before Fishing Village, Cornwall was painted, ‘All the pictures that I paint now will be fatal, one way or another, to my career. They must be personal, quite different to everyone else’s and full of English character.’ (Wood, quoted in V. Button, Christopher Wood, London, 2003, p. 39).

Wood’s trip to the British coast in 1926 was vital to the development and emergence of his distinctive simplistic and deliberately naïve style. The clear light, rocky coastline, and small villages of Cornwall were the antithesis of cosmopolitan Paris, and greatly inspired Wood; he described in a letter to this mother, ‘the coastline is arid with huge rocks and towering black cliffs, and little coves and creeks with the greenest water you ever saw, with little white cottages clinging like wild fowers to the rocks.’ (Wood quoted in H. Gresty, ‘Christopher Wood, The Innocent and the Modern’ in Christopher Wood: The Last Years 1928-1930, exhibition catalogue, Newlyn, Art Gallery, 1989, p. 8). Imbued with a freshness and directness, Fishing Village, Cornwall encapsulates Wood’s newly emergent style. Specifc pictorial and scenic detail is replaced by bold planes of colour applied with varied, often visible brushstrokes. Wood wrote again to his mother in 1926, ‘I know that my stay in St. Ives has been a great proft to me as I have at least learnt how to fnish my work, which is the most… diffcult part. I feel I have thought a lot and assimilated much and that now really I feel that I am an artist and couldn’t ever have done anything else in my life, which is a great comfort to me’ (Wood quoted in Button, op. cit., p. 41). Filled with a newfound artistic confdence, Wood continued to visit the Cornish coast, often accompanying the artists Ben and Winifred Nicholson with whom he formed a deep and lasting friendship, sharing their direct approach to the depiction of the landscape.

26

•l*33


Bateaux de pêche sur la plagesigned and dated ‘Chochon/44’ (lower right)oil on board15 x 18º in. (38.1 x 46.2 cm.)

£400-600 $610-920 €540-810

•l*32

MICHEL DUREUIL (B. 1929)

Le penichesigned and dated ‘M. Dureuil 51’ (lower left)oil on canvas13 x 16 in. (33 x 39.8 cm.)

£600-800 $920-1,200 €810-1,100

•l*31

DAVID NIVEN (1910-1983)

Shippingoil on canvas-board22 x 28 in. (55.8 x 71.2 cm.)

£800-1,200 $1,300-1,800 €1,100-1,600

The actor David Niven was close friends with Noël Coward, and Coward was godfather to Niven’s frst born son, David Jr.

•l*35


St Castsigned ‘A. Chochon’ (lower right), inscribed and dated ‘St. Cast 1935’ (lower left)oil on canvas15 x 18º in. (38.1 x 46.3 cm.)

£400-600 $610-920 €540-810

•l*34


Le port d’Antibessigned and dated ‘Dureuil 58’ (lower left), inscribed ‘Le port d’Antibes’ (on the stretcher)oil on canvas15 x 18 in. (37.9 x 45.7 cm.)

£800-1,200 $1,300-1,800 €1,100-1,600

*36

MAXIME MAUFRA (1861-1918)

La plagesigned and dated ‘Maufra 1904’ (lower right)oil on panel6º x 9Ω in. (15.8 x 24.2 cm.)

£2,500-3,500 $3,900-5,300 €3,400-4,700

•l*37


La plagesigned and dated ‘Dureuil 52’ (lower right)oil on canvas15 x 17æ in. (38 x 45 cm.)

£800-1,200 $1,300-1,800 €1,100-1,600

PROVENANCE:with Roland, Browse and Delbanco, London, as ‘Coast of France’.

*38

MAXIME MAUFRA (1861-1918)

l’Orage, entrée des bateaux, Le Havresigned and dated ‘Maufra 1905.’ (lower right)oil on canvas24 x 32º in. (61 x 81.9 cm.)

£15,000-25,000 $23,000-38,000 €21,000-34,000

PROVENANCE:with Gallery Durand-Ruel, Paris, 1905.with Gallery Durand-Ruel, New York, 1908.

Caroline Durand-Ruel Godfroy has confrmed the authenticity of this work and it will be included in the forthcoming catalogue raisonné of Maxime Maufra.

30

•*41

LAWRENCE CALCAGNO (1916-1993)

Sun Painting II, triptychsigned, inscribed and dated ‘Lawrence Calcagno/SUN PAINTING II VI 1975’ (on the reverse)acrylic on three canvases, unframedeach 39¡ x 36 in. (100 x 91.3 cm.)

£600-800 $920-1,200 €810-1,100

•l*40

JEAN-PIERRE ROUSSEAU (B. 1939)

Le chemin de fer; and Les locomotivessigned ‘J.P. Rosseau’ (lower left) and dated ‘61.’ (upper right)oil on canvas28æ x 21º in. (73 x 54 cm.) (2)

£800-1,200 $1,300-1,800 €1,100-1,600

•l*39

JEAN-PIERRE ROUSSEAU (B. 1939)

Le petit port; and Le portsigned ‘J.P. Rosseau.’ (lower left) and dated ‘59.’ (lower right)oil on canvas19æ x 28æ in. (50.2 x 73 cm.) (2)

£800-1,200 $1,300-1,800 €1,100-1,600

•l*44

PAULO GAGARIN (1885-1980)

Bananierindistinctly signed, inscribed and dated ‘Principe P. Gagarin/1931 Rio’ (lower left)oil on canvas19 x 15 in. (48.2 x 38 cm.)

£600-800 $920-1,200 €810-1,100

•l*43


Étangindistinctly signed and inscribed ‘Prince Gagarin’ (upper right)oil on canvas19Ω x 23Ω in. (49.5 x 59.6 cm.)

£700-1,000 $1,100-1,500 €940-1,300

•l*42


Flamboyantsigned, inscribed and dated ‘Principe P. Gagarin. Rio./1931’ (lower right)oil on canvas32 x 26 in. (81.3 x 66 cm.)

£800-1,200 $1,300-1,800 €1,100-1,600

32

l*45


Unloading the Catchsigned ‘Noël Coward’ (lower right)oil on canvas12 x 14 in. (30.5 x 35.9 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

*46

PAUL MAITLAND (1863-1909)

The west Cliff, Ludlowsigned ‘P. Maitland’ (lower left)oil on panel8¬ x 11Ω in. (22.2 x 29 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:Purchased at the 1954 exhibition by A. Macrae.

EXHIBITED:London, Leicester Galleries, Artists of Fame & Promise, Part II, August 1954, no. 51.

l*47

ANDRÉ HAMBOURG (1908-1999)

La plage de Honfeursigned and dated ‘A. HAMBOURG/37’ (lower right)oil on canvas18 x 21Ω in. (45.6 x 54.6 cm.)

£6,000-8,000 $9,200-12,000 €8,100-11,000

The present work depicts Honfeur, a picturesque old port in Normandy, located on the southern bank of the estuary of the Seine across from Le Havre. Honfeur held a special signifcance for Hambourg, where he met his wife in 1948. She would spend the summers staying at her father’s holiday house. The old-paddle boat pictured in the present lot would sail past daily from Honfeur to Le Havre. So fond of the place were they that they made it their home in 1959. Hambourg painted some of his most important works at Honfeur, which, like the present work, captures the charm of the place.

Nicole Hambourg has confrmed the authenticity of this work and it will be included in the upcoming catalogue raisonné of André Hambourg.

34

l*48


Jamaican Marketsigned ‘NOËL COWARD’ (lower left)oil on canvas-board12 x 7æ in. (30 x 20 cm.)

£6,000-8,000 $9,200-12,000 €8,100-11,000

l*49


Purple Interiorsigned ‘NOËL COWARD’ (lower right)oil on board, unframed16 x 20 in. (40.7 x 50.7 cm.)

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

LITERATURE:S. Morley, Out in the Midday Sun The Paintings of No‘l Coward, Oxford, 1988, p. 54, illustrated.

*50


Paris Squareoil on board18 x 22 in. (45.7 x 55.7 cm.)Painted in 1925.There is a Paris street scene with fgures by the same hand on the reverse.

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


LITERATURE:E. Newton, Christopher Wood 1901-1930, London, 1938, p. 66, no. 70.C. Lesley, The Life of No‘l Coward, London, 1976, n.p., illustrated.

‘One must be content with saying that Christopher Wood possessed the gift of making everyday things both magical and mystical, and of performing the miracle effortlessly.’ (E. Newton, Christopher Wood, His Life and Work, London, 1938, p. 49).

Painted in Paris in 1925, Paris Square comes from an important year in the career of English artist, Christopher Wood, during which his distinctive, naïve style began to emerge. Having moved to Paris in 1921, by 1925, Wood had met many of the leading fgures of the Parisian avant-garde, including Pablo Picasso and the writer and artist,

Jean Cocteau, with whom he was sharing a studio in the year that Paris Square was painted. The bustling Parisian square is flled with an assortment of fgures pictured under the stately, leafess trees of winter, the sun-dappled buildings of Paris framing the scene behind. Wood captured this scene of daily life in his own, unique style; Eric Newton stated that Wood’s works of 1925, such as Paris Square, are paintings that, ‘could have been painted by no one else. These are his “key” pictures.’ (E. Newton, Christopher Wood, His Life and Work, London, 1938, p. 45).

In 1920, while living in London, Wood had met the wealthy art dealer and patron, Alphonse Kahn who invited the young artist to stay with him in Paris. Wood arrived in the French capital aged 19, and enrolled in the Académie Julian and later the Grande Chaumière. Immersed in the eclectic avant-garde art world of Paris, and exposed to the astonishing variety of artistic styles there, Wood developed a highly personal style such as is evident in Paris Square. With a sense of simplicity and rapidity, Wood has portrayed a snapshot of Paris, using bursts of bold colour such as the orange of women’s coats, the bright green of the triangular segments of grass, and the light blue of the fountain, which imbue the scene with a lively vibrancy and vitality. ‘If Wood had not lived a cosmopolitan existence, with Paris as his headquarters’, Eric Newton wrote, ‘I doubt whether he would have achieved that confdent grip of his craft as early as he did. The series of decisions and accidents that cut him off from England and threw him into the cross-currents of continental life set his art free.’ (E. Newton, ibid., pp. 57-58). It was the artistic diversity and cosmopolitanism of Paris that provided Wood with the subject matter and stylistic inspiration with which to forge his personal artistic style, such as is evident in this vibrant scene of city life.

Noël Coward and Kay Thompson at Les Avants, with Paris Square by Christopher Wood. Photo: Graham Payn.

38

•*53

JOHN LA FARGE, 20TH CENTURY

Male Nudesigned with monogram (lower right)charcoal and pastel16Ω x 8æ in. (42 x 22.3 cm.)Executed in 1961.

£600-800 $920-1,200 €810-1,100

•*52


Standing Man with Towelsigned, dedicated and dated ‘To NOEL COWAR [sic]/STUEMPIG [sic] ‘57’ (lower left)oil on canvas16 x 12 in. (40.8 x 30.6 cm.)

£600-800 $920-1,200 €810-1,100


•*51


Young Batheroil on canvas-board10Ω x 9 in. (26.6 x 22.8 cm.)

£500-700 $770-1,100 €680-940

l*54


Swimming pool, Blue Harbouroil on canvas24 x 20 in. (61 x 50.8 cm.)

£7,000-10,000 $11,000-15,000 €9,500-13,000

Noël Coward fell in love with Jamaica whilst holidaying there in 1948, staying at Goldeneye, Ian Fleming’s island retreat. He subsequently built his own home further along the coast and named it Blue Harbour, later building three guest cottages in the grounds and the beautiful swimming pool by the seashore that is depicted in the present work. Blue Harbour quickly became a mecca for Coward’s friends and the post-war ‘celebrity set’ of stage and screen.

40

l*55


What is she Telling her Beads?signed ‘NOËL COWARD’ (lower left), signed again and inscribed ‘“What is she telling her beads”/NOËL COWARD’ (on the stretcher)oil on canvas7æ x 9æ in. (19.7 x 24.7 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

•l*56

FRENCH SCHOOL, 19TH CENTURY

Le château de sableoil on canvas18º x 21æ in. (48 x 55.5 cm.)Painted circa 1890.Together with Low Tide by Alan Clutton-Brock. (2)

£500-700 $770-1,100 €680-940

PROVENANCE:with Arthur Jeffress Gallery, London, where purchased by Dame Elizabeth Taylor.A gift from Dame Elizabeth Taylor to Sir Noël Coward.

l*57


Jamaicasigned ‘NOËL COWARD’ (lower right)oil on canvas20¿ x 24¿ in. (51 X 61.2 cm.)

£10,000-15,000 $16,000-23,000 €14,000-20,000

42

•l*60

JOY MILBURN, 20TH CENTURY

Trumpet Liliessigned ‘Joy Milburn’ (lower right)oil on canvas24 x 18 in. (61 x 45.7 cm.)

£300-500 $460-760 €410-670

PROVENANCE:with Bolivar Gallery, Kingston, Jamaica.

•*59

ENGLISH SCHOOL, 20TH CENTURY

A Royal Catoil on canvas, unframed8Ω x 4æ in. (22.2 x 12 cm.)Together with Capri attributed to Dame Joan Sutherland. (2)

£800-1,200 $1,300-1,800 €1,100-1,600

•l*58

CLEMENCE DANE (1888-1965)

Spring Flowers; Roses in a glass; Flowers by a windowsigned ‘Clemence/Dane’ (lower right)oil on canvas36º x 28 in. (92 x 71.1 cm.) (3)

£800-1,200 $1,300-1,800 €1,100-1,600

Clemence Dane was a sculptor, British novelist and playwright, writing 16 novels and over 30 plays. She studied art for three years at the Slade in London, and another year in Dresden, Germany before the outbreak of World War I. Coward called her ‘a gallant old girl’ and she is believed to be the model for Madame Arcati in Coward’s Blithe Spirit.

l*61


Lac Léman, Switzerlandsigned ‘NOËL COWARD’ (lower right)oil on canvas-board15 x 18 in. (38 x 46 cm.)

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

The present work shows the view across Lake Geneva, or Lac Léman as it is otherwise known, which Coward’s house in Les Avants, near Montreux, overlooked. Coward settled here in 1959 and painted numerous scenes capturing the picturesque views across the lake.

44

•*62

LOUISE ELLEN PERMAN (1854-1921)

A Vase of Rosessigned ‘L.E. Perman’ (lower right)oil on canvas18 x 12 in. (45.7 x 61 cm.)

£600-800 $920-1,200 €810-1,100

PROVENANCE:with Charles Keyser, London.

LITERATURE:J. Caw, Scottish Painting Past and Present 1620-1908, Edinburgh, 1908, p. 450.

•*63

ERNEST FILLIARD (1868-1933)

Anemones in a green and white Jug; Carnations in a blue and white Vaseeach signed ‘E Filliard’ (lower right)pencil and watercoloureach 5æ x 4æ in. (14.6 x 12.2 cm.) (2)

£500-700 $770-1,100 €680-940

•l*64

MARY MCLEOD, 20TH CENTURY

Still life with apples, pears and grapessigned with initials ‘MM’ (lower right) and dedicated ‘FOR/NOEL COWARD/M.M’ (on the reverse)oil on canvas24 x 20 in. (61 x 50.8 cm.)

£600-800 $920-1,200 €810-1,100


l*65


A Jamaican landscape with mother and childsigned ‘NOËL COWARD’ (lower right)oil on canvas, unframed9√ x 12 in. (25.6 x 30.5 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

•l*66


Study of Treesoil on board, unframed11 x 16 in. (27.9 x 40.6 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

46

•*69

P. DIDION, LATE 19TH CENTURY

A Collection of Six Military Figuressix lithographs, with hand-colouringeach 16Ω x 10 in. (41.9 x 24.4 cm.)

£300-500 $460-760 €410-670

PROVENANCE:with Galerie Cardo, Paris.

•*68

PIERRE-AUGUSTE RENOIR (1841-1919)

Le chapeau epingléetching, circa 1894, on laid paper, the second, fnal state, with wide margins7¿ x 4æ in. (18 x 12 cm.) plate

£300-500 $460-760 €410-670

PROVENANCE:with Redfern Gallery, London, December 1969, where purchased by Mr and Mrs Richard Attenborough, and by whom given to Sir Noël Coward.

LITERATURE:J.G. Stella, The Graphic Work of Renoir Catalogue Raisonné, Fort Lauderdale, 1975, pp. 16-17, no. 8, illustrated.L. Delteil, Pierre-Auguste Renoir L’oeuvre gravé et lithographié Catalogue Raisonné, San Francisco, 1999, pp. 16-17, no. 8, illustrated.

•*67

L. BESANÇON, EARLY 20TH CENTURY

Jeune garçon à l’epéesigned ‘L. Besançon’ (lower right)oil on canvas32 x 23Ω in. (81.5 x 59.6 cm.)

£800-1,200 $1,300-1,800 €1,100-1,600

*71


Frigatepencil, watercolour and gouache9Ω x 12Ω in. (24 x 31.7 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:Ivor Novello, from whom bequeathed to Sir Noël Coward.

*70


The Bold Bad Bart (after John Gilbert)signed ‘Sickert’ (lower left)oil on canvas18 x 30 in. (45.7 x 76.1 cm.)Painted circa 1934.

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

PROVENANCE:with Leger Galleries, London, April 1942.

EXHIBITED:London, Leicester Galleries, Richard Sickert, November - December 1934, no. 12, as ‘The Bold Bad Bart’.

LITERATURE:W. Baron, Sickert Paintings & Drawings, London, 2006, p. 513, no. 649.

48

l*72

PABLO PICASSO (1881-1973)

Pase de muleta (A.R. 420)stamped and numbered ‘Madoura Plein Feu/Empreinte Originale de Pablo Picasso/12/50’ (on the underside)partially glazed ceramic plate16æ in. (42.6 cm.) diameterConceived on 1 July 1959 and executed in a numbered edition of 50.

£3,000-5,000 $4,600-7,600€4,100-6,700

LITERATURE:A. Raimé, Picasso Catalogue de l’oeuvre ceramique edite 1947-1971, Madoura, 1988, p. 222, A.R. 420.

Shortly before the war Coward moved to Paris. There he mixed with the beau monde of Parisian society where he met Picasso.

l*73

JOHN NASH, R.A. (1893-1977)

Landscape with Canal, Lock and Bridgesigned ‘John Nash’ (lower left)oil on canvas24 x 36Ω in. (61 x 92.8 cm.)There is a dockyard scene by the same hand on the reverse.

£10,000-15,000 $16,000-23,000 €14,000-20,000


EXHIBITED:London, Leicester Galleries, New Year Exhibition, January 1952, no. 68.

(reverse)

50

*74


St Cloudoil on canvas18 x 21æ in. (45.7 x 55.2 cm.)Painted in 1925.

£30,000-50,000 $46,000-76,000 €41,000-67,000

PROVENANCE:with Redfern Gallery, London, 1947.


LITERATURE:E. Newton, Christopher Wood 1901-1930, London, 1938, p. 66, no. 74.

‘Do you know that all the great modern painters … are not trying to see things and paint them through the eyes and experience of a man of forty or ffty or whatever they may be, but rather through the eyes of the smallest child who sees nothing except those things which would strike him as being the most important? To the childish drawing they add the beauty and refnement of their own experience – this is the explanation of modern painting.’

(Christopher Wood, quoted in V. Button, Christopher Wood, London, 2003, p. 37).

Painted in 1925 while Christopher Wood was living and working in Paris, St Cloud presents a tranquil scene of modern life. Framed with rich, verdant green vegetation, a group of children are pictured playing in a Parisian park, accompanied by their mothers and child minders.

Like the great French Impressionists before him, including Monet, Renoir and Degas, as well as Manet, Wood has taken as his subject a scene of contemporary Parisian life. The composition of St Cloud is reminiscent of Manet’s Music in the Tuileries, from 1862 (National Gallery, London); the same large tree trunks border the scene, framing the fgures that stand in the foreground of the painting. Having moved from London to Paris in 1921, Wood had immersed himself in the exuberant and eclectic art world of the city. He admired many of the modern masters, including Picasso, Matisse and Gauguin, yet aimed to develop a highly personal and individual style, such as is evident in St Cloud. Rendered with a bold simplicity, the areas of unmodulated, fattened colour in St Cloud, such as the dark, curved tree trunks and the array of rich, green tones of the foliage, demonstrate Wood’s great love of colour, while the simplifed depiction of the fgures exemplifes the artist’s distinctive, naïve style, which he would continue to develop from this year onwards.

52

VARIOUS PROPERTIES

l75

DERRICK GREAVES (B. 1927)

Daffodils in a Vasesigned, inscribed and dated ‘Derrick Greaves/DAFFODILS IN A VASE/1981’ (on the reverse)oil and collage on canvas31Ω x 28 in. (80 x 71.1 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

l76

FRANCIS DAVISON (1919-1984)

Black House in Fieldswith estate stamp and numbered ‘A170’, with inscription ‘BLACK HOUSE IN/FIELDS/c. 1952-63’ (on a label attached to the backboard)collage29º x 24Ω in. (74.3 x 62.2 cm.)

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

PROVENANCE:Purchased by the present owner at the 2007 exhibition.

EXHIBITED:Cambridge, Kettle’s Yard, Francis Davison Collages and Early Works, November 2007 - January 2008.

l77

BEN NICHOLSON, O.M. (1894-1982)

May 60signed, dedicated and dated ‘Ben Nicholson/May 60/for Michael S.’ (on the reverse)pencil and oil wash on card, on the artist’s prepared board12æ x 8√ in. (32.4 x 22.5 cm.)

£7,000-10,000 $11,000-15,000€9,500-13,000

PROVENANCE:A gift from the artist to Michael Snow.

54

l79

DENIS BOWEN (1921-2006)

Untitled, 1958signed and dated ‘Denis Bowen 1958’ (lower right)watercolour, gouache and pastel, unframed11 x 15 in. (27.9 x 38.1 cm.)Together with three larger gouaches and a monotype by the same hand. (5)

£1,200-1,800 $1,900-2,700 €1,700-2,400

PROVENANCE:Acquired directly from the artist by the present owner, March 1961.

l78

PRUNELLA CLOUGH (1919-1999)

Lintelsigned ‘Clough’ (on the reverse)oil on canvas12Ω x 17Ω in. (31.7 x 44.4 cm.)

£1,500-1,500 $2,300-2,300 €2,100-2,000

PROVENANCE:Marina Vaizey, by whom acquired from the artist, 1988.Anonymous sale; Bonhams, London, 17 March 2010, lot 194.

l80

PAUL FEILER (1918-2013)

Interlinking Formssigned, inscribed and dated ‘PAUL FEILER/INTERLINKING FORMS/1966/67’ (on the backboard)oil on canvas14 x 18 in. (35.6 x 45.8 cm.)

£8,000-12,000 $13,000-18,000€11,000-16,000

PROVENANCE:The artist, and by descent.

56

l81

TONY O’MALLEY, H.R.H.A. (1913-2003)

Irish Landscape (Autumn)signed ‘O’Malley’ (lower right), signed again, inscribed and dated ‘IRISH/LANDSCAPE/(AUTUMN)/Tony O’Malley 1962’ (on the reverse)oil and collage on board27æ x 21º in. (70.5 x 54 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

l82

SVEN BERLIN (1911-2000)

Construction Drawing; and Houses into Constructionsigned and dated ‘1942. Sven Berlin’ (lower right)pencil and crayon10º x 6√ in. (26 x 17.5 cm.) (2)

£1,000-1,500 $1,600-2,300 €1,400-2,000

EXHIBITED:London, Belgrave Gallery, Sven Berlin, November - December 1989, nos. 42 and 43.

57

l83

ROGER HILTON (1911-1975)

Untitledsigned with initials and dated ‘RH/XI/74’ (lower left)pastel and gouache18 x 14¬ in. (45.8 x 37.2 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:with Waddington Galleries, London, where purchased by Padraig Macmiadhachain.Anonymous sale; Christie’s, London, 6 June 2003, lot 194, where purchased by the present owner.

l84

WILHELMINA BARNS-GRAHAM (1912-2004)

Brown Form on Red & Lilacsigned and dated ‘WBarnsGraham 1954’ (lower left), signed again, inscribed and dated again ‘W.Barns-Graham/”Brown Form on Red & Lilac 1954”’ (on the backboard)gouache14Ω x 20Ω in. (36.8 x 52.1 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:A gift from the artist to the previous owner.

58

l86

PERCY KELLY (1918-1993)

Bridge in winteroil on board10Ω x 13æ in. (26.7 x 34.9 cm.)Painted circa 1960.

£1,500-2,500 $2,300-3,800 €2,100-3,400

PROVENANCE:with Castlegate House Gallery.

Kelly painted Bridge in winter in the 1960s when he lived at Allonby on the West Cumbrian coast. This is a rare painting in oils by Kelly, as his frst wife, Audrey, could not bear the smell of linseed and turpentine.

We are very grateful to Chris Wadsworth for his assistance in preparing this catalogue entry.

l85

BRYAN PEARCE (1929-2007)

St Ia Church, St Ivessigned ‘Bryan Pearce’ (lower right)oil on canvas23Ω x 20 in. (59.7 x 50.8 cm.)Painted in 1962.

£3,000-5,000 $4,600-7,600 €4,100-6,700

EXHIBITED:London, New Art Centre, Bryan Pearce, January 1966, no. 10.

59

l87

THEODORE MAJOR (1908-1999)

Houses in the snow, Wiganoil on board30 x 37 in. (76.2 x 94 cm.)

£15,000-25,000 $23,000-38,000 €21,000-34,000

PROVENANCE:Anonymous sale; Christie’s, South Kensington, 17 May 2006, lot 490, where purchased by the present owner.

60

l88

FRED UHLMAN (1901-1985)

Early snowsigned and dated ‘UHLMAN/58’ (lower right)oil on canvas24º x 36º in. (61.6 x 92.1 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:Anonymous sale; Sotheby’s, Olympia, 24 November 2004, lot 162.

l90

JOSEF HERMAN, R.A. (1911-2000)

Two peasants at dawnoil on canvas11æ x 15æ in. (29.9 x 40 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:with Roland, Browse and Delbanco, London. Hannah Hirschfeld; Christie’s, New York, 21 June 2011, lot 133, where purchased by the present owner.

l89

BERNARD DUNSTAN, R.A. (B. 1920)

The Salutesigned with initials ‘BD’ (lower left), inscribed and dated ‘THE SALUTE/14.3.84’ (on the reverse)oil on board9 x 6æ in. (22.8 x 17.2 cm.)

£1,500-2,000 $2,300-3,100 €2,100-2,700

PROVENANCE:with Agnew’s, London, where purchased by the present owner.

l91

JOHN WONNACOTT (B. 1940)

Estuary, The Goatoil on board32æ x 47 in. (83.2 x 119.4 cm.)Painted in 1974-81.

£8,000-12,000 $13,000-18,000 €11,000-16,000

l92

RICHARD EURICH, R.A. (1903-1992)

Jonah and the Whalesigned ‘R. Eurich’ (lower left), signed again and inscribed ‘JONAH AND THE WHALE/RICHARD EURICH R.A.’ (on the reverse)oil on canvas20 x 24 in. (50.8 x 61 cm.)Painted circa 1980.

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

PROVENANCE:Purchased by the present owner’s mother at the 1991 exhibition.

EXHIBITED:Petersfeld, Ash Barn Gallery, Richard Eurich, R.A., Mostly Recent Paintings, June - July 1980, no. 15. London, Fine Art Society, Richard Eurich: Paintings Since the War, November 1991, no. 27.

We are very grateful to Christine Clearkin for her assistance in preparing this catalogue entry.

PROVENANCE:with Marlborough Fine Art, London.

l95

DAME ELIZABETH VIOLET BLACKADDER, R.A., R.S.A., R.S.W. (B. 1931)

Purse and Indian Birdssigned and dated ‘Elizabeth Blackadder 1984’ (upper left)pencil, watercolour, gouache and metallic leaf8 x 38æ in. (20.4 x 98.4 cm.)

£1,500-2,500 $2,300-3,800 €2,100-3,400

PROVENANCE:with Mercury Gallery, London, where purchased by Mr and Mrs John Cook, August 1984.Collection of Tufts University, Boston.

l94

PATRICK PROCKTOR (1936-2003)

Cecil Beaton’s Gardensigned and dated ‘Patrick Procktor 79’ (lower right), signed again and inscribed ‘Cecil Beaton’s Garden - Patrick Procktor’ (on the backboard)pencil and watercolour10 x 14 in. (25.4 x 35.6 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

l93

ROBERT BUHLER (1916-1989)

Chelsea Arts Club Gardensigned ‘Buhler.’ (lower right)oil on canvas30 x 40 in. (76.2 x 101.5 cm.)Painted circa 1983.

£2,000-3,000 $3,100-4,600 €2,700-4,000

EXHIBITED:London, Mall Galleries, The New English Art Club, 1983.Ascot, Austin Desmond Fine Art, Robert Buhler R.A., June - July 1984, no. 48.

63

nl*96

JOHN BRATBY, R.A. (1928-1992)

Flowers and Gardening Toolssigned ‘BRATBY’ (lower right)oil on board48Ω x 70 in. (123.3 x 177.8 cm.)

£7,000-10,000 $11,000-15,000 €9,500-13,000

PROVENANCE:with Beaux Arts Gallery, London.Frances Jacobson, New York.

64

l97


Nightfallsigned and inscribed ‘“NIGHTFALL”/by Josef Herman’ (on the reverse)oil on canvas20 x 18 in. (50.8 x 45.8 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:Anonymous sale; Christie’s, South Kensington, 25 July 1996, lot 374, where purchased by the present owner.

l98

ALAN LOWNDES (1921-1979)

Seaside Catsigned and dated ‘Alan Lowndes 1956’ (lower left)oil on card9Ω x 12 in. (24.1 x 30.5 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:A gift from the artist to Janey Elliker, and by whom gifted to the present owner.

l99

P.J. CROOK (B. 1945)

Rememberingsigned ‘P.J.CROOK’ (lower right), signed again, inscribed and dated ‘Pamela Crook/Remembering/3/1980’ (on the reverse)acrylic on board6Ω x 7Ω in. (16.5 x 19.1 cm.) including the painted frame

£800-1,200 $1,300-1,800 €1,100-1,600

65

l100

KEN HOWARD, R.A. (B. 1932)

The Artist’s Modelsigned ‘Ken Howard.’ (lower right)oil on canvas36 x 30 in. (91.5 x 76.2 cm.)

£8,000-12,000 $13,000-18,000 €11,000-16,000

PROVENANCE:Anonymous sale; Christie’s, South Kensington, 16 December 2010, lot 81, where purchased by the present owner.

EXHIBITED:Rathmore, Merrion Hotel, Solomon Fine Art, Important Irish & British and Master Prints, November 2008.

66

l102

DAME ELISABETH FRINK, R.A. (1930-1993)

Running mansigned and dated ‘Frink ‘82’ (lower left)pencil22 x 15 in. (55.9 x 38 cm.)

£1,500-2,000 $2,300-3,100€2,100-2,700

l101

DAME ELISABETH FRINK, R.A. (1930-1993)

Design for Ulster Bank IVcharcoal26¡ x 13º in. (67.9 x 34.3 cm.)Executed in 1961.

£1,000-1,500 $1,600-2,300€1,400-2,000

This is a study for the large sculpture Flying Figures on the Ulster Bank building.

67

l104

ROBERT CLATWORTHY, R.A. (B. 1928)

Catstamped with initials, numbered and dated ‘R C/3.8/1978’ (on the underside of the back right paw)bronze with a brown patina19 in. (48.3 cm.) long

£3,000-5,000 $4,600-7,600 €4,100-6,700

EXHIBITED:London, Royal Academy, 1978, no. 895.

LITERATURE:Exhibition catalogue, Summer Exhibition, London, Royal Academy, 1978, p. 63, no. 895, illustrated.K. Chapman (ed.), Robert Clatworthy Sculpture and Drawings, Bristol, 2012, p. 123, RC108, another cast illustrated.

l103

JOHN DAVIES (B. 1946)

Headink and gouache12 x 8Ω in. (30.5 x 21.6 cm.)Executed in 1980.

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:with Marlborough Fine Art, London.Miss Valerie Beston, her sale; Christie’s, London, 10 February 2006, lot 463, where purchased by the present owner.

EXHIBITED:London, Marlborough Fine Art, John Davies, Recent Sculpture and Drawings, November - December 1980, no. 61.

LITERATURE:Exhibition catalogue, John Davies, Recent Sculpture and Drawings, London, Marlborough Fine Art, 1980, no. 61, illustrated.

68

l105

JACK VETTRIANO (B. 1951)

After the Dancesigned ‘VETTRIANO.’ (lower left)oil on canvas-board24 x 20 in. (61 x 50.8 cm.)

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

PROVENANCE:with Edinburgh Gallery, Edinburgh.Anonymous sale; Bonhams, Edinburgh, 17 April 2013, lot 120, where purchased by the present owner.

l106


Peasantssigned and inscribed ‘“PEASANTS”/Josef Herman’ (on the reverse)oil on panel10 x 14 in. (25.4 x 35.6 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:Anonymous sale; Sotheby’s, London, 16 September 1981, lot 199, where purchased by the present owner.

69

l107

JOHN BELLANY, R.A., H.R.S.A. (1942-2013)

Fisherwomansigned ‘Bellany’ (lower right)oil on canvas36 x 36 in. (91.5 x 91.5 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:Acquired directly from the artist by the present owner.

l108

KEN HOWARD, R.A. (B. 1932)

Seated nude in a studiosigned ‘Ken Howard’ (lower right)oil on canvas24 x 20 in. (61 x 50.8 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700


70

l111

ALAN LOWNDES (1921-1979)

Portrait of Janeysigned and dated ‘Alan Lowndes/1956’ (lower left), dedicated ‘to/Janey’ (lower right)oil on board16¬ x 13æ in. (42.2 x 34.9 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:A gift from the artist to Janey Elliker, and by whom gifted to the present owner.

Janey Elliker (1922-2006) was a keen artist and close friend of Alan Lowndes. She sat for the present work at the Crane Gallery in Manchester in 1956.

l110

JOHN MINTON (1917-1957)

Seated Manink and wash14æ x 11 in. (37.5 x 28 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:A gift from the artist to Feliks Topolski.Anonymous sale; Christie’s, London, 14 May 1992, lot 142, where purchased by the present owner.

l109

CERI RICHARDS (1903-1971)

The Rape of the Sabinessigned and dated ‘Ceri Richards 49’ (upper right)ink and watercolour16 x 13 in. (40.6 x 33 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:with Austin Desmond Fine Art, London. Anonymous sale; Christie’s, London, 9 March 1990, lot 270, where purchased by the present owner.

71

l112

HENRY MOORE, O.M., C.H. (1898-1986)

Head of a Girlsigned ‘Moore’ (lower left)charcoal and watercolour6Ω x 8æ in. (16.5 x 22.2 cm.)Executed in 1983.

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

PROVENANCE:Raymond Spencer Company.with Dominion Gallery, Montreal, 1993.

LITERATURE:A. Garrould, Henry Moore Complete Drawings 1982-84, Volume 6, London, 1994, p. 131, AG 83.28, HMF 83(28), illustrated.

72

l113

WILLIAM GEAR, R.A. (1915-1997)

Surrealist Studypencil and gouache9º x 12 in. (23.5 x 30.5 cm.)Executed in 1938.

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:Anonymous sale; Bonhams, Knightsbridge, 28 June 2000, lot 142, where purchased by the present owner.

PROPERTY OF AN IMPORTANT TEXAS COLLECTOR

l*114

EILEEN AGAR, R.A. (1899-1991)

Compositionsigned and dated ‘AGAR/1953’ (lower right)gouache and collage on board10æ x 8¿ in. (27.3 x 20.6 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:with Birch & Conran Fine Art, London.with Mayor Gallery, London.

VARIOUS PROPERTIES

l115

DESMOND MORRIS (B. 1928)

The Visitorsigned with initials ‘DM’ (lower right), signed again, inscribed and dated ‘1949/The Visitor. Desmond Morris’ (on the stretcher)oil on paper laid on canvas9æ x 12º in. (24.8 x 31.1 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:Judy Keele, London. Private collection, UK.

73

l116

JULIAN TREVELYAN, R.A. (1910-1988)

Camel Corpssigned and dated ‘Trevelyan ‘72’ (lower left), signed again and inscribed ‘Julian Trevelyan/CAMEL CORPS’ (on the artist’s label attached to the stretcher)oil on canvas35 x 45Ω in. (89.9 x 115.5 cm.)

£5,000-7,000 $7,700-11,000 €6,800-9,400

PROVENANCE:Anonymous sale; Christie’s, London, 6 November 1998, lot 56, where purchased by the present owner.

EXHIBITED:London, Royal Academy, 1973, no. 828.

l117

JOHN BANTING (1902-1972)

Still life with bottles and glassoil on canvas18 x 14Ω in. (45.8 x 36.8 cm.)Painted circa 1948.

£2,000-3,000 $3,100-4,600 €2,700-4,000

74

l118

KEITH VAUGHAN (1912-1977)

Gardensigned and dated ‘Vaughan/53’ (lower left), inscribed and dated again ‘Garden/1953’ (on the artist’s label attached to the reverse)oil on board10Ω x 14æ in. (26.6 x 36.5 cm.)

£25,000-35,000 $39,000-53,000 €34,000-47,000

PROVENANCE:with Waddington Galleries, London.Anonymous sale; Sotheby’s, London, 7 June 1978, lot 130. Anonymous sale; Sotheby’s, London, 16 November 2011, lot 168.

EXHIBITED:London, Leicester Galleries, Keith Vaughan New Paintings, October 1953, no. 13. New York, Durlacher Brothers, Keith Vaughan: Paintings and Gouaches, February 1955, no. 15.London, Leicester Galleries, Keith Vaughan and Terry Frost: Exhibition of recent paintings, June 1958, no. 11.London, Matthiesen Gallery, Keith Vaughan: Recent Paintings, February - March 1960.London, Osborne Samuel, Keith Vaughan Centenary Tribute, November - December 2012, no. 28.

LITERATURE:A. Hepworth and I. Massey, Keith Vaughan The Mature Oils 1947-1977 a commentary and a catalogue raisonné, Bristol, 2012, p. 84, no. AH156, illustrated.G. Hastings, exhibition catalogue, Keith Vaughan Centenary Tribute, London, Osborne Samuel, 2012, no. 28, illustrated.

In 1953 Vaughan painted several works depicting fgures in landscapes, such as Man Sharpening a Sickle and Woodman in a Clearing. In each example Vaughan marries the human form to its environment, not only by an associated occupation but also by more formal qualities such as colour, character and form. Integrating the fgure into the landscape was a central concern throughout his career and the pictorial problems it presented both stimulated and frustrated Vaughan. In the present work the man, perhaps a gardener, reaches out to touch some foliage as he passes though a garden landscape. To the left is a pink-walled house and at the right the gable end of another building can be identifed. The organic forms of the garden both echo and rhyme with the characterisation of the fgure. Vaughan discussed this very matter in his studio notes:

‘My problem is to express the emotional difference between visually similar organisations of forms, within the limits of a single pictorial unity.

There has been at the disposal of every artist, since the time of Euclid, a valid language of abstract forms for the conveyance of emotions. But the emotions capable of this conveyance seem to me limited and, in my case, exclude the possibility of conveying a sense of confict. It does however offer a possibility of summing up my conception of the landscape in forms which are compatible with the forms of the fgure. In other words I have a series of abstract, or near abstract, forms paraphrasing my reactions to the landscape and another set of organic forms paraphrasing my reactions to the fgure. My problem then is to combine these two sets of forms within a single pictorial unity’ (K. Vaughan, Studio Notes, late 1950s).

We are very grateful to Gerard Hastings, author of Drawing to a Close: The Final Journals of Keith Vaughan and Keith Vaughan the Photographs, for preparing the catalogue entries for the present lot and lots 124 and 125.

76

l120


Landscape at Twilightsigned, inscribed and dated ‘“LANDSCAPE AT TWILIGHT”/1982/Josef Herman’ (on the reverse)oil on board11 x 14 in. (27.9 x 35.6 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700


l119

LEONARD ROSOMAN (1913-2012)

Cows passing into a yardoil on canvas20 x 30 in. (50.8 x 76.2 cm.)

£2,500-3,500 $3,900-5,300 €3,400-4,700

EXHIBITED:London, Roland, Browse and Delbanco, Leonard Rosoman: Recent Paintings, April - May 1957, no. 17. Edinburgh, Society of Scottish Artists, Annual Exhibition, 1959.

77

l121

JOHN PIPER, C.H. (1903-1992)

Thornton Abbey Gatewayink, watercolour and gouache20º x 26º in. (51.5 x 66.6 cm.)

£6,000-8,000 $9,200-12,000 €8,100-11,000

PROVENANCE:Myfanwy Piper, from whom acquired by the present owner.

A screenprint after this work was published by Marlborough Fine Art in 1987, in an edition of 70.

l122

ROBERT H. LEE (1915-2007)

Air raidsigned and dated ‘Lee 48’ (lower right)oil on panel13 x 25 in. (33.1 x 63.5 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:The artist’s estate.

78 (alternate view)

l123

GERTRUDE HERMES, R.A. (1901-1983)

Butterfysigned ‘Gertrude Hermes’ (on the underside)walnut33Ω in. (85.1 cm.) high, including the baseCarved in 1937.

£10,000-15,000 $16,000-23,000 €14,000-20,000

PROVENANCE:Acquired directly from the artist by the present owner’s father, and by descent.

EXHIBITED:London, New Burlington Galleries, The London Group Thirty-sixth Exhibition of Painting & Sculpture, October - November 1937, no. 327. London, Whitechapel Gallery, Gertrude Hermes: Bronzes and Carvings, Drawings, Wood engravings, Wood and Lino Block Cuts, 1924-1967, October - November 1967, no. 21.London, Royal Academy of Arts, Gertrude Hermes R.A., September - October 1981, no. 24. London, Ben Uri Gallery, Uproar! The First 50 Years of the London Group 1913-63, October 2013 - March 2014, no. 35.

LITERATURE:Daily Mirror, 29 October 1937.N. Mitchison, exhibition catalogue, Gertrude Hermes: Bronzes and Carvings, Drawings, Wood engravings, Wood and Lino Block Cuts, 1924-1967, London, Whitechapel Gallery, 1967, no. 21, illustrated.J. Hill, The Sculpture of Gertrude Hermes, Farnham, 2011, pp. 26, 121, no. 73, fg. 16, illustrated twice and on the back cover.S. MacDougall and R. Dickson, exhibition catalogue, Uproar! The First 50 Years of the London Group 1913-63, London, Ben Uri Gallery, 2013, pp. 46, 138-139, no. 35, illustrated twice.

As an artist in the interwar years, Hermes’ style thrived under the tutelage of Leon Underwood at Brook Green School of Art, where she studied from 1921-1925. The infuence of Primitivism and artists such as Brancusi and Gaudier-Brzeska is also evident in her work of this period.

Gertrude Hermes was seduced by the natural world from her youth. This is apparent from her early choice of subjects which predominantly encompassed organic matter such as plants, animals, birds and insects. In preparation for the present work, she studied butterfies in the countryside for two years. Butterfy has been selected for several major exhibitions since its debut at the 1937 London Group exhibition. Most recently it was chosen to represent Hermes at the fftieth anniversary exhibition of the London Group, held at Ben Uri Gallery in 2013-14. Also selected for the back cover of Jane Hill’s monograph on the artist, Butterfy remains one of Hermes’s most accomplished carvings and enduring images.

‘I tried to show in one complete piece of wood the perfect balance of the butterfy ... it is not symmetrical … it is not meant to be.’ (Gertrude Hermes)

80

l124


Bathers by the Reservoir: Marrakeshsigned and dated ‘Keith Vaughan/65’ (lower right)ink, pastel and gouache19 x 16 in. (48.3 x 40.5 cm.)

£15,000-25,000 $23,000-38,000 €21,000-34,000

PROVENANCE:with Marlborough Fine Art, London.

For more information on this lot please visit www.christies.com

l126

JOHN MINTON (1917-1957)

The Forest of Paper (Design for a Mural)oil on board14 x 28º in. (35.6 x 71.8 cm.), shapedPainted in 1957.

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:Anonymous sale; Christie’s, London, 12 July 1973, lot 248B.

The artist was commissioned by the Reed Paper group to do a mural for the Packaging Exhibition at Earl’s Court in 1957, and the present work was a design for this mural. Minton was working on this particular design just before he died.

l125


Maze of Figuresink, watercolour and gouache29º x 20æ in. (74.3 x 52.7 cm.)Executed circa 1960.

£10,000-15,000 $16,000-23,000 €14,000-20,000

EXHIBITED:London, Austin Desmond Fine Art, Keith Vaughan, November - December 1989, no. 106.London, Agnew’s, Keith Vaughan, May - June 2012, no. 25.

LITERATURE:Exhibition catalogue, Keith Vaughan, London, Agnew’s, 2012, pp. 36, 58, no. 25, illustrated.


82

l127

GRAHAM SUTHERLAND, O.M. (1903-1980)

Landscape with Low Cliff and Woodsdated ‘1937’ (lower right)ink, watercolour and gouache6 x 8æ in. (15.2 x 22.2 cm.)To be sold with a copy of Graham Sutherland, Correspondences, Selected Writings on Art, edited by Julian Andrews.

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:with Galleria Bergamini, Milan, by 1956. with Ruggerini & Zonca, Milan, by 1993.

LITERATURE:J. Andrews (ed.) Graham Sutherland, Correspondences, Selected Writings on Art, Parma, 1982, p. 135, pl. 3.

l127A


Study of Vine Pergoladated ‘1947’ (upper right)pencil, pastel and gouache14 x 14 in. (35.6 x 35.6 cm.)To be sold with a copy of Graham Sutherland, Correspondences, Selected Writings on Art, edited by Julian Andrews.

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

PROVENANCE:with Galleria Bergamini, Milan, by 1956.with Ruggerini & Zonca, Milan, by 1993.

LITERATURE:J. Andrews (ed.), Graham Sutherland, Correspondences, Selected Writings on Art, Parma, 1982, p. 161, pl. 37.

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

83

l128


Thorn Treessigned ‘Sutherland’ (lower right)pencil, ink and gouache13√ x 20¬ in. (35.2 x 52.5 cm.)Executed in 1952.To be sold with a copy of Graham Sutherland, Correspondences, Selected Writings on Art, edited by Julian Andrews.

£6,000-8,000 $9,200-12,000 €8,100-11,000

PROVENANCE:with Ruggerini & Zonca, Milan, by 1993.


l129


Designsigned with initials ‘G.S’ (lower right)gouache6Ω x 5º in. (16.5 x 13.4 cm.)Executed circa 1963.To be sold with a copy of Graham Sutherland, Correspondences, Selected Writings on Art, edited by Julian Andrews.

£1,500-2,000 $2,300-3,100 €2,100-2,700

PROVENANCE:with Ruggerini & Zonca, Milan, by 1993.

84

l131


Study for Chimèresigned with initials ‘G.S’ (lower right)pencil and crayon17Ω x 10Ω in. (44.4 x 26.6 cm.)Executed circa 1946. To be sold with a copy of Graham Sutherland, Correspondences, Selected Writings on Art, edited by Julian Andrews.

£1,000-1,500 $1,600-2,300 €1,400-2,000

l130


Study for landscapesigned with initials and dated ‘G.S 74’ (lower right)pencil, watercolour and crayon25Ω x 19¬ in. (64.8 x 49.9 cm.)To be sold with a copy of Graham Sutherland, Correspondences, Selected Writings on Art, edited by Julian Andrews.

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

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

85

l133


Study for Headdated ‘1952’ (lower right)charcoal6Ω x 5Ω in. (16.5 x 13.5 cm.)To be sold with a copy of Graham Sutherland, Correspondences, Selected Writings on Art, edited by Julian Andrews.

£1,000-1,500 $1,600-2,300 €1,400-2,000

l132


Machinepencil, charcoal, ink and gouache14 x 10 in. (35.5. x 25.5 cm.)Executed in 1950.To be sold with a copy of Graham Sutherland, Correspondences, Selected Writings on Art, edited by Julian Andrews.

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

PROVENANCE:with Galleria Bergamini, Milan, by 1958.with Ruggerini & Zonca, Milan, by 1993.


86

VARIOUS PROPERTIES

l134


Castle Howard; and Loading Haystamped with initials ‘KV’ (lower left), inscribed ‘Obalisk in wood/Castle Howard’ (along the upper edge)ink and wash 3º x 4º in. (7.6 x 10.8 cm.) (2)

£1,000-1,500 $1,600-2,300€1,400-2,000

•l135

REGINALD BRILL (1902-1974)

Sketch for Cockfeld Barn; Sketch for Dress Circle; Sketch for Morris Dancers; and Sketch for Bull Ringinscribed ‘Sketch for/Cockfeld Barn’ (on the reverse)pencil, unframed11 x 15 in. (28 x 38.1 cm.) (4)

£1,000-1,500 $1,600-2,300€1,400-2,000

l136


Two views of Figures on a beach; and Two views of A Country Lanestamped with initials ‘K.V.’ (lower left and right)pencileach 4æ x 6Ω in. (12.1 x 16.5 cm.), in a common frame (4)

£1,000-1,500 $1,600-2,300€1,400-2,000

LITERATURE:Exhibition catalogue, I Surrealisti, Milan, Palazzo Reale, May - September 1989, p. 460, illustrated. M. Gooding, Ceri Richards, Bristol, 2002, p. 84, illustrated.

In March 1946 Richards read an essay in the Horizon magazine by Henri Matisse in which he expounded the virtues of looking to other civilisations, both past and present, in order to break the infuences of one’s immediate cultural surroundings. He highlighted Cézanne drawing inspiration from Poussin. For Richards this confrmed his own approach to the history of art which was for him ever relevant to one’s experience within the here and now, and with this in mind, he turned to the paintings of Rubens and Delacroix.

In The Rape of the Sabines, painted in 1635, by Rubens, Richards found empathy with this classical story, made respectable through Renaissance painting. He recognised the themes of intense violation and consequential reconciliation and rejuvenation as having particular resonance in post-war Britain.

l137

CERI RICHARDS (1903-1971)

The Rape of the Sabine Womensigned and dated ‘’48 Ceri Richards’ (lower left), signed again and inscribed ‘Ceri Richards/Sabines’ (on the canvas overlap)oil on canvas16 x 20 in. (40.7 x 50.8 cm.)

£8,000-12,000 $13,000-18,000 €11,000-16,000

PROVENANCE:Peter Nahum, his sale; Christie’s, South Kensington, 15 November 2006, lot 293, where purchased by the present owner for £12,350.

EXHIBITED:Milan, Palazzo Reale, I Surrealisti, May - September 1989, not numbered. Chichester, Pallant House Gallery, Ceri Richards - The Mythologies, October - December 1991, catalogue not traced.

l139

JULIAN TREVELYAN, R.A. (1910-1988)

Olive Groves, Italysigned and dated ‘J.O. Trevelyan 33’ (lower left)pencil and watercolour13¬ x 21 in. (34.6 x 53.3 cm.)

£1,000-1,500 $1,600-2,300 €1,400-2,000

PROVENANCE:Anonymous sale; Christie’s, London, 15 October 1993, lot 131, where purchased by the present owner.

138

SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941)

Island Mageesigned ‘J. Lavery’ (lower left)oil on canvas14 x 18 in. (35.6 x 45.8 cm.)

£6,000-8,000 $9,200-12,000 €8,100-11,000


89

l140

DAVID JONES, C.H. (1895-1974)

Hartlington Hall, Yorkshiresigned and dated ‘David Jones/’36’ (lower right)pencil and watercolour19Ω x 24º in. (49.5 x 61.6 cm.)

£7,000-10,000 $11,000-15,000€9,500-13,000

PROVENANCE:A gift from the artist to Christopher Dawson, and by descent.

EXHIBITED:Manchester, Manchester Cathedral, David Jones, November - December 1976, no. 58.

This work was executed when Jones was staying with the scholar and historian Christopher Dawson, at his home Hartlington Hall.

90

l141


Ida standingpencil12 x 7æ in. (30.5 x 19.7 cm.)Executed circa 1900.

£2,000-3,000 $3,100-4,600€2,700-4,000

l142


Two studies of a young womanpencil13Ω x 9¡ in. (34.3 x 23.8 cm.)

£1,500-2,500 $2,300-3,800€2,100-3,400

l143


Study of a young womanpencil13 x 8Ω in. (33 x 21.5 cm.)

£1,000-1,500 $1,600-2,300€1,400-2,000

91

EXHIBITED:Venice, British Council, XXI Biennale, 1938, no. 96, as ‘Donna di Algeri’. London, Redfern Gallery, Christopher Wood: Exhibition of Complete Works, March - April 1938, no. 99. London, Redfern Gallery, Christopher Wood, February - March 1942, no. 10. London, Redfern Gallery, Christopher Wood: The First Retrospective Exhibition since 1938, April - May 1959, no. 4.

LITERATURE:E. Newton, Christopher Wood 1901-1930, London, 1938, pp. 43, 73, no. 351, illustrated.E. Newton, Christopher Wood: his life and work, London, 1959, p. 45, pl. 11.

*144


Woman of Algiersoil on paper laid on canvas21æ x 21æ in. (55.2 x 55.2 cm.)Painted in 1929.

£15,000-25,000 $23,000-38,000 €21,000-34,000

PROVENANCE:Sir Rex Nan Kivell. with Lefevre Gallery, London. Dr and Mrs Elliott Jaques. Anonymous sale; Christie’s, London, 21 May 2009, lot 68, where purchased by the present owner.

92

147


Female nudecharcoal and red chalk on buff paper24 x 16 in. (61 x 40.6 cm.)

£1,500-2,000 $2,300-3,100 €2,100-2,700

PROVENANCE:Anonymous sale; Christie’s, South Kensington, 12 October 2011, lot 17, where purchased by the present owner.

We are very grateful to Dr Bill Mason for his assistance in preparing this catalogue entry.

l146

CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A. (1889-1946)

Statue at Versaillessigned ‘C.R.W. Nevinson’ (lower right)pencil and watercolour7¿ x 5Ω in. (18.1 x 14 cm.)Executed circa 1922.

£1,500-2,500 $2,300-3,800 €2,100-3,400

PROVENANCE:with Leicester Galleries, London.

EXHIBITED:London, Lefevre Gallery, C.R.W. Nevinson, April - May 1997, no. 17, as ‘Versailles’.

We are very grateful to Christopher Martin for his assistance in preparing this catalogue entry and lot 158.

l145

BERNARD MENINSKY (1891-1950)

The Green Dresssigned and dated ‘Meninsky.30’ (upper right)oil on canvas30 x 20 in. (76.2 x 50.8 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

93

l149

SIR MATTHEW SMITH (1879-1959)

Still life with fruit; and Provençal Landscapewatercolour8æ x 13Ω in. (22.2 x 34.3 cm.) (2)

£2,000-3,000 $3,100-4,600 €2,700-4,000

l148

SIR CEDRIC MORRIS (1889-1982)

Agarete, Gran Canariainscribed and dated ‘AGARETE/GRAN CANARI/-55’ (on the reverse)oil on canvas30 x 24 in. (76.2 x 61 cm.)

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

PROVENANCE:Anonymous sale; Christie’s, London, 27 March 1997, lot 211, as ‘Agarete’, where purchased by the present owner.

94

l150

DAME ETHEL WALKER, A.R.A. (1861-1951)

Lady with a fansigned ‘Ethel Walker’ (lower right)oil on canvas30º x 25 in. (76.8 x 63.5 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

EXHIBITED:London, Goupil Gallery, Salon Catalogue: 16th Exhibition of this Series, 1926, no. 276. Bradford, City of Bradford Art Gallery, Cartright Hall, Golden Jubilee Exhibition: “Fifty years of British art 1904-1954”, March - June 1954, no. 16.

LITERATURE:Exhibition catalogue, Salon Catalogue: 16th Exhibition of this series, London, Goupil Gallery, 1926, p. 26, no. 276.

l151


Young Child in Headscarfpencil10Ω x 8æ in. (26.7 x 22.3 cm.)Executed circa 1905-1907.

£1,000-1,500 $1,600-2,300 €1,400-2,000

l152

DAME ETHEL WALKER, A.R.A. (1861-1951)

Flower Piecesigned ‘Ethel Walker’ (lower left)oil on canvas35Ω x 25 in. (90.2 x 63.5 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:with Lefevre Gallery, London.

95

nl153


Portrait of Her Majesty Queen Elizabeth, The Queen Mothersigned ‘B Dunstan’ (lower left)oil on canvas50 x 40 in. (127 x 101.5 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:Commissioned by Cow & Gate Ltd. and presented by their Directors to the Royal College of Midwives on 20 October 1958.

EXHIBITED:London, Royal Institute Galleries, Royal Society of Portrait Painters: sixty-ffth annual exhibition, November - December 1958, no. 446.

VARIOUS PROPERTIES

l154


Women and children among treesink9Ω x 11æ in. (23.6 x 29.8 cm.)Executed circa 1908.

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROPERTY OF THE ROYAL COLLEGE OF MIDWIVES, SOLD TO SUPPORT THEIR BENEVOLENT FUND

l156

JOHN DUNCAN FERGUSSON (1874-1961)

Portrait of a Womancharcoal and watercolour9 x 7√ in. (22.8 x 20 cm.)

£3,000-5,000 $4,600-7,600€4,100-6,700

PROVENANCE:Margaret Morris, and by descent.

l155

JOHN DUNCAN FERGUSSON (1874-1961)

A seated nude, Parispencil9Ω x 7Ω in. (24.2 x 19.1 cm.)Executed circa 1912.

£3,000-5,000 $4,600-7,600€4,100-6,700

PROVENANCE:Anonymous sale; Sotheby’s, Gleneagles, 1 September 2004, lot 832, where purchased by the present owner.

97

157

FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W. (1883-1937)

Mull from Ionasigned ‘FCB Cadell.’ (lower left)oil on canvas25 x 30 in. (63.5 x 76.2 cm.)

£20,000-30,000 $31,000-46,000 €27,000-40,000

PROVENANCE:with R.H. Spurr, 1957, where purchased by the present owner’s grandfather, and by descent.

l158

CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A (1889-1946)

Amberleysigned ‘C.R.W. Nevinson’ (lower right)pencil, watercolour and gouache9Ω x 13Ω in. (24.2 x 34.4 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

*159

GEORGE LESLIE HUNTER (1877-1931)

The Millsigned ‘L Hunter’ (lower right)pencil, crayon and ink15 x 12º in. (38.1 x 31.1 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:with Alex Reid & Lefevre, Glasgow.

PROVENANCE:Purchased by Henry Woodd Nevinson, the artist’s father, at the 1924 exhibition, and by descent.Anonymous sale; Christie’s, London, 22 November 1994, lot 201, where purchased by the present owner.

EXHIBITED:London, Leicester Galleries, Paintings and watercolours by C.R.W. Nevinson, March - April 1924, no. 124. probably London, Leicester Galleries, Watercolours and Paintings by C.R.W. Nevinson, March 1926, no. 26, as ‘Downs at Amberley’.

99

PROVENANCE:Purchased by Miss H. Grant at the 1949 exhibition.Anonymous sale; Sotheby’s, London, 13 May 1987, lot 189. Anonymous sale; Bonhams, London, 26 September 2007, lot 76, where purchased by the present owner.

EXHIBITED:London, Leicester Galleries, New drawings, satirical and otherwise by William Roberts and paintings by Bateson Mason, November 1949, p. 3, no. 10.

l160

WILLIAM ROBERTS, R.A. (1895-1980)

Evening in Obansigned ‘William/Roberts.’ (lower right), inscribed ‘Evening in Oban.’ (lower left)ink and watercolour13¬ x 9æ in. (34.5 x 24.7 cm.)Executed circa 1946.

£15,000-25,000 $23,000-38,000 €21,000-34,000

100

l163

DAVID BOMBERG (1890-1957)

Portrait of a Ladysigned, inscribed and dated ‘Bomberg/Paris/1927’ (lower right)oil on canvas24¿ x 19√ in. (61.2 x 50.5 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

l162


Dorelia standingpencil14√ x 8 in. (37.8 x 20.3 cm.)

£1,500-2,000 $2,300-3,100 €2,100-2,700

l161

JACOB KRAMER (1892-1962)

Portrait of a womansigned ‘Kramer’ (lower right)oil on canvas16 x 12 in. (40.7 x 30.5 cm.)

£1,500-2,500 $2,300-3,800 €2,100-3,400

101

l*164


Portrait of a childsigned ‘John’ (lower left)oil on panel13 x 9º in. (33 x 23.5 cm.)Painted circa 1911.

£7,000-10,000 $11,000-15,000 €9,500-13,000

102

l165

JOHN COPNALL (1928-2007)

Portrait of Clairesigned and dated ‘John Copnall 56’ (upper right)oil on board35æ x 27æ in. (90.8 x 70.5 cm.)There is a painting of a church by the same hand on the reverse.

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:with Austin Desmond Fine Art, London.

l166


Looking through to a bathroomsigned with initials ‘BD’ (lower left)oil on board9Ω x 11Ω in. (24.2 x 29.2 cm.)

£1,200-1,800 $1,900-2,700 €1,700-2,400

PROVENANCE:with Roland, Browse and Delbanco, London, where purchased by the present owner’s father in February 1969, and by descent.

l167

JOHN COPNALL (B. 1928)

Irises in a Blue Potsigned and dated ‘John Copnall 1955’ (upper right)oil on board, unframed30 x 22√ in. (76.2 x 58.1 cm.)

£1,500-2,500 $2,300-3,800 €2,100-3,400

103

PROPERTY FROM THE ESTATE OF VANCE KONDON

l168

SIR JACOB EPSTEIN (1880-1959)

Seventh Portrait of Kathleen (half-length in shawl)bronze with a green patina27¡ in. (69.6 cm.) highConceived in 1948.

£7,000-9,000 $11,000-14,000 €9,500-12,000

PROVENANCE:Vance Kondon, San Diego and Amsterdam, and by descent.

LITERATURE:R. Buckle, Jacob Epstein Sculptor, London, 1963, pp. 318-321, pls. 490-492 and 499, another cast illustrated.E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 202, no. 399, another cast illustrated.

VARIOUS PROPERTIES

l169

SIR JACOB EPSTEIN (1880-1959)

Second Portrait of Peggy Jean (at 1 year)bronze with a gold brown patina7æ in. (19.7 cm.) high, excluding base Conceived in 1919.

£2,000-3,000 $3,100-4,600 €2,700-4,000

LITERATURE:E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 146, no. 107, another cast illustrated.

104

l170


Sweet Surrendersigned ‘VETTRIANO’ (lower right)oil on canvas laid on board7¬ x 5æ in. (19.4 x 14.6 cm.)

£15,000-25,000 $23,000-38,000 €21,000-34,000

PROVENANCE:A gift from the artist to the present owner.

105

PROVENANCE:with Heartbreak Gallery, London, where purchased by the present owner.

EXHIBITED:Monaco, Yacht Club de Monaco, Homage à Tuiga, September - October 2009, no. 16.London, Heartbreak Gallery, Jack Vettriano: A Celebration: Paintings from Past and Present, March - June 2014.

l171


Lounge Lizards IIsigned ‘VETTRIANO’ (lower left), inscribed ‘LOUNGE LIZARDS II’ (on the stretcher)oil on canvas15 x 12 in. (38.1 x 30.5 cm.)Painted in 2009.

£25,000-35,000 $39,000-53,000 €34,000-47,000

106

nl173

PETER KING (1928-1957)

Standing Figurebronze with a white fnish, unique62Ω in. (158.7 cm.) high, including baseConceived in ciment fondu circa 1956 and cast in bronze in 2006.

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:The artist’s estate, where purchased by the present owner.

Peter King was a prolifc British artist of the 1950s who worked as an assistant to Henry Moore, alongside other emerging sculptors such as Anthony Caro. King has become highly regarded for his experimental nature and diverse use of materials, which he manipulated to tackle the complexities of the human form.

l172

KENNETH ARMITAGE, R.A. (1916-2002)

Seated nudesigned with initials and dated ‘KA ‘60’ (lower right)charcoal and watercolour30 x 20 in. (76.2 x 50.8 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:Acquired directly from the artist by the previous owner, circa 1960.Anonymous sale; Christie’s, South Kensington, 2 December 1996, lot 317.

107

l174

FREDERICK LESLIE KENETT (1924-2012)

Torsostamped with initials and the Noack Berlin foundry mark ‘FLK’ (at the base)polished bronze8æ in. (22.2 cm.) high, excluding marble base

£1,200-1,800 $1,900-2,700 €1,700-2,400


l175

FREDERICK LESLIE KENETT (1924-2012)

Spiralstamped with initials, numbered and with the Noack Berlin foundry mark ‘FLK 0/6’ (at the base)bronze with a dark brown patina17 in. (43.1 cm.) high, including base

£1,500-2,500 $2,300-3,800 €2,100-3,400


“Unquestionably the greatest photographer of sculpting in the world who himself became a sculptor.” Tom Rosenthal

Frederick Kenett studied photography at the Guildford School of Art, where he developed a superb mode of lighting and photographing sculpture. He worked for publishers, museums, collections and governments, taking pictures of sculptures throughout the world.

However, from the mid-1960s, Kenett turned his attention away from the photography of sculpture to creating sculpture itself. Working with Henry Moore amongst others, his works elicited a strong response from the leading London galleries and were exhibited at the Grosvenor Galleries in 1966. The Arts Review praised the ‘perfect form’ of his sculptures whereas the The Listener wrote, ‘there is a sense of ease and power one usually fnds only in work by senior and more illustrious names.’

l177

WILLIAM SCOTT, R.A. (1913-1989)

Still Life with Orange Notessigned and numbered ‘15/25/W.SCOTT’ (on a label)wool pile tapestry62Ω x 98æ in. (158.8 x 250.9 cm.)Conceived in 1980.

£3,000-5,000 $4,600-7,600 €4,100-6,700

l176

VICTOR PASMORE, R.A. (1908-1998)

Linear Imagesigned with initials ‘VP.’ (lower right)ink on paper laid on panel19 x 13 in. (48.2 x 33 cm.)Executed in 1979.

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

PROVENANCE:with 2RC Gallery, Rome.

LITERATURE:A. Bowness and L. Lambertini, Victor Pasmore with a catalogue raisonné of paintings, constructions and graphics, 1926-79, London, 1980, pp. 134, 327, no. 722, illustrated.

109

l178

VICTOR PASMORE, R.A. (1908-1998)

Linear Image: Black Development Dsigned with initials and dated ‘VP/76’ (lower right)charcoal, ink and acrylic on paper laid on board31Ω x 31Ω in. (80 x 80 cm.)

£10,000-15,000 $16,000-23,000 €14,000-20,000

PROVENANCE:with Marlborough Fine Art, London, 1976, as ‘Black Development D’.Anonymous sale; Christie’s, South Kensington, 11 March 2004, lot 370, where purchased by the present owner.

EXHIBITED:Brussels, Galerie Farber, Lynn Chadwick and Victor Pasmore, November - December 1976, catalogue not traced.

LITERATURE:A. Bowness and L. Lambertini, Victor Pasmore with a catalogue raisonné of paintings, constructions and graphics, 1926-79, London, 1980, pp. 324-325, no. 662, illustrated, as ‘Linear Image’.

nl179

PAUL MOUNT (1922-2009)

Put out More Flagssigned twice ‘Paul Mount’ (on the side of the base)73æ in. (187.4 cm.) highConceived circa 1978.

£8,000-12,000 $13,000-18,000 €11,000-16,000

PROVENANCE:The artist, and by descent.

To see a video of the present lot in motion please visit the sale at www.christies.com.

111

n180

ERIC GADSBY (B. 1943)

Threalsigned and dated ‘E. Gadsby 1969’ (on the reverse)oil on canvas80 x 80 in. (203.3 x 203.3 cm.)

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

112

l182

MICHAEL CANNEY (1923-1999)

Snake Foldsigned and dated ‘Michael Canney ‘89’ (on the backboard)oil on board19æ x 19æ in. (50.2 x 50.2 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

l181

MARC VAUX (B. 1932)

SQ 0/2signed, inscribed and dated ‘SQ 0/2/Vaux ‘92’ (on the reverse)acrylic on wood and aluminium20 x 20 in. (50.8 x 50.8 cm.)

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:with Redfern Gallery, London, where purchased by the present owner in 1994.

113

l184


Stripfold No.1signed and dated ‘Michael Canney ‘89’ (on the backboard)oil on board19æ x 19æ in. (50.2 x 50.2 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

l183


Angled Motifsigned, inscribed and dated ‘Michael Canney/70/Angled Motif’ (on the reverse)oil on canvas27 x 23 in. (68.6 x 58.4 cm.)

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

PROVENANCE:with Penwith Gallery, St Ives, 1980.

EXHIBITED:Bath, Bath Festival Exhibition, 1970, catalogue not traced.

*186

R.B. KITAJ, R.A. (1932-2007)

UCLA Heartbreakinscribed ‘UCLA’ (upper right), inscribed again ‘[heart shape] break’ (lower left)charcoal and pastel on buff paper30Ω x 22Ω in. (77.5 x 57.2 cm.)Executed in 2001-2003.

£6,000-9,000 $9,200-14,000 €8,100-12,000

PROVENANCE:with Marlborough Gallery, New York, where purchased by the present owner.

l185

DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)

Costume designs for Ubu Roipencil, crayon, ink, watercolour and gouache10º x 19 in. (26.1 x 48.3 cm.)Executed in 1966.

£6,000-8,000 $9,200-12,000 €8,100-11,000

PROVENANCE:with Redfern Gallery, London, where purchased by James Gordon in September 1992.

In 1966, Hockney designed the sets and costumes for Alfred Jarry’s play Ubu Roi, at the Royal Court Theatre, London.

115

PROVENANCE:with Annely Juda, London.

EXHIBITED:London, Camden Arts Centre, Prunella Clough, May - June 1996, not numbered: this exhibition travelled to Newtown, Oriel 31, September - October 1996.Hovikodden, Henie Onstad Kunstsenter, Prunella Clough, December 1997 - January 1998, not numbered.

LITERATURE:Exhibition catalogue, Prunella Clough, London, Camden Arts Centre, 1996, p. 41, not numbered, illustrated.Exhibition catalogue, Prunella Clough, Hovikodden, Henie Onstad Kunstsenter, 1997, not numbered, illustrated.

nl187


Jinglesigned ‘Clough’ (on the reverse)oil on canvas77 x 62 in. (195.6 x 157.5 cm.)Painted in 1993.

£6,000-8,000 $9,200-12,000 €8,100-11,000

116

l189

JACK SMITH (1928-2011)

Monochromatic Movement (Whisper)signed, inscribed and dated ‘MONOCHROMATIC/MOVEMENT/(WHISPER)/JACK SMITH. 1984’ (on the reverse)oil on canvas36 x 36 in. (91.4 x 91.4 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:Anonymous sale; Bonhams, London, 17 January 2012, lot 143, where purchased by the present owner.

l188

ALAN DAVIE, R.A. (1920-2014)

Earth Power, Sky Powersigned, inscribed and dated twice ‘Alan Davie 94/EARTH POWER/SKY POWER/1994’ (on the reverse)oil on board12º x 18Ω in. (31.1 x 47 cm.)

£1,500-2,500 $2,300-3,800 €2,100-3,400

PROVENANCE:with Gimpel Fils, London.

117

‘My ultimate object is to include everything in a single work ... In the end the only medium in which it will be possible to say everything will be reality’

(M. Boyle, ‘Background to a series of Events at the ICA’, ICA

Bulletin, no. 146, London, May 1965, p. 6).

nl190

BOYLE FAMILY

York Stone Pavement with Sandsigned and inscribed ‘YORK STONE PAVEMENT WITH SAND MARK BOYLE’ (on the reverse)mixed media, resin and fbreglass72 x 72 in. (183 x 183 cm.)Conceived in 1977.

£10,000-15,000 $16,000-23,000 €14,000-20,000

EXHIBITED:Seattle, Richard Hines Gallery, Mark Boyle, 1980.

118

l191

BOYLE FAMILY

London Seriesmixed media, resin and fbreglass32 x 32 in. (81.2 x 81.2 cm.)Conceived in 1967.

£3,000-5,000 $4,600-7,600 €4,100-6,700

PROVENANCE:Anonymous sale; Christie’s, London, 18 February 1988, lot 266.

We are very grateful to Sebastian Boyle for his assistance in cataloguing the present work.

l192

FRANCIS DAVISON (1919-1984)

Bright Green, Lime and Whitewith estate stamp and numbered ‘E645’, with inscription ‘BRIGHT, GREEN, LIME/WHITE/1974’ (on a label attached to the backboard)collage32 x 26º in. (81.3 x 66.7 cm.), shaped

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:Purchased by the present owner at the 2007 exhibition.

EXHIBITED:Cambridge, Kettle’s Yard, Francis Davison Collages and Early Works, November 2007 - January 2008.

119

nl193


Undonesigned ‘Clough’ (on the reverse)oil on canvas54 x 52 in. (137 x 132 cm.)Painted in 1994.

£5,000-7,000 $7,700-11,000 €6,800-9,400

PROVENANCE:with Annely Juda, London.

EXHIBITED:Hovikodden, Henie Onstad Kunstsenter, Prunella Clough, December 1997 - January 1998, not numbered.

LITERATURE:Exhibition catalogue, Prunella Clough, Hovikodden, Henie Onstad Kunstsenter, 1997, not numbered, illustrated.

l194

PETER KINLEY (1926-1988)

Studio Interior with Figuresigned and dated ‘Kinley 59’ (lower right)oil on board11 x 10 in. (27.9 x 25.4 cm.)

£2,000-3,000 $3,100-4,600 €2,700-4,000

PROVENANCE:with Sandby Fine Art, London.Anonymous sale; Christie’s, South Kensington, 12 October 2011, lot 177, where purchased by the present owner.

Conditions of Sale • Buying at Christie’s

CONDITIONS OF SALEThese Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold.

Unless we own a lot, marked with a symbol ∆, Christie’s acts as agent for the seller.

A BEFORE THE SALE1 DESCRIPTION OF LOTS(a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed ‘Important Notices and Explanation of Cataloguing Practice’ which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called ‘Symbols Used in this Catalogue’.

(b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.

2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTSWe do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.

3 CONDITION(a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition. Lots are sold ‘as is’, in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller.

(b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot. Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason they are not an alternative to examining a lot in person or taking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.

4 VIEWING LOTS PRE-AUCTION(a) If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition. We recommend you get your own advice from a restorer or other professional adviser.

(b) Pre-auction viewings are open to the public free of charge. Our specialists are available to answer questions at pre-auction viewings or by appointment.

5 ESTIMATESEstimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.

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

7 JEWELLERY(a) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the inter-national jewellery trade but may make the gemstone less strong and/or require special care over time.

(b) All types of gemstones may have been improved by some method. You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report.

(c) We do not obtain a gemmological report for every gemstone sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

(d) For jewellery sales, estimates are based on the information in any gemmological report or, if no report is available, assume that the gemstones may have been treated or enhanced.

7 WATCHES & CLOCKS(a) Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as ‘associated’ are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys.

(b) As collectors’ watches often have very fine and complex mechanisms, a general service, change of battery or further repair work may be necessary, for which you are responsible. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue.

(c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use.

Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(h).

B REGISTERING TO BID

1 NEW BIDDERS(a) If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following:

(i) for individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement).

(ii) for corporate clients: Your Certificate of Incorporation or equivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and

(iii) for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements.

(b) We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Credit Department on +44 (0)20 7839 9060.

2 RETURNING BIDDERSWe may at our option ask you for current iden-tification as described in paragraph B1(a) above, a financial reference or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms in the last two years or if you want to spend more than on previous occasions, please contact our Credit Department on +44 (0)20 7839 9060.

3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTSIf in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

4 BIDDING ON BEHALF OF ANOTHER PERSONIf you are bidding on behalf of another person, that person will need to complete the registration requirements above before you can bid, and supply a signed letter authorising you to bid for him/her. A bidder accepts personal liability to pay the purchase price and all other sums due unless it has been agreed in writing with Christie’s before commencement of the auction that the bidder is acting as an agent on behalf of a named third party acceptable to Christie’s and that Christie’s will only seek payment from the named third party.

5 BIDDING IN PERSONIf you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. You may register online at www.christies.com or in person. For help, please contact the Credit Department on +44 (0)20 7839 9060.

6 BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone BidsYour request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale.

(b) Internet Bids on Christie’s Live™For certain auctions we will accept bids over the Internet. Please visit www.christies.com/livebidding and click on the ‘Bid Live’ icon to see details of how to watch, hear and bid at the auction from your computer. As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ terms of use which are available on www.christies.com.

(c) Written BidsYou can find a Written Bid Form at the back of our catalogues, at any Christie’s office or by choosing the sale and viewing the lots online at www.christies.com. We must receive your completed Written Bid Form at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot, we will sell the lot to the bidder whose written bid we received first.

C AT THE SALE

1 WHO CAN ENTER THE AUCTIONWe may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.

2 RESERVESUnless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate.

3 AUCTIONEER’S DISCRETIONThe auctioneer can at his sole option:

(a) refuse any bid;

(b) move the bidding backwards or forwards in any way he or she may decide, or change the order of the lots;

(c) withdraw any lot;

(d) divide any lot or combine any two or more lots;

(e) reopen or continue the bidding even after the hammer has fallen; and

(f) in the case of error or dispute and whether during or after the auction, to continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If any dispute relating to bidding arises during or after the auction, the auctioneer’s decision in exercise of this option is final.

4 BIDDINGThe auctioneer accepts bids from:

(a) bidders in the saleroom;

(b) telephone bidders, and internet bidders through ‘Christie’s LIVE™ (as shown above in Section B6); and

(c) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.

5 BIDDING ON BEHALF OF THE SELLERThe auctioneer may, at his or her sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve, the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.

6 BID INCREMENTSBidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at his or her sole option where the bidding should start and the bid increments. The usual bid increments are shown for guidance only on the Written Bid Form at the back of this catalogue.

7 CURRENCY CONVERTERThe saleroom video screens (and Christies LIVETM) may show bids in some other major currencies as well as sterling. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

8 SUCCESSFUL BIDSUnless the auctioneer decides to use his or her discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by post and/or email after the auction , we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

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

D THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

1 THE BUYER’S PREMIUMIn addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 25% of the hammer price up to and including £50,000, 20% on that part of the hammer price over £50,000 and up to and including £1,000,000, and 12% of that part of the hammer price above £1,000,000.

2 TAXES The successful bidder is responsible for any applicable tax including any VAT, sales or compensating use tax or equivalent tax wherever they arise on the hammer price and the buyer’s premium. It is the buyer’s responsibility to ascertain and pay all taxes due. You can find details of how VAT and VAT reclaims are dealt with in the section of the catalogue headed ‘VAT Symbols and Explanation’. VAT charges and refunds depend on the particular circumstances of the buyer so this section, which is not exhaustive, should be used only as a general guide. In all circumstances EU and UK law takes precedence. If you have any questions about VAT, please contact Christie’s VAT Department on +44 (0)20 7389 9060 (email: [email protected], fax: +44 (0)20 3219 6076).

3 ARTIST’S RESALE ROYALTYIn certain countries, local laws entitle the artist or the artist’s estate to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with the symbol λ next to the lot number. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will pay the royalty to the appropriate authority on the seller’s behalf.

The artist’s resale royalty applies if the hammer price of the lot is 1,000 euro or more. The total royalty for any lot cannot be more than 12,500 euro. We work out the amount owed as follows:

Royalty for the portion of the hammer price (in euros)

4% up to 50,000

3% between 50,000.01 and 200,000

1% between 200,000.01 and 350,000

0.50% between 350,000.01 and 500,000

over 500,000, the lower of 0.25% and 12,500 euro.

We will work out the artist’s resale royalty using the euro to sterling rate of exchange of the European Central Bank on the day of the auction.

E WARRANTIES

1 SELLER’S WARRANTIESFor each lot, the seller gives a warranty that the seller:

(a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and

(b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else.

If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.

2 OUR AUTHENTICITY WARRANTY We warrant, subject to the terms below, that the lots in our sales are authentic (our ‘authenticity warranty’). If, within five years of the date of the auction, you satisfy us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The

terms of the authenticity warranty are as follows:

(a) It will be honoured for a period of five years from the date of the auction. After such time, we will not be obligated to honour the authenticity warranty.

(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the ‘Heading’). It does not apply to any information other than in the Heading even if shown in UPPERCASE type.

(c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified. Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. For example, use of the term ‘ATTRIBUTED TO…’ in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding.

(d) The authenticity warranty applies to the Heading as amended by any Saleroom Notice.

(e) The authenticity warranty does not apply where scholarship has developed leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the sale or drew attention to any conflict of opinion.

(f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot.

(g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if the original buyer has owned the lot continuously between the date of the auction and the date of claim. It may not be transferred to anyone else.

(h) In order to claim under the authenticity warranty you must:

(i) give us written details, including full supporting evidence, of any claim within five years of the date of the auction;

(ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and

(iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, in any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses.

(j) Books. Where the lot is a book, we give an additional warranty for 14 days from the date of the sale that if on collation any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms:

(a) This additional warranty does not apply to:

(i) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration;

(ii) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals;

(iii) books not identified by title;

(iv) lots sold without a printed estimate;

(v) books which are described in the catalogue as sold not subject to return; or

(vi) defects stated in any condition report or announced at the time of sale.

(b) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 14 days of the date of the sale.

F PAYMENT

1 HOW TO PAY(a) Immediately following the auction, you must pay the purchase price being:

(i) the hammer price; and

(ii) the buyer’s premium; and

(iii) any amounts due under section D3 above; and

(iv) any duties, goods, sales, use, compensating or service tax or VAT.

Payment is due no later than by the end of the seventh calendar day following the date of the auction (the ‘due date’).

(b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence.

(c) You must pay for lots bought at Christie’s in the United Kingdom in the currency stated on the invoice in one of the following ways:

(i) Wire transfer

You must make payments to:

Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, London EC3P 3BT. Account number: 00172710, sort code: 30-00-02 Swift code: LOYDGB2LCTY. IBAN (international bank account number): GB81 LOYD 3000 0200 1727 10.

(ii) Credit Card.

We accept most major credit cards subject to certain conditions. To make a ‘cardholder not present’ (CNP) payment, you must complete a CNP authorisation form which you can get from our Cashiers Department. You must send a completed CNP authorisation form by fax to +44 (0)20 7389 2869 or by post to the address set out in paragraph (d) below. If you want to make a CNP payment over the telephone, you must call +44 (0)20 7839 9060. CNP payments cannot be accepted by all salerooms and are subject to certain restrictions. Details of the conditions and restrictions applicable to credit card payments are available from our Cashiers Department, whose details are set out in paragraph (d) below.

(iii) Cash

We accept cash subject to a maximum of £5,000 per buyer per year at our Cashier’s Department only (subject to conditions).

(iv) Banker’s draft

You must make these payable to Christie’s and there may be conditions.

(v) Cheque

You must make cheques payable to Christie’s. Cheques must be from accounts in pounds sterling from a United Kingdom bank.

(d) You must quote the sale number, your invoice number and client number when making a payment. All payments sent by post must be sent to: Christie’s, Cashiers Department, 8 King Street, St James’s, London, SW1Y 6QT.

(e) For more information please contact our Cashiers Department by phone on +44 (0)20 7839 9060 or fax on +44 (0)20 7389 2869.

2. TRANSFERRING OWNERSHIP TO YOUYou will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to the buyer.

3 TRANSFERRING RISK TO YOU The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following:

(a) When you collect the lot; or

(b) At the end of the seventh day following the date of the auction or, if earlier, the date the lot is taken into care by a third party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you.

4 WHAT HAPPENS IF YOU DO NOT PAY(a) If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights we have by law):

(i) to charge interest from the due date at a rate of 5% a year above the UK Lloyds Bank base rate from time to time on the unpaid amount due;

(ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale;

(iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts;

(iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law;

(v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other part-payment which you have paid to us);

(vi) we can, at our option, reveal your identity and contact details to the seller;

(vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;

(viii) to exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and

(ix) we can take any other action we see necessary or appropriate.

(b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.

5 KEEPING YOUR PROPERTY If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.

G COLLECTION AND STORAGE

1 COLLECTIONOnce you have made full and clear payment, you must collect the lot within seven days from the date of the auction.

(a) You may not collect the lot until you have made full and clear payment of all amounts due to us.

(b) If you have paid for the lot in full but you do not collect the lot within 90 calendar days after the sale, we may sell it, unless otherwise agreed in writing. If we do this, we will pay you the proceeds of the sale after taking our storage charges and any other amounts you owe us and any Christie’s Group company.

(c) Information on collecting lots is set out on an information sheet which you can get from the bidder registration staff or Christie’s Cashiers +44 (0)20 7839 9060.

2 STORAGE(a) If you have not collected the lot within seven days from the date of the auction, we or our appointed agents can:

(i) charge you storage fees while the lot is still at our saleroom; or

(ii) remove the lot at our option to a warehouse and charge you all transport and storage costs

(b) Details of the removal of the lot to a warehouse, fees and costs are set out at the back of the catalogue on the page headed ‘Storage and Collection’. You may be liable to our agent directly for these costs.

(c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services.

(d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot.

(e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

J OTHER TERMS

1 OUR ABILITY TO CANCELIn addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if we reasonably believe that completing the transaction is, or may be, unlawful or that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2 RECORDINGSWe may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3 COPYRIGHTWe own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot.

4 ENFORCING THIS AGREEMENTIf a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.

5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIESYou may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6 TRANSLATIONS If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.

7 PERSONAL INFORMATION We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy policy at www.christies.com.

8 WAIVERNo failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

9 LAW AND DISPUTESThis agreement, and any non-contractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of England and Wales. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy or claim is related to proceedings brought by someone else and this dispute could be joined

H TRANSPORT AND SHIPPING1 TRANSPORT AND SHIPPINGWe will enclose a transport and shipping form with each invoice sent to you. You must make all transport and shipping arrangements. However, we can arrange to pack, transport and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing. We may also suggest other handlers, packers, transporters or experts if you ask us to do so. For more information, please contact Christie’s Art Transport on +44 (0)20 7389 9060. See the information set out at www.christies.com/shipping or contact us at [email protected]. We will take reasonable care when we are handling, packing, transporting and shipping a lot. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act or neglect.

2 EXPORT AND IMPORTAny lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into.

(a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Art Transport Department on +44 (0)20 7389 9060. See the information set out at www.christies.com/shipping or contact us at [email protected].

(b) Lots made of protected species

Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhino-ceros horn, whalebone, certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to import the lot into another country. Several countries refuse to allow you to import property containing these materials, and some other countries require a licence from the relevant regulatory agencies in the countries of exportation as well as importation. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age and you will need to obtain these at your own cost. If a lot contains elephant ivory, or any other wildlife material that could be confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory), please see further important information in paragraph (c) if you are proposing to import the lot into the USA. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material.

(c) US import ban on African elephant ivory

The USA prohibits the import of ivory from the African elephant. Any lot containing elephant ivory or other wildlife material that could be easily confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory) can only be imported into the US with results of a rigorous scientific test acceptable to the US Fish & Wildlife Service, which confirms that the material is not African elephant ivory. Where we have conducted such rigorous scientific testing on a lot prior to sale, we will make this clear in the lot description. In all other cases, we cannot confirm whether a lot contains African elephant ivory, and you will buy that lot at your own risk and be responsible for any scientific test or other reports required for import into the USA at your own cost. If such scientific test is inconclusive or confirms the

material is from the African elephant, we will not be obliged to cancel your purchase and refund the purchase price.

(d) Lots containing material that originates from Burma (Myanmar)

Lots which contain rubies or jadeite originating in Burma (Myanmar) may not generally be imported into the United States. As a convenience to US buyers, lots which contain rubies or jadeite of Burmese or indeterminate origin have been marked with the symbol ψ in the catalogue. In relation to items that contain any other types of gemstones originating in Burma (e.g. sapphires) such items may be imported into the United States provided that the gemstones have been mounted or incorporated into jewellery outside of Burma and provided that the setting is not of a temporary nature (e.g. a string).

(e) Lots of Iranian origin

Some countries prohibit or restrict the purchase and/or import of Iranian-origin ‘works of conventional craftsmanship’ (works that are not by a recognised artist and/or that have a function, for example: carpets, bowls, ewers, tiles, ornamental boxes). For example, the USA prohibits the import of this type of property and its purchase by US persons (wherever located). Other countries, such as Canada, only permit the import of this property in certain circumstances. As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). It is your responsibility to ensure you do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to you.

(f) Gold

Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’.

(g) Jewellery over 50 years old

Under current laws, jewellery over 50 years old which is worth £34,300 or more will require an export licence which we can apply for on your behalf. It may take up to eight weeks to obtain the export jewellery licence.

(h) Watches

(i) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol ~ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its sole option, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within one year of the date of the sale. Please check with the department for details on a particular lot.

(ii) The importation of luxury watches such as Rolex into the United States is highly restricted. Such watches may not be shipped to the United States and can only be imported personally. Generally, a buyer may import only one watch into the United States at a time. In this catalogue, these watches have been marked with a Φ. This will not affect your responsibility to pay for the lot. For further information please contact our specialists in charge of the sale.

For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots.

I OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties.

(b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these Conditions of Sale; or

(ii) give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.

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

10 REPORTING ON WWW.CHRISTIES.COMDetails of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www.christies.com.

J GLOSSARY

authentic: a genuine example, rather than a copy or forgery of:

(i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer;

(ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture;

(iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or

(iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material.

authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in section E2 of this agreement.

buyer’s premium: the charge the buyer pays us along with the hammer price.

catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice.

Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group.

condition: the physical condition of a lot.

due date: has the meaning given to it in paragraph F1(a).

estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two.

hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E2.

lot: an item to be offered at auction (or two or more items to be offered at auction as a group).

other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law.

purchase price: has the meaning given to it in paragraph F1(a).

provenance: the ownership history of a lot.

qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the section headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’.

reserve: the confidential amount below which we will not sell a lot.

saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com, which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned.

UPPER CASE type: means having all capital letters.

warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Vat Symbols and ExplanationYou can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of the catalogue headed ‘Conditions of Sale’

VAT payable

Symbol

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

† We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premiumand shown separately on our invoice.

θ For qualifying books only, no VAT is payable on the hammer price or the buyer’s premium.

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

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

α The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:

• If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).

• If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see † symbol above)

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

VAT refunds: what can I reclaim?If you are:

A non VAT registered No refund is possible UK or EU buyer

UK VAT registered No symbol and α The VAT amount in the buyer’s premium cannot be refunded. buyer However, on request we can re-invoice you outside of the VAT Margin Scheme under normal

UK VAT rules (as if the lot had been sold with a † symbol). Subject to HMRC’s rules,you can then reclaim the VAT charged through your own VAT return.

* and Ω Subject to HMRC’s rules, you can reclaim the Import VAT charged on the hammer price throughyour own VAT return when you are in receipt of a C79 form issued by HMRC. The VATamount in the buyer’s premium is invoiced under Margin Scheme rules so cannot normally beclaimed back. However, if you request to be re-invoiced outside of the Margin Scheme understandard VAT rules (as if the lot had been sold with a † symbol) then, subject to HMRC’s rules,you can reclaim the VAT charged through your own VAT return.

EU VAT registered No Symbol, α and # The VAT amount in the buyer’s premium cannot be refunded. However, buyer on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT

rules (as if the lot had been sold with a † symbol). See below for the rules that would then apply.

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

* and Ω The VAT amount on the hammer and in the buyer’s premium cannot be refunded. However, on request we can re-invoice you outside of the VAT Margin Scheme under normalUK VAT rules (as if the lot had been sold with a † symbol). See above for the rules that would then apply.

Non EU buyer If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

No Symbol We will refund the VAT amount in the buyer’s premium.

† and α We will refund the VAT charged on the hammer price. VAT on the buyer’s premium canonly be refunded if you are an overseas business.The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

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

* and Ω We will refund the Import VAT charged on the hammer price and the VAT amount in the buyer’s premium.

1. We CANNOT offer refunds of VAT amounts or Import VAT to buyers who do not meet all applicable conditions in full. If you are unsure whether you will be entitled to a refund, please contact Client Services at the address below before you bid.2. No VAT amounts or Import VAT will be refunded where the total refund is under £100.3. In order to receive a refund of VAT amounts/Import VAT (as applicable) non-EU buyers must:

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

We charge a processing fee of £35.00 per invoice to check shipping/export documents. We will waive this processing fee if you appoint Christie’s Shipping Department to arrange your export/shipping.5. If you appoint Christie’s Art Transport or one of our authorised shippers to arrange your export/shipping we will issue you with an export invoice with the applicable VAT or duties cancelled as outlined above. If you later cancel or change the shipment

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

7. All reinvoicing requests must be received within four years from the date of sale.If you have any questions about VAT refunds please contact Christie’s Client Services on [email protected]: +44 (0)20 7389 2886. Fax: +44 (0)20 7839 1611.

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

Important Notices and Explanation of

Cataloguing Practice

Symbols used in this catalogue

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

IMPORTANT NOTICES

CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION

From time to time, Christie’s may offer a lot which it owns in whole or in part. Such property is identi-fied in the catalogue with the symbol ∆ next to its lot number.

On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guar-anteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Where Christie’s holds such financial inter-est on its own we identify such lots with the symbol ºnext to the lot number. Where Christie’s has financed all or part of such interest through a third party the lots are identified in the catalogue with the symbol º♦. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold and will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot. Where it does so, and is the successful bidder, the remuneration may be netted against the final pur-chase price. If the lot is not sold, the third party may incur a loss. Please see http://www.christies.com/

financial-interest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements.

Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not desig-nate each lot with a symbol, but will state its interest at the front of the catalogue.

FOR PICTURES, DRAWINGS, PRINTS AND MINIATURES

Terms used in this catalogue have the meanings

ascribed to them below. Please note that all statements

in this catalogue as to authorship are made subject to

the provisions of the Conditions of Sale and authentic-

ity warranty. Buyers are advised to inspect the property

themselves. Written condition reports are usually

available on request.

Qualified Headings

In Christie’s opinion a work by the artist.

*‘Attributed to …’

In Christie’s qualified opinion probably a work by the

artist in whole or in part.

*‘Studio of …’/ ‘Workshop of …’

In Christie’s qualified opinion a work executed in the

studio or workshop of the artist, possibly under his

supervision.

*‘Circle of …’

In Christie’s qualified opinion a work of the period of

the artist and showing his influence.

*‘Follower of …’


artist’s style but not necessarily by a pupil.

*‘Manner of …’


artist’s style but of a later date.

*‘After …’

In Christie’s qualified opinion a copy (of any date) of

a work of the artist.

‘Signed …’/‘Dated …’/‘Inscribed …’

In Christie’s qualified opinion the work has been

signed/dated/inscribed by the artist.

‘With signature …’/ ‘With date …’/ ‘With inscription …’

In Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impres-sion was printed or published.

*This term and its definition in this Explanation of Cataloguing Practice are a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.

POST 1950 FURNITURE

All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provi-sions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the ‘Regulations’). Accordingly, these items should not be used as furniture in your home in their cur-rent condition. If you do intend to use such items for this purpose, you must first ensure that they are reup-holstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

º

Christie’s has a direct financial interest in the

lot. See Important Notices and Explanation of

Cataloguing Practice.

∆

Owned by Christie’s or another Christie’s

Group company in whole or part. See

Important Notices and Explanation of

Cataloguing Practice.

♦

Christie’s has a direct financial interest in the

lot and has funded all or part of our interest

with the help of someone else. See Important

Notices and Explanation of Cataloguing

Practice.

λ

Artist’s Resale Right. See Section D3 of the

Conditions of Sale.

•

Lot offered without reserve which will be

sold to the highest bidder regardless of the pre-

sale estimate in the catalogue.

~

Lot incorporates material from endangered

species which could result in export

restrictions.

See Section H2(b) of the Conditions of Sale.

Φ

Lot which may not be able to be shipped to

the US.

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

ψ

Lot containing jadeite and rubies from Burma

or of indeterminate origin. See Section H2(d)

of the Conditions of Sale.

?, *, Ω,α,#,‡

See VAT Symbols and Explanation.

■

See Storage and Collection Pages on South

Kensington sales only.

125

Storage and Collection

28/10/14

Cadogan TaTe LTd’s Warehouse

241 Acton Lane,

Park Royal,

London NW10 7NP

Telephone: +44 (0)800 988 6100

Email: [email protected]

POST-WAR & CONTEMPORARY ART

To avoid waiting times on collection, we kindly advise you to contact our Post-War & Contemporary Art dept 24 hours in advance on +44 (0)20 7389 2958

BOOKS

Please note that all lots from book department sales will be stored at Christie’s King Street for collection and not transferred to Cadogan Tate.

TRANSFER, STORAGE & RELATED CHARGES

CHARGES PER LOT FURNITURE / LARGE OBJECTS PICTURES / SMALL OBJECTS

1-28 days after the auction Free of Charge Free of Charge

29th day onwards:

Transfer £70.00 £35.00

Storage per day £5.25 £2.65

Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the auction. Thereafter the charges set out above will be payable. These charges do not include: a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges b) VAT which will be applied at the current rate

EXTENDED LIABILITY CHARGE

From the day of transfer of sold items to Cadogan Tate Ltd, all such lots are automati-cally insured by Cadogan Tate Ltd at the sum of the hammer price plus buyer’s premium. The Extended Liability Charge in this respect by Cadogan Tate Ltd is 0.6% of the sum of the hammer price plus buyer’s premium or 100% of the handling and storage charges, whichever is smaller.

Christie’s Fine Art Storage Services

(CFASS) also offers storage solutions for fine art, antiques and collectibles in New York and Singapore FreePort. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.


All furniture and carpet lots (sold and unsold)

not collected from Christie’s by 9.00 am

on the day following the auction will be

removed by Cadogan Tate Ltd to their warehouse at: 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] at King Street lots are available for collection on any working day, 9.00 am to 4.30 pm. Once transferred to Cadogan Tate lots will be available for collection from the first working day following the day of their removal from King Street, 9.00 am to 5.00 pm Monday to Friday.To avoid waiting times on collection at Cadogan Tate, we advise that you contact Cadogan Tate directly, 24 hours in advance, prior to collection on +44 (0)800 988 6100.

PAYMENT

Cadogan Tate Ltd’s storage charges may be paid in advance or at the time of collection. Lots may only be released from Cadogan Tate Ltd’s warehouse on production of the ‘Collection Order’ from Christie’s, 8 King Street, London SW1Y 6QT. The removal and/or storage by Cadogan Tate of any lots will be subject to their standard Conditions of Business, copies of which are available from Christie’s, 8 King Street, London SW1Y 6QT. Lots will not be released until all outstanding charges due to Christie’s and Cadogan Tate Ltd are settled.

126

• DENOTES SALEROOM ENQUIRIES— Call the Saleroom or Office EMAIL— [email protected]

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

AUSTRIA

VIENNA

+43 (0)1 533 8812

Angela Baillou

BELGIUM

BRUSSELS

+32 (0)2 512 88 30

Roland de Lathuy

DENMARK

COPENHAGEN

+45 3962 2377

Birgitta Hillingso

(Consultant)

+ 45 2612 0092

Rikke Juel Brandt

(Consultant)

FINLAND AND THE

BALTIC STATES

HELSINKI

+358 40 5837945

Barbro Schauman

(Consultant)

FRANCE

• PARIS

+33 (0)1 40 76 85 85

GERMANY

DÜSSELDORF

+49 (0)21 14 91 59 30

Arno Verkade

FRANKFURT

+49 (0)173 317 3975

Anja Schaller

(Consultant)

HAMBURG

+49 (0)40 27 94 073

Christiane Gräfin zu

Rantzau

MUNICH

+49 (0)89 24 20 96 80

Marie Christine Gräfin

Huyn

STUTTGART

+49 (0)71 12 26 96 99

Eva Susanne Schweizer

INDIA

• MUMBAI

+91 (22) 2280 7905

Sonal Singh

DELHI

+91 (98) 1032 2399

Sanjay Sharma

ISRAEL

TEL AVIV

+972 (0)3 695 0695

Roni Gilat-Baharaff

ITALY

• MILAN

+39 02 303 2831

ROME

+39 06 686 3333

Marina Cicogna

Business Development

Director

MONACO

+377 97 97 11 00

Nancy Dotta

THE NETHERLANDS

• AMSTERDAM

+31 (0)20 57 55 255

PEOPLES REPUBLIC

OF CHINA

BEIJING

+86 (0)10 8572 7900

• HONG KONG

+852 2760 1766

• SHANGHAI

+86 86 (0)21 6355 1766

Jinqing Cai

PORTUGAL

LISBON

+351 919 317 233

Mafalda Pereira

Coutinho

(Independent

Consultant)

RUSSIA

MOSCOW

+7 495 937 6364

+44 20 7389 2318

Katya Vinokurova

SPAIN

BARCELONA

+34 (0)93 487 8259

Carmen Schjaer

MADRID

+34 (0)91 532 6626

Juan Varez

Dalia Padilla

SWEDEN

STOCKHOLM

+46 (0)70 5368 166

Marie Boettiger

Kleman (Consultant)

+46 (0)70 9369 201

Louise Dyhlén

(Consultant)

SWITZERLAND

• GENEVA

+41 (0)22 319 1766

Eveline de Proyart

• ZURICH

+41 (0)44 268 1010

Dr. Bertold Mueller

TURKEY

ISTANBUL

+90 (532) 558 7514

Eda Kehale Argün

(Consultant)

UNITED ARAB EMIRATES

• DUBAI

+971 (0)4 425 5647

UNITED KINGDOM

• LONDON

+44 (0)20 7839 9060

LONDON,

• SOUTH KENSINGTON

+44 (0)20 7930 6074

NORTH

+44 (0)20 7752 3004

Thomas Scott

SOUTH

+44 (0)1730 814 300

Mark Wrey

EAST

+44 (0)20 7752 3004

Thomas Scott

NORTHWEST AND

WALES

+44 (0)20 7752 3004

Jane Blood

SCOTLAND

+44 (0)131 225 4756

Bernard Williams

Robert Lagneau

David Bowes-Lyon

(Consultant)

ISLE OF MAN

+44 (0)20 7389 2032

CHANNEL ISLANDS

+44 (0)1534 485 988

Melissa Bonn

IRELAND

+353 (0)59 86 24996

Christine Ryall

UNITED STATES

• NEW YORK

+1 212 636 2000

23/01/15

Worldwide Salerooms and European Offices

127

Christie’s Specialist Departments and Services

KEY TO ABBREVIATIONS

KS:

London, King Street

NY:

New York, Rockefeller Plaza

PAR:

Paris

SK:

London, South Kensington

DEPARTMENTS

AMERICAN FURNITURENY: +1 212 636 2230

AMERICAN INDIAN ARTNY: +1 212 606 0536

AMERICAN PICTURESNY: +1 212 636 2140

ANGLO-INDIAN ARTKS: +44 (0)20 7389 2570

ANTIQUITIESSK: +44 (0)20 7752 3219

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06/11/14

christies.comContactVictoria Koehn

[email protected]

+44 (0)20 7752 3055

Viewing7–11 March


London SW7 3LD

Victorian, Pre-Raphaelite & British Impressionist Art

London, South Kensington • 12 March 2015

SIR ALFRED JAMES MUNNINGS, P.R.A., R.W.S. (1878-1959) Withypool looking towards Winsford Hill, Exmoor

signed ‘A.J. MUNNINGS’ (lower right) · oil on canvas · 21 x 30 in. (53.3 x 76.2 cm.)

£15,000–20,000

LAURENCE STEPHEN LOWRY, R.A. (1887-1976) Going to Work

signed and dated ‘L.S. LOWRY 1957’ (lower left) · oil on canvas · 16 x 20 in. (40.6 x 50.8 cm.)

Modern British and Irish Art Evening Sale

London, King Street • 22 June 2015

ContactAndré Zlattinger

[email protected]

+44 (0)20 7389 2074

Viewing18–22 June

8 King Street

London SW1Y 6QT

christies.com

Viewing21-25 March 2015


London SW7 3LD

DEXTER DALWOOD (B. 1960)Greenham Common

signed and dated ‘Dexter Dalwood 2008’ (on the reverse)

oil on canvas · 39√ x 36¡ in. (101 x 93.1cm.)

Painted in 2008

£10,000-15,000

ContactBianca Chu

[email protected]

+44 (0)20 7389 2502

First Open / LDN Post War & Contemporary Art

London, South Kensington • 26 March 2015

christies.com

christies.com

Out of the Ordinary

London, South Kensington • 15 September 2015

ContactKate Summers

[email protected]

+44 (0) 20 7752 3136

133

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Modern British and Irish ArtThursday 19 March 2015 at 10.30 am

85 Old Brompton Road, London SW7 3LD

Code Name: CARMEN

Sale number: 10442

(Dealers billing name and address must agree with tax exemption certificate.

Once issued, we cannot change the buyer’s name on an invoice or re-issue

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BID ONLINE FOR THIS SALE

AT CHRISTIES.COM 10442

03.03.10

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134

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Impressionist and ModernA194 Modern Art Amsterdam 2 27 44 40L194 Impressionist and Modern Art King Street 5 143 238 219

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IMPRESSIONIST AND MODERNPaintings, sculpture and works on paper by the most important art-ists of the late 19th century through the mid-20th century, includ-ing Cézanne, Matisse, Monet, Picasso, van Gogh and all those who forged artistic movements such as Fauvism, Cubism and Surrealism. Paintings, sculpture and works on paper by Swiss artists from the early 19th to the late 20th century.

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© Christie, Manson & Woods Ltd. (2015)

136

A

Agar, E., 114Armitage, K., 172

B

Banting, J., 117Barns-Graham, W., 84Bellany, J., 107Berlin, S., 82Besançon, L., 67Blackadder, Dame E.V., 95Bomberg, D., 163Boudin, E., 20Bowen, D., 79Boyle Family, 190, 191Bratby, J., 96Brill, R., 135Buhler, R., 93

C

Cadell, F.C.B., 157Calcagno, L., 41Canney, M., 182-184Chochon, A.E.L., 24, 33, 35Clatworthy, R., 104Clough, P., 78, 187, 193Copnall, J., 165, 167Coward, Sir N., 3-8, 10, 11, 13, 45, 48, 49, 54, 55, 57, 61, 65, 66Crook, P.J., 99

D

Dane, C., 58Davie, A., 188Davies, J., 103Davison, F., 76, 192Didion, P., 69Dunstan, B., 89, 153, 166Dureuil, M., 32, 34, 37

E

English School, 9, 59Epstein, Sir J., 168, 169Eurich, R., 92

F

Feiler, P., 80Fergusson, J.D., 155, 156Filliard, E., 63French School, 17, 56Frink, Dame E., 101, 102

G

Gadsby, E., 180Gagarin, P., 42-44Gear, W., 113Greaves, D., 75

H

Hambourg, A., 47Herman, J., 90, 97, 106, 120Hermes, G., 123Hill, D., 1, 15, 16, 18Hilton, R., 83Hockney, D., 185Howard, K., 100, 108Hunter, G.L., 159

I

Innes, J.D., 22

J

John, A., 21, 141-143, 151, 154, 162, 164Jones, D., 140

K

Kelly, P., 86Kenett, F.L., 174, 175King, P., 173Kinley, P., 194Kitaj, R.B., 186Klarwein, M., 2Kramer, J., 161

L

La Farge, J., 53Lavery, Sir J., 138Lee, R.H., 122Lowndes, A., 98, 111

M

Maitland, P., 46Major, T., 87Maufra, M., 36, 38McLeod, M., 64Meninsky, B., 145Messel, O., 12, 29Milburn, J., 60Minton, J., 110, 126Moore, H., 112Morris, D., 115Morris, Sir C., 148Mount, P., 179

N

Nash, J., 73Nevinson, C.R.W., 146, 158Nicholson, B., 77Niven, D., 31

O

O’Malley, T., 81

P

Pasmore, V., 176, 178Pearce, B., 85Perman, L.E., 62Philpot, G.W., 14Picasso, P., 72Piper, J., 121Procktor, P., 94

R

Renoir, P-A., 68Richards, C., 109, 137Roberts, W., 160Rosoman, L., 119Rothenstein, Sir W., 28Rousseau, J-P., 39, 40

S

Scott, W., 177Seago, E., 23, 26Sickert, W.R., 19, 27, 70Smith, J., 189Smith, Sir M., 149Stuempfig, W., 25, 51, 52Sutherland, G., 127-133

T

Trevelyan, J., 116, 139

U

Uhlman, F., 88

V

Vaughan, K., 118, 124, 125, 134, 136Vaux, M., 181Vettriano, J., 105, 170, 171

W

Walker, Dame E., 150, 152Wonnacott, J., 91Wood, C., 30, 50, 71, 74, 144, 147

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Modern British and Irish Art

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