19th Century European & Orientalist Art

19th
Century
EUROPEAN &
ORIENTALIST ART
Tuesday 9 December 2014
IFC2
19th Century European

& Orientalist Art
AUCTION

at 2.00 pm
8 King Street, St. Jamess
London SW1Y 6QT
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5 December
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9 December
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AUCTIONEER
Alexandra McMorrow
AUCTION CODE AND NUMBER
CONDITIONS OF SALE
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enquiries, this sale should be referred
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to reserves.
[25]
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5
Contents
Auction Information
Christies International 19th Century European and

Orientalist Art Department & Calendar of Auctions
Specialists and Services for this Auction
10
Property for Sale
134
Important Notices and Explanation of Cataloguing Practice
135
Buying at Christies
136
Storage and Collection
137
Conditions of Sale and Limited Warranty
139
Salerooms and Offices Worldwide
146
Christies Specialist Departments and Services
147
Absentee Bids Form
148
Catalogue Subscriptions
IBC
Index
opposite:
Lot 69
front cover:
Lot 15
back cover:
Lot 41
inside front cover:
Lot 46
inside back cover:
Lot 60
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InternatIonal 19th Century art auCtIons

AUCTION CALENDAR 2014-15
TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE.
CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
25 & 26 NOVEMBER
OLD MASTER, 19TH CENTURY &
IMPRESSIONIST PAINTINGS
AMSTERDAM
16 APRIL
19TH CENTURY EUROPEAN &
ORIENTALIST ART
LONDON, SOUTH KENSINGTON
10 DECEMBER
VAN REGTEREN ALTENA
PART II
AMSTERDAM
29 APRIL
ORIENTALIST ART
NEW YORK
21 JANUARY
ORIENTALIST ART
LONDON, SOUTH KENSINGTON
2 & 3 JUNE
OLD MASTER, 19TH CENTURY &
IMPRESSIONIST PAINTINGS
AMSTERDAM
Subject to change.
9 JUNE
ORIENTALIST ART
LONDON, KING STREET
20/10/14
Specialists for this Auction

LONDON
Alexandra McMorrow
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Ary Scheffer
(DUTCH, 1795-1858)
Faust and Mephistopheles

signed and dated Ary Scheffer/1848 (lower centre)
oil on canvas
52 x 35 in. (133 x 88.9 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
One of the leading painters of the Romantic movement, Scheffer was

strongly inspired by literary themes, drawn in particular from Dante,
Byron and Goethe.
Goethes Faust, which was also treated by other Romantic painters
such as Eugne Delacroix and Gustave Dor, provided Scheffer
with a rich vein of inspiration for almost 30 years, and was the
subject of eight major compositions by the artist. The present work
depicts Faust in study, striking his infamous bargain with the devil,
Mephistopheles, to whom he relinquished his soul in exchange for
magic powers. It was painted two years after Scheffers last Salon
submission, Faust and Marguerite in the Garden, exhibited in 1846.
Scheffers depiction of Mephistopheles is here particularly demonic,
stressing his claw like fngers, red eyes and wrinkled features, as he
waits patiently for Faust to ponder his ultimately fatal decision.
10
11
PROPERTY FROM A PRIVATE COLLECTION
Attributed to Achille Devria

(FRENCH, 1800-1857)
Portrait of a woman in Oriental dress

oil on canvas
21 x 18 in. (55.2 x 45.7 cm.)
7,000-10,000
12
$12,000-16,000
8,900-13,000
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION
Henri Fantin-Latour
(FRENCH, 1836-1904)
Le repos dans le parc

signed Fantin (lower left)
oil on canvas
22 x 18 in. (56.4 x 47 cm.)
Painted in 1898.
25,000-35,000
$41,000-57,000
32,000-44,000
PROVENANCE:
A. Tavernier, Paris.
His sale; Drouot, Paris, April 1907 (Fr. 9.500).
EXHIBITED:
Paris, Ecole Nationale des Beaux-Arts, Exposition de luvre de Fantin-Latour,

May-June 1906, no. 216.
LITERATURE:
Madame Fantin-Latour, Catalogue de loeuvre complet de Fantin-Latour, Paris,

1911, p. 180, no. 1690.
14
VARIOUS PROPERTIES
PROPERTY OF A GERMAN PRIVATE COLLECTOR
Narcisse-Virgile Diaz de la Pea
Thodule-Augustin Ribot
(FRENCH, 1807-1876)
(FRENCH, 1823-1891)
Dogs in a Barbizon woodland
Street singers:The three stages of life
signed n. Diaz. (lower left)

oil on canvas
15 x 21 in. (38.1 x 54.9 cm.)
signed t. Ribot (lower left)

oil on canvas
28 x 23 in. (73.3 x 59.7 cm.)
10,000-15,000
16
$17,000-24,000
13,000-19,000
15,000-20,000
$25,000-32,000
19,000-25,000
17
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
*6
Constant Troyon
(FRENCH, 1810-1865)
Herding cattle before the storm

signed C.TROYON (lower left)
oil on canvas
34 x 39 in. (87.6 x 100.3 cm.)
Painted circa 1854.
30,000-50,000
$49,000-81,000
38,000-63,000
Constant Troyon gained international fame in his own lifetime as both a

landscape and animalier painter, genres which combine in the present lot to
produce a monumental canine portrait of startling originality.
The central subject is taken directly from Troyons large pastoral canvas of
1854, Le retour la ferme (Paris, Muse dOrsay, fg. 1), but transposed into
a completely different setting. In the Orsay painting, the dog is shown as an
incidental motif, herding a mix of sheep, cattle and a donkey, but here is the
principal subject, running across the canvas, as a gathering storm looms in the
background.
Most of Troyons canine portraits date from the 1850s onwards and usually
represented hunting dogs, a subject that the artist studied frequently in the
kennels of his friend, Lon Loysel, whom he visited regularly in the Touraine.
Of startling realism, these portraits were nevertheless far more conventional
than the present painting, ftting very much into the English genre of sporting
art. By contrast, Troyon has here taken a scruffy black working dog, and used
it as a vehicle to express a bounding sense of energy, which refects the power
expressed in the dark sky beyond.
The expansive landscape in the present work harks back to Dutch 17th century
painting, which impressed Troyon on a visit to Holland in 1846-1847, while
the treatment of the clouds and sky shows a clear debt to Constable. The
English artist had exhibited at the Salon of 1840s and his panoramic views of
the English countryside were to have a profound infuence on the artists of the
Barbizon School alongside whom Troyon worked so closely.
This work will be included by Michel Schulman in his catalogue raisonn
on the artist.
Constant Troyon, Le retour la ferme, Paris, Muse dOrsay, Photo

RMN-Grand Palais (Muse dOrsay) / Grard Blot / Christian Jean
18
Jean-Baptiste-Camille Corot
(FRENCH, 1796-1875)
View of the environs of Paris, possibly from the Quai dIvry

signed COROT (lower left)
oil on paper laid down on canvas
8 x 13 in. (21 x 35 cm.)
Painted circa 1835.
80,000-120,000
$130,000-190,000
110,000-150,000
PROVENANCE:
Anonymous sale; Christies, Paris, 26 June 2008, lot 90.

Private collection, Italy.
Corots views of Paris are particularly rare. In 1820, before his

departure for Rome, he painted Vue du vieux pont Saint Michel which
already bore the hallmarks of his Italian plein-air style, and in the
1830s he painted another small series of paintings of the capital,
such as le Quai des orfvres et le Pont Saint Michel (fg. 1). However,
Corot was above all a painter of the immediate surroundings of Paris,
where his own native village of Ville dAvray (now a western suburb
of Paris), was located. Indeed, his principal paintings of architecture
were focussed almost exclusively on sites in Italy, in particular Rome,
the villages of the southern Campagna, and Venice.
In France, Corot was inspired by several provincial towns such as
Honfeur, Douai, Rouen, La Rochelle and Mantes, but he was little
interested in the city centres, concentrating instead on the urban
periphery, where town and country met. There, the juxtaposition
of prominent architectural motifs, such as city ramparts, castles or
spires, with felds and rivers, afforded Corot greater compositional
possibilities, which stressed above all the picturesque. In this
regard, pictures such as Le chemin de Svres (Paris, Louvre) is highly
representative, with the tree-lined Svres road in the foreground,
leading they eye across felds towards Paris in the far distance, its
monuments barely distinguishable. It is equally diffcult to determine

with certainty the buildings in the present lot. An old inscription
suggests that it is the quai dIvry (today in the 13th arrondissement),
or an arm of the Seine near Charenton-Le-Pont. The rectangular
shape above the horizon on the left would appear to be the bell
towers of Notre Dame, while the structure in the centre could be the
Church of Saint Paul and Saint Louis in the Marais. Martin Dieterle
and Claire Lebeau date the work to the 1830s.
The present lot shows all the originality of an artist who prefgured
and would infuence a whole generation after him. It announces
not only plein-air painting as practised by the Impressionists, but also
the subject of Paris and its environs as a favoured motif for painters
such as Stanislas Lpine, Claude Monet and Camille Pissarro but
before the construction of the industrial buildings and chimneys
which can be seen in paintings by these later artists, and which would
displace the activities of the washerwomen seen here. This painting
is therefore not only a precursor to the urban Impressionism of the
industrial age, but also a memento to a city and its environs which
have since long disappeared.
The authenticity of this work has been confrmed by Martin Dieterle
and Claire Lebeau, who will include it in their next supplement to
the Corot catalogue raisonn.
Jean-Baptiste-Camille Corot, le Quai des orfvres et le Pont Saint Michel,

Paris, Muse Carnavalet.
20
21
VARIOUS PROPERTIES
Gustave Courbet and studio

(FRENCH, 1819-1877)
Le Moulin de Scey-en-Varais
signed G. Courbet. (lower left)
oil on canvas
19 x 24 in. (50.2 x 61.5 cm.)
Painted circa 1872-73.
7,000-10,000
$12,000-16,000
8,900-13,000
PROVENANCE:
possibly the Director of the Opra Comique, Paris.

Private collection, Mozambique.
A gift from the above to the father of the present owner.
We are grateful to Mr. Jean-Jacques Fernier for confrming the

attribution of this work (letter dated 20 September 2005).
24
25
Paul Dsir Trouillebert

(FRENCH, 1829-1900)
Paysannes avec enfant au bord de

la rivi,re
signed Trouillebert (lower right)
oil on canvas
20 x 31 in. (52.4 x 81 cm.)
25,000-35,000
$41,000-57,000
32,000-44,000
PROVENANCE:
with Daniel B. Grossman Gallery, New York.

LITERATURE:
C. Marumo, T. Maier, B. Mllerschn, Paul Dsir Trouillebert,

Catalogue Raisonn de loeuvre peint, Stuttgart, 2004, p. 537, no. 939
(illustrated).
26
27
10
Georges Michel
(FRENCH, 1763-1843)
Paysage avec moulin

oil on canvas
24 x 35 in. (62.8 x 89.9 cm.)
12,000-18,000
28
$20,000-29,000
16,000-23,000
PROPERTY FROM A GERMAN PRIVATE COLLECTION
11
Jean-Baptiste-Camille Corot
(FRENCH, 1796-1875)
Bouleaux au bord dune rivi,re

signed COROT (lower left)
oil on panel
14 x 9 in. (37.5 x 24 cm.)
Painted between 1855 and 1860.
20,000-30,000
$33,000-48,000
26,000-38,000
LITERATURE:
P. Dieterle, M. Dieterle, C. Lebeau, Corot. Cinquime supplment luvre de

Corot par A. Robaut et Moreau-Nlaton, Paris, 2002, p. 56, no. 55 (illustrated p. 57).
30
VARIOUS PROPERTIES
12
Gustave Courbet
(FRENCH, 1819-1877)
Falaises et cascades
signed G. Courbet (lower right)
oil on canvas
21 x 16 in. (55.3 x 41.9 cm.)
Painted circa 1875.
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
with Marlborough Galleries, London.

with Kunsthaus Bhler, Stuttgart.
Private collection, Germany.
Acquired from the above by the present owner.
LITERATURE:
R. Fernier, La vie et luvre de Gustave Courbet, Geneva, 1977, vol. II, p. 190191, no. 926 (illustrated).
Painted after Courbets exile to Switzerland following his release

from prison for his involvement in the events of the Commune
in 1871, the present lot harks back nostalgically to a series of river
landscapes which began with depictions of the Loue in the artists
native Franche-Comt, and is most famously encapsulated by his
representations of Le Puits Noir, a small stream in the Loue valley,
a subject to which the artist would turn to again and again after frst
representing it in a painting exhibited at the Exposition Universelle
of 1855.
These paintings represented an almost hermetic natural world,
hemmed in on all sides by rock and tree canopies, and devoid of
all animal and human presence. They discarded completely the
rules which traditionally governed the landscape genre, replacing

open vistas and horizon lines with closed spaces in which natural
surfaces were thrust forward into the picture plane, to emphasize
the materiality and density of the subject. In the present work, the
branches of the tree arch almost protectively over the gorge, while
the foaming water is described in thick white strokes of paint, applied
with a palette knife, almost splashing out at the viewer. These types
of painting were deeply personal visions of nature, stressing a sense of
place and earthiness that is encapsulated in the French term terroir.
Their importance was hinted at in a letter written by the artist in
1866 to his friend Alfred Bruyas about a similar work, in which he
described fnishing a superb landscape of profound solitude made in
the deepest vales of my land.
We would like to thank Sarah Faunce for confrming the attribution
to Courbet on the basis of a photograph (verbal communication,
9 October 2014).
Gustav Courbet, Le ruisseau couvert, dit entree de la vallee du Puits-Noir. Doubs: effet
de crepuscule, 1865, Muse dOrsay, Paris, 2014 White Images/Scala, Florence
32
33
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
13
Jean-Franois Raffalli
(FRENCH, 1850-1924)
En Hiver - le cantonnier
signed JFRAFFAELLI (lower left)
oil on panel
20 x 28 in. (52 x 71.7 cm.)
25,000-35,000
$41,000-57,000
32,000-44,000
PROVENANCE:
Anonymous sale, Galerie Charpentier (Maitre Rheims), Paris, 19 March 1958

(hors catalogue).
Acquired at the above sale by the father of the present owner.
Jean-Franois Raffalli is known not only for his depictions of the

grand boulevards of Paris, but also for his gritty and sympathetic
depictions of those who worked on the fringes of the city. These
included chiffoniers (rag-and-bone men), vagabonds and all
manner of the working poor, rendered with a matter-of-factness
and quiet nobility which placed Raffalli at the forefront of realist
artists, and evinced the artists affnity for his subjects. Some of
these posed for the artist regularly; others were the results of
observations he made on his long walks along the roads near his
home at Asnires, in the outer suburbs of Paris. As Arsne Alexandre
wrote: He understood that the most unattractive appearances, the
most disinherited by nature, merited precious treatment and, when
transcribed by an elevated and sincere spirit, could produce a work
of art as rare as that produced from most cheerful and magnifcent of
subjects. The squalid terrain of the fortifcations [a no-mans land on
the edge of Paris, made up of the ruins of the old city walls, where
Raffalli often painted], the feral physiognomies and sordid rags of
the chiffoniers could take their place in museums or rich collections,
next to fower-flled landscapes or fattered sitters. (A. Alexandre,
Jean-Francois Raffalli, Paris, 1909, pp. 67-68).
In the present lot, Raffalli describes a labourer working on a road
construction site. He is only summarily described, with a grey beard
and heavy coat, slouching slightly and carrying a broom in a grey,
relatively featureless landscape that is set under a leaden winter sky.
Within this profoundly naturalistic landscape, there is a slight sense
of pathos, softened by the presence of the dog, which all combine,
despite the apparently barren subject matter, to produce a painting
which breathes a sense of quiet humanity.
34
35
PROPERTY FROM AN ENGLISH PRIVATE COLLECTION
14
Jean Braud
(FRENCH, 1849-1936)
Le canapU bleu
signed and dated Jean Braud 1912 (lower left)
oil on canvas
29 x 24 in. (73.6 x 61 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Acquired directly from the artist by Bernheim-Jeune (stock no. 19179, 28

December 1912), Paris.
Anonymous sale; Drouot, Paris, 8 December 1983, lot 2, as: Le Salon de
Madame X.
with Bury Street Gallery, London.
EXHIBITED:
Paris, Salon, 1912, no. 111.

LITERATURE:
G. Domergue, Les Salons de 1912. Socit nationale des beaux-arts , Le Soleil,

19 April 1912, p. 2.
P. Offenstadt, Jean Braud, La Belle Epoque, une poque rve , Paris, 1999,
p. 187, no. 212 (illustrated).
The present lot is one of fve interiors by Braud representing the

elegant Paris apartment of his friend and executor, milie Yznaga,
at 142 bis rue de Grenelle. The collection, which included major
paintings by artists such as Domenico Tiepolo, Frans Snyders, JeanMarc Nattier and Nicolas de Largillire, as well as important 18th
century French furniture, was partly dispersed via donations to the
Muse des Arts Dcoratifs in Paris (which also holds three of the
pendants to the present lot) and to the National Gallery in London.
The painting above the sofa (NG inv. 5584, Portrait of a Lady) was
formerly attributed to Greuze and is dated to circa 1760.
36
PROPERTY OF AN ENGLISH PRIVATE COLLECTOR
15
Paul-Csar Helleu
(FRENCH, 1859-1927)
Madame Helleu N son bureau

signed Helleu (lower left)
oil on canvas
30 x 22 in. (78.1 x 57.8 cm.)
200,000-300,000
$330,000-480,000
260,000-380,000
PROVENANCE:
Anonymous sale; Christies, London, 24 June 1988, lot 85.

EXHIBITED:
Paris, Galerie Charpentier, Paul Csar Helleu, 1931, no. 16.

Dieppe, Muse de Dieppe, Paul Helleu, 1962, no. 17.
38
39
40
The artist in his drawing room
Paul Helleu frst met his future wife, Alice Gurin, then only
14 years old, when he was commissioned to paint her portrait
in 1884. They fell in love and were married two years later.
Alice remained the artists favourite model throughout his
life and a muse for many other artists; beautiful and refned,
she also helped introduce her husband into the elite circle
of artists, writers and society fgures of the Faubourg SaintHonor. The Count de Montesquiou, a noted dandy and
leading fgure in the artists group of friends, described her as
La multiforme Alice, dont la rose chevelure illumine de son
refet tant de miroirs de cuivre.
Helleu eschewed standard conventions of portrait composition,
often depicting his sitters from behind - at a mirror, desk,
or picture exhibition - or at strong raking angles, which
enhanced the line and swagger of his subjects. These betrayed
the infuence of fellow artists and mentors, in particular his
friends John Singer Sargent, James Whistler and Giovanni
Boldini.
Helleu and his wife were known for their exquisite taste. The
present lot depicts the artists wife seated at a secrtaire in the
couples drawing room of their Paris apartment, into which
they moved in 1888. The Helleu home soon became noted
for its decor: walls dressed in various shades of white and
hung with 18th century drawings by artists such as Watteau,
Boucher and Fragonard (an infuence revealed in Helleus own
extensive use of red chalk) and works by contemporaries such
as Manet and Degas; a mix of fne 18th century and Empire
furniture; and a variety of oriental works which refected the
vogue for Japonisme, such as the porcelain koi carp hanging in
the upper left corner. The desk in the present lot features in
numerous works by the artists and is still in the artists family;
the painting hanging above it is Boldinis Leda and the Swan.
The present lot cannot be considered a portrait in the
conventional sense, but rather an interior still life, in which
the furniture and surroundings are as integral as the sitter. In
its subject and palette, Helleus painting is superfcially similar
to the interior paintings of his Danish contemporary, Vilhelm
Hammershi, which depicted his wife Ida, often from behind,
in the interior of their Copenhagen home. The overall effect,
however, could not be more different: whereas the latters
works convey a sense of solitude and melancholy, which are
conveyed in muted tones and pools of light, Helleus paintings
are executed in a much higher key, with strong brushwork,
fashy refections and exuberant tonal contrasts, which exude
panache and confdence. Helleus painting can almost be
described as a Whistlerian symphony of whites (indeed
Whistler was vocal in his admiration of the Helleus interior
colour scheme). The strongly vertical axis of the composition
is reinforced by the shape of he desk, the legs of the chairs,
and Mme Helleus upright pose, but softened by the loose
brushwork, shimmering refections and muted colours, and
the shock of the bright pink lampshade resting against the wall.
The whole conveys the sense of easy, apparently informal, but
ultimately artful, elegance which defned Helleu and his circle.
John Singer Sargent, Portrait of Alice Helleu, private collection
Vilhelm Hammershi, Ida at her desk, private collection
41
VARIOUS PROPERTIES
16
Jacques-Emile Blanche
(FRENCH, 1861-1942)
Portrait of Leon Kyrillovitch Naryshkin, aged 6

signed, inscribed and dated M.e Narishkine/J.E.BL./1910. (lower right)
oil on canvas
21 x 18 in. (55.3 x 45.7 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Anonymous sale; Drouot, Paris, 17 June 1996, lot 245.
Born in 1904, Leon Naryshkin was the son of Prince Kyrill

Vassilievitch Naryshkin, a courtier to the Tsar and an attach at the
Russian Embassy in Paris immediately prior to World War I. A lifesize portrait of his mother, Princess Vera Naryshkin, also by Blanche,
is in the collection of the Muse des Beaux-Arts in Brussels.
The present painting is included in Jane Roberts digital catalogue
raisonn archive on the artist under no. 395.
42
PROPERTY FROM A SWISS PRIVATE COLLECTION
*17
Jean-Franois Raffalli
(FRENCH, 1850-1924)
The Watermill
signed J.F.RAFFALLI (lower right)
oil on canvas
23 x 28 in. (60 x 73 cm.)
12,000-18,000
PROVENANCE:
with Galerie Cardo, Passy.
44
$20,000-29,000
16,000-23,000
45
VARIOUS PROPERTIES
18
Paul Csar Helleu

(FRENCH, 1859-1927)
La liseuse
signed Helleu (lower left)
charcoal, white and red chalk on paper
22 x 18 in. (57.2 x 48 cm.)
10,000-15,000
46
$17,000-24,000
13,000-19,000
19
Alphonse Marie Mucha

(CZECH, 1860-1939)
Allegory of Spring
signed, inscribed and dated Dsince/na pamtku/Alfons Mucha/10/1 1935
(lower left)
pastel heightened with gouache on paper
16 x 11 in. (41.5 x 30 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
The artists collection.

Acquired from the above by a British collector.
His sale; Sothebys, London, 3 June 2003, lot 70.
Acquired at the above by the present owner.
John Mucha of the Mucha Foundation has confrmed the

authenticity of this lot.
48
20
Franz von Stuck

(GERMAN, 1863-1928)
Amazon on horseback
signed FRANZ/STUCK (on front of the base); and stamped with the
foundry mark Mnchen Guss C. Leyrer
(on the side of the base)
bronze with dark brown patina
Height: 25 in. (64.7 cm.); Length: 17 in. (43.2 cm.)
First conceived in 1897 and cast in the artists lifetime before 1906.
15,000-20,000
50
$25,000-32,000
19,000-25,000
51
PROPERTY FROM AN IMPORTANT BELGIAN PRIVATE

COLLECTION
21
Fernand Khnopff
(BELGIAN, 1858-1921)
Une Parisienne
signed FERNAND/KHNOPFF (lower right)
pastel and black chalk on paper
10 x 7 in. (26 x 19.3 cm.)
Executed in 1916.
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
The artists studio sale; Galerie Georges Giroux, Brussels, 27

November 1922, lot 80.
Nias Family, Brussels.
And thence by descent.
EXHIBITED:
Brussels, Salle Studio, Salon de Printemps, 1916, no. 62.

LITERATURE:
Jean Delville, Notice sur Fernand Khnopff, in Annuaire de

lAcadmie Royale des Sciences, des Lettres et des Beaux-Arts de
Belgique, Brussels, 1925, p. 29.
R. L. Delevoy, C. de Croes, G. Ollinger-Zinque, Fernand
Khnopff, Catalogue de luvre, Brussels, 1987, p. 380, no. 568
(illustrated).
52
53
PROPERTY FROM AN IMPORTANT BELGIAN PRIVATE

COLLECTION
22
Fernand Khnopff
(BELGIAN, 1858-1921)
ClUmatis
signed FERNAND/KHNOPFF (lower left)
pastel on paper
10 x 8 in. (25.4 x 22.2 cm.)
Executed circa 1914.
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
Nias Family, Brussels.

LITERATURE:
R. L. Delevoy, C. de Croes, G. Ollinger-Zinque, Fernand Khnopff,

Catalogue de luvre, Brussels, 1987, p. 380, no. 528 (illustrated).
54
55
*23
Fernand Toussaint
(BELGIAN, 1873-1955)
CircU: Beauty in an interior

signed FToussaint (lower left)
oil on canvas
60 x 44 in. (153 x 113.6 cm.)
18,000-25,000
$30,000-40,000
23,000-31,000
PROVENANCE:
Acquired by the grandfather of the present owner at the

Salon, Paris, 1927.
EXHIBITED:
56
57
24
Leo Putz
(AUSTRIAN, 1869-1940)
Im Atelier
signed Leo Putz (lower left)
oil on canvas
46 x 45 in. (118.5 x 115.2 cm.)
Painted circa 1904.
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Anonymous sale, Christies, London, 7 October 1999, lot 48.

EXHIBITED:
Cortina dAmpezzo, Ciasa de ra Regoles Museo dArte Moderna Mario

Rimoldi, Da Cima ad Afro, 14 July - 23 September 2012.
LITERATURE:
W. Michel, Leo Putz, Leipzig, 1909, pl. 27 (illustrated).

R. Stein, Leo Putz. Leben und Werk, Vienna, 1974, p. 130, no. 134.
H. Putz, Leo Putz, Gauting, 1994, vol. I, p. 78, no. 227 and vol. II p. 632
(illustrated).
A leading member of the Munich Secession, Leo Putz was a multifaceted artist whose oeuvre ranged from the stylized linearity of
Jugendstil to the expressionistic colours of the Blaue Reiter. He was
noted as a fgurative painter, particularly of nudes. These included
bacchanalian paintings, not dissimilar in theme to the work of the
artists contemporary, Franz von Stuck, to more naturalist renditions,
such as the present lot, expressed in an idiom which blends
impressionism and colourism.
Characterised by broad, carefully modulated brushstrokes, and
modelled using purple and pink tones, here reinforced by the
colourful bouquet in the background, Putzs models have a sense of
Rubensian monumentality which is transposed into an immediately
contemporary setting.
58
59
PROPERTY OF A SPANISH PRIVATE COLLECTOR
25
Joaqun Sorolla y Bastida

(SPANISH, 1863-1923)
Marina.Veleros en el mar
signed and dated J Sorolla Bastida/80 (lower left)
oil on canvas
17 x 30 in. (44,7 x 77,7 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
Marqus de Toro, 1985.

Anonymous sale, Sala Retiro, Madrid, 1999.
EXHIBITED:
Madrid, Exposicin general de Bellas Artes, 1881, no. 661 (one of three
marine paintings by the artist entered as Tres marinas)
LITERATURE:
B. de Pantorba, La Vida y la Obra de Joaqun Sorolla, Madrid, 1953,

p. 172, no. 1121.
Exh. cat., Museo del Prado, Joaqun Sorolla 1863-1923, Madrid, 2009,
p. 486, fg. 344.
Painted in Valencia in 1880, the present lot is one of three

marine paintings entered by the artist in the Exposicin
Nacional de Bellas Artes in Madrid in 1881, together with
Marina. Escena de puerto and Marina. Barcos en el puerto. It was
the frst time that Sorolla had entered a national competition.
The paintings did not adhere to the then very fashionable
theme of historical subject matter and remained relatively
unnoticed. According to one of his biographers, Aureliano de
Beruete, after the failure of these paintings at the exhibition,
they were presumed lost. Both Barcos en el puerto and the
present lot have been illustrated in subsequent publications
and have remained in private collections.
We are grateful to Blanca Pons Sorolla for her assistance in
cataloguing this lot, which is recorded in her archive under
the number BPS 10.
60
61
VARIOUS PROPERTIES
*26
Benito Rebolledo Correa

(CHILEAN, 1880-1964)
En la Orilla del Mar

signed Benito Rebolledo C (lower left)
oil on board
15 x 11 in. (38 x 28.1 cm.)
20,000-30,000
27 No Lot
62
$33,000-48,000
26,000-38,000
28
64
29
28
29
Peter Vilhelm Ilsted
Peder Mork Mnsted
(DANISH, 1861-1933)
(DANISH, 1859-1941)
The foot bridge
Farmsted by a river
signed with monogram (lower right)

oil on canvas
18 x 12 in. (47.5 x 31.1 cm.)
signed and dated P Mnsted-1904. (lower right)

oil on canvas
24 x 40 in. (61.8 x 101.5 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
PROVENANCE:
with Connaught Brown, London.
with Kleis Georg, Copenhagen.

Anonymous sale; Sothebys, London, 25 November 1987, lot 233.
65
30
66
31
30
31
Peder Mork Mnsted
Peder Mork Mnsted
(DANISH, 1859-1941)
(DANISH, 1859-1941)
A fast fowing river
Rowing on a river in Summer
signed and dated PMnsted. 1894 (lower left)

oil on canvas
25 x 16 in. (64.1 x 42.5 cm.)
signed, inscribed and dated P Mnsted./Sby.1922. (lower right)

oil on canvas
27 x 39 in. (70 x 101 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
15,000-25,000
$25,000-40,000
19,000-31,000
PROVENANCE:
PROVENANCE:
with Georg Kleis, Copenhagen.
67
32
Peter Vilhelm Ilsted

(DANISH, 1861-1933)
Interior at Liselund
oil on canvas
28 x 23 in. (71.2 x 60.6 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
with Connaught Brown, London.
68
PROPERTY FROM THE FORBES COLLECTION
*33
Carl Vilhelm Holse

(DANISH, 1863-1935)
The open window
PROVENANCE:
with Georg Kleis, Copenhagen.

Anonymous sale; Sothebys, London, 15 June 2004, lot 328.
signed C. Holsoe (lower right)

oil on canvas
28 x 23 in. (73 x 59 cm.)
25,000-35,000
EXHIBITED:
$41,000-57,000
32,000-44,000
Berlin, Grosse Berliner Kunstausstellung, 1907, no. 2868, as: Am

Fenster.
69
*34
Carl Vilhelm Holse

(DANISH, 1863-1935)
Interlude
signed C. Holse (lower right)
oil on canvas
21 x 24 in. (54.6 x 62.2 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
with Verner Amell Ltd., London.

with mells Konsthandel AB, Stockholm.
Anonymous sale; Sothebys, London, 14 February 1990, lot 46.
70
71
*35
Carl Vilhelm Holse

(DANISH, 1863-1935)
Interior with the artists wife

signed C Holsoe (lower right)
oil on canvas
26 x 24 in. (66 x 61 cm.)
50,000-70,000
$81,000-110,000
63,000-88,000
PROVENANCE:
Anonymous sale; Bruun Rasmussen, Copenhagen, 1973, lot 459.

with The Fine Art Society, London.
EXHIBITED:
Copenhagen, Charlottenborg, Foraarsudstillingen, 1927, no. 251.
The present lot is an archetypal interior of a school of painting which

also included the artists friends and contemporaries, the brothersin-law Vilhelm Hammershi and Peder Ilsted. All three artists were
members of The Free Exhibition a modernist art society established
in Copenhagen at the end of the 19th century. Their art could be
traced back via the Biedermeier interiors of their Danish Golden Age
forebears, such as Wilhelm Eckersberg, all the way back to Dutch art
of the 17th century, in particular the work of artists such as Johannes
Vermeer (fg. 1).
All three artists typically drew inspiration from their own domestic
surroundings, often including their spouses, represented as a solitary
fgure, almost invariably painted side-on or from behind, and
meditatively involved in quiet pursuits such as reading. Their homes
are represented as sanctuaries, havens of peace far removed from the
hustle and bustle of an outside world that is usually only hinted at by
a shaft of light from a window which, as here, is often unseen.
Fig. 1. Jan Vermeer, The Lacemaker, Paris,

Louvre, 2014 White Images/Scala, Florence
72
However, whereas Hammershis oeuvre was characterised by

a combination of asceticism and Symbolism, typically depicting
sparsely furnished interiors executed in a muted palette of greys and
whites, Holses paintings stressed the material qualities and richness
of his domestic surroundings. These differences are apparent when
comparing the present lot to a work by Hammershi in the muse
dOrsay (fg. 2), which is strikingly similar in subject and composition.
Whereas the latter is stripped down only to the essentials of chair,
table and a platter, set against a bare wall, and executed in modulated
ones which seem to absorb the light, the interior of Holses home is
richly adorned, and rendered with more painterly brushstrokes, which
emphasize the plasticity and refective qualities of the objects depicted.
Several of these appear in other paintings by the artist, and include
a large 17th century Dutch landscape and the Chinese porcelain
fgurine on the side table or closed spinet. The silver platter recalls
the Dutch still lives of artists such as Willem Kalf and, together with
the porcelain vase which echoes the tones of the sitters neck, gently
refects the light pooling in from the window behind, resulting in a
painting which is at once tangible and deeply contemplative.
Fig. 2. Vilhelm Hammershi, Rest, Paris, Musee

dOrsay / Bridgeman Images
73
VARIOUS PROPERTIES
36
Christoffer Wilhelm Eckersberg

(DANISH, 1783-1853)
Portraetstudium af en Graeker: Portrait of a Greek

oil on canvas
16 x 13 in. (40.6 x 34 cm.)
Painted in 1811.
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
with H. Jac. Kornerup.

LITERATURE:
E. Hannover, C.W. Eckersberg en studie i Dansk Kunsthistorie, Copenhagen, 1898,

p. 325, no. 101.
74
75
37
PROPERTY OF AN IMPORTANT VIENNESE COLLECTOR
*37
38
Jrgen Valentin Sonne
Svetislav Ivanowitch
(DANISH, 1801-1890)
(HUNGARIAN, 19TH CENTURY)
The Death of King Gustavus Adolphus at Ltzen
A Serbian warrior
oil on canvas
28 x 44 in. (72.3 x 113.6 cm.)
signed Sv. Ivanowitch (lower right)

oil on panel
19 x 13 in. (49.3 x 34 cm.)
8,000-12,000
76
$13,000-19,000
11,000-15,000
15,000-20,000
$25,000-32,000
19,000-25,000
38
VARIOUS PROPERTIES
39
Alfonso Savini
(ITALIAN, 1836-1908)
Lydia and the Lyre

signed A. Savini (lower left)
oil on panel
12 x 18 in. (31.8 x 45.7 cm.)
15,000-20,000
78
$25,000-32,000
19,000-25,000
40
Giovanni Battista Torriglia

(ITALIAN, 1857-1937)
The Lullaby
signed G B. Torriglia (lower left)
oil on canvas
24 x 35 in. (62.2 x 90.8 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
79
41
Eugne de Blaas
(AUSTRIAN, 1843-1932)
An elegant party on a balcony in Venice

signed and dated Eugen Blaas/1876. (lower right)
oil on canvas
49 x 68 in. (124.5 x 174.3 cm.)
200,000-300,000
$330,000-480,000
260,000-380,000
PROVENANCE:
with The Cooling Galleries, London.

Anonymous sale; Sothebys, New York, 26 October 1983.
Anonymous sale; Dorotheum, Vienna, 16 May 1984, lot 323.
LITERATURE:
T. Wassibauer, Eugen von Blaas 1843-1931. Das Werk, Hildesheim, 2005,

p. 119, no. 22 (illustrated).
The present work is one of Eugne de Blaas masterpieces, and the

most accomplished in a series of several works featuring elegant
Renaissance fgures on a balcony (fg. 1). These bring together
his understanding of texture, composition and fgural painting,
all of which marked him as one of the leading genre painters of
his time. As Thomas Wassibauer writes of this painting: It is a
further development of one of the painters regular themes which
he illustrates both in historical costume, as in this instance, and in
contemporary 19th Century dress. In a broadly-based composition
young girls and a gallant, presumably their host, are depicted listening
to a guitar player dressed in red velvet. The heads of the fgures are
placed in a partial semi-circle, seen from the back. Each is looking in
a different direction. The young people are united not so much by
the music as by the fact of a solemn occasion. This is emphasised by
the rich clothing and the fact that an oriental carpet has been draped
over the balcony. This was a typical practice on major feast-days in

Austria as a way of displaying the wealth of the household and the
joy of participating in the celebrations. Many rugs produced in the
Orient for export to Europe were made to ft the width of standard
windows so that they could be hung without being folded. The
colour composition of the picture is masterly, with red tones for the
fgures and green for the curtains and the costume of the presumed
host, who watches the scene from the right. (T. Wassibauer, op. cit.,
pp. 17-18).
Eugne de Blaas enjoyed a sheltered childhood, divided between the
cities of Vienna and Venice. He took lessons in painting from an early
age from his father Karl, a wealthy and highly successful artist, and
between 1860 and 1872, when he could take breaks from his studies
in Venice, he assisted his father with his commissions to paint the
Arsenal frescoes in Vienna. His cosmopolitan upbringing gave him
a good knowledge of French and English, and he travelled to both
France and England before settling in Venice in 1871.
De Blaas clearly absorbed contemporary infuences from the many
places he visited, as his paintings combine facets of the most popular
genre and academic painters of his day. His more loosely painted
depictions of young children and street urchins recall the work of
the Paris-trained Russian painter, Alexej Harlamoff, while his later
works, in which he turned more to more glamorous belle poque
subjects, recall the work of the Belgian Alfred Stevens. His Venetian
training, meanwhile, shines through in his use of a bright palette
that recalls the colours of Giambattista Tiepolo or his contemporary,
Mos Bianchi. Eugne de Blaas enjoyed a fruitful career during his
lifetime and settled in Venice, becoming a professor at the Academy,
a position which had previously been held by his father. Eugnes
paintings of beautiful Italian women at work and in the company of
admiring suitors were especially sought after by British collectors. He
exhibited his works at the Royal Academy in London from 1875 to
1892, as well as the Grafton Gallery and the New Gallery.
Fig. 1. Eugne de Blaas, Venetian ladies on a

balcony Christies
(Detail)
80
81
VARIOUS PROPERTIES
42
Carlo Ferrari
(ITALIAN, 1813-1871)
The Riva degli Schiavoni,Venice, with Santa Maria

della Salute beyond
sighed and inscribed Carlo Ferrari da Verona (lower left)
oil on canvas
29 x 41 in. (74.9 x 102.9 cm.)
40,000-60,000
84
$65,000-97,000
51,000-76,000
85
43
Martn Rico y Ortega

(SPANISH, 1833-1908)
A Venetian canal
signed RICO (lower left)
oil on canvas
28 x 18 in. (71,5 x 46,7 cm. )
35,000-50,000
86
$57,000-81,000
45,000-63,000
44
88
45
44
45
Hermann David Solomon

Corrodi
Salomon Corrodi
(ITALIAN, 1844-1905)
Roman Aqueducts, St. Peters Basilica beyond

signed and inscribed H.Corrodi.Roma (lower left)
oil on canvas
46 x 29 in. (118.7 x 75.2 cm.)
20,000-30,000
(SWISS, 1810-1892)
Lacco Ameno and Casamicciola, Ischia

signed S. Corrodi (lower right); and inscribed Lacco e Casamicciola. (lower left)
watercolour on paper
21 x 29 in. (54.3 x 75.5 cm.)
7,000-10,000
$12,000-16,000
8,900-13,000
$33,000-48,000
26,000-38,000
89
PROPERTY FROM AN ITALIAN COLLECTION
entourage streaming urgently down the mountain, and the black lava feld and summit
looming in the background under a shaded and billowing mix of cloud and smoke. The
resulting panorama synthesises a realist narrative, brought to life with carefully rendered
accents of expression and costume, into a highly Impressionistic whole, which brilliantly
conveys effects of light, atmosphere and movement.
46
Giuseppe De Nittis
(ITALIAN, 1846-1884)
The juxtaposition of these two elements reveals how de Nittis sought above all in
the present work to reconcile his artistic inclinations as a painter of nature, and the
commercial demands of painting works which were historically and commercially
relevant. Indeed, the painting seems to anticipate comments made by the artists dealer,
Goupil, made to De Nittis in a letter of July 1872, following the arrival of four works
by the artist in Paris:
The eruption of Vesuvius

signed De Nittis (lower right)
oil on canvas
29 x 50 in. (75.5 x 128.3 cm.)
Painted in 1872.
150,000-200,000
$250,000-320,000
190,000-250,000
PROVENANCE:
Lanckoronski Collection, Vienna;

Confscated by the German authorities following the Anschluss, after March 1938,
and transferred to Stift Kremsmnster;
Recovered by the Monuments Fine Arts and Archives Section from Alt Aussee
(no.968), and transferred to the Munich Central Collecting Point, June 1945
(MCCP no. 1165);
Transferred to The Republic of Austria, November 1945;
Restituted to Karolina Lanckoronsky, London, by 1951.
Mario Borgiotti, Florence.
His sale, Christies, London, 28 November 1972, lot 84.
Anonymous sale; Brocade Antichit, Montecatini Terme, 18-22 September 1974, lot 487.
Acquired at the above sale by the present owner.
These four paintings bear the imprint of your talent and I can only congratulate myself,
my dear friend, that you remain always original. In these times, with this horrible illness
of imitation, one is happy to see something which looks nothing like this or that man of
talent. Having said that, I must make some remarks in which betray a businessman. Just
as the priest lives from the altar, so the painter and the dealer must live from painting,
and this brings me to tell you that it is not enough to make a beautiful picture from an
artistic point of view, but you also have to make it fashionable, in other words compose
it in a way that makes it accessible to all and sold for a remunerative price. This is what
you have not done. Your Lava of Vesuvius is a picture that is essentially true; but that
black mass, which could have been interesting to all if you had animated it with a few
fgures, becomes a thing of monotony and little interest for whoever has not seen the
results of that terrifying eruption....If only you had sent me, instead of pictures of little
interest, something like The descent of the tourists, I would not have such reservations...
Please dont take this badly, dear friend; you know how much interest I have for you,
but you have to understand that as partners, we sometimes see things from two different
points of view.
LITERATURE:
V. Pica, Giuseppe de Nittis: luomo e lartista, Milan, 1914, p. 84 (illustrated).

V. Pica, Artisti Contemporanei: Giuseppe De Nittis e la Scuola Napoletana di
Pittura in Emporium, May 1914, vol. XXXIX, no. 233, p. 324 (illustrated).
E. Piceni, De Nittis, Milan, 1955, p. 181.
M. Pittaluga-E. Piceni, De Nittis. Catalogo generale, Milan, 1963, no. 180 (illustrated).
P. Dini-G.L. Marini, De Nittis: la vita, i documenti, le opere dipinte,Turin, 1990, I, p.
392, no. 418; II, fg. 418 (illustrated).
The present lot is the largest of some 70 oil paintings by De Nittis of Vesuvius, and a
more fnished variant of a canvas of similar dimensions, today in the Pinacoteca de Nittis
in Barletta. Most of the artists treatments of the subject were atmospheric but small scale
plein air landscape studies of the mountain (fg. 1), and a smaller number of character
studies of the guides who plied their trade leading tourists to the volcanos summit,
which are here brought together on a more ambitious scale.
Giuseppe De Nittis, Mount Vesuvius, oil on panel Christies Images Limited
De Nittiss renditions of Vesuvius accounted for the largest part of a signifcant body
of work produced by the artist on a trip to Naples, where he spent most of 1872, and
where his son, Jacques, was born on 19 July. The painting describes a group of tourists
and their guides rushing down the mountain in the wake of an eruption which frst
began on 24 April 1874, reaching its climax two days later. The eruption was powerful
enough for De Nittis and his wife to temporarily abandon their apartment in Ercolano,
and forced the evacuation of many villages on the sides of the mountain, an event
recorded by the artist in his painting La Pioggia di Cenere (fg. 2) and transcribed in
his diary: families fed under the weight of their belongings, leading the elderly and
children, calling out to the Madonna or, even more frequently, to St. Januarius.
Over the course of almost a year, De Nittis made numerous excursions up the
mountain, travelling several hours on horseback before being carried by the guides for
the last steep climb to edge of the crater. He was particularly impressed by the contrasts
of light and shade and the sheer monumentality of the mountain, which dominated
the surrounding landscape. Between the journey there and back on horseback and the
climb on the back on the backs of the guides amounted to six hours of daily travel...The
love of Vesuvius - of the mountain - had come to me like it comes to all.
The present work unites a sense of drama with the picturesque, and integrates them
into a composition which is notable for the artists hallmark contrasts of light and dark.
The picture is divided between the sunlit foreground, with elegant tourists and their
Giuseppe De Nittis, La Pioggia di cencere, 1872,

Florence, GalleriadArte Moderna di Palazzo Pitti
47
Alessandro Battaglia
(ITALIAN, 1870-1920)
La vendemmia: the grape harvest

signed, inscribed and dated A. Battaglia/ROMA 99 (lower right)
oil on canvas
37 x 24 in. (94 x 61 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
Anonymous sale; Dorotheum, Vienna, 26 June 1986.

Anonymous sale; Sothebys, New York, 24 February 1987, lot 316.
Anonymous sale; Phillips, London, 14 June 2000, lot 124.
94
48
Ettore Tito
(ITALIAN, 1859-1941)
I Giochi
signed E. TITO (lower right)
oil on canvas
35 x 47 in. (90.2 x 120 cm.)
25,000-35,000
$41,000-57,000
32,000-44,000
PROVENANCE:
Enrico Pini, Genoa.

EXHIBITED:
Milan, Galleria Pesaro, Ettore Tito, 1919.

LITERATURE:
L. Giovanola, La mostra individuale di Ettore Tito alla Galleria di Pesaro a Milano

in Emporium, vol. 49, no. 10, Bergamo, 1919, p. 140 (illustrated).
Despite being born near Naples, Ettore Tito spent most of his life in
Venice, his mothers hometown. He began his artistic career under the
Dutch artist Cecil Van Haanen and then enrolled at the Accademia di
Belle Arti in Venice, where from 1894 to 1927 he was also Professor
of Painting. Tito exhibited regularly at the Venice Biennale from
1895, and then further afeld, including at the Exposition Universelle
in Paris, and in Brussels, San Francisco, and Los Angeles. In 1929 he
became a member of the Italian Royal Academy.
Towards the end of the 19th Century Tito produced several
illustrations for British and American magazines, partly thanks to the
relationships he cultivated among expat artists in Venice. It was at the
Circle of Palazzo Barbaro in Venice that he met John Singer Sargent
and Isabella Stewart Gardner, and befriended other artists such as
Anders Zorn, Luigi Nono, Ludwig Passini, and Mariano Fortuny.
From 1900 Tito started to move away from depictions of everyday
life to focus more on mythological and Symbolist subjects. He
was infuenced in part by the development of Art Nouveau and
Jugendstil, in particular the work of his friend, the Munich artist
Franz von Stuck, alongside whom he exhibited in Venice in 1909.
This complex composition was inspired by ancient mythology and
nature and is clearly indebted to von Stuck, (Fig. 1). In particular,
Franz von Stuck, Frhlingsreigen, 1910, Chemnitz,

Kunstsammlungen, Bertram Kober 2014 Photo Scala, Bildagentur
fr Kunst, Kultur und Geschichte, Berlin
96
the vibrant tones, bright palette and sense of movement share the
same exuberance and energy as the German artists Reigen series
of dance paintings.
The present work is a study for the fresco series created by Tito for
the entry hall ceiling of the Villa Berlingeri in Rome, decorated in an
Art Nouveau style, and today the Embassy of Saudi Arabia. Painted
between 1914 and 1917 the series is an allegorical representation
of the Berligeris family history and comprises pure decorative and
symbolic scenes based on four different themes: The Fruits of the
Earth, Play, Study and Rest.
When exhibited at the Galleria Pesaro in Milan in 1919, this series
was highly praised for its novelty and joyous expressiveness, with one
critic commenting that Entering from a gloomy and foggy Milanese
street into the four rooms of the Galleria Pesaro, is like suddenly
entering a space full of sunshine, and fresh air to admire a beautiful
landscape. This is not surprise, as the magician who recreated this
atmosphere is called Ettore Tito. (L. Giovanola, op. cit., p. 139)
The authenticity of the present work has been confrmed by Andrea
Baboniin a letter and an image of the painting will be included in
the experts Archive.
97
PROPERTY FROM A PRIVATE AMERICAN COLLECTION
*49
Plinio Nomellini
(ITALIAN, 1866-1943)
Passeggiata nel parco

signed P. Nomellini (lower right)
oil on canvas
37 x 47 in. (95.5 x 121.3 cm.)
Painted circa 1920.
25,000-35,000
$41,000-57,000
32,000-44,000
PROVENANCE:
Van Haren Nomann collection, The Hague, circa 1925.

Thence by descent.
Although relatively unknown outside his home country, Nomellini
is recognized in Italy as a major painter at the crossroads between
Divisionism, Symbolism and Post-Impressionism. Building frst on the
art of painters such as Angelo Morbelli and Pelizza da Volpedo, whose
subjects were rooted in social themes of everyday life, but rendered in
a patchwork palette of complementary colours, at the turn of the 20th
century Nomellini moved towards an ever freer and more expressionistic
pictorial language which is not dissimilar to that of Gaetano Previati,
characterised by vibrant colours, a profound sense of luminosity, and more
lyrical themes.
Between 1895 and 1899 at the Venice Biennalle, Nomellini would have
seen works by foreign contemporaries such as Whistler, von Stuck, Puvis
de Chavannes, Redon, and Klimt. Given the lack of Symbolist infuences
within the artists Florentine and Genovese cultural circle, only these
foreign infuences can explain the sudden vacillation in Nomellinis work
between a rather visionary naturalism and more overtly Symbolist pictures.
The present lot is one of several paintings by the artist of elegant women
walking in countryside or parkland, infuenced by the frequent stays with
his family in the southern Italian countryside of Puglia, Capri and Elba,
but with a treatment that is here particularly exuberant compared to the
artists more naturalist renditions of the subject. The women appear as
modern embodiments of ancient nymphs, gliding through a vibrant,
fery setting, in which the landscape and southern sky seem to blend in
an explosive mix of violets, reds and blues, expressed with confdently
applied lapping brushstrokes of sinuous colour. Nomellini has moved away
from the narrative of a family walk, which often describes his treatment
of this subject, towards a work which aims instead towards a purely
decorative effect.
98
99
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
50
Giovanni Boldini
(ITALIAN, 1842-1931)
Portrait of a Lady
oil on panel
10 x 8 in. (27.3 x 21.6 cm.)
Painted circa 1897.
25,000-35,000
$41,000-57,000
32,000-44,000
LITERATURE:
E. Camesasca & C. Ragghianti, LOpera completa di Boldini, Milan, 1970, p. 112, no.
288 (illustrated).
P. Dini & F. Dini, Giovanni Boldini, catalogo ragionato, Turin, vol. 4, p. 386 , no. 714, as:
Mezza Figura di Giovane Donna seduta in un interno (illustrated).
100
51
Wilhelm Kuhnert
(GERMAN, 1865-1926)
Lion resting
signed and dated Wilh.Kuhnert/17.8.10. (lower right)
oil on panel
8 x 11 in. (20 x 29.2 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
with The Fine Art Society, London, May 1911, inv. no. 66.
The Countess of Sefton, Lancaster.
102
52
Wilhelm Kuhnert (GERMAN, 1865-1926)

A Lion
signed Wilh.Kuhnert (lower right)
oil on panel
8 x 10 in. (20 x 26.6 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
103
PROPERTY FROM AN IMPORTANT PRIVATE

COLLECTION
53
Wilhelm Kuhnert (GERMAN,

1864-1926)
Elephants on the river bank

signed Wilh. Kuhnert (lower left)
watercolour and bodycolour on paper
16 x 27 in. (41 x 68.3 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
104
105
PROPERTY OF A DESCENDANT OF THE ARTIST
54
Wilhelm Kuhnert
(GERMAN, 1865-1926)
A bison
signed Wilh. Kuhnert (lower right); and signed and inscribed Wilhelm
Kuhnert/Berlin (on the reverse)
oil on canvas
38 x 55 in. (96.5 x 140.5 cm.)
50,000-70,000
PROVENANCE:
The artist.
106
$81,000-110,000
63,000-88,000
107
PROPERTY OF A DESCENDENT OF THE ARTIST
55
Wilhelm Kuhnert
(GERMAN, 1865-1926)
Lions on the plains of Africa

signed and dated Wilh. Kuhnert/ 1922 (lower right); and signed and inscribed Wilhelm
Kuhnert/Berlin/Lwenpaar
(on the reverse)
oil on canvas
26 x 44 in. (65 x 113.5 cm.)
100,000-150,000
$170,000-240,000
130,000-190,000
PROVENANCE:
Wedding present from the artist to his daughter.

Wilhelm Kuhnert was the frst exponent of a genre of wildlife

painters which continues today with contemporary artists such as
David Shepherd, and which is based on a profound understanding
of his subject that is drawn from careful study in the feld. At a
time when most animal painters captured their subjects in captivity,
Kuhnerts dedication to the natural world was a radical departure
from artistic convention.
Kuhnert received his artistic education under the tutelage of the
animal painter Paul Meyerheim in Berlin, where he learned to master
the anatomically correct rendering of animal fur, hair and muscles.
His extraordinary talent was noticed early on by his teachers, who
encouraged him to dedicate himself fully to the genre of animal
painting. Eager to personally experience and capture the exotic, he
returned to Africa year after year in the hunt for both game and
subjects for his art. A keen and skilled hunter, he was fascinated by
the raw and uncompromising dance between prey and predator and
by the wild beauty of their surroundings. His great ability was to
capture the natural symbiosis between animals and their environment,
and the nuances of pose and behaviour that could not be observed
in captivity.
Kuhnert was an inveterate record keeper, meticulously describing
what he saw in his diary, and in sketchbooks which he flled with
thousands of charcoal and pencil animal and landscape studies.
Upon returning to Germany, he then completed the works in his
108
studio, drawing upon his experiences and frst-hand knowledge

gathered from his adventures. The writer and critic J. G. Millais
wrote: Germany has given us some great artists who, with thorough
technical and anatomical knowledge, have yet added to their genius
by going afeld and studying the various beasts in their own homes.
They have surpassed other artists because they have not been content
with caged creatures, but have mastered that great essential, local
atmosphere, as well. In the opinion of Millais, there is no fner
exponent of African mammals than Wilhelm Kuhnert. We who
have travelled do not need to be told that his studies from nature are
correct. His lions, elephants, zebras and antelopes are so real that we
feel we are gazing at them on the plains of East Africa. The landscapes
are simple but intense. Sunlight is there, and the tree and grass are
just those that grow in the habitat of these species. Kuhnert has, as it
were, got inside the very skin of African life, and draws you insensibly
with the charmed circle. To the big game hunter the man who loves
to observe in preference to the man who only shoots, his views of
wildlife are complete because you know he has been through the mill
himself, and studies with humility.
The present work, depicting a lion and lioness, represents one of
Kuhnerts favourite subjects. They are presented as a regal couple of
the animal kingdom, their alert heads standing just above the horizon
line, but otherwise camoufaged into their surroundings, eyeing an
unseen threat or prey.
109
110
111
56
Wilhelm Kuhnert
(GERMAN, 1865-1926)
Zebra on the plains of Africa

signed Wilh. Kuhnert (lower right); and signed and inscribed
Wilhelm Kuhnert/Berlin/Zebras (on the reverse)
oil on canvas
24 x 36 in. (61 x 92 cm.)
40,000-60,000
PROVENANCE:
The artist.
112
$65,000-97,000
51,000-76,000
113
57
Wilhelm Kuhnert
(GERMAN, 1865-1926)
A Tiger
signed and dated Wilh.Kuhert/1911 (lower left)
oil on panel
8 x 14 in. (21 x 36.7 cm.)
20,000-30,000
PROVENANCE:
with The Fine Art Society, May 1913, inv. no. 61.
114
$33,000-48,000
26,000-38,000
115
VARIOUS PROPERTIES
58
Charles Thodore Frre

(FRENCH, 1814-1888)
JUrusalem, effet du matin

signed TH. FRRE (lower right); and signed and inscribed with title Jrusalem. (Ct Nord)/ effet du matin/Th. Frre
(on the reverse)
oil on panel
8 x 14 in. (21.5 x 36.8 cm.)
10,000-20,000
116
$17,000-32,000
13,000-25,000
59
Charles Thodore Frre

(FRENCH, 1814-1888)
Une caravane, dUsert dArabie

signed TH. FRRE. (lower left); and signed and inscribed with title une caravane/(Dsert dArabie)/Th. Frere
(on the reverse)
oil on panel
10 x 16 in. (26 x 41.3 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
117
60
Gyula Tornai
(HUNGARIAN, 1861-1928)
Travelling musicians,Tangier
signed, inscribed and dated TORNAI GYULA./TANGER 1891 (lower right)
oil on canvas
46 x 73 in. (118.1 x 185.4 cm.)
120,000-180,000
$200,000-290,000
160,000-230,000
PROVENANCE:
Anonymous sale; Dorotheum, Vienna, 21 March 1972, lot 125.

Acquired at the above sale by the father of the present owner.
Born in 1861 in Grg, Gyula Tornai received his artistic education

at the academies in Vienna and Munich, and in Gyula Benczrs
studio in Budapest. He exhibited in London and in 1900 at the
Exposition Universelle in Paris to great acclaim, winning the bronze
medal. He exhibited again at the Budapest Art Gallery in 1909 and
in the National Salon in 1917. He began his career painting the genre
scenes that were so popular in the last quarter of the 19th Century,
but after his travels to India, China, Japan and Morocco his themes
changed to depictions of the varied and exotic places and customs
of those destinations. Tornai stayed in Tangier from 1890 to 1891,
when he painted the present lot, fnding inspiration in the rich and
colourful cultural palette that the city provided.
This masterpiece draws its visual impact and strength from the
complex and balanced nature of the composition and a meticulously
executed pictorial anecdote. The artist has made great use of the
simple architectural elements to set a stage on which a scene from
everyday life in Tangier could play out. His scene is enriched by the
Eastern weaponry and colourful clothing of the local populace.
The present work is of impressive size, drawing the spectators in and
enveloping them in an exotic atmosphere. It exhibits all the hallmarks
for which Tonais Orientalist works are best known. Depicting a
North African street scene, it exudes a sense of informal spectatorship.
The viewer has stumbled into a group of local musicians and is,
like the people depicted, witnessing a local custom. Each fgure is
quietly absorbed by the music, and the picture planes are crowded
with groups of fgures. The overall effect is to create a painting that
is both soothing and entertaining, inviting the eye to wander across a
panoply of interlinked fgures, colours and textures.
118
119
120
121
PROPERTY OF AN ITALIAN PRIVATE COLLECTOR
VARIOUS PROPERTIES
61
62
Jean Franois Portaels
Carl Friedrich Heinrich

Werner
(BELGIAN, 1818-1895)
Souvenir dOrient
(GERMAN, 1808-1894)
signed and dated JPortaels/1870. (centre left)

oil on panel
39 x 29 in. (101 x 75 cm.)
20,000-30,000
The Coffee House

$33,000-48,000
26,000-38,000
signed, inscribed and dated C. Werner f.1870 (lower left)

pencil and watercolour on paper
8 x 11 in. (20.3 x 29.2 cm.)
6,000-8,000
$9,700-13,000
7,600-10,000
PROVENANCE:
with Frost & Reed, London.

123
63
Gustavo Simoni
(ITALIAN, 1845-1926)
With his favourite

signed, inscribed and dated G. Simoni. Roma 1888. (lower right)
watercolour on paper
35 x 24 in. (90.8 x 62.2 cm.)
25,000-35,000
124
PROVENANCE:
with MacConnal Mason, London.
$41,000-57,000
32,000-44,000
64
Julius Victor Berger

(GERMAN, 1850-1902)
Entertaining the Pasha

signed and dated JBerger 897 (lower left)
oil on panel
25 x 19 in. (63.5 x 49.6 cm.)
25,000-35,000
$41,000-57,000
32,000-44,000
PROVENANCE:
Anonymous sale; Christies, New York, 1 November 1999, lot 33.

Acquired at the above sale by the present owner.
125
*65
Frederick Arthur Bridgman

(AMERICAN, 1847-1928)
Fording the Stream, Algeria

signed F. A. Bridgman (lower left)
oil on canvas
33 x 49 in. (85.4 x 126.3 cm.)
70,000-100,000
$120,000-160,000
89,000-130,000
This luminous and atmospheric painting of a group of horsemen

fording a stream by an oasis at dawn or twilight most likely
dates from the mid to late 1880s. It is one of a small
number of large-scale landscapes painted by the artist, and
one of his most successful. At this time, Bridgman was at
the height of his powers, having moved away from the
Academic linearity and archaeological subject matter of his
master Grme, to brighten his palette and liberate his brushwork
in a style that was looser, and infused with an originality
which revealed his enthusiasm for the culture and landscape
of Algeria.
Although Bridgman was frst inspired by the picturesque nature
of North Africa, as his knowledge of the region grew, he became
more and more sensitive to the artistic possibilities afforded to him
by its extraordinary light and colours. In April 1873, during one
of his frst trips to Algeria, he recorded his impressions of the early
morning, which fnd an echo in the present work: in the plain of
the Metijda the mist lay in long white bands over to the foot of
the blue hills of the Atlas, and the sun, rising from a pale lemonyellow sky dispersed the feecy veil, and revealed long dusty roads,
crowded at times with Arabs...going to market (A. Bridgman,
Winters in Algiers, New York, 1890, pp. 162-163).
However, until the 1880s, landscapes had remained, as Ilene
Ford writes a minor note in his Orientalist oeuvre (I. Ford,
Arthur Bridgman andthe American Fascination with the Exotic Near
East, PhD dissertation, City University of New York, 1990, p.
286), although Bridgman had been commended by critics for
his sensitivity to different atmospheric effects. The landscapes he
exhibited at the Salon of 1880 showed a new side to the artist,
in which desert scenes, often of twilight, drew comparisons with
artists such as Eugne Fromentin, who understood that the desert
could produce a multitude of different lighting effects.
Indeed, in this panoramic composition of the desert, Bridgman
is not seeking the decorative effect of his interior pictures, with
their concentration on the minutiae of individual objects, in
which light was used primarily for dramatic purpose. Rather, light
becomes the primary subject of the composition, the gentle glow
of the low sun infusing sky, rocks, water and horsemen with a
harmony of warm, mellow hues, and the overall composition
with a sense of gentle languor.
127
VARIOUS PROPERTIES
*66
Georges Washington
(FRENCH, 1827-1910)
Cavaliers suivant lOued

signed G. Washington (lower left)
oil on canvas
20 x 24 in. (55.3 x 61.5 cm.)
12,000-18,000
PROVENANCE:
Anonymous sale; Tajan, Paris, 3 April 2000, lot 366.
128
$20,000-29,000
16,000-23,000
67
Eugenio Cecconi
(ITALIAN, 1842-1903)
A market in Tunis
oil on canvas
21 x 36 in. (54.7 x 91.4 cm.)
Painted circa 1875.
$20,000-29,000
16,000-23,000
Eugenio Cecconi is best known in his native Italy as a painter of the

Tuscan landscape, and of its peasantry and hunters. An artist on the
fringes of the Macchiaiolo movement, who was very close to Giovanni
Fattori, Cecconi shared with his peers a particular sensitivity to the
nuances of light and shade.
Livorno, Museo Civico, Villa Fabbricotti, Mostra Retrospettiva di Eugenio Cecconi,

3 August-15 September 1974, no. 22.
In 1875, Cecconi made a trip to Tunisia, which loosened his style and
brightened his palette. His reaction to the light, local colour and sites
was similar to that of other new painters to the region. Writing to his
close friend, the artist Francesco Gioli, he commented: for its forms,
colours, chiaroscuro and emotion, its comings and goings, everything
is a swarm, a confusion for the eye, an awakening for the brush, and
above, below, beside, inside and all around light, light and more light.
12,000-18,000
PROVENANCE:
The artist.
EXHIBITED:
LITERATURE:
G. Daddi, Eugenio Cecconi, Lecco, 1973, pp. 250, 372 (illustrated pl. XXIV).
129
PROPERTY OF A SPANISH COLLECTOR
68
Joaqun Martnez de La Vega

(SPANISH, 1846-1905)
Figures in a courtyard of the Alhambra, Granada

signed JM.z de la Vega (lower right)
oil on canvas
44 x 31 in. (112.4 x 80 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
Born in Almera in 1846, Joaqun Martnez de La Vega studied at the

Cordoba Institute between 1861 and 1866. He then moved to Madrid,
enrolling at the Real Academia de San Fernando, where he was a pupil
of Federico de Madrazo, an artist who highly infuenced his portraiture
technique.
Martnez de La Vega travelled to Rome before moving to Malaga in
1866, the city in which he spent most of his life. In 1870 he worked
with Denis Belgrano on the decoration of the Saln de Actos del Liceo,
painting La coronacin del Dante. His frst works were Romantic in
spirit, while later on in his career he moved towards a more Academic
style. The artist is well-known for his powerful religious paintings and
colourful genre scenes.
It was thanks to Denis y de Ferrndizs infuence that after 1877 he
started producing his frst Orientalist works, of which the present work
is a particularly accomlished example.
In 1882 the artist was appointed Assistant Professor at the Bellas Artes
in Malaga. He was awarded several prizes, including a 3rd class medal
in the Exposition Nacional de Madrid. He is also well known for his
production of bright posters for the Malaga ferias.
130
PROPERTY FROM AN ITALIAN NOBLE COLLECTION
69
Fausto Zonaro
(ITALIAN, 1854-1929)
The shore at Galata, Constantinople

signed F.Zonaro (lower right); and inscribed Riva di Galata/(porto di Costantinopoli)
(on the reverse)
oil on panel
9 x 17 in. (25.2 x 43.5 cm.)
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Giuseppe Salvadori, Florence, thence by descent to the present owner.
The present lot is one of several variants of a composition by

Zonaro which depicts the bustling passenger quay at Galata, in
Constantinople.
Executed with a profoundly Impressionist plein-air technique,
characterised by a highly keyed palette of bright blue, pink and
orange, Zonaro has sought above all to evoke the hustle and bustle
of the busy port. The citys key monuments are evoked rather than
described, rising above the steam of the jockeying ships and the
shimmering haze of warm light, the Hagia Sophia modelled in blocks
of light and shade. Zonaro has paid great attention to capturing
the exact atmospheric conditions: the long shadow thrown across
the foreground and the sunlight on the facades in the background
indicate a late afternoon setting, while the carefully modulated blues
of the water and billowing sails in the background clearly indicate a
breeze blowing up the Bosphorus from the South.
The juxtaposition of a modern industrial port scene with
Constantinoples ancient landmarks evokes the citys position at a
cross-roads between the old and the new, between East and West, an
impression reinforced by the visual metaphor of the ships funnels and
masts, which echo the minarets in the background.
As offcial painter to the Sultan, Zonaro had a brief to present
Constantinople as a forward looking, confdent city, but in these
smaller works, the artist translated this mandate into an intensely
personal and spontaneous vision of the city which brings it vividly
to life.
The present painting has been authenticated by Professor Cesare
Mario Trevigne, the artists great-grandson, and is sold with a letter
dated 21 August 2014. It will be included in Professor Trevignes
archive under the title Larrivo sulla riva di Galata 6.
End of Sale
132
133
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134
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material
to be accompanied by a scientific confirmation of
species and in some cases an additional confirmation
of age. We have not obtained such confirmations
prior to sale (unless specifically indicated) and
buyers will be responsible for the costs of any such
additional confirmations or opinions required for
their proposed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations ). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
EXPLANATION OF
CATALOGUING PRACTICE
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 Limited Warranty. Buyers are advised to inspect
the property themselves. Written condition reports
are usually available on request.
Name(s) or Recognised Designation of an
Artist without any Qualification
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by
the artist in whole or in part.
*Studio of /Workshop of
In Christies qualified opinion a work executed in
the studio or workshop of the artist, possibly under
his supervision.
*Circle of
In Christies qualified opinion a work of the period
of the artist and showing his influence.
*Follower of
the artists style but not necessarily by a pupil.
*Manner of
the artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of
a work of the artist.
Signed /Dated /
Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.
With signature /With date /
With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published.
*This term and its definition in this Explanation
of Cataloguing Practice are a qualified statement as
to authorship. While the use of this term is based
upon careful study and represents the opinion of
specialists, Christies and the consignor assume no
risk, liability and responsibility for the authenticity
of authorship of any lot in this catalogue described
by this term, and the Limited Warranty shall not
be available with respect to lots described using this
term.
Buying at Christies
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including 50,000, 20% of
the excess of the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
Individuals: government-issued photo identification (such as
a photo driving licence, national identity card, or passport) and,
if not shown on the ID document, proof of current address, for
example a utility bill or bank statement.
Corporate clients: a certificate of incorporation.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year, and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference. For
assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price, taking
into account the reserve price. Absentee bids submitted on
no reserve lots will, in the absence of a higher bid, be
executed at approximately 50% of the low pre sale estimate
or at the amount of the bid if it is less than 50% of the low
pre-sale estimate. The auctioneer may execute absentee bids
directly from the rostrum, clearly identifying these as absentee
bids, book bids, order bids or commission bids.
Absentee Bids Forms are available in this catalogue, at any
Christies location, or online at christies.com.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3225
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to 25,000), and cash (up to 5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217
72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only
A limit of 25,000 for credit card payments will apply. This
limit is inclusive of the buyers premium and any applicable
taxes. Credit card payments at London sale sites will only be
accepted for London sales. Christies will not accept credit card
payments for purchases made in any other sale site. The fax
number to send completed CNP (Card Member not Present)
authorisation forms to is +44 (0) 20 7389 2821. The number
to call to make a CNP payment over the phone is +44 (0) 20
7752 3388. Alternatively, clients can mail the authorisation form
to the address below.
Cash is limited to 5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be drawn
in GBP on a UK bank, clearance will take 5 to 10 business
days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department, 8 King Street, St Jamess,
London, SW1Y 6QT
Please direct all inquiries to King Street Tel: +44 (0) 20 7389
2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel:
+44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
Buyers from within the EU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
Buyers from outside the EU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
q Z
ero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme

In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
Wine Auctions
Stock offered duty-paid, but available in bond.
VAT at 20% on hammer price and buyers premium
(wine only).
VAT Refunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than 100. UK & EU private buyers
cannot reclaim VAT. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty
4.00%
3.00%
1.00%
0.50%
0.25%
For the portion of the Hammer Price (in Euro)

up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the

purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate.
For more information please contact the Shipping Department
at + 44 (0)20 7389 2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
Christies Art Transport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
Own Shipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme Please obtain a GB Tax Free form from the
Cashiers. This document must be stamped by UK Customs on
leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the the Museums,
Libraries and Archives Council: Acquisitions, Export and Loans
Unit at +44 (0)20 7273 8269/8267.
20/11/13
135
Storage and Collection

STORAGE AND COLLECTION
EXTENDED LIABILITY CHARGE
POST-WAR & CONTEMPORARY ART
All furniture and carpet lots (sold and unsold)

not collected from Christies by 9.00 am
on the day following the auction will be
removed by Cadogan Tate Fine Art Logistics
Ltd to their warehouse at:
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com.
While 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.
From the day of transfer of sold items to

Cadogan Tate Fine Art Logistics Ltd, all such
lots are automatically insured by Cadogan
Tate Fine Art Logistics Ltd at the sum of the
hammer price plus buyers premium. The
Extended Liability Charge in this respect by
Cadogan Tate Fine Art Logistics Ltd is 0.6%
of the sum of the hammer price plus buyers
premium or 100% of the handling and storage
charges, whichever is smaller.
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
PAYMENT
TRANSFER, STORAGE & RELATED CHARGES
Cadogan Tate Fine Art Logistics Ltds storage

charges may be paid in advance or at the time
of collection. Lots may only be released from
Cadogan warehouse on production of the
Collection Order from Christies, 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
Christies, 8 King Street, London SW1Y 6QT.
Lots will not be released until all outstanding
charges due to Christies and Cadogan Tate
Fine Art Logistics Ltd are settled.
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
Storage per day
70.00
5.25
35.00
2.65
BOOKS
Please note that all lots from book department

sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.
Christies Fine Art Storage Services

(CFASS) also offers storage solutions for fine
art, antiques and collectibles in New York
and Singapore FreePort. CFASS is a separate
subsidiary of Christies and clients enjoy
complete confidentiality. Visit www.cfass.com
for charges and other details.
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
Cadogan TaTe Fine arT LogisTiCs LTd

Warehouse
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
10/06/14
136
Conditions of Sale
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
2.
CATALOGUE DESCRIPTIONS AND

CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such
that they will rarely be in perfect condition, and
are likely, due to their nature and age, to show
signs of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition in a
catalogue entry will not amount to a full description
of condition. Condition reports are usually available
on request, and will supplement the catalogue
description. In describing lots, our staff assess the
condition in a manner appropriate to the estimated
value of the item and the nature of the auction
in which it is included. Any statement as to the
physical nature or condition of a lot, in a catalogue,
condition report or otherwise, is given honestly and
with appropriate care. However, Christies staff are
not professional restorers or trained conservators
and accordingly any such statement will not be
exhaustive. We therefore recommend that you
always view property personally, and, particularly
in the case of any items of significant value, that
you instruct your own restorer or other professional
adviser to report to you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution, etc
Any statements made by Christies about any
lot, whether orally or in writing, concerning
attribution to, for example, an artist, school, or
country of origin, or history or provenance, or any
date or period, are expressions of our opinion or
belief. Our opinions and beliefs have been formed
honestly and in accordance with the standard of
care reasonably to be expected of an auction house
of Christies standing, due regard having been had
to the estimated value of the item and the nature
of the auction in which it is included. It must be
clearly understood, however, that, due to the nature
of the auction process, we are unable to carry out
exhaustive research of the kind undertaken by
professional historians and scholars, and also that,
as research develops and scholarship and expertise
evolve, opinions on these matters may change. We
therefore recommend that, particularly in the case
of any item of significant value, you seek advice on
such matters from your own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item
will sell or its value for any other purpose.
(e) Fitness for Purpose

Lots sold are enormously varied in terms of age,
category and condition, and may be purchased for
a variety of purposes. Unless otherwise specifically
agreed, no promise is made that a lot is fit for any
particular purpose.
(g) Video or digital images

At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or can
come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer
agrees to pay to us the buyers premium together
with any applicable value added tax. The buyers
premium is 25% of the final bid price of each lot
up to and including 50,000, 20% of the excess of
the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the
hammer price above 1,000,000. Exceptions: Wine
and Cigars: 17.5% of the final bid price of each lot,
VAT is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium and
any applicable taxes or resale royalty) immediately
after the sale. This applies even if the buyer wishes
to export the lot and an export licence is, or may
be, required. The buyer will not acquire title to the
lot until all amounts due to us from the buyer have
been received by us in good cleared funds even in
circumstances where we have released the lot to the
buyer.
09/08/13
137
(d) Collection of purchases

We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, in our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled to
cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
(e) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made a
recommendation for the acts or omissions of the third
party concerned.
(f) Export licence
Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights and
remedies. These include, but are not limited to, the
following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the total
amount due and to commence legal proceedings
for its recovery together with interest, legal fees
and costs to the fullest extent permitted under
applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
the defaulting buyer;
(vi) to set off against any amounts which we, or
Christies International plc, or any of its affiliates,
subsidiaries or parent companies worldwide,
may owe the buyer in any other transactions, the
outstanding amount remaining unpaid by the
buyer;
(vii) where several amounts are owed by the buyer to
us, or to Christies International plc, or to any
of its affiliates, subsidiaries or parent companies
worldwide, in respect of different transactions, to
apply any amount paid to discharge any amount
owed in respect of any particular transaction,
whether or not the buyer so directs;
138
(viii) to reject at any future auction any bids made by

or on behalf of the buyer or to obtain a deposit
from the buyer before accepting any bids;
(ix) to exercise all the rights and remedies of a
person holding security over any property in
our possession owned by the buyer, whether by
way of pledge, security interest or in any other
way, to the fullest extent permitted by the law
of the place where such property is located.
The buyer will be deemed to have granted
such security to us and we may retain such
property as collateral security for such buyers
obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
If we resell the property under paragraph (iv) above,
the defaulting buyer shall be liable for payment of
any deficiency between the total amount originally
due to us and the price obtained upon resale as well
as for all reasonable costs, expenses, damages, legal
fees and commissions and premiums of whatever
kind associated with both sales or otherwise arising
from the default. If we pay any amount to the seller
under paragraph (v) above, the buyer acknowledges
that Christies shall have all of the rights of the
seller, however arising, to pursue the buyer for such
amount.
(h) Failure to collect purchases
Where purchases are not collected within two
calendar days from the date of the sale, whether or
not payment has been made, we shall be permitted
to remove the property to a third party warehouse at
the buyers expense, and only release the items after
payment in full has been made of removal, storage,
handling, and any other costs reasonably incurred,
together with payment of all other amounts due
to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a fixed
scale of charges based upon the value of the property
sold by the consignor at Christies in a calendar year.
Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out
in clause 2 of these Conditions, but subject to the
terms and conditions of this paragraph, Christies
warrants for a period of five years from the date
of the sale that any property described in headings
printed in UPPER CASE TYPE (i.e. headings
having all capital-letter type) in this catalogue (as
such description may be amended by any saleroom
notice or announcement) which is stated without
qualification to be the work of a named author
or authorship, is authentic and not a forgery.
The term author or authorship refers to the
creator of the property or to the period, culture,
source or origin, as the case may be, with which
the creation of such property is identified in the
UPPER CASE description of the property in this
catalogue. Only UPPER CASE TYPE headings
of lots in this catalogue indicate what is being
warranted by Christies. Christies warranty does
not apply to supplemental material which appears
below the UPPER CASE TYPE headings of each
lot and Christies is not responsible for any errors or
omissions in such material. The terms used in the
headings are further explained in Important Notices
and Explanation of Cataloguing Practice. The
warranty does not apply to any heading which is
stated to represent a qualified opinion. The warranty
is subject to the following:
(i)
(ii)
(iii)
(iv)
(v)
(vi)
It does not apply where (a) the catalogue

description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
The benefits of the warranty are not assignable
and shall apply only to the original buyer of the
lot as shown on the invoice originally issued by
Christies when the lot was sold at auction.
The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
The buyers sole and exclusive remedy against
Christies and the seller, in place of any other
remedy which might be available, is the
cancellation of the sale and the refund of the
original purchase price paid for the lot. Neither
Christies nor the seller will be liable for any
special, incidental or consequential damages
including, without limitation, loss of profits
nor for interest.
The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
The buyer must return the lot to the Christies
saleroom at which it was purchased in the same
condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
and the seller make no representation or warranty
that the buyer of a property will acquire any
copyright or other reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with respect
to these Conditions of Sale, the conduct of the
auction and any matters connected with any of the
foregoing shall be governed and interpreted by the
laws of England. By bidding at auction, whether
present in person or by agent, by written bid,
telephone or other means, the buyer shall be deemed
to have submitted, for the benefit of Christies, to
the exclusive jurisdiction of the courts of the United
Kingdom.
05/01/10
Worldwide Salerooms and European Offices

AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
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Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
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+91 (98) 1032 2399

Sanjay Sharma
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BARCELONA
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ISRAEL
TEL AVIV
+34 (0)93 487 8259

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NORTHWEST AND
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+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
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+45 3962 2377

Birgitta Hillingso
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+ 45 2612 0092
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BALTIC STATES
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+358 (0)9 608 212

Barbro Schauman
(Consultant)
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PARIS
ITALY
MILAN
+39 02 303 2831

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+39 06 686 3333

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Business Development
Director
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+377 97 97 11 00
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THE NETHERLANDS
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+33 (0)1 40 76 85 85
+31 (0)20 57 55 255
GERMANY
DSSELDORF
PEOPLES REPUBLIC
OF CHINA
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SHANGHAI
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+49 (0)40 27 94 073

Christiane Grfin zu
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MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
+852 2760 1766

+86 86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+41 (0)44 268 1010

Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI
+971 (0)4 425 5647
+44 (0)20 7839 9060
+44 (0)20 7930 6074
+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
+351 919 317 233

Mafalda Pereira
Coutinho
(Independent
Consultant)
ENQ UI RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
EMA I L info@christies.com
04/09/14
139
A TOWNHOUSE OFF GROSVENOR SQUARE

The Collection of Dr. Peter D. Sommer
Auction at Christies, 8 King Street, London SW1Y 6QT 4 December 2014
Onsite Viewing at
Highlights
Contact
Upper Grosvenor Street, London

22 November3 December
8 King Street
London SW1Y 6QT
28 November3 December
Amelia Walker
awalker@christies.com
+44 (0)20 7389 2085
(Admission by catalogue only, admits 2)
Including Important English and European

Furniture and Decorative Objects,
Old Master Paintings, Impressionist Works
of Art, Carpets, Ceramics, Silver,
Objects of Vertu, Hrmes Luggage
BAREND CORNELIS KOEKKOEK (MIDDELBURG 1803-1862 CLEVES)

Fort aprs l'orage: Forest after a storm
signed and dated 'B.C. Koekkoek 1848' (lower left) oil on panel (73.5 x 95 cm.)
120,000180,000
Old Masters & 19th Century Art

including Dutch Impressionism
Amsterdam 25-26 November 2014

Viewing
Contact
21-24 November 2014

Cornelis Schuytstraat 57
1071 JG Amsterdam
Sarah de Clercq
sdeclercq@christies.com
+31 (0)20 575 52 81
christies.com
141
OLD MASTER & BRITISH PAINTINGS Evening Sale

London, King Street 2 December 2014
Viewing
Contact
28 November
2 December 2014
8 King Street
London SW1Y 6QT
Henry Pettifer
hpettifer@christies.com
+44 (0) 20 7389 2084
WILLEM VAN DE VELDE II (LEIDEN 1633-1707 LONDON)

A kaag and other vessels off an inlet on the Dutch coast
signed in monogram and dated WvV 1661 (lower centre, on the spar)
oil on canvas 38.3 x 49.7 cm. (15 x 19in.)
1,200,0001,800,000
Victorian, Pre-Raphaelite & British Impressionist Art

London, King Street 11 December 2014
Viewing
Contact
7-11 December
8 King Street
London SW1Y 6QT
Victorian, Pre-Raphaelite
& British Impressionist Art
Peter Brown
brown@christies.com
+44 (0)20 7389 2435
British Drawings &

Watercolours
Harriet Drummond
hdrummond@christies.com
+44 (0)20 7389 2278
JOHN WILLIAM WATERHOUSE, R.A. (1849-1917)

Juliet
signed 'J.W. Waterhouse' (lower right)
27 x 18 in. (70 x 46.3 cm.)
500,000 700,000
The ArT
of The
horse
Private Selling Exhibition
JEAN LOUIS ANDRE THEODORE GERICAULT

(French, 17911824)
A traveller and his horse with a country girl outside an inn
pencil, brown and grey wash on paper
12 x 15 1/4 in. (30 x 38.8 cm.)
Shanghai 21 October 4 November 2014

Hong Kong 2125 November 2014
Contact
John Stainton
jstainton@christies.com
+44 (0) 20 7839 9060
Clare McKeon
cmckeon@christies.com
+1 212 636 2084
christies.com/theartofthehorse
RECENTLY ACQUIRED PRIVATELY BY

THE KIMBELL ART MUSEUM, TEXAS
JACOB ISAACSZ. VAN RUISDAEL

( Haarlem 1629/301681)
Christies Private Sales offers a

personalised alternative to auction.
Please contact us for more details.
Contact
Richard Knight
rknight@christies.com
+44 (0) 20 7389 2159
James Bruce-Gardyne
jbruce-gardyne@christies.com
+44 (0) 20 7389 2505
Christies Specialist Departments and Services

DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230

AMERICAN INDIAN ART
NY: +1 212 606 0536

AMERICAN PICTURES
NY: +1 212 636 2140

ANGLO-INDIAN ART
KS: +44 (0)20 7389 2570

ANTIQUITIES
INDIAN
CONTEMPORARY ART
KS: +44 (0)20 7389 2700

NY: +1 212 636 2189
INTERIORS
SK: +44 (0)20 7389 2236

NY: +1 212 636 2032
ISLAMIC WORKS OF ART
POSTERS
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KS: +44 (0)20 7389 2328

SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
KS: +44 (0)20 7389 2700

SK: +44 (0)20 7752 3239
KS: +44 (0)20 7389 2343
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2057
RUSSIAN WORKS OF ART

TRAVEL, SCIENCE AND
NATURAL HISTORY
ARMS AND ARMOUR
KS: +44 (0)20 7389 2591

SK: +44 (0)20 7752 3239
SK: +44 (0)20 7752 3119
JEWELLERY
ASIAN 20TH CENTURY

AND CONTEMPORARY ART
KS: +44 (0)20 7389 2383

SK: +44 (0)20 7752 3265
NY: +1 212 468 7133
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KS: +44 (0)20 7389 2040
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SK: +44 (0)20 7752 3284

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SK: +44 (0)20 7752 3203
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KS: +44 (0)20 7389 2650
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NY: +1 212 636 2084
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SK: +44 (0)20 7752 3293
NY: +1 212 636 2085
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1500-1850
KS: +44 (0)20 7389 2945

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SK: +44 (0)20 7389 2776
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NINETEENTH CENTURY
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OLD MASTER PICTURES
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AND WORKS OF ART
SK: +44 (0)20 7752 3026

FURNITURE
KS: +44 (0)20 7389 2482

SK: +44 (0)20 7389 2791
IMPRESSIONIST PICTURES
KS: +44 (0)20 7389 2638

SK: +44 (0)20 7752 3218
SILVER
KS: +44 (0)20 7389 2666

SK: +44 (0)20 7752 3262
ZUR: +41 (0) 44 268 1012
TWENTIETH CENTURY
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KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
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AND GLASS
KS: +44 (0)20 7389 2331

SK: +44 (0)20 7389 2794
NINETEENTH CENTURY
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SCULPTURE
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SK: +44 (0)20 7752 3250
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3365
MUSICAL INSTRUMENTS
PAR: +33 (0)140 768 386
KS: +44 (0)20 7389 2684

SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
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& DESIGN
KS: +44 (0)20 7389 2140

SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
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SK: +44 (0)20 7752 3257
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KS: +44 (0)20 7389 2257

SK: +44 (0)20 7752 3293
PHOTOGRAPHS
WINE
KS: +44 (0)20 7389 2292

POPULAR CULTURE
AND ENTERTAINMENT
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Tel: +852 2978 6747
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CHRISTIES FINE ART
STORAGE SERVICES
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Tel: +65 6543 5252
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CHRISTIES
INTERNATIONAL
REAL ESTATE
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KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
27/05/14
146
Absentee Bids Form

Christies London
19th Century European
& Orientalist Art
TUESDAY 9 DECEMBER 2014 AT 2.00 PM
Absentee bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. If you have not received
confirmation within one business day, please contact the Bid Department.
Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com
8 King Street, St. Jamess, London SW1Y 6QT

CODE NAME: BEATRIX
SALE NUMBER: 1567
(Dealers billing name and address must agree with tax

exemption certificate. Invoices cannot be changed after
they have been printed.)
1567
Client Number (if applicable)
Sale Number
Billing Name (please print)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM

Address
BIDDING INCREMENTS
Bidding generally opens below the low estimate

and advances in increments of up to 10%, subject
to the auctioneers discretion. Absentee bids that
do not conform to the increments set below may
be lowered to the next bidding interval.
UK50 to UK1,000
UK1,000 to UK2,000
UK2,000 to UK3,000
UK3,000 to UK5,000
by UK50s
by UK100s
by UK200s
by UK200, 500, 800
(ie: UK4,200, 4,500, 4,800)
UK5,000 to UK10,000
by UK500s
UK10,000 to UK20,000 by UK1,000s
UK20,000 to UK30,000 by UK2,000s
UK30,000 to UK50,000 by UK2,000, 5,000, 8,000
(ie: UK32,000, 35,000,
38,000)
UK50,000 to UK100,000 by UK5,000s
UK100,000 to UK200,000 by UK10,000s
above UK200,000
at auctioneers discretion
The auctioneer may vary the increments during

the course of the auction at his or her own
discretion.
Auction Results: +44 (0)20 7839 9060
Please also refer to the information contained in
Buying at Christies.
I request Christies to bid on the following lots up to the
maximum price I have indicated for each lot. I understand that
if my bid is successful, the purchase price will be the sum of my
final bid plus a buyers premium of 25% of the final bid price
of each lot up to and including 50,000, 20% of the excess
of the hammer price above 50,000 and up to and including
1,000,000 and 12% of the excess of the hammer price above
1,000,000, together with any VAT chargeable on the final bid
and the buyers premium. VAT is chargeable on the purchase
price of daggered () lots, and for buyers outside the EU on ()
lots, at the standard rate. VAT is chargeable on the purchase price
of starred (*) lots at the reduced rate.
I understand that Christies provides the service of executing
absentee bids for the convenience of clients and that Christies
is not responsible for failing to execute bids or for errors
relating to execution of bids. On my behalf, Christies will try
to purchase these lots for the lowest possible price, taking into
account the reserve and other bids. Absentee bids submitted
on no reserve lots will, in the absence of a higher bid, be
executed at approximately 50% of the low pre-sale estimate or
at the amount of the bid if it is less than 50% of the low presale estimate.
If identical absentee bids are received for the same lot, the
written bid received first by Christies will take precedence.
Please contact the Bid Department at least 24 hours in advance of
the sale to make arrangements for telephone bidding.
All bids are subject to the terms of the Conditions of Sale and
Limited Warranty printed in each Christies catalogue.
Post Code
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Evening Telephone
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Email
Please tick if you prefer not to receive information about our upcoming sales by e-mail
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If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card,
or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or
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offshore companies or partnerships: please contact the Credit Department at + 44 (0)20 7839 2825 for
advice on the information you should supply. If you are registering to bid on behalf of someone who has
not previously bid or consigned with Christies, please attach identification documents for yourself as well as
the party on whose behalf you are bidding, together with a signed letter of authorisation from that party.
New clients, clients who have not made a purchase from any Christies office within the last one year, and
those wishing to spend more than on previous occasions will be asked to supply a bank reference. We may
at our option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also
request that you complete the section below with your bank details:
Name of Bank(s)
Address of Banks(s)
Account Number(s)
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Bank Telephone Number
PLEASE PRINT CLEARLY

Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS

Please quote number below:
09/08/13
147
OMP & 19TH CENTURY PAINTINGS
expert knowledge beautifully presented
Continental European and British paintings from the early Renaissance

to the early 19th century. British and Irish Art from Tudor period
to 1970, including pictures, works on paper, Sporting Art,Victorian
and Scottish pictures. Continental European drawings from the early
Renaissance to the early 19th century. Paintings, drawings and watercolors from the 19th century, including Romanticism, Genre, Realist,
Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and
nautical items, ship models and maritime instruments.
Code
Subscription Title
Location
A1
L193
L1
L195
L98
N193
N1
P1
K193
K9
K1
K2
K97
W9
OMP & C19th Paintings

Old Master and 19th Century Art
19th Century European Art including Orientalist Art
Old Master and British Paintings
Victorian and British Impressionist Pictures
Topographical Pictures
19th Century European Art
Old Master Paintings
Old Master & 19th Century European Paintings
19th Century Paintings
Old Master & Early British Drawings & Watercolours
Old Master Paintings
Victorian, Traditionalist & Sporting Pictures
Australian Art
Old Master & Early British Drawings & Watercolours
Amsterdam
King Street
King Street
King Street
King Street
New York
New York
Paris
South Kensington
South Kensington
South Kensington
South Kensington
South Kensington
Worldwide
www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
Issues
2
2
5
2
1
2
3
1
2
1
4
5
1
4
UKPrice
US$Price
EURPrice
27
48
119
48
20
48
71
38
43
14
57
71
14
95
44
72
181
76
32
76
108
61
71
24
95
119
24
152
40
76
190
72
30
72
114
57
66
22
87
109
22
144
Christies
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairman
Steven P. Murphy, Chief Executive Officer
Stephen Brooks, Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Franois-Henri Pinault
Sophie Carter, Company Secretary

CHRISTIES EXECUTIVE
Steven P. Murphy,
Stephen Brooks, Kerry Chandler, Franois Curiel,
Marc Porter, Jussi Pylkknen, Doug Woodham
Charles Cator, Deputy Chairman,

Christies International
CHRISTIES EUROPE
CHAIRMANS OFFICE
Jussi Pylkknen, President
Orlando Rock, Deputy Chairman
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Olivier Camu, Philippe Garner, Richard Knight,
Francis Outred, Andreas Rumbler,
Franois de Ricqles
DIRECTORS
Prof. Dr. Dirk Boll, Roland de Lathuy,
Eveline de Proyart, Roni Gilat-Baharaff,
Paul Hewitt, Clarice Pecori Giraldi,
Christiane Rantzau, Jop Ubbens, Juan Varez
CHRISTIES EUROPEAN
ADVISORY BOARD
Pedro Girao, Chairman,
Christopher Balfour, Patricia Barbizet,
Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg,
H.R.H. Prince Pavlos of Greece, Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Dimitri Mavrommatis,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi
CHRISTIES UK
CHAIRMANS OFFICE
Viscount Linley, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Orlando Rock,
Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Daniel Baade, Philip Belcher,
Jeremy Bentley, Ellen Berkeley, Jill Berry,
Giovanna Bertazzoni, Prof. Dr. Dirk Boll,
Peter Brown, James Bruce-Gardyne,
Olivier Camu, Sophie Carter, Benjamin Clark,
Christopher Clayton-Jones, Karen Cole,
Isabelle de La Bruyere, Leila de Vos,
Nicole Dembinska, Paul Dickinson,
Harriet Drummond, Julie Edelson,
Hugh Edmeades, David Elswood,
David Findlay, Margaret Ford, Daniel Gallen,
Philippe Garner, Jane Griffiths, Karen Harkness,
Philip Harley, James Hastie, Paul Hewitt,
Rachel Hidderley, Mark Hinton, Nick Hough,
Michael Jeha, Hugues Joffre, Donald Johnston,
Erem Kassim-Lakha, William Lorimer,
Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Francis Outred, Clarice PecoriGiraldi, Benjamin Peronnet, Henry Pettifer,
Steve Phipps, Will Porter, Paul Raison,
Tara Rastrick, William Robinson, John Stainton,
Alexis de Tiesenhausen, Lynne Turner, Jay Vincze,
Andrew Ward, David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
Sarah Mansfield, Nicolas Martineau, Roger Massey,

Joy McCall, Neil McCutcheon, Daniel McPherson,
Neil Millen, Edward Monagle, Jeremy Morgan,
Leonie Moschner, Giles Mountain,
Chris Munro, Rupert Neelands, Mark Newstead,
Liberte Nuti, Beatriz Ordovs, Rosalind Patient,
Keith Penton, Romain Pingannaud,
Sara Plumbly, Caroline Porter, Michael Prevezer,
Anne Qaimmaqami, Marcus Rdecke,
Pedram Rasti, Amjad Rauf, Sandra Romito,
Tom Rooth, Alice de Roquemaurel,
Francois Rothlisberger, Tim Schmelcher,
Rosemary Scott, Tom Scott, Nigel Shorthouse,
Dominic Simpson, Nick Sims, Katie Siveyer,
Nicola Steel, Robin Stephenson, Kay Sutton,
Rakhi Talwar, Nicolette Tomkinson, Jane Turner,
Thomas Venning, Sophie Wiles, Mark Wilkinson,
Bernard Williams, Georgina Wilsenach,
Toby Woolley, Geoff Young
DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Simon Andrews, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Grace Campbell, Lucy Campbell, Jason Carey,
Romilly Collins, Ruth Cornett, Sigrun Danielsson,
Armelle de Laubier-Rhally, Adrian Denton,
Sophie DuCret, Anna Evans, Arne Everwijn,
Adele Falconer, Nick Finch, Peter Flory,
Elizabeth Floyd, Christopher Forrest, Giles Forster,
Patricia Frost, Sarah Ghinn, Zita Gibson,
Alexandra Gill, Sebastian Goetz, John Green,
Simon Green, David Gregory, Mathilde Heaton,
Annabel Hesketh, Sydney Hornsby,
Peter Horwood, Simon James, Robert Jenrick,
Sabine Kegel, Hans-Peter Keller, Jeffrey Kerr,
Tjabel Klok, Quincy Kresler, Robert Lagneau,
Nicholas Lambourn, Joanna Langston, Tina Law,
Darren Leak, Adriana Leese, Brandon Lindberg,
Laura Lindsay, David Llewellyn, Murray Macaulay,
ASSOCIATE DIRECTORS
Guy Agazarian, Cristian Albu, Jennie Amos,
Ksenia Apukhtina, Katharine Arnold,
Alexis Ashot, Alexandra Baker, Fiona Baker,
Virginie Barocas-Hagelauer, Carin Baur,
Sarah Boswell, Nina Bowden, Mark Bowis,
Clare Bramwell, John Caudle, Dana Chahine,
Marie-Louise Chaldecott, Sophie Churcher,
Marion Clermont, Helen Culver Smith,
Laetitia Delaloye, Charlotte Delaney,
Cristiano De Lorenzo, Freddie De Rougemont,
Grant Deudney, Claudia Dilley,
Eva-Maria Dimitriadis, Howard Dixon,
Virginie Dulucq, Joe Dunning, Antonia Essex,
Kate Flitcroft, Eva French, Pat Galligan,
Keith Gill, Andrew Grainger, Leonie Grainger,
Julia Grant, Pippa Green, Angus Granlund,
Ciaran Grealish, Christine Haines, Coral Hall,
Charlotte Hart, Evelyn Heathcoat Amory,
Anke Held, Valerie Hess, Carolyn Holmes,
Amy Huitson, Adrian Hume-Sayer, James Hyslop,
Helena Ingham, Pippa Jacomb, Mark Jordan,
Guady Kelly, Clementine Kerr, Hala Khayat,
Alexandra Kindermann, Mark Henry Lamp,
Tom Legh, Timothy Lloyd, Scott Macdonald,
Graeme Maddison, Stephanie Manstein,
Astrid Mascher, Michelle McMullan,
Kateryna Merkalenko, Susanne Meyer-Abich,
Toby Monk, Sarah OBrien, William Paton,
Samuel Pedder-Smith, Suzanne Pennings,
Louise Phelps, Sarah Rancans, Lisa Redpath,
David Rees, Alexandra Reid, Simon Reynolds,
Sumiko Roberts, Sangeeta Sachidanantham,
Pat Savage, Catherine Scantlebury, Julie Schutz,
Hannah Schweiger, Mark Silver, James Smith,
Graham Smithson, David Stead, Mark Stephen,
Annelies Stevens, Charlotte Stewart,
Dean Stimpson, Gemma Sudlow,
Dominique Suiveng, Cornelia Svedman,
Nicola Swain, Iain Tarling, Sarah Tennant,
Timothy Triptree, Flora Turnbull, Lisa Varsani,
Julie Vial, Anastasia von Seibold, Amelia Walker,
Tony Walshe, Chris White, Rosanna Widen,
Ben Wiggins, Annette Wilson, Julian Wilson,
Elissa Wood, Neal Young
Christie, Manson & Woods Ltd. (2014)
08/08/14
149
150
Index
B
Battaglia, A., 47
Braud, J., 14
Berger, J.V., 64
Blaas, E de, 41
Blanche, J.-E., 16
Boldini, G., 50
Bridgman, F. A., 65
Nomellini, P., 49
C
Cecconi, E., 67
Corot, J.-B.-C, 7, 11
Correa, B., 26
Corrodi, H.D.S., 44
Corrodi, S., 45
Courbet, G., 8, 12
D
De Nittis, G., 46
Devria, A., 2
Diaz de la Pea , N.-V., 4
E
Eckersberg, C., 36
F
Fantin-Latour, H., 3
Ferrari, C., 42
Frre, C.T., 58, 59
H
Helleu, P.-C., 15, 18
Holse, C., 33-35
I
Ilsted, P., 28, 32
Ivanowitch, S., 38
K
Khnopff, F., 21, 22
Kuhnert, W., 51-57
M
Martnez De La Vega , J., 68
Michel, G., 10
Mnsted, P.M., 29-31
Mucha, A., 19
P
Portaels, J. F., 61
Putz, L., 24
R
Raffalli, J.-F., 13, 17
Ribot, T.-A., 5
Rico y Ortega, M., 43
S
Savini, A., 39
Scheffer, A., 1
Simoni, G., 63
Sonne, J.V., 37
Sorolla y Bastida, J., 25
Stuck, F. von, 20
T
Tito, E., 48
Tornai, G., 60
Torriglia, G., 40
Toussaint, F., 23
Trouillebert, P. D., 9
Troyon, C., 6
W
Washington, G., 66
Werner, C.F.H., 62
Z
Zonaro, F., 69
8 King Street St. Jamess London SW1Y 6QT
+44 (0)20 7839 9060 telephone +44 (0)20 7389 2869 facsimile

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Tuesday 9 December 2014