Master and British Drawings and Watercolours

OLD MASTER
MAST ER AND
BRITISH DRAWINGS
AND WATERCOLOURS
Tuesday 2 December 2014
AUCTION
Tuesday 2 December 2014
at 1.00 pm Lots 1–209
85 Old Brompton Road
London SW7 3LD
VIEWING
Friday 28 November 9.00 am - 5.00 pm
Saturday 29 November 11.00 am - 5.00 pm
Sunday 30 November 11.00 am - 5.00 pm
Monday 1 December 9.00 am - 7.30 pm
Tuesday 2 December 9.00 am - 12 noon
AUCTIONEERS
Georgina Wilsenach
James Hastie
OPPOS I TE
Lot 87 : A U C T I ON C OD E A N D N U MB E R C ON D I T I ON S OF S A LE
In sending absentee bids or making This auction is subject to
F R ONT C OVER: enquiries, this sale should be referred Important Notices,
Lot 37
to as V E R ON A -5 8 7 7 Conditions of Sale and
BACK C OVER: to reserves.
Lot 192
A U C T I ON R E S U LT S [25]
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INTERNATIONAL AND BRITISH DRAWINGS
AND WATERCO
WATERCOLOURS
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2 DECEMBER 25 MARCH 2015 13 MAY 2015

OLD MASTER & BRITISH DRAWING S
DESSINS ANCIENS & DU XIXE SIÈCLE THE I.Q. VAN REGTEREN ALTENA
& WATERCOLOURS
LONDON, SOUTH KENSINGTON THE I.Q. VAN REGTEREN ALTENA COLLECTION
COLLECTION PART IV. DUTCH AND FLEMISH
10 DECEMBER PART III. FRENCH AND ITALIAN DRAWINGS FROM 1500 TO 1900
DRAWINGS FROM 1500 TO 1900 AMSTERDAM
THE I.Q. VAN REGTEREN ALTENA COLLECTION
PART II PARIS
AMSTERDAM
29 JANUARY 2015
OLD MASTER AND BRITISH DRAWINGS
AND WATERCOLOURS
NEW YORK 29/04/13
2

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LONDON
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BRITISH DRAWINGS & WATERCOLOURS

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3

THE PROPERTY OF A GENTLEMAN PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
1 2
ATTRIBUTED TO GIULIO PIP PI, CALLED GIULIO ROMANO ITALIAN SCHOOL, CIRCA 1600
(ROME 1499-1546) The Rape of Proserpina
A swan black chalk, heightened with white
pen and brown ink, grey wash,
w ash, octagonal 5y x 8w in. (14.2 x 22.2 cm.)
5¬ x 6¿ in. (14.2 x 15.7 cm.) £1,000-1,500 $1,700-2,400
£1,000-1,500 $1,700-2,400 Ç1,300-1,900
Ç1,300-1,900
An attribution to the School of Prague circa 1600 has also been suggested.
PROVENANCE:
J. Richardson Sr. (L. 2183), with his associated mount, inscription ‘Perino’
and shelfmark indications.
T. Banks (L. 2423).
A. Poynter (L. .161), and by descent to
Sir Edward J. Poynter; Sotheby’s, London, 24-25 April 1918, lot 196 (as
Perino del Vaga).
Sir Francis Watson, and thence by descent to the present owner.
4

3 4
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
3 4
ATTRIBUTED TO MATTEO ROSSELLI BACCIO BANDINELLI
(FLORENCE 1578-1650) (GAIOLE IN CHIANTI 1488-1560 FLORENCE)
The Adoration of the Magi Two nude men standing
red chalk, pen and brown ink, heightened with white, squared in red chalk pen and brown ink, brown wash, a strip added by Mariette along the top of
10 x 7q in. (25.3 x 19.2 cm.) the sheet
£1,000-1,500 $1,700-2,400 11y x 7æ in. (30 x 19.8 cm.)
Ç1,300-1,900 £800-1,000 $1,300-1,600
Ç1,100-1,300
PROVENANCE:
P.-J. Mariette (L. 1852), on his mount with his inscription in a cartouche
‘Barthol. alias Baccio / Bandinelli’.
Comte Moriz von Fries (L. 2903).
with Leicester Galleries, London.
We are grateful to Roger Ward for confirming the attribution on the basis
of a digital photograph.
5

5 6
LOMBARD SCHOOL, 16TH CENTURY CIRCLE OF GIORGIO VASARI
Head of a woman (AREZZO 1511-1574
Head of a young FLORENCE)
woman
with inscriptions ‘D. V.’ and ‘N.o 153’ (verso)
black chalk oil on paper, laid down on panel
4w x 3ƒ in. (12.4 x 8.7 cm.) 13æ x 8¡ in. (35 x 21.3 cm.)
£1,000-1,500 $1,700-2,400 £2,000-3,000 $3,300-4,800
Ç1,300-1,900 Ç2,600-3,800
PROVENANCE: Related to the figure of Hagar in Vasari’s Abraham visited by the angels

angels in
E. Calando Sr. (L. 837). the Cenacolo di San Salvi, Florence (L. Corti, Vasari. Catalogo completo dei
E. Calando Jr. (L.426b). dipinti, Florence, 1989, no. 67). Mina Gregori (in 1999 and 2001)
An unidentified mark, pseudo-Crozat (L. 474). and Francesca Baldassari (in 2013) have suggested an attribution to
Vasari himself.
6

7
PROVENANCE:
CIRCLE OF FRA GIOVANNI DA FIESOLE, W. Mayor (L. 2799).
CALLED FRA ANGELICO (VICCHIO 1400-1455 ROME) G. Lucas.
A Dominican friar
friar,, with a subsidiary study of his head
brown wash, traces of stylus, heightened with white (oxidized), on jade- LITERATURE:
green prepared paper Original Drawings and Sketches by the Old Masters ... formed by the late
8¿ x 5ƒ in. (20.7 x 13.6 cm.) Mr. William Mayor , London, 1875, no. 6.
£8,000-12,000 $13,000-19,000
Ç11,000-15,000 The figure in
Angelico’s this drawing is close to that of Saint Dominic in Fra
Perugia altarpiece painted by the artist and his workshop
around 1437-8, and today in Perugia, Galleria Nazionale dell’Umbria
(J.T. Spike, Fra Angelico, New York, 1996, no. 94, pp. 164-9, 243-4).
7

9
8 (part lot)
8 9
NORTHERN SCHOOL, 16TH CENTURY FLORENTINE SCHOOL, LATE 16TH CENTURY
Studies of heads wearing elaborate hairdos The Marriage of the Virgin (recto);
pen and brown ink, watermark circle Plan of a round building and four pilasters (verso)
12 x 7w in. (30.6 x 20.0 cm.); and A bishop
bishop baptizing convert s,
baptizing convert s, attributed with inscription ‘Gio: Batta. Naldini’ ( verso)
to Francesco Zugno; and A stage set, possibly for the Teatro di
di San Carlo, black chalk, pen and brown ink, brown wash (recto); black chalk,
Parma, by Pietro Righini (3) pen and black ink (verso)
£1,000-1,500 $1,700-2,400 11 x 10 in. (31.1 x 25.4 cm.)
Ç1,300-1,900 £1,000-1,500 $1,700-2,400
Ç1,300-1,900
10
ITALIAN SCHOOL,
MID-16TH CENTURY
Ornamental study for plaster decoration
with arabesques
red chalk, on two joined sheets of paper
4ƒ x 20
20º in. (11.1 x 51.3 cm.)
£600-1,000 $970-1,600
Ç760-1,300
PROVENANCE:
10
C. Argentieri; Christie’s, London,
14 December 1982, lot 11.
L. Houthakker (L. 3893).
LITERATURE:
P. Fuhring, Design into art. Drawings for
Architecture and Ornament:
Ornament: TheThe Lodewijk
Lodewijk
Houthakker collection, London, 1989, no. 2.
8

11
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION 12 (part lot)
11 12
ATTRIBUTED TO ALESSANDRO MERLI BOLOGNESE SCHOOL, LATE 16TH CENTURY
(VENICE, ACTIVE 1590-1606) An allegory in honour of Carlo Gonzaga, with
with Hercules holding
Luca Michiel, Procurator of San Marco, accompanied by Saint a palm tree
Mark and the Three Theological Virtues, set in a fictive oval inscribed ‘SERENISS.mo CARLO / GONZAGA/ MANTUAE [...] UNIVERSIT [...]
frame with the Four Cardinal Virtues / DUCI ETC / HAEC LABORIOSI’
inscribed ‘CHARITAS IN PROCURATORIO MUNERE FUNGENDO AD black chalk, pen and brown ink, brown wash
GLORIAM PERDUCET [charity in performing the office of Procurator will 10q x 7æ in. (27 x 19.7 cm.); and Christ carrying the cross and Madonna
lead to glory]’ and child, Spanish School, 17th Century; Saint John the Evangelist and
and
bodycolour on vellum Christ the Saviour , Roman School, late 16th Century
10q x 7q in. (26.5 x 19 cm.) (5)
with the opening page of a promissioni on
on the verso
£1,000-1,500 $1,700-2,400
£2,000-3,000 $3,300-4,800 Ç1,300-1,900
Ç2,600-3,800
PROVENANCE:
PROVENANCE:
King Philip V of Spain (mounted on his album page with red and brown ink
with Leopold Blumka, New York; from whom acquired by the late owner framing lines and with number ‘97’).
before 1968. Anonymous sale; Christie’s, London, 22 November 1966, part of lot 131.
The present work belongs to a group of manuscripts which celebrated

the Venetian Republic and its rulers. They were granted to individual
Venetian patricians upon their election to highly ranked offices of state.
After the tenure of their office ended, the patricians were given the
manuscripts which were then kept in the family archive as an evidence of
the distinguished service to the Republic served by their family member
(see H.K. Szepe, ‘Painters and patrons in Venetian documents’, Bollettino
dei Musei Civici Veneziani , 8, 2013, pp. 25- 41, and p. 34 for a discussion
of Merli’s work).
This illumination celebrates the civic virtue of Luca Michiel, Procurator of

San Marco under the rule the Doge Alvise Mocenigo (1570-77). Michiel
was celebrated by Francesco Sansovino as ‘standing
‘standing out among his peers
for his military and civic virtue’ (F. Sansovino, Venetia: Città Nobilissima et
Singolare, Venice, 1581, p. 280).
We are grateful to Helena K. Szepe for her help in cataloguing

c ataloguing this lot.
9

13
13 14
SPANISH SCHOOL, 17TH CENTURY CIRCLE OF GERARD VAN HONTHORST
A bearded man looking to the right, half-length, (UTRECHT 1592-1656)
and study of a right arm A man, standing, wearing an armour
pen and black ink, watermark three balls, each enclosing a cross, shaped black and white chalk, on light brown paper
6¡ x 7 in. (16.2 x 17.8 cm.) 12¿ x 7æ in. (31 x 19.8 cm.); and A young
young man, standing, holding
holding his right
hand on his heart, Florentine School, 17th Century; and Virgin and child,
£800-1,200 $1,300-1,900
Italian School, late 16th Century
Ç1,100-1,500
(3)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
14 i 14 ii
10

(part lot)
*15
ANTONIO DE PEREDA Y SALDAGO This drawing is part of a series of 17th-century Spanish works relating to
(BURGOS 1611 - 1678 MADRID) the Ars Moriendi , a devotional Medieval exercise practised throughout
The death of a pious man, attended by monks and an angel, the Counter-Reformation, which illustrated the different moments in the
Christian preparation for death. Each drawing represents a parallel with an
his wife and chldren at the right
episode of Christ’s Passion which is shown as pictures within a picture (see
pen and brown ink, traces of black chalk, heightened with white, the lower Z. Véliz, Spanish Drawings in The Courtauld Gallery, Complete Catalogue,
left corner replaced London, 2011, under no. 18): in the present work an angel points to an
7¡ x 6¿ in. (18.8 x 15.4 cm.); and The Virgin and child appearing to Saint image on the wall which illustrates the episode of Christ washing the feet
and two other saints, Italian School, 17th Century
James the Great and
of his disciples.
(2)
£4,000-6,000

$6,500-9,600 Stylistically,
Ç5,100-7,600 series showing the adrawing is close
very similar to another
scene, today inwork by Pereda
the Louvre for theParis
Museum, same
(inv. no. RF43250; L. Boubli, Musée du Louvre. Inventaire
Inventaire general
general des
dessins: Ecole Espagnole XVI-XVIII siècle, Paris, 2002, no. 116).
11

16
CIRCLE OF GUIDO RENI (BOLOGNA 1575-1642)
The Virgin and Child with the infant Saint John the Baptist
with inscription ‘Caravaccio’ (on the mount)
black chalk, pen and brown ink, brown and grey wash
6 x 5¬ in. (15.1 x 14 cm.)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
PROVENANCE:
King Philip V of Spain (mounted on his album page with red and brown ink
framing lines and with number ‘56’).
Anonymous sale; Christie’s, London, 22 November 1966, part of lot 126.
16
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION 18

ATTRIBUTED TO GIOVANNI FRANCESCO BARBIERI
17 CALLED GUERCINO (CENTO 1591-1666 BOLOGNA)
SIMONE CANTARINI, IL PESARESE
(OROPEZZA, PESARO 1612-1648 VERONA) Saint Jerome
with inscription ‘guercino’
Studies of figures in a landscape, and studies of heads and
pen and brown ink
trees
18¿ x 13
13¡ in. (46.2 x 33.9 cm.)
with signature ‘Simone Cantarini.’
red chalk, pen and brown ink £800-1,200 $1,300-1,900
11º x 7y in. (28.5 x 19.5 cm.) Ç1,100-1,500
£2,000-3,000 $3,300-4,800 PROVENANCE:

Ç2,600-3,800 An unidentified collector’s mark, pseudo-Crozat (L. 474).
PROVENANCE:
Anonymous sale; Christie’s, London, 29 June 1971, lot 69.
17 18

*19
(OROPEZZA, PESARO 1612-1648 VERONA)
Venus and the nymphs disarming Cupid
with number ‘64’ on the mount
red chalk
7º x 10q in. (18.4 x 26.3 cm.)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
19
20
(OROPEZZA, PESARO 1612-1648 VERONA)
Saint John the Baptist
red chalk
8¿ x 5æ in. (20.8 x 14.6 cm.)
£800-1,200 $1,300-1,900
Ç1,100-1,500
A painting of similar subject, but of slightly different composition, is

in Bologna (Pinacoteca Nazionale; Simone Cantarini detto il Pesarese
1612-1648, exh. cat., Bologna, Pinacoteca Nazionale, 1997-8, no. I.56).
Stylistically the drawing can be compared
compared to a series of male figures
studies, also in red chalk (op. cit., nos. II.14-20).
20
21
CESARE DANDINI
(FLORENCE 1595-1658)
Studies of hands and drapery
with initials ‘CD.’
red chalk, stumping
7¡ x 10º in. (19.5 x 26.2 cm.)
£800-1,200 $1,300-1,900
Ç1,100-1,500
21
13

22 (part lot)
22
PROVENANCE:
ERCOLE GRAZIANI (BOLOGNA 1688-1765) Anonymous sale; Sotheby’s, London, 16 November 1972, lot 123 (as
The Finding of Moses Niccolò Bambini).
black chalk, pen and grey ink, green-gray wash
We are grateful to Marco Riccomini for suggesting the present attribution.
7ƒ x 10 in. (18.8 x 25.5 cm.); and Saints in adoration, attributed to Pietro
Roselli; Mary Magdalen praying, attributed to Sebastiano Ricci; Suffer
the Little Children

Marriage to come
of the Virgin unto Me
, attributed to, Francesco
Italian School, circa 1790; and The
Allegrini
(5)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
24 (part lot)
23
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
23 24
ATTRIBUTED TO GIOVANNI FRANCESCO GRIMALDI, IL ITALIAN SCHOOL, CIRCA 1700
BOLOGNESE (BOLOGNA 1606-1680 ROME) A woman with a child, after an antique relief
Landscape with Diana and her nymphs hunting and resting red and white chalk
after the hunt 14æ x 11
11ƒ in. (37.4 x 28.7 cm.); and Thetis ordering Vulcan to forge arms
black chalk, pen and brown ink, brown wash, heightened with white for Achilles, after Jacques Blanchard
partially oxidized, arched top (2)
15æ x 1010æ in. (40 x 27.4 cm.) £800-1,200 $1,300-1,900
£1,000-1,500 $1,700-2,400 Ç1,100-1,500
Ç1,300-1,900
PROVENANCE:
C. Molinier (L. 2917).

14

25 26
THE PROPERTY OF A GENTLEMAN
25 26
CIRCLE OF CARLO MARATTI GIUSEPPE MARIA CRESPI (BOLOGNA 1665-1747)
(CAMERANO 1625-1713 ROME) Saint Joseph holding the flowering rod
Saint Peter red chalk, stylus
red chalk 4º x 3º in. (10.5 x 8.1 cm.)
16º x 11ƒ in. (41.2 x 28.5 cm.)
£1,500-2,000 $2,500-3,200
£1,000-1,500 $1,700-2,400 Ç2,000-2,500
Ç1,300-1,900
PROVENANCE:
PROVENANCE: Sir Francis Watson, and thence by descent to the present owner.
F. Giusti, Bologna (according to an inscription on the mount).
Anonymous sale; Christie’s, London, 28 March 1972, lot 208. Related to a painting in the Opera Pia dei Poveri Vergognosi in Bologna
with Cork Street Gallery, London; from whom
w hom purchased by the (see Giuseppe Maria Crespi 1665-1747 , exh. cat., Bologna, Pinacoteca
present owner. Nazionale, 1990, no. 81).
We are grateful to Marco Riccomini for confirming the attribution on the

basis of a digital photograph.
15

27 28
27 28
BENEDETTO LUTI (FLORENCE 1666-1724) BENEDETTO LUTI (FLORENCE 1666-1724)
Head of a boy, turned to the right, looking downward Head of a boy, looking to the left
signed ‘Roma 1710 / Benedetto Luti fece’ (on the back of the frame) signed ‘Roma 1711 / Benedetto Luti fece’ (on the back of the frame)
pastel pastel
12æ x 10
10º in. (33 x 26 cm.) 13 x 10q in. (32.5 x 26.3 cm.)
£5,000-7,000 $8,100-11,000 £5,000-7,000 $8,100-11,000
Ç6,400-8,900 Ç6,400-8,900
Old inscriptions at the back of the frames, probably in the artist’s own
handwriting, date this and the following lot to the years 1710-11. The
present head is very close to that of another pastel, today in the Galleria
Palatina, Florence (R. Maffeis, Benedetto Luti: l’ultimo maestro, Florence,
2012, no. IV.4, pp. 327-8), representing an angel which Luti
L uti executed for
Ferdinando Cosimo III Medici before 1708.
16

29
ATTRIBUTED TO UBALDO GANDOLFI
(SAN MATTEO DELLA DECIMA 1728-1781 RAVENNA)
A man, half-length, wearing a hat and holding a stick in his
right hand
black and white chalk, grey wash, stumping, on light grey prepared paper
11ƒ x 8.q in. (28.8 x 21.5 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
29
30
ATTRIBUTED TO UBALDO GANDOLFI
(SAN MATTEO DELLA DECIMA 1728-1781 RAVENNA)
An open book
black and white chalk, stumping, on brown paper
6q x 6 in. (16.5 x 15.3 cm.); and Christ before Caiaphas, and The Blinding
of Elymas, by François Verdier; and Soldiers and peasants at a table,
after Sir Peter Paul Rubens
(4)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
J. van Haecken (L. 2516).
30 (part lot)
31
ITALIAN SCHOOL, 18TH CENTURY
Hercules and the Hydra, after the antique
black chalk, stumping
15æ x 8æ in. (40 x 22 cm.)
£700-1,000 $1,200-1,600
Ç890-1,300
PROVENANCE:
Unidentified collector’s mark ‘VE’ in a circle (not in Lugt).

Dr. C.R. Rudolf (L. 2811b); Sotheby Mak van Waay, Amsterdam, 6 June
1977, lot 65.
Anonymous sale; Phillips, London, 17 April 1996, lot 16 (as Flemish School,
17th Century).
The drawing depicts an antique statue, now in the Capitoline Museums in

Rome (inv. no. MC0236), which was rediscovered during the construction
of the church of Sant’Agnese in Piazza Navona, Rome, after it had been
extensively restored by Alessandro Algardi.
31
17

32 33 (part lot)
THE PROPERTY OF A GENTLEMAN THE PROPERTY OF A GENTLEMAN
32 33
ITALIAN SCHOOL, 18TH CENTURY ITALIAN SCHOOL, 18TH CENTURY
A design for a mausoleum An ornamental vase with a satyr holding a trumpet
graphite, pen and brown ink, grey wash dated ‘Adi 25 Marzo 1776.’
25æ x 16
16æ in. (65.4 x 42.4 cm.) black chalk, pen and brown ink, grey wash
14æ x 9æ in. (37.4 x 25 cm.); and Study for a decorative casket , Italian
£800-1,000 $1,300-1,600
School, 18th century; and Ceiling design for Schloss Lustheim, attributed to
Ç1,100-1,300
Giuseppe Valeriani (3)
PROVENANCE: £1,200-1,800 $2,000-2,900
Sir Francis Watson, and thence by descent to the present owner. Ç1,600-2,300
PROVENANCE:
18

34
34 35
FRENCH SCHOOL, 18TH CENTURY ATTRIBUTED TO GIUSEPPE ORSONI
Design for a salon (BOLOGNA 1691-1755)
with number ‘4.’ and inscription ‘B’ Design of a wall with decorated columns and a portico in the
graphite, pen and black ink, watercolour and bodycolour background
8ƒ x 14¡ in. (21.3 x 36.8 cm.) with inscription ‘Originale di Dom.co / Fontana’
£800-1,200 $1,300-1,900 pen and brown ink, grey wash, squared in graphite
9ƒ x 14ƒ in. (23.8 x 36.3 cm.)
Ç1,100-1,500
£800-1,200 $1,300-1,900
PROVENANCE: Ç1,100-1,500
PROVENANCE:
G. Piancastelli (according to a label at the back of the mount).
35
19

36 37
36 37
ANTON KERN (BOHEMIA 1709-1747 DRESDEN) ANTON KERN (BOHEMIA 1709-1747 DRESDEN)
Two boys
after looking
Giovanni into aPittoni
Battista tripod urn, one holding a large tray, An oldinbearded
a dog man kneeling
the foreground, after and a young
Giovanni man Pittoni
Battista standing,
with inscription ‘N° 6’ (verso) graphite, red wash, heightened with white
graphite, red wash, heightened with white 14æ x 10
10q in. (37.8 x 26.8 cm.)
11æ x 10
10y in. (30 x 27.6 cm.); £1,500-2,000 $2,500-3,200
£1,500-2,000 $2,500-3,200 Ç2,000-2,500
Ç2,000-2,500
PROVENANCE:
PROVENANCE: Sir Francis Watson, and thence by descent to the present owner.
This copies a detail of Giovanni Battista Pittoni’s painting Hannibal
This drawing, and the following lot, copy figures taken from paintings by against the Romans, a composition known through a
swearing revenge against
Kern’s master Giovanni Battista Pittoni (1687-1767).
(1687-1767). The figures in thethe number of painted versions (F. Zava Bocazzi, Pittoni. L’Opera completa,
present sheet are after the Allegorical tomb of Charles
Charles Sackville 6th Earl Venice, 1979, nos. 94, 104, 147 and 243, figs. 74-84).
of Dorset , circa 1726 (F. Zava Bocazzi, Pittoni. L’Opera completa, Venice,
1979, no. 261, fig. 139), of which there are three other copies by Kern
in the Louvre (op. cit .,
., figs. 140-2). Kern was in Pittoni’s studio between
1723 and 1730.
20

38 (recto) (verso)
38 39
VENETIAN SCHOOL, EARLY 18TH CENTURY ITALIAN SCHOOL, EARLY 18TH CENTURY
A series of vignettes with female and male portraits, and a An ecclesiastic visiting an assembly of people suffering from
sketch of a presentation scene in an interior (recto); Sketches
Sketches the plague
with God the Saviour, and a moonlight scene in a courtyard black chalk, pen and brown ink, grey and brown wash
(verso) 17¬ x 27
27q in. (44.8 x 70 cm.)
black and white chalk, pen and brown ink, brown wash (verso), £800-1,200 $1,300-1,900
on blue paper Ç1,100-1,500
7w x 10æ in. (27.3 x 20 cm.)
£1,000-1,500 $1,700-2,400 P R O V E N A N C E :
Ç1,300-1,900 Sir Francis Watson, and thence by descent to the present owner.
PROVENANCE:
An attribution to Pier Leone Ghezzi has been suggested.
P.F. Marcou (L. 1911b).
New York art market, 1971.
39
21

40 (part lot)
40 41
GIOVANNI BATTISTA CANAL (VENICE 1745-1825) VENETIAN SCHOOL, 18TH CENTURY
An allegorical scene with Fame, Truth
Truth and a poet (recto); The sacrifice of Polyxena (recto); Study of two legs and feet (verso)
A female portrait (verso)
(verso) numbered ‘237./’ (verso) and ‘Pittoni G. B.’
with inscription ‘Fama e Valore. / G. B. Canal.’ (verso) black chalk, pen and brown ink, brown wash (recto) ; black chalk, stumping
black chalk, pen and brown ink, watercolour ( recto); black chalk (verso), (verso), traces of watermark Three Crescents
oval 11æ x 17 in. (30.1 x 43.8 cm.)
7w x 13 in. (20 x 32.8 cm.); and A bearded sketches of heads,
bearded man and sketches £1,000-2,000 $1,700-3,200
attributed to Luigi Sabatelli; and Portrait of a man, possibly Gian Paolo
Ç1,300-2,500
Sormani , Italian School, circa 1740
(3) PROVENANCE:
£1,000-1,500 $1,700-2,400 Baron Milford (L. 2687).

Ç1,300-1,900 Artaria & Co. (L. 90).
41 (recto)

42
CIRCLE OF FRANCESCO FONTEBAS SO
(VENICE 1707-1769)
A kneeling woman holding a mirror
pen and brown ink
9º x 7¿ in. (23.7 x 17.8 cm.); and Saint Philip, Circle of Giovanni Battista
Piazzetta; and Saint Nicholas of Myra and Saint Bernardino holding the
Eucharist, Italian School, 17th century; and Saint Joseph with the Christ Child
and angels, Italian School, circa 1700; and A sacri
sacrifice
fice with a Virgi
Virgin
n near
near an altar
(5)
and figures around her , attributed to Giovanni Antonio Pellegrini
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
The Reliable Venetian Hand (L. 3005c-d), his inscription ‘Scuola del Fontebasso’.
EXHIBITED:
Venice, Fondazione Giorgio Cini, Disegni di una collezione veneziana del

42 (part lot)
Settecento, 1966, no. 137.
43
ATTRIBUTED TO GASPARE DIZIANI
(BELLUNO 1689-1767 VENICE)
The Virgin appearing to Saints Andrew and Anthony of Padua
(recto); Sketches (verso)
with inscription ‘Diziano’ and ‘[...] celi’ ( recto); ‘Diziani’ and ‘del Guardi’ and
with number ‘No 17’ (verso)
red chalk, pen and brown ink, brown wash, arched top
8¿ x 5¿ in. (20.6 x 12.8 cm.); and The Madonna and Child appearing to a
Bishop, Venetian School, 18th century; and The Institution of the Rosary,
Venetian School, 18th century; and Jupiter, Juno Juno and Saturn, attributed to
Antonio Guardi (4)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
PROVENANCE:
43 (part lot)
44
VENETIAN SCHOOL (?), 18TH CENTURY
The Assumption of the Virgin
coloured chalks, watercolour, octagonal
13w x 6¿ in. (35.3 x 15.6 cm.); and Saints and Fathers of the Church in
glory: study for a ceiling, German school, 18th century (2)
£700-1,000 $1,200-1,600
Ç890-1,300
PROVENANCE:
44 (part lot)
23

45

46
45 46
GIOVANNI DOMENICO TIEPOLO (VENICE 1727-1804) GIUSEPPE BERNARDINO BISON
Head of a bearded man looking up, to the right (PALMANOVA 1762-1844 MILAN)
black chalk, heightened with white, on blue paper, watermark bird with A nymph riding a dolphin
letters BO[...], the corners made up red chalk, pen and brown ink, watercolour
10æ x 8 in. (27.2 x 20.2 cm.) 7w x 10q in. (20 x 27.1 cm.)
£5,000-8,000 $8,100-13,000 £2,000-3,000 $3,300-4,800
Ç6,400-10,000 Ç2,600-3,800
PROVENANCE:
Giovanni Domenico Bossi, with associated price code ‘X12. No. 3454’
(verso), and by descent to
Maria Theresa Karoline Bossi.
Karl Christian Friedrich Beyerlen; H.G. Gutekunst, Stuttgart,
27-8 March 1882.
25

47
47 THE PROPERTY OF A GENTLEMAN
ATTITRIBUTED TO GIACOMO GUARDI 49

(VENICE 1764 – 1835)
FRANCESCO ZUCCARELLI, R.A.
The church of San Francesco della Vigna, Venice (PITIGLIANO, UMBRIA 1702-1788 FLORENCE)
black chalk, pen and brown ink, brown wash, watermark coat of arms
A shepherd, a young woman holding a dog,
3q x 5ƒ in. (9 x 13.5 cm.)
another figure in the background
£600-800 $970-1,300 black and white chalk, pen and brown ink, on blue paper
Ç760-1,100 6º x 7¡ in. (15.9 x 17.8 cm.); and A cow, seen from the rear, circle of
Nicolaes P. Berchem (2)
PROVENANCE:
R. P. Goldschmidt (L. 2926). £800-1,200 $1,300-1,900

with George A. Simonson. Ç1,100-1,500
with Corbell and Co. Ltd.
PROVENANCE:
Anonymous sale; Christie’s, London, 20 July 1956, lot 44 (as ‘Guardi’).
with Colnaghi, London, 1951.
EXHIBITED:
48
London, P. & D. Colnaghi, Exhibition of old master drawings, 1951, no. 73.
LUCA CARLEVARIJS (UDINE 1663-1730 VENICE)
Peasants at a table, a dog in the foreground
with inscription ‘Tischbein [?] fecit’ ( recto) and ‘[...] / Tischbein’ (verso)
black chalk, pen and brown ink, fragmentary watermark three crescents
10æ x 14
14æ in. (27 x 37.3 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
EXHIBITED:
Udine, Loggia del Lionello, and Rome, Gabinetto Nazionale delle Stampe,
1963-4, Disegni, incisioni e bozzetti del Carlevarijs, p. 93, no. 77, pl. 77.
LITERATURE:
A. Rizzi, Luca Carlevarijs, Venice, 1967, no. 158, ill.
Similar studies by Carlevarijs are in Venice (Museo Correr), London,

L ondon,
The British Museum and Victoria and Albert Museum (Rizzi, op. cit .).
.).

48
49 (part lot)
27

PROPERTY FROM A PRIVATE

EUROPEAN COLLECTION
50
ATTRIBUTED TO OTTO VAN VEEN,
CALLED OTTO VAENIUS
(LEIDEN
An 1556-1629
interior BRUSSELS)
with men eating and dinking
pen and brown ink, brown wash, heightened
with white
4ƒ x 5q in. (11.1 x 14.3 cm.); and A landscape
landscape
with a beheaded man and a woman, German
School, circa 1530
(2)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
50 (part lot)
51
GERMAN SCHOOL, 17TH CENTURY

The burning of Troy
red chalk, brown and grey wash,
heightened with white
7¿ x 7¬ in. (18 x 19.5 cm.)
£700-1,000 $1,200-1,600
Ç890-1,300
51
28

52
CORNELIS SAFTLEVEN
(GORINCHEM 1607-1681 ROTTERDAM)
A thatched barn
with inscription ‘S. Hoogstraten.’
black chalk, grey wash, black chalk framing lines, on yellow prepared paper
7q x 11q in. (19 x 29.3 cm.)
£600-1,000 $970-1,600
Ç760-1,300
PROVENANCE:
J.-F. Gigoux (L. 1164).

C. Otto (L. 611c).
Another landscape by Cornelis Saftleven on yellow prepared paper, signed

52 and dated 1645, is in the Nasjonalgalleriet,
Nasjonalgalleriet, Oslo (W. Schulz, Cornelis
Saftleven 1607-1681, Berlin, 1978, no.432).
53
CORNELIS SAFTLEVEN
(GORICHEM 1607-1681 ROTTERDAM)
The interior of a kitchen
black chalk, grey wash, watermark foolscap
9 x 12 in. (23 x 30.5 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
PROVENANCE:
Nägeli collection (according to an inscription on the verso).

with Kurt Meissner, Zürich.
Anonymous sale; Christie’s, Amsterdam, 25 November 1991, lot 79.
Jacobus A. Klaver, Amsterdam.
LITERATURE:
W. Schulz, Cornelis Saftleven 1607-1681. Leben und Werke mit kritischem

Katalog der Gemälde und Zeichnungen, Berlin - New York, 1978, no. 234.
53
54
KAREL LA FARGUE (VOORBURG 1738-1793 THE HAGUE)
A winter landscape with
with children playing on the ice
black chalk, grey and light blue wash, black chalk framing lines
5w x 8º in. (14.8 x 21 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
Jacobus A. Klaver, Amsterdam (his stamp on the mount, not in Lugt);

Sotheby’s, Amsterdam, 1 December, 1986, no. 47 (as Molenaer).
LITERATURE:
C. Dumas and M. Plomp, ‘Karel la Fargue (1730-1793) as a forger of
seventeenth-century Dutch Drawings’, Oud Holland , 112, 1998, no. 95
(as 'after Nicolaes Molenaar').
54
29

55 56
55 56
CONSTANTIJN VAN RENESSE (EINDHOVEN 1626-1680) ATTRIBUTED TO GEERTRUYDT ROGHMAN
Head and shoulders of a bearded old man (AMSTERDAM 1640–1657)
pen and brown ink, coloured chalks, brown wash, the upper corners cut A seated girl making lace
5 x 3w in. (12.8 x 9.8 cm.) black chalk, stumping, brown ink framing lines
7º x 5ƒ in. (18.5 x 13.7 cm.)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500 £700-1,000 $1,200-1,600
Ç890-1,300
PROVENANCE:
J. Richardson, Sen. (L. 2183). PROVENANCE:
with C.G. Boerner, Düsseldorf. B. Houthakker (L. 1272); Sotheby Mak van Waay, Amsterdam,
Anonymous sale; Sotheby Mak van Waay, 25 April 1983 (as attributed to 17 November 1975, lot 62.
Renesse). with C. G. Boerner, Düsseldorf.
Anonymous sale; Christie’s, Amsterdam, 25 November 1991, lot 74. Anonymous sale; Christie’s, Amsterdam, 25 November 1991, lot 87.
Jacobus A. Klaver, Amsterdam. Jacobus A. Klaver, Amsterdam.
LITERATURE: Geertruyt Roghman, the sister of the better known Roelant (1627-1662),
W. Sumowski, Drawings of the Rembrandt Sch ool, IX, New York, 1985, was an engraver and etcher. This figure is similar to one in the engraving
no. 2168a. Two women sewing (D. de Hoop Scheffer, Hollstein’s Dutch and Flemish
The drawing is dated by Sumowski (op. cit .)

.) circa 1650-5. etchings, Amsterdam, 1978, XX, no. 2-6 (1), ill.)
30

57
CORNELIS DUSART (HAARLEM 1660-1704) PROVENANCE:
L. Lucas (L. 1733a);

Peasants in a tavern
by descent to his nephew Claude Lucas; Christie’s, London,
black chalk, pen and two shades of brown ink, brown and grey wash, 9 December 1949, lot 69 (as Dusart, with two other drawings by Dusart,
watermark double headed eagle surmounted by a crown 28 gns. to Schidloff.
8y x 7º in. (21.8 x 18.7 cm.)
£5,000-8,000 $8,100-13,000 We are grateful to Susan Anderson and Berhard Schnackenburg for
Ç6,400-10,000 confirming the attribution to Dusart on the basis of a digital photograph.
Both suggest that the drawing might have been reworked by Dusart after
or on an original sketch initially laid out by Adriaen van Ostade.
The drawing in light brown ink is perhaps the work of Dusart.
31

58 59
58 59
JAN DE BISSCHOP JAN DE BISSCHOP
(AMSTERDAM 1628-1671 THE HAGUE) (AMSTERDAM 1628-1671 THE HAGUE)
An allegorical female figure The Virgin and child, after Giulio Romano
graphite, brown wash, watermark DE HAAS, brown ink framing lines with inscription ‘Giulio Romano’ and with number ‘11’
9º x 7q in. (23.5 x 19 cm.) pen and brown ink, brown wash
9q x 7y in. (24 x 19.5 cm.)
£800-1,200 $1,300-1,900
Ç1,100-1,500 £1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
Emile E. Wolf, New York. PROVENANCE:
Anonymous sale; Christie’s, Amsterdam, 25 November 1991, lot 90. Anonymous sale; Christie’s, London, 4 July 1972, lot 62.
The composition derives from a painting tentatively attributed to Giulio
EXHIBITED: Romano and Fermo Ghisoni, formerly on the Parisian art market (see
Ithaca, Herbert F. Johnson Museum of Art, Dutch Drawings of the Giulio Romano, exh. cat., Mantua, Palazzo Ducale, 1989, p. 438, ill.).
Seventeenth Century from a collection, 1979, no. 44.
32

60
JAN DE BISSCHOP
(AMSTERDAM 1628-1671 THE HAGUE)
Five studies of horses
traces of red chalk, pen and brown ink, brown wash
1æ x 2¿ in. (4.4 x 5.3 cm.) and smaller (5)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
PROVENANCE:
N.D. Goldsmid (L. 1962).

J.J. Peoli (L. 2020); The American Art Association, New York, 8 May 1894
lot 54.
60
61
ATTRIBUTED TO JAN DE BISSCHOP
(AMSTERDAM 1628-1671 THE HAGUE)
A gentleman in an interior
interior,, with a dog barking at a horse
behind a railing
pen and brown ink, brown wash, brown ink framing lines
8¬ x 7w in. (22 x 20 cm.)
£800-1,200 $1,300-1,900
Ç1,100-1,500
61

62 63
62 64
ATTRIBUTED TO JAN ABRAHAMSZ. BEERSTRATE N HERMAN SAFTLEVEN (1609-1685)
(AMSTERDAM 1622-1666) The Rijnpoort, Arnhem
The ruins of the city hall in Amsterdam signed with monogram (lower right)
with inscription ‘Ruins Rathaus A.dam 1652’ black chalk, brown wash, watermark foolscap and countermark PZ,
red and black chalk, grey wash, black chalk framing lines black ink framing lines
12¿ x 12
12¿ in. (30.8 x 30.8 cm.) 11¿ x 16
16¬ in. (28.1 x 42.2 cm)
£2,000-3,000 $3,300-4,800 £5,000-7,000 $8,100-11,000
Ç2,600-3,800 Ç6,400-8,900
PROVENANCE: PROVENANCE:
C. Hofstede de Groot (L. 561); C. G. Boerner, Leipzig, 4 November 1931, Prince Wladimir Nikolaevich Argoutinsky-Dolgoroukoff (1874-1941)
lot 205 (as R. Roghman). (L. 2602d); R.W.P. de Vries, Amsterdam, 27 March 1925, lot 334.
Anonymous sale; Christie’s, Amsterdam, 14 November 1988, lot 112
(as Circle of J. A. Beerstraten). LITERATURE:
Anonymous sale; Christie’s, Amsterdam, 10 November 1997, lot 73 W. Schulz, Herman Saftleven 1609-1685: Leben und Werke mit einem
(as Follower of J. A. Beerstraten). Gemälde und Zeichnungen, Berlin, 1982, no. 653.
kritischen Katalog der Gemälde
The Town Hall of Amsterdam, which was destroyed by a fire in 1652,
65
is represented in a painting by Beerstraten (Amsterdam, Rijksmuseum,
inv. no. SK-A-21) where it is depicted from a slightly different viewpoint. WILLEM VAN DE VELDE I (LEIDEN 1611-1693 LONDON)
Admiral De Ruyter meeting Tromp aboard for a council of war
after the Battle of Lowestoft in 1665
black chalk, pen and black ink, grey wash, watermark PB
7¬ x 10æ in. (19.2 x 27.5 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
63
AERNOUT TER HIMPEL (AMSTERDAM 1634-1686) PROVENANCE:
Two fishermen, seen from the rear, in a landscape Nicholas Pocock (according to Houtakker 1970).
Paul Oppé (according to Houtakker 1970).
signed ‘A. ter Himpel’
with B. Houthakker, cat. 1970, no. 68.
pen
5º xand brown
5º in. ink,
(13.2 grey cm.)
x 13.2 wash, inscribed in a circle
One of a series of drawings executed by the elder van de Velde of the
£700-1,000 $1,200-1,600 Battle of Lowestoft on 13 June 1665, of which there are six in the
Ç890-1,300 Rijksmuseum (inv. nos. RP-T-00-387 to 391b) and one in the van Regteren
Altena collection (see Christie’s, Amsterdam, 10 December 2014, lot 215.
34

64
65

66
ATTRIBUTED TO JAN LIEVENS
(LEIDEN 1607-1674 AMSTERDAM)
A wooded landscape with
with a farm
farm and haycart
pen and brown ink, brown ink framing lines,
on Japan paper
9º x 14y in. (23.4 x 37.3 cm.)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
PROVENANCE:
J. de Vos Jbzn (L. 1450); Amsterdam, 22 May 1883, lot 302.

Karl Eduard von Liphart; C.G. Boerner, Leipzig,
26 April 1898, lot 566.
Anonymous sale; F. Muller, Amsterdam, 22-23 June 1910,
lot 214.
Otto von zur Mühler; Berlin, 5 July 1912, lot 313.
66
Arnold Otto Meyer, Hamburg; C.G. Boerner, Leipzig,
19 March 1914, lot 325.
The widow Galippe; Amsterdam, 22 June 1929, lot 349.
Anonymous sale; de Vries, Amsterdam, 9 December 1930,
lot 283.
The Princes of Liechtenstein.
with C.G. Boerner, Düsseldorf, cat. 1982, no. 30.
LITERATURE:
H.
M.D. Henkel, Jan
Schneider, Lievensvan
Lievens
Catalogue , Haarlem, 1932, no.he2369B.
de Nederlandisc
Nederlandische
Teekeningen in het Rijksmuseum te Amsterdam. Deel I
REmbrandt en Zijn School , ‘s-Gravenhague, 1942, p. 91,
under no. 1 (as a copy).
W. Sumowski, Drawings of the Rembrandt School ,
New York, 1983, VII, under no. 1677 (as a copy).
67
SYBRAND FEITAMA (AMSTERDAM 1694-1758)
A landscape with travellers
signed and dated ‘S. Feitama f 1717.’
pen and black ink, bodycolour, black ink framing lines
67
5y x 8¬in. (14.8 x 22 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
C. Ploos van Amstel (L. 2034), with his associated

inscription (verso).
68
GUILLAUME DUBOIS (HAARLEM C.1623-1680)
Landscape with some trees, a river in the
foreground; and A landscape with a road by
some houses
with inscription ‘S. Ruisdaal’ (verso, 1)
black chalk, watermark crown probably Strasbourg lily
(partly cut) (1)
5æ x 7q in. (14.4 x 19.2 cm.)
a pair (2)
£1,200-1,800 $2,000-2,900
Ç1,600-2,300
We are grateful to Peter Schatborn for confirming

c onfirming the
attribution on the basis of a digital photograph.
68

69
69 70
JACOB CATS (ALTONA 1741-1799 AMST ERDAM) JACOB CATS (ALTONA 1741-1799 AMST ERDAM)
A landscape with a windmill and herdsmen with their flock A landscape with peasants outside a farm with a church in
of sheep; and A landscape with herdsmen and a carriage the background
in the background signed and dated ‘J: Cats inv et fec 1786’ ( verso)
both signed and dated ‘J: Cats inv 1770’ (verso) traces of black chalk, pen and brown ink, watercolour, brown ink
black chalk, pen and brown ink, brown and grey wash, heightened with framing lines
white, fragmentary watermark (2) 4q x 7 in. (11.5 cm x 17.9 cm.)
4q x 7 in. (11.5 x 17.6 cm.); 4¡ x 7¡ in. (11.0 x 18.7 cm.) £1,500-2,000 $2,500-3,200
a pair (2) Ç2,000-2,500
£1,500-2,000 $2,500-3,200
Ç2,000-2,500 PROVENANCE:
Jacobus A. Klaver, Amsterdam, (his stamp on the mount, not in Lugt).

PROVENANCE:
70
37

71 72
71 72 *73
HERMAN HENGSTENBURGH JOHANNES BRONKHORST CHRISTOPH LUDWIG AGRI COLA
(HOORN 1667-1726) (LEIDEN 1648-1727 HOORN) (REGENSBURG 1667-1719)
Study of a Fritillary butterfly and A peacock, chickens and rabbits in A kingfisher ; and A sparrow
its underside; and Study of a small a farmyard with a windmill and a bodycolour on vellum
Tortoiseshell butterfly and its underside village beyond 11q x 8ƒ in. (29.3 x 21 cm.);
bodycolour, gum arabic, on vellum signed ‘J. Bronkhorst. fec:’ 11æ x 8ƒ in. (29.8 x 21 cm.)
6q x 8¿ in. (16.4 x 20.5 cm.) bodycolour and watercolour, traces of black a pair (2)
a pair (2) chalk, with brown ink framing lines, watermark £2,000-3,000 $3,300-4,800
Strasburg Lily
£1,000-1,500 $1,700-2,400 Ç2,600-3,800
12 x 8æ in. (30.2 x 22.3 cm.)
Ç1,300-1,900
£2,000-3,000 $3,300-4,800 P R O V E N A N C E :
PROVENANCE: Ç2,600-3,800 J. D. Böhm (L. 1442).
73

74
JACOB DE WIT (AMSTERDAM 1695-1754) The present drawing is preparatory for the head of Christ of the
Resurrection of Christ , painting today in the Catharijneconvent Museum
The head of Christ
in Utrecht (G. van de Hout and R. Schillemans, Putti en Cherubijntjes :
signed ‘JdWit’ (recto)
Het religieuze werk van Jacob de Wit (1695-1754), Haarlem-Amsterdam,
black and white chalk, stumping, light brown wash 1995, no. 63, p. 144, ill.). A few preparatory drawings for this painting
14w x 11¿ in. (37.8 x 28.2 cm.) exist; one representing the composition in full belonged, as the
£3,000-4,000 $4,900-6,400 present sheet, to the Van Gogh collection and was also sold in 1913
Ç3,900-5,100 (De Roos, Amsterdam, 2-3 December 1913, lot 906; van de Hout and
R. Schillemans, op. cit .,
., p. 145).
PROVENANCE:
C. Ploos van Amstel (L. 2034), with his associated inscription (verso).
V. van Gogh; De Roos, Amsterdam, 2-3 December 1913, lot 900.
39

75 (part lot) 76
75 76 77
CIRCLE OF WILLEM PIETERSZ. PIETER VAN BLOEMEN, CALLED GEORG PHILIPP RUGENDAS
BUYTEWECH STANDAART (ANTWERP 1657-1720) (AUGSBURG 1666-1742)
(ROTTERDAM 1591-1624) A saddled horse (recto); Sketches (verso)
(verso) Cavalry skirmishes
A horseman black chalk, grey wash (recto); black chalk (verso) red chalk, grey wash, one with watermark
red chalk, pen and brown ink 10ƒ x 6q in. (26.3 x 16.7 cm.) Strasburg lily
4æ x 3¬ in. (12 x 9.2 cm.); and Sheet of studies £800-1,200 $1,300-1,900 10 x 12æ in. (25.6 x 32.3 cm.)
with a horseman at the centre, by Anton Groner; a pair (2)
Ç1,100-1,500
and A horse race in an Italian
Italian town, Italian
£1,500-2,000 $2,500-3,200
School, 17th Century (3) The artist drew the same horse wearing a similar Ç2,000-2,500
£700-1,000 $1,200-1,600 saddle, but seen from a slightly different angle,
Ç890-1,300 in a drawing in the National Museum, Oslo
(Nederlandske tegningen (ca. 1600-ca. 1700) i
PROVENANCE: Nasjongalleriet , Oslo, 1976, no. 6, ill.).
English private collection.
We are grateful to Peter Schatborn for confirming
the attribution on the basis of a photograph and
for his help in cataloguing this lot.
40

77
PROPERTY FROM A SWISS PRIVATE COLLECTION
*78
JACQUES COURTOIS, CALLED I L BORGOGNONE
(SAINT-HIPPOLYTE 1621-1676 ROME)
A battlefield before a town, mountains
mountains in the background
with inscription ‘v. d. Meulen’ and with number ‘n° 167’ ( verso).
pen and brown ink, grey wash,
w ash, watermark arrow, lower edge made up
10ƒ x 14¡ in. (26.2 x 36.8 cm.)
£3,000-5,000 $4,900-8,000
Ç3,900-6,300
PROVENANCE:
C. Otto (L. 611c); C. G. Boerner, Leipzig, 7 november 1929, lot 96 as ‘Adam Frans van der Meulen’.
78
41

79 80
PROPERTY FROM A SWISS PRIVATE COLLECTION PROPERTY FROM A SWISS PRIVATE COLLECTION
*79 *80
CIRCLE OF PIERRE MIGNARD (TROYES 1612-1695 PARIS) ATTRIBUTED TO JEAN-BAPTISTE GREUZE
Head of a man with a moustache and wearing a wig (recto); (TOURNUS 1725-1805 PARIS)
Studies of arms and hands (verso) Head of a young man looking to the left, wearing a necktie
with number ‘23’ (recto and verso) with inscription ‘Greuze’ and ‘College de Besanço[n]/dessin de Greuze’
black, red and white chalk (recto); black and white chalk (verso), and numbered ‘N° 1.bis’ ( recto)
on brown paper black chalk, stumping, traces of white heightening and stylus
11q in. (41.4 x 29 cm.)
16¡ x 11 11q x 9q in. (29 x 24.1 cm.)
£2,000-3,000 $3,300-4,800 £2,000-3,000 $3,300-4,800
Ç2,600-3,800 Ç2,600-3,800
PROVENANCE: PROVENANCE:
Anonymous sale; Hôtel Drouot, Paris, 23 May 1930, lot 37 (as Mignard). Unidentified collector’s mark (not in Lugt).
42

81
FRENCH SCHOOL, LATE 17TH CENTURY
A procession
procession of gypsies, after Jacques Callot (Lieure 374)
pen and brown ink, bodycolour on vellum laid down on panel
5y x 10
10º in. (14.3 x 26 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
82 No Lot

83
NICOLAS LANCRET (PARIS 1690-1743)
A standing female figure, holding a fan in her right hand
red chalk, watermark grapes
9q x 10¿ in. (24 x 26 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
A preparatory study for the woman in the centre background of Lancret’s

painting La fête en plein air (G. Wildenstein, Lancret , Paris, 1924,
no. 334). Another drawing for the same figure was sold at Sotheby’s,
New York, 30 April 1982, lot 51.
We are grateful to Mary Taverner Holmes for confirming the attribution to

Lancret on the basis of a digital photograph.
83
84
FRENCH SCHOOL, 18TH CENTURY
An allegory with Fame, a River God and the Tiber; and Putti
holding a medallion, a cornucopia and other instruments
black chalk, pen and black ink, grey and light brown wash, with
fictive mount
8w x 11w in. (22.5 x 28.8 cm.)
a pair (2)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
84 i
85
FRENCH SCHOOL, CIRCA 1730
An artist at his easel (recto); A landscape (verso)
black chalk, pen and brown ink
5º x 7¿ in. (13.2 x 18 cm.)
£800-1,200 $1,300-1,900
Ç1,100-1,500
85

86 87
86
JEAN-BAPTISTE OUDRY (PARIS 1686-1755 BEAUVAIS) This and the following lot belong to a series of 276 drawings executed
Illustration of one of the Fables of Jean de La Fontaine: by the artist between 1729 and 1734 to illustrate the Fables of Jean de
The crow, the gazelle, the tortoise and the rat (I) La Fontaine. Assembled in two albums, the series was published around
1755-59 after the drawings had been purchased by the collector Jean-
signed and dated ‘JB. Oudry / 1733’
Louis Regnard de Montenault (d. 1776).
brush and black ink, grey wash, heightened with white, on blue paper,
with fictive mount The present sheet and the following lot illustrate the same fable: The
12º x 10 in. (31 x 25.3 cm.) crow, the gazelle, the tortoise and the rat . For another drawing illustrating
£6,000-8,000 $9,700-13,000 the same fable, see Christie’s, London, 10 July 2014, lot 153.
Ç7,700-10,000
PROVENANCE: PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Purchased from the artist by Jean-Louis Regnard de Montenault, around 1751.
87
Jean-Jacques
part of lot 344de(1800
Bure,FFbyto1828; A.-L. Potier, Paris 1-18 December 1853,
Thibaudeau). JEAN-BAPTISTE OUDRY (PARIS 1686-1755 BEAUVAIS)
Count Antoine Thibaudeau, Paris, by whom Illustration of one of the Fables of Jean de La Fontaine: The
Possibly given to the actress Mme Doche, by whom sold with the rest of the crow,, the gazelle, the tortoise and the rat (III)
crow
series for 2,500 FF to signed and dated ‘JB. Oudry / 1733’
The bookseller Fontaine, by whom sold with the rest of the series for 5,000 brush and black ink, grey wash,
w ash, heightened with white, on blue paper, with
FF to fictive mount
Félix Solar; Charles Pillet, Paris, 19 November-8 December 1860, part of 12º x 10
10¿ in. (31.1 x 25.8 cm.) (the sheet)
lot 627 (6,100 FF to Cléder).
Baron Isidore Taylor, Paris. £6,000-8,000 $9,700-13,000
The booksellers Morgand and Fatout, Paris, around 1876. Ç7,700-10,000
Emile Péreire, Paris.
PROVENANCE:
Louis Olry-Roederer, Reims.
with the Rosenbach Company, New York, 1923. see previous lot.
Raphaël Esmérian; Palais Galliera, Paris, 6 June 1973, part of lot 46.
LITERATURE:
LITERATURE:
H.N. Opperman, Jean-Baptiste Oudry , New York and London, 1977, II, pp.
682-5, 707, no. D460.
H.N. Opperman, Jean-Baptiste Oudry , New York and London, 1977, II,
p. 707, no. D458.
ENGRAVED:
ENGRAVED:
in reverse for the Fables de La Fontaine, fable CCXXXVIII, pl. 3
in reverse for the Fables of La Fontaine, fable CCXXXVIII, pl. I.
see previous lot.

88 89 (part lot)
PROPERTY FROM A PRIVATE THE PROPERTY OF A GENTLEMAN
EUROPEAN COLLECTION
89 90
88 CHARLES-DOMINIQUE-JOSEPH EISEN FRENCH SCHOOL, 18TH CENTURY
JEAN-BAPTISTE GREUZE (VALENCIENNES
(VALENCIENNES 1720-1778 BRUSSELS) Bacchus, helped by a satyr, holding an
(TOURNUS 1725-1805 PARIS) The triumph of Love over Time empty wine urn over his head, another
Study of an arm (recto); signed ‘ch. Eisen F.’ satyr seated
seated next to him
Sketch of a seated female figure (verso) graphite on vellum pen and brown ink, brown wash,
red chalk, fragmentary watermark 6¿ x 4¿ in. (15.5 x 10.4 cm.); on two joined sheets
8ƒ x 9ƒ in. (21 x 24 cm.) and Portrait of a gentleman, 11¬ in. (29.5 cm.) diam.
£4,000-6,000 $6,500-9,600
attributed to Augustin de Saint-Aubin (2)
£700-1,000 $1,200-1,600
Ç5,100-7,600 £1,000-1,500 $1,700-2,400 Ç890-1,300
Ç1,300-1,900
PROVENANCE:
with H. Shickman, New York; from whom acquired PROVENANCE:
by the former owner, and thence by descent. Sir Francis Watson, and thence by descent to the
present owner.
The style of the drawing on the recto, which
uses dense hatching to render the shadow,
allows the sheet to be dated to the early stage
of Greuze’s career, around the late 1750s. It can
be compared stylistically to the study of A little
boy standing which was sold in these Rooms on
4 July 1984, lot 120.
90
46
91
91 92
FRENCH SCHOOL, 18TH CENTURY RATTE (ACTIVE 18TH CENTURY)

Portrait of a woman in profile to the left Portrait of Mr Le Normand facing right;
black chalk, bodycolour, oval and Portrait of Mr Le Normand smiling, facing left
6y x 4w in. (17 x 12.5 cm.) signed and dated ‘Ratte f. 1782.’ ( recto, 1) and inscribed ‘Mr Le Normand’
£800-1,200 $1,300-1,900 (verso, 1) ;
; and signed and dated ‘Ratte 178[...]’ ( recto, 2) and inscribed ‘Mr
Le Normand’ (verso, 2)
Ç1,100-1,500
red chalk, red wash, circular
4æ (12 cm.) diam.
a pair (2)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
92

93
GABRIEL DE SAINT-AUBIN (PARIS 1784-1780)
Figures by a farm
black chalk, pen and brown ink
2w x 5º in. (7.2 x 13 cm.); and Two women at a window , attributed to
Jean-Baptiste Mallet; and Three artists sketching in a landscape, attributed
to Antoine-Pierre Mongin (3)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
93 (part lot)
94
LOUIS BÉLANGER (PARIS 1756-1816 STOCKHOLM)
A wooded park with elegant figures beside a lake
watercolour and bodycolour
15¬ x 10
10º in. (39.5 x 25.9 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
PROVENANCE:
with Wildenstein Gallery, October 1998.
94
s 95
PIERRE LÉLU (PARIS 1741-1810)
An elegant assembly in a landscape; and Farmers and other
figures gathered outside an inn
pen and black ink, brown wash
4q x 7 in. (11.5 x 17.8 cm.); 4q x 7¿ in. (11.2 x 18 cm.); and two other
drawings by Lélu; and Saint Catherine, Saint Clara and another female saint
in adoration of the Trinity, attributed to Pietro Novelli, il Monrealese
(5)
£800-1,200 $1,300-1,900
Ç1,100-1,500
95 (part lot)

96
96
LOUIS BÉLANGER (PARIS 1736-1816 STOCKHOLM)
A wooded river landscape with a watermill; and A rocky river landscape
landscape with a bridge
below a convent
both signed and dated ‘Louis Belanger/ 1807’
black chalk, charcoal, one with watermark E 1801
9¿ x 13 in. (23 x 33 cm.) a pair (2)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
97
ATTRIBUTED TO HENRI-JOSEPH VAN BLARENBERGHE (LILLE 1741-1826)
A river landscape with
with travellers on a road and fishermen on a river; and A river
landscape with travellers on a road
bodycolour
8æ x 11¡ in. (22.0 x 28. cm.); 8 w x 11¿ in. (22.4 x 28.0 cm.)
a pair (2)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
97

98
JEAN-CHARLES DELAFOSSE
(PARIS 1734-1789)
Designs for two trophies and a cartouche;
and Another drawing of the same subject
both signed ‘J. C. delafosse’ and titled
‘Cour des Monnoyes’ and numbered ‘201’ (1)
and ‘Litalie/Et/La religion’ (2)
pencil, pen and black ink, grey wash, watermark
fleur-de-lys in an escutcheon
14 x 7w in. (35.6 x 20 cm.)
a pair (2)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
Charles-Eugène Bérard; Paris, 21-25 November 1891,

lot 107.
Sir Francis Watson, and thence by descent to the
present owner.
LITERATURE:
P. Fuhring, Design into Art, Drawings for

Architecture and Ornament,
Ornament, TheThe Lodewijk
Lodewijk
Collection, London, 1989, p. 129,
Houthakker Collection,
under no. 81.
M. Myers, French Architectural and Ornament
Drawings of the Eighteenth Century , exhib. cat.,
98
New York, Metropolitan Museum of Art, 1991,
under no. 33.
Intended to illustrate Delafosse’s Nouvelle

iconologie historique, ou Attributs hiéroglyphiqu
hiéroglyphiques
es
[...] , Paris, 1768, these two drawings were never
engraved.
99
JACQUES-DENIS ANTOINE
(PARIS 1733-1801)
Design for a statue in a niche
with inscription ‘Composé par Antoine en 1760 [?]’
and with a long biographical inscription on the verso
graphite, pen and grey ink, grey and brown wash, a
fictive mount
14¿ x 8æ in. (36 x 22 cm.); and Figures conversing
ruins, attributed to V.-J. Nicolle; and Two
among ruins,
grotesques, attributed to G.-M.
designs for wall grotesques,
Oppenordt; and A
and A Design
Design for a decorative frieze,,
decorative frieze
attributed to G.-P. Cauvet (5)
£1,200-1,800 $2,000-2,900
Ç1,600-2,300
PROVENANCE:

present owner.
99 (part lot)
50
100
100 101
ANTOINE BERGOGNON (ACTIVE LATE 18TH CENTURY) FRENCH SCHOOL, 18TH CENTURY
Design for the façade of a national bank Design for a façade of a building;
graphite, pen and black ink, grey wash and Design for the lateral façade of the same building
12æ x 17
17q in. (32.2 x 44.1 cm.) inscribed ‘façade du coté de la place’ and with measurements (1);
£1,000-1,500 $1,700-2,400 inscribed ‘façade laterale.’ and with measurements (2)
graphite, pen and black ink, watercolour, fragmentary watermarks
Ç1,300-1,900
Honig & Zoonen
PROVENANCE:
12 x 22æ in. (30.3 x 87.7 cm.) (1); 11 æ x 18
18q in. (29.8 x 47 cm.) (2);
Sir Francis Watson, and thence by descent to the present owner. and Design for the façade of a building, French School, 18th Century
(3)
A design for a city executed by Bergognon in 1792 is in the Ecole des £2,000-3,000 $3,300-4,800
Beaux-Art, Paris (inv. PRA 114).
114). According to notes from Sir Francis
Francis Ç2,600-3,800
Watson the present drawing was engraved in the 17th ‘cahier’ of the
Collection des Grands Prix, 1798 (see H. Rosenau, ‘The Engravings of the PROVENANCE:
Grand Prix of the French Academy of Architecture’, Architectura
Architecturall History , Sir Francis Watson, and thence by descent to the present owner.
III, 1960, pl. 98.).
101 (part lot)

51
102
DEROBE, ACTIVE LATE 18TH CENTURY
A desi
design
gn for a presby
presbytery
tery and form
formal
al garde
garden
n
dated and signed ‘an / 11 Derobe’ and inscribed
‘Projet d’une/maison Presbytérale/à construite pour/
la succursale de/Gibauné, canton de Colombey.
1er/arrondissement/communal
1er/arrondisseme nt/communal du Dépt./de la
Meurthe, par/le Soussigné/Architecte à Vaucouleurs/
le 1er thermidor an/11 [20 July 1803] Derobe/n.a/
La distribution du/jardin n’a aucun/rapport avec le
devis’ and further inscribed with the name of streets
and of the rooms in the house
traces of graphite, pen and black ink, watercolour
22q x 13 in. (57.4 x 33 cm.); and Plan of a formal
garden, French School, 18th Century
(2)
£1,200-1,500 $2,000-2,400
Ç1,600-1,900
PROVENANCE:

present owner.
103
102 An archit
architectura
ecturall fantasy
fantasy with elegant figures 102
pen and black ink, watercolour
9y x 17
17º in. (24.5 x 44 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
103

104
FIRMIN PERLIN (VERSAILLES 1747-1783 PARIS)
An architectural
architectural capriccio:
capriccio: a fountain
fountain flanked by temples and a colonnade
signed ‘Perlin inv. et del.’
black chalk, pen and black ink, watercolour, heightened with white (partly oxidized), watermark D BLAUW
15 x 11y in. (38.1 x 29.5 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:

53
105
JEAN-ROBERT ANGO (ACTIVE ROME 1760-1773)
The creation of the world, after Michelangelo Buonarroti
red chalk
5æ x 8q in. (14.3 x 21.5 cm.); and A
and A river god, bust length, attributed to
Antoine Coypel; Three studies of Renaissance military helmets,
helmets, attributed to
Michel-François Dandré-Bardon; Dogs hunting a wolf , after Jean-Baptiste Oudry;
A fem
female
ale nud
nude,
e, stan
standin
ding,
g, her rig
right
ht arm lifted , French School, 18th Century
lifted (5)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
Probably anonymous sale; Paris, Palais Galliera, 30 March 1964, part of lot 1.
105 (part lot)
Ango made several copies after Michelangelo’s Sixtine Chapel, some of
which are sketchier like the present sheet, others which are more finished.
The present drawing was probably part of a series of four albums from the
collection of the Bailli de Breteuil (see S. Boyer, ‘Quelques propositions autour
de Jean-Robert Ango’, Les cahiers d’histoire de l’art , no. 6, 2008, p. 940).
We are grateful to Sarah Boyer for confirming the attribution on the basis of a
digital photograph and for her assistance with the cataloguing of the drawing.
106
VICTOR-JEAN NICOLLE (PARIS 1754-1826)
View of Rome with the Trajan Column and the domes of the
Churches of Santa Maria di Loreto and Santo Nome di Maria
with inscription ‘Vue prise au pied du Capitole vers la Colonne Trajane
a Rome’ (on the mount)
pen and brown ink, watercolour, inscribed in a circle
3¿ x 3¿ in. (7.8 x 7.8 cm.)
£800-1,200 $1,300-1,900
Ç1,100-1,500
107
ABRAHAM-LOUIS-RODOLPHE DUCROS
(MOUDON 1748-1810 LAUSANNE)
106
The ruins of the Temple of Jupiter Serapis at Pozzuoli
signed and dated ‘Du Cros fecit Pouzul 1778.’
black chalk, watercolour, heightened with white
18q x 26æ in. (47 x 67.7 cm.)
£3,000-4,000 $4,900-6,400
Ç3,900-5,100
PROVENANCE:
with Walker Galleries, London.

with Leger Gallery, London; from whom purchased for £35 circa 1960 by
circa 1960
Sir Francis Watson noted in his records that he had been motivated to
buy this drawing because Ducros had exercized so significant an influence
on the development of watercolour drawing in England, particularly on
draughtsmen such as John Robert Cozens (1752-1797) and J.M.W. Turner
(1775-1851). His drawings were also much admired by Sir Richard Colt
Hoare of Stourhead. The present drawing dates from Ducros’s first visit to
Naples and its surroundings in 1778 while he was accompany
accompanying
ing Nicolaas
Ten Hove on a journey to Sicily.
107

108
THE PROPERTY OF A GENTLEMAN 109
108 BARTOLOMEO PINELLI (ROME 1781-1835)
FRANZ KAISERMANN (YVERDON 1765-1833 ROME) The night prayer at Tivoli

signed ‘Pinelli Roma’
The night prayer at Tivoli
black chalk, pen and brown ink, watercolour, with gum Arabic
signed, located and dated ‘ F Kaiserman Roma 1803’ (recto) and with 13æ x 17
17æ in. (35 x 45.3 cm.)
inscription ‘La priere de Nuit a Tivoly’ (back of the mount)
black chalk, watercolour £1,500-2,000 $2,500-3,200
12ƒ x 16æ in. (31.5 x 42.5 cm.) Ç2,000-2,500
£1,500-2,000 $2,500-3,200 P R O V E N A N C E :
Ç2,000-2,500 Anonymous sale; Bonham’s, London, 19 November 1997.
PROVENANCE:
Based on a composition by Franz Kaisermann of which there is a version
Sir Francis Watson, and thence by descent to the present owner. in the present sale (lot 108).
109
55
110 (part lot) 111 (part lot)
PROPERTY FROM A PRIVATE THE PROPERTY OF A GENTLEMAN PROPERTY FROM A PRIVATE

EUROPEAN COLLECTION EUROPEAN COLLECTION
111
110 CHARLES PERCIER (PARIS 1764-1838) 112
CHARLES PERCIER (PARIS 1764-1838) A monument with Napoleon as a winged
HENRI AUGUSTE
View of the courtyard of Palazzo Mattei, (PARIS 1759-1816 HAITI)
Genius holding a Victory statuette under
Rome, with statues and antique reliefs; an arch A vegetable dish, on three paw feet,
and View of the interior of the Church of titled ‘ARMÉE D’ITALIE’ and ‘SAINTE/ finished with swan neck, the plain body,
body,
San Lorenzo fuori le mura, Rome INQUISITION’
the handles as snakes, the cover with a
black chalk, pen and grey ink, watercolour, graphite, pen and black ink, watercolour, finial as a ring on a foliage terrace; and
on etched outlines heightened with white, the background washed A vegetable dish, on three paw-feet,
11¬ x 8 in. (29.4 x 20.3 cm.), 10æ x 9¿ in. (27.2 in grey bodycolour finished with lions’ heads, the plain body,
x 23.2 cm.); and A masquerade,
masquerade, with
with Punc
Punchinello design for an the handles as snakes, the covers with a
hinello 14º x 8q in. (36 x 21.8 cm.); and A design
driving a chariot , Neapolitan School, elaborate console, Attributed to Pierre-François- finial as double snakes on foiliage terrace
18th Century; and Figures in an interior, Léonard Fontaine numbered ‘116 bis’ and ‘119’
dictating a letter ,
gathered around a man dictating (2) graphite, pen and black ink, grey wash
by David-Joseph Bles (4)
£1,200-1,800 $2,000-2,900 11¿ x 16æ in. (28.3 x 42.5 cm.); 9 ¬ x 16q in.
£1,200-1,800 $2,000-2,900 Ç1,600-2,300
(24.3 x 42 cm.) a pair (2)
Ç
1,600-2,300 PROVENANCE: £1,500-2,500
$2,500-4,000
Ç 2,000-3,200
These are plates 73 and 100 of Percier’s Palais, Sir Francis Watson, and thence by descent to the
Maisons, et autres édifices modernes, dessinés à present owner. PROVENANCE:
Rome, Paris, 1798. C. Odiot (his stamp, not in Lugt), with his
numbers ‘119’ (1) and 116bis’.
56
112

113 (part lot)

113 114
GERMAN SCHOOL, CIRCA 1799 LUDWIG SCHALLER (VIENNA 1804-1885 MUNICH)
After the hunt Bust of a Niobid, after the antique
signed and dated ‘[...] fecit / 1799’ numbered ‘1226’
graphite on light brown paper black chalk, watermark J WHATMAN 1801
8q x 17y in. (21.8 x 45.2 cm.); and Mother and child , by Lady Diana 21q x 16
16q in. (54.2 x 42.1 cm.)
Beauclerk; Landscape, circle of Franz Innocenz Josef Kobell; Hagar and £1,500-2,000 $2,500-3,200
Ishmael , by Bernhard Rode (4)
Ç2,000-2,500
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
115
ATTRIBUTED TO COSTANZO ANGELINI
(MONTE SAN GIUSTO 1760-1853 NAPLES)
A group of 45 drawings
some signed ‘De angelis’ and with inscriptions
black chalk, or graphite, on paper or tracing paper
13w x 19
19w in. (35.5 x 50.7 cm.); and smaller (47)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
114

115 (part lot)

*116
ATTRIBUTED TO JEAN-ANTOINE LINCK (GENEVA 1766-1843)
A man in a wagon by a river,
river, a church with
with a monastery in the distance
bodycolour on linen
18¿ x 23w in. (46 x 60.4 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
60
117
117 *118
JEAN-ANTOINE LINCK (GENEVA 1766-1843) SWISS SCHOOL, LATE 18TH CENTURY
View of the Alps from Saint-Gervais-les-Bains, with the A wooded river landscape
landscape with the Château and town
‘Aiguilles de Tré-la-Tête’; and View of the Alps from Magland, of Berthoud in the canton of Bern, Switzerland, with a
with the north slope of the Mont-Blanc massif draughtsman in the foreground; and A wooded river landscape
signed ‘J. Ant. Linck.’ (recto) and inscribed ‘ Vue depuis St. Gervais les with the Château of Brandis at Lützelflüh in the canton of Bern,
Bains. / avec les aiguilles du Trélatête / aujourd’hui le 24eme d’Avril / 1839/ Switzerland
Geneva’ (verso) (1); ‘Jn Ant. Linck. fec. 1836’ ( recto) and inscribed ‘Vu du with inscription ‘Vue de la ville
v ille et du Chateau de Berthoud/ Canton de
Mont Blanc du Dôme’ (on the back of the mount), des Aiguilles du Gouté, Berne’ (verso) (1); with inscription ‘Vue de Chateau de Brandis/ Canton de
du Bionnassay, et/ Trélatête; des Glaciers du Bionnassey, et du Miage, du Berne’ (verso) (2)
Prarion, et du/ Mont Joli, prise du Montferrant près de Magland/ fait par Jn. traces of pencil, pen and black ink, grey wash, heightened with white
Ant.e Linck.1836.’ (2) 13q x 20
20q in. (34.3 x 52 cm.)
bodycolour a pair (2)
7q x 9y in. (18.5 x 24.5 cm.) a pair (2)
£2,000-3,000 $3,300-4,800
£2,000-4,000 $3,300-6,400 Ç2,600-3,800
Ç2,600-5,100
118

119
FRANÇOIS-MARIUS GRANET
(AIX-EN-PROVENCE 1775-1849)
A chapel with a cardinal seated at the left,
and two ecclesiastics far right
black chalk, brown wash (some ink gall damage), watercolour
11º x 7ƒ in. (28.4 x 18.8 cm.)
£800-1,200

$1,300-1,900
Ç1,100-1,500
120
PIERRE-LEONARD-FRANÇOIS FONTAINE
(CERGY-PONTOISE 1762-1853 PARIS)
AND ANTOINE CHAZAL (PARIS 1793-1854)
Portrait of Cardinal Anne-Louis-Henri de La Fare (1752-1829)
standing on a pulpit in Reims cathedral
inscribed by Chazal ‘Fond composée et dessiné par Fontaine pour mon
portrait en pied de Mgr / Le Cardinal Lafare.’ and ‘ Sacre de Charles X’ and
‘1825’ (on a strip of paper laid down on the bottom of the sheet)
graphite, pen and grey ink, watercolour
10ƒ x 7y in. (26.3 x 18.4 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
PROVENANCE:

119 The sitter was bishop of Nancy before emigrating to Vienna during the
Revolution and returned to France only after the fall of Napoleon. He was
made archbishop of Sens in 1817 and created
c reated cardinal in 1823. He gave
a long address on the occasion of the coronation of King Charles X in the
Reims cathedral on 29 May 1825.
This is a study for Chazal’s engraving for which he was paid 480 francs
in 1827 and of which no proof is known (P. Nusbaumer, Antoine Chazal
1793-1854: Vie et oeuvre , Le Pecq-sur-Seine, 2012, pp. 383 and 483).
As indicated in Chazal's inscription, the architect Fontaine – who along
Percier had decorated the Reims cathedral for King Charles X's coronation
– drew the background of the present drawing.
We are grateful to Philippe Nusbaumer for his help in cataloguing this lot.
121
PIERRE-FRANÇOIS-EUGÈNE GIRAUD (PARIS 1806-1881)
A monk
signed and dated ‘Giraud 1840’
graphite, watercolour, gum arabic
16q x 12º in. (42 x 31 cm.); and A Horse, by Edouard Detaille; A landscape
landscape
with two shepherds, attributed to Jean-Léon Gérôme; An officer
officer of
the Napoleonic army , French School, circa 1800; A family
family fight ,
by Jean Béraud (5)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
120
122
EUGÈNE-EMMANUEL AMAURY-DUVAL
(PARIS 1808-1885)
Two seated female figures, one holding an umbrella;
and Studies of a female head and
a nd of her arm
charcoal, stumping (1), graphite (2)
16y x 11ƒ in. (42.7 x 28.7 cm.); 12 ¿ x 7æ in. (31 x 19.8 cm.); and A head
of a man, and two other drawings, by Alphonse Legros; Two studies of a
bearded man’s head , by Jean-Hippolyte Flandrin; An angel,
angel, kneeling,
kneeling, and
holding a drapery , French School, around 1860; Standing figure, wearing a
hood , by Edme-Alexis-Alfred Dehodencq (8)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
with Colnaghi, cat. French Drawing, Post Neoclassicism, 1975, no. 2, ill.
Anonymous sale; Sotheby’s, London, 21 June 1984, lot 697.
EXHIBITED:
Montrouge, Salle des Fêtes, Amaury-Du

Amaury-Duval 1808-1885 , 1974, no. 66.
val 1808-1885
The figures on the recto of this drawing are studies for the women seated
at the far right of Amaury-Duval’s painting Le jeu de boules, today in
Orléans, Musée des Beaux-Arts.
121 (part lot)
123
ANTOINE-CHARLES-HORACE VERNET (PARIS 1769-1836)
Costume studies
pen and black ink, watercolour, indistinct watermark
10¿ x 5º in. (25.7 x 38.8 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
The artist’s studio stamp (not in Lugt).

With Claude Apcher; from whom purchased by the present owner.
122 (part lot) 123

124
124
ATTRIBUTED TO ANTOINE BERJON (LYON 1754-1843)
Studies of pink roses; and Studies of oleander
numbered ‘162’ on
coloured chalks, (1);blue-green
and ‘105’ (2)
paper
19¬ x 13w in. (50 x 35.1 cm.); and 18 w x 13¿ in. (47.8 x 33.5 cm.) a pair (2)
£800-1,200 $1,300-1,900
Ç1,100-1,500
125 126
FRENCH SCHOOL, 19TH CENTURY FRENCH SCHOOL, 19TH CENTURY
Pears, peaches and plums Apricots, peaches
peaches and plums
dated ‘juillet 1815.’ dated ‘aout 1816.’, further inscribed ‘abricots-pêche/ 28. aout ....16’,
graphite, watercolour and bodycolour ‘Despalier’, and numbered ‘aout 1816.’
11 x 9 in. (28 x 23 cm.) graphite, watercolour, and bodycolour
11¡ x 8¿ in. (29 x 20.5 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800 £2,000-3,000 $3,300-4,800
Ç2,600-3,800
125 126

127
Pears
dated ‘juillet 1825.’ and further inscribed ‘25 juillet:/ poires de la Magdaleine/ a longue queue’,
‘a courte queue’, dated ‘1818.’ (bottom) and numbered ‘62.’ (top)
graphite, watercolour and bodycolour
11 x 9 in. (28 x 22.8 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
65
128
AUGUSTIN-ALEXANDRE DUMONT (PARIS 1801-1884)
View of Porta San Giovanni in Rome
inscribed and dated ‘porta S Giovanni / Roma / 22 Marzo 1824’
graphite
11 x 16¬ in. (27.7 x 42.2 cm.); and Roman ruins with the pyramid of
Caius Cestius, by Carlo Bonavia (2)
£800-1,200

$1,300-1,900
Ç1,100-1,500
PROVENANCE:
with W.R. Jeudwine and Y. French,

F rench, London, (cat. Four Centuries of Italian
Landscape, 1961, no. 46).
128 (part lot) Sir Francis Watson, and thence by descent to the present owner.
Originally from a sketchbook containing academic studies, but also with a

few landscapes, all dating from shortly after 1823 when Dumont won the
Prix de Rome for sculpture.
129
GEORGES-JULES-VICTOR CLAIRIN
(PARIS 1843-1919 BELLE-LLE-EN-MER, MORBIHAN)
Interior of a church in Madrid
signed ‘G. Clairin’ ( recto) and inscribed ‘ Madrid / 8be 1868’ (verso)
black chalk, watercolour and bodycolour
18¿ x 11
11w in. (46.4 x 30.4 cm); and A landscape
landscape, by Richard Lux;
and View of a Venetian canal with gondolas, attributed to Betsy
Westendorp-Osieck (3)
£800-1,200 $1,300-1,900
Ç1,100-1,500
129 (part lot)
130
PAUL-EMILE LECOMTE (PARIS 1877-1950)
View of a lake with sailing boats
signed and inscribed ‘Pour Madame Osenat avec les hommages de
Paul Emile Lecomte”
black chalk, watercolour
8º x 9º in. (21 x 23.2 cm.); and two Landscape drawings,
by Charles Damour; Portrait of a man, attributed to Hippolyte Flandrin;
Study for a firescreen, French School, 19th Century
(5)
£700-1,000
$1,200-1,600
Ç890-1,300
PROVENANCE:
The artist’s studio stamp (not in Lugt).

130 (part lot)


EUROPEAN COLLECTION
131
GUSTAVE CLAUSSE
(PARIS 1833-1914 CLAIREFONTAINE)
View of theincloister
monastery Belemof the Jeronimos
located, signed and dated
‘Cloitre de Belem _ G. Clausse 1888’
black chalk, watercolour
15q x 22º in. (39.5 x 56.6 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
Trained as an architect, Clausse pursued an

administrative career while still designing some
buildings. He also exhibited watercolours at the
Salon and produced a few books including a
monograph on the Sangallo family and travel
books. He reproduced this watercolour as
an engraving in his Espagne Portugal Notes
historiques et artistiques sur les villes principales 131
de la peninsule ibérique, published in Paris in
1889 (p.87).
The Jerónimos monastery is a masterpiece of

Manueline Gothic architecture. Construction
of the church and cloisters for the Hieronymite
religious order began in 1502, on the orders of
the Portuguese King, Dom Manuel I, who had
vowed that he would build a monastery should
Vasco da Gama return successfully from his
voyage to India.

EUROPEAN COLLECTION
132
JULES DIDIER (PARIS 1831-1892)
View of the castle of Villeneuve-Loubet,
near Cagnes-sur
Cagnes-sur-Mer
-Mer
signed, located and dated ‘JULES DIDIER Nice
1856’ (recto) and with inscription ‘Château de
Villeneuve près Nice’ (on the mount)
black chalk, watercolour, heightened with white
13¿ x 17æ in. (33.4 x 46.4 cm.); and A
mountainous landscape, by Paul-Edmond Henry;
and View of a street in Seville, French School,
19th century (3)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
EXHIBITED:
Lyon, Exposition universelle et internationale de

1894 à Lyon, 1894 (according to a label at the
back of the mount)
132 (part lot)

133
133 134
VICTOR HUGO (BESANÇON 1802-1885 PARIS) JEAN-BAPTISTE-CAMILLE COROT (PARIS 1796-1875)
A castle on a cliff A view of Paris with Notre-Dame
Notre-Dame in the far distance, and
brown wash, black chalk, stumping, on wove paper sketches of figures on horses and a man sawing (recto);
4 x 7º in. (10 x 18.2 cm.) Sketches of three figures, two of whom are seated (verso)
£3,000-5,000 $4,900-8,000 graphite
Ç3,900-6,300
3æ x 5w in. (9.5 x 15 cm.)
£1,500-2,000 $2,500-3,200
PROVENANCE:
Ç2,000-2,500
With Roland Browse and Delbanco, London.
With Felder Fine Art, London, 2001. PROVENANCE:
with the artist’s studio stamp (L. 460a).

We are grateful to Pierre Georgel for confirming the attribution after
first-hand examination of the drawing. EXHIBITED:
Paris, Galerie Schmit, Corot dans les collections privées, 1996, no. D.8 (two
details illustrated in P. Dieterle’s introduction).
According to a label on the back of the frame this drawing was originally
part of a 53 page sketchbook used by Corot in 1823-24 (A. Robaut,
L’œuvre de Corot , Paris, 1965, IV, no. 3066 ‘carnet
‘carnet 29’).
134
68
135 136 i
135 136
FRANÇOIS BONVIN THÉODULE RIBOT (1823-1891 COLOMBES)

(VAUGIRARD 1817-1887 SAINT-GERMAIN-EN-LAYE) Study of a head; and A woman descending a staircase
Portrait of a woman, bust-length signed ‘t. Ribot’ (1); signed and dated ‘t. Ribot / 187[9?]’ (2)
signed and dated ‘f. Bonvin 1861’, and an illegible inscription pen and black ink, black wash (1); brush and black wash (2), on wove paper
charcoal, red and white chalk, on grey paper 6æ x 5º in. (17 x 13.3 cm.); 11 q x 5y in. (29 x 14.4 cm.) (2)
8q x 7º in. (21.5 x 18.5 cm.)
£800-1,200 $1,300-1,900
£1,000-1,500 $1,700-2,400 Ç1,100-1,500
Ç1,300-1,900
PROVENANCE:
Mrs Paul Brodin, Paris.

with Galerie Fischer-Kiener, Paris.
LITERATURE:
G. P. Weisberg, Bonvin , Paris, 1979, no. 270, ill.

69
137 138
*137 138
HENRI LANGEROCK (GAND 1830-1915 MARSEILLE) PIERRE PUVIS DE CHAVANNES (LYON 1824-1898 PARIS)
An interior with a maid sleeping on a chair A mother and child in a landscape
signed ‘Karl Langerock’ signed and dedicated ‘a monsieur le Dr. de Grandmont / son bien devoué /
charcoal, bodycolour, with scratching out P. Puvis de Chavannes’
19¿ x 12
12q in. (48.5 x 32 cm.) red chalk, stumping, on tracing paper
40w x 1313¿ in. (40.2 x 33.5 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900 £2,000-3,000 $3,300-4,800
Ç2,600-3,800
PROVENANCE:
with Galerie E. de Causans, Paris, where acquired by the previous owner,

thence by descent.
EXHIBITED:
Paris, Grand Palais, and Ottawa, National Gallery of Canada, Puvis de

Chavannes 1824-1898, 1976-7, no. 99.
LITERATURE:
A. Brown Price, Pierre Puvis de Chavannes, A

A catalogue raisonné of the
catalogue raisonné
painted work , New Haven and London, II, 2010, p. 302, under no. 323.
The drawing
large paintingisThe
a preparatory studyMusée
Summer (Paris, for thed’Orsay)
figures at the centre
executed of the
in 1873 and
exhibited at the Salon of the same year (Brown Price, op. cit .,., no. 197).
Puvis used it again in a later painting circa 1885-7, The young mother ,
also in the Musée d’Orsay (op. cit .,
., no. 323).
70
139
139 140
ADOLPH FRIEDRICH ERDMANN VON MENZEL THOMAS COUTURE (SENLIS 1815-1879 VILLIERS-LE- BEL)
(BRESLAU 1815-1905 BERLIN) Pierrot on trial
A greetings card, with a caricature and extensive inscriptions charcoal, on wove paper
inscribed ‘Nehmen ehr Werthester Freund und Ihre verehrte Familie zu 12¿ x 17
17º in. (31 x 43.7 cm.)
dieser Frist (1840) wenn auch verspätet, doch noch gar nicht verdünstet,
£1,000-1,500 $1,700-2,400
die inningsten Wünsche von Ihrem Menzel nebts Mutter’
Ç1,300-1,900
pen and black ink, on a greeting card with scalloped edges
3¿ x 4ƒ in. (8 x 11.2 cm.) A preparatory sketch for Couture’s Pierrot à la correctionelle, or The
correctionelle
£1,000-1,500 $1,700-2,400 Trial of Pierrot (The Cleveland Museum of Art, inv. no. 1980.250), a
Ç1,300-1,900 painting belonging to a series of seven works
w orks representing Commedia
dell’arte subjects which the artist had executed between 1854-70. With
this series Couture wanted to criticize
c riticize the fraudulent justice operating
in 19th-century France (see A. Boime, Thomas Couture and the eclectic
vision, Yale, 1980, pp. 293-325). Several studies, like the present sheet,
prepare the final composition (op. cit., pp. 318-323).
140
71
141
141 142 143
GUSTAVE DORÉ GUSTAVE DORÉ GUSTAVE DORÉ
(STRASBOURG 1832-1883 PARIS) (STRASBOURG 1832-1883 PARIS) (STRASBOURG 1832-1883 PARIS)
Boats in an dreamlike landscape; Two knights, riding horses, The Concert
and A view of Paris and the Seine, fighting for a woman pencil, pen and black ink, watercolour and
with figures on the river bank signed ‘G Doré’ bodycolour, on three joined pieces of boxwood,
woodcut and engraving block, on two joined pencil, brush and black ink, grey wash, stamped “PIERRON” (verso)
pieces of boxwood, inked in white (1); heightened with white on three joined pieces 9æ x 8º in. (24.9 x 21 cm.)
woodcut block, inked in white and grey (2) of boxwood £1,000-1,500 $1,700-2,400
12¿ x 9¡ in. (30.8 x 23.9 cm.); 9æ x 7æ in. (24.7 x 19.8 cm.)
Ç1,300-1,900
6q x 6q in. (16.5 x 16.5 cm.) (2) £1,000-1,500 $1,700-2,400
£1,000-1,500 $1,700-2,400 Ç1,300-1,900 PROVENANCE:
Ç1,300-1,900 Provenance: The artist's studio stamp (L.681a).

ENGRAVED:
by Héliodore Pisan, in Ariosto’s Orlando Furioso, This work might be an abandoned project for
Paris, 1879, poem XXIV, stanza 100. one of the plates designed by Gustave Doré to
illustrate Blanchard Jerrold’s London.
A Pilgrimage (London, 1872).
142 143

144
144 145
GUSTAVE
Soldiers andDORÉ (STRASBOURG
dead bodies 1832-1883
in a building destroyed PARIS)
by fire, GUSTAVE
The Ogre: aDORÉ (STRASBOURG
bedtime 1832-1883
scene with a bearded PARIS)
man and five
a city in flames in the background children sleeping
with the stamp ‘KIESZLING/ B278/ PARIS’ (verso) signed ‘G Doré’
pencil, pen and black ink, grey wash,
w ash, heightened with white, on two joined pencil, brush and black ink, grey wash, bodycolour, on two joined pieces
pieces of boxwood of boxwood
6º x 9¡ in. (16 x 23.8 cm.) 7q x 9¿ in. (19.1 x 23.2 cm.), octagonal
£1,000-1,500 $1,700-2,400 £1,000-1,500 $1,700-2,400
Ç1,300-1,900 Ç1,300-1,900
Kieszling was one of the publishers who worked with Doré and pubished ENGRAVED:
his Dante and Virgile of 1861. as L’Ogre, in Le Petit Poucet from Les Contes de Perrault , Paris, Goupil
et Cie, 1862, pl. 6.
145
73
146i 147 (part lot)
146 147
JEAN-BAPTISTE CARPEAUX CHARLES DESPIAU
(VALENCIENNES 1827-1875 COURBEVOIE) (MONT-DE-MARSAN 1874-1946 PARIS)
Intertwined figures A female nude on her back
charcoal on brown paper signed ‘Despiau’
11æ x 10 in. (29.7 x 25.4 cm.); and Studies for a sculpted group of Neptune red chalk, stumping
and Amphitrite, French School, 19th Century (2) 14q x 10¿ in. (37 x 25.8 cm.); and two other Female nudes by Despiau (3)
£800-1,200 $1,300-1,900 £1,000-1,500 $1,700-2,400
Ç1,100-1,500 Ç1,300-1,900
PROVENANCE: *148
The artist’s studio stamp (L. 500). FRANCOIS-LOUIS-DAVID BOCION
(LAUSANNE 1828-1890)
Possibly a study for the Monument to Maréchal de Moncey for which
there is a plaster dating from 1864 in the Petit Palais, Paris ( The passions A sky at sunset
of Jean-Baptiste Carpeaux , exh. cat. New York, Metropolitan Museum oil on canvas laid down on cardboard
2q x 8w in. (7.2 x 22.5 cm.)
and Musée d’Orsay, Paris, 2014, no. 101, ill. p. 181).
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
PROVENANCE:
Alfred Berthoud (according to an inscription on the backing).
148

BRITISH DRAWI NGS AND WATERCOLOUR S

(LOTS 149-209)
149
BENJAMIN ROBERT HAYDON
(PLYMOUTH 1786-1846 LONDON)
Study for the head of Uriel for ‘Satan and Uriel’ The present striking drawing of Uriel revealing himself to Satan, certainly
indistinctly signed and inscribed ‘ Study from Antique/for Sat [an]/to guide shows the influence of Fuseli, under whom Haydon studied. Haydon was
if after/they must .../..../B Haydon’ (lower right) said to have been transfixed as a child by an engraving of this subject
pencil and black chalk heightened with touches of white by Fuseli. He was very pleased with the finished work, thinking the
16¿ x 12¿ in. (41 x 30.6 cm.) archangel’s head the finest thing he had ever done. The present drawing
suggests that the initial sketches were done from the Antique. The oil
£1,000-1,500 $1,700-2,400 painting, exhibited at the Royal Academy in 1845, no. 605 is now lost,
Ç1,300-1,900 although there was an engraving after it published in the Illustrated
News. However, it was almost certainly painted on a grandscale
London News.
PROVENANCE:
as was Haydon’s manner. In the scene from Milton’s Paradise Lost Satan is
Leonard G. Duke. disguised as a ’strippling cherub having just deceived Uriel, Regent of the
Sun, into directing him to earthly paradise, he glances back furtively at the
gigantic figure of the archangel’. The painting was puchased by Haydon’s
patron Edward Dennys.
150 No Lot
75
152
151
151 152
SIR THOMAS LAWRENCE, P.R.A. SIR THOMAS LAWRENCE, P.R.A.
(BRISTOL 1769-1830 LONDON) (BRISTOL 1769-1830 LONDON)
Portrait of a young lady
lady,, half-length, a flower in her hair Portrait of a lady traditionally identified as Sarah Siddons
and wearing a heart-shaped pendant (1755-1831), bust-length, in profile to the left
signed with initials and dated ‘T.L./Sep 14 1814’ (centre right) and signed, inscribed and dated ‘To be kept dry and no[t]/hung in the Sun./Bath
indistinctly inscribed ‘Jane Eliza/C...’ (lower left)
left) 19th Jany 1784/Lawrence.../Oct. 14-’ (on a label attached to the backboard)
pencil and red chalk with grey and pink wash and with a further indistinct inscription (on the verso)
9 x 7 in. (22.8 x 17.7 cm.) pastel, oval
£3,000-5,000 $4,900-8,000 11æ x 9æ in. (29.8 x 24.7 cm.)
Ç3,900-6,300 £2,500-3,500 $4,100-5,600
Ç3,200-4,400
Although the identification of the sitter of this sensitive drawing has so far
eluded us, it was drawn in 1814, when Lawrence was at the height of his PROVENANCE:
fame. During this year he executed a chalk drawing of King George IV Anonymous sale; Christie’s, London, 9 December 1955, lot 205,
(K. Garlick, ‘A catalogue of the paintings, drawings and pastels of as ‘Portrait of Mrs Siddons in white dress with powdered hair’
Sir Thomas Lawrence’, Walpole Society , XXXIX, London, 1963, p. 227) (34 gns to McLaran).
and the Duke of Wellington. Martin McLaran; Christie’s, London, 10 July 1990, lot 86.
76
153 153
DANIEL GARDNER, A.R.A.
(KENDAL 1750-1805 LONDON)
Double portrait of two young girls, traditionally identified as It has not been possible to identify the sisters with absolute certainty. The
Harriet Fortescue and her sister April, gathering
gathering flowers pastel has previously been sold with the title Harriet and April Fortescue
pencil, pastel and bodycolour, oval and Harriet and Anne Fortescue and with the note that Harriet and her
20q x 15æ in. (52 x 40 cm.) sister later became the Hon. Mrs George Knox and Mrs Parkinson Buxton
respectively. This previous cataloguing identifies Harriet as the daughter
£2,000-3,000 $3,300-4,800 of Thomas Fortescue and his second Wife Mary Nicolson. Fortescue had
Ç2,600-3,800 a daughter Anna Maria by his first wife. As the provenance is given as
the Marques of Lothian this help helps to strengthen this identification
PROVENANCE:
as the 5th Marquess of Lothian was married to Thomas Fortescue’s sister
Marquess of Lothian. Elizabeth (1745-1780); children of Chichester Fortescue (1718-1757) and
Possibly with Agnew’s, London. Elizabeth Wesley. However
However it appears that the girls would be six years
Possibly anonymous sale; Sotheby’s, London, 24 November 1965, lot 34 as apart in age, which seems less credible from their portrait. Other possible
‘Harriet and Anne Fortescue’ (£230 to P. Polak). candidates from the Fortescue family come with similar difficulties of age
Anonymous sale; Christie’s, London, 2 March 1971, lot 76 (240 gns to Dr. and differences in name.
Theodore Besterman).
Anonymous sale; Christie’s, London, 8 June 2000, lot 77. There is another version of the present pastel, at Duff House, Aberdeenshire.
LITERATURE: PROPERTY OF A GENTLEMAN

G.C. Williamson, Daniel Gardner , London, 1921, p.134 as ‘Miss Fortescue 154
and her sister playing with some flowers on a steep grassy bank’.
JOSEPH WILTON, R.A. (LONDON 1722-1803)
N. Jeffares, Dictionary of Pastellists before 1800,
1800, online edition.
Study for a decorative frieze
red chalk
7q x 16q in. (19 x 42 cm.); and Study of a Greek vase, pencil, attributed to
James Bruce (1730-1794)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
Sir Francis Watson and by descent to the present owner.
Joseph Wilton was a renowned sculptor, a member of the Royal

Society of Arts and founding member of the Royal Academy.
Drawings relating to various schemes and projects are housed in

The Victoria & Albert Museum, London.
We are grateful to Charles Hind, Chief Curator and HJ Heinz

Curator of Drawings for confirming the attribution of this drawing.
154
77
155
156
155 156
JONATHAN RICHARDSON, SEN. (1665-1745) PAUL SANDBY, R.A.
A portrait of Lady Mary Hervey,
Hervey, née Lepelle
Lepelle (1700-1768), (NOTTINGHAM 1730-1809 LONDON)
head and shoulders within the memoir
memoir,, The Onion Seller
‘Letters of Lady Mary Lepelle’, 1821 pencil and grey and ochre wash
signed with monogram ‘JR.’ (lower
(lower right) inscribed ‘Mary Le pelle’ sic
[sic ] 7¡ x 4w in. (18.2 x 12.5 cm.)
and with inscription ‘Lady Harvey [ sic
sic ]’
]’ (lower left) £3,000-5,000 $4,900-8,000
pencil and wash on vellum
Ç3,900-6,300
4w x 4º in. (12.4 x 10.8 cm.); the drawing laid down on the fly leaf of
‘Letters of Lady Mary Lepelle’, 1821 with illustrative notes by John Wilson PROVENANCE:
Croker in a contemporary binding of polished tan calf, spine fully gilt; joints Lord Bruce (later Lord Elgin); Christie’s, London, 27 April 1965, lot 61 (as no.
expertly repaired 8 of 12).
£800-1,200 $1,300-1,900 Anonymous sale; Sotheby’s, London, 10 July 1997, lot 18.
Ç1,100-1,500 Anonymous sale; Sotheby’s, London, 26 March 2004, lot 92, where
purchased by Mrs T.S. Eliot.
PROVENANCE:
Jonathan Richardson Jun. (L. 2170). The present work is part of a series of drawings of London tradesmen and
John Mitford, 1830. women which Sandby worked on in 1759 for a projected publication,
Marquess of Crewe, after 1911. London Cries, done from ye Life.
Mary Lepelle was a famous court beauty who married John Hervey in Sets of engravings of itinerant performers, hawkers and traders had been
secret in 25 October 1720. She was the daughter of Brigadier-general popular in Europe for centuries and ballads incorporating their street cries
Nicholas Lepelle. Charles Fairfax Murray identified a second drawing of have been performed since the 15th Century. In 1688 Marcellus Laroon
Lady Mary Hervey by Richardson in the Morgan Library, New York, in the Elder first published his Cryes of the City of London,
London, and these proved
the Bull album. John Wilson Croker, who edited the first edition of Mary so popular they were regularly reissued throughout the 18th Century.
Lepelle’s Letters in which the present drawing is included, was a friend They were issued in a revised state with changes to the costumes and
of John Mitford (1781-1859) to whom this book first belonged. Mitford faces by Louis-Philippe Boitard in 1750.
formed an important book collection which was auctioned by Sotheby’s
Only one set of twelve images of London Cries was
Cries was published. Yet,
after his death in 1859 and realised the sum of £2,999.
Sandby produced numerous others. The present lot was formerly part of
an almost complete album which was dispersed in these Rooms in 1965,
and a number of drawings for the Cries are now in public institutions.
Cries are
78
157
ENGLISH SCHOOL, 18TH CENTURY
A lecture on astronomy The 18th Century saw increased general interest in the sciences, with
pencil, black and white chalk and grey wash public lectures becoming more and more popular and scientists travelling
13 x 19¬ in. (33 x 50 cm.) around the country demonstrating scientific instruments, experiments and
£4,000-6,000 $6,500-9,600 principles. This burgeoning interest is demonstrated by paintings such as

Joseph Wright of Derby’s A Philosopher lecturing on the Orrery , painted
Ç5,100-7,600 circa 1766 (Derby Museum and Art Gallery) and An Experiment on a
bird in an Air Pump , 1768 (National Gallery, London). George Romney’s
PROVENANCE:
Newton with the Prism, was also widely disseminated through engravings
Leonard G. Duke. in the early 19th Century.
with Agnew’s, London.
We are grateful to Rosemary Harden of the Fashion Museum, Bath for
The present drawing depicts a lecture on astronomy. The lecturer is her help in dating the costumes of the sitters to late 1720s or 1730s.
pointing to an astronomical device which is demonstrating the principle The seated figure is wearing the fashionable undress of the period, of
of elliptical orbits of the planets. The larger orb that he is pointing to banyan or dressing gown and soft cap or nightcap. There are a number of
represents the sun and the two smaller the earth and the moon. The portraits of artists and scientists wearing such costumes, including Sir Issac
usual device used to discuss the orbit of the planets, the orrery, was first Newton (1643-1727).
designed in the early 18th Century, circa 1704 by the clockmakers George
Graham and Thomas Tompion. They usually represent circular orbits but
the present device is more elliptical, so it is difficult to judge whether the
device is meant to be an orrery or whether it is some other device. 158 No Lot
79
159
THOMAS GAINSBOROUGH, R.A.
(SUDBURY, SUFFOLK 1727-1788 LONDON)
A stream in a wooded
wooded landscape
pencil, grey wash and touches of red wash
7æ x 9æ in. (19.6 x 24.8 in.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
We are grateful to Hugh Belsey for dating this drawing to the early
1770s. For a comparable drawing from around this date see J. Hayes, The
Gainsborough,, London, 1982, I, p. 184,
Landscape Paintings of Thomas Gainsborough
no. 325; II, no. 112, illustrated.
160
JOHN MARTIN (HAYDON BRIDGE, HEXHAM 1789-1 854
DOUGLAS, ISLE OF MAN)
A Study for ‘Adam’s
‘Adam’s First Sight of Eve’
159
signed and dated ‘J Martin 1810’ (lower right)
pencil and watercolour with scratching out, heightened with touches of white
4w x 7º in. (12.4 x 18.4 cm.)
£800-1,200 $1,300-1,900
Ç1,100-1,500
The present
Adam
Adam’s’s firstwatercolour
Eve,is1813
sight of Eve,
sight related to Martin’s
(Glasgow important
Museums), oil painting,
which was exhibited
at the Royal Academy in 1813 with the quotation from Milton, ‘Nature
herself, though pure of sinful thought, wrought on her so, that, seeing
me, she turned.’ The setting in the picture is similar to that of the present
watercolour, the main difference being in the pose of Adam and Eve.
We are grateful to Michael Campbell for his help in preparing this

catalogue entry.
161
CHARLES CAMERON (1740- 1812 ST PETERSBURG)
The Empress Catherine the Great about to embark on a lake in
the grounds of the Palace of Tsarkoe Selo, St Petersburg
pencil and watercolour
160 12º x 16æ in. (31 x 42.5 cm.); and a portrait of Horace Walpole,
traditionally attributed to Thomas Patch (1725-1782), pencil and ochre wash
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
with The Manning Gallery, London.

EXHIBITED:
London, The Arts Council, ‘Charles

‘Charles Cameron c.1740-1812’ ,1968,
number untraced.
LITERATURE:
L. Salminia-Haskell, ‘Charles
‘Charles Cameron at the Arts Council’, The Burlington
Magazine,, Jan 1968, 110, no. 778. pl. 62.
Magazine
Cameron was a Scotsman who became the court architect to Empress
Catherine of Russia
Palace of Tsarko Seloinnear
1778.
St He worked chiefly
Petersburg. at thehis
He brought imperial residence, the
own interpretation
of anglicized palladianism to his extensive additions to the Royal palace
evident in the much lauded Cold Baths and Agate Pavillion. The majority of
the architect's work is held in the Hermitage Museum, St Petersburg.
161
162 163
162 163
THOMAS GAINSBOROUGH, R.A. JOHN DOWNMAN, A.R.A. (DEVON 1750-1824 WREXHAM)
(SUDBURY, SUFFOLK 1727-1788 LONDON) Study of a dog
Study of a donkey laden with panniers and accompanying figure pencil, white and red chalk, with stump
stamped ‘T Gainsborough’ (lower centre) and stamped ‘T Gainsborough’ 8æ x 7¬ in. (22.1 x 18.6 cm.)
and ‘Gainsborough’ (upper centre, both overmounted) and indistinctly £700-1,000 $1,200-1,600
inscribed ‘Very....’ (along the lower edge)
Ç890-1,300
pencil, fragmentary watermark
5æ x 7¡ in. (14.6 x 18.8 cm.) PROVENANCE:
£3,000-5,000 $4,900-8,000 Mrs Benjamin (the artist’s daughter), according to a label on the reverse
Ç3,900-6,300 Thomas Winstanley.
PROVENANCE:
Anonymous sale; Christie’s, London, 5 March

Marc h 1974, lot 49 (130 gns to Hope). The present drawing demonstrates Downman’s sensitive approach to
Anonymous sale; Christie’s, 5 November 1974, lot 40 (55 gns to Boyce). portrait painting, whether capturing the likeness of a sitter for a commission
Anonymous sale; Sotheby’s, London, 18 November 1976, lot 193. or for more personal subjects, such as the present study. Other carefully
executed portraits of animals include pets such as his favourite spaniel and
LITERATURE: his cat called ‘Tibby’ and wildlife that he saw in this garden such as a toad
J. Hayes, ‘Gainsborough Drawings: A Supplement to the Catalogue that lived in his pond, a robin and a dove.
Raisonné’, Master Drawings, XXI, no. 4, 1983, p. 391, no. 985.
S. Sloman, ‘The Holloway Gainsborough: its subject re-examined’,
Gainsborough’s House Review 1997/98, pp. 50-51, fig. 3.
For further information about the first of these artist’s stamps, see Hayes,
The Drawings of Thomas Gainsborough, 1970, vol. I, pp. 25-6. The
present drawing would have been drawn from life, Hayes relates the
technique to Peasant on Horseback (British Museum), op. cit .,., no. 819,
pl. 36 and dates it to the early to mid 1750s.
81
164
165
164 165
THOMAS ROWLANDSON FRANCIS WHEATLEY, R.A.
(LONDON 1756-1827) (LONDON 1747-1801)
Labourers resting beneath a tree Itinerant potters on the roadside PROVENANCE:
Arthur N. Gilbey; Christie’s, London, 26 April 1940,

numbered ‘24’ (upper right) signed and dated ‘F. Wheatley delt./1799’
lot 214 (55 gns to Fletcher).
pencil, pen and ink and watercolour (lower left)
4q x 7 in. (11.5 x 17.7 cm.) pencil and watercolour within the artist’s original Gilbey's sale in these Rooms included 36
wash-line mount
£800-1,200 $1,300-1,900 examples of Wheatley's work, see I. Williams, ‘The
14 x 10 in. (35.5 x 25.4 cm.)
Ç1,100-1,500 A.N. Gilbey Collection of Early English Drawings’,
£2,500-3,500 $4,100-5,600 Country Life,

PROVENANCE: Ç3,200-4,400 13 April 1940.
Anonymous sale; Sotheby’s, London, 14 July 1988,
lot 60.

166 (a pair)
166
FRANCIS WHEATLEY, R.A.
(LONDON 1747-1801)
A young woman pouring milk,children and
a dog; A woman with children by a gate
both signed and dated ‘F. Wheatley del.1795’ (lower left)
14 x 10 in. (35.5 x 25.4 cm.) (2)
£3,000-5,000 $4,900-8,000
Ç3,900-6,300
167-168 No Lots
83
169
JOHN CONSTABLE, R.A.
(EAST BERGHOLT, SUFFOLK 1776-1837
HAMPSTEAD, LONDON)
Dedham church, Essex
inscribed and dated ‘22d Sept. 1815 - Dedham’
(lower left) and indistinctly inscribed in ink (verso)
pencil
6 x 3q in. ( 15.2 x 9 cm.)
c m.)
£5,000-8,000 $8,100-13,000
Ç6,400-10,000
PROVENANCE:
C. Bostock; Sotheby’s, London, 26 June 1946,

part of lot 71 (£2,000 to Agnew’s).
with Agnew’s, London, where purchased by
Lord Ivor Spencer-Churchill, and by descent.
LITERATURE:
G. Reynolds, The Early Paintings and Drawings of

Constable, London, 1996, p. 211, no. 15.38,
John Constable,
pl. 1370.
I.Walker,
St John, Dedham
2005, pp. 4,Constable Country , Suffolk
5, illustrated.
Reynolds records this drawing as ‘untraced’. It is an

exciting rediscovery of an unusual view of Dedham,
a village about six miles from Constable’s home
in East Bergholt. The church and neighbouring
vicarage are the central focus of the composition
which is a different vantage point from Constable’s
other Dedham drawings of 1815. Other drawings
depict the village and tall church tower from a
distance, nestled in the landscape (see op.cit .,
., nos.
15.44, 15.44a, 15.45, 15.46). Constable’s focus
on the architecture may have been inspired by the
re-modelling with gothic embellishments of the
vicarage (on the right of the church) in 1815.
The paper,
laid presentwhich
sheet Constable
is from a large sketchinbook
was using 1814of
and in 1815 and which measured approximately
approximately
3æ x 6 º (9.6 x 15.8 cm).
We are grateful to Anne Lyles

Ly les for help in preparing
this catalogue entry.
170 No Lot

84
171
THOMAS GIRTIN (LONDON 1775-1802)
On the road to Harrow-on-the-Hill
inscribed ‘on the road to Harrow on the Hill’ (lower left) Another view of Harrow-on-the-Hill by Girtin is in the Yale Center for
pencil and watercolour British Art, New Haven and dates to circa 1794. The present drawing is
6º x 7q in. (15.9 x 19 cm.) also datable to circa 1794.
£800-1,200 $1,300-1,900 Sir John Clermont Witt (1907-1982), the son of Sir Robert Witt, was, like
Ç1,100-1,500
his father a keen collector of drawings and a patron of the arts, serving
as Chairman of the Trustees of the National Gallery, a Trustee of the Tate
PROVENANCE:
and member and then Vice-Chairman of the Arts Council.
Sir John Clermont Witt (L. 646a).
Anonymous sale; Sotheby’s, London, 9 March 1989, lot 7.
Anonymous sale; Sotheby’s, London, 14 November 1996, lot 132.

85
172
THOMAS GIRTIN (LONDON 1775-1802)
LITERATURE:
View of Chepstow Castle with cattle watering in the foreground
R. Davies, ‘Thomas Girtin’s Water-Colours’, Studio
Studio,, 1924, p. 7, pl 7,
inscribed ‘Chepstow Castle.’
Castle.’ (lower centre, on the mount) and with inscription
‘Formerly belonged
belonged to the Clare’s, Earle of Pembrooke; when built unknown’
unknown’ illustrated in colour.
T. Girtin and D. Loshak, The Art of Thomas Girtin,
Girtin, 1954, pp. 4 and 136, no. 17.
(verso of the mount, possibly in James Moore’s hand)
verso of
pencil and grey, blue, green and ochre washes, on the artist’s wash-line mount ENGRAVED:
6æ x 8æ in. (17.2 x 22.3 cm.)
G.I. Parkyns, with variations, for Monastic Ruins and Ancient Castles,
Castles,
£7,000-10,000 $12,000-16,000 part VIII, 1 January 1792.
Ç8,900-13,000
Girtin and Loshak, op. cit .,
., p. 136 suggests that the present drawing is after
PROVENANCE: one by Edward Dayes, dated 1792, which was sold in these Rooms,
James Moore and by descent to his widow 14 March 1952, lot 221. The drawing by Dayes was taken from an ‘on
Mrs Moore, by 1799.and by descent to the spot’ sketch by James Moore, executed on 22 May 1789. The subject
Miss Anne Miller, daughter of her first cousin Rebecca Miller by 1835. matter reflects the antiquarian interests of Moore, Girtin’s first patron, while
Edward Mansel Miller and Helen Louisa Miller, 1890. stylistically, the influence of Edward Dayes, to whom Girtin was apprenticed
Helen Louisa Miller by 1912. at this time, can be seen: Davies, loc. cit., notes the similarity between the
with the Palser Gallery, 1918. present work and the Dayes drawing, ‘It would be difficult to find any other
Thomas Girtin. instance of so perfect an assimilation of a master’s methods which is neither
A.J. Finberg. a copy nor a servile imitation, but simply an independent work done in a
V. Rienaecker. manner and with something more of the skill of the master’.
Anonymous sale; Christie’s, London, 14 February 1978, lot 51.
with Colnaghi’s, London.
86
173
JOSEPH MALLORD WILLIAM TURNER, R.A. ( LONDON
1775-1851) AND THOMAS GIRTIN (LONDON 1775-1802)
A view of the Villa Belvedere, from the Villa at Posillipo The present drawing relates to the second volume of drawings by John
pencil and watercolour Roberts Cozens at the Whitworth Art Gallery, Manchester. It was probably
6¡ x 9¿ in. (16.2 x 23.2 cm.) executed from a tracing of the Whitworth drawing, which is now in the
Beaumont Album of tracings at the Yale Center for British Art, New Haven.
£4,000-6,000 $6,500-9,600
Ç5,100-7,600 The pencil work in the present watercolour was executed by Thomas
Girtin with the wash being applied by Turner and was executed when
PROVENANCE: Turner and Girtin were in the drawing academy of Dr Thomas Monro.
P.F. Willert. The artist Joseph Farington (1747-1821), also associated with the
Mrs A.T. Loyd. academy, wrote in his Diary of 11 November 1798: ‘Girtin drew the
Anonymous sale; Christie’s, London, 18 November 2003, lot 18. outlines and Turner washed in the effects’.
EXHIBITED:
C.L. Loyd, The Loyd Collection of Paintings and Drawings, London, 1967,
p. 63, no. 107.
87
*174
CIRCLE OF PAUL SANDBY, R.A.
(NOTTINGHAM 1731-1809 LONDON)
A capriccio
capriccio landscape with a waterfall,
herdsmen and cattle
watercolour and bodycolour
11 x 15¡ in. (27.9 x 39 cm.)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
174
*174A
THOMAS WALMSLEY (1763-1806)
A capriccio
capriccio mountain landscape with
a torrent
signed and dated ‘T Walmsley/1800’
(centre right, on the rock face)
pencil, watercolour and bodycolour
19 x 27 in. (48.2 x 68.6 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
174A
175
CIRCLE OF PAUL SANDBY, R.A.
(NOTTINGHAM 1731-1809 LONDON)
An angler on a river bank with cattle;
and A man seated by a tree with cattle
by a river
pencil, watercolour and bodycolour, circular
7 in. (17.8 cm.) diam.
diam.
a pair (2)
£800-1,200 $1,300-1,900
Ç1,100-1,500
175
88
176
JOHN ‘WARWICK’ SMITH, O.W.S.
(CUMBERLAND 1749-1831 LONDON)
View of a bridge over the River Trient,
Trient, near Chamonix,
on the French-Swiss border
12 x 17º in. (30.5 x 43.8 cm.)
£3,000-5,000 $4,900-8,000
Ç
3,900-6,300
PROVENANCE:
177
176
LIEUTENANT-COLONELL WILLIAM READ (KENT 1780-1827 MADRAS)
LIEUTENANT-COLONE
A collection of fourteen views of Ireland including; Narrow-Water
Narrow-Water
Castle, near Newry, Co. Down; View on the shore of Narrow-Water
Narrow-Water,,
Co. Down; View of Buncrana, Lough Swilly, Co. Donegal; View on
the east shore of Lough Swilly,
Swilly, behind the Isle
I sle of Inch, Co. Donegal;
View near Ballyshannon, Co. Donegal; View of Londonderry; View of
Dunluce Castle, Co. Antrim; View of the Giants’ Causeway,
Causeway, Co. Antrim
(illustrated); View of Earl’s Gift Castle, near Dunamanagh, Co. Tyrone;
View of Strabane, Co. Tyrone; View of the Bridge at Dunamanagh,
Co. Tyrone; The Gap at Dunamanagh, Co. Tyrone; View of a Castle
the majority inscribed with titles and dated variously
v ariously ‘1815-1816’
pencil and watercolour, eight on two joined sheets, two squared for transfer
6w x 20º in. (17 x 51.5 cm.); and smaller (14)
£4,000-6,000 $6,500-9,600
Ç5,100-7,600
Read had a distinguished military career, joining as an Ensign of the Royal Staff Corps
in 1800 he was promoted to Lieutenant-Colonel and deputy Quatermaster General
by 1824 when he was posted to Madras. He was awarded the Peninsular Medal and
the Naval General Service medal. He also painted landscape views and examples of
his panoramic watercolours can be seen in the National Army Museum. The present
collection of views suggest that he went on an extensive tour of Ulster recording
notable landmarks such as the Giants Causeway and Dunluce Castle. 177
178
WILLIAM PARS, A.R.A. (LONDON 1742-1782 ROME)
A view of Mogadino on Lake Maggiore, Switzerland
Switzerland
pencil, pen and grey ink and watercolour on the artist’s wash-line mount
6º x 8¡ in. (15.9 x 21.2 cm.)
£3,000-5,000 $4,900-8,000
Ç3,900-6,300
PROVENANCE:
Edward Basil Jupp; Christie’s, London, 6 May 1884, part of lot 230 (76 gns to Waller).
Thomas William Waller.
Elizabeth Stauffer Moore and by descent to
Elizabeth Richardson Simmons; Christie’s, London, 12 November 1968, lot 139
(550 gns to Spink).
with Leger Galleries, London, May 1975.
with Colnaghi’s, London.
In the company of his patron Lord Palmerston, Pars' 1770 tour from Switzerland
to Italy was the first to record the dramatic scenery of the continent. Artists such
as J. R. Cozens and Francis Towne were to follow his example. On Pars’ return, he
exhibited eight works at the Royal Academy, works which Binyon called 'the earliest
revelation of the high Alps to the untravelled English'. 178
89
179
The Benedictine Abbey of La Trinità, Cava dei Tirreni, Salerno, Italy
signed and numbered ‘No 12-/John Smith’ (on the artist’s label attached
to the backboard) and with a further number and inscription ‘2/16/JHD’
(on a label attached to the backboard)
pencil and watercolour with scratching out, on the original wash-line
mount, extended, along the upper and lower margins
11w x 1717¬ in. (30.2 x 44.7 cm.) (2)
£4,000-6,000 $6,500-9,600
Ç5,100-7,600
A similar view previously mounted in an album is in the Oppé Collection,

Tate, London and another album at the Manchester City Art Gallery
contains views of ‘La Cava’. The present work is larger than the usual
album size and is possiibly
possiibly no. 12 of the nineteen watercolours
watercolours which
179
were Smith’s contribution to his first Old Watercolour Society exhibition
in 1807.
180
Tivoli, near Rome, with a woman and boy fording the
River Aniene
signed, inscribed and dated ‘Tivoli. near Rome./J W Smyth 1796.’ ( verso)
pencil and watercolour on the original wash-line mount, overmounted
12º x 17
17q in. (31.1 x 44.5 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
PROVENANCE:
Mrs E.A. Isaacs; Christie’s, London, 2 March 1971, lot 36.

with John Mitchell, London.
180
181
ANTHONY VANDYKE COPLEY FIELDING, P.O.W.S.
(SOWERBY BRIDGE 1787-1855 WORTHING)
In the Highlands, Scotland
signed and indistinctly dated ‘Copley Fielding 1842 [?]’ (lower left)
pencil and watercolour with gum arabic and with scratching out
7º x 10º in. (18.4 x 26 cm.)
£2,500-3,500 $4,100-5,600
Ç3,200-4,400
PROVENANCE:
with Agnew’s, London, 1982.

Anonymous sale; Christie’s, London, 9 December 2010, lot 1207.
181
90
182
WILLIAM CALLOW, R.W.S.
(LONDON 1812-1908 GREAT MISSENDEN)
Figures in an extensive river landscape
signed ‘Wm Callow.’ (lower right)
9 x 13 in. (23.8 x 33 cm.)
£1,500-2,000 $2,500-3,200
Ç
2,000-2,500
183 182
WILLIAM HAVELL (READING 1782-1857 LONDON)
A mountainous river landscape
landscape with a rainbow
watercolour with scratching out
5 x 7q in. (12.7 x 19.2 cm.)
£1,000-1,500 $1,700-2,400
Ç1,300-1,900
PROVENANCE:
with Spink, London.
EXHIBITED:
Reading, Reading City Museum and Art Gallery; William Havell Bicentenary
Exhibition, 1982, no. 18.
LITERATURE:
F. Owens, William Havell 1782-1857 , Reading Museum and Art Gallery,

1981, p. 22.
The Reading exhibition catalogue notes the work’s similarity to an oil sketch
on paper of Skelwith Force (no. 17 in the 1982 exhibition) and suggests that
it may depict the same scene and was executed on the same trip. This trip
was recorded in the diary of Jessy Harden on 11 August 1807: ‘We had visit
from two artists introduced by William (W.H) Reinagle and Havell. We all 183
walked to Skelwith and roamed by the bridge’.
184
THOMAS MILES RICHARDSON, JUN., R .W.S.
(NEWCASTLE-UPON-TYNE 1813-1890)
Sunset near Bewcastle, Cumberland
signed ‘T.M. Richardson’ (lower left)
pencil and watercolour heightened with touches of bodycolour and with
scratching out
8º x 12q in. (21 x 31.8 cm.)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
PROVENANCE:
with Maas Gallery, London, 1965.

Anonymous sale; Christie’s, London, 9 December 2010, lot 1204.
184
91
185
DAVID COX, SEN., O.W.S.
(BIRMINGHAM 1783-1859)
Tewkesbury Abbey, Gloucestershire from the
River Avon with an angler in the foreground
with inscription ‘Near Tewkesbury on the Avon.
Gloucestershire’ (verso) and with a further indistinct
inscription ‘Tewkesbury/G[loucestershire]’ (verso)
10º x 15º in. (26 x 38.6 cm.)
£3,000-5,000 $4,900-8,000
Ç3,900-6,300
PROVENANCE:
Sir John Clermont Witt (L. 646a).

with Clarges Gallery, London.
For a note on the Sir John Clermont Witt, see lot 171.
We are grateful to Timothy Wilcox for dating this

185
drawing to circa 1810-15.
186
A view of a town on a river,
river, traditionally
identified as Stoke Bridge, Ipswich
pencil and watercolour heightened with touches of white
7 x 10q in. (17.8 x 26.6 cm.)
£3,000-5,000 $4,900-8,000
Ç3,900-6,300
PROVENANCE:
Traditionally identified as Stoke Bridge, Ipswich and

there is a similarity between the overall shape and
disposition of the buildings surrounding the bridge,
when comparing this work to two works by the 19th
Century painter, Isaac Shepherd, in the Colchester
186 and Ipswich Museums, however the bridge appears to
be
no rather different
evidence in Cox’s
that Cox watercolour
ever visited and there is
East Anglia.
We are grateful to Timothy Wilcox for confirming

the attribution of the present watercolour.
187
Cutting ling
pencil and watercolour heightened with touches of
white on oatmeal paper
10¬ x 14¿ in. (27 x 34.7 cm.)
£3,000-5,000 $4,900-8,000
Ç3,900-6,300
PROVENANCE:
W. Stone Ellis, Streatham.

with The Fine Art Society, London, May 1970, no. 10062.
187
92
188
PETER DE WINT, O.W.S. (STONE,
STAFFORDSHIRE 1784-1849 LONDON)
Llandaff Cathedral, Wales
numbered ‘258’ (verso, according to the Agnew’s label)
pencil and watercolour with scratching out, watermark
‘WHATMAN 1829’
12w x 19q in. (32.7 x 49.5 cm.)
£5,000-8,000 $8,100-13,000
Ç6,400-10,000
PROVENANCE:
John Vaughan, 1848.

with Agnew’s, London, 1918, where bought by
Walter A. Barrett.
with Andrew Wyld, London.
EXHIBITED:
London, Old Watercolour Society, 1848, no. 258.

London, Agnew’s English Watercolours and Drawings, 188
1990, no. 60 (as A Ruined
Ruined Abbey
Abbey near the Banks of a
River, Mountains beyond ).
).
London, Andrew Wyld, Peter de Wint 1874 - 1849,
Colourist and countryman, 2005, no. 28.
De Wint first visited Glamorgan in 1824. In the present

watercolour, De Wint has modified the topography
surrounding the ruins to include mountains, which in
reality are not there. Furthermore, as Andrew Wyld
noted in his catalogue, the artist has ‘placed a tree to
obscure the rather incongruous classical temple built
in the 1740s by John Wood of Bath within the ruined
nave’ (loc.cit .).
.). De Wint was seeking to emphasise
the romantic ruin, particularly as by 1848, extensive
building work was underway to restore the cathedral.
189
JOHN VARLEY, O.W.S. (LONDON 1778-1842)
Thomson’s Tomb on the Thames
signed and dated ‘J. Varley 1824’ (lower right)
189
pencil and watercolour with scratching out
6 x 9¿ in. (15.2 x 23.1 cm.)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
PROVENANCE:

Anonymous sale; Sotheby’s, London, 15 March 1990,
lot 129, where purchased by Mrs T.S. Eliot.
190
PETER DE WINT, O.W.S. (STONE,
STAFFORDSHIRE 1784-1849 LONDON)
A landscape with a herdswoman and cattle
watercolour
7 x 11q in. (17.7 x 29.2 cm.)
£1,500-2,000
$2,500-3,200
Ç2,000-2,500
PROVENANCE:
with Agnew s, London.
190
93
191
WILLIAM CALLOW, R.W.S.
Entrance to the port of Le Havre, France EXHIBITED:
signed and dated ‘William Callow 1898’ (lower right) London, Society of Painters in Watercolour, Summer 1898, no. 81.
LITERATURE:
18q x 25 in. (47 x 63.5 cm.)
H.M. Cundall, ed., William Callow, R.W.S. F.R.G.S. An Autobiography ,
£3,000-5,000 $4,900-8,000 London, 1908, pp. 89, no. 167, illustrated facing p. 88 (in colour).
Ç3,900-6,300 J. Reynolds, William Callow , London, 1980, p. 225.
PROVENANCE: Callow visited Le Havre on numerous occasions from 1835. Callow stated
Mrs. Callow. in his autobiography, that ‘In 1843 I exhibited a painting of the ‘Port of
Anonymous sale; Sotheby’s, London 14 March 1962, lot 22. Havre at the Old Society. It was purchased by Mr Prinsep as a gift for a
C.E. Hanscombe and by descent in the family. distinguished Indian, Dwarkanath Tagore, as it represented the place from
which he embarked for England...[this drawing was] subsequently sent
to him in India’ (Cundall, op. cit , p. 89). It is not known how similar the
earlier watercolour is to the present one exhibited fifty-five years later but
the present watercolour remained with the artist’s family upon his death.
94
192
WILLIAM CALLOW, R.W.S. LITERATURE:
(LONDON 1812-1908 GREAT MISSENDEN) H.M. Cundall, William Callow R.W.S. F.R.G.S. An Autobiography , London,
By the Venetian Column, Piazza delle Erbe, Verona, Italy 1908, p. 157.
J. Reynolds, William Callow , London, 1980, p. 215.
signed and dated ‘William/Callow/1867,’
‘William/Callow/1867,’ (lower right) and with inscription ‘
Market Place at Verona’ (on the reverse) and numbered ‘No 2’ [crossed out] Callow undertook his first visit to Italy including Verona, in the autumn
and ‘No 13’ (verso) of 1841. He described Verona as having ‘whole streets of fine palaces,
pencil and watercolour, heightened with touches of bodycolour intermingled with Roman and other antiquities’. Following his second trip
27q x 20º in. (69.8 x 51.4 cm.) of 1846 he wrote, ‘to my mind it ranks next to Venice in point of interest.
£8,000-12,000

$13,000-19,000 The
Ç11,000-15,000
market-place was a great source of interest to us; Italian ladies with
black veils wandered about and making purchases at the stalls
s talls covered
with huge white umbrellas made an animated scene’ ( op. cit ., ., p. 98). The
EXHIBITED: Piazza della Erbe is Roman in origin and originally served as the town’s
London, Society of Painters in Watercolour, Summer 1867, no. 171. forum, today it is still at the heart of the city.
95
193
WILLIAM CALLOW, R.W.S. (LONDON 1812-1908 GREAT MISSENDEN)
On the Riva degli Schiavoni, Venice
signed and dated ‘Wm. Callow/1854’ (lower left)
pencil and watercolour heightened with touches of bodycolour
13æ x 19¬ in. (35 x 49.9 cm.)
£10,000-15,000 $17,000-24,000
Ç13,000-19,000
96
194
LITERATURE:
WILLIAM CALLOW, R.W.S. H.M. Cundall ed., William Callow R.W.S. F.R.G.S. An Autobiography ,
Entrance to the Port of Marseilles, France London, 1908, p. 149.
J. Reynolds, William Callow , London, 1980, pp. 149, 209.
signed and indistinctly dated ‘W. Callow 18[38]’ (lower right)
pencil and watercolour heightened with bodycolour and with scratching out During the summer of 1836, Callow undertook a walking tour through
18æ x 25º in. (47.6 x 64.2 cm.) Southern France, which he recorded in detail in his dairy. He arrived in
£12,000-18,000 $20,000-29,000 Marseilles via steamer from Arles on 24 July and recorded the fine view
Ç16,000-23,000 that this method of travel afforded of the port, with the mountains
behind. It was probably this arrival which inspired the present watercolour.
PROVENANCE:
with Walker Galleries, London, 1932. There are at least two other similar views of the port of Marseilles. In
P. Dangar, Armidale, New South Wales; Christie’s, London, about 1837, he was asked to produce two watercolours for lottery prizes
9 November 1971, lot. 57. for the Société des Amis des Arts and one of these was a view of the
‘Port of Marseilles’, which was won
w on by King Louis-Philippe. A further
EXHIBITED: watercolour of the same subject was exhibited at the ‘Royal Society of
London, Old Watercolour Society, 1838. Painters in Watercolour’ in 1884 and is now in Towneley Hall Art Gallery
Walker’s Galleries, 28th Annual exhibition of Early English Watercolours, and Museums, Burnley.
1932, no. 12.
97
*195
JOHN SELL COTMAN
(NORWICH 1782-1842 LONDON)
A continen
continental
tal town, traditi
traditionally
onally called Toledo, Spain
pencil, pen and brown ink and watercolour
9q x 13º in. (24.1 x 33.6 cm.)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
LITERATURE:
C. E. Langston, Africa, ‘Rare Pictures found in South Africa’, June 1938.

In 1810 Cotman began producing architectural etchings and the strong,
linear quality of the present watercolour clearly derives from this practice.
Although Cotman made various tours to France in search of material for
publication, (he made three tours to Normandy in 1817, 1818 and 1820)
he never visited Spain. However, his friend and former pupil, the Rev. James
195 Bulwer, who travelled in Spain, Portugal and Madeira,
Madeira, allowed Cotman
the use of his sketchbooks. At least two other views similar to this one have
been described as being of Toledo; one illustrated in G. Holme, The Water-
colour Drawings of John Sell Cotman, London, 1923, pl. 18 and a similar
view appeared on the art market in 2005.
196
EDWARD WILLIAM COOKE, R.A. (LONDON 1811-1880 KENT)
Boats moored at Dieppe Harbour: low tide
signed ‘E.W. Cooke. ARA.’ (lower left)
pencil and watercolour with scratching out
6¬ x 10 in. (16.2 x 25.4 cm.)
£1,200-1,800 $2,000-2,900
Ç1,600-2,300
196
197
WILLIAM WYLD (LONDON 1806-1889 PARIS)
A château by a river; a Capriccio
signed with initials ‘WW’ (lower right)
pencil and watercolour heightened with bodycolour and with scratching out
5q x 9æ in. (14 x 24.7 cm.)
£800-1,200 $1,300-1,900
Ç1,100-1,500
PROVENANCE:
Anonymous sale; Sotheby’s, London, 11 November 1993, lot 204.
A pupil of Francia and friend of Bonington, Wyld lived mainly in Paris, but
exhibited in London at the New Society of Painters in Watercolours.
197
198
EDWARD LEAR (LONDON 1812-1888 SAN REMO, ITALY)
Girgente, Sicily Lear first visited Sicily in the spring of 1842 returning in the early summer of
inscribed and dated ‘Girgente June 1. 1847’ (lower left) and numbered 1847. He caught the steamer to Palermo, where he was met by John Proby,
‘(82)’ (lower right) and further inscribed with colour notes heir to the Earl of Carysfort, who wished to learn sketching from Lear.
On 11 May they set out together, travelling all round the island, visiting
pencil, pen and brown ink, blue and ochre wash, on buff paper Syracuse and Mount Etna. Of Girgente Lear wrote to his sister Ann ‘Nothing
12¬ x 20q in. (32.2 x 50.2 cm.)
on earth can be so beautiful as Girgente with its 6 temples – I speak of the
£7,000-10,000 $12,000-16,000 old town and the flowers and birds are beyond imagination lovely’.
Ç8,900-13,000
Franklin Lushington (1823-1901)
(1823-1901) and Lear met on a voyage to Malta
PROVENANCE: in the spring of 1849. They formed a close and life-long friendship.
Sir Franklin Lushington. Lushington was the executor of Lear’s estate; Lear left all his papers and
with The Ruskin Gallery, Stratford-on-Avon. paintings to him, and the proceeds from the sale of the Villa Tennyson
Mrs T.S. Eliot. and its contents went to Franklin’s eldest daughter Louisa Gertrude.
199
EDWARD LEAR (LONDON 1812-1888 SAN REMO, ITALY)
View of the aqueduct, Cairo, Egypt Lear visited Egypt four times and the present view dates to his first trip
inscribed and dated ‘CAIRO./January. 1849’ (lower left) and numbered ‘18’ when after nine months of travelling through the eastern Mediterranean,
(lower right) and extensively inscribed with colour notes he arrived in Cairo on 6 January 1849. On February 6 he and his friend
pencil, pen and brown ink and watercolour John Cross set off on camels from Cairo to Sinai and Palestine. They spent
8 x 20q in. (20.3 x 52 cm.) three nights at the monastery at Sinai, but Lear took a fever and was
forced to give up the trip and convalesce at Suez.
£6,000-8,000 $9,700-13,000
Ç7,700-10,000
99
200
SIR EDWIN HENRY LANDSEER, R.A.
(LONDON 1802-1873)
Gilbert Stuart Newton, R.A. (1794-1835), full-length in A pupil of his uncle, the American painter, Gilbert Stuart (1755-1828),
a frock coat, a double sided sheet of studies; and A study of Gilbert Stuart Newton moved
moved to Europe in 1817, initially visiting Italy
Italy
Johnny Purves (d. 1867) of Purves Hall, Berwickshire and Paris before arriving in London. He was elected a Royal Academician
in 1832, but by 1834 he began to lose his mind and was admitted to
the first numbered ‘23’ (centre, verso); the second inscribed and numbered
an asylum in Chelsea, where he died the following year. Landseer and
‘Glen Feshee ‘’devil’’ and ‘No 33’ (upper right) and further inscribed ‘Johnny
Newton appear to have been friends, and had a number of close friends
Purves’ (verso)
in common.
pen and brown ink; pen and brown and purple ink on paper, dry stamped
‘Invergarry’
Colonel John Home Purves (c .1816-1867)
.1816-1867) was Equerry and Comptroller of
7 x 4 in. (17.7 x 10.1 cm.); and 1w x 2q in. (4.7 x 6.4 cm.) (2) the Household to HRH the Duchess of Cambridge (1797-1889). The stamp
£1,200-1,800 $2,000-2,900 ‘Invergarry’ on the sheet refers to a part of the Ellice’s considerable estate
Ç1,600-2,300 and the drawing formed part of a group of studies made by Landseer when
he was staying with Edward Ellice at his hunting lodge, Glenquoich Lodge.
PROVENANCE:
(1) with Lowell Libson, London, where

w here purchased by the present owner.
(2) Edward Ellice (1771-1863) and by descent to
Russell Ellice; Sotheby’s, London, 24 June 1971, lot 38 (six in the lot).
with Martyn Gregory, London, where purchased by the present owner, 2006.
100
201
*202
SIR JOHN EVERETT MILLAIS, P.R.A., R.W.S . SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S.
(SOUTHAMPTON 1829-1896 LONDON) (BIRMINGHAM 1833-1898 LONDON)
Studies for ‘North West Passage’, 1874
‘Come dressed as you are’: Burne-Jones’ response to a
inscribed ‘artic./where the ship broke up’ (centre) and with inscription dinner invitation
‘Studies for ‘’The North-west Passage.1874’ (lower left)
signed with initials and inscribed ‘’Come Dressed as you are’’/Dear Mrs
pencil
Moscheles/Gladly, on Saturday/but really in These clothes?/yours very/truly/
10 x 7 in. (25.4 x 17.7 cm.) EBJ’ and with inscription ‘E. Burne Jones’ (lower left) on paper headed ‘The
£800-1,200 $1,300-1,900 Grange, West Kensington, W.’ (upper right)
Ç1,100-1,500 pencil, pen and brown ink, fragmentary watermark ‘Antien...’
5º x 3q in. (13.3 x 8.8 cm.)
PROVENANCE:
Sir Francis Watson, and by descent to the present owner.

£800-1,200 $1,300-1,900
Ç1,100-1,500
EXHIBITED:
London, Royal Academy of Arts, Millais Exhibition, 1967, no. 106, lent by Felix Moscheles was named after his godfather, the composer, Felix
Mr and Mrs Watson. Mendelssohn (1809 –1847). An ardent pacifist, Moscheles was also an
artist as was his wife, Margaret. They often held soireés at their home
This drawing offers an important insight into alternative compositions in Cadogan Gardens and mixed with the artistic circles of the day. Felix
considered by Millais for his sombre painting, the North West Passage was close friends with the writer and cartoonist George du Maurier (1834
(Tate, London). In the drawing the old mariner points to a globe ‘where – 1896) and wrote a series of reminiscences about their friendship, In
the ship broke up’ which refers to Sir John Franklin’s fateful voyage to find Bohemia with du Maurier , 1886.
a sea route to the East via the Arctic in 1845. The globe does not appear
in the finished painting. The lower sketch suggests that Millais considered We are grateful to John Christian for his help in preparing this
placing two figures beside the mariner while the finished painting depicts catalogue entry.
only one figure, a young girl.
We are grateful to Malcolm Warner, Executive Director of the Laguna Art

Museum for his help in preparing this catalogue entry.
101
203
JOHN MELHUISH STRUDWICK (LONDON 1849-1937)
Study of figures in an interior (recto); with a subsidiary architectural
studies (verso);
(verso); and Study of two seated figures with a child (recto);
and subsidiary studies of trees and branches (verso)
pencil
9w x 7æ in. (25.1 x 19.7 cm.); 8 æ x 9æ in. (22.2 x 24.6 cm.) (2)
£1,500-2,000 $2,500-3,200
Ç2,000-2,500
PROVENANCE:
Both with Richard Feigen Gallery, Chicago as by Sir Edward Burne-Jones.
EXHIBITED:
(1) Santa Barbara, The Santa Barbara Museum of Art , January-March 1982, as by
Sir Edward Burne-Jones.
204
STUDIO OF SIR EDWARD COLEY BURNE-JONES, BT., A.R.A.,
R.W.S. (BIRMINGHAM 1833-1898 LONDON)
Studies for the Apple Orchard in ‘Arthur in Avalon’
203
the first inscribed in three places ‘TOP’ (variously)
pencil
16¿ x 22q in. (41 x 57.2 cm.); 12 º x 18 in. (31 x 45.7 cm.) (2)
£2,000-3,000 $3,300-4,800
Ç2,600-3,800
Burne-Jones’ celebrated painting, The Sleep of King Arthur in Avalon (Museo de

Arte, Ponce, Puerto Rico) is his largest and final painting. It was begun in 1881
as a mural for the library at Naworth Castle, the Cumbrian home of his friend
and patron George Howard, 9th Earl of Carlisle (1843-1911). It is possible that
the present drawings were executed by Burne-Jones’ studio assistant, Thomas
Matthew Rooke (1842-1942). Rooke trained at South Kensington and the Royal
Academy Schools before being taken on as Burne-Jones’s studio assistant in
1869 where he continued to work until his master’s death in 1898. Rooke was
a skilled artist in his own right and the fine detail of these drawings is typical of
his hand.
204 We are grateful to John Christian for his help in preparing this catalogue entry.
205
SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S.
(BIRMINGHAM 1833-1898 LONDON)
A Stu
Study
dy for 'St Geo
George
rge and the Dra
Dragon
gon':
': 'The ret
return
urn of the Pri
Prince
ncess'
ss'
black chalk heightened with white, on brown paper
13 x 11æ in. (33 x 29.7 cm.)
£2,000-4,000 $3,300-6,500
Ç2,600-5,100
PROVENANCE:
Anonymous sale; Christie’s, London, 20 January 1970, lot 54.
This study relates to the last painting in a series of seven illustrating the legend
of St George. The finished oil, Saint George and the Dragon: The return of the
Princess (Bristol City Art Gallery) shows Princess Sabra walking hand in hand with
St George while female musicians form a procession around them. The paintings
were commissioned in 1865 by Myles Birket Foster (1825-1899) to decorate his
home at Witley, Surrey. Burne-Jones made a preliminary set of highly finished
pencil drawings, six of which are at the British Museum and there are more than
sixty preparatory drawings in the Birmingham Museum and Art Gallery collection.
We are grateful to John Christian for his help in preparing this catalogue entry.
205
102
206 207
JAMES JACQUES JOSEPH TISSOT ALPHONSE LEGROS (DIJON 1837-1911 WATFORD)
(NANTES 1836-1906 CHENECEY-BUILLON) Portrait of a young man
Portrait of Miss Golly Wilson, half-length, in profile to the left signed and dated ‘A. Legros/1889 ’ (upper right)
inscribed ‘Miss Golly Wilson’ (upper left) silverpoint on cream prepared paper
pencil 12¡ x 9q in. (32.3 x 24.3 cm.)
9 x 6æ in. (22.9 x 17.2 cm.)
£1,000-1,500 $1,700-2,400 £800-1,200 $1,300-1,900
Ç1,300-1,900 Ç1,100-1,500
PROVENANCE: Legros moved from France to London in 1863 where he found success as
Sir Francis Watson, and by descent to the present owner. an etcher, sculptor and painter. In 1876 he became Professor of Fine Art
at the Slade School. With artists such as William Holman Hunt, Legros was
This portrait can be dated to circa 1869-79 on account of the dress part of a revival of the silverpoint technique which allowed for a clarity of
and hat. The sitter is not otherwise known but Tissot often drew pencil line evident in this striking portrait. Several other silverpoint drawings by
sketches for his friends that were independent studies in their own right. Legros are held in the National Portrait Gallery, London.
For another example of a lively pencil portrait see K. Matyjaszkiewicz,
James Tissot , exh. cat. Barbican Art Gallery, 1984, no. 54, p. 109.
We are grateful to Krystyna Matyjaszkiewicz for her help in preparing

this catalogue entry.
103
*208
FLORENCE CLAXTON (FL. 1859-1879)
The Choice of Paris - An Idyll Florence and her sister Adelaide were the daughters of Marshall Claxton,
signed ‘Florence Claxton’ (lower left) and inscribed ‘A COCK WAS a minor painter of historical and biblical subjects. Florence exhibited at the
SCRATCHING UP THE STRAW IN A FARMYARD HE HIT UPON A JEWEL/HO! Royal Academy and elsewhere and was also a prolific illustrator of books
HE SAID HE ‘’YOU’RE A FINE THING NO DOUBT TO THOSE WHO PRIZE YOU and periodicals, much of her work appearing in a weekly paper called
BUT GIVE ME/A BARLEY- CORN BEFORE ALL THE PEARLS IN THE WORLD’’. London Society .
ESOP [sic]’ (upper left) and ‘THE CHOICE OF PARIS. (An Idyll)’’ (on the
Claxton based her satire on one of the most familiar subjects in classical
mount) and further inscribed ‘The Choice of Paris. An Idyll/Florence Claxton’
mythology, the beauty contest in which the shepherd Paris awards a golden
(on the artist’s label on the backboard)
apple, to Venus, thus arousing the fury of her rivals, Juno and Minerva,
pencil and watercolour with gum arabic, heightened with touches of
and precipitating the Trojan War. In a room on the left, John Everett
bodycolour and gold on artist’s board
Millais, is seen presenting an apple to a grotesquely scrawny, red-haired
9w x 12q in. (25.1 x 31.7 cm.)
Pre-Raphaelite ‘stunner’. Behind him a second painter examines the feet
£5,000-8,000 $8,100-13,000 of another, equally hideous female model, while two more gaze at her
Ç6,400-10,000 with rapt adoration. References to Ruskin abound; the room is replete with
details suggestive of Holman Hunt’s Awak
Awakening
ening Conscie nce; portraits of
Conscience
PROVENANCE: Raphael, Van Dyck and Reynolds are hung with their faces to the wall; and
with Agnew’s, London, where purchased by William E. Fredeman. an apostle from one of the Raphael Cartoons is shown the door.
The original, oil version of this well-known satire on the Pre-Raphaelites was The ivy-covered wall separating the interior from the landscape is of a
exhibited at the Portland Gallery in the spring of 1860 and was subsequently type that features in many Pre-Raphaelite paintings, a reference which is
engraved, appearing in the Illustrated London News on 2 June. There emphasised by the depiction of an artist carefully studying the brickwork
are also at least four watercolour versions all differing in detail from through opera glasses. The landscape contains figures from Pre-Raphaelite
each other and from the oil. Twelve years since the formation of the paintings exhibited during the 1850s: Millais’ Blind Girl, Sir Isumbras, Vale
Pre-Raphaelite Brotherhood
Brotherhood in 1848, the movement still aroused intense of Rest and Spring , Holman Hunt’s Scapegoat , John Brett’s Stonebreaker ,
controversy and was the subject of jokes and ridicule in the press, such as W. L. Windus’s Burd Helen, and others. The blossom seen at the far right
Frederick Sandys’ celebrated engraving The Nightmare (1857) and George is a reference to Ruskin’s injunction to artists to study this as it appears
du Maurier’s Legend of Camelot , published in Punch in 1866. against a blue spring sky, made in his Academy Notes
Notes of 1858.
104
209
GEORGE RICHMOND, R.A. (LONDON 1809-1896) LITERATURE:
Portrait of the Hon. Norman Lister

Lister Melville (1839-1923), R. Lister, George Richmond , London, 1981, p. 166, no. 65.
full-length, with cricket bat and stumps
The present watercolour is arguably one of Richmond’s most charming
signed and dated ‘Geo. Richmond delt 1845.’ (lower left) and inscribed child portraits. Norman Lister Melville waswas the 4th child of John Thornton
‘Norman Lister Melville/Aged 7/March 2nd ....1846 [?]/I am sorry to be Leslie Melville and his 2nd wife Sophia Thornton. John and Sophia
obliged/to leave home before you return/this coat for Norman/.../yours Melville, later 11th Earl and Countess of Leven and Melville, were close
most truly obliged/Geo Rich [mond]’ (on a label attached to the backboard) friends of the Richmonds. Richmond painted fifteen portraits of members
and with inscription ‘for Norman L. Melville’ (on a label attached to the of the Melville family between 1835 and1873. Norman Melville married
backboard) Georgiana Bull, daughter of Captain William Shirley Bull on 4 December
pencil, black chalk, watercolour and bodycolour, with scratching out, 1861. Lister, loc.cit., records a portrait of Mr Norman Melville, executed
arched in 1845.
26¿ x 15¡ in. (66.4 x 39 cm.)
£5,000-8,000 $8,100-13,000
Ç6,400-10,000
END OF SALE
105
Index
A D H R
Agricola, C., 73 Dandini, C., 21 Havell, W., 183 Ratte, 92
Amaury-Duval, E.-E., 122 De Wint, P., 188, 190 Haydon, B., 149 Read, W., 177
Angelini, C., 115 Delafosse, J.-C., 98 Hengstenburgh, H., 71 Renesse, C. van, 55
Ango, J.-R., 105 Derobe, 102 Himpel, A., 63 Reni, G., 16
Antoine, J.-D., 99 Despiau, C., 147 Hugo, V., 133 Ribot, T., 136
Auguste, H., 112 Didier, J., 132 Richardson, J., 155
I
Diziani, G., 43 Richardson, T., 184
B Italian School, 2, 10, 24, 31,
Doré, G., 141, 142, 143, Richmond, G., 209
Bandinelli, B., 4 32, 33, 39
144, 145 Roghman, G., 56
Barbieri, G. F., 18
Downman, J., 163 K Romano, G., 1
Beerstraten, J.A., 62
Dubois, G., 68 Kaisermann, F., 108 Rosselli, M., 3
Bélanger, L., 94, 96
Ducros, A.-L.-R., 107 Kern, A., 36, 37 Rowlandson, T., 164
Bergognon, A., 100
Dumont, A.-A., 128 Rugendas, G.P., 77
Berjon, A., 124 L
Dusart, C., 57
Bison, G.B., 46 La Fargue, K., 54 S
Bisschop, J. de, 58, 59, 60, E Lancret, N., 83 Saftleven, C., 52, 53
61 Eisen, C.-D.-J., 89 Landseer, Sir E.H., 200 Saftleven, H., 64
Blarenberghe, H.-J. van, 97 English School, 157 Langerock, H., 137 Saint-Aubin, G. de, 93
Bloemen, P. van, 76 Lawrence, T., 151, 152 Sandby, P., 156, 174, 175
F
Bocion, F.-L.-D., 148 Lear, E., 198, 199, 200 Schaller, L., 114
Feitama, S., 67
Bolognese School, 12 Lecomte, P.-E., 130 Smith, J.W., 176, 179, 180
Florentine School, 9
Bonvin, F., 135 Legros, A., 209 Spanish School, 13
Fontaine, P.-L.-F., 120
Bronkhorst, J., 72 Lélu, P., 95 Strudwick, J., 205
Fontebasso, F., 42
Burne-Jones, E., 202, 204, 205 Lievens, J., 66 Swiss School, 118
Fra Angelico, 7
Buytewech, W. P., 75 Linck, J. A., 116, 117
French School, 34, 81, 84, T
Lombard School, 5
C 85, 90, 91, 101, 103, 125, Tiepolo, G.D., 45
Luti, B., 27, 28
Callow, W., 182, 191, 192, 126, 127 Tissot. J.J.J., 206
193, 194 M Turner, J. & Girtin, T., 173
G
Cameron, C., 161 Maratti, C., 25
Gainsborough, T., 159, 162 V
Canal, G. B., 40 Martin, J., 160
Gandolfi, U., 29, 30 van Honthorst, G., 14
Cantarini, S., 17, 19, 20 Gardner, D., 153 Menzel, A. F., 139 Varley, J., 189
Carlevarijs, L., 48 Merli, A., 11
German School, 51, 113 Vasari, G., 6
Carpeaux, J.-B., 146 Mignard, P., 79
Giraud, P.-F.-E., 121 Veen, O. van, 50
Cats, J., 69, 70 Millais, J.E., 201
Girtin, T., 171, 172 Velde, W. van de, 65
Chazal, A., 120
Granet, F.-M., 119 N Venetian School, 38, 41, 44
Clairin, G.-J.-V., 129
Graziani, E., 22 Nicolle, V.-J., 106 Vernet, A.-C.H., 123
Clausse, G., 131
Greuze, J.-B., 80, 88 Northern School, 8
Claxton, F., 208 W
Grimaldi, G. F., 23
Constable, J., 169 O Walmsley, T., 174A
Guardi, G., 47
Cooke, E., 196 Orsoni, G., 35 Wheatley, F., 165, 166
Guercino, 18
Copley Fielding, A., 181 Oudry, J.-B., 86, 87 Wilton, J., 154
Corot, J.-B.C., 134 Wit, J. de, 74
P
Cotman, J., 195 Wyld, W., 197
Pars, W., 178
Courtois, J., 78 Percier, C., 110, 111 Z
Couture, T., 140 Pereda, A. de, 15
Cox, D., 185, 186, 187 Perlin, F., 104 Zuccarelli, F., 49
Crespi, G.M., 26 Pinelli, B., 109
Pippi, G., 1
Puvis de Chavannes, P., 138
106
Important Notices and Explanation of

Cataloguing Practice
IMPORTANT NOTICES PROPERTY INCORPORATING MATERIALS EXPLANATION OF
CHRISTIE’S INTEREST IN PROPERTY FROM ENDANGERED AND OTHER CATALOGUING PRACTICE

PROTECTED SPECIES
CONSIGNED
From FORChristie’s
time to time, AUCTION may offer a lot which Property made of or incorporating (irrespective Terms referred to in paragraph 2 are as follows:-
it owns in whole or in part. Such property is of percentage) endangered and other protected A work catalogued with the name(s) or recognised
identified in the catalogue with the symbol ∆ next to species of wildlife are marked with the symbol ~ designation of an artist, without any qualification, is,
its lot number. in the catalogue. Such material includes, among in our opinion, a work by the artist.
On occasion, Christie’s has a direct financial interest other things, ivory, tortoiseshell, crocodile skin,
In other cases, the following expressions, with the
in lots consigned for sale, which may include rhinoceros horn, whale bone and certain species of
following meanings are used:
guaranteeing a minimum price or making an coral, together with Brazilian rosewood. Prospective
advance to the consignor that is secured solely by purchasers are advised that several countries prohibit “Attributed to . . .”
consigned property. Where Christie’s holds such altogether the importation of property containing in our opinion probably a work by the artist in
financial interest on its own we identify such lots such materials, and that other countries require a whole or in part.
with the symbol º next to the lot number. permit (e.g., a CITES permit) from the relevant “Studio of . . .”
Where Christie’s has financed all or part of such regulatory agencies in the countries of exportation “Workshop of . . .”
interest through a third party the lots are id entified as well as importation. Accordingly, clients should
in the catalogue with the symbol ºX. When a in our opinion a work executed in the studio
familiarise
familiarise themselves with the relevant customs laws
third party agrees to finance all or part of Christie’s or workshop of the artist, possibly under his
and regulations prior to bidding on any property
interest in a lot, it takes on all or part of t he risk of supervision.
with wildlife material if they intend to import the
the lot not being sold, and will be remunerated in property into another country. Please
Please note that it is “Circle of . . .”
exchange for accepting this risk based on a fixe d fee the client’s responsibility to determine and satisfy the in our opinion a work of the period of the artist and
if the third party is the succe ssful bidder or on the requirements of any applicable laws or regulations showing his influence.
final hammer price in the event that the third party
applying to the export or import of property “Follower of . . .”
is not the successful bidder. The third party may also
containing
containin g endangered and other protected wildlife in our opinion a work executed in the artist’s st yle
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the material. containing
property The inability of a client
endanger
endangered to export
ed and or import
other protected but not necessarily by a pupil.
final purchase price. If the lot is not sold, the third “Manner of . . .”
wildlife material is not a basis for cancellation or
party may incur a loss.
loss. Please see http://www. in our opinion a work executed in the artist’s st yle
christies.com/financial-interest/ for a more detailed rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are but of a later date.
explanation of minimum price guarantees and third
party financing arrangements. marked as a convenience to our clients, but Christie’s “After . . .”
Where Christie’s has an ownership or financial does not accept liability for errors or for failing to in our opinion a copy (of any date) of a work of
interest in every lot in the catalogue, Christie’ s will mark lots containing protected or regulated species. the artist.
not designate each lot with a symbol, but will state RECENT CHANGES TO IMPORTS OF “Signed . . .”
its interest in the front of the catalogue. “Dated . . .”
ELEPHANT IVORY AND OTHER WILDLIFE
ALL DIMENSIONS ARE APPROXIMATE MATERIAL INTO THE USA “Inscribed . . .”
CONDITION The USA has recently changed its policy on the in our opinion the work has been signed/dated/
Christie’s catalogues include references to condition import of property made of or containing elephant inscribed by the artist. The ad dition of a question
only in descriptions of multiple works (such as ivory. Only Asian Elephant ivory may be imported mark indicates an element of doubt.
prints, books and wine). For all other property, into the USA, and imports must be accompanied by “With signature . . .”
only alterations or replacement components are DNA analysis and confirmation the object is more “With date . . .”
listed. Please contact the Specialist Department than 100 years old. We have not obtained a DNA “With inscription . . .”
for a condition report on a particular lot. The analysis on any lot prior to sale and cannot indicate in our opinion the signature/date/inscription/
nature of the lots sold in our auctions is such that whether the elephant ivory in a particular lot is stamp is by a hand other than that of the artist
they will rarely be in perfect condition, and are African or Asian elephant.
elephant. Buyers purchase these
likely, due to their nature and age, to show signs lots at their own risk and will be responsible for the
of wear and tear, damage, other imperfections, costs of obtaining any DNA analysis or other report
restoration or repair. Any reference to condition required in connection with their proposed import of
in a catalogue entry will not amount to a full such property into the USA.
description of condition. Condition reports are The USA is also currently requiring all imports of
usually available on request, and will supplement property made of or containing wildlife material
the catalogue description. In describing lots, our to be accompanied by a sc ientific confirmation of
staff assess the condition in a manner appropriate to species and in some cases an addi tional confirmation
the estimated value of the item and the nature of of age. We have not obtained such confirmations
the auction in which it is included. Any statement prior to sale (unless specifically indicated) and
as to the physical nature or condition of a lot, in a buyers will be responsible for the costs of any such
catalogue, condition report or otherwise, is given additional confirmations or opinions required for
honestly and with appropriate care. However, their proposed import into the USA.
Christie’s staff are not professional restorers or A buyer’s inability to export or import any lot
trained conservators and accordingly any such containing elephant ivory or other wildlife material
statement will not be exhaustive. We therefore
is not a basis for cancelling the purchase.
recommend that you always view property
personally, and, particularly in the case of any items POST 1950 FURNITURE
of significant value, that you instruct your own All items of post-1950 furniture included in this
restorer or other professional adviser to report to sale are items either not originally supplied for use
you in advance of bidd ing. in a private home or now offered solely as works
of art. These items may not comply with t he
provisions of the Furniture
(Safety) Regulations 1988 (asand Furnishings
amended (Fire)
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
30/09/14
(as appropriate) in order that they comply with the
provisions of the Regulations.
107
Buying at Christie’s
CONDITIONS OF SALE TELEPHONE BIDS Wine Auctions

Christie’s Conditions of Sale and Limited Warranty are set out Telephone bids cannot be accepted for lots estimated below ‡ This wine is in bond. You can choose to take the wine
later in this catalogue. Bidders are strongly encouraged to read £2,000. Arrangements must be confirmed with the Bid in bond or duty paid. See the additional conditions of sale
these as they set out the terms on which property is bought Department at least 24 hours prior to the auction at +44 (0)20 relating to wine for further details.
at auction. 7389 2658 (London, King Street) or +44 (0)20 7752 3225 VAT Refunds
(London, South Kensington). Arrangements to bid in languages Refunds cannot be made where lots have been purchased with
ESTIMATES other than English must be made well in advance of the sale an inside EU address. Christie’s can only refund Import VAT
Estimates are based upon prices recently paid at auction for date. Telephone bids may be recorded. By bidding on the (Lots with * or Ω symbol) if lots are exported within 30 days
comparable
Estimates areproperty,
subject tocondition, rarity, quality
revision. Buyers should and
not provenance.
rely upon telephone, prospective purchasers consent to the recording of of collection. Valid export documents must be returned within
their conversation. the stipulated time frame. No refund will be paid out where
estimates as a representation or prediction of actual selling the total amount is less than £100. UK & EU private buyers
prices. Estimates do not include the buyer’s premium or VAT. SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not cannot reclaim VAT. Christie’s will charge £35 for each
Where “Estimate on Request” appears, please contact the refund processed. For detailed information please see the leaflets
accept responsibility for notifying you of the result of your bid.
Specialist Department for further information. available, or email info@Christies.com
Buyers are requested to contact us by telephone or in person as
RESERVES soon as possible after the sale to obtain details of the outcome Where non-EU buyers have failed to export their lots outside
The reserve is the confidential minimum price the consignor of their bids to avoid incurring unnecessary storage charges. of the EU within the required time, HM Revenue & Customs
will accept and will not exceed the low pre-sale estimate. Lots Successful bidders will pay the price of the final bid plus will not allow a VAT refund to be made. This is a requirement
premium plus any applicable VAT. of UK legislation and Christie’s do not have discretion to make
that are not subject to a reserve are identified by the symbol •
exceptions to the rule. UK and EU private buyers cannot
next to the lot number. PAYMENT reclaim any VAT charged.
BUYER’S PREMIUM Buyers are expected to make payment for purchases
Christie’s charges a premium to the buyer on the final bid immediately after the auction. To avoid delivery delays, ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)
prospective buyers are encouraged to supply bank or other If a lot is affected by this right it will be identified with the
price of each lot sold at the following rates: 25% of the final symbol λ next
next to the lot number. The buyer agrees to pay to
bid price of each lot up to and including £50,000, 20% of suitable references before the auction. Please note that Christie’s
will not accept payments for purchased Lots from any party Christie’s an amount equal to the resale royalty. Resale royalty
the excess of the hammer price above £50,000 and up to and
other than the registered buyer. applies where the Hammer Price is 1,000 Euro or more and
including £1,000,000 and 12% of the excess of the hammer the amount cannot be more than 12,500 Euro per lot. The
price above £1,000,000. Exceptions: Wine and Cigars: 17.5% Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American amount is calculated as follows:
of the final bid price of each lot. VAT is payable on the
Express only (up to £25,000), and cash (up to £5,000 (subject Royalty For the portion of the Hammer Price (in Euro)
premium at the applicable rate. to conditions)), bankers draft (subject to conditions) or cheque
4.00% up to 50,000
PRE-AUCTION VIEWING (must be drawn in GBP on a UK bank; clearance will take 5 to
3.00% between 50,000.01 and 200,000
Pre-auction viewings are open to the public free of charge. 10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 1.00% between 200,000.01 and 350,000
Christie’s specialists are available to give advice and condition
72 Lombard Street, London 0.50% between 350,000.01 and 500,000
reports at viewings or by appointment. 0.25% in excess of 500,000
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
BIDDER REGISTRATION international transfers, SWIFT LOYDGB2LCTY. For banks Invoices will, as usual, be issued in Pounds Sterling. For the
Prospective
with buyers
Christie’s whobring:
should have not previously bid or consigned asking for an IBAN: GB81 LOYD 3000 0200 1727 10. purposes of calculating the resale royalty the Pounds Sterling/
Credit Card: Visa and MasterCard & American Express only. A Euro rate of exchange will be the European Central Bank
• Individuals: government-issued photo identification (such as limit of £25,000 for credit card payments will apply. This limit reference rate on the day of the sale.
a photo driving licence, national identity card, or passport) and, is inclusive of the buyer’s premium and any applicable taxes.
if not shown on the ID document, proof of current address, for Credit card payments at London sale sites will only be accepted SHIPPING
example a utility bill or bank statement. for London sales. Christie’s will not accept credit card payments It is the buyer’s responsibility to pick up purchases or make
• Corporate clients: a certificate of incorporation. for purchases made in any other sale site. The fax number to all shipping arrangements. After payment has been made in
• For other business structures such as trusts, offshore send completed CNP (Card Member not Present) authorisation full, Christie’s can arrange property packing and shipping at
companies or partnerships, please contact Christie’s Credit forms to is +44 (0) 20 7389 2821. The number to call to make the buyer’s request and expense. Buyers should request an
Department at + 44 (0)20 7839 2825 for advice on the a CNP payment over the phone is +44 (0) 20 7752 3388. estimate for any large items or property of high value that
information you should supply. Alternatively, clients can mail the authorisation form to the require professional packing. A shipping form is enclosed with
• A financial reference in the form of a recent bank statement address below. each invoice, alternatively buyers can visit www.christies.com/
or a reference from your bank in line with your expected Cash is limited to £5,000 (subject to conditions). shipping to request a shipping estimate. For more information
purchase level. Christie’s can supply a form of wording for the Bankers Draft should be made payable to Christie’s (subject to please contact the Shipping Department at + 44 (0)20 7389
bank reference if necessary. conditions). 2712 or via
• Persons registering to bid on behalf of someone who has Cheques should be made payable to Christie’s (must be ArtTransport_London@christies.com for both London,
not previously bid or consigned with Christie’s should bring drawn in GBP on a UK bank, clearance will take 5 to 10 King Street and London, South Kensington sales.
business days).
identification documents not only for themselves but also for
In order to process your payment efficiently, please quote EXPORT OF GOODS FROM THE EU
the party on whose behalf they are bidding, together with a If you are proposing to take purchased items outside the EU the
sale number, invoice number and client number with all
signed letter of authorisation from that party. transactions. following applies:
To allow sufficient time to process the information, new clients All mailed payments should be sent to: Christie’s Art Transport:
are encouraged to register at least 48 hours in advance of a sale. Christie’s, Cashiers’ Department, If you use Christie’s Art Transport you will not be required to
Prospective buyers should register for a numbered bidding 8 King Street, St James’s, London, SW1Y 6QT pay the VAT at the time of settlement.
paddle at least 30 minutes before the auction. Clients who have Please direct all inquiries to King Street Christie’s VAT authorised Shipper:
not made a purchase from any Christie’s office within the last Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863 If you use a Christie’s VAT authorised shipper you will not be
one year and those wishing to spend more than on previous required to pay the VAT at the time of settlement.
occasions, will be asked to supply a new bank reference. VAT Own Shipper:
For assistance with references, please contact Christie’s Credit †
VAT payable at 20% on hammer price and buyer’s premium
VAT VAT will be charged on the invoice, refundable by the VAT
Department at +44 (0)20 7389 2862 (London, King Street) Department upon receipt of the appropriate official documents
* sent to us by your shipper.
or at +44 (0)20 7752 3137 (London, South Kensington). We
These lots have been imported from outside the EU for sale Hand-Carried:
may at our option ask you for a financial reference or a using a Temporary Import regime. Import VAT is payable (at
deposit as a condition of allowing you to bid. VAT will be charged on the invoice.This will be refunded by
5%) on the Hammer price. VAT is also payable (at 20%) on
the VAT Department upon receipt of the appropriate official
REGISTERING TO BID ON SOMEONE ELSE’S BEHALF the buyer’s Premium on a VAT inclusive basis. This VAT is
document.
Persons bidding on behalf of an existing client should bring 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 *, Ω or †
a signed letter from the client authorising the bidder to act Starred, Omega or Daggered lots – A C88 can be obtained
on the client’s behalf. Please note that Christie’s does not complete the import into another EU country, he must advise
Christie’s immediately after the auction. from Christie’s Shipping Department .This document must be
accept payments from third parties. Christie’s can only accept stamped by UK Customs on leaving the UK.
payment from the client, and not from the person bidding Ω
These lots have been imported from outside the EU for sale (no symbol)
on their behalf. Margin Scheme lots – Please obtain GB Tax Free form from
using a Temporary Import regime. Import VAT is payable
BIDDING (at 20%) on the Hammer price. VAT is also payable (at 20%) the Cashiers. This document must be stamped by UK Customs
The auctioneer accepts bids from those present in the sale- on the buyer’s Premium on a VAT inclusive basis. This VAT on leaving the UK.
room, from telephone bidders, or by absentee written bids left is not shown separately on the invoice. Where applicable Starred or Omega lots must be exported within 30 days of the
with Christie’s in advance of the auction. The auctioneer may Customs duty will be charged (per rate specified by HMRC date of collection. All other lots not subject to import VAT
also execute bids on behalf of the seller up to the amount of guidance) on the Hammer price and VAT will be payable at must be exported within three months of collection, and proof
the reserve. The auctioneer will not specifically identify bids 20% on duty. When a buyer of such a lot has registered an EU of export provided in the appropriate form.
placed on behalf of the seller. Under no circumstances will the address but wishes to export the lot or complete the import EXPORT/IMPORT PERMITS
auctioneer place any bid on behalf of the seller at or above the into another EU country, he must advise Christie’s immediately Buyers should always check whether an export licence is required
reserve. Bid steps are shown on the Absentee Bid Form at the after the auction. before exporting. It is the buyer’s sole responsibility to obtain any
back of this catalogue. α Buyers from within the EU:
relevant export or import licence. The denial of any licence or
VAT payable at 20% on just the buyer’s premium (NOT the
ABSENTEE BIDS any delay in obtaining licences shall neither justify the rescission of
hammer price).
Absentee bids are written instructions from prospective buyers Buyers from outside the EU: any sale nor any delay in making full payment for the lot.
directing Christie’s to bid on their behalf up to a maximum VAT payable at 20% on hammer price and buyer’s premium. Christie’s can advise buyers on the detailed provisions of the
amount specified for each lot. Christie’s staff will attempt to export licensing regulations and will submit any necessary
execute an absentee bid at the lowest possible price, taking If a buyer,
that having
the item is notregistered under from
to be exported a non-EU address,
the EU, then decides
he export licence applications on request. However, Christie’s
into account the reserve price. Absentee bids submitted on “no should advise Christie’s to this effect immediately cannot ensure that a licence will be obtained. Local laws may
reserve” lots will, in the absence of a higher bid, be executed θ Zero rated prohibit the import of some property and/or may prohibit
at approximately 50% of the low pre sale estimate or at the No VAT charged. the resale of some property in the country of importation.
amount of the bid if it is less than 50% of the low pre-sale For more information, please contact Christie’s Shipping
(no symbol) Auction
Auctioneers’
eers’ Margin
Margin Scheme
Scheme
estimate.The auctioneer may execute absentee bids directly Department at +44 (0)20 7389 2828 or the Museums, Libraries
In all other circumstances no VAT will be charged on the and Archives Council: Acquisitions, Export and Loans Unit at
from the rostrum, clearly identifying these as “absentee bids”, hammer price, but VAT payable at 20% will be added to the
“book bids”, “order bids” or “commission bids”. Absentee +44 (0)20 7273 8269/8267.
buyer’s premium which is invoiced on a VAT inclusive basis.
Bids Forms are available in this catalogue, at any Christie’s
location, or online at christies.com.
20/11/13
108
Storage and Collection
STORAGE & COLLECTION CHARGES COLLECTION & PAYMENT OF ANY EXTENDED LIABILITY CHARGES
Specified lots, marked with a filled square ( Q ) not CHARGES DUE All services provided by Cadogan Tate Ltd
cleared from Christie’s by 5.00 pm on the day of Lots will be available for collection from (“Cadogan Tate”) will be subject to their standard
the sale and all sold and unsold lots not cleared from Cadogan Tate Ltd Conditions of Business, copies of which are
Christie’s by 5.00 pm on the fifth Friday following 241 Acton Lane, Park Royal available at Christie’s South Kensington.
the sale will be removed to the warehouse of: London NW10 7NP Please note in particular that Cadogan Tate
Cadogan Tate Ltd Telephone: +44 (0)800 988 6100 • does not accept any liability for damage or loss,
241 Acton Lane, Park Royal Email: collections@c
collections@cadogantate.com
adogantate.com due to its negligence or otherwise, exceeding the
London NW10 7NP on every business day after the day of transfer, Hammer Price of a Lot plus associated Buyer’s
Telephone: +44 (0)800 988 6100 from 9.00 am until 5.00 pm. Premium, or, at its sole option, the cost of repairing
Email: collections@c
adogantate.com Lots may only be released by Cadogan Tate upon or replacing the damaged or missing Lot and
Lots will be available for collection on the first full a) production of the ‘Collection Order’ • it reserves a lien over all goods in its possession
business week after transfer to Cadogan Tate Ltd and obtained from the cashier’s office at for payment of storage and all other charges due
every business weekday from 9.00 am to 5.00 pm. Christie’s, 85 Old Brompton Road, London SW7 to it and
Property, once paid, can be released to Christie’s or Christie’s, 8 King Street, London SW1 • it automatically arranges on behalf of the Lot’s
Fine Art Storage Services (CFASS) in London, b) payment of any charges that may be due to owner and at the owner’s cost, insurance of the
New York or Singapore FreePort at any time for Cadogan Tate Ltd Lot for the sum of the Hammer price plus Buyer’s
environmentally
environmental ly controlled long term storage, per To assist Cadogan Tate to provide a swift release Premium. The Extended Liability Charge covers
client request. CFASS is a separate subsidiary of please telephone on the business day prior to the Lot from the time of collection from the
Christie’s and clients enjoy complete confidentiality. collection to ensure that Lots are available and to saleroom until release of the Lot to the owner or
Visit www.cfass.com, or contact london@cfass.com. ascertain any charges due. If sending a carrier please the owner’s agent. The Extended Liability Charge
Telephone: +44 (0)20 7622 0609 for details. ensure that they are provided with all necessary payable by the owner of the Lot is 0.6% of the
information, your written authority to collect, the sum of the Hammer Price and Buyer’s Premium or
TRANSFER, STORAGE & RELATED Collection Order and the means to settle any charges. 100% of the transfer and storage charges, whichever
CHARGES (PER LOT) is the smaller. This Extended Liability will not be
COLLECTION FROM CADOGAN TATE arranged and no charge will be payable only on
CHARGES Furniture/ Pictures/ Please note that Cadogan Tate Ltd’s opening hours receipt by Cadogan Tate of advance written notice
Large Objects Small Objects from the owner of the lot together with formal
are Monday to Friday 9.00 am to 5.00 pm, and
Transfer/Admin £42.00 £21.00 purchases transferred to their warehouse are not waiver of subrogation from the owners insurers.
Storage per day £5.25 £2.65 available for collection at weekends.
Extended The lower amount of 0.6% of Christie’s Fine Art Storage Services (CFASS)
Liability Charge: Hammer Price or 100% of the
the also offers storage solutions for fine art, antiques and
above charges collectibles in New York and Singapore FreePort.
CFASS is a separate subsidiary of Christie’s and
All charges are subject to VAT. Very large or heavy
clients enjoy complete confidentiality.
items may be subject to a surcharge.
Visit www.cfass.com for charges and other details.
Please note that there will be no charge to
purchasers who collect their lots within two
weeks of this sale.
CADOGAN TATE LTD’S WAREHOUSE
241 Acton Lane,

Lan e,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadog
antate.com
28/10/14
109
Conditions of Sale
These Conditions of Sale and the Important Notices 3. AT THE SALE (h) Reserves
and Explanation of Cataloguing Practice set out the (a) Refusal of admission Unless otherwise indicated, all lots are offered
terms governing the legal relationship of Christie’s Christie’s has the right, at our complete discretion, subject to a reserve, which is the confidential
and the seller with the buyer. You should read them to refuse admission to the premises or participation minimum price below which the lot will not be
carefully before bidding. in any auction and to reject any bid. sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
1. CHRISTIE’S AS AGENT (b) Registration before bidding
to a reserve, they will be identified with the symbol
Except as otherwise stated Christie’s acts as agent for Prospective buyers who wish to bid in the saleroom
• next to the lot number. The auctioneer may open
the seller. The contract for the sale of the property is can register online in advance of the sale, or
the bidding on any lot below the reserve by placing
therefore made between the seller and the buyer. can come to the saleroom on the day of the sale
a bid on behalf of the seller. The auctioneer may
approximately 30 minutes before the start of the
continue to bid on behalf of the seller up to the
2. CATALOGUE DESCRIPTIONS sale to register in person. Prospective buyers must
amount of the reserve, either by placing consecutive
complete and sign a registration form with his
AND CONDITION bids or by placing bids in response to other bidders.
or her name and permanent address, and provide
Lots are sold as described and otherwise in the
identification before bidding. We may require the (i) Auctioneer’s discretion
condition they are in at the time of the sale, on the
production of bank details from which payment will The auctioneer has the right to exercise reasonable
following basis.
be made or other financial references. discretion in refusing any bid, advancing the bidding
(a) Condition in such a manner as he may decide, withdrawing or
(c) Bidding as principal
The nature of the lots sold in our auctions is such that dividing any lot, combining any two or more lots
When making a bid, a bidder is accepting personal
they will rarely be in perfect condition, and are likely, and, in the case of error or dispute, and whether
liability to pay the purchase price, including the
due to their nature and age, to show signs of wear during or after the sale, determining the successful
buyer’s premium and all applicable taxes, plus
and tear, damage, other imperfections, restoration or bidder, continuing the bidding, cancelling the sale
all other applicable charges, unless it has been
repair. Any reference to condition in a catalogue entry or reoffering and reselling the item in dispute. If
explicitly agreed in writing with Christie’s before
will not amount to a full description of condition. any dispute arises after the sale, then, in the absence
the commencement
commencement of the sale that the bidder is
Condition reports arethe
and will supplement usually available
catalogue on request,
description. In acting as agent on behalf of an identified third party of any evidence
maintained to auctioneer
by the the contrarywill
thebe
sale record
conclusive.
acceptable to Christie’s, and that Christie’s will only
describing lots, our staff assess the condition in a
look to the principal for payment. (j) Successful bid and passing of risk
manner appropriate to the estimated value of the item
Subject to the auctioneer’s reasonable discretion, the
and the nature of the auction in which it is included. (d) Absentee bids
highest bidder accepted by the auctioneer will be
Any statement as to the physical nature or condition We will use reasonable efforts to carry out written
the buyer and the striking of his hammer marks the
of a lot, in a catalogue, condition report or otherwise,
otherwis e, bids delivered to us prior to the sale for the
acceptance of the highest bid and the conclusion of
is given honestly and with appropriate care. However, convenience of clients who are not present at the
a contract for sale between the seller and the buyer.
Christie’s staff are not professional restorers or trained auction in person, by an agent or by telephone. Bids
Risk and responsibility for the lot (including frames
conservators and accordingly any such statement will must be placed in the currency of the place of the
or glass where relevant) passes to the buyer at the
not be exhaustive. We therefore recommend that you sale. Please refer to the catalogue for the Absentee
expiration of seven calendar days from the date of
always view property personally, and, particularly Bids Form. If we receive written bids on a particular
the sale or on collection by the buyer if earlier.
in the case of any items of significant val ue, that lot for identical amounts, and at the auction these
you instruc
instructt your
your own
own restorer
restorer or other
other profess
professional
ional are the highest bids on the lot, it will be sold to 4. AFTER THE SALE
adviser to report to you in advance of bidding. the person whose written bid was received and (a) Buyer’s premium
accepted first. Execution of written bids is a free In addition to the hammer price, the buyer agrees
(b) Cataloguing Practice
service undertaken subject to other commitments to pay to us the buyer’s premium together with any
Our cataloguing practice is explained in the
at the time of the sale and provided that we have applicable value added tax. The buyer’s premium
Important Notices and Explanation of Cataloguing
exercised reasonable care in the handling of written is 25% of the final bid price of each lot up to and
Practice, which appear after the catalogue entries.
bids, the volume of goods is such that we cannot including £50,000, 20% of the excess of the hammer
(c) Attribution etc accept liability in any individual instance for failing price above £50,000 and up to and including
Any statements
whether made
orally or by Christie’s
in writing, about attribution
concerning any lot, to execute a written
in connection with itbid or for
arising errors
from and omissions
circumstances
circumstance s £1,000,000 and 12% of the excess of the hammer
price above £1,000,000. Exceptions: Wine and
to, for example, an artist, school, or country of origin, beyond our reasonable control. Cigars: 17.5% of the final bid price of each lot, VAT
or history or provenance, or any date or period, are is payable at the applicable rate.
(e) Telephone bids
expressions of our opinion or belief. Our opinions and
If a prospective buyer makes arrangements with us (b) Artist’s Resale Right (“Droit de Suite”)
beliefs have been formed honestly and in accordance
prior to the commencement of the sale we will use If the Artist’s Resale Right Regulations 2006 apply to
with the standard of care reasonably to be expected
reasonable efforts to contact them to enable them to the lot the buyer also agrees to pay to us an amount
of an auction house of Christie’s standing, due regard
participate in the bidding by telephone but we do equal to the resale royalty provided for in those
having been had to the estimated value of the item
not accept liability for failure to do so or for errors Regulations. Lots affected are identified with the
and the nature of the auction in which it is included.
and omissions in connection with telephone bidding symbol λ next
next to the lot number.
It must be clearly understood, however,
however, that, due to
arising from circumstances beyond our reasonable
the nature of the auction process, we are unable to (c) Payment and ownership
control.
carry out exhaustive research of the kind undertaken The buyer must pay the full amount due
by professional historians and scholars, and also that, as (f) Currency converter (comprising the hammer price, buyer’s premium
research develops and scholarship and expertise evolve, At some auctions a currency converter may be and any applicable taxes or resale royalty)
opinions on these matters may change. We therefore operated. Errors may occur in the operation of immediately after the sale. This applies even if
recommend that, particularly
particularly in the case of any item of the currency converter. Where these arise from the buyer wishes to export the lot and an ex port
significant value, you seek advice on such matters from circumstances beyond our reasonable control we licence is, or may be, required. The buyer will n ot
your own prof
professio
essional
nal advis
advisers.
ers. do not accept liability to bidders who follow the acquire title to the lot until all amounts due to us
currency converter rather than the actual bidding in from the buyer have been received by us in good
(d) Estimates
the saleroom. cleared funds even in circumstances where we have
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item (g) Video or digital images released the lot to the buyer.
will sell or its value for any other purpose. At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
(e) Fitness for Purpose
quality of the image. We do not accept liability for
Lots sold are enormously varied in terms of age, category
such errors where they arise for reasons beyond our
and condition, and may be purchased for a variety
reasonable control.
of purposes. Unless otherwise specifically agreed, no
promise is made that a lot is fit for any particular purpose. 09/08/13
110
(d) Collection of purchases transactions, to apply any amount paid to (i) It does
does not
not apply
apply where
where (a) the
the catalogue
catalogue
We shall be entitled to retain items sold until all discharge any amount owed in respect of any description or saleroom notice corresponded
amounts due to us, or to Christie’s International particular transaction, whether or not the buyer to the generally accepted opinion of scholars
plc, or to any of its affiliates, subsidiaries or parent so directs; or experts at the date of the sale or fairly
companies worldwide, have been received in full in (viii) to reject at any future auction any bids made by indicated that there was a conflict of opinions;
good cleared funds or until the buyer has performed or on behalf of the buyer or to obtain a deposit or (b) correct identification of a lot can be
any other outstanding obligations as we, at our sole from the buyer before accepting any bids; demonstrated only by means of either a
discretion, shall require, including, for the avoidance (ix) to exercise all the rights and remedies of a scientific process not generally accepted for
of doubt, completing any anti-money laundering or person holding security over any property in our use until after publication of the catalogue or
anti-terrorism financing checks we may require to our possession owned by the buyer, whether by way a process which at the date of publication of
satisfaction. In the event a buyer fails to complete any of pledge, security interest or in any other way, the catalogue was unreasonably expensive or
anti-money laundering or anti-terrorism financing to the fullest extent permitted by the law of the impractical or likely to have caused damage to
checks to our satisfaction, Christie’s shall
sha ll be entitled place where such property is located. The buyer the property.
to cancel the sale and to take any other actions that are will be deemed to have granted such security to (ii) The benefits
benefits of the warranty
warranty are not assignable
required or permitted under applicable law. Subject us and we may retain such property as collateral and shall apply only to the original buyer of the
to this, the buyer shall collect purchased lots within security for such buyer’s obligations to us; lot as shown on the invoice originally issued by
two calendar days from the date of the sale unless (x) to take suchsuch other action as we
we deem necessary Christie’s when the lot was sold at auction.
otherwise agreed between us and the buyer. or appropriate. (iii) The original buyer must have remained
remained the
owner of the lot without disposing of any
(e) Packing, handling and shipping If we resell the property under paragraph (iv) above,
interest in it to any third party.
Although we shall use reasonable efforts to take care the defaulting buyer shall be liable for payment of
(iv) The buyer’s solesole and exclusive remedy against
when handling, packing and shipping a purchased any deficiency between the total amount originally
Christie’s and the seller, in place of any other
lot and in selecting third parties for these purposes, due to us and the price obtained upon resale as well
remedy which might be available, is the
we are not responsible for the acts or omissions of as for all reasonable costs, expenses, damages, legal
cancellation of the sale and the refund of the
any
othersuch third parties.
handlers, packersSimilarly,
or carrierswhere we suggest
if so requested, fees
kindand commissions
associated and premiums
with both of whatever
sales or otherwise arising original purchase price paid for the lot. Neither
Christie’s nor the seller will be liable for any
our suggestions are made on the basis of our general from the default. If we pay any amount to the seller
special, incidental or consequential damages
experience of such parties in the past and we are not under paragraph (v) above, the buyer acknowledges
including, without limitation, loss of profits
responsible to any person to whom we have made that Christie’s shall have all of the rights of the seller,
nor for interest.
a recommendation for the acts or omissions of the however arising, to pursue the buyer for such amount.
(v) The buyer must give give written notice of
of claim
third party concerned.
(h) Failure to collect purchases to us within five years from the date of the
(f) Export licence Where purchases are not collected within two calendar auction. It is Christie’s general policy, and
Unless otherwise agreed by us in writing, the fact days from the date of the sale, whether or not payment Christie’s shall have the right, to require the
that the buyer wishes to apply for an export licence has been made, we shall be permitted to remove the buyer to obtain the written opinions of two
does not affect his or her obligation to make payment property to a third party warehouse at the buyer’s recognised experts in the field, mutually
immediately after the sale nor our right to charge expense, and only release the items after payment in full acceptable to Christie’s and the buyer, before
interest or storage charges on late payment. If the has been made of removal, storage, handling, and any Christie’s decides whether or not to cancel the
buyer requests us to apply for an export licence on his other costs reasonably incurred, together with payment sale under the warranty.
or her behalf, we shall be entitled to make a charge for of all other amounts due to us. (vi) The buyer must
must return the lot to the Christie’s
Christie’s
this service. We shall not be obliged to rescind a sale saleroom at which it was purchased in the same
(i) Selling Property at Christie’s condition as at the time of the sale.
nor to refund any interest or other expenses incurred
In addition to expenses such as transport, all
by the buyer where payment is made by the buyer in
consignors pay a commission according to a fixed 6. COPYRIGHT
circumstances where an export licence is required.
scale of charges based upon the value of the property The copyright in all images, illustrations and written
(g) Remedies for non payment sold by the consignor at Christie’s in a calendar year. material produced by or for Christie’s relating to a
If the buyer
cleared fundsfails to make
within payment
7 days after theinsale,
full we
in good
shall Commissions are charged on a sale by sale basis. lot including the contents of this catalogue, is and
shall remain at all times the property of Christie’s
have the right to exercise a number of legal rights 5. LIMITED WARRANTY and shall not be used by the buyer, nor by anyone
and remedies. These include, but are not limited to, In addition to Christie’s liability to buyers set out in else, without our prior written consent. Christie’s
the following: clause 2 of these Conditions, but subject to the terms and the seller make no representation or warranty
(i) to charge interest at an annual rate equal to 5% and conditions of this paragraph, Christie’s warrants for that the buyer of a property will acquire any
above the base rate of Lloyds TSB Bank Plc; a period of five years from the date of the sale that any copyright or other reproduction rights in it.
(ii) to hold the defaulting
defaulting buyer
buyer liable for the property described in headings printed in UPPER CASE
total amount due and to commence legal TYPE (i.e. headings having all capital-letter type) in 7. SEVERABILITY
proceedings for its recovery together with this catalogue (as such description may be amended by If any part of these Conditions of Sale is found by
interest, legal fees and costs to the fullest extent any saleroom notice or announcement) which is stated any court to be invalid, illegal or unenforceable
unenforceable,,
permitted under applicable law; without qualification to be the work of a named author that part shall be discounted and the rest of the
(iii) to cancel
cancel the sale; or authorship, is authentic and not a forgery. The term conditions shall continue to be valid to the fullest
(iv) to resell the property publicly
publicly or privately
privately on “author” or “authorship” refers to the creator of the extent permitted by law.
such terms as we shall think fit; property or to the period, culture, source or origin, as the
(v) to pay the the seller an amount up to the net case may be, with which the creation of such property 8. LAW AND JURISDICTION
proceeds payable in respect of the amount bid is identified in the UPPER CASE description of the The rights and obligations of the parties with
by the defaulting buyer; property in this catalogue. Only UPPER CASE TYPE respect to these Conditions of Sale, the conduct of
(vi) to set off against any amounts
amounts which we, headings of lots in this catalogue indicate what is being the auction and any matters connected with any
or Christie’s International plc, or any of its warranted by Christie’s. Christie’s warranty does not of the foregoing shall be governed and i nterpreted
affiliates, subsidiaries or parent companies apply to supplemental material which appears below by the laws of England. By bidding a t auction,
worldwide,
transactions,may owe the buyer
the outstanding in anyremaining
amount other the UPPER
Christie’s CASE
is not TYPE headings
responsible of each
for any errors lot and
or omissions whether present in person or by agent, by written
bid, telephone or other means, the buyer shall
unpaid by the buyer; in such material. The terms used in the headings are be deemed to have submitted, for the benefit of
(vii) where several amounts are owed by the buyer further explained in Important Notices and Explanation Christie’s, to the exclusive jurisdiction of the courts
to us, or to Christie’s International plc, or of Cataloguing Practice. The warranty does not apply of the United Kingdom.
to any of its affiliates, subsidiaries or parent to any heading which is stated to represent a qualified
companies worldwide, in respect of different opinion. The warranty is subject to the following:
05/01/10
111
Worldwide Salerooms and European Offices
AUSTRIA INDIA RUSSIA UNITED KINGDOM

VIENNA s MUMBAI MOSCOW s LONDON
+43 (0)1
Angela 533 8812
Baillou +91
Sonal(22) 2280 7905
Singh +7
+44495
20 937
73896364
2318 +44 (0)20
(0)20 7839 9060
LONDON,
BELGIUM DELHI Katya Vinokurova s SOUTH KENSINGTON
BRUSSELS +91 (98) 1032 2399 SPAIN +44 (0)20
(0)20 7930 6074
+32 (0)2
(0)2 512 88 30 Sanjay Sharma NORTH
BARCELONA
Roland de Lathuy ISRAEL +34 (0)93 487 8259 +44 (0)20
(0)20 7752 3004
DENMARK TEL AVIV Carmen Schjaer Scott
Thomas Scott
COPENHAGEN +972 (0)3 695 0695 MADRID SOUTH
+45 3962 2377 Roni Gilat-Baharaff +34 (0)91 532 6626 +44 (0)1730
(0)1730 814 300
300
Birgitta Hillingso ITALY Juan Varez Mark Wrey
(Consultant) s MILAN Dalia Padilla EAST
+ 45 2612 0092 +39 02 303 2831 SWEDEN +44 (0)20
(0)20 7752 3004
Rikke Juel Brandt ROME STOCKHOLM Thomas Scott
(Consultant) +39 06 686 3333 +46 (0)70 5368 166 NORTHWEST AND
FINLAND AND THE Marina Cicogna Marie Boettiger WALES
BALTIC STATES Business Development Kleman (Consultant)
Kleman (Consultant) +44 (0)20
(0)20 7752 3004
+358
HELSINKI Director +46 (0)70
Louise 9369 201
Dyhlén
Dyhlén Jane Blood
(0)9 608 212 MONACO SCOTLAND
Barbro Schauman +377 97
97 97 11 00 (Consultant) +44 (0)131
(0)131 225 4756
(Consultant) Nancy Dotta SWITZERLAND Bernard Williams
FRANCE THE NETHERLANDS s GENEVA Robert Lagneau
s PARIS s AMSTERDAM +41 (0)22 319 1766 David Bowes-Lyon
+33 (0)1 40 76 85 85 +31 (0)20 57 55 255 Eveline de Proyart (Consultant)
GERMANY s ZURICH ISLE OF MAN
PEOPLES REPUBLIC
DÜSSELDORF OF CHINA +41 (0)44 268 1010 +44 (0)20
(0)20 7389 2032
+49 (0)21 14 91 59 30 BEIJING Dr. Bertold Mueller CHANNEL ISLANDS
Arno Verkade +86 (0)10 8572 7900 TURKEY +44 (0)1534
(0)1534 485 988
988
FRANKFURT s HONG KONG ISTANBUL Melissa Bonn
+49 (0)61
(0)61 74 20 94 85 +852 2760 1766 +90 (532) 558 7514 IRELAND
Anja Schaller s SHANGHAI Eda Kehale Argün +353 (0)59
(0)59 86 24996
HAMBURG +86 86 (0)21 6355 1766 (Consultant) Christine Ryall
+49 (0)40
(0)40 27 94 073 Jinqing Cai UNITED ARAB EMIRATES UNITED STATES
Christiane Gräfin zu PORTUGAL s
DUBAI s
NEW YORK
Rantzau LISBON +971 (0)4 425 5647 +1 212 636 2000
MUNICH +351 919 317 233
+49 (0)89
(0)89 24 20 96 80 Mafalda Pereira
Marie Christine Gräfin Coutinho
Huyn (Independent
STUTTGART Consultant)
+49 (0)71
(0)71 12 26 96 99
Eva Susanne Schweizer
s DENOTES SALEROOM ENQUIRIES — Call the Saleroom or Office EMAIL — info@christies.com

For a complete salerooms
salerooms & offices listing
listing go to christies.com
christies.com
04/09/14
112
Christie’s Specialist Departments and Services
DEPARTMENTS INDIAN POSTERS AUCTION SERVICES OTHER SERVICES

CONTEMPORARY ART SK: +44 (0)20 7752 3208
KS: +44 (0)20 7389 2700
AMERICAN
NY: +1 212FURNITURE
636 2230 NY: +1 212 636 2189 PRINTS
KS: +44 (0)20 7389 2328 CORPORATE
COLLECTIONS CHRISTIE’S
London EDUCATION
INTERIORS SK: +44 (0)20 7752 3109 Tel: +44 (0)20 7389 2548 Tel: +44 (0)20 7665 4350
AMERICAN INDIAN ART
SK: +44 (0)20 7389 2236 Email: norchard@ Fax: +44 (0)20 7665 4351
NY: +1 212 606 0536 PRIVATE COLLECTIONS
NY: +1 212 636 2032 AND christies.com Email: education@
AMERICAN PICTURES COUNTRY HOUSE SALES christies.com
ISLAMIC WORKS OF ART
NY: +1 212 636 2140
KS: +44 (0)20 7389 2343
FINANCIAL SERVICES
KS: +44 (0)20 7389 2700 New York
ANGLO-INDIAN ART Tel: +44 (0)20 7389 2624
SK: +44 (0)20 7752 3239 RUSSIAN WORKS OF ART Tel: +1 212 355 1501
Fax: +44 (0)20 7389 2204
KS: +44 (0)20 7389 2570 Fax: +1 212 355 7370
JAPANESE KS: +44 (0)20 7389 2057
ANTIQUITIES WORKS OF ART HERITAGE AND Email: christieseducation@
TRAVEL, SCIENCE AND
SK: +44 (0)20 7752 3219 KS: +44 (0)20 7389 2591 NATURAL HISTORY TAXATION christies.edu
ARMS AND ARMOUR SK: +44 (0)20 7752 3239 SK: +44 (0)20 7752 3291 Tel: +44 (0)20 7389 2101
Fax: +44 (0)20 7389 2300 Hong Kong
SK: +44 (0)20 7752 3119 JEWELLERY SCULPTURE Tel: +852 2978 6747
KS: +44 (0)20 7389 2383 EmIL:rcornett@christies.
ASIAN 20TH CENTURY KS: +44 (0)20 7389 2331 com Fax: +852 2525 3856
AND CONTEMPORARY ART SK: +44 (0)20 7752 3265 SK: +44 (0)20 7389 2794 Email: hkcourse@
NY: +1 212 468 7133 LATIN AMERICAN ART PRIVATE COLLECTION
COLLECTIONSS christies.com
SILVER
AUSTRALIAN PICTURES NY: +1 212 636 2150 KS: +44 (0)20 7389 2666 AND CHRISTIE’S FINE ART
COUNTRY HOUSE SALES STORAGE SERVICES
KS: +44 (0)20 7389 2040 MARITIME PICTURES SK: +44 (0)20 7752 3262
BOOKS AND SK: +44 (0)20 7752 3284 SWISS ART Tel: +44 (0)20 7389 2343
Fax: 2225 London
+44 (0)20 7622 0609
MANUSCRIPTS NY: +1 212 707 5949 ZUR: +41 (0) 44 268 1012 Email: awaters@christies. london@cfass.com
KS: +44 (0)20 7389 2674 MINIATURES com
TOPOGRAPHICAL
SK: +44 (0)20 7752 3203 KS: +44 (0)20 7389 2650 New York
PICTURES MUSEUM SERVICES, UK +1 212 974 4570
BRITISH & IRISH ART MODERN DESIGN KS: +44 (0)20 7389 2040 Tel: +44 (0)20 7389 2570 newyork@cfass.com
KS: +44 (0)20 7389 2682 SK: +44 (0)20 7389 2142 SK: +44 (0)20 7752 3291 Email: llindsay@christies
llindsay@christies..
NY: +1 212 636 2084 com Singapore
MUSICAL INSTRUMENTS TRIBAL AND
SK: +44 (0)20 7752 3257 PRE-COLUMBIAN ART Tel: +65 6543 5252
SK: +44 (0)20 7752 3365
BRITISH ART ON PAPER PAR: +33 (0)140 768 386 PRIVATE SALES Email: singapore@cfass
singapore@cfass..
KS: +44 (0)20 7389 2278 NINETEENTH CENTURY US: +1 212 636 2034 com
FURNITURE AND TWENTIETH CENTURY Fax: +1 212 636 2035
SK: +44 (0)20 7752 3293 BRITISH ART
SCULPTURE CHRISTIE’S
NY: +1 212 636 2085 KS: +44 (0)20 7389 2684
KS: +44 (0)20 7389 2699 VALUATIONS INTERNATIONAL
BRITISH PICTURES SK: +44 (0)20 7752 3311 REAL ESTATE
NINETEENTH CENTURY Tel: +44 (0)20 7389 2464
1500-1850 TWENTIETH CENTURY Fax: +44 (0)20 7389 2038 New York
EUROPEAN PICTURES
KS: +44 (0)20 7389 2945 DECORATIVE ART Email: mwrey@christies. Tel +1 212 468 7182
KS: +44 (0)20 7389 2443
CARPETS SK: +44 (0)20 7752 3309 & DESIGN com Fax +1 212 468 7141
KS: +44 (0)20 7389 2370 KS: +44 (0)20 7389 2140 info@christiesrealestate.com
OBJECTS OF VERTU SK: +44 (0)20 7752 3236
SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART KS:
SK: +44
+44 (0)20
(0)20 7389
7752 2347
3001 TWENTIETH CENTURY London
Tel +44 20 7389 2551
KS: +44 (0)20 7389 2577 PICTURES Fax +44 20 7389 2168
OLD MASTER DRAWINGS SK: +44 (0)20 7752 3218
SK: +44 (0)20 7752 3239 info@christiesrealestate.com
KS: +44 (0)20 7389 2251
CLOCKS VICTORIAN PICTURES Hong Kong
OLD MASTER PICTURES KS: +44 (0)20 7389 2468
KS: +44 (0)20 7389 2357 Tel +852 2978 6788
KS: +44 (0)20 7389 2531 SK: +44 (0)20 7752 3257
CONTEMPORARY ART SK: +44 (0)20 7752 3250 Fax +852 2845 2646
KS: +44 (0)20 7389 2446 WATERCOLOURS AND info@christiesrealestate.com
ORIENTAL CERAMICS DRAWINGS
SK: +44 (0)20 7389 2502 AND WORKS OF ART KS: +44 (0)20 7389 2257
COSTUME, TEXTILES SK: +44 (0)20 7752 3235 SK: +44 (0)20 7752 3293
AND FANS
PHOTOGRAPHS WINE
SK: +44 (0)20 7752 3215
KS: +44 (0)20 7389 2292 KS: +44 (0)20 7752 3366 KEY TO ABBREVIATIONS
EUROPEAN CERAMICS
AND GLASS POPULAR CULTURE KS:
AND ENTERTAINMENT
SK: +44 (0)20 7752 3026 London, King Street
SK: +44 (0)20 7752 3275
FURNITURE NY:
POST-WAR ART
KS: +44 (0)20 7389 2482 New York, Rockefeller Plaza
KS: +44 (0)20 7389 2446
SK: +44 (0)20 7389 2791 PAR:
IMPRESSIONIST PICTURES SK: +44 (0)20 7389 2502 Paris
KS: +44 (0)20 7389 2638 SK:
SK: +44 (0)20 7752 3218
London, South Kensington
27/05/14
113
JAN JOSEF HOREMANS I (Antwerp 1682–1759)

A young boy dr
drawing
awing in a studio with
with subsidiary studies of a leaning man and a hand
hand
red chalk · 12 1/4 x 7 3/4 in. (31.2 x 19.5 cm.)
Ç1,000–1,500
Amsterdam 10 December 2014

s
Part II Highlights Viewing Viewing Contact
Dutch and Flemish drawings 28 November – 2 December 6–9 December Benjamin Peronnnet
8 King Street Cornelis Schuytsraat 57 bperonnet@christies.com
from 1500 to 1900
London SW1Y 6QT 1071 JG Amsterdam +44 (0) 20 7389 2272
114
BARTOLOMÉ ESTEBAN MURILLO (Seville 1618–1682)

Saint Joseph and the Christ Child with putti
with inscription ‘Murillo’ (brown ink, lower left) red, black and white chalk · 11 Ω x 8Ω in. (29.1 x 21.6 cm.)
$60,000–80,000
Old Master & British Drawings

New York 29 January 2014
s
Viewing Contact christies.com
24–29 January Jennifer Wright
20 Rockefeller Plaza jwright@christies.com
New York, NY 10020 +1 212 636 2384
115
Sold to benefit the Maurice Sendak Foundation

New York 21 January 2015
s
Viewing Highlights Viewing Contact JOHANN HEINRICH FÜSSLI, HENRY FUSELI, R.A.
17-21 January 28 November - 2 December Jennifer Wright (ZURICH 1741 - 1825 LONDON)
Martha Hess as Silence
20 Rockefella Plaza 8 King Street jwright@christies.com
pencil and white chalk on buff paper · 22½ x 1
13
3 in. (54.5 x 33 cm.)
New York, NY 10020 London SW1Y 6QT +1 212 636 2384 $120,000-180,000
christies.com
116
FRANCISCO DE GOYA Y LUCIENTES (1746–1828)

The Bulls of Bordeux (one plate illustrated)
complete set of four lithographs · 18 25 · from the edition of one hundred impressions
£300,000–500,000
Old Master Prints

London, King Street 3 December 2014
s

28 November–2 December Tim Schmelcher
8 King Street tschmelcher@christies.com
London SW1Y 6QT +44 (0)20 7389 2268
117
FERNAND KHNOPFF (1858–1921)

Clémentis
signed ‘FERNAND/KHNOPFF’ (lower left) · pastel on paper · 10 x 8 Æ in. (25.4 x 22.2 cm.) · Executed circa 1914
£40,000–60,000
19 Century European & Orientalist Art

London, King Street 9 December 2014
s
5–9 December Alexandra McMorrow
8 King Street amcmorrow@christies.com
London SW1Y 6QT +44 (0)20 7389 2538
118
Old Master and British

Absentee Bids Form
Drawing
Drawingss and Watercolour
tercolourss
Christie’s South Kensington
TUESDAY 2 DECEMBER 2014
85 Old Brompton Road, London SW7 3LD
CODE NAME: VERONA
SALE NUMBER: 5877
Absentee bids must be received at least 24 hours before the auction begins.
(Dealers billing name and address must agree with tax Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.c
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INTERNATIONAL OLD MASTER AND

Email. First initial followed by last name@christies.com

OLD MASTER AND BRITISH DRAWINGS AND

2 DECEMBER 25 MARCH 2015 13 MAY 2015

SPECIALISTS FOR THIS AUCTION

Benjamin Peronnet Jonathan den Otter Noël Annesley

NEW YORK PARIS

Jennifer Wright Ketty Gottardo Hélène Rihal

BRITISH DRAWINGS & WATERCOLOURS

Harriet Drummond Rosy Temple Rosie Jarvie Sarah Hobrough

SPECIALISTS SERVICES PAYMENT

THE PROPERTY OF A GENTLEMAN PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

PROVENANCE: Related to the ﬁgure of Hagar in Vasari’s Abraham visited by the angels

The present work belongs to a group of manuscripts which celebrated

This illumination celebrates the civic virtue of Luca Michiel, Procurator of

We are grateful to Helena K. Szepe for her help in cataloguing

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION 18

£2,000-3,000 $3,300-4,800 PROVENANCE:

Anonymous sale; Christie’s, London, 29 June 1971, lot 69.

A painting of similar subject, but of slightly different composition, is

the Little Children

C. Molinier (L. 2917).

THE PROPERTY OF A GENTLEMAN

We are grateful to Marco Riccomini for conﬁrming the attribution on the

J. van Haecken (L. 2516).

Unidentiﬁed collector’s mark ‘VE’ in a circle (not in Lugt).

The drawing depicts an antique statue, now in the Capitoline Museums in

THE PROPERTY OF A GENTLEMAN THE PROPERTY OF A GENTLEMAN

Sir Francis Watson, and thence by descent to the present owner.

THE PROPERTY OF A GENTLEMAN PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

G. Piancastelli (according to a label at the back of the mount).

THE PROPERTY OF A GENTLEMAN THE PROPERTY OF A GENTLEMAN

THE PROPERTY OF A GENTLEMAN THE PROPERTY OF A GENTLEMAN

£1,000-1,500 $1,700-2,400 Baron Milford (L. 2687).

THE PROPERTY OF A GENTLEMAN

Venice, Fondazione Giorgio Cini, Disegni di una collezione veneziana del

Sir Francis Watson, and thence by descent to the present owner.

THE PROPERTY OF A GENTLEMAN

Sir Francis Watson, and thence by descent to the present owner.

THE PROPERTY OF A GENTLEMAN PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

47 THE PROPERTY OF A GENTLEMAN

ATTITRIBUTED TO GIACOMO GUARDI 49

R. P. Goldschmidt (L. 2926). £800-1,200 $1,300-1,900

Sir Francis Watson, and thence by descent to the present owner.

A. Rizzi, Luca Carlevarijs, Venice, 1967, no. 158, ill.

Similar studies by Carlevarijs are in Venice (Museo Correr), London,

PROPERTY FROM A PRIVATE

GERMAN SCHOOL, 17TH CENTURY

J.-F. Gigoux (L. 1164).

Another landscape by Cornelis Saftleven on yellow prepared paper, signed

Nägeli collection (according to an inscription on the verso).

W. Schulz, Cornelis Saftleven 1607-1681. Leben und Werke mit kritischem

Jacobus A. Klaver, Amsterdam (his stamp on the mount, not in Lugt);

J. Richardson, Sen. (L. 2183). PROVENANCE:

The drawing is dated by Sumowski (op. cit .)

L. Lucas (L. 1733a);

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Emile E. Wolf, New York. PROVENANCE:

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

N.D. Goldsmid (L. 1962).