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Victorian, Pre-Raphaelite
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Tuesday 16 June 2014
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Contents
Auction Information
Calendar of Auctions
160
163
164
165
166
168
175
176
Catalogue Subscriptions
179
Index
front cover:
Lot 5
Lot 91 (detail)
Lot 59
opposite:
Lot 62
inside back cover:
Lot 74 (detail)
back cover:
Lot 60
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(Lot 6)
(Lot 7)
A Celebration of Connoisseurship
John Christian
(Lot 36)
(Lot 18)
(Lot 5)
(Lot 25)
(Lot 24)
(Lot 17)
(Lot 27)
11
(Lot 19)
Connoisseurship is a somewhat
outmoded term these days,
suggestive of elderly gentlemen
poring over solanders, pondering
the fner points of quality,
technique, condition and
attribution, or fussing about
iconography and provenance.
No time for all this in the white
12
(Lot 1)
(Lot 4)
(Lot 2)
(Lot 3)
15
*1
O20,000-30,000
$30,000-44,000
28,000-42,000
PROVENANCE:
16
(actual size)
*2
50,000-80,000
$74,000-120,000
70,000-110,000
PROVENANCE:
D.G. Rossetti (); Christies, London, 12 May 1883, lot 158 (4 gns. to
Campbell).
with Christopher Wood, London, where purchased by the present owners.
LITERATURE:
The present drawing is a preparatory study for the later watercolour and
demonstrates Rossettis further thoughts on the pose of Delia. In the
earlier watercolour she sits upright, a lock of hair between her lips, her
eyes closed, a distaff in her left hand. Whereas here she is more relaxed,
leaning over to the left, with her hair spread out, her hands empty. The
model in the present drawing appears to be based on Lizzie, who had
died fve years earlier. For another drawing where Rossetti harks back to
his late wife, see lot 1.
The subject is taken from the Elegies of the Roman poet Tibullus, I, 3,
vv. 82-92. Rossetti himself translates the Latin as:
Live Chaste, dear love; and while Im far away,
Be some old dame thy guardian night and day.
Shell sing thee songs, and when the lamp is lit
Ply the full rock and draw long threads from it.
So, unannounced, shall I come suddenly,
As twere a presence sent from heaven to thee.
Then as thou art, all long and loose thy hair,
Run to me, Delia, run with thy feet bare.
Fig. 1: Dante Gabriel Rossetti, The Return of Tibullus to Delia, 1867, watercolour
and bodycolour, sold Christies, London, 11 June 1993, lot 82
18
*3
120,000-180,000
$180,000-270,000
170,000-250,000
PROVENANCE:
London, Leicester Galleries, Collection of Sir Hugh Walpole, 1945, no. 32.
London, Royal Academy, Birmingham City Museum and Art
Gallery, Dante Gabriel Rossetti; Painter and Poet, 1973, no. 248.
Yale University Art Gallery, Dante Gabriel Rossetti and the
Double Work of Art, 1976, catalogue untraced.
LITERATURE:
20
Fig. 1: Dante Gabriel Rossetti, Bocca Baciata, 1859, oil on panel Museum of Fine
Arts, Boston, / Gift of James Lawrence / The Bridgeman Art Library
Fanny Cornforth (1835-1906) frst met Rossetti during a fte to mark the
return of the troops from the Crimea. Born Sarah Cox, the daughter of a
blacksmith in the Sussex village of Steyning, her combination of beauty,
magnetism and her sensual nature proved irresistible to the artist. She
was a complete contrast to the delicate, neurotic and ailing Lizzie Siddal,
with whom hed had a long and tortured relationship. Although there
is no proof, it seems likely that Fanny became not only Rossettis model
but also his mistress before he was reunited with and married to Lizzie in
1860. Following Lizzies death two years later, Rossetti moved to Cheyne
Walk, Chelsea, and Fanny was installed as his housekeeper.
Fanny frst sat to Rossetti on 26 August 1856, when she went to his studio
in Blackfriars to pose for the fgure of the farmers sweetheart in Found
(Bancroft Collection, Willmington). In 1859 she sat for Bocca Baciata
(Museum of Fine Arts, Boston, fg. 1), the painting which is generally
considered to mark the beginning of his mature style and a landmark in
Aestheticism. Fanny dominates Rossettis imagination in the early and
mid 1860s and sat for nearly all of his most signifcant work of that time.
During this period Rossetti abandons the Dantesque or chivalric narratives
that he had favoured previously and for which Lizzie had been his
inspiration. In Bocca Baciata he began to formulate a more Aesthetic style,
where female beauty and the overall decorative and chromatic effects
were key. The work of the Venetian Masters, which he had studied in
the Louvre whilst on honeymoon in Paris in 1860 proved infuential,
and Fanny became the muse for this Venetian phase, just as Lizzie
had inspired his earlier Dantesque period. By the late 1860s, although
22
Rossetti had become enthralled by the soulful looks of Jane Morris (see
lot 6), he continued to rely on Fanny for practical help and the emotional
stability he so needed in his later years.
Cornforth also sat to other artists including Burne-Jones and the
watercolourist George Price Boyce (1826-1897). The latter appears to
have formed a close bond with the model and it is thought that she
perhaps had an affair with both Boyce and Rossetti. Rossetti captured
Boyce and Cornforth looking at a work on an easel in Rossettis rooms
in a detailed drawing (Tullie House Museum and Art Gallery, Carlisle,
fg. 2).
The present drawing dates from December 1862, two months after
Rossetti had moved to Chelsea. Boyce records in his diary, for the 7
December 1862. In the evening went up to Chelsea to see Rossetti.
Found him and Fanny at home. Stayed and dined. He gave me a pencil
sketch of her as she lay on a couch, hair outspread, and her right hand
under her head. (Old Watercolour Society, loc. cit., p. 43).
Boyce frst met Rossetti in 1849 and the two became frm friends. Boyce
formed an extensive collection of the work of many of his contemporaries
including Millais, Burne-Jones, Poynter, Leighton, Holman Hunt and
Rossetti amongst others. He acquired a number of Rossettis early works
including How They Met Themselves (Fitzwilliam Museum, Cambridge)
and in 1859, he commissioned Bocca Baciata (fg. 1).
This masterful drawing has an illustrious provenance . It was sold in these
Rooms after Boyces death in 1897, where it was purchased by Herbert
Fig. 2: Dante Gabriel Rossetti, George Price Boyce and Fanny Cornforth, c.1858, pen and ink on paper
Tullie House Museum & Art Gallery, Carlisle / The Bridgeman Art Library
Century British art, in particular the artists and patrons of the Grand
Tour. Amongst his numerous roles he served as a Trustee of the National
Gallery (1954-1961) and as Chair of the National Art Collections Fund
(1975-1980). He inherited a large collection of British and European Art,
upon which he continued to build, forming one of the great collections
of the 20th Century.
Sir Hugh Walpole (1884-1941) was one of the most prolifc and popular
authors of the frst half of the 20th Century, who also wrote Hollywood
flm scripts in the 1930s. However, his reputation and his confdence
were badly shaken when he was lampooned by Somerset Maugham in
Cakes and Ale and his style of writing fell from favour after the Second
World War.
Mrs Janet Camp Troxall (1897-1987) was a leading authority in the
United States on Rossetti and his circle. She published widely on the
subject and left her collection of over three thousand manuscripts relating
to the subject to Princeton University.
That the present drawing formed part of some of the worlds most
eminent collections, including those who were not regarded as collectors
of Victorian Art, is a testament to its captivating qualities and its ability
to transcend genres.
23
*4
O50,000-80,000
$74,000-120,000
70,000-110,000
PROVENANCE:
24
her modelling career appears to have been cut short when she was attacked
by a brute of a soldier and her face disfgured. However, Boyce mentions
in his diary of 17 February 1873, that Ellen Smith, now Mrs Elson, called
on me to tell me that she had been married about 3 weeks again to an old
acquaintance and suitor, a cabman. She wishes to do some laundry work
on her own account, as her husbands earnings are small.
This drawing was formerly in the collection of the artist L. S. Lowry, who
followed in the tradition of artist collectors, dating back centuries to artists
such as Van Dyck, Lely, Reynolds and Lawrence. It is diffcult to see the
connection that Lowry, with his industrial scenes and matchstick fgures,
could have with the voluptuous and soulful fgures produced by the earlier
artist. Yet Lowry appears to have been almost obsessive in his collecting
of Rossettis work, amassing at least sixteen works by the artist. David
Bathurst, writing in his article Talking to Lowry for the Christies Review
of 1964-5, noted the he collects with an insatiable zeal. Few things can
drag Lowry away from the north of England, but, as he says himself, Id
be on the 11:58 tomorrow if you had another like the one I bought in
April. I have nightmares sometimes that Christies are going to hold an
entire sale of Rossettis.
*5
500,000-800,000
$740,000-1,200,000
700,000-1,100,000
PROVENANCE:
26
Fig. 2: Dante Gabriel Rossetti, Desdemonas Death Song: a fragment, oil on canvas laid on
board, sold Christies, London, 17 June 2014, lot 61
Rossetti has taken his inspiration from Shakespeares Othello, Act IV,
scene iii, where Desdemona is seen getting ready for bed with her maid
Emilia arranging her in her nightly wearing; and combing out her hair.
Desdemona, upset by Othellos groundless accusations of infdelity, is
eager to comply with his request that she retires to bed and whilst getting
ready remembers a song she learnt from her mothers maid, who had been
deserted by her lover. Desdemona describes how the song, Will not go
from my mind; I have much to do, But to go hang my head all at one
side, And sing it.
The poor soul sat sighing by a sycamore tree,
Sing all a green willow:
Her hand on her bosom, her head on her knee,
Sing willow, willow, willow:
The fresh streams ran by her, and murmurd her moans;
Sing willow, willow, willow;
Her salt tears fell from her, and softend the stones;
Sing willow
Rossetti was thinking of the subject as early as 1872, when he suggested it
as a possible subject for one of his most important patrons, the Liverpool
ship owner, F. R. Leyland (see lot 8 for another commission for Leyland).
Leyland had been creating a sumptuous Aesthetic interior at his London
house, 22 Queens Gate, since 1868 and Rossetti felt that it would make
a suitable and splendid centre for other musical pictures in [Leylands]
drawing room... The fgures would come of a moderate life-size without
interfering with its conveniently taking place over [the] piano (V.
Surtees, op. cit., p. 150). A previously unrecorded, highly-fnished chalk
drawing of Alexa Wilding as Desdemona, was sold in these Rooms (23
November 2005, lot 19, fg. 1). It is dated 1875 and serves as a fascinating
insight into Rossettis earlier conception of the subject, which is rather
28
Fig. 4: Dante Gabriel Rossetti, The Death of Lady Macbeth, c.1875, graphite on paper
Tullie House Museum & Art Gallery, Carlisle / The Bridgeman Art Library
merely sketched in. Her arm hangs heavy without the brush and our eye
is drawn to the carefully-sculpted face. The fact that her night clothes are
merely sketched in and her hair still piled up on her head, means that our
eye is constantly drawn to the carefully delineated form of her hauntingly
beautiful face, emphasising the almost otherworldliness of her expression,
reminding us of her fate.
Both Jane Morris and Marie Stillman have in the past been suggested as
models for the subject. In a surviving letter Rossetti records, I am still
expecting Mrs Stillman to get about my new Desdemona picture from her. I have
it all in my head (letter to Jane Morris, 27 August 1879, British Museum).
However, neither women are particularly recognizable in any of the
surviving drawings and the sitter appears more likely to be Alexa Wilding,
who was the model for the earlier 1875 study (fg. 1).
The work of Shakespeare infuenced Rossetti throughout his life. As early
as circa 1846 Rossetti explored the subject of Helena and Hermia (Surtees,
op. cit., no. 26) from Act III, scene ii of A Midsummer Nights Dream. By
1850 he was contemplating a watercolour illustrating Much Ado about
Nothing (Surtees, op. cit., no. 46). In 1858 he was exploring Hamlet and
Ophelia, a subject he returned again in the mid-1860s and indeed it was
Hamlet more than any other play which captured his imagination in his
early maturity (lot 1).
By the early 1870s, however, Rossettis approach to Shakespeare had shifted
and he began to explore subjects laden with menace and dark foreboding.
Not only does he explore the subject of Othellos Desdemona, depicting
her at the very moment she awaits her husband and ultimately her death,
but he embarks on an even darker subject, that of the death of Lady
Macbeth, surrounded by distraught waiting women and monks frantically
invoking heavenly intercession (fg. 4). Taken together they seem to refect
the emotional turbulence of the artists later life.
29
*6
700,000-1,000,000
$1,100,000-1,500,000
970,000-1,400,000
PROVENANCE:
H.C. Marillier, Dante Gabriel Rossetti: An Illustrated Memorial of his Art and
Life, London, 1899, no. 250 (dated incorrectly).
Masterpieces of Rossetti, London and Glasgow, 1923, p. 47.
G. Pedrick, Life with Rossetti, 1964, p. 195.
V. Surtees, The Paintings and Drawings of Dante Gabriel Rossetti, Oxford,
1971, vol. 1, p. 152, no. 256.
30
Beatrice Portinari was the Florentine girl who represented the ideal of
spiritual love for the great Italian poet Dante (1265-1321). He frst met
her at the age of nine, and when they re-met nine years later he felt as if
intoxicated. When she died in 1290 he almost lost his sanity. His love for
her is celebrated in prose and verse in La Vita Nuova, published in 1293;
and she reappears in his masterpiece, the Divina Commedia, guiding him
towards the ultimate experience of celestial bliss in heaven.
Dante dominated the intellectual life of Rossettis father, Gabriel Rossetti,
an Italian political refugee who held the post of Professor of Italian at
Kings College, London. His son was named after his fathers hero and
he too became obsessed with the fgure of Dante, publishing translations
of the Vita Nuova and other works in his Early Italian Poets (1861), and
illustrating episodes from the poets writings. Perhaps the best known
example is Beata Beatrix (1872, Tate, London), conceived before the death
of Rossettis wife, Lizzie Siddal, in 1862, but painted later and generally
regarded as his memorial to her. Rossetti described the picture as a
symbolic representation of Beatrices death, showing her rapt from Earth
to Heaven as she sits on a balcony overlooking Florence.
Our picture dates from 1879, and as Virginia Surtees notes it is clearly
related to Mariana (fg. 1, 1870, Aberdeen Art Gallery) in which Jane
Morris poses as the character from Shakespeares play, Measure for Measure.
Mariana also appears in a poem by Alfred, Lord Tennyson, another of
Rossettis heroes. In our painting, and the Aberdeen example, the sitter
gazes out at the viewer introspectively, in Marianas case thinking of her
lost lover and hoping for an eventual reunion. However Rossetti has
made it clear that our painting is a Beatrice as he has inscribed a quotation
from La Vita Nuova on the reverse: Tanto gentile e tanto onesto pare (so
gentle and so honest it seems).
Dantes meetings with Beatrice, whether on earth or in heaven, were
a never-ending source of interest to Rossetti, inspiring a number of
paintings from the early 1850s until his death in 1882, when a large
Salutation of Beatrice (Toledo Museum of Art, Toledo, Ohio), painted for
the Liverpool shipowner F.R. Leyland, was still on the easel. Another
work entitled The Salutation of Beatrice was sold in these Rooms on 31
May 2012 (lot 14) for 2,169,250 (fg. 2, private collection).
32
33
*7
O80,000-120,000
$120,000-180,000
120,000-170,000
PROVENANCE:
with completeness and in beautiful style. These features have the fneness
of highly wrought bronze. Judiths dark hair is bound by a tawny
kerchief; about her neck is a row of deep blue beads. She is in the act of
drawing a dagger with a hilt of jade. This is a new and truer type of the
avenger of Israel than the big, blonde woman of Northern origin who
generally does the deed of blood.
The necklace that Judith wears are either rough-cut turquoise or blue
ceramic beads, separated on a simple strand by coral, green and gold
beads. It is probably an Egyptian necklace and a similar example can be
seen around the neck of Frances Catherine Howell, the wife of Charles
Augustus Howell, in her portrait by Frederick Sandys at Birmingham
Museum & Art Gallery. The daggerhead appears to be a jade horsehead,
most probably Asian. Poynter chose accessories for his pictures for their
aesthetic suitability rather than their historical accurateness. His portrait
of Helen of Troy is seen wearing an Indian necklace (1881, Art Gallery of
New South Wales).
Poynter was born in Paris; his father was the architect Ambrose Poynter,
his mother the grand-daughter of the sculptor Thomas Banks. He decided
to become a painter on meeting Frederic Leighton in Rome in 1854, and
Leighton remained his lifetime mentor and hero. Having studied briefy
at Leighs drawing academy and the Royal Academy Schools in London,
Poynter went to Paris in 1856 for further study in the atelier of Charles
Gleyre, a follower of the great J.A.D. Ingres; and it was here that he
absorbed the principles of sound academic draughtsmanship that were
to be his forte as an artist (for drawings by Poynter see lots 16 and 26).
Poynter began to exhibit at the Royal Academy in 1861, but he did not
fnd fame until 1865, when he showed Faithful unto Death (Liverpool), an
emotive image of a Roman soldier remaining staunchly at his post during
the destruction of Pompeii. In 1866 he married Agnes Macdonald, whose
sister Georgiana was married to Burne-Jones and in 1867 he scored
another success at the RA with Israel in Egypt (Guildhall Art Gallery,
London), an elaborate and ambitious work in which he displayed both his
academic understanding of the nude and an Alma-Tadema-like capacity
for archaeological precision. During the late 1860s and early 1870s he
was also involved in a number of major decorative projects: the tile-work
for the Grill Room in South Kensington (1868-70, Victoria and Albert
Museum, London), a mosaic in the Houses of Parliament (1869), and
four large historical paintings for the billiard room at Wortley Hall, near
Sheffeld (1871-9). During the 1880s and 1890s he continued to produce
large classical pictures. He next worked on his most ambitious picture,
the Visit of the Queen of Sheba to King Solomon (188490, Art Gallery of
New South Wales, Sydney). Increasingly, however, the majority of his
exhibition contributions were small-scale, classical genre pictures.
Poynter is remembered today not only as an artist but as an outstanding
teacher. His pedagogic career began when he was appointed to run the
newly-founded Slade School of Art, London, in 1871. He immediately
introduced the principles of French art education that he had imbibed
himself, and although he resigned in 1875, his place was taken by
a Frenchman, Alphonse Legros, while Poynter himself maintained
French teaching methods when he moved on to become principal of
the National Art Training School at South Kensington. Although he
continued to paint to the end, and even resigned the South Kensington
post in 1881 because he felt his creative work was suffering, Poynter
remained deeply involved in art administration. In 1894 he accepted the
directorship of the National Gallery, which at the time traditionally went
to a practising artist. He held the post until 1904, combining it for eight
years with that of President of the Royal Academy in 1896. He is the
only artist ever to have occupied the two positions concurrently, while
in remaining PRA until 1918, a year before his death, he enjoyed one
of the longest tenures of any incumbent. He was knighted in 1896 and
created a baronet in 1902.
34
*8
25,000-35,000
$37,000-52,000
35,000-48,000
PROVENANCE:
*9
30,000-50,000
$45,000-74,000
42,000-69,000
PROVENANCE:
38
*10
O2,000-3,000
$3,000-4,400
2,800-4,200
PROVENANCE:
40
*11
3,000-5,000
$4,500-7,400
4,200-6,900
PROVENANCE:
Fig. 1: Sir William Blake Richmond, The Song of Miriam, oil on canvas, sold Christies, London, 26 November 2003, lot 82
41
*12
2,500-3,500
42
$3,700-5,200
3,500-4,800
PROVENANCE:
with The Maas Gallery, London, where purchased by the present owners.
Poynter was far more academic than his fellow Pre-Raphaelite artists,
having trained at the Royal Academy schools and in Paris at the atelier of
the Neo-classicist Charles Gleyre. However, he was as equally beguiled as
his contemporaries by feminine beauty. Exemplifed by his many portrait
head sketches, of which this is a particularly fne example. Dated Jan. 6.
82, this red chalk study is sensitive, capturing a sense of innocence and
vulnerability in the sitter with her questioning upward gaze. Poynters
masterful handling of the chalk gives a striking immediacy, perfectly
capturing her beauty.
*13
3,000-5,000
PROVENANCE:
with The Maas Gallery, London, where purchased by the present owners.
The present sheet appears from the inscription to have been executed
during Blake Richmonds frst visit to Greece in the summer of 1882. The
trip was such a success that he returned again the following year and as a
direct result of these visits he painted An Audience in Athens (Birmingham
City Museum and Art Gallery).
This drawing demonstrates the artists extraordinary ability to capture a
vivid likeness with just a few judicious strokes.
$4,500-7,400
4,200-6,900
43
*14
4,000-6,000
$5,900-8,900
5,600-8,300
PROVENANCE:
44
*15
12,000-18,000
$18,000-27,000
17,000-25,000
PROVENANCE:
Henrietta Litchfeld.
Sir Geoffrey Keynes.
Margaret Keynes.
with Peter Nahum, London, where purchased by the present owners.
The present drawing is a study for the musician in the far right of BurneJones painting The Mill (Victoria & Albert Museum, London, fg. 1),
begun in 1870 and according to the artists work record, was worked
on intermittently for the next twelve years, particularly in 1870, 1873,
1878, 1879 and 1881. It was fnished shortly before it was exhibited in
1882 at the Grosvenor Gallery. The painting marked a return to a more
colourful and romantic style of painting following a period of severe,
almost monochromatic classicism. Unlike Rossetti, much of BurneJones work has no literary inspiration, but seeks to evoke a mood, in a
comparable manner to the effect of music. The painting was purchased
by Constantine Ionides, a wealthy stockbroker, who formed a large
collection of paintings by contemporary artists. His entire collection
was bequeathed to the Victoria & Albert Museum, and as such is the
only collection formed in England during the Aesthetic period to have
remained together to this day.
Sir Geoffrey Keynes (1887-1982) was a surgeon, scholar and bibliophile,
as well as a prolifc collector of art. He became a leading authority on
William Blake, and was fascinated by the intertwining of art and literature
in the work of the Pre-Raphaelites. Much of his collection was donated
to the Fitzwilliam Museum after his death.
Fig. 1: Sir Edward Coley Burne-Jones, The Mill, 1870, oil on canvas
Victoria and Albert Museum/ The Bridgeman Art Library
45
*16
O1,000-1,500
$1,500-2,200
1,400-2,100
PROVENANCE:
46
*17
5,000-8,000
$7,400-12,000
7,000-11,000
PROVENANCE:
Fig. 1: Sir Edward Coley Burne-Jones, The Sleep of Arthur in Avalon, 1881-1898, oil on canvas
Museo de Arte de Ponce. The Luis A. Ferr Foundation, Inc.
47
*18
50,000-70,000
$74,000-100,000
70,000-97,000
PROVENANCE:
Proud Maisie was one of Sandys most popular subjects and one to which
he returned on several occasions. The present drawing was probably
executed not long after Sandys frst exhibited the subject at the Royal
Academy in 1868. Both William Michael Rossetti and A.C. Swinburne
praised the exhibited work in a review of the exhibition, published jointly
in pamphlet form. Swinburne, one of Sandys most ardent admirers, was
particularly enthusiastic. It was, he wrote, one of the artists most solid
and splendid designs; a woman of rich, ripe, angry beauty, she draws one
warm long lock of curling hair through her full and moulded lips, biting
it with bared bright teeth, which add something of a tigers charm to the
sleepy and couching [sic] passion of her fair face. Sandys drawing is a tour
de force, charged with sexual tension and raw emotion.
The model for Proud Maisie was Mary Emma Jones, an actress who took
the stage name of Miss Clive. She had frst sat to Sandys in 1862, and
by 1867 they had established a long-term common law relationship and
produced the frst of ten surviving children. From then on she was his
principal muse, inspiring countless works which celebrate her distinctive
profle and luxuriant tresses. Elzea, (op.cit., p. 16) calls Proud Maisie a kind
of apotheosis of Mary Emma and her spectacular hair. The title by which
the composition became known was taken from The Pride of Youth, a
poem by Sir Walter Scott in The Heart of Midlothian:
48
*19
O7,000-10,000
$11,000-15,000
9,700-14,000
PROVENANCE:
with The Maas Gallery, London, where purchased by the present owners.
50
*20
10,000-15,000
$15,000-22,000
14,000-21,000
PROVENANCE:
Sir William Orpen (); Christies, London, 13 July 1934, lot 17 (unsold).
Sir William Orpen (); Christies, London, 5 April 1937, lot 8 (1.11. 6
to J.S. Maas).
Mrs Stead-Ellis, by 1962.
with Peter Nahum, London, where purchased by the present owners.
EXHIBITED:
51
*21
2,500-3,500
$3,700-5,200
3,500-4,800
PROVENANCE:
52
In the 1860s there was an was a vast increase in the number of books and
periodicals published with black and white line plates, both young artists
and more seasoned professionals provided designs for the wood block
engravers. Artists such as George John Pinwell (1842-1875) and Frederick
Walker (1840-1875) produced watercolours and engravings for the
Dalziel Brothers. Leightons frst commissions as an illustrator came from
the Cornhill Magazine; his drawings of The Great God Pan and Ariadne
appeared as plates accompanying Elizabeth Barrett Brownings poems
A Musical Instrument and Ariadne at Naxos in 1860. Both Leighton
and Poynter worked for the Dalziel Brothers and executed designs for
Dalziels Illustrated Bible during the 1860s.
22
*22
*23
3,000-4,000
$4,500-5,900
4,200-5,500
PROVENANCE:
1,000-1,500
$1,500-2,200
1,400-2,100
PROVENANCE:
23
53
*24
Evelyn De Morgan
(1855-1919)
A study of Grief, for In
Memoriam
black and white chalk on grey-brown paper
17 x 19 in. (44.5 x 49.5 cm.)
O4,000-6,000
$5,900-8,900
5,600-8,300
PROVENANCE:
54
*25
4,000-6,000
$5,900-8,900
5,600-8,300
PROVENANCE:
Fig. 1: Frederic, Lord Leighton, Music, 1885, oil on canvas Leighton House Museum/ The Bridgeman Art Library
55
*26
O3,000-5,000
$4,500-7,400
4,200-6,900
PROVENANCE:
56
The present red chalk drawing, dated Dec. 20. 81 is the earliest of three
known studies for Poynters nude bathing subject Diadumeng, a version
of which was exhibited at the Royal Academy in 1884 (Exeter City
Museums and Art Gallery). When a larger version was exhibited at the
Royal Academy in 1885, accusations of indecency were levelled at the
painting, resulting in the addition of drapery to the naked fgure. Poynter
defended his conception by citing prototypes from classical antiquity
including Polycletus male statue The Diadumenos or Fillet binder and
the Esquiline Venus, which had been discovered in 1874. In the fnished
work the womans pose is echoed in a silver statuette in the background,
emphasising the pictures classical infuences.
Another study for the fgure, dated Feb. 13. 82 was sold in these Rooms
on 6 November 1995 (lot 65), and a third, dated 12 June 1884, is
illustrated in M. Bell, The Drawings of Sir E.J. Poynter, 1905, pl. 27.
l*27
10,000-15,000
$15,000-22,000
14,000-21,0000
PROVENANCE:
Stylistically this striking full-length nude surely dates from circa 1907,
when John was at the height of his ability as a draughtsman. In his
economy of line there is an urgency and confdence which recalls Ingres,
and his remarkable early technical ability shines through in his mastery of
the female form. John, although later than the Pre-Raphaelites who make
up most of this collection, shared not only their obsession with female
beauty, but also their lyrical interpretation of its form through numerous
studies and sketches of both heads and nudes.
There is something in the disposition of the sitters features, and the long,
elegant nose which is reminiscent of Alexandra Alick Schepeler, one of
Johns most striking and well known models, with whom he had a longrunning affair, and obsessed over artistically from 1906-7. She was prone
to fts of melancholy and depression, hinted at here in her downward
gaze and self-absorption. She was renowned for her mystery, making her
a particularly fascinating subject for John.
57
*28
O2,000-3,000
$3,000-4,400
2,800-4,200
PROVENANCE:
with The Maas Gallery, London, where purchased by the present owners.
Here, an androgynous young boy wears the winged helmet of Mercury,
with a high, military-style collar. Solomon has rejected the traditional
fat helmet in favour of a more contemporary style, as seen in his Perseus
with the Head of Medusa from the following year, as well as Twilight, Pity
and Death (1889). The work is unusual in Solomons oeuvre for its full
face depiction and the direct gaze of the sitter towards the viewer, as well
as for its lack of the melancholy so often associated with Solomons late
work.
28
*29
O2,500-3,500
$3,700-5,200
3,500-4,800
PROVENANCE:
29
58
*30
2,000-3,000
$3,000-4,400
2,800-4,200
PROVENANCE:
30
*31
2,000-3,000
$3,000-4,400
2,800-4,200
PROVENANCE:
31
59
*32
5,000-8,000
$7,400-12,000
7,000-11,000
PROVENANCE:
with The Maas Gallery, London, where purchased by the present owners.
EXHIBITED:
60
*33
2,500-3,500
$3,700-5,200
3,500-4,800
PROVENANCE:
EXHIBITED:
61
*34
3,000-5,000
$4,500-7,400
4,200-6,900
PROVENANCE:
34
*35
1,000-1,500
$1,500-2,200
1,400-2,100
PROVENANCE:
35
62
*36
7,000-10,000
$11,000-15,000
9,700-14,000
PROVENANCE:
63
37
38
*37
7,000-10,000
$11,000-15,000
9,700-14,000
PROVENANCE:
64
This intriguing interior with sumptuous decorative details such the brass
jardinires, Japanese-style titami floor-matting and bamboo hanging pots
full of scented geraniums, and other ornate fabrics and pieces of furniture.
During the second half of the 19th Century travel to the Far East became
much more possible, the influence of which could shortly after be seen
in interior decoration and fashion: In its earliest phase, the Aesthetic
Movement was dominated by the vogue for Japanese art, which was the
most important of the external influences on European design during the
second half of the Nineteenth Century. The Aesthetes fetishized blue and
white china and swooned over oriental prints, and Westernized versions
of Japanese colours, decoration and forms were adopted within almost
every area of the decorative arts (J. Banham, S. Macdonald and J. Porter,
Victorian Interior Style, London, 1995, p. 111). A similar decorative scheme
could be found at Sir Lawrence Alma-Tademas Townshend House,
in Regents Park, which was faithfully recorded in watercolour by his
daughter, Anna (The Drawing Room, Townshend House, 10 September 1885,
Royal Academy of Arts). The embroidered oriental wall-hangings which
frame the sitter in her vivid red velvet dress are comparable to those seen
in Faheys Tea Time and Treats (circa 1890, private collection).
*38
O2,000-3,000
$3,000-4,400
2,800-4,200
PROVENANCE:
*39
O7,000-10,000
$11,000-15,000
9,700-14,000
PROVENANCE:
65
*40
Sophie Anderson
(1823-1903)
A little girl with a kitten
signed S. Anderson (lower right)
oil on canvas
10 x 12 in. (25.4 x 30.5 cm.)
10,000-15,000
$15,000-22,000
14,000-21,000
PROVENANCE:
40
*41
Sophie Anderson
(1823-1903)
The Thrushs Nest
signed with initials (lower left)
oil on canvas
8 x 10 in. (21 x 25.4 cm.)
10,000-15,000
$15,000-22,000
14,000-21,000
PROVENANCE:
41
66
*42
PROVENANCE:
Little is known about Ensor, a painter of birds, flora and fauna from
Birkenhead, but the extraordinary detail and vibrant colours used here
clearly show the influence of John Anster Fitzgerald (1819-1906),
William James Webbe (fl. 1853-1878), and William Henry Hunt (17901864).
10,000-15,000
(4)
$15,000-22,000
14,000-21,000
67
VARIOUS PROPERTIES
*43
50,000-80,000
$76,000-120,000
71,000-110,000
From its frst appearance at the Royal Academy in 1877 The Athlete was recognised as
a major work of British sculpture. Leightons fgure is at once imbued with the spirit of
the Antique (the Laocon is the obvious source) and strikingly modern. It heralded the
beginning of the New Sculpture movement and was considered one of the fnest examples
of British sculpture through the 20th Century.
The statue represents a youth of superb physique locked in a life and death struggle with
a snake. The model is thought to be Angelo Colorosi, a leading fgure in the Italian colony
of professional male models. The male nude in action was a theme Leighton explored in
his paintings of the early 1870s - such as Daedalus and Icarus and Hercules wrestling with
death. Leighton had little experience with sculpture and the execution of such a powerful
and dynamic design was undertaken in the studio of his protg, Thomas Brock, who
provided signifcant technical expertise. That it was the frst of only three sculptures that
Leighton fully completed makes it all the more impressive.
The original life-size bronze version is now in Tate Britain, on loan to the Victoria & Albert
Museum. In 1887 Carl Jacobsen, owner of the famous Carlsberg brewery in Copenhagen
commissioned a marble version (deaccessioned in 1974 and sold from the Forbes
Collection in these Rooms on 19 February 2003 as lot 28). Bronze reductions such as the
present lot were published in two sizes by the Leicester Galleries, though rarely appear on
the market. Another cast of this size was gifted to Princess Mary by the members of the
Royal Academy of Arts in February 1922 - the month of her marriage to Henry Lascelles,
6th Earl of Harewood (1882-1947) and sold from Harewood House, Christies, London, 5
December 2012, lot 519 (91,250). A larger cast measuring 38 in. (98 cm.) sold in these
Rooms on 11 July 2013 (lot 8, 493,875).
68
44
10,000-15,000
44
$16,000-23,000
15,000-21,000
45
3,000-5,000
$4,600-7,500
4,300-7,000
45
46
20,000-30,000
$31,000-45,000
29,000-42,000
71
LITERATURE:
47
50,000-70,000
PROVENANCE:
$76,000-110,000
71,000-98,000
72
73
48
20,000-30,000
PROVENANCE:
$31,000-45,000
29,000-42,000
74
49
10,000-15,000
PROVENANCE:
$16,000-23,000
15,000-21,000
LITERATURE:
75
50
12,000-18,000
$19,000-27,000
17,000-25,000
This is a study for the fgures of two lovers in the upper-right corner
of The Blessed Damozel (Fogg Art Museum, Harvard University,
Surtees, no. 244), an important work of 1875-8 executed for
William Graham, a wealthy India merchant and Liberal M.P. for
Glasgow, who was one of Rossettis most consistent patrons. The
picture was commissioned in 1871 and illustrates the artists wellknown early poem of the same name. The main painting, in which
the Damozel herself is seen leaning from the gold bar of Heaven,
was completed in 1877, and on 31 December that year Graham
asked Rossetti to add a predella showing her earthly lover gazing
up to Heaven.
76
In the upper part of the painting, behind the head of the Damozel,
are eleven pairs of lovers against the sunset, illustrating the third
verse of the poem:
Around her, lovers, newly met,
Mid deathless loves acclaims,
Spoke evermore among themselves
Their heart-remembered names;
And the souls mounting up to God
Went by her like thin fames.
The adoring embraces of the ghostly fgures are in stark contrast to
the wistful longing and loneliness of the Damozel and her earthly
lover in the predella below. The current drawing depicts the pair
to the far right, who gaze into each others eyes with a passionate
intensity. Capturing the depth of their emotion, it provides a
distillation of the atmosphere of the larger work.
51
40,000-60,000
$61,000-90,000
57,000-84,000
PROVENANCE:
EXHIBITED:
LITERATURE:
The subject has also been associated with Shakespeares Tempest, as the older
man reveals an image of a shipwreck to the young girl in his convex mirror,
although Burne-Jones made no reference to the fgures being Prospero and
Miranda, but simply referred to it as his Maiden and Necromancer picture
(M. Lago, Burne-Jones Talking: His Conversations, 1895-98, p. 84). What is
certain is that its composition and the use of the convex mirror were inspired
by Jan van Eycks Portrait of Giovanni Arnolfni and His Wife, Fiovanna
Cenami (National Gallery, London), a work which Burne-Jones described
as the fnest picture in the world (ibid, p. 136).
77
52
80,000-120,000
$130,000-180,000
120,000-170,000
PROVENANCE:
EXHIBITED:
London, New Gallery, Exhibition of the works of Sir Edward Burne-Jones, 1898-1899,
no. 33.
London, The National Gallery of British Art, London (Tate), Paintings and Drawings of
the 1860 period, 27 April-29 July, 1923, no. 33.
LITERATURE:
New Gallery, Exhibition of the works of Sir Edward Burne-Jones 1898-1899, exh. cat.,
London, no. 33.
M. Bell, Sir Edward Burne-Jones, A record and a review, London, 1901, p. 28.
F. de Lisle, Burne-Jones, London, 1904, pp. 59, 179.
The National Gallery of British Art (Tate), Paintings and Drawings of the 1860 period,
exh. cat., London, 1923, p. 11, no. 33.
J. Christian and R. Dorment, Theseus and Ariadne: A newly discovered Burne-Jones,
Burlington Magazine, 117, September 1975, pp. 591-97.
S. Wildman and J. Christian, Edward Burne-Jones,
Victorian Artist-Dreamer, New York, 1998, p. 115.
78
79
80
81
*53
250,000-350,000
$380,000-530,000
360,000-490,000
PROVENANCE:
EXHIBITED:
LITERATURE:
82
83
wears what Marillier (loc. cit.) calls a gold and purple robe of
Eastern stuff, and the cataloguer of the 1883 exhibition identifes
as an Indian dress. Either way, she is well-apparalled, as the
text on the frame has it. If the quotation as a whole satisfed
Rossettis passion for medieval quaintness, this phrase in particular
sanctioned yet another expression of the highly personal form of
Aestheticism he evolved in the 1860s.
84
Maybe the dress was one of the many costumes that Rossetti kept
in his studio to adorn his models, or perhaps, since he does not
seem to use it elsewhere, it was borrowed for the purpose. No such
doubts arise in the case of the heart-shaped medallion on the wall
and the spiral of pearls that the girl wears in her hair, both of which
were almost certainly in Rossettis possession. The medallion had
already appeared in Regina Cordium, a picture of 1866 (Surtees,
op. cit., pl. 280), the only difference being that the amorino it
bears there is changed to a Virgin and Child in A Christmas Carol
to suit a more Christian context. As for the brooch, this was one
of Rossettis favourite studio properties at this period, featuring
not only here but in Fiammetta (1866; Surtees, op. cit., pl. 282),
Joli Coeur (1867; Surtees, op. cit., pl. 286) and Monna Vanna
(1866; Surtees, op. cit., pl. 281). The last, which was also in the
Rae collection, is one of Rossettis most wholehearted essays in
Aesthetic values. As he wrote himself, it was probably the most
effective (work) as a room decoration that I have ever painted.
The model for A Christmas Carol was Ellen Smith, not as
voluptuous as Fanny Cornforth or as regal as Alexa Wilding, who
sat for Monna Vanna, but prized when more homely charms were
needed. She was a laundry girl, and, like so many of the models
who passed through Rossettis studio at this period, of equivocal
virtue. She also sat for Washing Hands (1865), The Beloved
(1865-6), yet another Rae picture, Joli Coeur (1867), and the three
watercolour versions of The Loving Cup (1867), one of which was
sold in these Rooms on 26 November 2003 (lot 17).
There is a pencil study for the painting in the British Museum (fg.
1), and our drawing too is often described as a fnished study,
implying that it was the defnitive rendering of the subject before
Rossetti embarked on the painting itself. However, so close are
they in detail, and so unhesitating is our drawing in its delineation
of the forms, that the possibility should be considered that it is not
a preliminary study but an independent chalk version made after
the painting was fnished. Rossetti, of course, often made such
drawings for commercial purposes, and there is no reason why he
should not have done so here. Another possibility, however, turns
out to have no substance. A Christmas Carol is almost unique in
Rossettis oeuvre in being the subject of a reproductive etching,
but the drawing cannot have been made for the etchers guidance.
Eugne Gaujean (1850-1900), the print-maker in question, was
only seventeen in 1867, and the print was not published (by Robert
Dunthorne) until 1891, nine years after Rossettis death.
The drawings frst owner was Aglaia Coronio (1834-1906); a label
on the back, perhaps in her own hand, is inscribed with her name
and address, 1A Holland Park in Kensington. Aglaia belonged to
the Ionides family, a wealthy and cultured Anglo-Greek clan that
plays a prominent part in the annals of Victorian art. She was the
85
*55
30,000-50,000
$46,000-75,000
43,000-70,000
PROVENANCE:
EXHIBITED:
LITERATURE:
54
8,000-12,000
$13,000-18,000
12,000-17,000
86
87
56
250,000-350,000
$380,000-530,000
360,000-490,000
PROVENANCE:
with Richard Haworth, Blackburn, where purchased by the present owners grandfather.
This new discovery was painted in Rome while Godward was living at the Villa Strohl-Fern,
one of a group of artists studios to which the artist had absconded in 1911 to live with his
model, scandalising his family. The model, possibly the Dolcissima that Russell Flint met
when he visited Godward, featured in many of Godwards other works of that date. This
painting exemplifes Godwards strengths in painting; in the carefully rendered marble,
contrasting with her skin tones, drapery and fowers. Twenty-fve tondo oils by Godward
are known and several more watercolours. While this number is not great compared to his
total output, circular pictures best defne the artists consummate compositional abilities.
To be included in the forthcoming updated catalogue raisonn by Professor Vern G.
Swanson.
88
89
58
30,000-50,000
$46,000-75,000
43,000-70,000
EXHIBITED:
LITERATURE:
57
15,000-25,000
$23,000-38,000
22,000-35,000
PROVENANCE:
EXHIBITED:
90
91
59
600,000-800,000
$910,000-1,200,000
850,000-1,100,000
PROVENANCE:
EXHIBITED:
92
LITERATURE:
93
94
Fig. 3: Self-portrait, 1867-68, 1875, Galleria degli Uffzi, Florence 2015, Scala,
Florence, courtesy of the Ministero Beni e Att. Culturali
Academy, and Hunt had to set aside his own portrait when his
major subject picture Isabella and the Pot of Basil (Laing Art
Gallery, Newcastle-on-Tyne) arrived back from Italy unfnished.
He did, however, fnd the time to produce two more portraits of
the Waugh family, and in 1869 both were exhibited at the Royal
Academy, in its frst show at Burlington House. These paintings
are of his mother-in-law Mary Waugh (fg. 1) and her youngest
daughter Edith, our picture. They are closer in technique to the
self-portrait, and very different from that of Fanny, indicating that
the late 1860s was a period of transition in the evolution of Hunts
style. Indeed, in the self-portrait Hunt deliberately includes some
extraordinarily long brushes in the foreground to indicate that he
is aiming for greater fuidity. His account with the colour merchant
Roberson shows that in October 1867 he purchased some Sables
& Fine Hog Tools with bamboo handles measuring 27 inches
long; Hunts friend and erstwhile P.R.B. William Michael Rossetti
recorded in his diary entry of 11 February 1868 that Hunt was
working on these two portraits with brushes of great length, so
that he stands a good way off the canvas, and fnds that he can thus
give features better as a general whole. In The Birthday, which
was nearly completed by 11 April 1868, the curtain and wooden
panelling in the background certainly look as though Hunt was
persevering with the new technique.
This loosening of handling was infuenced by the time he had
spent in Italy studying the Old Masters. The impact on Hunt of
High Renaissance painting was immediate, and on 9 October
1866 he had written to the art critic and former P.R.B. F.G.
Stephens: The lesson that most forces itself upon one altogether
is that we in England are too careful about prosaic and scientifc
proprieties in our art. This certainly sounds like a recantation
of Hunts painstaking dedication to detailed naturalism, which
method perhaps requires the stamina of youth - whereas Hunt
95
Fig. 6: The Birthday from William Holman Hunt, PreRaphaelitism and the Pre-Raphaelite Brotherhood, London,
1913, p. 209.
Ediths feelings would adversely affect his career, and despite the
disapproval of both families and some friends, the relationship
deepened, and in November 1875 the couple were married in
Switzerland (fg. 5). Although they were to encounter a fair amount
of social ostracism, it was a mutually supportive partnership.
Edith, under the tutelage of her husband, became a competent
watercolourist. Touchingly, her copy of Hunts Il Ponte Vecchio
(sold recently at Christies South Kensington and now in a private
collection) was made for their son Hilary in 1922, when she was
74 years old. Some years earlier, she had given Hilary The Birthday
on the occasion of his marriage. This was before Hunts death,
suggesting that Edith had persuaded Edward Robert Hughes,
Hunts studio assistant on the St Pauls Light of the World and
The Lady of Shalott (Wadsworth Atheneum), to make some subtle
alterations to the head while Hunt was still alive. A photograph
reproduced in the second (1913) edition of Hunts memoirs seems
to refect the head before any retouching by Hughes (fg. 6). The
lips are thin and turned down, and the overall effect is certainly
mournful, a word the critics had used about The Birthday on its
exhibition in 1869. Another photograph, recently rediscovered,
is mounted on card in a portfolio of hand-coloured photographs
Edith made for Hilary of her husbands art collection (fg. 7). It
shows an intermediate stage: Hughes has done some work to the
corners of the mouth to suggest thoughtfulness rather than strain,
and the chin has been reduced in size though it is still more
pronounced than in the painting as it appears today. Perhaps Edith,
towards the end of Hunts life, wanted Hughes to alter her portrait
because she felt that she and Hunt had won through against the
odds, and she did not want to be reminded of the grim times they
experienced before their marriage, while the union was proscribed
under English law (the Act legalising marriage with a deceased
wifes sister was not passed until 1907). Hughess intervention
certainly has the effect of making the face look more attractive,
even though it somewhat dilutes the strong character of the sitter.
60
600,000-800,000
$910,000-1,200,000
850,000-1,100,000
PROVENANCE:
Purchased by Colonel J. W. Cameron, with its pendant, Merry, August 1895 (1,400 gns),
and by descent to the present owner.
EXHIBITED:
LITERATURE:
98
99
Fig 1: Sir John Everett Millais, P.R.A. (1829-96), Bubbles Elida Gibbs Collection,
London, UK / Bridgeman Images
100
Fig 2: John Singer Sargent (1856-1925), Carnation, Lily, Lily, Rose Tate,
London, 2015
Fig. 4: Sir John Everett Millais, P.R.A. (1829-96), Little Speedwells Darling Blue
Lady Lever Art Gallery, National Museums Liverpool / Bridgeman Images
1940), who would paint his portrait in that same year (R.A.,
1896, no. 611, Hartlepool Museums and Heritage Service). Cope
wrote to him concerning the possible purchase:
I thought youd like those two pictures I had to go & see
Millais on other matters just before I left & was glad to have
another look at them.He (Millais) is a very big man I heard
Leighton said that he was head and shoulders above any painter
of his time or century. I rather doubt if you would get those two
pictures for 1200. If I were you I would not offer less than 1400
gs for the pair, or he might decline altogether. He knows they are
worth more or will be than the gs 800 he is asking apiece
(Letter, A.S. Cope to Colonel Cameron, dated Carlton Colville/
Nr. Lowestoft,/Aug. 3, 1895.).
Considering that Cameron paid 1400 for them, it is possible that
Cope worked with Millais to get the price he wanted. In 1951
Sir Alfred Munnings (1878-1959), working from photographs,
wrote to the Cameron family, offering that Pensive, then hanging
in the dining room at Cowesby Hall, Thirsk, which was bought
by the family in 1946, would be worth at least 1,000. It has
since passed down in the family to the present owner.
We are grateful to Jason Rosenfeld, Distinguished Chair and
Professor of Art History, Marymount Manhattan College, New
York, for providing this catalogue entry.
101
61
300,000-500,000
$460,000-750,000
430,000-700,000
PROVENANCE:
EXHIBITED:
LITERATURE:
102
103
62
1,200,000-1,800,000
$1,900,000-2,700,000
1,700,000-2,500,000
PROVENANCE:
Sold by the artist for 300 to Arthur Tooth & Sons, London (according to the artists
ledger and Tooths stock inventories).
with Arthur Tooth, London, until 22 May 1886, where purchased by Baker (320), then
re-acquired from Baker by Tooths, 28 December 1886.
Anonymous sale [E. Simon]; Christies, London, 30 March 1889, lot 135, as Provincial
Ladies (135 gns to Tooth).
Anonymous sale [Lefevre & Sons]; Christies, London, 15 April 1905, lot 140, as Early
Arrivals (unsold).
Private collection, Rotterdam, by 1955, and by bequest to the present owner.
EXHIBITED:
Paris, Galerie Sedelmeyer, Exposition J.J. Tissot - Quinze Tableau sur la Femme A Paris,
19 April - 15 June 1885, no. 12, as Les Demoiselles de Province.
London, Arthur Tooth & Sons, Pictures of Parisian Life by J.J. Tissot, 1886, no. 14,
as Provincial Women.
LITERATURE:
104
105
Fig 1: Une Veuve, 1868, sold Christies, London, 12 June 1992, lot 116.
Fig 2: Too Early, 1873 Guildhall Art Gallery, City of London / Bridgeman Images
106
Fig 4: Ces Dames des Chars or The Ladies of the Cars, 1883-85
(Museum of Art, Rhode Island School of Design, Providence)
107
LITERATURE:
64
25,000-35,000
*63
PROVENANCE:
20,000-30,000
$38,000-53,000
36,000-49,000
$31,000-45,000
29,000-42,000
PROVENANCE:
EXHIBITED:
108
109
*65
10,000-15,000
$16,000-23,000
15,000-21,000
PROVENANCE:
LITERATURE:
65
l66
10,000-15,000
$16,000-23,000
15,000-21,000
PROVENANCE:
110
*67
10,000-15,000
PROVENANCE:
$16,000-23,000
15,000-21,000
111
l68
10,000-15,000
112
$16,000-23,000
15,000-21,000
69
$16,000-23,000
15,000-21,000
PROVENANCE:
EXHIBITED:
LITERATURE:
113
70
40,000-60,000
PROVENANCE:
$61,000-90,000
57,000-84,000
EXHIBITED:
LITERATURE:
114
71
20,000-30,000
$31,000-45,000
29,000-42,000
EXHIBITED:
115
72
25,000-35,000
PROVENANCE:
$38,000-53,000
36,000-49,000
Anonymous sale; Christies, London, 13 June 2000, lot 61, where purchased by the present
owner.
116
73
60,000-80,000
$91,000-120,000
85,000-110,000
PROVENANCE:
EXHIBITED:
LITERATURE:
F. Lewis, Benjamin Williams Leader, R.A. 1831-1923, Leigh-on-Sea, 1971, p. 52, fg. 84,
no. 559.
R. Wood, Benjamin Williams Leader R.A. 1831-1923, His Life and Paintings,
Woodbridge, 1998, p. 130.
117
74
100,000-150,000
$160,000-230,000
150,000-210,000
PROVENANCE:
EXHIBITED:
LITERATURE:
118
75
WILLIAM POWELL
FRITH, R.A. (1819-1909)
Isabelle Frith reading
signed and dated W.P. FRITH 1845 (lower left) and
with inscription Portrait sketch of my Mother,/Isabelle
Frith, ne Baker;/Probably painted in 1850/by W.P.
Frith R.A./Walter Frith./13 Harley Gardens./S.W.10/
July ix:1933 (in the hand of the artists son, on a label
attached to the reverse) and with a further inscription
Sketch by Frith R.A. (on a fragmentary label attached
to the stretcher)
oil on panel
11 x 13 in. (28 x 34.3 cm.)
7,000-10,000
$11,000-15,000
9,900-14,000
EXHIBITED:
76
FREDERICK RICHARD
LEE, R.A.
(1798-1879)
A distant view of Dunbar Castle - Sportsmen
returning with the days bag
signed and dated Fredk. Richd. Lee ARA/1835 (lower
right)
oil on canvas
28 x 36 in. (71 x 91.5 cm.)
10,000-15,000
$16,000-23,000
15,000-21,000
PROVENANCE:
PROVENANCE:
77
EXHIBITED:
20,000-30,000
LITERATURE:
$31,000-45,000
29,000-42,000
121
78
70,000-100,000
$110,000-150,000
99,000-140,000
PROVENANCE:
EXHIBITED:
122
79
RICHARD DOYLE
(1824-1883)
Fairies and squirrels in a forest
signed with monogram (lower left) and
numbered 36 (on the reverse)
pencil and watercolour on paper
14 x 20 in. (35.5 x 50.8 cm.)
5,000-8,000
$7,600-12,000
7,100-11,000
PROVENANCE:
79
JOHN RUSKIN,
H.R.W.S. (1819-1900)
Root and Blossom
pencil and watercolour heightened with
touches of bodycolour on buff paper
3 x 6 in. (9.9 x 16.2 cm.)
5,000-8,000
$7,600-12,000
7,100-11,000
PROVENANCE:
80
WILLIAM FRASER
GARDEN
(1856-1921)
The Pike and Eel, Needingworth,
Huntingdon
signed and dated W.F. GARDEN. 1902 (lower
left)
pencil and watercolour on paper
10 x 15 in. (27.4 x 38.6 cm.)
81
3,000-4,000
$4,600-6,000
4,300-5,600
82
A watercolourist of distinction and member of the Old Watercolour Society, Boyce was also the confdante of Rossetti, and his
diaries give a lively account of twenty-fve years of the artists life
while in London and the circumstances and history of many of
Rossettis drawings.
4,000-6,000
$6,100-9,000
5,700-8,400
125
83
50,000-70,000
$76,000-110,000
71,000-98,000
PROVENANCE:
LITERATURE:
126
84
50,000-70,000
$76,000-110,000
71,000-98,000
PROVENANCE:
LITERATURE:
127
*85
200,000-300,000
$310,000-450,000
290,000-420,000
PROVENANCE:
128
129
86
25,000-35,000
$38,000-53,000
36,000-49,000
PROVENANCE:
LITERATURE:
H. Cook and M. Hardie, Sings from the Walls, The Life and Art of
Elizabeth Forbes, p. 187, no. 4.211.
When this picture last appeared at auction it was erroneously described as
being signed with a monogram. The monogram was questioned in Singing
from the Walls, The Life and Art of Elizabeth Forbes (H. Cook and M.
Hardie, p. 187, no. 4.211.). It has now been established, however, that the
picture is not signed. We are grateful to the many Newlyn School specialists
who have confrmed the attribution to Forbes.
l87
18,000-25,000
$28,000-38,000
26,000-35,000
PROVENANCE:
130
l88
20,000-30,000
$31,000-45,000
29,000-42,000
131
89
15,000-20,000
$23,000-30,000
22,000-28,000
132
90
20,000-30,000
$31,000-45,000
29,000-42,000
PROVENANCE:
133
91
250,000-350,000
$380,000-530,000
360,000-490,000
PROVENANCE:
EXHIBITED:
London, Arts Council of Great Britain, Tate Gallery; Birmingham, City Art Gallery;
Birkenhead, Williamson Art Gallery; Swansea, Glynn Vivian Art Gallery; Manchester,
City Art Gallery; Sheffeld, Graves Art Gallery; and Glasgow, Art Gallery and Museum,
Philip Wilson Steer, November 1960 - June 1961, no. 19.
LITERATURE:
Barbizon House, 1932, An Illustrated Record, 1932, p. 16, no. 12, illustrated as
Summer at Cowes.
D.S. MacColl, Life, Work and Setting of Philip Wilson Steer, London, 1945, p. 193,
as Yachts at Cowes.
B. Laughton, Philip Wilson Steer 1860-1942, Oxford, 1971, p. 133, pl. 52, no. 104.
134
Moore and one or two other new critics in the wake of the scandal
over Degass lAbsinthe, Steer was the new standard-bearer for
the avant-garde, and had he seen Yachts at Cowes (fig. 1) at this
point, his conviction could only have been confirmed (R. Pickvance,
LAbsinthe in England, Apollo, vol. 77, May 1963, pp. 395-8).
One of a series painted in the summer of 1892, the present canvas
is the only one to depict a specific location with which Steer was
already familiar the view of the harbour from East Cowes. Four
years earlier, he had stood at this same spot close to the shore to
paint Summer at Cowes (fig. 2). Laughton accepts that even though
a visit to Cowes in 1888 does not appear on the Chronological List
of painting locations, signed by Steer, the Manchester painting predates the present canvas (see Laughton, 1971, pp. 7-8, and note 7
which documents the various versions of the list, mostly compiled
when Steer was in his seventies (i.e. the 1930s)).
Comparison of the two pictures is therefore instructive. Many of the
points made in favour of the smaller work that its brushstrokes echo
classic Impressionist canvases by Monet and Sisley can be made in
relation to the larger. Yet the differences are also significant. Where
paint marks in the Manchester picture are agitated, suggesting a
windy day, the Solent, in the present canvas, is much calmer. White
sails reflected on its gently rippling surface are unruffled, and the
overhead muted cobalt, so admired by Moore, suggests a warm heat
haze. While the formats are strikingly similar, the foreground of the
present picture is more satisfactorily resolved with the inclusion of
spectators, the most vividly coloured of whom punctuate the
137
92
120,000-180,000
$190,000-270,000
170,000-250,000
PROVENANCE:
Paolo Tosti.
Samuel Joseph, and by descent to the present owner.
LITERATURE:
Fig. 1: Antonio Scotti, Paolo Tosti and Enrico Caruso, Venice, 1906 Private
collection
138
139
D93
100,000-150,000
$160,000-230,000
150,000-210,000
PROVENANCE:
EXHIBITED:
LITERATURE:
140
141
l94
15,000-25,000
$23,000-38,000
22,000-35,000
PROVENANCE:
95
10,000-15,000
PROVENANCE:
$16,000-23,000
15,000-21,000
142
l*96
30,000-50,000
LITERATURE:
$46,000-75,000
43,000-70,000
143
l97
20,000-30,000
144
$31,000-45,000
29,000-42,000
l98
80,000-120,000
PROVENANCE:
$130,000-180,000
120,000-170,000
145
l*99
150,000-250,000
$230,000-380,000
220,000-360,000
146
147
VARIOUS PROPERTIES
100
20,000-30,000
PROVENANCE:
148
$31,000-45,000
29,000-42,000
PROVENANCE:
EXHIBITED:
l*101
30,000-50,000
$46,000-75,000
43,000-70,000
LITERATURE:
149
l102
PROVENANCE:
60,000-80,000
150
$91,000-120,000
85,000-110,000
LITERATURE:
l103
70,000-100,000
$110,000-150,000
99,000-140,000
PROVENANCE:
151
l104
Charles Spencelayh
(1865-1958)
The Miser
signed C. SPENCELAYH (lower right)
oil on canvas
14 x 18 in. (35.5 x 46.4 cm.)
30,000-50,000
$46,000-75,000
43,000-70,000
PROVENANCE:
105
Edward Ladell
(1821-1886)
Still-life of fruit with a lemon
and glass
signed with monogram (lower left)
oil on canvas
10 x 12 in. (25.4 x 30.5 cm.)
8,000-12,000
PROVENANCE:
$13,000-18,000
12,000-17,000
152
l106
25,000-35,000
$38,000-53,000
36,000-49,000
PROVENANCE:
153
l107
80,000-120,000
$130,000-180,000
120,000-170,000
PROVENANCE:
EXHIBITED:
154
l*108
30,000-50,000
$46,000-75,000
43,000-70,000
l*109
30,000-50,000
$46,000-75,000
43,000-70,000
157
l110
20,000-30,000
$31,000-45,000
29,000-42,000
PROVENANCE:
l111
20,000-30,000
PROVENANCE:
$31,000-45,000
29,000-42,000
158
l*112
20,000-30,000
$31,000-45,000
29,000-42,000
l*113
15,000-20,000
$23,000-30,000
22,000-28,000
END OF SALE
159
6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
report for any item which does not have a report if the but not limited to completing any anti-money
request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks
date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
8 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B
REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVE terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
catalogues, at any Christies office or by choosing
(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
licence, national identity card or passport) and, if christies.com. We must receive your completed
not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.
C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVE (as shown above in Section B6);
and
(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve, the
auctioneer will generally decide to open the bidding
at 50% of the low estimate for the lot. If no bid
is made at that level, the auctioneer may decide to
go backwards at his or her sole option until a bid
is made, and then continue up from that amount.
In the event that there are no bids on a lot, the
auctioneer may deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.
F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of 5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights or remedies
we have by law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;
We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)
For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.
EU VAT registered
buyer
* and
Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
No Symbol and
If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.
* and
The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
Non EU buyer
No Symbol
and
We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.
(wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in
the buyers premium cannot be refunded to non-trade clients.
* and
We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.
EXPLANATION OF
CATALOGUING PRACTICE
164
PAYMENT
BOOKS
Free of Charge
Free of Charge
70.00
5.25
35.00
2.65
Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the
auction. Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate
165
CANADA
BUENOS AIRES
TORONTO
+54 11 43 93 42 22
Cristina Carlisle
AUSTRALIA
CHILE
SYDNEY
SANTIAGO
+56 2 2 2631642
Denise Ratinoff
de Lira
AUSTRIA
COLOMBIA
VIENNA
BOGOTA
+571 635 54 00
Juanita Madrinan
DENMARK
BRUSSELS
COPENHAGEN
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
BRITTANY AND THE
LOIRE VALLEY
+33 (0)6 09 44 90 78
Virginie Greggory
(Consultant)
GREATER EASTERN
FRANCE
+33 (0)6 07 16 34 25
Jean-Louis Janin
Daviet (Consultant)
INDIA
MUMBAI
PARIS
+33 (0)1 40 76 85 85
POITOU-CHARENTE
AQUITAINE
+33 (0)5 56 81 65 47
Marie-Ccile
Moueix
PROVENCE - ALPES
CTE DAZUR
DELHI
MONACO
+377 97 97 11 00
Nancy Dotta
INDONESIA
THE NETHERLANDS
JAKARTA
RHNE ALPES
TEL AVIV
+33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)
DSSELDORF
HAMBURG
TOKYO
+49 (0)89 24 20 96 80
Marie Christine
Grfin Huyn
MEXICO CITY
+33 (0)6 71 99 97 67
Fabienne AlbertiniCohen
GERMANY
MEXICO
KUALA LUMPUR
AMSTERDAM
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne
Schweizer
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)
DENOTES SALEROOM
ENQUIRIES?
166
14/04/15
info@christies.com
RUSSIA
SWEDEN
MOSCOW
STOCKHOLM
SINGAPORE
SINGAPORE
SWITZERLAND
GENEVA
UNITED KINGDOM
LONDON,
KING STREET
NORTH AND
NORTHEAST
DALLAS
LOS ANGELES
SOUTH
TURKEY
ISTANBUL
CHANNEL ISLANDS
UNITED ARAB
EMIRATES
IRELAND
BOSTON
DUBAI
UNITED STATES
MIAMI
Carmen Schjaer
MADRID
16/02/15
167
INDIAN
CONTEMPORARY ART
POSTERS
PRINTS
JAPANESE
WORKS OF ART
JEWELLERY
AUSTRALIAN PICTURES
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SWISS ART
MINIATURES
TOPOGRAPHICAL
PICTURES
MODERN DESIGN
ORIENTAL CERAMICS
AND WORKS OF ART
SILVER
TWENTIETH CENTURY
BRITISH ART
EUROPEAN CERAMICS
AND GLASS
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
CONTEMPORARY ART
COSTUME, TEXTILES
AND FANS
MUSICAL INSTRUMENTS
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
PRIVATE SALES
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
VALUATIONS
info@christiesrealestate.com
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
info@christiesrealestate.com
info@christiesrealestate.com
WINE
POST-WAR ART
CHRISTIES EDUCATION
VICTORIAN PICTURES
PHOTOGRAPHS
CORPORATE
COLLECTIONS
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
POPULAR CULTURE
AND ENTERTAINMENT
OTHER SERVICES
AUCTION SERVICES
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
09/04/15
168
Contact
47 July
8 King Street
London SW1Y 6QT
christies.com
170
Viewing
Contact
Pippa Jacomb
pjacomb@christies.com
+44 (0)20 7389 2293
christies.com
Contact
1215 June
8 King Street
London SW1Y 6QT
Alexandra McMorrow
a mcmorrow@christies.com
+44 (0)20 7389 2538
christies.com
171
172
Viewing
Contact
49 July
8 King Street
London SW1Y 6QT
John Stainton
jstainton@christies.com
+44 (0)20 7389 2945
christies.com
Russian Art
London, King Street 1 June 2015
Viewing
Contact
2931 May
8 King Street
London SW1Y 6QT
christies.com
173
Contact
admissionsUK@christies.com
+44 (0) 20 7665 4350
Christies Education
153 Great Titchfeld Street
London W1W 5BD
christies.edu/
renaissancetomodern
174
Victorian, Pre-Raphaelite
& British Impressionist Art
TUESDAY 16 JUNE 2014 AT 2.30 PM
11148
Client Number (if applicable)
Sale Number
BIDDING INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments) of up to 10 per cent.
The auctioneer will decide where the bidding should
start and the bid increments. Written bids that do not
conform to the increments set below may be lowered
to the next bidding interval.
Address
Post Code
Daytime Telephone
Evening Telephone
Fax (Important)
Please tick if you prefer not to receive information about our upcoming sales by e-mail
UK50 to UK 1,000
by UK50s
UK1,000 to UK2,000
by UK100s
UK2,000 to UK3,000
by UK200s
UK3,000 to UK5,000
Signature
UK5,000 to UK10,000
by UK500s
UK10,000 to UK20,000
by UK1,000s
If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or
passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank
statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore
companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on
the information you should supply. If you are registering to bid on behalf of someone who has not previously
bid or consigned with Christies, please attach identification documents for yourself as well as the party on
whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients,
clients who have not made a purchase from any Christies office within the last two years, and those wishing
to spend more than on previous occasions will be asked to supply a bank reference.
UK20,000 to UK30,000
by UK2,000s
UK30,000 to UK50,000
UK50,000 to UK100,000
by UK5,000s
UK100,000 to UK120,000
by UK10,000s
Above UK200,000
at auctioneers discretion
I have read and understood thIs WrItten BId Form and the CondItIons oF sale - Buyers agreement
The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful, the amount payable
will be the sum of the hammer price and the buyers
premium (together with any taxes chargeable on the hammer
price and buyers premium and any applicable Artists Resale
Royalty in accordance with the Conditions of Sale - Buyers
Agreement). The buyers premium rate shall be an amount
equal to 25% of the hammer price of each lot up to and
including 50,000, 20% on any amount over 50,000 up to and
including 1,000,000 and 12% of the amount above 1,000,000.
For wine and cigars there is a flat rate of 17.5% of the hammer
price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christies receive written bids on a lot for
identical amounts and at the auction these are the highest bids on
the lot, Christies will sell the lot to the bidder whose written bid
it received and accepted first.
5.
Written bids submitted on no reserve lots will, in the
absence of a higher bid, be executed at approximately 50% of the
low estimate or at the amount of the bid if it is less than 50%
of the low estimate.
I understand that Christies written bid service is a free service
provided for clients and that, while Christies will be as careful as
it reasonably can be, Christies will not be liable for any problems
with this service or loss or damage arising from circumstances
beyond Christies reasonable control.
Maximum Bid UK
(excluding buyers premium)
Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
175
Code
Subscription Title
Location
A1
L193
L1
L195
L98
N193
N1
P1
K193
K9
K1
K2
K97
W9
Amsterdam
King Street
King Street
King Street
King Street
New York
New York
Paris
South Kensington
South Kensington
South Kensington
South Kensington
South Kensington
Worldwide
www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
176
Issues
2
2
5
2
1
2
3
1
2
1
4
5
1
4
UKPrice
US$Price
EURPrice
27
48
119
48
20
48
71
38
43
14
57
71
14
95
44
72
181
76
32
76
108
61
71
24
95
119
24
152
40
76
190
72
30
72
114
57
66
22
87
109
22
144
Christies
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairwoman and CEO
Stephen Brooks, Global Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Hlose Temple-Boyer,
Jussi Pylkknen, Global President
CHRISTIES EMERI
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Edouard Boccon-Gibod, Prof. Dr. Dirk Boll,
Olivier Camu, Roland de Lathuy,
Eveline de Proyart, Philippe Garner,
Roni Gilat-Baharaff, Richard Knight,
Francis Outred, Christiane Rantzau,
Andreas Rumbler, Franois de Ricqles,
Jop Ubbens, Juan Varez
ADVISORY BOARD
Pedro Girao, Chairman,
Patricia Barbizet, Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg, Laurence Graff,
H.R.H. Prince Pavlos of Greece,
Marquesa de Bellavista Mrs Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi
CHRISTIES UK
CHAIRMANS OFFICE
Orlando Rock, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Daniel Baade, Philip Belcher,
Jeremy Bentley, Ellen Berkeley, Jill Berry,
Peter Brown, James Bruce-Gardyne, Sophie Carter,
Benjamin Clark, Christopher Clayton-Jones,
Karen Cole, Isabelle de La Bruyere, Leila de Vos,
Nicole Dembinska, Paul Dickinson,
Harriet Drummond, Julie Edelson,
Hugh Edmeades, David Elswood, David Findlay,
Margaret Ford, Daniel Gallen, Karen Harkness,
Philip Harley, James Hastie, Karl Hermanns,
Paul Hewitt, Rachel Hidderley, Mark Hinton,
Nick Hough, Michael Jeha, Donald Johnston,
Erem Kassim-Lakha, William Lorimer,
Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Clarice Pecori-Giraldi,
Benjamin Peronnet, Henry Pettifer,
Steve Phipps, Will Porter, Paul Raison,
Tara Rastrick, William Robinson, John Stainton,
Alexis de Tiesenhausen, Lynne Turner, Jay Vincze,
Andrew Ward, David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Simon Andrews, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Lucy Campbell, Jason Carey, Romilly Collins,
Ruth Cornett, Nicky Crosbie, Sigrun Danielsson,
Armelle de Laubier-Rhally, Sophie DuCret,
Anna Evans, Arne Everwijn, Adele Falconer,
Nick Finch, Peter Flory, Elizabeth Floyd,
Christopher Forrest, Giles Forster, Sarah Ghinn,
Zita Gibson, Alexandra Gill, Sebastian Goetz,
John Green, Simon Green, David Gregory,
Mathilde Heaton, Annabel Hesketh,
Sydney Hornsby, Peter Horwood, Simon James,
Sabine Kegel, Hans-Peter Keller, Tjabel Klok,
Robert Lagneau, Nicholas Lambourn,
Joanna Langston, Tina Law, Darren Leak,
Adriana Leese, Brandon Lindberg, Laura Lindsay,
David Llewellyn, Murray Macaulay,
Sarah Mansfield, Nicolas Martineau,
ASSOCIATE DIRECTORS
Guy Agazarian, Cristian Albu, Jennie Amos,
Ksenia Apukhtina, Katharine Arnold,
Alexis Ashot, Alexandra Baker,
Fiona Baker, Virginie Barocas-Hagelauer,
Carin Baur, Sarah Boswell, Mark Bowis,
Clare Bramwell, John Caudle, Dana Chahine,
Marie-Louise Chaldecott, Sophie Churcher,
Marion Clermont, Helen Culver Smith,
Laetitia Delaloye, Charlotte Delaney,
Freddie De Rougemont, Grant Deudney,
Eva-Maria Dimitriadis, Howard Dixon,
Virginie Dulucq, Joe Dunning, Antonia Essex,
Kate Flitcroft, Nina Foote, Eva French,
Pat Galligan, Keith Gill, Andrew Grainger,
Leonie Grainger, Julia Grant, Pippa Green,
Angus Granlund, Christine Haines, Coral Hall,
Charlotte Hart, Evelyn Heathcoat Amory,
Anke Held, Valerie Hess, Carolyn Holmes,
Amy Huitson, Adrian Hume-Sayer,
James Hyslop, Helena Ingham, Pippa Jacomb,
Guady Kelly, Clementine Kerr, Hala Khayat,
Alexandra Kindermann, Mark Henry Lamp,
Tom Legh, Timothy Lloyd, Graeme Maddison,
Stephanie Manstein, Astrid Mascher,
Michelle McMullan, Kateryna Merkalenko,
Toby Monk, Sarah OBrien, Samuel Pedder-Smith,
Suzanne Pennings, Louise Phelps, Sarah Rancans,
Lisa Redpath, David Rees, Alexandra Reid,
Sumiko Roberts, Sangeeta Sachidanantham,
Pat Savage, Catherine Scantlebury,
Julie Schutz, Hannah Schweiger, James Smith,
Graham Smithson, Mark Stephen,
Annelies Stevens, Charlotte Stewart,
Dean Stimpson, Gemma Sudlow,
Dominique Suiveng, Cornelia Svedman,
Nicola Swain, Iain Tarling, Sarah Tennant,
Timothy Triptree, Flora Turnbull, Lisa Varsani,
Julie Vial, Anastasia von Seibold, Amelia Walker,
Tony Walshe, Chris White, Rosanna Widen,
Ben Wiggins, Annette Wilson, Julian Wilson,
Elissa Wood
23/04/15
177
178
Index
A
Amendola, G.B., 45
Anderson, S., 40-41
Ansdell, R., 78
John, A., 27
B
Beardsley, A.V., 69
Blacklock, W.J., 74
Boyce, G.P., 82
Bramley, F., 93
Brock, Sir T., 46
Brockhurst, G.L., 66, 101
Burne-Jones, Sir E.C., 14-15, 17,
48-49, 51-52
C
Clausen, Sir G., 68
D
De Glehn, W.G., 94
De Lszl, P.A., 63-65, 67
De Morgan, E., 24
Doyle, R., 79
Draper, H.J., 90
E
Ensor, M., 42
Etty, W., 78
F
Faed, J., 77
Fahey, E.H., 37
Flint, Sir W.R., 106-107
Forbes, E.A.S., 86
Fraser, G., 83
Frith, W.P., 75
K
Knight, Dame L., 87
L
Ladell, E., 105
Leader, B.W., 73
Lee, F.R., 76
Leighton, F., Lord, 21-22, 25, 43-45, 57
Ludovici, A., 38
M
Millais, Sir J.E., 60
Mostyn, T.E., 95
Munnings, Sir A.J., 96-99
Murray, C.F., 23
P
Percy, S.R., 72
Perugini, K., 58
Poynter, Sir E.J., 7, 12, 16, 26, 56
R
Richmond, G., 34-35
Richmond, Sir W.B., 10-11, 13
Rossetti, D.G., 1-6, 8-9, 50, 53
Ruskin, J., 80
Ryland, H., 19, 54
Garden, W.F., 81
Gilbert, Sir A., 47
Godward, J.W., 55-56
Gregory, E.J., 39
Grimshaw, J.A., 83-85
Hawkins, L.W., 89
Hicks, G.E., 70
Hornel, E.A., 100
Hunt, W.H., 59
Tissot, J.(J.)J., 62
W
Watts, G.F., 36