Victorian, Pre-Raphaelite & British Impressionist Art

LONDON
Victorian, Pre-Raphaelite
& British Impressionist Art
Thursday 11 December 2014
Thursday 11 December 2014
AUCTION
Thursday 11 December 2014 at 2.30 pm

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Contents
Auction Information
Calendar of Auctions
Christies Victorian, Pre-Raphaelite

& British Impressionist Art Department
Specialists and Services for this Auction
Property for Sale
116
Important Notices and Explanation of Cataloguing Practice
117
Buying at Christies
118
Storage and Collection
119
Conditions of Sale andLimited Warranty
121
Salerooms and Offices Worldwide
123
Christies Specialist Departments and Services
129
Absentee Bids Form
130
Catalogue Subscriptions
133 Index
front cover:
Lot 15
inside front cover:
Lot 14
opposite title page:
Lot 12
opposite:
Lot 47
inside back cover:
Lot 17
back cover:
Lot 18
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Victorian, Pre-Raphaelite &

British Impressionist Art Auctions
AUCTION CALENDAR 2014
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CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
12 NOVEMBER
MARITIME ART
LONDON, SOUTH KENSINGTON
10 DECEMBER
SPORTING AND WILDLIFE ART
26 NOVEMBER
VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART
11 DECEMBER
VICTORIAN, PRE-RAPHAELITE
& BRITISH IMPRESSIONIST ART
LONDON, KING STREET
Subject to change
29/04/14
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2278
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2709
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COPYRIGHT NOTICE
No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or
by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written
permission of Christies.
COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)
PROPERTY OF AN ENGLISH FAMILY TRUST (LOTS 1,2 & 8)
Frederic, Lord Leighton, P.R.A.,

R.W.S. (1830-1896)
The Sluggard
signed Fred Leighton, inscribed FOUNDED BY J W SINGER
& SONS./FROME SOMERSET, PUBLISHED BY ARTHUR
LESLIE COLLIE/39B OLD BOND STREET LONDON/MAY
1ST 1890 and with title to the front
bronze, mid-brown patina
20 in. (52.5 cm.), high
18,000-25,000
$29,000-40,000
23,000-32,000
PROVENANCE:
Acquired before 1930, and by descent.

Leighton made few sculptures, and The Sluggard was conceived as a
pendant to his An Athlete Struggling with a Python. Like An Athlete, The
Sluggard was drawn from the Italian model Giuseppe Valona. Edgcumbe
Staley described the moment when Leighton had the idea for the subject:
Giuseppe Valona, the model, a man of fne proportions, weary one day of
posing in the studio, threw himself back, stretched out his arms and gave
a great yawn. Leighton saw the whole performance and fxed it roughly
in clay straight off. (E. Staley, Lord Leighton of Stretton, London, 1906, p.
131).
The frst study for The Sluggard was modelled in 1882 but Leighton
continued to work on the subject for several years before exhibiting a
life-size bronze version at the Royal Academy in 1886; for which he was
also awarded a medal of honour when it was shown at the 1889 Paris
Exposition Universelle. Acquired from Leightons studio sale in 1896 by
Henry Tate, the full size bronze is now in the Tate Gallery. Benedict Read
suggests the subject can be seen as a symbol of the art of sculpture,
liberated by Leighton, fexing itself for renewed activity after a long time in
the shackles of convention (B. Read, Victorian Sculpture, New Haven and
London, 1982, p. 331).
This bronze statuette of The Sluggard was produced circa 1890-1900 by
Arthur Leslie Collie from the clay sketch-model by Leighton, which he
executed for the life-size bronze shown at the Royal Academy in 1886.
As was the custom, the popularity of The Sluggard, made it viable for a
foundry to acquire the rights to produce the model under licence. The
Sluggard was produced in an edition, originally published by Arthur L.
Collie in 1890, cast in the Singer Foundry in Frome, Somerset. The present
bronze is from the earliest edition. The copyright passed from Collie to J.W.
Singer & Sons Ltd sometime in the early decades of the 20th Century; it
appears in the Singer trade literature around 1914.
The Royal Academy has a bronze statuette cast from a plaster version given
by the sculptors sisters Mrs Orr and Mrs Matthews in 1896. A version
dated 1885 is in the Tate Gallery. Published versions held in museum
collections include those in the Leeds City Art Gallery and in the Ashmolean
Museum, Oxford.
Frederick William
Pomeroy (1856-1924)
Perseus with the head of
Medusa
signed and dated F.W. POMEROY / SC.
1898 / N 4
bronze, mid-brown patina
19 in. (49.5 cm.) high
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:

The hero Perseus holds aloft the head of the
Gorgon Medusa, himself turning away to avoid
being turned to stone by the gaze of the Gorgon.
Inspired by Cellinis bronze of the same subject,
Pomeroys imagining of Perseus is also indebted to
Mercis David Vainqueur, exhibited at the Salon
of 1872, which Pomeroy must have seen when he
was studying in Paris.
Pomeroy exhibited a full-size plaster version of
this subject at the Royal Academy in 1898 and a
full-size bronze is in the collection of the National
Museum of Wales, Cardiff. He subsequently
produced a series of bronze reductions including
the present example which is numbered 4.
Another cast of this size, originally in the HandleyRead collection, is in the collection of the V & A
Museum, London (A.9-1972).
Sir William Hamo Thornycroft, R.A.

(1850-1925)
Teucer
signed `HAMO THORNYCROFT/1881.,
bronze, dark-green-brown patina
30 in. (77.4 cm.) high
12,000-18,000
$20,000-29,000
16,000-23,000
Modelled for Orazio Cervi a year earlier, Hamo Thornycrofts Teucer was frst
exhibited at the Royal Academy in plaster in 1881. The following year, the
monumental bronze version was shown and both it and the plaster were received
with outstanding acclaim: There has rarely been such unanimity of applause as
greeted this statue ... it is very easy to admit that recent times have shown us
nothing in England to compare with it (Miss Zimmern). According to Mrs. Elfrida
Manning, the sculptors daughter, no more than 25 of these small-scale bronzes
were produced by Thornycroft, cast as demand arose and hand-fnished by him.
Thornycroft had planned to model a series of athletes playing English games,
primarily as studies of the nude. He had exhibited one such example, Putting the
Stone, in 1880, and with Teucer was able to exploit a long-desired composition,
that of the right angle. The subject-matter is taken from the Iliad. Teucer was the
archer who missed hitting Hector eight times. Here he is captured by Thornycroft
in a tense and strained position as he shoots a last arrow and watches its course.
The Homeric theme adds a Romantic and grave air to the model, but above all
Teucer was a supreme exercise in the modelling of the male nude at its peak of
activity. It follows in the trail of Leightons Athlete wrestling with a Python, but is
more classical and graceful; it speaks of Grecian ideals, but the head wrapped in
its band and the moving fngers of the right hand convey a truly late 19th century
sense of poetry. As Thornycrofts biographer explained: The care and attention
that he lavished on each individual casting of those works that were made available
in limited editions, for example Teucer or The Mower, not only demonstrates his
professional artistic commitment, making each one a unique work of art; but also
testifes ... to a desire to bring art into the home (E. Manning, Marble & Bronze,
The Art and Life of Hamo Thornycroft, London, 1982, p. 14).
10
George Frederick
Watts, O.M., R.A.
(1817-1904)
Clytie
signed G F. Watts
painted plaster
31 in. (78.5 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
Clytie was Wattss frst large autonomous

sculpture in the round and he displayed it
unfnished at the Royal Academy in 1868. The
only sculptural subject exhibited during his
lifetime, it was greatly acclaimed and hailed as
pioneering the New Sculpture movement by
the revered art critic, Edmund Gosse. The Watts
Gallery collection includes three busts of Clytie
made in bronze, plaster and terracotta. A marble
version was purchased from Watts by Lord
Battersea and was donated to the Guildhall Art
Gallery in the City of London by Lady Battersea
in 1919.
The tale of the nymph Clyties unfulflled love for
the sun-god is found in Ovids Metamorphoses,
Book IV. Due to her jealousy Apollo left her,
whereupon the distraught nymph remained in a
remote place, neither eating or drinking for nine
days, watching as her beloved drove his chariot
across the sky. Gradually she became rooted to
the ground, transforming into a fower. Here she
is shown turning, trying to look at the sun.
Watts interest in sculpture emanated from
an early tutorship at the age of ten with the
sculptor William Behnes (1794-1864). This
informed an appreciation for classical marbles
at the British Museum where he would have
been familiar with the famous and frequently
replicated Clytie (Roman, about AD 40-50)
collected by Charles Townley whilst on the
Grand Tour in Italy (1771-4). The antique
original looks staid and impassive compared to
Watts version which is energised with dramatic
contrapposto movement and unrequited
coquetterie.
11
FROM AN IMPORTANT INTERNATIONAL COLLECTION
Sir Alfred Gilbert, M.V.O., R.A. (1854-1934)

Saint George
bronze, rich dark brown patina on green veined marble base
19 in. (48 cm.), high
circa 1899-1900
150,000-250,000
$250,000-400,000
190,000-320,000
PROVENANCE:
Dr John F. Hayward.
L. Lewis, Q.C.
Minneapolis Institute of Arts (on loan).
Anonymous sale; Sothebys, London, 17 May 2011, lot 23.
EXHIBITED:
Manchester, City Museum & Art Gallery; Minneapolis, Institute of Arts; New York,
The Brooklyn Museum, Victorian High Renaissance, 1978-9, no. 107b.
London, The Fine Art Society, Gibson to Gilbert. British Sculpture 1840-1914, 1992, no. 3.
LITERATURE:
Alfred Gilbert, New Haven and London, 1985, pp. 147-190

R. Dorment, Alfred Gilbert Sculptor and Goldsmith, Royal Academy of Arts, London,
pp. 161-165 & N 72, p. 164 (another cast).
N. Penny, Catalogue of European Sculpture in the Ashmolean Museum, vol. III, Oxford, 1992,
pp. 84-7
B. Read & J. Barnes (eds.), Pre-Raphaelite Sculpture, London, 1991, N 13, p. 103
Saint George is the defnitive object of the New Sculpture movement and emblematic of the
patronage and process of the Victorian art market.
Conceived as one of twelve deities gracing the niches of Gilberts masterpiece, the tomb of the Duke
of Clarence, Saint George is one of the most important Royal art commissions of the 19th century.
So impressed were the Royal family, they also commissioned in 1895 the fgure in white mental
and ivory for their private chapel at Sandringham. The present bronze cast is one of eight known
examples: one is in the collection of the Paul Mellon Center for British Art and another is in the
permanent collection of the Ashmolian Museum, Oxford.
H.R.H Prince Albert Victor, called Eddy by his family, was, as son of the Prince of Wales, later Edward
VII, heir apparent to the throne of England. He tragically died of pneumonia at Sandringham in 1892
aged just 28. With the death the year before of Joseph Edgar Boehem, there was no Sculptor in
Ordinary to Queen Victoria upon whom the Prince of Wales could call to design a tomb for his son.
The Prince of Wales, often unjustly mis-characterized as a mere bon vivant, was a great patron of
the arts: he knew Gilbert and called him to Sandringham just three days after the funeral to submit
a design for the tomb. The resulting tomb is a neo-Gothic and art nouveau bronze, marble and
aluminium caprice centred with an effgy of Prince Albert Victor in the Xth Hussars uniform beneath
a crouching angel. It was a wildly radical and cutting edge design which almost flls the Albert
Memorial Chapel at Windsor Castle.
12
Gilbert himself saw the commission for the tomb of the Duke of
Clarence almost as a divine calling, placing tremendous pressure
on himself in working and reworking ad infnitum his designs.
After the original sketch for the tomb was approved by Queen
Victoria on 6th March 1892, the sculptors plans developed,
becoming ever more elaborate and ambitious. After a visit to
the artists studio the following year the Queen wrote: Mr
Gilbert showed me ... a small wooden model of the grillage
which is to go round the tomb, on which different fgures of
saints are introduced. Five years later, in 1898, Queen Victoria
herself placed the fgure of Saint George in his niche on the
tomb and the monument was opened to the public.
Gilberts concentration on the tomb forced him to neglect
private commissions and contributed to his fnal bankruptcy
in 1901. Gilberts perilous fnancial affairs probably motivated
his decision in 1899 to produce replicas of four fgures from
the tomb, including Saint George, for sale on the art market.
Labelled working models they were sold to the dealer Mr
Dunthorne for 500. The present bronze is one statue from
this small and exclusive edition. Saint George is sand cast in at
least sixteen pieces, rather than in fewer larger pieces, allowing
Gilbert to exercise his goldsmith eye for detail which is especially
apparent in the fan-plates and fared tassets of the armour.
Gilbert had been denied permission to reproduce photographs
of the tomb, and his decision to edit the statues caused no small
amount of upset to his Royal patrons, especially as the working
models included fgures which had not yet been delivered for
the tomb itself. By this time crowned King, Edward VII was so
upset he vowed never to speak to Gilbert again and never did.
Queen Alexandra continued correspondence with Gilbert in an
effort to get the tomb fnally completed but neither would see
the dedication of their sons memorial. Only in 1926 did George
V succeed in extracting from Gilbert the fnal two fgures of St
Hubert of Lige and St Nicolas of Myra.
This statuette defnes the New Sculpture movement. The design
shows the varied infuences that the movement embodied from
the dramatic contrapposto pose and rich brown patination,
which are drawn from Renaissance bronzes, to the heroic
nationalism of the subject, and the uniquely Victorian mixture
of ornament with the pagan symbol for selfess love on
his breastplate, set against the sword with crucifx hilt which
symbolises St. Georges role as both warrior and saint (the
sword is replaced or lost on other casts, but to the present
bronze it is original).
Gilberts inspiration draws on equally varied sources. BurneJones is often cited as the source for the design of the armour,
with reference to the costumes he designed for Henry Irving
in the role of King Arthur, and his many studies of armour for
his Perseus paintings and Briar Rose series (B. Read & J. Barnes
(eds.), op. cit., Ns 7 & 8, p. 98).
Infuences of old are the Castlefranco Madonna of 1504-5
and Pieter Visscher the Elders King Arthur on the Monument
to Emperor Maximilian I, circa 1512. The development of the
subject in Gilberts own work can be seen from his fgure
of Fortitude for the Fawcett Memorial and his St George of
the Jubilee Epergne. Also again typical of the New Sculpture
movement, Gilbert looks to his French contemporaries: compare
St Michael by Emmanuel Frmiet, exhibited at the Paris Salon in
1879.
One can see in this fgure of Saint George a nobility reminiscent
of Queen Victoria and Prince Alberts imagined connection to
a Romantic chivalric past. It is possible to speculate that the
Royal family were attracted to this particular statue not just as
a Memento Mori, but that they saw in it, something of their
hopes of the King that Prince Eddy might have become. There is
a kingly solemnity in the pose of Saint George, as he raises his
hand to bless both his dragon foe, and us.
14
Jules Bastien-Lepage (1848-1884)

A shepherdess
signed J. BASTIEN-LEPAGE
bronze, dark brown patina
13 in. (33 cm.), high
5,000-7,000
$8,100-11,000
6,400-8,900
PROVENANCE:
Sir James Jebusa Shannon, and by descent.

The subject has previously been identifed as Joan of Arc Listening to the
Voices, and it is conceivable that although the robed fgure here differs
considerably from Bastian-Lepages depiction of Joan on canvas, that
he made the present model in preparation for his painting of the same
title exhibited at the Paris Salon in 1880, and now in the collection of
the Metropolitan Museum of Art, New York (89.21.1). This premise is
supported by the work being executed towards the end of the artists
life. One of the few sculptures undertaken by him, the plaster is in the
possession of descendants of the artist. The bronze is believed to be one of
twelve cast from it. Another cast is in the Fitzwilliam Museum, Cambridge
(M.3-19).
l7
Richard Garbe (1876-1957)

Mother and child
bronze, dark brown patina
14 in. (35.5 cm.), high
3,000-5,000
$4,900-8,100
3,800-6,300
PROPERTY OF AN ENGLISH FAMILY TRUST (LOTS 1, 2 & 8)
Sir William Hamo Thornycroft,

R.A. (1850-1925)
The Mower
signed H.T. 1884 and stamped three times 2
bronze, dark-brown patina
7 in. (20 cm.), high
3,000-5,000
$4,900-8,100
3,800-6,300
PROVENANCE:

The New Sculpture movement shows a propensity for heroic fgures and
classical nudes, whereas The Mower is thought to be the frst British statue
of the period to depict a labourer in his working clothes. The style is more
reminiscent of Thornycrofts French contemporary, Aim-Jules Dalou.
Although The Mower actually predates Dalous studies of peasants and
labourers for his Monument to the Workers, and thus well illustrates the
Franco-British dialogue in New Sculpture.
Sir George James Frampton,

R.A. (1860-1928)
Peter Pan
signed with GF monogram, inscribed and dated 1915/PP,
on serpentine plinth
bronze, dark-brown patina
19 in. (48.3 cm.), high, the bronze
20 in. (53 cm.) high, overall
20,000-30,000
$33,000-48,000
26,000-38,000
The present charming statuette of Peter Pan, dated 1915, is from

a series of reductions in bronze, cast between 1913 and 1925, of
the life-size bronze exhibited by Frampton at the Royal Academy,
in 1911 and erected by an anonymous donor in Kensington
Gardens the following year. In fact the anonymous donor was
J.M. Barrie, the author of the play frst performed in 1904. He
had the bronze erected in secret on 29th and 30th 1912, so that
it would seem to have magically appeared. The statue stands at
the spot where, as recounted in Barries Little White Bird, Peter
Pan lands for his nightly visits to the Gardens and where he pipes
to the spirits of the children that have played there. The fgure is
mounted on a rock inhabited by a host of fairies, rabbits and other
woodland creatures. In writing his tales of Peter Pan J.M. Barrie
was inspired by a family of boys - the Llewelyns. George Llewelyn
was the inspiration for the character of Peter Pan, and Frampton
used his brother Michael as the inspiration for his sculpture. The
success of the statue was instant, amongst children and adults
alike, and its popular appeal led Frampton to produce a bronze
reduction of the main fgure as an independent statue.
17
10
Richard Dadd
(1817-1887)
Sketch for Poverty
signed, inscribed and dated Sketch for
Poverty by/RICHARD. DADD. 1853 -/
Bethlem Hospital. London. (lower left)
pencil and watercolour, on paper
13 x 9 in. (34.3 x 24.8 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Sir William Charles Hood; Christies,

London, 28 March 1870, lot 330 (9 gns to
White).
Anonymous sale; Christies, London, 11 July
1972, lot 107.
EXHIBITED:
Wolverhampton, Metropolitan Borough of

Wolverhampton Art Gallery and Museums,
The Late Richard Dadd 1817-1886, 26 October
- 23 November, 1974.
London, Art Council of Great Britain,
The Tate Gallery and Bristol, The City Art
Gallery, The Late Richard Dadd, 1974-1975,
no. 116.
LITERATURE:
P. Allderidge, The Late Richard Dadd (18171886), exh. cat., London, 1974-5, pp. 90,
no. 116.
In her catalogue raisone, Patricia Allderidge
questions whether the present watercolour should
be classed as one of the Passions series, although
it was listed amongst them at Sir Charles Hoods
sale in 1870, albeit entitled Blind Fiddler, probably
through association with Wilkies painting of that
name.
The fgure of the old man resembles Dadds
father and Dadd himself had learnt to play the
violin, though the present watercolour is the
only instance of it in his paintings. Dadd painted,
in the same year, Sketch to illustrate Splendor
and Wealth (Allderidge, op.cit., no. 117); a
contrasting pair to Sketch for Poverty. As with
the present work, there is no certainty that
Splendor and Wealth is part of the true Passions
series.
Dadd suffered from mental illness and was
committed to Bethlem Hospital in 1844 after
murdering his father. This drawing belonged to
Sir William Charles Hood, who on becoming the
Superintendant at Bethlem in 1853, encouraged
Dadd and other patients to draw as a form of
therapy.
We are grateful to Patricia Allderidge for her
help in preparing this catalogue entry.
18
11
James (Jacques) Joseph

Tissot (1836-1906)
Le Deuxi0me Comdien
signed and inscribed 2eme Comedien/JJ
Tissot (lower left)
oil on panel
11 x 6 in. (29 x 17 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
with The Fine Art Society, London,

December 1993.
EXHIBITED:
Paris, Cercle de lUnion Artistique, 1869.

LITERATURE:
M. Wentworth, James Tissot, Oxford, 1984,

pp. 75-6.
This painting is from a series depicting six
actors that demonstrates the infuence of the
artist Ernest Meissonier. The series appears to
have been intended to show the diversity of
comic acting life, ranging from the elegant
and confdent Premier Comdien, (see J. Laver,
Vulgar Society: The Romantic Career of James
Tissot 1836-1902, London, 1936, pl. XII) to the
sad clown of the Sixime Comdien (see M.
Wentworth, James Tissot, Oxford, 1984, pl. 63).
We are grateful to Krystyna Matyjaszkiewicz for
her help in preparing this catalogue entry.
19
12
John William Godward, R.A. (1861-1922)

A Pompeian Lady
signed and dated J.W. Godward. 1901 (upper right)
oil on canvas
24 x 20 in. (61 x 51 cm.)
150,000-250,000
$250,000-400,000
190,000-320,000
PROVENANCE:
with Thomas McLean, London, by January 1901.

Purchased by the present owners family in the frst quarter of the 20th Century, and thence
by descent.
EXHIBITED:
London, Thomas McLean, Winter Exhibition, January 1901, no. 47.

LITERATURE:
V.G. Swanson, John William Godward: The Eclipse of Classicism, Suffolk, 1997, p. 274.
The dark haired Pompeian beauty is shown frontally and half-length, gazing directly at her admirers.
She wears a golden necklace, a faithful copy of a ffth-century Greco-Etruscan original, and a sheer
purple dress with a golden-coloured tunic. A green drape flls the background. While the picture is
shamelessly direct it is also a tender evocation of young womanhood.
Godward executed a number of ideal heads during his career, often in profle. Free of narrative
and action they simply concentrate on the beauty of form and colour. A Pompeian Lady perfectly
exemplifes Godwards superlative skill at depicting the different textures of warm skin tones and
diaphanous and richly coloured fabrics. He depicts a type of feminine beauty rather than a specifc
identity and focuses on graceful sensual form and subtle colour harmonies to achieve an aesthetic
form of Classicism.
We are grateful to Professor Vern G. Swanson for his help in preparing this catalogue entry.
20
13
Sir Edward John Poynter, Bt.,

P.R.A., R.W.S. (1826-1919)
Phyllis
Est hederae vis Multa, qua crines religata
fulges.
oil on canvas
24 x 18 in. (62.2 x 47 cm.)
In the artists original frame.
150,000-250,000
$250,000-400,000
190,000-320,000
PROVENANCE:
with Agnews, London.

The Duke of Marlborough. Christies, 14 May 1904, lot 33,
(168 gns. to Milne)
Anonymous sale, Sothebys New Delhi, Indian, European & Oriental
Paintings & Works of Art, 8 October 1992, lot 51.
EXHIBITED:
London, Royal Academy, 1897, no 188.

LITERATURE:
Art Journal , 1897, p. 166.

This important picture was the frst that Poynter exhibited after his
appointment as President of the Royal Academy, in 1897, after the deaths
in quick succession of Leighton and Millais.
The Art Journal commented on it at length:
Once again, in Phyllis, Sir Edward Poynter gives us one of those classical
subjects which call for the exercise of his refned and academic powers of
expression. As in the case of Neobule, she is the Phyllis of Horace, whom
the amorous poet invites in an ode to come to spend the day with him
in honour of Maecenas. There are the inducements of mellow wine and
becoming ivy : - Est mihi nonum superantis annum Plenus Albani cadus: est
in horto Phylli, nectendtis apium coronis Est hederae vis.
The latest of the poets loves has come, and here she is gaily crowning
herself with ivy, and admiring the effect in a hand mirror. The
overspreading tree gives cool shade, and the green of the trunk sends
into relief the fair fesh tones of the vain nymph who seeks to arrange to
the fullest advantage the wreath and rich purple berries in her hair. Away
beyond, a calm blue stretch of scene adds idyllic charm to a composition
which seems faithfully to breathe the spirit of its classical inspiration.
An early owner was the 9th Duke of Marlborough, husband of Consuelo
Vanderbilt.
22
*14
Edward Robert Hughes, R.W.S. (1851-1914)

Wings of the Morning
signed E.R. Hughes. R.W.S. (lower left) and signed again and inscribed ...Morning/E.R
Hughes. R.W.S. (on a fragment of the artists label, attached to the backboard) and with the
artists studio label (attached to the backboard)
watercolour with gum arabic heightened with touches of bodycolour and gold, on paper
27 x 41 in. (69.9 x 104.2 cm.)
300,000-500,000
$490,000-810,000
380,000-630,000
PROVENANCE:
Edward William Knox, Sydney, 1905 (acquired directly from the artist).
Art Gallery of New South Wales, 1933.
Union Club, Sydney.
Private collection.
EXHIBITED:
London, Royal Society of Painters in Water Colours, 1905, no. 78.

Sydney, Art Gallery of New South Wales, 1914-15, and 1933-46, on loan.
Utah, Springville Museum of Art, Collection of Victorian and European Art, 26 August 2009-28
February 2010.
Sydney, Art Gallery of New South Wales, Victorian Visions, 20 May-29 August 2010, no. 32.
Sydney, Art Gallery of New South Wales, The Poetry of Drawing: Pre-Raphaelite designs, studies
and watercolours, 18 June-14 September 2011.
Wilmington, Delaware Art Museum, 2012, on loan.
LITERATURE:
The Queen, 15 April 1905.

The Morning Post, 15 April 1905.
The Standard, 7 April 1905.
The Daily Graphic, 25 April 1912.
The Pall Mall Gazette, April 1914, Ted Hughes, RWS: A Great Loss to British Art. Rare Gifts
and Ideals. Special Memoir.
24
My idea in this picture is to make these

creatures welcome the dawn, which is slowly
creeping over a range of mountains for the most
part in shadow, and only the highest peaks
being touched by rosy light. The sky, however, is
a mass of cirrus clouds high enough to be well
coloured by this same light - so making a kind of
confusion with the many fluttering birds wings,
surrounding and accompanying the huge wings
of the supernatural girl flying towards dawn.
Below and beneath all this welcome gaiety
and light as though fleeing from them into the
darkness that lingers are the winged things of
night.
(Letter from E.R. Hughes to Edward Knox, original owner of
Wings of the Morning, 24 February 1905, archives, Art Gallery of
New South Wales, Sydney).
Fig. 2: Edward Robert Hughes, Night with her Train of Stars, 1912
Birmingham Museums and Art Galleries/The Bridgeman Art Library
Wings of the Morning depicts a floating, fair-haired nude, whose

joyous arrival heralds the victory of dawn and light over the darkness.
As she sweeps across the sky, bringing with her a train of doves and
songbirds, she scatters the creatures of the night, including fluttering
bats and a solitary owl.
Wings of the Morning has been called an outstanding example of an
artist who deserves much more attention than he generally receives.
Edward Robert Hughes (fig. 1) was described in his obituary in the
Pall Mall Gazette as one of the very last votaries of the Pre-Raphaelite
Brotherhood. The nephew of the Pre-Raphaelite painter Arthur Hughes
(1832-1915), Hughes grew up to model for Dante Gabriel Rossetti
(1828-1882) and Simeon Solomon (1840-1905) and worked for over
15 years as studio assistant to William Holman Hunt (1827-1910). Yet
he was also a successful exhibiting artist in his own right. Hughes made
his name initially as a portrait painter and draughtsman, renowned
especially for his sensitive and perceptive depictions of children; later,
his reputation rested on elaborate, large-scale exhibition watercolours
of literary and allegorical subjects. From 1891 he was a regular
contributor to the Royal Watercolour Societys exhibitions in London,
and served as its Vice President between 1901 and 1903. A popular
figure among his fellow artists, he was remembered after his death in
1914 with a display of 34 works in the Societys autumn exhibition.
Wings of the Morning is a spectacular example of the major exhibition
pieces that Hughes showed at the Royal Watercolour Society between
1902 and 1913. Lyrical or mystical in mood, they typically featured
winged or floating figures in glowing skies, often personifying times of
day or phases of the moon. Hughes became particularly associated with
these allegorical watercolours, which were praised by contemporary
critics for their poetic qualities, colour sense and extraordinary technical
skill. They were recognised especially for their distinctive blue tonality,
with a reviewer in the Daily Graphic in 1912 praising those harmonies
of deep, luminous blues of which [Hughes] seems to have the secret.
The imagery of Wings of the Morning reveals the influence of the
second generation of Pre-Raphaelites, most notably Simeon Solomon
(1840-1905) and Edward Burne-Jones (1833-1898), both of whom
were well-known to Hughes both socially and professionally. The motif
of a floating female figure in a night sky can be linked to compositions
such as Burne-Joness The Evening Star (1870, private collection), while
Hughes personification of an abstract concept is also paralleled by the

many variations on themes such as Morning, Evening, Night and Sleep
in Solomons later drawings.
Hughes blue phantasies were often titled with a quotation or
accompanied in the catalogue by a poetic tag. The watercolours do not
generally illustrate the literary texts directly but relate to them in a more
oblique way through mood, theme or imagery. The title of the present
work derives from what Hughes called that beautiful expression in the
Psalms (139, vv. 9-10): If I take the wings of the morning, and dwell in
the uttermost parts of the sea; Even there shall thy hand lead me, And
thy right hand shall hold me.
In its theme and composition, the picture provides a counterpoint
to Hughes Night with her Train of Stars (fig. 2), painted seven years
afterwards, though the latter watercolour is slightly larger and the two
were not intended to be seen as pendants. The pair complement one
another in tone and mood: while the luminous nude in Wings of the
Morning suggests innocence and optimism, the robed figure of Night,
although gentle and benign, is more grave, bearing the weight of time
and experience.
When Wings of the Morning was shown at the Royal Watercolour
Society in spring 1905 it was hung on the end wall of the gallery, a
place traditionally reserved for the star pieces in the exhibition. The
picture was commended by the reviewer in The Queen for imaginative
quality of a high order, while the Morning Post observed that it claims
praise likewise for the skill with which it has been devised. The figure is
gracefully drawn and ably modelled. Critics were, as ever, particularly
struck by Hughes mastery of colour, with the Standard remarking on
the peaks violet-blue, and grey-blue clouds and a flight of birds in
the rose-grey dawn.
Wings of the Morning has been requested for loan to a major
retrospective, Enchanted Dreams: The Pre-Raphaelite Art of Edward
Robert Hughes, which will be shown at Birmingham Museum and Art
Gallery from 17 October 2015 to 14 February 2016. The exhibition will
be the first dedicated to Hughes and his work in the century since his
death.
We are grateful to Victoria Osborne, Curator (Fine Art) at Birmingham
Museums Trust, for providing this catalogue entry.
15 1903
Opposite: Fig. 1: Edward Robert Hughes, R.W.S,
Watts Gallery
15
John William Waterhouse, R.A.

(1849-1917)
Juliet
signed J.W. Waterhouse (lower right)
oil on canvas
28 x 19 in. (72 x 48 cm.).
500,000-700,000
$810,000-1,100,000
640,000-890,000
PROVENANCE:
Sir Frederick Fry (); Christies, London, 18 June 1943, lot 14, as
The Blue Necklace (17 gns to Chubb).
Mr J.F. Haworth, and by descent to his daughter, Mary, Lady
Hayter.
Anonymous sale [Lady Hayter]; Sothebys, London, 21 October
1970, lot 58, as The Blue Necklace.
EXHIBITED:
London, New Gallery, Summer Exhibition, 1898.

Winchester, 1903.
LITERATURE:
Art in 1898, The Studio, p. 123.

R.E.D. Sketchley, The Art of J W Waterhouse, R.A., Art Journal,
December 1909, illustrated p. 25.
A. Hobson, The Art and Life of John William Waterhouse RA 18491917, London, 1980, p. 104, pl. 99, no. 124.
A. Hobson, J.W. Waterhouse, Oxford, 1989, pp. 64-5, no. 44.
N. Minato, J.W. Waterhouse, Tokyo, 1994, illustrated in colour.
The Victorians revered William Shakespeare: at least 800 editions of
his collected works, many illustrated, were published in Britain during
the 19th Century. The painter John William Waterhouse surely grew
up reading Shakespeares writings in their original form, and also
popular analyses by such commentators as Anna Jameson. In her
bestselling volume, Characteristics of Women (1832), Jameson positioned
Shakespeares female characters as role models or cautionary emblems,
allowing these fctional personalities to become compellingly vivid in her
readers sympathetic imaginations.
In 1875, for his second appearance in the Royal Academys all-crucial
Summer Exhibition, 25-year old Waterhouse submitted Miranda, a scene
from The Tempest in which the maiden watches the doomed ship on
the distant horizon. Twelve years later, Waterhouse numbered among
the 21 prominent artists commissioned by the popular illustrated weekly
The Graphic to participate in The Graphic Gallery of Shakespeares
Heroines. His scene of Cleopatra sulking on a leopard-skin-covered
divan was reproduced in the magazine and then in portfolio editions
of varying quality. Waterhouse went on to paint three scenes of
Ophelia (1889, 1894, and 1910) each distinct in composition, yet
captivating in emotional power. Given the enormous affection with
which his contemporaries regarded Juliet indeed, Jameson wrote, All
Shakespeares women, being essentially women, either love or have
loved, or are capable of loving; but Juliet is love itself it is surprising
that Waterhouse depicted her only once.
He exhibited the present painting at Londons progressive New Gallery in

1898, the same summer he showed two larger and more compositionally
challenging canvases (Flora and the Zephyrs and Ariadne) at the Royal
Academy. This was common practice for Waterhouse: a year earlier
he had sent the single-fgure Mariana in the South to the New Gallery,
while the Academy displayed the multi-fgure Hylas and the Nymphs.
Like his peers, he often did this because the more spectacular scenes
would attract higher prices and keener reviews at the Academy, but the
prestigious New Gallery was a reliable venue to sell more modestly-scaled
pictures to clients with marginally smaller budgets. This is not to suggest
that the single-fgure pictures are uninteresting; in fact, the appearance
of Juliet after so many years out of sight offers fresh opportunities to
appreciate its beautiful colour harmonies and psychological incisiveness.
Here we see a lovely girl wearing a richly-coloured gown that closely
resembles Marianas in its cut. Endowed with unusually curly hair (for
Waterhouse), Juliet grasps her luxurious blue necklace nervously. She is
presented in the full profle perfected by Italian Renaissance artists; for
most of the 15th Century, privileged maidens ready to be married off
(or recently wed) were depicted in just this pose, aloof from the viewers
gaze. From around 1480, however, female sitters began to look out
toward us. Waterhouse does not go quite that far, yet Juliet does give us
a sidelong glance, as if she suspects that Romeo, or possibly the citizens
of Verona (all invisible here), are watching her closely. Waterhouse had
successfully depicted this intriguing effect in his 1894 painting, Field
Flowers, and would do so again in the early 1900s with Windfowers,
Boreas, and Veronica.
This subtle glance is insightful because Juliet isliterallytrapped in
an impossible situation, unable to address it head on. Waterhouse
underscores the girls predicament by positioning her within an
unyielding grid of hard architectural forms: the massive brick footbridge
and wall behind her, the grey parapet below her, and even the band-like
blue river that separates her from the townscape beyond. The illusion
of Juliet walking slowly along the river is enhanced by Waterhouses
decision to cut off the masonry arch visible at top left, as well as the
near end of the footbridge (bottom right). Had he painted these forms
in their entirety, the scene would become more symmetrical and more
static; here, instead, we can imagine Juliet gliding slowly toward the left,
glancing warily in our direction.
An early owner of Juliet (possibly the frst) was the barrister Sir Frederick
M. Fry, who also owned Waterhouses 1908 version of Gather Ye
Rosebuds While Ye May and his 1909 version of Lamia. At the artists
1926 estate sale at Christies, Fry also purchased two additional works
(A Courtyard, Venice and The Easy Chair). A leader and historian
of Londons Merchant Taylors Company, Fry was close enough to
Waterhouse that he attended the artists funeral in 1917.
We are grateful to Peter Trippi for his help in preparing this catalogue
entry.
28
16
Dante Gabriel Rossetti

(1828-1882)
Joan of Arc
signed with monogram and dated 1864 (lower right)
pencil, watercolour and bodycolour with gum arabic, on paper
12 x 11 in. (31.2 x 29.5 cm.)
in the artists original frame
200,000-300,000
$330,000-480,000
260,000-380,000
PROVENANCE:
Commissioned by Lady Ashburton in 1864.

The Hon. Spencer Loch, her grandson, and by descent.
Anonymous sale; Christies, London, 13 March 1973, lot 39 (6,500
gns to Agnews).
Anonymous sale; Christies, London, 11 November 1999, lot 18
(where purchased by the present owner).
EXHIBITED:
Probably London, Royal Academy, 1865, no. 447.

LITERATURE:
H.C. Marillier, Dante Gabriel Rossetti: An Illustrated Memorial of his Art

and Life, London, 1899, pp. 125-6, 137, 246, no. 126.
V. Surtees, The Paintings and Drawings of Dante Gabriel Rossetti: A
Catalogue Raisonne, Oxford, 1971, vol. I, pp. 91-2, no. 162C. R2.
Christies Review of the Season, 1973, London, New York, 1973, p.
110, illustrated.
V. Surtees, The Ludovisi Goddess: The Life of Louisa, Lady Ashburton,
Salisbury, 1984, pp. 103, 112.
Rossetti was clearly much engaged by the story of Joan of Arc and painted
a number of versions of this subject, mostly in the 1860s. The frst, an oil of
1863 (Surtees, 162, pl. 230) (fg. 1), was commissioned by James Anderson
Rose, Rossettis solicitor and a patron of his circle. This established the basic
composition of the present picture, although Joan was shown facing right
and there were differences in the costume and background accessories. The
following year a watercolour variant (Tate; Surtees 162B. R1) was painted
on a somewhat smaller scale, still showing Joan half-length and fervently
kissing the sword of deliverance, but turning her to face left and altering
certain details. It was commissioned by Rossettis Leeds patron Ellen Heaton
for 105. Entre nous, he told her, characteristically, I myself consider it
superior in expression and colour to the oil picture.
The present version, also dating from 1864, is a smaller replica of the
superior Heaton picture. It was commissioned in October that year by
Louisa, Lady Ashburton, celebrated for her relationships with Landseer,
Carlyle, Browning, and other Victorian worthies. A liberal patron of the arts,
she had already bought a painting from Rossetti in 1863. Now she ordered
the Joan of Arc and a version of another composition that she saw in his
studio, Venus Verticordia. The latter eventually found another buyer, but
Joan of Arc was quickly despatched and was admired by Lady Ashburtons
close friend Pauline, Lady Trevelyan, when she saw it the following
Christmas. By then it was hanging at Seaforth Lodge, the house which
Lady Ashburton had just built at Seaton, on the Devon coast, decorating
it with a variety of works of art, including etchings by Whistler and tiles
and stained glass supplied by the Morris frm. Some years later she would
commission yet another work from Rossetti, a drawing of her daughter
Maisie.
It is perhaps worth noting that, although Ellen Heaton and Lady Ashburton
came from very different social backgrounds, respectively middle-class and
aristocratic, both were women of ample means and headstrong character.
Indeed they shared an ebullience and impetuousness, not to say a tendency
to tactlessness, which many found tiresome. Perhaps it was no coincidence
that both ordered paintings of a woman who had donned mens clothing
and reversed the military fortunes of her country.
Rossetti was to paint one more version of Joan of Arc. An oil in his most
mannered late style, it was completed at Birchington-on-Sea a few days
before his death in April 1882 (Fitzwilliam Museum, Cambridge; Surtees,
162B. R2). The models features resemble those of Jane Morris.
We are grateful to John Christian for his help in preparing this catalogue
entry.
Fig. 1: Dante Gabriel Rossetti, Joan of Arc kissing the Sword of

Deliverance, 1863
The Fitzwilliam Museum/The Bridgeman Art Library
30
17
Marianne Stokes (1855-1927)

Angels Entertaining the Holy Child
signed Marianne Stokes (lower right)
oil on canvas
56 x 68 in. (144.2 x 174.6 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
Anonymous sale; Sothebys, London, 15 June 1982, lot 123.

EXHIBITED:
London, Royal Academy, 1893, no. 447.

Liverpool, Autumn Exhibition, 1893, no. 1020.
Munich, Glaspalast, The Munchner Kunstlergenossenschaft (Munich
Artists Association), no. 1020a, as Schlummerlied.
London, Pyms Gallery, Autumn Anthology, 1983, no. 7.
London, Barbican Art Gallery, The Last Romantics, 1989, no. 125,
lent by Pyms Gallery.
LITERATURE:
Royal Academy Illustrated, 1893, no. 447.

Cornish Telegraph, 6 April 1893.
Athenaeum, 29 April 1893, p. 546.
Illustrated London News, 20 May 1893, p. 606.
Royal Academy Pictures, supplement to The Magazine of Art, 1893,
p. 295.
Pall Mall Pictures, 1893, p. 53.
R. Jope-Slade, The Outsiders, some eminent artists of the day not
members of the Royal Academy, London, 1893, p. 46.
Times, 6 May 1893, p. 17.
Graphic, 6 January 1894, p. 17.
W. Fred, pseudonym for Alfred Wechsler, Marianne und Adrian
Stokes: Eine Malerehe, Kunst und Kunsthandwerk, Munich, vol. IV,
1901, p. 206, as Schlummerlied.
A. Meynell (Mrs Adrian Stokes), The Magazine of Art, March 1901, p.
243, illustrated p. 242.
J. Christian (ed.), The Last Romantics, London, 1989, p. 124, no. 125,
illustrated.
A converted sail loft in St Ives provided the backdrop to a series of religious

pictures that the Austrian-born painter Marianne Stokes completed during
her residence in the town between 1887 and 1899. Her husband Adrian
was a pivotal member of the early St Ives colony and frst president of their
Arts Club. 1893 marked an important year for him not only as a painter
but as a curator too, and he was instrumental in choosing the paintings
for a large exhibition as part of the huge and immensely popular Cornish
Fisheries Exhibition in Truro. This painting was not included, possibly
because it needed to be in London for the selection committee of the
Royal Academy in time, but The Cornish Telegraph was able to review it
before its journey on the train, thus: The mother, fragile and worn, with
more delicate beauty of feature than Mrs Stokes usually aims at, is seated,
leaning back, quietly sleeping, on a grey rug against a pile of straw, the
straw being painted with particular singularity of detail. In her lap lies the
Holy Child, bound in swathing bands, and standing side by side are two
twin child angels, whose robes of crimson hue suggest the Incarnation and
the passion. Their forms and features are treated with a strange mingling
of the real and ideal; they are those of earthly children, with expressions of
wonder, devotion and gentle forebodings. In their hands are harps, with
which they are soothing the infant Christ. The pose of the child angels is
the same, the features the same, the expression the same; in fact one is
almost a replica of the other. The picture is indeed striking, the painting
wonderful in execution and in delicate feeling, and it will probably be one
of the most noted of this years pictures.
Once the painting reached London The Magazine of Art echoed this praise:
it has all the vigour characteristic of her, and is favoured with an artistic
touch well in harmony with the fancy of the conception and the primary
treatment of colour and pose while Robert Jope-Slade went further: Mrs
Stokes brace of scarlet-winged angelakins appearing to a Virgin in Royal
blue is one of the quaintest and most attractive pictures in Piccadilly today
and she does nothing that can be passed unnoticed.
The paintings composition was infuenced by Light of Lights (private
collection), a smaller painting. First seen on Show Day at St Ives in 1890,
it received much admiration from many infuential collectors including
Sir Coutts Lindsay who selected it for the Grosvenor Gallery show. The
deliberate, highminded Catholicism of both pictures does not appear to
have put off possibly more secular dealers and Walter Armstrong (18501918), later director of the National Gallery of Ireland, was amongst those
who remarked on the artists ability to capture the Madonna with reverence
but without sentimentality. She had much practice and continued to paint
religious pictures until the 1920s interspersing them with her renowned
portraits from travels throughout Eastern Europe and compositions inspired
by the fables of the brothers Grimm.
Stokess place amongst important women artists is not simply confned to
those who were followers of Pre-Raphaelitism; her study during fve years
of training of the Northern European Old Masters in Vienna and Munich
was instrumental while she would have seen many works by the Nazarenes
in Paris and beyond. Most members of the St Ives colony recorded
the Cornish landscape relentlessly but it was almost irrelevant to her.
Somehow though the authenticity of the place does underpin the universal
appeal of this painting, and it transcends a pure Christmas card image,
though of course has been used several times as such.
We are grateful to Magdalen Evans, Curator of Utmost Fidelity: The
Painting Lives of Marianne and Adrian Stokes, for providing this catalogue
entry.
32
18
Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S.

(1833-1898)
The Madness of Sir Tristram
signed with initials E.B.J (lower left) and inscribed So would Sir Tristram/come onto that harp and harken
the/melodious sound thereof and sometimes/he would harp himself thus he endured/there a quarter of a
year (on a painted tablet, upper centre) and further signed, inscribed and dated The Madness of Sir Tristram/
So would Sir Tristram come onto that harp,/and harken the melodious sound thereof, and/sometimes he
would harp himselfe [sic]./thus he endured a quarter of a year. Histoire of King Arthur/E. Burne-Jones.
1862 (on the artists label attached to the backboard) and with further inscription This Picture, being painted
in water/colour, would be injured by the slight-/est moisture./Great care must be used whenever/it is
removed from the Frame./Edward Burne-Jones. (on a typed label attached to the backboard)
pencil, watercolour and bodycolour with gum arabic heightened with gold, on paper
23 x 21. in. (58.5 x 55.8 cm.)
400,000-600,000
$650,000-970,000
510,000-760,000
PROVENANCE:
Mrs Aglaia Coronio, 1893.

Hamptons, 21 November 1906, lot 502.
Sir William Tate, and by descent to his grandson Col. M.R. Robinson, DSO, OBE.
Col. M.R. Robinson; Christies, London, 14 November 1967, lot 134 (1,500 gns to Spens).
with Leger Gallery, London.
with Stone Gallery, Newcastle.
with Peter Nahum 1976.
Private Collection, United Kingdom.
EXHIBITED:
London, Society of British Artists, 1892.

London, New Gallery, 1893, no. 1.
London, New Gallery, Winter 1899, no. 37.
London, Leger Gallery, Truth to Nature, Spring 1968, no. 44.
Newcastle, Stone Gallery, Truth to Nature, Winter, 1968-69, no. 44.
Sheffeld, Mappin Art Gallery, Burne-Jones, 1971, no. 16.
London, Arts Council Exhibition, Burne-Jones, 1975-76, no. 76.
London, Hayward Gallery; Southampton Art Gallery; Birmingham, City Museum and Art Gallery; Tokyo,
Tokyo Shimbun, Victorian Dreamers, April October 1989, no. 27.
London, Tate Gallery, Burne-Jones Watercolours and Drawings, July November 1993, no. 18.
London, Tate Gallery, The Age of Rossetti, Burne-Jones and Watts, Symbolism in Britain 1860 1910, 1997-1998,
no. 22.
Munich, Haus Der Kunst; Hamburg, Kunsthalle; Cardiff, National Museums & Galleries of Wales, Victorian
Dreamers, November 2006 January 2007.
LITERATURE:
M. Bell, Edward Burne-Jones, London, 1893, pp. 14, 30.

F. de Lisle, Burne-Jones, London, 1904, p. 67.
List of Works, p. 180.
J. Maas, Victorian Painters, London, 1969, p. 144, illustrated p. 158.
M. Harrison and B. Walters, Burne-Jones, London, 1973, pp. 54-56, 75.
J. Christian, Early German Sources of Pre-Raphaelite Designs, Art Quarterly XXXVI, 1-2, 1973, p. 68, fg. 20.
M. Johnson, Burne-Jones, London, 1979, no. 6, illustrated.
C. Wood, The Pre-Raphaelites, London, 1981, p. 116, illustrated pp. 115.
E. Prettejohn, Rossetti and his Circle, Tate Gallery, London, 1997, p. 46, fg. 37.
C. Wood, Burne-Jones, 1998, pp. 30, 34, 35, illustrated p. 31.
34
The Madness of Sir Tristram stands both as a testament to

Burne-Jones enthusiasm for Arthurian subjects which came to
the fore in the late 1850s and as a forerunner of an old master
and Italianate taste for idealism which became increasingly
apparent in his work of the 1860s. This watercolour is worked
up over a cartoon for a stained glass design (fg. 1) that was part
of a commission given to the newly founded Morris, Marshall,
Faulkner and Co. in 1862. The frm made a series of thirteen
panels based on the legend of Sir Tristram for the Bradford
textile merchant, Walter Dunlop, for his house, Harden Grange
at Bingley, Yorkshire. Of the panels which are now held in the
Bradford City Art Gallery, Rossetti made two designs, Arthur
Hughes, Val Prinsep and Madox Brown each made one while
Morris and Burne-Jones worked on four a piece. The panels are
illustrated in The Studio, November 1917.
Burne-Jones designed; The Wedding of Sir Tristram, The Madness
of Sir Tristram, King Mark preventing Iseult from slaying herself
and The Tomb of Sir Tristram. The cartoons for The Wedding of
Sir Tristram (destroyed by bomb damage in World War II) and
the present drawing were both later worked up into watercolours
in 1862 while another watercolour was made of King Mark and
La Belle Iseult (Birmingham City Art Gallery). There are two pencil
studies for the present watercolour, A nude fgure drawing of Sir
Tristram without his harp and A head study of Sir Tristram (Tate,
London). Burne-Jones was not alone in seeing the cartoons as
starting points for fnished easel paintings in their own right; in
1863 Ford Madox Brown used the composition from the Death
of Sir Tristram for a watercolour and executed an oil version
in 1864 (Birmingham Museum and Art Gallery). Rossetti also
worked up one of his designs for Iseult and Sir Tristram on the
ship (Cecil Higgins Art Gallery, Bedford ). This method of turning
monochrome cartoons into independent watercolours became a
common part of Burne-Jones practice, seen in other works such
as The Garland (sold in these Rooms, 4 September 2014, lot 45).
The mid 1850s saw a strong revival of interest in ancient
Arthurian legend which was led by Rossettis infectious
fascination with Thomas Malorys tales of King Arthur and his
Knights. Rossetti declared Le Morte dArthur and the Bible
to be the two greatest books in the world. Interest was
further enhanced by a discovery made by Burne-Jones in a
Birmingham bookshop in 1855, when he found Robert Southeys
1817 edition of Malorys Le Morte dArthur. William Morris
immediately bought the book and Burne-Jones wrote in 1880
that we feasted on it long. Under Rossettis initiative, BurneJones had his frst opportunity to paint an Arthurian subject in
1857 with the mural paintings in the new Debating Hall of the
Oxford Union Society. Condition problems besieged the murals
before completion but the medieval spirit was not dampened and
Malorys Le Morte dArthur remained a compelling inspiration for
Dunlops decorative scheme a few years later.
The subject in the present watercolour derives from Book IX,
Chapter IV, Tristrams Madness and Exile of The Book of Sir
Tristram de Lyones, which forms the ffth part of Malorys Le
Morte dArthur. The scene shown here occurs when Sir Tristram
discovers false evidence of Iseults love for Sir Kay Hedius.
Tristram leaves his castle in despair and is driven to madness,
he lives like a wild man in the forest, fed by herdsmen and
shepherds. Tristram was renowned as a mighty hunter and an
accomplished musician; here a lady has brought him his harp
which he plays for the herdsmen.
Burne-Jones fnds expression for this medieval subject by drawing
on a wide range of sources from German to Italianate old
masters. Burne-Jones was aware of Drer as an undergraduate
at Oxford (1853-56) but it was both Rossetti and Ruskin who
championed the study of the German masters engravings.
Burne-Jones eagerly followed their encouragement; Rossetti
described a series of Burne-Jones pen and ink drawings dating
36
between 1856 and 1861 as marvels of fnish and imaginative detail,

unequalled by anything except perhaps Albert Drers fnest works. Several
differences between the stained glass and the watercolour of Sir Tristram
indicate that Burne-Jones looked directly to Drer while re-considering the
composition. The glass panel shows an open landscape with a castle in the
distance, whereas a dark forest flls the paintings background. This forest
setting is inspired by Drer engravings of the Fall from the Small Passion
and Expulsion (fg. 2). Another motif taken from Drer is the hanging tablet
which Drer would have used to sign and date his prints while Burne-Jones
adapts it to carry the relevant verse from Malorys text. Burne-Jones refers
directly to Drer again in the last work from this series, Sir Tristrams Tomb
(drawing at Birmingham Museums and Art Gallery, fg. 3.); the pair of dogs
guarding the tomb are taken from Drers St Eustace.
Burne-Jones designs of the early 1860s also refect a deep knowledge
of works by old masters such as Giotto and Fra Angelico. At Ruskins
encouragement Burne-Jones frst visited Italy in 1859 with Val Prinsep.
Sketchbooks in the Fitzwilliam Museum from this trip show Burne-Jones
copying paintings such as Botticellis Primavera (Uffzi, Florence). References
to Botticellis masterpiece shine through in Burne-Jones treatment of the
mille fori scattered like jewels around Sir Tristram. Burne-Jones knowledge
and Ruskins infuence were consolidated during the artists second trip
to Italy in May 1862 in the company of his wife, Georgiana and Ruskin
himself. Ruskin advocated a move away from crude medieval excess and
encouraged a freer and more classical aesthetic derived from the Venetian
masters. The differences between the stained glass and watercolour
illustrate this view; the leering faces and roughly hewn expressions of the
male fgures around Sir Tristram in the stained glass are transformed into
far more sensuous embodiments of classical beauty in the watercolour.
The pig and third rustic herdsman in the stained glass do not appear in the
watercolour as though all references to a bucolic realism are rejected in
favour of an idealized beauty which was to characterise Burne-Jones later
works.
The watercolours frst owner was Aglaia Coronio (1834-1906), a member
of the Ionides family, a wealthy and cultured Anglo-Greek clan that
played a prominent part in the annals of Victorian art. Aglaia was on close
terms with many artists, particularly William Morris, to whom she was a
confdante. She was painted by both G.F. Watts and Alphonse Legros,
while Rossetti made a chalk drawing of her in 1870 (Ionides Bequest,
Victoria and Albert Museum). At the turn of the century the work passed to
Sir William Tate, the eldest son of Sir Henry Tate, the sugar merchant and
Tate Gallerys founding benefactor.
Burne-Jones has evoked a powerful rendering of Sir Tristrams tragic plight.
References to Drer and the Italian old masters fuse together with BurneJones own distinctive vision. It is a vision which imbues Sir Tristram and his
followers with a lyrical and other worldly quality, making this one of BurneJones early masterpieces.
entry.
Above: Fig. 1: Edward Burne-Jones, The Madness of Sir Tristram, 1862

Bradford Art Gallery
Middle: Fig. 2: Albrecht Drer, The Small Woodcut Passion, 1508-10
Christies Images Limited (2013)
Below: Fig. 3: Edward Burne-Jones, The Tomb of Tristram and Iseult, 1862
Birmingham Museums and Art Galleries
37
One of the four children of Frederick Augustus Maxse (1833-1900), a naval

offcer and radical, Olive Maxse served as Burne-Jones model in the 1890s
and they were also keen correspondents. His admiration for Maxse was
demonstrated when she mentioned to him that a number of her fellow
students at the Acadmie Julian in Paris had suggested that her features
resembled those of a Burne-Jones model. He replied: Those students at
Julians conceived a high ideal of me if they think they are at all like any
heads I paint - I hope its a little true - for I think you beautiful - and an
old artist may tell a young girl that without hurt or blame - and when you
come back I shall claim my privilege of drawing from you (M. Harrison and
B. Waters, Burne-Jones, London, 1973, p. 161).
There are two similar portrait studies to the present drawing, although
the sitter is unconfrmed in both, the frst (Birmingham Museum and Art
Gallery) dated to 1895 and inscribed by the artist as being for The Sirens
(Ringling Museum of Art, Sarasota, Florida. The second is dated 1896 and
was sold in these Rooms, 4 June 2009, lot 25.
Major C.S. Goldman, a keen collector of Pre-Raphaelite pictures, owned
among other things, Burne-Joness, The Sleep of King Arthur in Avalon
(Museo de Arte, Ponce, Puerto Rico), as well as a number of works by D.G.
Rossetti. Goldmans pictures were divided between his sons, John Monck
and Commander Penryn Monck, and most of them seem to have been
dispersed in the 1960s and 1970s.
For another study relating to The Sleep of King Arthur in Avalon and a
note on the painting, see lot 24.
entry.
20
19
George Howard, 9th Earl of

Carlisle (1843-1911)
Sir Edward Coley Burne-Jones,

Bt., A.R.A., R.W.S. (1833-1898)
The Four Seasons
A Study of Olive Maxse for one of the Queens

in The Sleep of King Arthur in Avalon
20,000-30,000
signed with initials, inscribed and dated EBJ 1896/AVALON (lower

left)
pencil on paper
13 x 9 in. (33 x 23.2 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
Major C.S. Goldman and by descent to his son

John Monck; Christies, London, 16 November 1965, lot 16, one of
three in the lot (110 gns to Faerber and Maison).
with Faerber and Maison, London.
with Christopher Wood, London.
Anonymous sale; Christies, London, 26 October 1982, lot 72.
EXHIBITED:
pencil and grey wash heightened with white and gold, on paper
32 x 14 in. (82 x 36 cm.)
(a set of 4)
$33,000-48,000
26,000-38,000
PROVENANCE:
Anonymous sale; Sothebys, Belgravia, 12 February 1974, lot 42 as by

Shields.
Howards connections with Edward Burne-Jones and the architect
Philip Webb provide an interesting source of inspiration for these highly
decorative drawings. In 1867 Webb was working on both a London house
for Howard and his wife, Rosalind at 1 Palace Green, Kensington and
the Green Dining Room (now the Morris Room) at the South Kensington
(now Victoria and Albert) Museum. Burne-Jones, who was a family friend
and tutor to Howard provided designs for the stained glass windows in
the Green Dining Room. It is highly probable that Howard would have
seen Burne-Jones six watercolours relating to these designs which are
collectively known as The Garland (one sold in these Rooms, 4 September
2014, lot 45). The imagery of Howards Four Seasons echoes this series,
which show young women gathering fowers, an early expression of the
Aesthetic Movement.
Vienna, Galleries of the Succession, Exhibition of British Art, 1927,

number untraced.
In the background of Summer the towers are possibly those of Howards

Cumbrian seat, Naworth Castle, which Webb also worked on.
LITERATURE:
entry.
Christopher Wood, Burne-Jones, London, 1998, p. 126.
39
21
John Ingle Lee (f. 1868-1891)

The Gardeners Daughter
signed, inscribed and numbered No. 2 The Gardeners Daughter/
John Ingle Lee/153 Adelaide Road/London N.W. (on the artists
label attached to the reverse of the frame)
oil on canvas
9 x 7 in. (23.2 x 19 cm.)
10,000-20,000
$17,000-32,000
13,000-25,000
PROVENANCE:
Anonymous sale; Bearnes, Exeter, 15 May 1991, lot 261.

Anonymous sale; Christies, London, 13 March 1992, lot 87.
Based in London and specialising in genre subjects, Lee exhibited one
picture at the Royal Society of British Artists and six at the Royal Academy
(1878-80). The present work must be a somewhat earlier production,
dating from the late 1860s. The sitter is clearly the same girl that appears,
as a young mother with a baby in her lap, in Home, a picture dated
1869 which was sold in these Rooms, 24 June 1988, lot 104. It has been
suggested that the model may well have been the artists wife. A date of
circa 1869 for our picture is confrmed by the fact that the address on the
back (153 Adelaide Road, N.W.) is the same as that from which Lee sent a
picture to Suffolk Street in 1871. By the time he came to show at the Royal
Academy in 1878 he had moved to Hampstead Hill.
22
Kate Greenaway, R.W.S.

(1846-1901)
Winter: A young girl with a fur muff and
hat
pencil and watercolour heightened with gum arabic and bodycolour,
on paper
11 x 9 in. (29.9 x 24.2 cm.)
7,000-10,000
PROVENANCE:
with Deightons Strand Gallery, London.
40
$12,000-16,000
8,900-13,000
23
John William Waterhouse, R.A.

(1849-1917)
Head study for The Enchanted Garden,
1916
oil on canvasboard
10 x 7 in. (27 x 17.8 cm.)
25,000-35,000
PROVENANCE:
By descent in the artists family.
$41,000-56,000
32,000-44,000
The Enchanted Garden was one of the fnal important contemporary

paintings that the frst Viscount Leverhulme, the millionaire Liverpudlian
soap manufacturer, purchased. At Waterhouses death in 1917 it was
incomplete, but it was exhibited at the Royal Academy later that year
nonetheless, illustrating the artists importance at that time. It was sold by
Waterhouses widow, Esther, to Leverhulme in 1922.
The subject matter is taken from Boccaccios Decameron, a series of
novellas written in the 14th Century, narrated by a group of young
Florentines who tell stories to entertain themselves as they hide in isolation
away from the Black Plague ravaging their city.
The painting is now on view at the Lady Lever Art Gallery, alongside A
Tale from the Decameron (1916), another large Waterhouse showing a
group of Florentines in a verdant garden, and other masterpieces from the
Leverhulme collection. Our head study is for the central female fgure in the
painting.
We are grateful to Peter Trippi for his help in preparing this catalogue
entry.
41
(verso)
(recto)
24
Sir Edward Coley Burne-Jones,

Bt., A.R.A., R.W.S. (1833-1898)
Two studies of hill fairies for The Sleep of
King Arthur in Avalon (recto and verso)
signed with initials E.B.J. (lower right on the reverse)
pencil and ochre crayon, on paper
10 x 5 in. (26.7 x 13 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
The Sleep of King Arthur in Avalon (Museo de Arte, Ponce, Puerto Rico)
is Burne-Jones largest painting, so large in fact that Burne-Jones took a
special studio in Campden Hill. It was begun in 1881 as a commission from
his friend and patron, George Howard, 9th Earl of Carlisle, and intended
42
for the Library at Naworth Castle, Howards Cumbrian seat (see lot 20 for
four drawings by Howard). However, as the painting progressed, it acquired
increasing personal signifcance for the artist, becoming a swan-song into
which the artist poured his deepest feelings (S. Wildman and J. Christian,
Edward Burne-Jones, Victorian Artist-Dreamer, New York, 1998, p. 315).
In 1882, Howard acknowledging Burne-Jones attachment to the work
and that he was unlikely to obtain the painting in the near future, resigned
his right to the commission and the artist painted a simpler scheme for
the library. The artist worked intermittently on the canvas over the next
seventeen years and especially during the last years of his life and although
complete in all essentials, it was not quite fnished when he died suddenly
in June 1898.
These studies are two of the group of hill-fairies, that Burne-Jones
considered including in the lateral sections of the painting. He was
evidently developing the composition in 1885, as another related drawing,
which was sold in these Rooms, 9 June 2005, lot 111, was dated 1885;
furthermore, there is an entry for the same year in his autograph workrecord, preserved in the Fitzwilliam Museum, Cambridge stating that he
made the designs for the Fairies in the hills of that picture.
entry.
25
Dante Gabriel Rossetti

(1828-1882)
LITERATURE:
Study for Benedick and Beatrice from

Much Ado about Nothing
with inscription D.G. Rossetti/Study for Benedick and/Beatrice (on
an old label attached to the backboard)
pencil on paper
11 x 14 in. (28 x 35.6 cm.)
6,000-8,000
$9,700-13,000
7,600-10,000
PROVENANCE:
H.C. Marillier.
Mrs C. Marillier; Christies, London, 25 January 1952, part of lot 80.
Anonymous sale; Sothebys, London, 12 July 1967, lot 286 (30 to
Stone Gallery).
with Stone Gallery, Newcastle (316 to Lowry).
L.S. Lowry, R.A.
with Peter Nahum, London, 2001.
EXHIBITED:
Manchester, City Art Gallery, Loan Exhibition of Works by Ford Madox

Brown and the Pre-Raphaelites, Autumn 1911, no. 180.
London, Tate Gallery, Paintings and Drawings of the 1860 Period, April
- July 1923, no. 190.
Japan, Tokyo, Nagoya and Kurume, Rossetti, 1990-91, no. 117
H.C. Marillier, Dante Gabriel Rossetti, Illustrated Memorial of his Art and
Life, London, 1899, p. 35, illustrated p. 36.
O. Doughty and J.R. Wahl (ed.), Letters of Dante Gabriel Rossetti, 4
vols., Oxford, 1965 and 1967, p. 92.
V. Surtees, The Paintings and Drawings of Dante Gabriel Rossetti: A
Catalogue Raisonn, Oxford, 1971, vol. 1. p. 15., no. 46.; vol. 2. pl.
32.
W. Fredeman, (ed.), The Correspondence of Dante Gabriel Rossetti, The
formative years 1835-1862, vol. 1, 1835-1854, Cambridge, 2002, pp.
151, 152.
The present drawing dates from 1850 and is a detailed compositional study
for an unrealised watercolour depicting the last scene from Shakespeares
Much Ado about Nothing, where the two lovers receive the good wishes of
those who had conspired to bring them together. In a letter to his brother
written on 3rd September 1850 Rossetti wrote, Having found it impossible
to get the Browning picture ready for next Exhib: I have designed the
subject I mentioned to you from Much Ado about Nothing, and shall begin
it in a very few days. I think it will come well. (Fredeman, op. cit., p. 151).
The drawing was initially owned by H. C. Marillier (1865 - 1951), the
Managing Director of Morris and Co. from 1905-40 and who was the
purchaser of Kelmscott House, Hammersmith, William Morris home in
1897. He was a leading authority on tapestries and wrote one of the
earliest books on Rossetti. It was subsequently in the collection of the
celebrated artist L. S. Lowry (1887-1976) who was a noted collector of
Pre-Raphaelite paintings and drawings, and in particular the work of Dante
Gabriel Rossetti.
entry.
43
l*26
William Logsdail (1859-1944)

Two portraits of the artists daughter, Mary
one signed W Logsdail (lower left) and dated Friday/...19 (on
the reverse) and with inscription Mary Logsdail/by her dad/Will
Logsdail (on the reverse)
oil on artists board
16 x 12 in. (41.3 x 31 cm.)
(2)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
By descent in the family of the artist to the present owner.
44
William Logsdail was a versatile and widely travelled landscape and portrait
painter, and is most notably remembered for his depictions of Venetian
backwaters and atmospheric London street scenes such as his most
celebrated work The Ninth of November, 1888 (Guildhall Art Gallery,
London). His career took a turn when his portrait of his eldest daughter
Mary (b.1894), the subject of the present pictures, entitled An Early
Victorian (1906, Usher Art Gallery), was proclaimed The Picture of the
Year after being shown at The Royal Academy in 1907. Suddenly Logsdail
was receiving many requests for portrait commissions and he later recalled
After that no more rising at dawn, no more searching for models and
paying them for their services, no more out in the open at the mercy of all
weathers with all the diffculties of complicated subjects, no more doubt as
to the sale of my work when done.
27
Edmund Blair Leighton

(1852-1922)
Yes or No?
signed and dated E. BLAIR LEIGHTON. 1890. (lower left)
oil on canvas
37 x 20 in. (94.6 x 51.4 cm.)
15,000-25,000
$25,000-40,000
19,000-32,000
PROVENANCE:
T. Burchell; Christies, London, 4 May 1928, lot 81 (72 gns).

H. & P. de Casseres.
Anonymous sale; Christies, London, 28 March 1956, lot 30
(16 gns to Campo).
Private collection, Antwerp.
We are grateful to Kara Lysandra Ross for her help in preparing this
catalogue entry. The picture will be included in her forthcoming
catalogue raisonn of the work of Edmund Blair Leighton.
28
John Faed, R.S.A. (1820-1902)

The Cruel Sister
signed J Faed. (lower right)
oil on board
13 x 10 in. (33 x 25.4 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Charles Hargitt(?).
Anonymous sale; Christies, London, 9 March 1951, lot 62
(36 gns to Dean(?)).
EXHIBITED:
Leeds, National Exhibition of Works of Art, 1868, no. 1461.

This painting is a reduced version of a larger picture by Faed at
Bury Art Gallery. The tale of The Cruel Sister (or Twa Sisters) was
published as part of a collection of 305 traditional ballads from
England, Scotland and early America, collated and published in
Boston, Massachusetts, by Francis James Child (1825-1896), an
American scholar, between 1882 and 1898. The ballads covered a
variety of themes including deception and treachery, love and fate,
escape and exile, and included tales about famous fgures such as
Rob Roy, Thomas Cromwell, Robin Hood and King Arthur. The story
of The Cruel Sister, which has appeared in varied narratives since
The Miller and the Kings Daughter of 1656, centres around two
sisters who quarrel over a dashing suitor. The ballad is known with
slightly differing storylines in many northern European languages
including Swedish, Danish, Icelandic, Norwegian, Polish and
Slovenian.
45
*29
Edward Matthew Ward, R.A.

(1816-1879)
The Last Parting of Marie Antoinette
and her Son
signed and dated E M Ward. RA/1856 (lower left)
oil on canvas
48 x 71 in. (122.4 x 182.1 cm.)
80,000-120,000
$130,000-190,000
110,000-150,000
PROVENANCE:
James Arden (); Christies, London, 26 April 1879, lot 77 (950 gns
to Birch).
Sir Basil E. Mayhew, K.B.E.; Christies, London, 27 July 1957, lot
134 (10 gns to Mitchell).
Anonymous sale; Christies, New York, 2 May 1979, lot 225.
Anonymous sale; Christies, London, 12 June 1992, lot 109.
with Pyms Gallery, London.
EXHIBITED:
London, Royal Academy of Arts, 1856, no. 74.

Utah, Springville Museum of Art, Collection of Victorian and European
Art, 26 August 2009-28 February 2010.
Sydney, Art Gallery of New South Wales, Victorian Visions, 20 May29 August 2010, no. 4.
LITERATURE:
Daily News, 3 May 1856, p. 5.

Morning Chronicle, 5 May 1856, p. 7.
Athenaeum, 10 May 1856, p. 589.
Illustrated London News, 10 May 1856, p. 514.
Lloyds Weekly Newspaper, 11 May 1856, p. 8.
Times, 12 May 1856, p. 12.
Spectator, 17 May 1856, p. 534.
Examiner, 31 May 1856, pp. 341-2.
Illustrated London News, 19 July 1856, p. 74, illustrated p. 75.
Art Journal, 1856, p. 163.
Bentleys Miscellany, 1856, pp. 487-88.
R. and S. Redgrave, A Century of Painters of the English School,
London, 2nd ed., 1890, p. 434.
E.T. Cook and A. Wedderburn (eds.), The Works of John Ruskin, vol.
14, 1904, p. 52.
P.G. Nunn, in J. Turner (ed.) Ward, Dictionary of Art, London,
1996, vol. 32, p. 855.
46
In the early years of Victorias reign there was a great taste for collecting
literary and historical subjects. Mulready, Egg and Leslie all painted them,
but perhaps the greatest exponent of the genre was Edward Matthew
Ward. To his adoring public he bought novels and history to life, through
carefully staged tableaux, and painstaking care in painting historically
accurate costume, and selecting suitable accompanying effects. His
pictures can be thought of as proto-cinematic, such is the ease with which
the narrative can be read through the facial expressions of the protagonists.
Ward was born in Pimlico, and evidently showed talent in his
draughtsmanship from an early age as he was encouraged in his artistic
studies by Chantrey and Wilkie who sponsored his admission to the RA
schools in 1835 at the age of nineteen. Between 1836 and 1839 Ward
studied in Rome and won a silver medal at the Academy of St Luke for his
historical compositions, which he pursued throughout his career. On his
return to London he entered the Westminster Hall competitions to provide
designs for decorative schemes for the new building and in 1852 he was
commissioned to paint eight subjects of English eighteenth-century history
in the House of Commons. Clearly infuenced by Paul Delaroches historic
masterpieces such as The Execution of Lady Jane Grey (Royal Academy,
1834), Ward enjoyed the most success in depicting scenes from the French
Revolution. Works of the 1850s by Ward and Delaroche illustrate the
narrative chronologically: in 1851 Ward exhibited The French royal family
during their confnement in the Temple at the Royal Academy, then in
1853 Delaroche exhibited Marie-Antoinette before the tribunal. The present
work was exhibited at the Royal Academy in 1856.
The French Revolution had a great infuence on British intellectual,
philosophical and political life in nineteenth-century Britain. Many accounts
of the ill-fated court existed in the 1850s, but Wards probable source
was a biography of Louis XVII by Alcide de Beauchesne, published in
1855. Ward has carefully illustrated the scene, showing the Queen and
her sister-in-law, Madame Elizabeth, who have been mending clothes,
and the Princess Marie-Thrse who has just opened her prayer book,
with six Revolutionary offcials who have just entered the room to inform
the queen that her son is to be taken away from her: [She] drew her son
before her, laid her two hands on his little shoulders, and calm, motionless,
and composed in her distress, without shedding a tear, or heaving a sigh,
she said to him in a sad and solemn tone: My child we are about to part.
Remember your duty when I am no longer present to remind you of them;
never forget the merciful God who has appointed you this trial, as your
mother, who loves you she said, kissed her son on the forehead, and
gave him in charge to the jailers (Beauchesne, 1853, p. 63).
Contemporary critics were highly complimentary about the work after its
debut at the Royal Academy. The Art Journals review said We cannot
too highly praise the dispositions; the composition is not thronged with
useless material; every object has its voice in the story. Upon the whole, we
think, it cannot fail to be pronounced the best of the pictures which the
artist has executed upon the history of these unfortunates. Other critics
commented that it was one of the artists greatest works (Daily News, 3
May 1856, p. 2), and one of the best and most popular of his pictures
(Redgrave, 1947, p. 473), and another commentator claimed never to have
seen a more deeply affecting picture (Bentleys Miscellany, 1856, p. 488).
*30
John Atkinson Grimshaw

(1836-1893)
The Rookery
signed and dated Atkinson Grimshaw 1883+ (lower left), and
signed, inscribed and dated Atkinson Grimshaw, The Rookery,
1883+ (on the reverse)
oil on canvas
24 x 42 in. (61.6 x 108 cm.)
180,000-250,000

PROVENANCE:
Private collection, U.S.A.
$290,000-400,000
230,000-320,000
From the late 1870s onwards, Grimshaw painted a series of deserted,

semi-rural suburban streets in Yorkshire and London. These images of a
solitary female figure making her way down a leaf-and-puddle-strewn
road, are perhaps the most emotive and emblematic of the artist.
The title of the present work refers to the tree-top colony of rooks, a
group of which are leaving or returning to their nests observed by a
female figure. The delicate tracery of interlacing branches and their
leaves are rendered in autumnal shades of red, green and brown,
echoing the tones of the house, surrounding fields and distant woods.
Touches of yellow in the trees and golden leaves lying on the russetcoloured road recall the setting sun unseen. Though the fallen leaves
and almost bare branches suggest the season is autumn, the beautiful
pale blue sky is atypical of the artists characteristically golden scenes.
The Rookery could also refer to a particular mansion as the large Queen
Anne style, red brick house is rather distinctive. A similar building with
seven bays and three storeys, an attic punctuated by dormer windows
behind the parapet, as well as rusticated stone gate piers with moulded
caps and ball finials, can be seen in Grimshaws The waning glory of
the year, 1882 (private collection).
49
50
31

(1836-1893)
On the Thames
signed and dated Atkinson Grimshaw 1882+ (lower right)
oil on board
12 x 20 in. (32.4 x 52.1 cm.)
120,000-180,000
$200,000-290,000
160,000-230,000
PROVENANCE:
Anonymous sale; Sothebys, London, 27 March 1996, lot 111.

with Richard Green, London, 1996, where purchased by the present
owner.
During the frst half of the 1880s Grimshaw travelled annually to London
from his home in Leeds in order to capitalise on the market for local
topographical views. His townscapes were largely focused around the River
Thames, the heart of the bustling city, which he captured bathed in his
distinctive and highly atmospheric moonlight.
51
52
*32

(1836-1893)
Bought by the father of the present owner in London, circa 1960.
Dead calm - on the Mersey

signed and dated Atkinson Grimshaw. V.3.93. (lower right) and
further signed, inscribed and dated Dead calm - on the Mersey./
Atkinson Grimshaw - V.3.93. (on the reverse)
oil on board
9 x 19 in. (24.8 x 49.2 cm.)
150,000-200,000
PROVENANCE:
$250,000-320,000
190,000-250,000
Executed in 1893, the present picture is one of a small group that can be
seen as the summation of Grimshaws lifetime exploration of the varying
effects of light. With a restricted palette, and startling economy of means,
a ship is depicted against a horizon, punctuated by the twinkling of distant
lights. The infuence of Grimshaws friend and neighbour James McNeil
Whistlers famous series of Nocturnes has clearly been absorbed, and yet
the style remains distinctively Grimshaws own. So accomplished were these
nocturnal scenes that they led Whistler to remark upon seeing them I
considered myself the inventor of nocturnes until I saw Grimmys moonlight
pictures.
53
33

(1836-1893)
Reekie, Glasgow
signed Atkinson Grimshaw (lower left) and further signed and
inscribed Reekie Glasgow/AtkinsonGrimshaw (on the reverse)
oil on canvas
24 x 36 in. (60.8 x 91.6 cm.)
250,000-350,000
$410,000-560,000
320,000-440,000
Edinburgh has been informally known as Auld Reekie since the 16th
Century on account of the smoke rising from the coal fres of the tenement
buildings. A similar atmosphere pervades this picture of the Glasgow docks,
which, after Liverpool, was Grimshaws most popular subject for urban
night scenes. The shop interiors in this example are illustrated with startling
detail, and names can clearly be read on the various advertisements.
55
*34

(1836-1893)
Knostrop Old Hall,Yorkshire
signed and dated ATKINSON/GRIMSHAW/1882+ (lower left)
oil on canvas
20 x 30 in. (50.8 x 76.2 cm.)
150,000-250,000
PROVENANCE:
with Richard Green, London.
$250,000-400,000
190,000-320,000
One of the most recognisable subjects created by Grimshaw is of a quiet

lane fanked by high walls, trees, a partly hidden mansion, and a single
fgure, usually female, positioned somewhere along a leaf strewn road,
highlighting the peaceful stillness of the moment. The detail is remarkable
in the mass of intricate tracery of branches silhouetted against the bold,
golden sky, masterfully refected in the windows of the house and in the
small pools of water in the lane.
The compositional motif was frst created in the early 1870s, when
Grimshaw and his family had moved to Knostrop Hall, a seventeenthcentury manor house on the River Aire at the eastern edge of Leeds. The
house in the present painting is very similar in architectural details to that
of Knostrop Hall, particularly in the gabling, entrance porch and gateposts
surmounted with spherical ornaments, but these have been placed in the
roadside wall, rather than at the entrance to a sweeping circular driveway
as was the case at Knostrop.
57
35
Philip Alexius de Lszl

(1869-1937)
Portrait of the Hon. Esme
Mary Gabrielle Harmsworth,
later Countess Cromer, aged
nine, half-length
signed and dated de Lszl/1933 I. (lower right)
oil on board
33 x 24 in. (84.4 x 61.5 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
By descent in the family of the sitter to the present

owner.
LITERATURE:
Sitters Book II, f. 74: Esme Harmsworth Dec. 31st

1932.
This is one of seven family portraits commissioned by
the sitters grandfather, Harold Sidney Harmsworth,
1st Viscount Rothermere. Lady Cromer later recalled
sitting for the artist: I was painted by a number of
artists...but none of them painted with such panache
as Lszl. In the grand manner with a huge palette
and waving a brush, he would stand back, stop, look
at me and refect, before advancing towards the
canvas to bestow a single stroke...He sat me on a
chair and treated me like a queen; admiring my party
frock...He wore a pointed beard and possessed a most
intelligent if slightly mischievous expression.
On 10 January 1942 Esme married Lt.-Col. George
Rowland Stanley Baring, 3rd Earl of Cromer. Between
the years of 1967 and 2003 she was a Lady of the
Bedchamber and Woman of the Bedchamber for H.M.
Queen Elizabeth II.
We are grateful to Katherine Field for helping to
prepare the catalogue entry for this portrait, which
will be included in the Philip de Lszl catalogue
raisonn, currently presented in progress online: www.
delaszlocatalogueraisonne.com
58
36
Philip Alexius de Lszl

(1869-1937)
Lady Ludlow, ne Alice
Sedgwick Mankiewicz
(previously Lady Wernher),
standing, three-quarter-length,
in a yellow evening dress
signed and dated de Lszl/1924 (upper left)
oil on canvas
66 x 39 in. (169 x 99.5 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Anonymous sale; Sothebys, London, 16 March

1977, lot 205.
with Barbi, Barcelona.
On 12 June 1888 Alice (known as Birdie; 1862-1945),
daughter of James Mankiewicz of London, married Sir
Julius Charles Wernher (1850-1912), a German mining
magnate and philanthropist. In 1903 Sir Julius bought
Luton Hoo, an estate in Bedfordshire, and at his
London residence, Bath House, 82 Piccadilly, indulged
a lifelong taste for art and formed a fne collection of
pictures, principally of the Renaissance period. One of
the best pictures in Sir Juliuss collection, Watteaus
Le gage damour, was left in his will to the National
Gallery of London. Much of the wealth accrued
through his successful mining interests in South Africa
was donated during his lifetime, but at his death in
1912 he still left an estate of 11.5 million. Recipients
of his generosity included a number of charitable
organisations both in London and South Africa, and
he gave a substantial sum to the Union of South
Africa which led to the foundation of the University of
Cape Town.
De Lszl frst painted our sitter in 1916 as Lady
Wernher. The present portrait was painted in 1924
after Lady Wernher had married Henry Ludlow Lopes,
2nd Baron Ludlow of Heywood (1865-1922), a
barrister and politician, in September 1919.
We are grateful to Katherine Field for writing
the catalogue entry for this portrait, which will be
included in the Philip de Lszl catalogue raisonn,
currently presented in progress online: www.
delaszlocatalogueraisonne.com
37 No Lot
59
38
Sir John Lavery, R.S.A., R.S.A.,

R.A. (1856-1941)
After the Dance
signed and dated J LAVERY - 1883 (lower left) and signed,
inscribed and dated AFTER THE DANCE/J LAVERY/160
BATH/GLASGOW (on the reverse)
oil on canvas
44 x 34 in. (112.4 x 86.8 cm.)
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Given by the artist to Katharine FitzGerald, Laverys last secretary,

and by descent to her sister, Mrs Fairfax Cholmeley, and thence by
descent to the present owner.
EXHIBITED:
Glasgow, Glasgow Institute of the Fine Arts, 1883, no. 154.

Edinburgh, Royal Scottish Academy, 1885, no. 589.
On loan to Ferens Art Gallery, Kingston-upon-Hull since 1989.
LITERATURE:
W.S. Sparrow, John Lavery and his Work, London, 1912, p. 171.
K. McConkey, Sir John Lavery, Edinburgh, 1993, p. 22.
K. McConkey, John Lavery, A Painter and his World, Glasgow, 2010,
p. 20-1.
60
John Laverys years spent in France at the beginning of his

career, between November 1881 and November 1884, were
crucially formative. He had arrived in Paris with Glasgow
companions, Alexander Roche, Alfred East and William
Kennedy, his head flled with sentimental scenes of Regency
trysts and pretty heroines, and gradually, during this time,
under the infuence of progressive painting, popular literary
subject matter typifed by pictures such as Heart for a Rose (A
Conquest) (1882, Glasgow Museums, Fig.1) was discarded.
This canvas, painted in 1882, and shown alongside the
present later work, After the Dance, indicates the young
painters reluctance at frst to abandon the commercially
successful romances which had made the London-Scots
painters, John Pettie and William Quiller Orchardson, famous.
Its foral symbolism, admired by conservative collectors, was
an essential component and it survives into the later work in
the girls corsage and headdress.
However, as a student in a foreign city with no family capital
to draw on, the pressure to please the market remained
intense even while pursuing his studies, and according to
Percy Jacomb-Hood, Lavery was renowned at this time for
faking backgrounds to his atelier sketches and making
them into pictures which were bought by some dealer in
Glasgow (GP Jacomb-Hood, MVO, With Brush and Pencil,
1925, p. 24). Yet, as he commenced After the Dance,
his most ambitious painting to date, the young artist was
beginning to develop new ideas. The transformation must
extend from subject matter to technique and style: important
pictures had more presence, were larger, and their handling
was smoother and more sophisticated than anything he
could master up to that point.
Fig. 1: John Lavery, A Conquest (A Heart for a Rose), 1882
Glasgow Museums
He had spent the spring term at the Atelier Julian where

the talk was all about Naturalism, the new movement
spearheaded by Jules Bastien-Lepage that applied principles
of scientifc empiricism to art and literature. Just as Emile
Zola and Edmond de Goncourt were documenting the
mundanities of ordinary life, so painters such as Edouard
Manet and his pupil, Henri Gervex, were recording typical
scenes of the boulevard and the boudoir. Naturalism, rural
and urban, dominated the annual Salons, and augmenting
these rich surveys of emerging talent, there were the dealers
emporia in the rue La Fitte and the rue de Sze where Paul
Durand-Ruel stocked the Impressionists and Georges Petit
exhibited Les jeunes, young English-speaking painters like
John Singer Sargent and William Stott, who were in the new
vanguard.
In his autobiography Lavery later recalled the powerful
impression that frst Salon experience of 1882 made upon
him. One picture in particular stuck in his mind - Manets
late masterpiece, Un bar aux Folies Bergre (1882, Courtauld
Institute of Art, London, Fig. 2). What did this painting of
a young woman looking out at the spectator mean? Was
there a clue in the use of a large mirror, at the back of the
bar to refect the space around and behind the spectator?
The intriguing idea that the man in the mirror was in fact
Fig. 2: Edouard Manet, Un bar aux Folies Bergre, 1882

Courtauld Institute of Art, London/The Bridgeman Art Library
62
the viewer was a clever one, and like Lepages Pas Mche
(National Gallery of Scotland, Edinburgh), which Lavery
also remembered from this time, the single person in the
painting looked directly at the viewer. The whole picture was
a greeting, an exchange, or a form of address. It implied
an immediate encounter that went beyond the explicit
symbolism of roses and Regency costumes. Yet nevertheless,
Laverys market was not Paris, but Glasgow, and although
he realized that there were progressive collectors in the
west of Scotland, they needed to be challenged. His jeune
fille en fleurs, about to leave the ball was as much a French
subject as an English one, and with it, the young Gervex
had consolidated his reputation, three years before (Gervex,
Retour du Bal, 1879, private collection, Fig. 3). It was this
that Lavery would tackle at the end of 1882. The Glasgow
Institute of the Fine Arts exhibition opened each year at the
beginning of February, so we may assume that After the
Dance was begun towards the end of 1882, possibly over
the Christmas recess at the atelier Julian.
Essentially a study of a forlorn young woman a favourite,
unidentifed, auburn-haired model posed parallel to the
picture plane, After the Dance echoes the format of James
McNeill Whistlers most celebrated portrait (Arrangement in
Grey and Black, no. 1, The Painters Mother, 1872, Muse
dOrsay, Paris, Fig. 4).
Fig. 3: Henri Gervex, Retour du Bal, 1879

Private Collection/The Bridgeman Art Library
In both instances the back wall contains a curtain, dado

and picture-within-the-picture but there the comparison
ends, for Lavery accentuates the contemporary Morrisinspired dcor and in place of Whistlers print, is of course, a
mirror, large enough to refect Gervexs lascivious bourgeois
gentilhomme. Were it not for this clever insertion we would
not realize that this fellow was standing at our elbow
holding the girls cloak - and behind him, is an attendant,
or procuress. Does the face of Laverys Flora, shrouded
in a beguiling shadow, conceal a frown? The moment is
Zolaesque. One thinks of the humiliated Comte de Muffat
and the fckle heroine in Zolas Nana (1978). As these
questions hang in the air, the eye follows the fashionable
wallpaper, and notes the ornate Venetian-style of the mirror,
returning to details such as the hand holding the dance card.
The formal simplicity of Laverys arrangement, albeit echoing
Whistler, would in turn fnd echoes in Jacomb-Hoods My
Sister, 1886 (Walker Art Gallery, Liverpool) and even perhaps
in William Orpens The Mirror, 1900 (Tate). Yet neither of
these later examples quite matches the complexity of a
picture that remains unique in the Lavery oeuvre. This was a
painter who, like Manet, eschewed theory. However, both
had the capacity to see beyond and beneath the glittering
surface. As Edward Knoblock declared at the time of his
death, he followed his instinct and the ruling passion of
his life was painting what was before his eyes (Knoblock,
John Lavery, in Memorial Exhibition of Paintings by the Late
Sir John Lavery RA, 1941, exhibition catalogue, Leicester
Galleries, London, p. 3). That winding course was set in After
the Dance.
KMc.
Fig. 4: James McNeill Whistler, Arrangement in Grey and Black, no.
1, The Painters Mother, 1872
Muse dOrsay, Paris/The Bridgeman Art Library
63
l*39
Gerald Leslie Brockhurst (1890-1978)

Delores
oil on panel
24 x 18 in. (61 x 46 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
with Scott & Fowles, New York.

ENGRAVED:
By the artist, Viba, in 1929.

The sitter, Pepita, was the wife of the composer Bobby Hazleton Ross. Brockhurst
had used her as a model in 1922 for a work entitled Pepita.
64
l40
Frederic Whiting (1873-1962)

The Guthrie Children
signed FREDERIC WHITING (lower right)
oil on canvas
88 x 103 in. (223.5 x 263.4 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
Painted for the family in 1914 and thence by descent to the present
owner.
The Guthrie Children, painted on the eve of the outbreak of The Great
War, is an impressive example of Whitings work. The children are depicted
before Duart Castle, close to their family home of Torosay Castle on the Isle
of Mull. This large scale equestrian portrait is typical of Whitings output
from this period and shows the infuence of John Singer Sargent. The
directness of handling and boldness of colour gives a sense of freshness to
the painting, which lifts the image and does justice to its scale.
After studying at the Royal Academy Whiting began his artistic career
as a picture journalist for The Graphic. He reported on the Boxer Rising
from Peking and the Russo-Japanese war from Manchuria. The subjects
of his later works are very different to those of his journalism, but his
spontaneous style developed through the need to paint fast.
EXHIBITED:

LITERATURE:
Royal Academy Illustrated, 1914, p. 121.
65
41
Charles Sims, R.A.,

R.W.S. (1873-1928)
Portrait of Mrs William Younger
and her daughter Charlotte
Mary
signed SIMS (lower left)
oil on canvas
72 x 60 in. (182.8 x 152.4 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
By descent in the family of the artist to the present

owner.
EXHIBITED:
This painting portrays the wife and daughter of William Younger (18571925) of Ravenswood, Melrose. Younger came from the notable family
of brewers: his maternal uncle also founded McEwans. In 1902 William
Younger married Katharine Theodora Dundas (1874-1961), and they had
three children including a daughter, Charlotte Mary (1908-2000), later wife
of the 13th Lord Reay, Chief of Clan Mackay.
Sims was celebrated by contemporaries for his inventiveness: Imagination

he certainly has a freshness and unconventionality of fancy which can
be welcomed as singularly attractive and he has developed both his
powers of observation and his command over processes of painting in an
uncommon degree (A. Lys Baldry, The Paintings of Charles Sims, The
Studio, London, 1907, p. 90).
Katharine Younger and Sims are known to have enjoyed a lengthy

correspondence and friendship after her husbands death, and the artist
spent much time at Ravenswood, where he met his untimely death. The
artistic establishment sought to discredit his later, mystical works, claiming
they were the products of a disturbed mind, but Mrs Younger wrote to the
Present of the Royal Academy to vouch for her friends health.
After his death in 1928 his friend and fellow artist Harold Speed wrote
that Loveliness is not now the fashion in art, and her adorers are not so
numerous or so healthy as they might be. The machine-made gods of
modernity have made havoc of her worship By the death of Charles Sims
we are robbed of one of her ablest and most passionate adorers, and we
shall long miss the joyous loveliness of the Sims note that so often lit up
the walls of our exhibitions (The Old Water-Colour Societys Club, London,
1929, p. 45).
Exhibited in 1923 the painting displays Simss combined success in both

portraiture and decorative mural painting. He was infuenced by the
work of Jules Bastien-Lepage and the monumental symbolism of Puvis de
Chavannes, which he saw as a student at Atelier Julian in Paris.
66
Sixty-four works by the artist are found in British national collections,

including Tate Britain.
42
Walter Greaves
(1846-1930)
Portrait of James McNeill
Whistler, standing, fulllength
signed and dated W. Greaves/1872 (lower
right)
oil on canvas
38 x 24 in. (96.5 x 61 cm.)
50,000-70,000
$81,000-110,000
64,000-89,000
PROVENANCE:
The Rosenbach Museum & Library

Philadelphia.
Greaves and his brother Harry met Whistler in

1863 when he moved to 7 Lindsey Row, only
two doors away from the Greavess house in
Chelsea. Nearby neighbours included Rossetti
and Algernon Swinburne. The brothers soon
became enthralled with the cosmopolitan
American, working as his studio assistants,
buying his art supplies, and preparing his
canvasses and pigments. In this painting
Greaves has shown Whistler standing next to
Old Battersea Bridge, which Whistler himself
famously portrayed in his series of Nocturnes.
The spire of St Marys Church, Battersea,
opposite Chelsea Harbour, can be seen in the
background.
67
*43
Henry Scott Tuke, R.A.

(1858-1929)
A male nude reclining on rocks
signed H.S. TUKE (lower left)
oil on canvasboard
12 x 18 in. (30.5 x 45.7 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
with The Willeston Gallery, Wellington, New

Zealand.
The sitter is Charlie Mitchell (18851957) who modelled
for Tuke from the age of 16 until his 30s. He looked
after Tukes boats and used to row the artist out from
Swanpool where he lived, into Falmouth Bay so he could
paint the many tall ships that visited the harbour. This
painting can be dated to between 1910 and 1912 as
Tuke undertook several other paintings at this time of
boys posing in front of the same blue/grey-coloured rocks
including R777, Sketch of two boys and a dog against
blue rock, which was gifted to Falmouth Art Gallery by
the collector Alfred de Pass in 1923.
We are grateful to Catherine Wallace for her help in
preparing this catalogue entry.
44
Paul Fordyce Maitland

(1863-1909)
Chelsea Embankment, Plane
Trees
signed P. Maitland (lower right) and further signed,
inscribed and dated Chelsea Embankment/by Paul
Maitland/08 (on the artists label on the reverse)
oil on panel
9 x 7 in. (23 x 19.8 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
with Roland, Browse & Delbanco, London.

with Leicester Galleries, London, December 1952.
Anonymous sale; Christies, London, 6 June 2003,
lot 46.
Born in Chelsea, London, Maitland was a pupil of
Theodore Rousel. In 1888 he became a member of the
New English Art Club and exhibited with the London
Impressionists in 1889. Maitland primarily focused
on scenes in Kensington and Chelsea, illustrating the
infuence of Whistler, another local resident.
68
l45
Wilfrid Gabriel de Glehn, R.A.

(1870-1951)
Reclining nude
oil on canvas
28 x 22 in. (71 x 55.9 cm.)
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
The Artists Family.

Anonymous sale; Christies, London, 23 November 1993, lot 71.
Anonymous sale; Christies, London, 5 March 1999, lot 142.
with MacConnal-Mason, London.
De Glehns sensuous nude compositions became a highly-successful
endeavour between the Wars, and were generally painted during the
winter months in his drawing room at 73 Cheyne Walk when the English
weather prevented him from painting outside. The languorous pose of
the fgure in this painting is similar to that found in Jewels (1929, private
collection) and Nonchalance (c. 1930, private collection).
69
l46
George Clausen, R.A., R.W.S.

(1852-1944)
Head of a girl
signed G. CLAUSEN. (lower right)
oil on canvas laid on board
10 x 8 in. (25.4 x 22.5 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
Given by the artist to Harry Parr, and thence by descent to the present owner.
After his move to Widdington in Essex in the summer of 1891, George Clausen had a
new terrain to explore. Living on the edge of the village he was surrounded by rolling hills
and cornfelds, and while he had work to complete for the forthcoming spring, he also
faced the challenge of fnding new models. One of these was a local girl, Emily Wright,
known as Emmy, the daughter of a bricklayer, and she replaced Rose Grimsdale, his
favourite model at Cookham Dean.
At this point, Clausens work was changing in a dramatic way as he increasingly rejected
plein air naturalism in favour of a more impressionistic style. The square brush handling
and tonal painting of his years at Childwick Green and Cookham Dean disappears and he
favours strong colour, dramatic contrasts and a more consciously sculpted surface texture.
This has been read as an obvious rapprochement with Impressionism, even though he
remained acutely aware of the importance of Bastien-Lepage to his generation. This
continuing admiration became apparent when around 1895 he began to contemplate a
picture of two country girls resting in the felds. One would be sleeping while the other
would face the sun, perhaps awoken by the sound of birds or the fresh summer breeze.
The ensemble resting feldworkers, one of whom is asleep had been famously treated
by Bastien-Lepage in Les Foins, 1878 (Muse dOrsay, Paris).
Before it was fnally abandoned, Summer in the Fields (c. 1895-7, private collection,
sold in these Rooms, 19 November 2004, Fig. 1) became one of Clausens most studied
paintings.
Drawings for it are contained in the Victoria & Albert Museum, the Royal Academy of
Arts and the Holbourne Museum, Bath, and a small oil painting of the sleeping girl
passed through The Fine Art Society in 1980s. Until the appearance of the present oil,
there were however, no independent oil paintings of the principal fgure. This, more
than the canvas itself, demonstrates Clausens struggle. While the related drawings give
clear delineation of the form, A Girls Head provides an insistent reading of her ruddy
complexion. Here is no china-doll smoothness, but a fresh, windblown face that turns
towards the light (see Study for Summer in the Fields, c. 1895-6, Holbourne Museum,
Bath).
Fig. 1. George Clausen, Summer in the Fields,

c. 1895-7. Private Collection.
Indeed the dense working of the fesh tones in this case, produces a vibrant
expressionism. Few pictures by Clausen contain this sense of urgency as though the
colour relationships he sought to capture were so feeting that he must seize them with
little regard for the polite conventions of fnish. With what emphasis he shapes the right
contour of Emmys forehead, while not neglecting the subtle modelling across the bridge
of the nose. Look too at the brilliant ficks of paint that describe her hair and the subdued
bluish fesh colour that takes the eye off into the feld beyond. Parr claimed to have
rescued this picture when the artist had cast it aside what a service he did for posterity!
KMc.
70
47
Henry Herbert La Thangue, R.A.

(1859-1929)
Tucking the Rick
signed H.H. LA THANGUE (lower right) and inscribed as title (on
the stretcher)
oil on canvas
44 x 36 in. (111.8 x 91.5 cm.)
In the original oakleaf frame
300,000-500,000
$490,000-810,000
380,000-630,000
PROVENANCE:
with Thomas Agnew, London.

Thomas Francis Blackwell, by 1906, and by descent to
Mrs L.A. Blackwell (); Christies, London, 21 June 1940, lot 186
(6 gns to Abbott).
R.E. Abbott.
Anonymous sale; Sothebys, London, 25 June 1980, lot 45.
with Pyms Gallery, London.
EXHIBITED:

St Louis International Exhibition, 1904, no. 75.
Newcastle Upon Tyne Polytechnic Art Gallery, Mappin Art Gallery,
Sheffeld, Paisley Art Gallery and Aberdeen Art Gallery, Peasantries,
1981-2, no. 53.
LITERATURE:
Royal Academy Pictures, 1902, p. 118.

Academy, 10 May 1902, p. 488.
Athenaeum, 24 May 1902, p. 665.
Magazine of Art, 1902, p. 398.
Times, 1 May 1902, p. 16.
Spectator, 17 May 1902, p. 767.
J. Stanley Little, Henry Herbert La Thangue ARA, The Magazine of
Art, 1904, p. 6.
Sir Isidore Spielmann FSA, St Louis International Exhibition, 1904,
The British Section, 1906, p. 25.
Peasantries, 1981, ex. cat., Newcastle Polytechnic Art Gallery, p. 56,
pl. 4.
Fig. 1. The British Section, St Louis International Exhibition, 1904
72
In 1904, when Henry Herbert La Thangues Tucking the Rick steamed

across the Atlantic to form part of the British Section of the St Louis
International Exhibition, James Stanley Little listed it as one of his principal
works (Stanley Little, loc. cit., Fig. 1).
A robust naturalistic study of an English feldworker engaged in a humdrum
task, it hung close to the classical cataclysms depicted by Sir Edward
Poynter in Cave of the Storm Nymphs (1903, private collection) and
Frederic, Lord Leightons Perseus and Andromeda (1891, National Museums
on Merseyside), and it must have seemed like a painting from another
world. Lacking all allusion to the art of the past, beside the works of the
Royal Academy Presidents it was chaste, if not puritanical. Their fctions
contrasted with its facts.
La Thangues heroine is weaving, or tucking the outer wall of a hayrick
in order to strengthen the structure against the buffeting of winter winds.
It was an important task since loosely packed hayricks could collapse in
a storm. This may indeed be the catastrophe from which the labourers
in George Clausens contemporary canvas, The Rickyards, A Winter
Idyll (1902, Art Gallery of New South Wales, Sydney) are attempting to
salvage what remained the staple winter food source for livestock. Ricks
would normally be reduced during the winter months, but frst they must
withstand the storms of the autumn equinox.
In his essay on the artist, Little took the opportunity to inveigh against
the modern methods of agriculture that have long since changed in
new countries America, Canada, and Australia, for instance, and
were now invading Britain. While in the bread-baskets of the prairies,
industrial processes had been quickly embraced, it was diffcult to envisage
mechanized harvesters in Englands smaller felds where the tradition for
mixed farming and crop rotation in small units persisted. One can imagine
the grain merchants of St Louis fnding La Thangues picture curious.
However surveying the oeuvre, Little realized that many of the activities
the artist recorded, were likely soon to become extinct, and works that
treated mushroom gathering, gleaning cider-pressing leapt to mind.
In some areas, the rick-builders of yore were partly replaced by conveyers
and the old rick-masters skills were in danger of being obliterated under
the Juggernaut wheels of progress (Stanley Little, op. cit., p. 1). For this
reason, the painter had recently taken to wintering in the south of France,
and three of his Academy pictures in 1902 were Provenal scenes based in
hillside farms where old customs and practices persisted.
What was nevertheless extraordinary about Tucking the Rick was its
impression of a hot English summer day. La Thangues young woman
was red with the sun and his study of the surface of the haystack was as
profound as those of Monet. Its texture refected the subtlest gradations of
colour that expressed the warmth of the day. In 1902, contemporary critics
felt the heat from the luminous fash of the girls face and found it quite
wonderful. Journals such as The Academy and The Speaker considered
that his pictures were golden and glowing, and a pleasure to the eye,
and while he was a landscapist of some cleverness, he is a fgure painter
of more feeling (The Academy, 10 May 1902, p. 488; The Speaker, 24
May 1902, p. 218). Few could overstate the pictures visual drama. The
woman is placed within the circumference of the shadow cast by the rick,
and her male companion strides away in the middle distance a countercheck that had been one of his early compositional ploys seen most
clearly in The Man with the Scythe, 1896 (Tate). Tucking the Rick played
to the painters strengths. He sought through the human fgure to express
harmony between light and air, between mankind and the natural world,
expressing what he termed the sentiment of nature (G. Thomson, HH La
Thangue and his Work, The Studio, vol IX, 1896, p. 177). And here, in the
St Louis cavalcade, his picture sang of a rural way of life that was forever
England.
KMc.
48
Henry Herbert La Thangue, R.A.

(1859-1929)
In the Fields
oil on canvas
35 x 20 in. (88.9 x 53.1 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
James Jebusa Shannon, by 1885, and by descent.

In the summer of 1883 two British art students, James Havard Thomas and Henry Herbert
La Thangue, set off to explore la France profonde. They travelled south on the PLM, the
Paris/Lyon/Marseille railway, but failed to reach the Mediterranean, disembarking in the
Dauphin, the fertile, fruit-growing region of the Rhone valley. La Thangue had spent
two summers painting in Brittany where each of the most picturesque villages boasted its
cluster of artists, but here was uncharted territory. The hot sun made it impossible at frst
to work in the open air and he painted in a shadowy interior a picture of a young woman
spinning fax with a distaff and weighted spindle - a Jean-Franois Millet subject. But when
he returned the following year, it was to embark upon a large canvas of reapers entitled In
the Dauphin (1884-5, private collection, sold in these Rooms, 26 November 2003; Fig 1).
This would become the most controversial picture shown at the frst exhibition of the New
English Art Club in 1886 (for further information see K. McConkey, The New English, A
History of the New English Art Club, 2006 (Royal Academy Publications), pp. 32-6).
Although La Thangue claimed it was unfnished when shown, this sunlit scene became an
archetype a demonstration-piece in the broad square-brush style that was de rigueur
in the teaching ateliers. In his case, it was developed in smaller works, few of which have
survived. In the Art Journal of 1893 J.S. Little declared that of the work of this period, the
painter destroyed practically everything. The appearance of In the Fields therefore marks
a signifcant moment in our understanding of the development of this epiphenomenon.
It indicates the impression of an encounter in which the eye travels instantly to the focal
point of the picture the heads of the passing feldworkers.
These are likely to be the principal models for In the Dauphin passing what appears to be
a hay bale in the lower left quarter of the canvas. Given what we can see in later works
such as Tucking the Rick (lot 48) it seems strange that the painter would not have been
more explicit in noting the surface texture of this important foreground insertion. And
since the area was well-known for its cloth production, its soft contours suggest that it
could possibly be a bale of scutched fax fbre left to dry (See R.B. Forrester MA, The Cloth
Industry in France, A Report to the Electors of the Gartside Scholarship, Manchester, 1921).
Nimes some 55 miles from Donzre was the ancient centre of heavy cotton production
known as tissu de Nimes, from which the modern blue-dyed fabric known as denim,
takes its name. Signifcantly, the peasants in the present canvas, and in In the Dauphin,
are dressed in garments made from this cloth. Even the mans shirt is likely to be of a
lighter, cooler silk and cotton fabric, also developed in the region, which, worn loosely,
provided protection from the strong sunlight.
For La Thangue the experience at Donzre was character-forming. It set the pattern of
working en plein air which ultimately drew him back to southern France in the early years
of the 20th Century. However, when he returned to London, the young painter rented one
of the Trafalgar Studios in Manresa Road, Chelsea, where, along with other young artists,
one of his companions was James Jebusa Shannon (see lots 49-54).
At this point La Thangue was hailed as the leader of the Square Brush School, and as
Morley Roberts noted, among those who owe much to La Thangue must be reckoned
JJ Shannon (Roberts, 1889, p. 73). It is likely that a friendship developed between the
two, since La Thangue stored some of his early pictures in Shannons studio when he left
London to work, frst at South Walsham, then at Rye and fnally at Horsey Mere in Norfolk.
Shannons In My Studio, one of his two exhibits in the frst New English exhibition shows
La Thangues In the Dauphin in the background. Somewhere, among these assorted
canvases was In the Fields.
Fig. 1. Henry Herbert La Thangue, In the Daupin,
1884-5, c. Private Collection.
74
KMc.
Sir James Jebusa Shannon, R.A., R.B.A. (1862-1923)

Born in rural Auburn, New York, the highly successful
society portrait painter Sir James Jebusa Shannon (18621923) spent his youth in Canada. In 1878, at the age of
sixteen, he travelled alone to England, where he trained
under Sir Edward John Poynter (1836-1919) at the South
Kensington School of Art (now the Royal College of Art)
until 1881. The frst of his many international honours was
a gold medal at the 1889 Paris Exposition Universelle. Over
the course of his career he engaged a variety of styles and
exhibited widely at such venues as the Grosvenor Gallery,
the New Gallery, the New English Art Club, and especially
the London Royal Academy of Arts, to which he was elected
a full academician in 1909. Shannon was a founding member

of the Royal Society of Portrait Painters of which he was
president from 1910 to 1923. His contributions to the arts
were offcially recognized when he received a knighthood
from King George V in 1922. Shannons art is represented in
major public and private collections throughout the United
Kingdom and the United States, including Tate Britain, The
Metropolitan Museum of Art, Smithsonian American Art
Museum, and The Royal Academy of Arts.
We are grateful to Barbara Dayer Gallati for her help in
preparing the catalogue entries for these works.
49
Sir James Jebusa

Shannon, R.A.,
R.B.A. (1862-1923)
The Drawing Room, circa
1900
with inscription LADY SHANNON (on
the stretcher)
oil on canvas
36 x 28 in. (91.5 x 71.1 cm.)
7,000-10,000
$12,000-16,000
8,900-13,000
PROVENANCE:
The artist, and by descent.

Shannons rapid rise in the London art world
was witnessed by his purchase of a highly
desirable house in Holland Park Road, next
door to the home and studio of Frederic, Lord
Leighton (1830-1896), the president of the Royal
Academy. Under an 1892 leasehold agreement,
Shannon undertook to alter the farmhouse and
build a studio, a project resulting in a doublefronted structure with two main entrances,
one leading to the studio and the other to
the familys household spaces. An uncommon
example of domestic genre in Shannons output,
the painting provides an intimate view of family
life and depicts one end of the Shannons
large drawing room where Kitty, the artists
daughter (in profle), and a young friend are
quietly occupied, while it is presumably Florence,
the artists wife, who arranges fowers in the
background.
76
50
51
50
51
Sir James Jebusa Shannon, R.A.,

R.B.A. (1862-1923)

R.B.A. (1862-1923)
San Giorgio Maggiore from the Lagoon by

moonlight,Venice
Sta Maria della Salute from the Grand

Canal, with a full moon,Venice
oil on panel
6 x 9 in. (16 x 24.1 cm.)
oil on panel
6 x 9 in. (16 x 24.1 cm.)
7,000-10,000
$12,000-16,000
8,900-13,000
5,000-7,000
$8,100-11,000
6,400-8,900
PROVENANCE:
PROVENANCE:
A rare endeavour on Shannons part, this view of San Giorgio Maggiore

may have been painted in 1906 (the year the artist won a gold medal
at the Venice International) or in 1912, when the Shannons enjoyed a
three-week stay in the city during a summer-long motoring tour of the
Continent. The smooth brushwork and monochromatic palette closely
recall the nocturnes of his friend, the American expatriate artist James
McNeill Whistler (1834-1903), who was an early supporter of Shannons
art. Shannon once owned Whistlers Blue and Silver: Trouville (Smithsonian
Institution, Freer Gallery of Art, Washington, DC).
One of only two views of Venice known to have been painted by Shannon,
this small panel, like the preceding lot, probably dates to 1906 or 1912.
Still working under the spell of Whistler, Shannon, in this instance, used
comparatively active brushwork to create an impression of Venice at night.
77
52

R.B.A. (1862-1923)
Portrait of Florence, the artists wife, circa
1890
38 x 27 in. (96.5 x 69.9 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:

Shannon met his future wife Florence Mary Cartwright (d. 3 January 1948)
around 1884, when she was attending the Royal School of Needlework,
South Kensington. All printed sources state that their marriage took place
in 1886, but it has recently been documented that they did not wed until 1
May 1890, despite having lived together for some time. Florence Shannon
modelled frequently for the artist, who consistently imbued her image with
a romantic sensibility that is said to have endured throughout their life
together.
53

R.B.A. (1862-1923)
Study for Madonna and Child, circa 1892
oil on canvas
17 x 15 in. (44.8 x 38.4 cm.)
5,000-7,000
$8,100-11,000
6,400-8,900
PROVENANCE:

Shannons striking white-on-white palette and square brushwork align his
art with that of the progressive French painter Jules Bastien-Lepage (18481884), whose infuence was transmitted to Shannon particularly by Henry
Herbert La Thangue (1859-1929). The present painting is likely a study for
Madonna and Child (current whereabouts unknown), a work depicting
his most important patron Violet, Duchess of Rutland, and her youngest
child Diana (later Lady Diana Cooper). It also relates to an unfnished
canvas, Christ Blessing a Woman (private collection) and an untraced work
(also titled Madonna and Child), all of which date to the early 1890s and
represent the artists rare excursions into religious subject matter.
78
54

R.B.A. (1862-1923)
The Offering
oil on canvas, unframed
36 x 28 in. (91.5 x 71.1 cm.) unframed
circa 1897
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:

EXHIBITED:
London, Guildhall Art Gallery, Works by Irish Painters, 1904, no. 154.
LITERATURE:
B.D. Gallati, Portraits of Artistry and Artifce: The Career of Sir James
Jebusa Shannon, 1862-1923, Ph.D. dissertation, City University of
New York, 1992, p. 291.
The Offering features Shannons only child Kitty (1887-1974, christened
Katherine Marjorie Shannon), who frequently sat to him in childhood.
The crucifx, along with the halo effect of the plate against which Kittys
profle is positioned, lend a quasi-sacred meaning to the image and reveal
the infuence of the artists association with the American painters George
Hitchcock (1850-1913) and Gari Melchers (1860-1932) with whom he
spent many summers in Egmond aan den Hoef, Holland, from roughly
1892 to 1905. The painting originally showed a beautiful young woman to
whom Kitty offers the vase of ranunculus (symbolising radiance). In 1983
the artists granddaughter explained that Shannons wife Florence had
angrily cut down the painting, excising the fgure of the woman from the
composition. The work was one of fve paintings by Shannon included in
the important exhibition of Irish art organised by Sir Hugh Lane held at the
Guildhall Gallery, London, in 1904.
79
55
Philip Wilson Steer, O.M., R.A.

(1860-1942)
Children on the beach, Southwold
signed with initials (lower left) and with inscription Children on the
beach at Southwold/P Wilson Steer. O.M.R.A. (on the reverse)
oil on panel
8 x 10 in. (20.3 x 26.8 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
or sticking to others in the box. For Philip Wilson Steer this was an essential
piece of equipment, taken with him on his visits to Walberswick and
Southwold in the late 1880s and early 1890s. Here he worked on the
shore, looking back up the steep bank of sea-washed fint stones known
locally as knucklebones, to the grassy incline that led to the promenade
and the cluster of buildings surrounding the lighthouse in the present
example.
As Bruce Laughton remarks, Steer was a natural sketcher and he worked
best when spontaneously recording what was before his eyes (B.
Laughton, Some Early Panel-Sketches by Wilson Steer, Apollo, January
1966, p. 49) In this sequence, in which Boats on the Beach (1888-9, York
Museums Trust) and Girls on the Beach, Walberswick (1888-9, Plymouth
Museum and Art Gallery) are close companions, the young artist appears
at his most experimental.
PROVENANCE:
Philip Wilson Steer, O.M. (); Christies, London, 16 July 1942, lot
198 (40 gns to Leger).
with Leger Galleries, London.
Hon. Mrs P. Sandeman.
with Browse & Darby, London.
LITERATURE:
B. Laughton, Philip Wilson Steer, Oxford, 1971, p. 136, no. 163.

By the mid-1880s entrepreneurial artists materials manufacturers were
marketing what became known as pochade boxes - small portable boxes
containing up to four thin rosewood panels on which a painter might
sketch in the open air using oil paints. Because they were designed with
separate slots, there was no danger of wet paint on one panel smudging
80
Children on the Beach, Southwold, one of the fnest panels in the series,
demonstrates this remarkable lucidity. One can imagine the painter his
trousers rolled up, standing at the waters edge, swiftly jotting down the
direction of the incline, the sweep of the bank as it turns into the Blythe
estuary and position of the girls as they risk their skirts in the swirling
waters. When he saw pictures like this at Steers frst solo exhibition in
1894, George Moore was enchanted. Around the long breakwater, the
sea winds, he declared, flling the estuary, or perchance recedes, for the
incoming tide is noisier; a delicious, happy, opium blue, the blue of oblivion
Paddling in the warm sea-water gives oblivion to these children. They
forget their little worries in the sensation of sea and sand, as I forget mine in
that dreamy blue which fades and deepens imperceptibly, like a fower
(G[eorge] M[oore], Mr Steers Exhibition, The Speaker, 3 March 1894,
p.249; quoted in G. Moore, Modern Painting, 1898 ed., (Walter Scott),
p. 242.). KMc.
56
Sir Frank Brangwyn,

R.A. (1867-1956)
Wrecked.The Last Resource
signed with initials and dated FB 92
(lower left)
oil on canvas
30 x 20 in. (76.2 x 50.8 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
A very similar composition, entitled Aground:

the crew take to the rigging, was published in
The Graphic on 31 October 1891. The present
painting is quite rare in that most of the
paintings that Brangwyn executed, primarily in
relation to his illustrations for The Graphic, were
painted en grisaille and reproduced in black
and white in the magazine. Our painting shows
fashes of red pigment which suggests it was
possibly done for a patron who had admired the
original work and asked for a more elaborate
version to be painted. Another work entitled
Ashore, exhibited at the Royal Society of British
Artists in 1889, is similar in composition but
shows a glimpse of land on the horizon, creating
a very different atmosphere.
We are grateful to Dr Libby Horner for her help
in preparing this catalogue entry.
81
57
57
58
Edgar Bundy (1862-1922)

Despatches - is he mentioned?
signed and dated EDGAR BUNDY/1917 (lower right)
oil on canvas
40 x 50 in. (101.6 x 127 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
Sir Francis Bernard Dicksee,

P.R.A. (1853-1928)
The Daughters of Eve
signed and dated FRANK DICKSEE/1925 (lower right) and further
signed and inscribed Daughters of Eve./Frank Dicksee (on the
artists label attached to the stretcher)
oil on canvas
35 x 21 in. (88.9 x 54 cm.)
PROVENANCE:
with Mallett, London.

EXHIBITED:
60,000-80,000
$97,000-130,000
76,000-100,000
PROVENANCE:
Colonel J.R. Danson (); Christies, London, 29 July 1977, lot 163.
Anonymous sale; Sothebys, London, 18 April 1978, lot 94.
with Roy Miles, London.
EXHIBITED:

Liverpool, Walker Art Gallery, Liverpool Autumn Exhibition, 1925,
no. 940.
LITERATURE:
Times, 18 October 1928, p. 21.

Dicksee initially established his reputation for his highly-romantic subject
paintings, but by the 1920s the majority of his exhibits at the Royal
Academy were portraits. However he continued to paint several successful
subject pictures, the most important of which is The Daughters of Eve.
The model was Beatrice Stuart, who sat for Harold and Laura Knight, John
Singer Sargent, and Alfred Munnings. Laura Knight described her as a
beautiful young creature...by her grace and poise. On Dicksees death in
1928 a critic recalled the picture with admiration; Granting the gentleness
of the theme and sentiment, it could hardly have been bettered, being
perfectly consistent throughout. (Times, 18 October 1928, p. 21).
82
l59
Albert Chevallier Tayler

(1862-1925)
EXHIBITED:
The Mirror
signed and dated A. CHEVALLIER TAYLER./ 1914. (lower right)
oil on canvas
40 x 50 in. (101.5 x 127 cm.)
25,000-35,000
84
$41,000-56,000
32,000-44,000
The Mirror is a fne example of the paintings from Taylers Newlyn years,
with its beautifully observed, subtly-lit interior. After studying at the Slade
and in Paris, Chevallier Tayler spent the summer of 1882 in Devon, and
in 1884 he joined the fourishing artists colony at Newlyn in Cornwall,
remaining there, on and off, until 1895. Tayler painted the residents of
Newlyn and Boulogne (which he visited in 1890) with the painterly, squarebrush technique of his fellow Newlyn artists, such as Stanhope Forbes and
Harold Harvey.
l60
Harold Knight, R.A. (1874-1961)

When the cats away
A gift from the artist and by descent.

EXHIBITED:
signed H Knight (lower left) and further signed, inscribed and

numbered No 1/When the cats away/H Knight/8 Belgrave Sqe/
Nottingham (on the artists label attached to the stretcher) and
further signed, dated and numbered Knight/1893/19/3597 (on a
label attached to the stretcher)
oil on canvas
30 x 24 in. (76.8 x 61.6 cm.)
18,000-25,000
PROVENANCE:
$29,000-40,000
23,000-32,000

LITERATURE:
Academy Notes, 1896, p. 21.

According to the label attached to the stretcher this painting was executed
when Knight was only nineteen, living at home with his parents and
studying at the Nottingham School of Art. Three years later, after travelling
to Paris to study at the Acadmie Julien, Knight chose it as his inaugural
exhibit at the Royal Academy. It is believed to have been given by Harold
Knight to a fellow student of the Nottingham School of Art known as Riley.
Although Harold and Laura Knight did not move to Newlyn until 1907
When the cats away shows that even as a student, Knight was looking
at the work of artists such as Alexander Stanhope Forbes and his wife
Elizabeth, and Frank Bramley, who found that painting inside allowed them
to observe different light effects. They often retreated inside to paint and
some of their fnest works were executed indoors.
85
l61
Sir Gerald Festus Kelly, P.R.A.

(1879-1972)
La Sevillana
oil on canvas
55 x 38 in. (139.7 x 98.5 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
The Contents of the Studio of the Late Sir Gerald Kelly ();
Christies, London, 8 February 1980, lot 99.
with The Weston Gallery, Norwich.
EXHIBITED:
London, Royal Academy, Diploma Gallery, Sir Gerald Kelly KCVO

PPRA, 1957, no. 20.
Plymouth, City Art Gallery and Museum, Paintings by Sir Gerald
Kelly KCVO PPRA, June 1958, number untraced.
Bournemouth, Russell Cotes Art Gallery, The Art of Dancing, 1958,
number untraced.
l62
Philip Connard, R.A. (1875-1958)

The Young Dancers
signed CONNARD (on the stretcher) and further signed and
inscribed CONNARD CHELSEA (on the frame)
oil on canvas
56 x 44 in. (143 x 102.4 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
with Goupil Gallery, London.

Anonymous sale; Christies, London, 28 November 1996, lot 135,
where purchased by the present owner.
EXHIBITED:
Venice, Biennale, International Exhibition, 1912, no. 15.

Bradford, Cartwright Hall Museum and Art Gallery (on loan).
This painting shows the artists daughters Jane and Helen with their cat
James. Another painting of 1913, also illustrating Connards daughters and
entitled Jane and Evelyn, James and Helen, also featuring the girls nurse
and black cat, is at Tate Britain. The children appear on the same chaise in
The Guitar Player in the Art Gallery of South Australia, Adelaide.
86
l63
EXHIBITED:
Dame Laura Knight, R.A., R.W.S.

(1877-1970)
Comedy Riders
signed, inscribed and numbered Laura Knight (lower left) and
further signed and inscribed Dame Laura Knight/16 Longford Place,
St Johns Wood/London. N. W.8./No. 5 on Form (on the artists
label attached to the stretcher)
oil on canvas
25 x 30 in. (61.1 x 76.2 cm.)
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
with Pawsey & Payne, London.

Anonymous sale; Sothebys, London, 19 July 1967, lot 169.
Anonymous sale; Phillips, London, 4 June 1996, lot 104.

London, Royal Academy, Dame Laura Knight Exhibition, 1965.
Knights interest in circuses began with her childhood memories of the
Nottingham Goose Fair and later at Bertram Mills Circus at Olympia,
London. In the early 1930s she undertook a regional tour of the Midlands
with Carmos Circus and fell in love with circus life ... for years (three
months at a stretch), she lived with a troupe of performers, touring
the country with them, until she actually became one of them ... flling
sketchbook upon sketchbook ... till she could discard the sketchbook for
canvas and paint, the well-known results of which have become worldfamous (Adrian Hill, Famous Artists: No. 1 Dame Laura Knight, ARA, The
Artist, vol. 2, no. 5, January 1932, p. 208).
She wrote of her admiration for the acrobats: I have often tried to analyse
the circus appeal. It is the display of indomitable courage that one sees
and admires, an admiration inherent in the human race. Gravitation is
defed - the impossible is possible. I heard an acrobat say once, No matter
what we come to, we have lived. I was the King of the Earth when I was
young, the laws that governed other people did not govern me, I could do
anything (Laura Knight, Oil Paint and Grease Paint, 1936).
This painting will be included in the forthcoming catalogue raisonn of the
work of Dame Laura Knight currently being prepared by R John Croft FCA,
the artists great-nephew.
87
64
Carl Wilhelm Wilhelmson

(1866-1928)
A bright day in St Ives, Cornwall
signed C. Wilhelmson (lower left)
oil on canvas
20 x 27 in. (51.4 x 68.6 cm.)
Painted in 1924.
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Mrs Wilhelmson.
Anonymous sale; Bukowski, Stockholm, 10 November
1971, lot 186.
EXHIBITED:
Gothenburg, 1926.
Gothenburg and Stockholm, 1929.
Stockholm, National Museum, 1930.
Stockholm, Liljevalchs, Retrospective exhibition, 1934, no. 451.
Kiel, Germany, 1929.
LITERATURE:
A. Romdahd, Carl Wilhelmson, Stockholm, 1938, no. 745.

Wilhelmson was born in the little fshing village of Fiskebcksil
on the west coast of Sweden. He began working in a print
works in Gothenburg as a lithography apprentice, and in
1890 he travelled to Paris to attend the Acadmie Julian.
After returning to Sweden in 1896 he was director of the
Valand art school, and in 1910 he opened his own art school
in Stockholm. In the 1920s he became a teacher at the Royal
Academy of Arts in Stockholm. Throughout his career he
painted subjects from life, recording the scenes of life that he
encountered. Primarily painting Swedish views, his landscapes
from the 1910s and 20s also include views of Cornwall,
Lapland and Spain.
65
Harold C. Harvey
(1874-1941)
Children on the quay, Newlyn
signed Harold Harvey. (lower right)
oil on canvas
15 x 18 in. (38 x 45.8 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
Anonymous sale; David Lay Auctioneers, Penzance, 17

April 1986, lot 322, as Children on the beach.
Anonymous sale; Phillips, London, 8 March 1988, lot 5.
LITERATURE:
K. McConkey, Harold Harvey:Painter of Cornwall, Bristol,

2001, p.100.
88
66
Harold C. Harvey (1874-1941)

F-te champ-tre
signed and dated HAROLD. HARVEY. 34 (lower right) and
further signed and inscribed FTE CHAMPTRE/HAROLD
HARVEY/Painter/MAN COTTAGE/NEWLYN/PENZANCE
(on a label attached to the stretcher)
oil on canvas
39 x 35 in. (99 x 89 cm.)
50,000-80,000
$81,000-130,000
64,000-100,000
PROVENANCE:
Anonymous sale; Philips, London, 23 April 1985, lot 43.

Anonymous sale; Sothebys, London, 13 May 1987, lot 132.
EXHIBITED:

U.S.A., Pittsburgh, Carnegie Institute, 1934, no. 110, lent by the
artist.
Dublin, Royal Hibernian Academy, 1936, no. 126.
LITERATURE:
Royal Academy Illustrated, 1934, p. 90, illustrated.

The Studio, March 1942, p. 71, illustrated.
K. McConkey, Impressionism in Britain, London, 1995, p. 128.
K. McConkey, Harold Harvey: Painter of Cornwall, Bristol, 2001,
p. 120, illustrated p. 122.
The painting illustrates the Whit Monday Newlyn Gala in the grounds of
Trereife House, near Penzance, Cornwall.
89
l*67
Dame Laura Knight, R.A., R.W.S. (1877-1970)

In the Sun, Newlyn
signed Laura Knight (lower right)
oil on canvas
25 x 30 in. (63.5 x 96.5 cm.)
150,000-200,000
$250,000-320,000
190,000-250,000
PROVENANCE:
Private collection, Canada.

EXHIBITED:
Penzance, Penlee House Gallery & Museum, A Cornish Childhood, 29 May 4 September 2010.
Penzance, Penlee House Gallery & Museum; Nottingham, Djanogly Art Gallery; Worcester
City Art Gallery, Laura Knight in the open air, June 2012 - February 2013.
LITERATURE:
E. Knowles, Laura Knight in the open air, Penlee House Gallery & Museum, exh. cat., Bristol,
2012, p. 34, illustrated in colour.
In 1907 Harold and Laura Knight moved from Staithes in Yorkshire to Newlyn on the Cornish coast,
joining a group of artists, including Stanhope Forbes and Walter Langley, who had been attracted by the
timeless ways of this fshing village, the rugged landscape and extraordinary light. Inspired by the beauty
and light of West Cornwall, encouraged by the support of fellow artists, and for the frst time enjoying
an active social life, Laura was able to live every moment to the full. Her art blossomed, showing a
greater awareness of light, the use of bright colour and freer, more vigorous brushwork (C. Fox, Dame
Laura Knight, 1988, p. 25). Over the next decade Knight established herself as a painter of sunlight and
shadows with a series of airy, radiant paintings of women and children beside the sea.
In the Sun, Newlyn was made around 1909, and is a distillation of a hot, carefree Edwardian summer.
The scene is taken from Paul Hill above Beer House, looking down on the old pier, with Newlyn Bay and
Penzance in the distance. Knight captures the rich green of the landscape ruffed by the sea breeze and
the fascinating, changing turquoise of the water. The Knights had taken lodgings in the village of Paul
with the cheerful, eccentric Mrs Beer, who owned the Penzer House guest house; from their rooms the
whole stretch of the bay could be seen and grey Penzance transformed by the changing effects of light
into a pearly city, the line of hills beyond the coast, the sweep of the Lizard Arm and, at night, the wink
of the lighthouse (Laura Knight, Oil Paint and Grease Paint, 1936, p. 165).
This painting is a fruit of Knights seminal years in Newlyn, when, as she wrote in her autobiography,
an ebullient vitality made me want to paint the whole world and say how glorious it was to be young
and strong and able to splash with paint on canvas any old thing one saw, without stint of materials
or oneself, the result of a year or two of vigour and enjoyment (Oil Paint and Grease Paint, p. 165).
In 1909 Knight exhibited at the Royal Academy her frst important Newlyn painting, The Beach (Laing
Art Gallery, Newcastle upon Tyne), which likewise has the theme of local children enjoying the summer
holiday and a similar focus on the qualities of dazzling light and shade. The children in The Beach are
almost certainly the same models who posed for In the Sun, Newlyn and Flying a Kite (National Gallery
of South Africa, Cape Town), exhibited at the Royal Academy in 1910 with The Boys (Johannesburg Art
Gallery).
Both Laura and Harold Knight established their reputation with works from their frst years in Newlyn.
Among Lauras admirers was Alfred Munnings, who joined them (somewhat to Harolds discomfture)
as a lodger at Mrs Beers. Munnings, a powerful personality, gave Laura Knight the confdence to paint
with greater bravura, while paying homage to her ground-breaking experimentation: It was real sunlight
that she represented. In the Sun, Newlyn fully vindicates his judgement.
This painting will be included in the forthcoming catalogue raisonn of the work of Dame Laura Knight
currently being prepared by R John Croft FCA, the artists great-nephew.
90
l68
Dorothea Sharp (1874-1955)

A Summer Stroll
signed DOROTHEA SHARP (lower left)
oil on board
34 x 28 in. (86 x 71 cm.)
30,000-50,000

$49,000-81,000
38,000-63,000
PROVENANCE:
Anonymous sale; Sothebys, London, 11 November 1987,

lot 78, where purchased by the present owner.
l69

At the beach
signed DOROTHEA SHARP (lower left) and with figures
on a beach (on the reverse)
oil on board
30 x 25 in. (77 x 63.9 cm.)
25,000-35,000

$41,000-56,000
32,000-44,000
l*70

Children playing beside a stream
signed D.SHARP (lower left)
oil on canvas
32 x 28 in. (81.7 x 72 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
with Gainsborough Galleries, Calgary.
l*71

My New Sister
signed DOROTHEA SHARP (lower left)
oil on canvas
35 x 32 in. (89 x 81.3 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
93
l72
Dame Laura Knight, R.A., R.W.S.

(1877-1970)
The two fshers, probably Lamorna Valley
signed Laura Knight (lower right)
pencil, watercolour and bodycolour, on paper
22 x 29 in. (56 x 75 cm.)
80,000-120,000
$130,000-190,000
110,000-150,000
PROVENANCE:
J. Collingwood Stewart, and by descent.

EXHIBITED:
Newcastle upon Tyne, Laing Art Gallery and Museum, Loan Collection of Paintings
and Drawings by Dame Laura Knight and Harold Knight, 1933, no. 2.
Penzance, Penlee House Gallery & Museum; Nottingham, Djanogly Art Gallery;
Worcester City Art Gallery, Laura Knight in the open air, June 2012 - February
2013.
LITERATURE:
E. Knowles, Laura Knight in the open air, Penlee House Gallery & Museum, exh.
cat., Bristol, 2012, p. 55, illustrated in colour.
In 1915, during the First World War, restrictions against painting any part of the coastline
came into force. Dame Laura Knight refers in her autobiography, to how strictly the
local authorities defned the limitations, which necessitated her confning her studies to
depicting children swimming, and usually from above, so that no distinguishing feature or
horizon was visible. Although once permits were introduced she was able to paint fgures
on cliff tops.
Wartime constraints did not deter Knight from painting; in this period, Spring (1916)
and Penzance Fair (1916) were both executed and the later works such as Ice Skating
and Snowballing were both derived from drawings made at this time. The present
watercolour was almost certainly painted during this period, in the stream, in or just
above Lamorna Valley, behind Lamorna Cove. Since her days at the small fshing village of
Staithes in Yorkshire, Knight had been drawn to coastal landscapes with fgures. In 1907
she moved to the Cornish coast which was to provide a rich variety of subject matter.
Knight often worked en plein air at Lamorna Cove and the surrounding area; capturing
the ever changing light and play of colours. The poet Arthur Symons who visited the area
around Lands End for a series of articles in The Saturday Review in 1905 was equally
impressed by the untamed nature of the scenery, describing it as a rough playmate,
without pity or kindness, wild, boisterous, and laughing.
The present watercolour is a charming example of Knights work during this period; the
strong staccato brush strokes pick out the swiftly running water and the local children in
their red and brown clothes are echoed in the warm tones of the bank opposite. Knight
captures the children in an unguarded moment of childhood absorption as they fsh in
the shimmering pool.
This watercolour will be included in the forthcoming catalogue raisonn of the work
of Dame Laura Knight currently being prepared by R. John Croft FCA, the artists greatnephew.
l73
Stanhope Alexander Forbes, R.A.

(1857-1947)
Figure studies for On Paul Hill
11 x 17 in. (29.9 x 45.5 cm.)
15,000-25,000
$25,000-40,000
19,000-32,000
PROVENANCE:
The Artists Studio.

Anonymous sale; Christies, London, 12 November 1987, lot 130.
96
Stanhope Forbes had been in Newlyn for almost forty years when he
produced this study of fgures for his celebrated late work On Paul Hill
(Penlee Art Gallery, Newlyn). This sunny, lively landscape shows a view from
Newlyn, looking over Penzance with locals going about their daily business.
It was painted in 1922, the year a cenotaph commemorating the fallen of
the Great War was unveiled in the town, and is a celebration of the next
generations return to normality after the confict.
74
Edward Atkinson Hornel, R.A.

(1864-1933)
The Lake Woods
signed and dated EA Hornel/1914. (lower right)
oil on canvas
25 x 30 in. (64 x 76.8 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
97
*75
Benjamin Williams Leader,

R.A. (1831-1923)
Tintern Abbey by moonlight
signed and dated B.W. LEADER. 1872. 1900. (lower left)
and signed and dated again 1872/B.W. Leader. (lower right)
oil on canvas
19 x 29 in. (50.1 x 76 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Leaders inclusion of two dates on the painting indicate the date at which the
painting was painted (1872) and also the date that he reworked certain areas,
probably for the art dealer Arthur Tooth, about whom he wrote in his Records of
paintings sold in May 1900: Working on an early picture for Tooth 5.00.
We are grateful to Ruth Wood for her help in preparing this catalogue entry.
Sold by the artist to Agnews in 1872 (50).

with Agnews, London, until 1872, when sold to Benjamin
Armitage.
His sale; Christies, London, 26 May 1900, lot 18 (75 gns to
Tooth).
Major-General E.H. Goulburn (); Christies, London, 6
March 1981, lot 46.
LITERATURE:
Artists Records of Paintings Sold 1872 and 1900.

R. Wood, Benjamin Williams Leader, RA 1831-1923: His Life
and Paintings, Suffolk, 1988, p. 44-45, illustrated.
76
Thomas Sidney
Cooper, R.A.
(1803-1902)
Cattle by a river
signed and dated T. Sidney Cooper.
R.A./1872 (lower right)
oil on canvas
28 x 42 in. (71.1 x 106.7 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
with Henry J. Mullen, Harrogate.

Mrs Eleanor Furness, and by descent to
Sir Stephen and Lady Furness; Tennants,
Otterington Hall, Yorkshire, 23 September
1996, lot 288.
with Richard Green, London, by 1996.
Private Collection.
LITERATURE:
K.J. Westwood, Thomas Sidney Cooper,

C.V.O., R.A.: His Life and Work, Ilminster,
2011 vol. 1, p. 369, no. O.1872.33.
98
77
Sidney Richard Percy (1821-1886)

Glencoe from Loch Leven, Scotland
signed and dated SR Percy/1874 (lower left)
oil on canvas
22 x 35 in. (56.5 x 89.5 cm.)
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
Anonymous sale; Sothebys, London, 19 October 1983, lot 46.

with Fine Art of Oakham, Oakham.
99
FROM AN IMPORTANT PRIVATE COLLECTION
78
William Mulready, R.A.

(1786-1863)
Anonymous sale; Christies, London, 11 February 1921, lot 151 (21

gns to Sampson).
Anonymous sale; Sothebys, Belgravia, 29 June 1976, lot 62.
Mrs. George Pope.
with Spink, London, until June 1983, when purchased by the present
owner.
Boys fshing
signed with initials (lower centre, on the boat)
oil on canvas
30 x 40 in. (78 x 104 cm.)
30,000-50,000
EXHIBITED:
$49,000-81,000
38,000-63,000
PROVENANCE:
Sir J.E. Swinburne, and by descent to

Miss Julia Swinburne, by 1882.
Anonymous sale; Christies, London, 20 June 1893, lot 93 (250 gns
to Gooden).
with Thos. Agnew & Son, London, until 1900 when sold to
Sir Charles Tennant.
Mrs Lubbock.
with Thos. Agnew & Son, London.
100

This painting by Mulready has enjoyed a colourful provenance. It was
painted for Sir John Swinburne, 6th Bt. (1762-1860) of Capheaton Hall,
near Wallington, Northumberland, a keen patron of the artist, with whom
he shared an interest in boxing. Mulready painted portraits of a number of
Swinburnes family and taught his children to paint. Swinburne was MP for
Launceston, a Fellow of the Royal Society and of the Society of Antiquaries.
A subsequent owner of the painting was Sir Charles Tennant, 1st Bt. (18231906), a Scottish businessman who became President of the United Alkali
Company and Chairman of the Union Bank of Scotland. He also sat as MP
for Glasgow (from 1879 to 1880) and for Peebles and Selkirk (from 1880 to
1886). His daughter Margot was the second wife of Prime Minister Herbert
Asquith and a prominent member of the intellectual circle known as The Souls.
*79
Sidney Richard Percy (1821-1886)

Spring, an approaching shower
signed and dated SR Percy. 1858. (lower right)
oil on canvas
45 x 71 in. (115.5 x 182 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
Anonymous sale; Christies, London, 16 May 1927, lot 131, as Our River
(32 gns to Spink).
EXHIBITED:
101
80
Edward Lear (1812-1888)

Ravenna
signed with monogram and dated 1882 (lower right) and inscribed
RAVENNA (lower left and again on the stretcher)
oil on canvas
9 x 18 in. (24.1 x 47 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
According to a letter from Lear to his friend and patron Chichester

Fortescue, Lord Carlingford, the artist painted four oil paintings of Ravenna
(31 October 1881, Later Letters, p. 253). Of these four, one was for Charles
Savile Roundell (1827-1906), M.P. for Grantham and Skipton and one for
Samuel William Clowes (1821-1898), M.P. The present painting is one of
the other two and has not appeared at auction before.
102
In May 1867, accompanied by his servant Giorgio, Lear travelled up the

east coast of Italy from Brindisi to Ravenna. There are a number of pine
forests situated in the low-lying landscape around Ravenna, including, to
the south, the Pineta di Classe, visited by Dante and Byron, and, to the
north, the Pineta San Vitale. Lear did not specify in which of these he made
his sketches. Lear returned to the subject in October 1881, writing in a
letter to Fortescue (now Lord Carlingford): I have put out all my sketches
of Ravenna today, to work from on the four oil paintings I am hoping to
fnish. (31 October 1881, see Strachey (ed.), Later Letters, 1911, p. 253).
In 1884, following an exhibition of works at 129 Wardour Street, a former
critic of Lear, Alfred Seymour had written to the artist commenting on the
works: I do not think you have ever done anything better. The Ravenna
and Gwalior are quite remarkable, as are indeed also the Argos, and the
poetical and mys-terious Pentedatilo. The Corsican drawings are all lovely,
some more striking than others, according to the subject chosen. (20
September 1884, Strachey, op. cit.).
We are grateful to Briony Llewellyn for her help in preparing this catalogue
entry.
81
John Brett, A.R.A. (1831-1902)

A Summer Day, Whitesands Bay,
Pembrokeshire, South Wales
signed and dated John Brett 1872 (lower right) and further signed
and inscribed John Brett/38 Harley Street/Cavendish Square (on
the artists label attached to the stretcher)
oil on canvas
33 x 57 in. (84 x 145 cm.)
In the artists original frame.
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
Purchased from the artist by Rt Hon. William Kenrick of Harborne,

Birmingham, and recorded on 7 December 1874 in the family
account book as John Brett picture A Summer Day South Wales
White Sands Bay Saint Brides 150, and by descent to the present
owner.
EXHIBITED:
Liverpool, Autumn Exhibition, 1872, no. 197, as A Summer Day on

the Sands.
Cardiff, National Museum of Wales, John Brett: A Pre-Raphaelite on
the shores of Wales, August - November 2001, no. 7.
Birmingham, Barber Institute of Fine Arts; London, The Fine
Art Society; and Cambridge, The Fitzwilliam Museum, Objects of
Affection: Pre-Raphaelite Portraits by John Brett, April - November 2010,
no. 39.
LITERATURE:
The Art Journal, 1872, p. 276.

C. Payne and C. Brett, John Brett: Pre-Raphaelite Landscape Painter,
New Haven and London, 2010, p. 114-5, 123, 137, 215, no. 631,
illustrated.
Brett spent much of September and October 1871 with his wife and baby
son at Whitesand Bay, near St Davids, where he painted a number of oil
sketches in his newly-adopted 7 x 14 in. format. These all feature one or
other of the distant rocky outcrops known as the North Bishop and the
South Bishop, which are visible looking west from the beach.
In his studio the following winter he developed three larger works from
these sketches - Whitesand Bay (unlocated), The South Bishop Rock,
Anticipations of a Wild Night (sold Christies South Kensington, 29 June
2011, lot 83) and the present work. The frst two were sent in to the 1872
Royal Academy, while this work was sent to Liverpool in the autumn as
A Summer day on the sands. Commenting on the painting during the
Liverpool exhibition, The Art Journal critic described it as a most natural
and delightful picture, full of character, and of the best points of Mr Bretts
style.
We are grateful to Charles Brett for his help in preparing this catalogue
entry.
103
82
l82
l83
Sir William Russell Flint, R.A.,

P.R.W.S., R.S.W. (1880-1969)
Sir William Russell Flint, R.A.,

P.R.W.S., R.S.W. (1880-1969)
Bamboos
Alycia reclining
signed W. RUSSELL FLINT (lower left) and further signed,

inscribed and dated Bamboos/W Russell Flint/1926-27 (on the
backboard)
pencil and watercolour heightened with touches of bodycolour and
scratching out, on paper
27 x 38 in. (69.5 x 98.7 cm.)
signed W. RUSSELL FLINT (lower right) and further signed,

inscribed and dated ALYCIA/W Russell Flint/1958 (on the reverse)
8 x 14 in. (22.2 x 36.8 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
Flint usually undertook two painting trips a year; one around the British Isles
and another to the continent. He often veered away from the conventional
path of other artists and visited more remote and rural areas of Northern
Spain and France. The present watercolour was possibly executed in
southern France where bamboo was harvested.
104
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Anonymous sale; Christies, London, 12 November 1976, lot 146, as

Alycia, where purchased by the present owner.
83
l84
Sir William Russell

Flint, R.A., P.R.W.S.,
R.S.W. (1880-1969)
Gruinard Bay,Wester-Ross,
Scotland
signed W. RUSSELL FLINT (lower right)
and inscribed Barbara in Doubt (on the
backboard)
watercolour on paper laid on artists board
20 x 27 in. (50.8 x 68.6 cm.)
15,000-25,000
$25,000-40,000
19,000-32,000
PROVENANCE:
with The Fine Art Society, London, 1928, as

Barbara in Doubt.
with Ian MacNicol, Glasgow, as Gruinard
Bay.
84
105
l85
Sir William Russell

R.S.W. (1880-1969)
Beyond Palm Beach,
Cannes
signed W. RUSSELL FLINT (lower right )
and inscribed BEYOND PALM BEACH,
CANNES (on the reverse)
pencil and watercolour heightened with
touches of bodycolour, on paper
10 x 14 in. (27.4 x 37.5 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
with Spink, London.

In 1922, Tate Britain held a large exhibition of
John Sell Cotmans (1782-1842) works which
Flint greatly admired. The infuence of Cotmans
watercolours is evident in Flints use of broad
washes and bold forms which characterise his
landscapes. Both Cotman and Flint reveal an
unsurpassed ability to control and handle the
sometimes unpredictable nature of watercolour
to celebrated effect.
VARIOUS PROPERTIES
l86
Sir William Russell

R.S.W. (1880-1969)
A Garden in Devon
signed W.RUSSELL FLINT (lower right)
and further signed and inscribed A Garden
In Devon (twice on the backboard)
pencil, watercolour and bodycolour, on
artists board
20 x 30 in. (51 x 76.4 cm.)
7,000-10,000
$12,000-16,000
8,900-13,000
PROVENANCE:
with Ian MacNicol, Glasgow.

106
l87
Sir William Russell

R.S.W. (1880-1969)
Viviers on the RhIne,
Southern France
signed W. RUSSELL FLINT - (lower
right) and further signed and inscribed
Viviers on the Rhone/W Russell Flint - (on
the backboard)
20 x 26 in. (50.7 x 67.3 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
with Frost and Reed, London.

Mrs Lucas, Bristol.
Anonymous sale; Christies, London, 5
June 2007, lot 186, where purchased by the
present owner.
EXHIBITED:

London, Royal Academy, Sir William Russell
Flint, 1962, no. 182.
In 1962 Flint was one of only nine members of
the Royal Academy to exhibit his work in the
Diploma Gallery during his lifetime. The exhibiton
attracted considerable attention; Eric Newton in
his article for The Guardian, 19 October 1962,
noted how Flint had made the art of nudes his
realm Other artists have inhabited it in the past
- Boucher, Ingres and Etty among them. Greater
artists than they have strolled through it, taking
it in their stride - Titian and Rubens for examplebut never making it their permanent home.
l88
Sir William Russell

R.S.W. (1880-1969)
Bathers by the waters edge
signed W. RUSSELL FLINT (lower left)
15 x 21 in. (38.1 x 54.1 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Anonymous sale; Christies, London, 9 June

1988, lot 115.
107
l89
Edward Seago, R.B.A., R.W.S. (1910-1974)

Entrance to the Grand Canal,Venice
signed Edward Seago (lower left) and with inscription ENTRANCE TO THE GRAND
CANAL (on the reverse)
oil on board
20 x 30 in. (51 x 76.2 cm.)
30,000-40,000
PROVENANCE:
with Marlborough Fine Art, London, April 1980.
108
$49,000-64,000
38,000-51,000
90
91
l90
l91
Edward Seago, R.B.A., R.W.S.

(1910-1974)

(1910-1974)
The Lieutenance, Honfeur
Windy Day,Venice
signed Edward Seago (lower left) and with inscription THE

LIEUTENANCE - HONFLEUR (on the reverse)
oil on board
26 x 36 in. (66.5 x 91.5 cm.)
indistinctly signed Edward Seago (lower left) and with inscription

WINDY DAY, VENICE (on the reverse)
oil on board
16 x 24 in. (41 x 61 cm.)
20,000-30,000
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
PROVENANCE:
with Marlborough Fine Art, London, November 1978.
with Marlborough Fine Art, London, April 1980.
$33,000-48,000
26,000-38,000
109
l92

(1910-1974)
Sailing boats
signed Edward Seago (upper right)
oil on board
10 x 14 in. (27.2 x 36 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Anonymous sale; Christies, London, 6 June 2003, lot 161.

EXHIBITED:
92
London, Marlborough Fine Art, Edward Seago Memorial Exhibition,

December 1974 - January 1975, no. 46.
l93

(1910-1974)
The Tall Mill
signed Edward Seago (lower left) and with inscription The Tall
Mill/Edward Seago/c/o Colnaghi & co/ 14 Old Bond St. W1. (on
the reverse)
oil on panel
12 x 16 in. (30.5 x 41 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
93
with Colnaghi, London.

with Richard Green, London, October 1986.
l94

(1910-1974)
Misty Morning, Rotterdam Quayside
signed Edward Seago (lower left) and with inscription MISTY
MORNING -/ROTTERDAM QUAYSIDE (on the reverse)
oil on board
11 x 16 in. (28 x 41 cm.)
10,000-15,000
PROVENANCE:
with Colnaghi, London.

with Marlborough Fine Art, London.
94
110
$17,000-24,000
13,000-19,000
l95

Fishermens boats off the East Coast
signed Edward Seago (lower left) and with indistinct inscription as title (on the reverse)
oil on board
26 x 36 in. (66 x 91.4 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
Lord Belstead.
EXHIBITED:
London, Richard Green Gallery, Edward Seago 1910-1974, 2007, no. 26, illustrated in colour.
111
96
l96
l*97
l98
Edward Seago,
R.B.A., R.W.S.
(1910-1974)
Edward Seago,
R.B.A., R.W.S.
(1910-1974)
Edward Seago,
R.B.A., R.W.S.
(1910-1974)
Winter by the Thurne
A Suffolk Stream
signed Edward Seago (lower left) and with

indistinct inscription (on the reverse)
oil on board
20 x 30 in. (50.8 x 76.2 cm.)

inscription A SUFFOLK STREAM (on the
reverse)
oil on board
20 x 26 in. (50.8 x 66 cm.)
Ludham Marshes from

Upper Horning, Suffolk
30,000-50,000
$49,000-81,000
38,000-63,000
25,000-35,000
PROVENANCE:

Lord Belstead, Great Bealings, Suffolk.
EXHIBITED:
London, Richard Green Gallery, Edward

Seago 1910-1974, 2007, no. 41, illustrated in
colour.
112
$41,000-56,000
32,000-44,000

inscription LUDHAM MARSHES FROM/
UPPER HORNING (on the reverse)
oil on board
20 x 30 in. (50./8 x 76.2 cm.)
25,000-35,000
PROVENANCE:
with P. & D. Colnaghi, London.

Gray Philips, until 1973, when bequeathed
to Warren R. Austen, Santa Barbara, U.S.A.
$41,000-56,000
32,000-44,000
PROVENANCE:
William Tallon (1935-2007), Steward and

Page of the Backstairs in the household
of the late Queen Elizabeth, the Queen
Mother.
97
98
113
l99

(1910-1974)
Low tide, a Suffolk estuary
signed Edward Seago (lower left) and inscribed and numbered A
SUFFOLK ESTUARY/6 (on the reverse)
watercolour on paper
10 x 14 in. (25.4 x 35.5 cm.)
4,000-6,000
$6,500-9,700
5,100-7,600
PROVENANCE:
l100

(1910-1974)
Evening after storm, Nantes, France
signed Edward Seago (lower left) and inscribed EVENING AFTER
STORM, NANTES. (on the reverse)
pencil and watercolour on paper
15 x 22 in. (39.3 x 55.9 cm.)
6,000-8,000
$9,700-13,000
7,600-10,000
PROVENANCE:
with Colnaghis, London.
l101
Edward Seago, R.B.A., R.W.S.,

(1910-1974)
Misty Morning, River Thurne, Norfolk
signed Edward Seago (lower left) and inscribed MISTY
MORNING - RIVER THURNE (on the reverse)
watercolour on paper
10 x 14 in. (25.4 x 35.6 cm.)
4,000-6,000
PROVENANCE:

114
$6,500-9,700
5,100-7,600
l102

September Flowers
signed Edward Seago (lower left) and with inscription SEPTEMBER FLOWERS (on the
stretcher)
oil on canvas
24 x 20 in. (61 x 50.8 cm.)
30,000-50,000
$49,000-81,000
38,000-63,000
PROVENANCE:
with P. & D. Colnaghi, London.

with E. Stacey Marks, Eastbourne, by September 1984.
END OF SALE
115
Important Notices and Explanation of

Cataloguing Practice
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an
advance to the consignor that is secured solely by
consigned property. Where Christies holds such
financial interest on its own we identify such lots
with the symbol next to the lot number.
Where Christies has financed all or part of such
interest through a third party the lots are identified
in the catalogue with the symbol u. When a
third party agrees to finance all or part of Christies
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss. Please see http://www.
christies.com/financial-interest/ for a more detailed
explanation of minimum price guarantees and third
party financing arrangements.
Where Christies has an ownership or financial
interest in every lot in the catalogue, Christies will
not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department for
a condition report on a particular lot. The nature
of the lots sold in our auctions is such that they will
rarely be in perfect condition, and are likely, due to
their nature and age, to show signs of wear and tear,
damage, other imperfections, restoration or repair.
Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the
item and the nature of the auction in which it is
included. Any statement as to the physical nature or
condition of a lot, in a catalogue, condition report
or otherwise, is given honestly and with appropriate
care. However, Christies staff are not professional
restorers or trained conservators and accordingly
any such statement will not be exhaustive. We
therefore recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to you
in advance of bidding.
116
PROPERTY INCORPORATING MATERIALS

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

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

In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
Wine Auctions
Stock offered duty-paid, but available in bond.
VAT at 20% on hammer price and buyers premium
(wine only).
VAT Refunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than 100. UK & EU private buyers
cannot reclaim VAT. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty For the portion of the Hammer Price (in Euro)
4.00% up to 50,000
3.00% between 50,000.01 and 200,000
1.00% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
0.25% in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the
purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate.
For more information please contact the Shipping Department
at + 44 (0)20 7389 2712 or via
ArtTransport_London@christies.com for both London,
KingStreet and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
Christies Art Transport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
Own Shipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme Please obtain a GB Tax Free form from the
Cashiers. This document must be stamped by UK Customs on
leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the the Museums,
Libraries and Archives Council: Acquisitions, Export and Loans
Unit at +44 (0)20 7273 8269/8267.
20/11/13
117
Storage and Collection

STORAGE AND COLLECTION
All furniture and carpet lots (sold and unsold)

not collected from Christies by 9.00am
on the day following the auction will be
removed by Cadogan Tate Ltd to their
warehouse at:
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com.
While at King Street lots are available for
collection on any working day, 9.00 am to
4.30 pm. Once transferred to Cadogan Tate
lots will be available for collection from the
first working day following the day of their
removal from King Street,
9.00 am to 5.00 pm Monday to Friday.
To avoid waiting times on collection at
Cadogan Tate, we advise that you contact
Cadogan Tate directly, 24 hours in advance,
prior to collection on +44 (0)800 988 6100.
POST-WAR & CONTEMPORARY ART
EXTENDED LIABILITY CHARGE
From the day of transfer of sold items

to Cadogan Tate Ltd, all such lots are
automatically insured by Cadogan Tate Ltd
at the sum of the hammer price plus buyers
premium. The Extended Liability Charge
in this respect by Cadogan Tate Ltd is 0.6%
of the sum of the hammer price plus buyers
premium or 100% of the handling and storage
charges, whichever is smaller.
To avoid waiting times on collection, we

kindly advise you to contact our
Post-War & Contemporary Art dept 24 hours
in advance on +44 (0)20 7389 2958
BOOKS
Please note that all lots from book department

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

(CFASS) also offers storage solutions for fine
art, antiques and collectibles in New York
and Singapore FreePort. CFASS is a separate
subsidiary of Christies and clients enjoy
complete confidentiality. Visit www.cfass.com
for charges and other details.
PAYMENT
TRANSFER, STORAGE & RELATED CHARGES
Cadogan Tate Ltds storage charges may be

paid in advance or at the time of collection.
Lots may only be released from Cadogan
Tate Ltds warehouse on production of
the Collection Order from Christies,
8King Street, London SW1Y 6QT.
The removal and/or storage by Cadogan Tate
of any lots will be subject to their standard
Conditions of Business, copies of which
are available from Christies, 8 King Street,
London SW1Y 6QT.
Lots will not be released until all outstanding
charges due to Christies and Cadogan Tate
Ltd are settled.
CHARGES PER LOT
FURNITURE / LARGE OBJECTS
PICTURES / SMALL OBJECTS
1-28 days after the auction
Free of Charge
Free of Charge
29th day onwards:

Transfer
Storage per day
70.00
5.25
35.00
2.65
Transfer and storage will be free of charge for all lots collected before 5.00pm on the 28th day following the
auction. Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate
Cadogan Tate Ltds Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
28/10/14
118
Conditions of Sale
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
2.
C ATALOGUE DESCRIPTIONS AND
CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such
that they will rarely be in perfect condition, and
are likely, due to their nature and age, to show
signs of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition in a
catalogue entry will not amount to a full description
of condition. Condition reports are usually available
on request, and will supplement the catalogue
description. In describing lots, our staff assess the
condition in a manner appropriate to the estimated
value of the item and the nature of the auction
in which it is included. Any statement as to the
physical nature or condition of a lot, in a catalogue,
condition report or otherwise, is given honestly and
with appropriate care. However, Christies staff are
not professional restorers or trained conservators
and accordingly any such statement will not be
exhaustive. We therefore recommend that you
always view property personally, and, particularly
in the case of any items of significant value, that
you instruct your own restorer or other professional
adviser to report to you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution, etc
Any statements made by Christies about any
lot, whether orally or in writing, concerning
attribution to, for example, an artist, school, or
country of origin, or history or provenance, or any
date or period, are expressions of our opinion or
belief. Our opinions and beliefs have been formed
honestly and in accordance with the standard of
care reasonably to be expected of an auction house
of Christies standing, due regard having been had
to the estimated value of the item and the nature
of the auction in which it is included. It must be
clearly understood, however, that, due to the nature
of the auction process, we are unable to carry out
exhaustive research of the kind undertaken by
professional historians and scholars, and also that,
as research develops and scholarship and expertise
evolve, opinions on these matters may change. We
therefore recommend that, particularly in the case
of any item of significant value, you seek advice on
such matters from your own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item
will sell or its value for any other purpose.
(e) Fitness for Purpose

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

At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or can
come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer
agrees to pay to us the buyers premium together
with any applicable value added tax. The buyers
premium is 25% of the final bid price of each lot
up to and including 50,000, 20% of the excess of
the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the
hammer price above 1,000,000. Exceptions: Wine
and Cigars: 17.5% of the final bid price of each lot,
VAT is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol l next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium and
any applicable taxes or resale royalty) immediately
after the sale. This applies even if the buyer wishes
to export the lot and an export licence is, or may
be, required. The buyer will not acquire title to the
lot until all amounts due to us from the buyer have
been received by us in good cleared funds even in
circumstances where we have released the lot to the
buyer.
09/08/13
119
(d) Collection of purchases

We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, in our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled to
cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
(e) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made a
recommendation for the acts or omissions of the third
party concerned.
(f) Export licence
Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights and
remedies. These include, but are not limited to, the
following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the total
amount due and to commence legal proceedings
for its recovery together with interest, legal fees
and costs to the fullest extent permitted under
applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
the defaulting buyer;
(vi) to set off against any amounts which we, or
Christies International plc, or any of its affiliates,
subsidiaries or parent companies worldwide,
may owe the buyer in any other transactions, the
outstanding amount remaining unpaid by the
buyer;
(vii) where several amounts are owed by the buyer to
us, or to Christies International plc, or to any
of its affiliates, subsidiaries or parent companies
worldwide, in respect of different transactions, to
apply any amount paid to discharge any amount
owed in respect of any particular transaction,
whether or not the buyer so directs;
120
(viii) to reject at any future auction any bids made by

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

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

ARGENTINA
CANADA
BUENOS AIRES
+54 11 43 93 42 22
Cristina Carlisle
TORONTO
+1 416 960 2063
Brett Sherlock
AUSTRALIA
CHILE
SYDNEY
+61 (0)2 9326 1422
Ronan Sulich
SANTIAGO
+56 2 2 2631642
Denise Ratinoff
de Lira
AUSTRIA
COLOMBIA
VIENNA
+43 (0)1 533 8812
Angela Baillou
BOGOTA
+571 635 54 00
Juanita Madrinan
BELGIUM
DENMARK
BRUSSELS
+32 (0)2 512 88 30
Roland de Lathuy
COPENHAGEN
+45 3962 2377
Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
BERMUDA
BERMUDA
+1 401 849 9222
Betsy Ray

F INLAND AND THE
BALTIC STATES
BRAZIL
RIO DE JANEIRO
+5521 2225 6553
Candida Sodre
SO PAULO
+5511 3061 2576
Nathalie Lenci
HELSINKI
+358 (0)9 608 212
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
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
+33 (0)6 71 99 97 67
Fabienne Albertini-Cohen
RHNE ALPES
+33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)
GERMANY
DSSELDORF
+49 (0)21 14 91 59 30
Arno Verkade
FRANKFURT
+49 (0)61 74 20 94 85
Anja Schaller
HAMBURG
+49 (0)40 27 94 073
Christiane Grfin
zu Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn

STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne
Schweizer
INDIA
MEXICO
MUMBAI
+91 (22) 2280 7905
Sonal Singh
MEXICO CITY
+52 55 5281 5503
Gabriela Lobo
DELHI
+91 (98) 1032 2399
Sanjay Sharma
MONACO
+377 97 97 11 00
Nancy Dotta
INDONESIA
THE NETHERLANDS
JAKARTA
+62 (0)21 7278 6268
Charmie Hamami
AMSTERDAM
+31 (0)20 57 55 255
Priscilla Tiara Masagung

ISRAEL
TEL AVIV
+972 (0)3 695 0695
Roni Gilat-Baharaff
ITALY
MILAN
+39 02 303 2831
ROME
+39 06 686 3333
Marina Cicogna Business
Development Director
JAPAN
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900
HONG KONG
+852 2760 1766
SHANGHAI
+86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
+351 919 317 233
Mafalda Pereira Coutinho
(Independent Consultant)
TOKYO
+81 (0)3 6267 1766
Ryutaro Katayama
MALAYSIA
KUALA LUMPUR
+60 3 6207 9230
Lim Meng Hong
(Consultant)
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)
DENOTES SALEROOM
ENQUIRIES?
Call the Saleroom or Office
EMAIL
info@christies.com
04/09/14
121
RUSSIA
SWEDEN
UNITED KINGDOM
UNITED STATES
MOSCOW
+7 495 937 6364
+44 20 7389 2318
Katya Vinokurova
STOCKHOLM
+46 (0)70 5368 166
Marie Boettiger Kleman
(Consultant)
+46 (0)70 9369 201
Louise Dyhln (Consultant)
LONDON,
KING STREET
+44 (0)20 7839 9060
BOSTON
+1 617 536 6000
Elizabeth M. Chapin
LONDON,
SOUTH KENSINGTON
+44 (0)20 7930 6074
CHICAGO
+1 312 787 2765
Lisa Cavanaugh
NORTH
+44 (0)20 7752 3004
Thomas Scott
DALLAS
+1 214 599 0735
Capera Ryan
SOUTH
+44 (0)1730 814 300
Mark Wrey
HOUSTON
+1 713 802 0191
Jessica Phifer
EAST
+44 (0)20 7752 3004
Thomas Scott
LOS ANGELES
+1 310 385 2600
SINGAPORE
SINGAPORE
+65 6235 3828
Wen Li Tang
SOUTH AFRICA
CAPE TOWN
+27 (21) 761 2676
Juliet
Lomberg
(Independent
Consultant)

D URBAN &
JOHANNESBURG
+27 (31) 207 8247
Gillian Scott-Berning
(Independent
Consultant)

W ESTERN CAPE
+27 (44) 533 5178
Annabelle Conyngham
(Independent
Consultant)
SOUTH KOREA
SEOUL
+82 2 720 5266
Hye-Kyung Bae
SPAIN
SWITZERLAND
GENEVA
+41 (0)22 319 1766
Eveline de Proyart
ZURICH
+41 (0)44 268 1010
Dr. Bertold Mueller
TAIWAN
TAIPEI
+886 2 2736 3356
Ada Ong
THAILAND

BANGKOK
+66 (0)2 652 1097
Yaovanee Nirandara
Punchalee Phenjati
TURKEY
ISTANBUL
+90 (532) 558 7514
Eda Kehale Argn
(Consultant)

U NITED ARAB
EMIRATES
DUBAI
+971 (0)4 425 5647
BARCELONA
+34 (0)93 487 8259

Carmen Schjaer
MADRID
+34 (0)91 532 6626
Juan Varez
Dalia Padilla
For a complete salerooms & offices listing go to christies.com
122

N ORTHWEST
AND WALES
+44 (0)20 7752 3004
Jane Blood

S COTLAND
+44 (0)131 225 4756
Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032

C HANNEL ISLANDS
+44 (0)1534 485 988
Melissa Bonn
IRELAND
+353 (0)59 86 24996
Christine Ryall
MIAMI
+1 305 445 1487
Jessica Katz
NEWPORT
+1 401 849 9222
Betsy D. Ray
NEW YORK
+1 212 636 2000
PALM BEACH
+1 561 833 6952
Maura Smith
PHILADELPHIA
+1 610 520 1590
Christie Lebano
SAN FRANCISCO
+1 415 982 0982
Ellanor Notides
08/08/14
Christies Specialist Departments and Services

DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230
AMERICAN INDIAN ART
NY: +1 212 606 0536

AMERICAN PICTURES
NY: +1 212 636 2140
INDIAN
CONTEMPORARY ART
KS: +44 (0)20 7389 2700

NY: +1 212 636 2189
POSTERS
AUCTION SERVICES
PRINTS
CORPORATE
COLLECTIONS
SK: +44 (0)20 7752 3208
INTERIORS
KS: +44 (0)20 7389 2328

SK: +44 (0)20 7752 3109
ISLAMIC WORKS OF ART
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
SK: +44 (0)20 7389 2236

NY: +1 212 636 2032
KS: +44 (0)20 7389 2700
SK: +44 (0)20 7752 3239
KS: +44 (0)20 7389 2343
ANGLO-INDIAN ART
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2057
ANTIQUITIES
KS: +44 (0)20 7389 2570

SK: +44 (0)20 7752 3219
ARMS AND ARMOUR
SK: +44 (0)20 7752 3119

ASIAN 20TH CENTURY
AND CONTEMPORARY ART
NY: +1 212 468 7133
AUSTRALIAN PICTURES
KS: +44 (0)20 7389 2040

BOOKS AND
MANUSCRIPTS
KS: +44 (0)20 7389 2674

SK: +44 (0)20 7752 3203
BRITISH & IRISH ART
KS: +44 (0)20 7389 2682

NY: +1 212 636 2084
SK: +44 (0)20 7752 3257
BRITISH ART ON PAPER
KS: +44 (0)20 7389 2278

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

CARPETS
KS: +44 (0)20 7389 2370

SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART
KS: +44 (0)20 7389 2577

SK: +44 (0)20 7752 3239
CLOCKS
KS: +44 (0)20 7389 2357

CONTEMPORARY ART
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3215

EUROPEAN CERAMICS
AND GLASS
SK: +44 (0)20 7752 3026

FURNITURE
KS: +44 (0)20 7389 2482

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

SK: +44 (0)20 7752 3218
KS: +44 (0)20 7389 2591

SK: +44 (0)20 7752 3239
JEWELLERY
KS: +44 (0)20 7389 2383

SK: +44 (0)20 7752 3265
LATIN AMERICAN ART
NY: +1 212 636 2150

MARITIME PICTURES
SK: +44 (0)20 7752 3284

NY: +1 212 707 5949
MINIATURES
KS: +44 (0)20 7389 2650
Tel: +44 (0)20 7389 2624

Fax: +44 (0)20 7389 2204
TRAVEL, SCIENCE AND

NATURAL HISTORY
HERITAGE AND
TAXATION
SK: +44 (0)20 7752 3291

SCULPTURE
KS: +44 (0)20 7389 2331

SK: +44 (0)20 7389 2794
SILVER
KS: +44 (0)20 7389 2666

SK: +44 (0)20 7752 3262
SWISS ART
ZUR: +41 (0) 44 268 1012

TOPOGRAPHICAL
PICTURES
MODERN DESIGN
MUSICAL INSTRUMENTS
SK: +44 (0)20 7752 3365
TRIBAL AND
PRE-COLUMBIAN ART
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
TWENTIETH CENTURY
BRITISH ART
KS: +44 (0)20 7389 2699

NINETEENTH CENTURY
EUROPEAN PICTURES
KS: +44 (0)20 7389 2443

SK: +44 (0)20 7752 3309
OBJECTS OF VERTU
KS: +44 (0)20 7389 2347

SK: +44 (0)20 7752 3001
OLD MASTER DRAWINGS
KS: +44 (0)20 7389 2251

OLD MASTER PICTURES
KS: +44 (0)20 7389 2531

SK: +44 (0)20 7752 3250
ORIENTAL CERAMICS
AND WORKS OF ART
PAR: +33 (0)140 768 386

KS: +44 (0)20 7389 2684
SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
DECORATIVE ART
& DESIGN
KS: +44 (0)20 7389 2140

SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES
SK: +44 (0)20 7752 3218

VICTORIAN PICTURES
KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS
SK: +44 (0)20 7752 3235
KS: +44 (0)20 7389 2257

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

POPULAR CULTURE
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14/02/14
123
LUCIEN PISSARRO (1863-1944)

Vue dEragny
signed and dated Lucien Pissarro. 1893. (lower right), inscribed and dated again Vue dEragny 1893 (on the stretcher)
oil on canvas 23 x 28 in. (59.7 x 73 cm.)
40,000-60,000
MODERN BRITISH AND IRISH ART DAY SALE

King Street 20 November 2014
124
Viewing
Contact
15-19 November
8 King Street
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Pippa Jacomb
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A Townhouse off Grosvenor Square

The Collection of Dr. Peter D. Sommer
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Viewing at the House
Highlights at Christies
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22 26 November
28 November 3 December
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28 November 3 December
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4 December
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Amelia Walker
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Admission by catalogue only
125
Victorian & British Impressionist Art

London, South Kensington 26 November 2014
126
Viewing
Contact
2225 November 2014

85 Old Brompton Road
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Louisa Howard
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A PRIVATE COLLECTION FROM BELGRAVIA

EDWARD ARTHUR WALTON, R.S.A., P.R.S.W., R.P. (18601922)
The fortune teller, Miss Jane Aitken
signed E.A. Walton (lower right) oil on canvas
33 x 24 in. (85.1 x 60.9 cm)
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PROPERTY FROM THE FORBES COLLECTION

CARL VILHELM HOLSE (DANISH, 1863-1935)
Interior with the artists wife
signed C Holse (lower right) oil on canvas 26 x 24 in. (66 x 61 cm.)
50,000-70,000
19th Century European & Orientalist Art

King Street 9 December 2014
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Christie, Manson & Woods Ltd. (2014)
03/11/14
Index
B
Bastien-Lepage, J., 6
Brangwyn, Sir F., 56
Brett, J., 81
Brockhurst, G., 39
Bundy, E., 57
Burne-Jones, Sir E.C., 18,
19, 24
C
Clausen, Sir G., 46
Connard, P., 62
Cooper, T.S., 76
D
Dadd, R., 10
De Glehn, W.G., 45
De Lszl, P. A., 35, 36
Dicksee, Sir F.B., 58
F
Faed, J., 28
Flint, Sir W.R., 82, 83,
84, 85, 86, 87, 88
Forbes, S. A., 73
Frampton, Sir G.J., 9
G
Garbe, R., 7
Gilbert, Sir A., 5
Godward, J.W., 12
Greaves, W., 42
Greenaway, K., 22
Grimshaw, J.A., 30-34
H
Harvey, H.C., 65, 66
Hornel, E.A., 74
Howard, G., 20
K
Kelly, Sir G.F., 61
Knight, H., 60
Knight, L., 63, 67, 72
L
La Thangue, H.H., 47, 48
Lavery, Sir J., 38
Leader, B.W., 75
Lear, E., 80
Lee, J.I., 21
Leighton, E.B., 27
Leighton, Lord F., 1
Logsdail, W., 26
M
Maitland, P.F., 44
Mulready, W., 78
P
Percy, S.R., 77, 79
Pomeroy, F.W., 2
Poynter, Sir E.J., 13
R
Rossetti, D.G., 16, 25
S
Seago, E., 89-102
Shannon, Sir J.J., 49-54
Sharp, D., 68, 69, 70, 71
Sims, C., 41
Steer, P.W., 55
Stokes, M., 17
T
Tayler, A.C., 59
Thornycroft, Sir W.H.,
3, 8
Tissot, J.J., 11
Tuke, H.S., 43
W
Ward, E.M., 29
Waterhouse, J.W., 15, 23
Watts, G.F., 4
Whiting, F., 40
Wilhelmson, C.W., 64
LO N D O N
V ICTO R I A N , P R E - R A P H A E LI T E & B R I T I S H I M P R E S S I O N I S T A R T
1 1 D E CE M B E R 2 0 1 4
1580
8 King
8 King
Street
Street
St. Jamess
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London
London
SW1Y
SW1Y
6QT 6QT +44 (0)20
+44 (0)20
7839 7839
9060 9060
telephone
telephone
+44 (0)20
+44 (0)20
7389 7389
2869 2869
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Thursday 11 December 2014 at 2.30 pm

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