SOUTH KENSINGTON

19th Century
European Art
Wednesday 21 January 2015
at 1.00 pm
 InternatIonal 19th Century european and
orIentalIst art department
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10/11/14

InternatIonal 19th Century art auCtIons

AUCTION CALENDAR 2015
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16 APRIL 2 & 3 JUNE

19TH CENTURY EUROPEAN & OLD MASTER, 19TH CENTURY &
ORIENTALIST ART IMPRESSIONIST PAINTINGS
LONDON, SOUTH KENSINGTON AMSTERDAM

29 APRIL 9 JUNE
19TH CENTURY EUROPEAN & 19TH CENTURY EUROPEAN &
ORIENTALIST ART ORIENTALIST ART
NEW YORK LONDON, KING STREET

Subject to change. 10/11/14

2
 19th Century European Art
Wednesday 21 January 2015

AUCTION STORAGE AND COLLECTION

Wednesday 21 January 2015 Please refer to the important notice
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85 Old Brompton Road Tate’s opening hours are Monday to
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to as TUPPY-10358

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 1
1 2
ANDRÉ GIROUX (FRENCH, 1801-1879) HENRI JOSEPH HARPIGNIES (FRENCH, 1819-1916)
Pompeii Petit ferme dans un paysage
with studio stamp ‘VENTE GEROUX’ (on the reverse) signed ‘HHarpignies’ (lower left)
oil on canvas oil on canvas
9 x 13Ω in. (23 x 34 cm.) 10æ x 13¬ in. (27 x 35 cm.)
£3,000-5,000 $4,700-7,800 £2,000-4,000 $3,200-6,300
€3,800-6,300 €2,600-5,000
PROVENANCE:
with Arthur Tooth & Sons Ltd., London.

4
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n3 4
NARCISSE-VIRGILE DIAZ DE LA PENA (FRENCH, 1807-1876) HENRI JOSEPH HARPIGNIES (FRENCH, 1819-1916)
Bathers at the water’s edge Aux bords de la rivi–re
signed ‘N.Diaz’ (lower right) signed and dated ‘HHarpignies 1905’ (lower left)
oil on canvas oil on canvas
25Ω x 32 in. (65 x 81 cm.) 8Ω x 13æ in. (21 x 35 cm.)
£4,000-6,000 $6,300-9,400 £2,000-3,000 $3,200-4,700
€5,100-7,600 €2,600-3,800

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 5

6
5 6
HENRI JOSEPH HARPIGNIES (FRENCH, 1819-1916) JEAN CHARLES JOSEPH REMOND (FRENCH, 1795-1875)
Bords de la rivi–re ( Saint-Priv6 Arcadian landscape
signed ‘H. Harpignies’ (lower left) signed and dated ‘REMOND/1820’ (lower left)
oil on canvas oil on canvas
25æ x 32 in. (65.5 x 81.5 cm.) 15 x 18º in. (38 x 46.3 cm.)
£5,000-7,000 $7,900-11,000 £3,000-5,000 $4,700-7,800
€6,400-8,800 €3,800-6,300
PROVENANCE:
L.P. Sale; Drouot, Paris, 17 April 1917, lot 23.

6
7
FERDINAND HEILBUTH (FRENCH, 1826-1889)
The Baths at Caracalla – a study
signed ‘FHeilbuth’ (lower right)
oil on canvas
10¿ x 22¡ in. (26 x 54.5 cm.)
£2,000-4,000 $3,200-6,300
€2,600-5,000
The present lot is a sketch, relating to Heilbuth’s work
‘The Baths at Caracalla’.
Compositionally this is similar to Heilbuth’s
‘Excavations in Rome’ in The Wallace Collection,
London, except this version has ‘almost identical
fgures and foreground archaeological detail but
without the distant walls’ (J. Ingamells, The Wallace
Collection: Catalogue of pictures, French 19th
Century, London, 1989 p. 342).

l8
CHARLES HENRI GASTON DAGNAC-RIVIÈRE
(FRENCH, 1864-1945)
A party on the riverside
signed ‘C.DAGNAC-RIVIÈRE’ (lower left)
oil on panel
11º x 35º in. (28.5 x 90 cm.)
£1,200-1,800 $1,900-2,800
€1,600-2,300

9
ADOLPHE JOSEPH THOMAS MONTICELLI
(FRENCH, 1824-1886)
A gathering in the woods
signed ‘Monticelli’ (lower left)
oil on panel
17Ω x 24º in. (44.7 x 61.8 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800
PROVENANCE:
with Amsler & Ruthardt, Berlin, 1927.
A certifcate of authenticity from Mr. M. Stammegna
is included with the present lot.
Monticelli counts among his admirers Oscar Wilde
and Vincent Van Gogh, who praised the freedom
of his brushstrokes and scintillating bright palette.
Monticelli also painted side by side with Cezanne,
and his infuence can be seen in Cezanne’s works
of the 1860s. Monticelli was a student of Delaroche
at the École des Beaux-Arts and his oeuvres include
numerous courtly subjects inspired by Watteau, still
lives, portraits and Orientalist subjects in the tradition
of Delacroix.

7
 10
THÉOPHILE-EMMANUEL DUVERGER (FRENCH, 1821-1901)
A practical joke
signed ‘DUVERGER’ (lower left)
oil on panel
13Ω x 10Ω in. (35 x 27 cm.)
£2,500-3,500 $4,000-5,500
€3,200-4,400
PROVENANCE:
Anonymous sale; Christie’s, London, 30 June 1939, lot 160.
with MacConnal-Mason & Son, Ltd., London.

11
THÉOPHILE-EMMANUEL DUVERGER (FRENCH, 1821-1901)
Playing at the pump
signed ‘DUVERGER’ (lower left)
oil on panel
13¬ x 10Ω in. (34.5 x 26.5 cm.)
£2,500-3,500 $4,000-5,500
€3,200-4,400
PROVENANCE:
Anonymous sale; Christie’s London, 7 April 1961, lot 132.

8
12
THÉOPHILE-EMMANUEL DUVERGER (FRENCH, 1821-1901)
Playing jacks
signed ‘DUVERGER’ (lower left)
oil on panel
12æ x 9æ in. (32.5 x 24.5 cm.)
£2,500-3,500 $4,000-5,500
€3,200-4,400

13
THÉOPHILE-EMMANUEL DUVERGER (FRENCH, 1821-1901)
The frst shave
signed ‘DUVERGER’ (lower right)
oil on panel
13 x 10 in. (33 x 25.5 cm.)
£2,500-3,500 $4,000-5,500
€3,200-4,400
PROVENANCE:
with Cooling Galleries Ltd., London.

9
 14
ANTOINE VOLLON (FRENCH, 1833-1900)
A silver jug with oranges and fowers
signed ‘A. Vollon’ (lower right)
oil on canvas
24 x 29º in. (61.2 x 74.2 cm.)
£8,000-12,000 $13,000-19,000
€11,000-15,000
We are grateful to Carol Tabler for confrming the authenticity of this work from photographs.

10
 15
15
*15
CONSTANT JOSEPH BROCHART (FRENCH, 1816-1899)
Classical beauties
the frst signed ‘BROCHART’ (lower right); the second signed ‘Brochart’
(lower left)
pastel on paper, oval
both 22º x 28 in. (57 x 70.5 cm.)
a pair £2,000-4,000 $3,200-6,300
€2,600-5,000
PROVENANCE:
Anonymous sale; Sotheby’s, London, 26 November 1981, lot 68.

16
RAYMOND ALLEGRE (FRENCH, 1857-1933)
Lobster with mussels, a green jug and cooking utensils on a ledge
signed ‘R. Allegre’ (lower left)
oil on panel
18 x 12æ in. (45.7 x 32.5 cm.)
£2,000-4,000 $3,200-6,300
€2,600-5,000

11
 17
l17
PAUL SIEFFERT (FRENCH, 1874-1957)
Reclining nude
signed ‘P. Sieffert.’ (lower left); and signed and inscribed ‘P. Sieffert No. 560.’
(on the reverse)
oil on canvas
21Æ x 31½ in. (55 x 80 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300

n18
PIERRE CARRIER-BELLEUSE (FRENCH, 1851-1932)
Ballerina
signed and dated ‘PIERRE CARRIER-BELLEUSE/1919’ (lower left)
pastel on canvas
53Ω x 31 in. (135.9 x 78.7 cm.)
£8,000-12,000 $13,000-19,000
€11,000-15,000

18

12
19 *20
PAUL CESAR HELLEU (FRENCH, 1859-1927) PAUL CESAR HELLEU (FRENCH, 1859-1927)
Une el6gante Jeunne femme accoud6e
signed ‘Helleu’ (lower right) inscribed and signed ‘not go/Helleu’ (lower left)
charcoal and chalk on paper chalk and pencil on paper
26Ω x 17¿ in (66.7 x 43.5 cm.) 29Ω x 18 in. (75 x 46 cm.)
£3,000-5,000 $4,700-7,800 £5,000-7,000 $7,900-11,000
€3,800-6,300 €6,400-8,800
The authenticity of this work has been confrmed by Frédérique de Watrigant from
PROVENANCE: a photograph. The present work is registered in the archives of the Association Les
with Maxell Davidson Gallery, New York. Amis de Paul-César Helleu as BDD APCH DE-6077.
with James Kirkman, London.
The authenticity of this work has been confrmed by Frédérique de Watrigant from
a photograph. The present work is registered in the archives of the Association Les
Amis de Paul-César Helleu as APCH DE-6103.

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22

n21 n22
CHÉRI-FRANÇOIS-MARGUERITE DUBREUIL (FRENCH, 1828-1880) JACQUES RAYMOND BRASCASSAT (FRENCH, 1804-1867)
A squadron of French warships on their way to join the Allied Fleet A standoff
during the Crimean Campaign (1854-56) signed ‘J.R. Brascassat’ (lower left)
signed, inscribed and dated ‘Chéri Dubreuil /Calais le 16 Janvier 1855’ oil on canvas
and with anchor device (lower left) 38Ω x 51æ in. (98 x 131.2 cm.)
oil on canvas £3,000-5,000 $4,700-7,800
63 x 79 in. (163 x 207 cm.) €3,800-6,300
£3,000-5,000 $4,700-7,800
€3,800-6,300
Visit www.christies.com for more information on this lot.

14
n23
GABRIEL BOURET (FRENCH, 1817-1890)
Travellers resting in a clearing
signed and dated ‘Gel. Bouret. 1843.’ (lower right)
oil on canvas
64Ω x 92 in. (163 x 235.5 cm.)
£7,000-10,000 $11,000-16,000
€8,900-13,000
Like Théodore Rousseau, Gabriel Bouret was a pupil of Jean Charles Joseph Rémond (see lot 6) at the École des
Beaux-Arts in Paris. The infuence of Rémond can be seen in this composition: the use of a wide open plain in
the foreground, offset against a distant but considered horizon line.

15
 24
CHARLES EUPHRASIE KUWASSEG
(FRENCH, 1838-1904)
Boats by the shore
signed ‘C. Kuwasseg’ (lower left)
oil on panel
8¬ x 14¡ in. (22 x 36.5 cm.)
£2,000-3,000 $3,200-4,700
€2,600-3,800

25
PAUL BISTAGNE (FRENCH, 1850-1886)
Fishermen on the shore
signed ‘Paul Bistagne’ (lower left)
oil on canvas
21º x 32 in. (54 x 81 cm.)
£2,000-4,000 $3,200-6,300
€2,600-5,000

26
EUGÈNE MODESTE EDMOND LE POITEVIN
(FRENCH, 1806-1870)
Unloading the boat
indistinctly signed ‘E...’ (lower left)
oil on canvas
17¡ x 25æ in. (44 x 65 cm.)
£1,500-2,000 $2,400-3,100
€1,900-2,500

16
 27 (a pair)

27
HENRI ALPHONSE BARNOIN
(FRENCH, 1882-1935)
Unloading the catch, Concarneau;
and On the quay, Concarneau
signed ‘Henry Barnoin’ (lower left and lower right
respectively)
oil on canvas
13¿ x 16º in. (33.3 x 41.2 cm.) a pair (2)
£7,000-10,000 $11,000-16,000
€8,900-13,000
Henri Barnoin debuted in the Salon in 1909 with a
selection of marine oils and a series of watercolours
of Paris scenes. As a student of Luc-Olivier Merson,
Barnoin’s work was nourished by the narrative genre
scenes of everyday village life. He was especially
captivated by scenes of Brittany.

28
EUGENE GALIEN-LALOUE (FRENCH, 1854-1941)
Loading ships on the Seine, Paris
signed with pseudonym ‘A.Michel’ (lower right)
oil on panel
13 x 9º in. (33 x 23.5 cm.)
£2,000-4,000 $3,200-6,300
€2,600-5,000

28

17
 *29
EUGÈNE CARRIÈRE (FRENCH, 1840-1906)
Le chat qui mange
oil on canvas laid down on board
6æ x 9Ω in. (17.2 x 24.2 cm.)
£1,500-2,000 $2,400-3,100
€1,900-2,500
PROVENANCE:
Jean Dolent, February 1910, No. 7.
Collection Louis Le Sidaner.
Anonymous sale; Drouot, Paris, 11 June 1932, lot 50.
with Roland, Browse and Deblanco, London.
Sir William Ackroyd.

EXHIBITED:
Musée Cholet, 1949.
The authenticity of this work has been confrmed by
Véronique Milin du Mesnil from a photograph.

29

30
JEAN JOSEPH BENJAMIN CONSTANT
(FRENCH, 1845-1902)
Christ teaching in the temple
signed ‘Benjamin Constant’ (lower left)
oil on canvas laid down on panel
31¡ x 23æ in. (79.8 x 59.8 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800
PROVENANCE:
Anonymous sale; Frederik Muller & Cie, Amsterdam,
date unknown, lot 17.

31
FRENCH SCHOOL, 19TH CENTURY
Breton confdants
oil on panel
24 x 17√ in. (61 x 45 cm.)
£1,200-1,800 $1,900-2,800
€1,600-2,300
30

18
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 32
EDOUARD BISSON (FRENCH, 1856-1939)
An allegory of Spring
signed and dated ‘Edouard Bisson:1891’ (lower left)
oil on canvas
25Ω x 18 in. (65 x 46.5 cm.)
£4,000-6,000 $6,300-9,400
€5,100-7,600
Bisson was a student of Gérome and showed at the Salon until 1939. He gained
popularity for his works from around 1900 which refected the beauty of woman
in La Belle Epoque. He gained many awards, including a bronze medal at the
Exposition Universelle in 1900, and was made Chevalier de la Légion d’Honneur
in 1908.

33
NIKOLAUS GYSIS (GREEK, 1842-1901)
Study of a veiled woman
signed ‘N.Gysis’ (lower right)
oil on panel
7Ω x 5¡ in. (19 x 13.6 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300
PROVENANCE:
Private collection, WFrzburg.
The authenticity of this painting has been confrmed by Konstantinos Didaskalou
(letter dated 27 July 2013).

20
n34
HORACE DE CALLIAS (FRENCH, 1847-1921)
Dana)
signed and dated ‘H de Callias/1880’ (lower left)
oil on canvas
47¿ x 78Ω in. (119.5 x 199.5 cm.)
£12,000-18,000 $19,000-28,000
€16,000-23,000
Horace de Callias was a pupil of Alexandre Cabanel. Like his master, his œuvre includes both fgures from
Parisian high society and classical subjects. In the present work Callias combines the wealth he depicted in
portraits of his Belle Epoque sitters, with his interest in retelling classical myths. His classical compositions include
Theseus and Ariadne, the Capture of the Golden Fleece and a large scale work depicting Diana the Huntress.
The present lot was probably sold as “Golden Rain” in Paris, 1888, FRF 850.

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l35
OCTAVE DENIS VICTOR GUILLONNET (FRENCH, 1872-1967)
Jeune femme nue au jardin
signed and dated ‘ODVGuillonnet 26’ (lower right)
oil on canvas
37Ω x 24√ in. (95 x 63 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800

l36
LUCIEN VICTOR GUIRAND DE SCÉVOLA (FRENCH, 1871-1950)
The white dress
signed ‘Guirand de Scévola ‘ (lower right)
pastel and watercolour on paper
20Ω x 14 in. (52.5 x 35.5 cm.)
£1,500-2,000 $2,400-3,100
€1,900-2,500

nl37
OCTAVE DENIS VICTOR GUILLONNET (FRENCH, 1872-1967)
Picking poppies
signed ‘EODV Guillonnet’ (lower right)
oil on canvas board
69º x 38º in. (167 x 98 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800
36

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 38 (part lot) 38 (part lot)

39

l38A
JEAN-GABRIEL DOMERGUE (FRENCH, 1889-1962)
At the bar
signed ‘Jean/ Gabriel/ Domergue’ (lower right)
oil on board
13 x 9º in. (33 x 24 cm)
£2,000-3,000 $3,200-4,700
€2,600-3,800

38A
l38 39
JEAN-GABRIEL DOMERGUE (FRENCH, 1889-1962) GEORGES JEANNIN (FRENCH, 1841-1925)
The pink hat; The fascinator A bouquet of fowers with a vase and a fan
signed ‘Jean/ Gabriel/ Domergue’ (lower right and lower left respectively) signed and dated ‘G. Jeannin 92.’ (lower left)
oil on board oil on canvas
the frst 10º x 8º in. (26 x 21 cm.); the second 9 x 7¿ in. (23 x 18 cm.) 21Ω x 25æ in. (54.5 x 65.5 cm.)
two in the lot £1,500-2,000 $2,400-3,100
£2,500-3,500 $4,000-5,500 €1,900-2,500
€3,200-4,400

23
 THE PROPERTY OF A GENTLEMAN
n40
RENÉ PEYROL (FRENCH, 1860-1899)
Cattle watering by a stream
signed ‘R. Peyrol’ (lower left)
oil on canvas
69 x 96æ in. (175.3 x 245.7 cm.)
£10,000-15,000 $16,000-23,000
€13,000-19,000
PROVENANCE:
Anonymous sale; Christie’s, South Kensington,
30 November 2006, lot 36.

40

VARIOUS PROPERTIES
41
ERNST BAILLET (FRENCH, 1853-1902)
Rowing on a summer lake
signed ‘Ern. Baillet.’ (lower left)
oil on canvas
25¡ x 45º in. (63.5 x 115 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300

41

42
GEORGES-MARIE-JULIEN GIRARDOT
(FRENCH, 1856-1914)
Allegories of the four seasons: Les
Lavandi–res; La Moisson; Les Vendages;
and Les Fagotteuses
oil on canvas
22¡ x 46Ω in. (57 x 118 cm.); and 19¡ x 44¿ in.
(49 x 112 cm.) a set of four (4)
£4,000-6,000 $6,300-9,400
€5,100-7,600
Visit www.christies.com for more information on
this lot.

42 (part lot)

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nl43
JULES FRANCOIS CHARLES PONCEAU
(FRENCH, 1881-1961)
A picnic and promenade below the Pont du Jour,
Paris
signed and dated ‘J.Ponceau/1906’ (lower right)
oil on canvas
59 x 82Ω in. (150 x 290.5 cm.)
£10,000-20,000 $16,000-31,000
€13,000-25,000
44
FREDERICK CHARLES VIPONT EDE
(CANADIAN, 1865-1907)
A riverside farmhouse
signed ‘Frederic.Ede.’ (lower left)
oil on canvas
21Ω x 25¬ in. (54.5 x 65 cm.)
£2,000-3,000 $3,200-4,700
€2,600-3,800
PROVENANCE:
Anonymous sale, Christie’s South Kensington, 21 September
2005.
Frederick Ede began his studies in America and then came to
Paris to study under Tony Robert-Fleury and Bouguereau. He
won the frst prize at Montreal in 1891, exhibited in Chicago in
1893, and won the medal of honour at the Museum of Boston.
44

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46

26
45
ARMAND GUÉRY (FRENCH, 1850-1912)
Midnight Mass, Christmas Night in Bertincourt, Champagne
signed and dated ‘Armand Guéry-1900-’
(lower left)
oil on canvas
32 x 45Ω in. (81.5 x 116 cm.)
£1,500-2,500 $2,400-3,900
€1,900-3,200

l46
ANDRÉ RATOUCHEFF (FRENCH, 1903-1982)
A winter walk
signed, dated and inscribed ‘A. Ratoucheff/28-VI-1930/Paris’ (lower right)
oil on canvas
24 x 28æ in. (60.2 x 73 cm.)
£2,000-4,000 $3,200-6,300
€2,600-5,000
Russian-born André Ratoucheff followed in his parent’s footsteps onto the stage.
Small of stature, he was principally known as an actor with a travelling troupe of
little people, performing in Italy, Greece and Egypt before settling in Paris, where
he learnt to paint. In the early 1940’s Ratoucheff moved to America with his
touring group, but he still exhibited his paintings annually in the French capital.
An article written during his stay in America reported, “His real avocation... is
painting in oils. He studied for a number of years in France and now, he says, is
reasonably competent – ‘just enough for a little man’” (The New Yorker, New
York, 16 January 1943 p.11).

47

n47
JOSEPH BAIL (FRENCH, 1862-1921)
The secret
signed ‘Bail Joseph’ (lower right)
oil on canvas
39Ω x 32º in. (101.5 x 81.5 cm.)
£6,000-8,000 $9,400-13,000
€7,600-10,000
Joseph Bail was a pupil of Jean Léon Gêrome and Carolus-Durand. As his career
progressed, so did his confdence in his character portrayals. The present work
is likely to have been infuenced by Bail’s summer excursions to the countryside
outside Fontainebleau, perhaps it even recalls a moment the artist himself
stumbled upon in the woodland. Bail regularly submitted to the Salons and
towards the end of his careers was ‘hors concours’, or exempt from having to
submit his works for jury approval. Bail received many awards during his lifetime
and won a gold medal in the 1900 Exposition Universelle Chevalier, the same year
that he was named a Legion d’ Honneur.

48
LAZARE MEYER (FRENCH, 1847-1934)
A restful afternoon in the park
signed and dated ‘LAZARE MEYER/ 1878’ (lower left)
oil on canvas
29 x 22º in. (73.5 x 56 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300
48

27
 49
49 l50
EUGENE GALIEN-LALOUE (FRENCH, 1854-1941) JULES RENÉ HERVÉ (FRENCH, 1887-1981)
A Parisian street at dusk At the fountain in the Tuileries gardens, Paris
signed ‘E.Galien-Laloue’ (lower left) signed ‘Jules R. Hervé’ (lower left)
oil on panel oil on canvas
9¿ x 13 in. (23.5 x 33.3 cm.) 18º x 21æ in. (46 x 55 cm.)
£5,000-7,000 $7,900-11,000 £2,500-3,500 $4,000-5,500
€6,400-8,800 €3,200-4,400
We are grateful to Noé Willer for confrming the authenticity of this lot from a
photograph. PROVENANCE:
with Galerie Assindia, Essen.

50

28
 51
l51 l52
JULES RENÉ HERVÉ (FRENCH, 1887-1981) JULES RENÉ HERVÉ (FRENCH, 1887-1981)
Figures on horseback by the Petit Palais, on the Champs Elys6es, Paris Jardin des Tuileries, Paris
signed ‘Jules R. Hervé’ (lower left) signed ‘Jules R. Hervé’ (lower right) and inscribed ‘Guarantee this painting to be
oil on canvas original Jules R Hervé / JARDIN DES TUILERIES’ (on the reverse)
18º x 21¬ in. (46 x 55 cm.) oil on canvas
£2,500-3,500 $4,000-5,500 18º x 22 in. (46 x 55.5 cm.)
€3,200-4,400 £2,500-3,500 $4,000-5,500
€3,200-4,400
PROVENANCE:
with Omell Galleries, London.

52

29
 53
FRENCH SCHOOL, EARLY 20TH CENTURY
Boulevard Hausmans, Paris
oil on canvas
21æ x 18º in. (55.5 x 46.5 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300

l54
OCTAVE DENIS VICTOR GUILLONNET (FRENCH, 1872-1967)
Tranquilit6 au jardin
inscribed and signed ‘En Hommage a Monsieur/Fernand David/
O.D.V.Guillonnet’ (lower right)
oil on canvas
29 x 24 in. (73.5 x 60.5 cm.)
£6,000-8,000 $9,400-13,000
€7,600-10,000

55 No Lot

30
n*56
GASTON LA TOUCHE (FRENCH, 1854-1913)
Le carrosse rouge
signed and inscribed ‘Gaston La Touche S.C’ (lower left)
oil on canvas
39¬ x 46 in. (101.5 x 117 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800
PROVENANCE: EXHIBITED:
Knoedler & Co, Paris 1910 (Stock no.12235). Chicago, The Art Institute, Exhibition of works by the Members of the Soci6t6 des
Knoedler & Co, New York, December 1910. Peintres et Sculpteurs, January 4th – 28th, 1912, No.91
R.H. Tifft, Buffalo, November 1914. (Lent by Messrs Knoedler).
J.J. Gillespie Gallery, Pittsburgh. We are grateful to Roy Brindley and Selina Baring Maclennan for their assistance in
Mr & Mrs J.F. Hillman, Pittsburgh c.1930. cataloguing this lot, which is to be included in the forthcoming catalogue raisonné,
Thence by descent. which is currently in preparation.

31
 57

l57 l58
RENÉ CHARLES EDMOND HIS (FRENCH, 1877-1960) RENÉ CHARLES EDMOND HIS (FRENCH, 1877-1960)
Bords de l’Eure, Chartres, France A pathway by a river
signed ‘E.René-His’ (lower left) signed ‘E. René-His’ (lower left)
oil on canvas oil on canvas
21º x 28æ in. (54 x 73.5 cm.) 13º x 18º in. (33 x 46 cm.)
£2,000-4,000 $3,200-6,300 19th Century
€2,600-5,000 £1,500-2,000 $2,400-3,100
€1,900-2,500
PROVENANCE:
with Frost & Reed Ltd., London

58

32
59
SPYRIDON SCARVELLI (GREEK, 1868-1942)
Corfu
signed ‘Scarvelli’ (lower left)
watercolour on paper
8º x 13æ in. (21.3 x 35 cm.)
£1,500-2,000 $2,400-3,100
€1,900-2,500

59

60
DOMENICO AMMIRATO (ITALIAN, 1833-1890)
Five Neapolitan scenes
signed ‘Ammirato’ (lower left of three and lower
right of two)
oil on board
7Ω x 4√ in. (19 x 12.5 cm.) measured to frame
edge
a set of fve (5)
£1,500-2,000 $2,400-3,100
€1,900-2,500

60 (part lot) 60 (part lot)

60 (part lot) 60 (part lot) 60 (part lot)

33
61

62 (part lot) 62 (part lot)

61 l62
PIETRO BARUCCI (ITALIAN, 1845-1917) GUIDO ODIERNA (ITALIAN, 1913-1991)
Fishing vessels on the coast, Naples Fishing boats moored off the coast, Capri;
signed ‘P. Barrucci./Roma’ (lower right) and Sorting the nets off the bay of Naples
oil on canvas both signed ‘Guido Odierna’ (lower left)
24√ x 43º in. (63.4 x 109.7 cm.) oil on canvas
£5,000-7,000 $7,900-11,000 the frst 27Ω x 39Ω in. (70 x 100 cm.);
€6,400-8,800 the latter 27Ω x 38√ in. (70 x 99 cm.) (2)
£1,200-1,800 $1,900-2,800
€1,600-2,300

34
 63

64

l63 l64
GIUSEPPE CASCIARO (ITALIAN, 1861-1945) Giuseppe Casciaro was orphaned at the age of twelve, GIUSEPPE CASCIARO (ITALIAN, 1861-1945)
The artist painting on the beach, Ischia and raised by his uncle, who provided his education
in the hope Casciaro would learn medicine. However, Figures playing by the shore, Ischia, Punta
signed, dated and indistinctly inscribed Casciaro enrolled in the Neapolitan Academy of Fine Molino in the distance
‘G Casciaro/25 01 1/...’ (lower left) Arts, where he focused on surrounding shorelines. signed, inscribed and dated
oil on board Many of his works were conducted in pastel and ‘Giu. Casciaro/Ischia 919’ (lower left)
13æ x 17æ in. (35 x 45 cm.) watercolour. In the present oil painting, the artist has
oil on board
£3,000-5,000 $4,700-7,800 depicted his shadow before us, consumed with the
act of his artistic endeavour, as if his presence was 12 x 16√ in. (30.5 x 43 cm.)
€3,800-6,300 part of the natural scenery of the shoreline. £2,000-3,000 $3,200-4,700
€2,600-3,800

35
 65
FEDERICO ANDREOTTI (ITALIAN, 1847-1930)
The proposal
signed ‘F. Andreotti’ (lower left)
oil on canvas
17æ x 13√ in. (45 x 35.3 cm.)
£10,000-15,000 $16,000-23,000
€13,000-19,000
PROVENANCE:
with P. Polak, Essex.
His sale; Christie’s, London, 1 May 1936, lot 157.
Acquired at the above by Mitchell, London.
Thomas M. McLean, London.
Acquired by the father of the present owner,
thence by descent.

66
VITTORIO REGGIANINI (ITALIAN, 1858-1939)
A private liaison
signed ‘V.Reggianini’ (lower right)
oil on canvas
12 x 8Ω in. (30.5 x 21.5 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800
Vittorio Reggianini trained at the Modena art academy with Gaetano Bellei and
Eugenio Zampighi. Reggianini was later promoted to professor at the academy.
In 1855 he moved to Florence, from where his work travelled throughout
Europe and the United States. Reggianini’s subject matter and style of painting
acclimatised to the new tastes of his international arena. Like Frédric Soulacroix,
Reggianini depicted extremely elegant fgures in luxurious environs. In the present
lot we are granted access to an intimate firtation shared between the main
characters; a secret known only to their luxurious surroundings and the viewer.

36
67
GIUSEPPE CANELLA (ITALIAN, 1788-1847)
Figures in an Italian square
signed ‘Canella’ (lower left)
oil on canvas
6Ω x 9Ω in. (16.5 x 24.5 cm.)
£2,500-3,500 $4,000-5,500
€3,200-4,400

68
ANTONIETTA BRANDEIS (HUNGARIAN, 1849-1910)
The Bridge of Sighs, Venice
signed ‘ABrandeis’ (lower right) with inscription ‘’Le Ponte dei
Sospire e angolo/ del Palazzo Ducale / Venezia’ (on the reverse)
oil on board
7 x 9º in. (17 x 23.5 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800
PROVENANCE:
with MacConnal-Mason & Son Ltd., London.

69
GIOVANNI GRUBACS (ITALIAN, 1829-1919)
St Mark’s Square looking towards San Giorgio
Maggiore, Venice
signed ‘Gio Grubacs’ (lower left)
oil on canvas
12 x 15æ in. (30.2 x 40 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800

37
 70
GIOVANNI GRUBACS (ITALIAN, 1829-1919)
St. Mark’s Square, Venice
signed ‘Gio/Grubacs’ (lower left)
oil on canvas
22æ x 28√ in. (57.8 x 73.2 cm.)
£15,000-20,000 $24,000-31,000
€19,000-25,000
PROVENANCE:
Anonymous sale; Phillips, London, 1 December 1998, lot 117.

38
 71
l71
NOEL GEORGES BOUVARD (FRENCH, 1912-1975)
A Venetian canal
signed with pseudonym ‘Marc Aldine’ (lower right)
oil on canvas
10æ x 13√ in. (27 x 35.4 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300
PROVENANCE:
Anonymous sale; Christie’s, London, 23 March 1967, lot 72.
‘Marc Aldine’ is a pseudonym used by the Bouvard family.

72
ANTONIETTA BRANDEIS
(HUNGARIAN, 1849-1910)
Church of Santa Maria della Salute, Venice
signed ‘ABrandeis.’ (lower right)
oil on panel
11 x 7æ in. (27.9 x 19.7 cm.)
£5,500-6,500 $8,600-10,000
€7,000-8,200
PROVENANCE:
with W.H. Patterson, London.

72

39
 l73
BOUVARD (FRENCH, 20TH CENTURY)
A conversation on a Venetian backwater
signed with pseudonym ‘Marc Aldine’ (lower right)
oil on canvas
11 x 14 in. (28 x 36 cm.)
£3,500-4,500 $5,500-7,000
€4,500-5,700
‘Marc Aldine’ is a pseudonym used by the Bouvard
family.

l74
BOUVARD (FRENCH, 20TH CENTURY)
A Venetian backwater
both signed ‘Bouvard’ (lower right)
oil on canvas
11 x 8√ in. (27.2 x 22 cm.) a pair (2)
£3,000-5,000 $4,700-7,800
€3,800-6,300

75
ALPHONSE LECOZ (FRENCH, 20TH CENTURY)
A gondolier on a Venetian backwater
signed ‘Lecoz’ (lower right)
oil on canvas
23æ x 47º in. (60.5 x 119.5 cm.)
£2,500-3,500 $4,000-5,500
€3,200-4,400

40
76

l76
ALFRED AUGUST FELIX BACHMANN (GERMAN, 1863-1956)
On the waterfront outside St. Marks Square,
Santa Maria della Salute beyond
signed ‘ABachmann.’ (lower left)
oil on canvas
25æ x 32 in. (65.5 x 81.5 cm.)
£3,500-4,500 $5,500-7,000
€4,500-5,700

l76A
BOUVARD (FRENCH, 20TH CENTURY)
Vessels on a Venetian backwater
signed with pseudonym ‘Mark Aldine’ (lower left)
oil on canvas
21√ x 15 in. (55.2 x 38 cm.)
£5,500-6,500 $8,600-10,000
€7,000-8,200
PROVENANCE:
with W.H. Patterson, London.
‘Marc Aldine’ is a pseudonym used by the Bouvard family
76A

41
 n77
ITALIAN SCHOOL, 20TH CENTURY
The artist’s model
51Ω x 38º in. (131 x 97 cm.)
oil on canvas, unframed
£2,000-3,000 $3,200-4,700
€2,600-3,800

78
GIOVANNI BOLDINI (ITALIAN, 1842-1931)
Portrait of a lady
signed ‘Boldini’ (lower right)
watercolour on paper
5 x 7æ in. (12 x 20 cm.) (to edge of paper)
£3,000-5,000 $4,700-7,800
€3,800-6,300

42
n79
BENITO REBOLLEDO CORREA (CHILEAN, 1880-1964)
The mussel pickers
signed ‘B.Rebolledo Correa’ (lower left)
oil on canvas
39æ x 62Ω in. (101 x 159 cm.)
£12,000-18,000 $19,000-28,000
€16,000-23,000
Benito Rebolledo Correa was interested in art from a young age; he studied painting, sculpture and drawing
at the night school during his teenage years. At ffteen he moved to Santiago where he lived with a group of
artists. Correa devoted his life to his two passions: boxing and painting. Breaking away from the artistic tradition
before him, his large canvas hints towards the concerns of the dawning impressionist movement. Just as he
uses a sense of boldness and urgency in the boxing ring; so too on this large canvas we see him using urgent
yet dexterous brushstrokes and a boldness in his use of colour.

43
 80

81
80 81
VINCENTE DE PARADES (SPANISH, 1845-1903) JOSÉ GALLEGOS Y ARNOSA (SPANISH, 1859-1917)
The Raconteur The cardinal’s visit to the library
signed ‘V. de. PARADES’ lower left) signed, inscribed and dated ‘JGallagos/ROMA 1912’
oil on canvas oil on panel
17 x 25 in. (43 x 63.5 cm.) 10 x 14 in. (25.5 x 35.5 cm.)
£4,000-6,000 $6,300-9,400 £4,000-6,000 $6,300-9,400
€5,100-7,600 €5,100-7,600

44
82

PROPERTY OF A PRIVATE COLLECTOR

n82
FRANCISCO MASRIERA MANOVENS (SPANISH, 1842-1902)
A classical lullaby
signed and dated ‘F. Masriera/1894’ (lower right)
oil on canvas
26 x 38 in. (66 x 96.7 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300

VARIOUS PROPERTIES
83
FRANCISCO MIRALLES Y GALUP (SPANISH, 1848-1901)
The red ribbon
signed and dated ‘F Miralles/1875’ (upper left)
oil on canvas
16 x 12æ in. (41 x 32.8 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300
83

45
 85

85
EMILE EISMAN-SEMENOWSKY (POLISH, 1857-1911)
Celebration
signed, inscribed and dated ‘EISMAN-SEMENOWSKY - PARIS 93.’
(lower right)
oil on panel
8º x 6 in. (21 x 15 cm.)
£2,000-4,000 $3,200-6,300
€2,600-5,000
An enlarged detail of the present lot is illustrated on the front cover.

86
84
LUIS RICARDO FALERO (SPANISH, 1851-1896)

84 The poppy fairy

LUIS RICARDO FALERO (SPANISH, 1851-1896) signed and dated ‘FALERO/1888’ (lower left)
oil on canvas
Twin Stars 39¡ x 21Ω in. (100 x 54.5 cm.)
signed with monogram ‘LF’ (lower left) and signed ‘Falero’ (on the reverse)
oil on panel
£10,000-15,000 $16,000-23,000
19æ x 8æ in. (50 x 22.5 cm.) €13,000-19,000
£3,000-5,000 $4,700-7,800 Luis Ricardo Falero was born in Granada. After rejecting a career in the navy, he
walked to Paris, where he experimented with engineering. He settled in London in
€3,800-6,300 the 1880s, where he spent most of his life. He displayed his anatomical dexterity
The present work is compositionally related to the watercolour ‘Twin Stars’ in the with his depictions of nude models, but he focused on mythological, astronomical
Metropolitan Museum of Art, New York. (see lot 84) and fantastical settings for his subjects.

46
86
l87 88
HANS ZATZKA (AUSTRIAN, 1859-1945) EUGENE DE BLAAS (AUSTRIAN, 1843-1932)
Cupid plays at the water fountain A moment of sadness
signed ‘H.Zatzka’ (lower left) signed ‘Eug.o de Blaas’ (lower right)
oil on canvas oil on canvas
23æ x 14º in. (57.6 x 36 cm.) 34º x 17 in. (87 x 43.2 cm.)
£4,000-6,000 $6,300-9,400 £10,000-15,000 $16,000-23,000
€5,100-7,600 €13,000-19,000
PROVENANCE:
Anonymous sale; Christie’s, London, 11 May 1962, lot 64.
Anonymous sale; Christie’s, South Kensington, 5 July 2001, lot 123.
Eugene de Blaas was born into a family of accomplished artists. His father Karl von
Blaas, a portrait, history and fresco painter as well as a sculptor, was a professor
at the Vienna Academy of Fine Art followed by the Venice Academy of Fine Art.
Eugene’s brother Julius was a painter of battle scenes and animals as well as
an established watercolorist, who later on became a professor at the Academy
in Rome. The family, originally from Austria, relocated initially to Rome, where
Eugene and Julius were born, followed by Venice due to Karl’s posting at the
Academy. Eugene then attended the Academy in Rome, where he later became
a professor, followed by the Academy in Venice. His art was well received in
England, allowing him to exhibit consistently at the Royal Academy, the Grafton
Gallery and the New Gallery between 1875 and 1892.

48
89
FRITZ ZUBER-BUHLER (SWISS, 1822-1896)
Admiring the baby
signed ‘ZUBER BUHLER’ (lower right)
oil on canvas
19Ω x 16 in. (49.5 x 40.5 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800

90
FRITZ ZUBER-BÜHLER (SWISS, 1822-1896)
Feeding the baby
signed ‘ZUBER-BUHLER’ (lower left)
oil on canvas
22 x 18º in. (55.5 x 46.2 cm.)
£4,000-6,000 $6,300-9,400
€5,100-7,600

49
 91 (a pair)

91
ATTRIBUTED TO WOICIECH (ALDABERT) RITTER VON KOSSAK
(POLISH, 1856-1942)
A Zieten Hussar in the heart of battle;
and a Cuirassier leading the charge
the second signed ‘W. Kossak’ (lower right)
oil on canvas
both 25Ω x 19æ in. (65.5 x 50.5 cm.) a pair (2)
£5,000-7,000 $7,900-11,000
€6,400-8,800

n*92
ERNST THALLMALER (GERMAN, 19TH CENTURY)
A bather at dusk
signed ‘Ernst Thallmaler’ (lower left)
oil on canvas, unframed
68æ x 37Ω in. (174.7 x 95.2 cm.)
£4,000-6,000 $6,300-9,400
€5,100-7,600

n93
FRANZ MÜLLER-MÜNSTER
(GERMAN, 1867-1936)
The Rearing Horse
signed ‘FMFller-Munster’ (lower left)
oil on canvas laid down on board
59º x 74æ in. (150.5x 189.9 cm.)
£6,000-8,000 $9,400-13,000
€7,600-10,000

94 No Lot
92

50
93

95 96
KARL HEFFNER (GERMAN, 1849-1925) GILBERT MUNGER (AMERICAN, 1837-1903)
Autumn A peasant in a forest clearing
signed ‘K Heffner’ (lower right) signed ‘Gilbert Munger’ (lower left)
oil on canvas oil on panel
24Ω x 22æ in. (62 x 57.5 cm.) 18¿ x 14æ in. (46 x 37.5 cm.)
£1,500-2,000 $2,400-3,100 £2,000-3,000 $3,200-4,700
€1,900-2,500 €2,600-3,800

95 96

51
97
l97
VIDA GÁBOR (HUNGARIAN, 1937-2007)
The snowman’s friend
oil on panel
19¬ x 15æ in. (50 x 40 cm.)
£8,000-12,000 $13,000-19,000
€11,000-15,000
We are grateful to the artist’s son, Dr. Vida Gábor, for confrming the authenticity
of this work on the basis of a photograph.

l98
VIDA GÁBOR (HUNGARIAN, 1937-2007)
The reluctant assistant 98
oil on panel
19¬ x 15æ in. (50 x 40 cm.)
£8,000-12,000 $13,000-19,000
€11,000-15,000
We are grateful to the artist’s son, Dr. Vida Gábor, for confrming the authenticity
of this work on the basis of a photograph.

n99
THEODOR MATTHEI (GERMAN, 1857-1920)
The skaters
signed and dated ‘Th Matthei 1913’ (lower right)
oil on canvas
39¬ x 29º in. (100.5 x 74 cm.)
£3,500-4,500 $5,500-7,000
€4,500-5,700
99

53
 100
BELGIAN SCHOOL, 19TH/20TH CENTURY
Playtime
indistinctly signed and dated ‘H Guim...mean/1887’
(lower left)
oil on canvas
25¬ x 32 in. (65.2 x 81 cm.)
£1,500-2,500 $2,400-3,900
€1,900-3,200

101
ADOLF CARL SENFF (GERMAN, 1785-1863)
Tulips, Iris, Convolvulus and summer fowers in an
Etruscan vase on a marble ledge
signed, inscribed and dated ‘Adolfo Senff. Roma. 1831.’
(lower right)
oil on canvas
24æ x 19Ω in. (63 x 45.9 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300
100

n102
AUGUSTE SERRURE (BELGIAN, 1825-1903)
Conversations in the The Salle de Franc, Palais de
Justice de Bruge, Belgium
signed and dated ‘Serrure 1881’ (lower left)
oil on canvas
31¿ x 44º in. (79.5 x 112.5 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800
The Salle de Franc in Bruge is best known for the elaborate
carved decoration of the room, in particular the exquisite
carving around the freplace designed by Lancelot Blondeel
(1498-1561) and sculptured in about 1527 by Guyot de
Beauregard (d. 1551). Carved in wood are Charles V, Mary of
Burgundy and Maximilian, Charles the Bold and Margaret of
York his third wife. They are surrounded by various coats of
arms including that of Burgundy and that of Spain. (J. Murray,
A Handbook for Travellers on the Continent, London, 1839.)

103
JAN JACOB ZUIDEMA BROOS (DUTCH, 1833-1882)
The train station waiting room
signed and dated ‘Broos. 1861’ (lower left)
oil on panel
11¬ x 17º in. (29.5 x 44.2 cm.)
£2,000-4,000 $3,200-6,300
€2,600-5,000
101

54
102

103

55
104 106

104
WILLIAM RAYMOND DOMMERSEN (DUTCH, 1850-1927)
A street in Spain
signed ‘WRDommersen’ (lower right); and inscribed and signed with initials
‘A street in Spain/.WRD.’ (on the reverse)
oil on canvas
18º x 14º in. (46.3 x 36 cm.)
£1,200-1,800 $1,900-2,800
€1,600-2,300

105
PIETER CORNELIS DOMMERSEN (DUTCH, 1834-1908)
Roermond, Limburg, Holland
signed and dated ‘P.C. Dommersen. 1889’ (lower right)
oil on panel
20 x 15¬ in. (51 x 40 cm.)
£2,000-4,000 $3,200-6,300
€2,600-5,000

106
WILLIAM RAYMOND DOMMERSEN (DUTCH, 1850-1927)
Utrecht, Holland
signed ‘WRDommersen’ (lower right); and inscribed and signed with initials
‘Utrecht/.Holland./.WRD.’ (on the reverse)
oil on canvas
18º x 14º in. (46.5 x 36 cm.)
£1,200-1,800 $1,900-2,800
€1,600-2,300
105

56
107

PROPERTY FROM A DISTINGUISHED

PRIVATE COLLECTION
107
JOHAN BARTHOLD JONGKIND
(DUTCH, 1819-1891)
La cNte ( Sainte-Adresse
inscribed and dated ‘Sainte-Adresse 1861’ (lower
left) and inscribed, signed and dated ‘a son ami
Herlon Paris 16 nov 65 J B Jongkind’ (lower right)
pencil and watercolour on paper
13¬ x 7Ω in. (34.5 x 18.7 cm.)
£5,000-7,000 $7,900-11,000
€6,400-8,800
PROVENANCE:
A gift from the artist to M. Herlon, 1865.
Anonymous sale; Drouot, Paris, 28 February 1951,
lot 52a.

EXHIBITED:
Paris, Galerie Schmit, Jongkind, 4 May - 4 June
1966, no. 70
We are grateful to Comité Jongkind, Paris-La Haye for
their assistance cataloguing this lot, which is recorded
in their archive under the number G00552, and will
be included in their forthcoming catalogue critique.

VARIOUS PROPERTIES
l108
FERNAND TOUSSAINT (BELGIAN, 1873-1955)
The houses over the river
signed ‘Toussaint’ (lower left)
oil on canvasboard
15 x 18¿ in. (38 x 46 cm.)
£1,200-1,800 $1,900-2,800
€1,600-2,300
108

57
 109
BELGIAN SCHOOL, 19TH CENTURY
Romance under the full moon
with monogram ‘CG’ (lower right)
oil on canvas
18Ω x 18Ω in. (47 x 47 cm)
£5,000-8,000 $7,900-13,000
€6,400-10,000

l110
CAMILLE NICOLAS LAMBERT
(BELGIAN, 1876-1963)
The sand dunes at sunset
signed ‘N.C. LAMBERT’ (lower right)
oil on canvas, unframed
25¡ x 25¬ in. (64.5 x 65 cm.)
£2,500-3,500 $4,000-5,500
€3,200-4,400

109

n111
SIGVARD MARIUS HANSEN
(DANISH, 1859-1938)
A snow covered track in winter
signed and dated ‘Sigvard Hansen 1915’
(lower right)
oil on canvas
26º x 39æ in. (65 x 101 cm.)
£4,000-6,000 $6,300-9,400
€5,100-7,600

n112
HENRIK GAMST JESPERSEN
(DANISH, 1852-1936)
The water garden
signed and dated ‘Henrik J 1913’ (lower left)
oil on canvas
35º x 55√ in. (89.5 x 141.7 cm.)
£1,200-1,800 $1,900-2,800
€1,600-2,300
110

58
111

112

59
 113
l113 nl114
AXEL TEODOR KULLE (SWEDISH, 1882-1964) Romeleklint is the second highest, and most famous, AXEL TEODOR KULLE (SWEDISH, 1882-1964)
Romeleklint, Sweden point on Romeleåsen. At an unusually high 175 A windy landscape
meters above sea level in an otherwise fat landscape,
signed ‘A Kulle’ (lower right) it is covered by pine forest. signed ‘A.T.Kulle’ (lower right)
oil on canvas oil on canvas
24 x 30 in. (61 x 76.5 cm.) 29 x 36º in. (74 x 92 cm.)
£2,500-3,500 $4,000-5,500 £1,500-2,500 $2,400-3,900
€3,200-4,400 €1,900-3,200

114

60
 115
115 PROPERTY OF A PRIVATE COLLECTOR (LOTS 116, 118 & 124)
CARL VON BLAAS (AUSTRIAN, 1815-1894) 116
The fnding of Moses HIPPOLYTE PIERRE DELANOY PROVENANCE:

signed ‘CBlaas.’ (lower right) (FRENCH, 1849-1899) Anonymous sale; Christie’s, London, 31 October
oil on canvas An open book with Ottoman artefacts 1974, lot 3.
12 x 15æ in. (30.2 x 40 cm.) signed ‘Hip:te pierre Delanoy’ (lower right) The objects depicted in this work include a Persian
£2,500-3,500 $4,000-5,500 oil on canvas Qajari helmet (Khula-khud) and shield, with Ottoman
23¬ x 45º in. (60 x 115 cm.) provinces artefacts, including matchlock gun, silver
€3,200-4,400 hilted iar-dagger (gatayan), ivory handled iar-dagger,
£2,000-4,000 $3,200-6,300 a kindjal and two small blades, with prayer beads
€2,600-5,000 and shield.

116

61
 VARIOUS PROPERTIES
117
FREDERICK GOODALL (BRITISH, 1822-1904)
Crossing the pool, Egypt
signed with monogram and dated ‘1899’ (lower
right) and inscribed ‘Fording the pool from the
isolated village/Time of the inundation of the Nile/
FredR.Goodall/copyright reserved’ (on the reverse)
oil on canvas
15¿ x 36º in. (38.5 x 92 cm.)
£2,500-3,500 $4,000-5,500
€3,200-4,400

PROPERTY OF A PRIVATE COLLECTOR

(LOTS 116, 118 & 124)
118
JOSEPH AUSTIN BENWELL (BRITISH, 1816-1886)
Prayers in the desert
signed and dated ‘J a.Benwell 1866’ (lower left)
watercolour and pencil on paper
15 x 20¿ in. (38 x 51 cm.)
£2,000-3,000 $3,200-4,700
€2,600-3,800

VARIOUS PROPERTIES
D119
FREDERICK GOODALL (BRITISH, 1822-1904)
The waters of the Nile, Egypt
signed with monogram (lower left)
oil on canvas
15 x 36 in. (38.2 x 91.5 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300

62
120 121
AUGUSTUS OSBORNE LAMPLOUGH (BRITISH, 1877-1930) AUGUSTUS OSBORNE LAMPLOUGH (BRITISH, 1877-1930)
Cairo at dusk, Egypt An Arab on a camel surveying the desert at dusk
signed ‘A. Lamplough R.W.S.’ (lower left) signed ‘A Lamplough A.R.A.’ (lower left)
watercolour and bodycolour on paper pencil and watercolour on paper
14 x 26Ω in. (35.5 x 67.3 cm.) 20 x 29 in. (50.9 x 73.8 cm.)
£3,000-5,000 $4,700-7,800 £3,000-5,000 $4,700-7,800
€3,800-6,300 €3,800-6,300

63
 122
CHARLES WILDA (AUSTRIAN, 1854-1907)
The snake charmer
signed ‘CH WILDA’ (lower right)
watercolour on paper
8æ x 6¡ in. (22 x 16.5 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300
PROVENANCE:
with Mathaf Gallery, London.
Anonymous sale; Christie’s, South Kensington, 23 March 2005, lot 307.

123
CIRCLE OF ALEXANDRE GABRIEL DECAMPS (FRENCH, 1803-1860)
A seated Algerian
indistinctly signed ‘D...’ (lower left)
oil on canvas
18º x 15º in. (46.5 x 38.6 cm.)
£1,500-2,000 $2,400-3,100
€1,900-2,500
122

PROPERTY OF A PRIVATE COLLECTOR (LOTS 116, 118 & 124)

124
FREDERICK GOODALL (BRITISH, 1822-1904)
A camel in a crowded street, Cairo
signed and dated ‘F Goodall 1861’ (lower right)
oil on panel
24 x 17Ω in. (61 x 44.8 cm.)
£10,000-15,000 $16,000-23,000
€13,000-19,000
PROVENANCE:
Anonymous sale; Sotheby’s, London, 19 May 1971, lot 89.
Frederick Goodall’s works proved popular throughout Europe in his own lifetime.
His talent was recognised from a young age; and by 1852 he was elected an
Associate of the Royal Academy in London. He visited Egypt for the frst time
in 1858, where he shared a studio with Carl Haag in Cairo. The present lot,
completed in 1861, is a product of that frst excursion. The orient captured his
imagination. Whilst he frequently painted pictures depicting historic moments,
such as the fooding of the Nile, and biblical narratives such as the Finding of
Moses, the present lot shows how his imagination was equally excited by everyday
scenes before him during his travels. Every part of this bustling Cairo street is
carefully recorded and delivered to the viewer, framed underneath an archway
which draws the onlooker’s eye into the image, and their imagination into the
action itself.
123

64
124
 125 127

VARIOUS PROPERTIES
125
FRANS WILHELM ODELMARK (SWEDISH, 1849-1937)
Odalisques in the harem
signed and dated ‘F.W. Odelmark / 1887.’ (lower right)
oil on canvas
28¬ x 19Ω in. (72.5 x 49.5 cm.)
£2,000-4,000 $3,200-6,300
€2,600-5,000

126
PAUL DELAMAIN (FRENCH, 1821-1882)
Bedouins resting at the gates of a fort
signed ‘Paul Delamain’ (lower right)
oil on canvas
15Ω x 12º in. (39 x 31 cm.)
£2,000-3,000 $3,200-4,700
€2,600-3,800

127
JOHN EVAN HODGSON (BRITISH, 1831-1895)
In the tea house
signed and dated ‘J E Hodgson 1873’ (lower left)
oil on panel
11 x 5æ in. (27.9 x 14.6 cm.)
£3,000-5,000 $4,700-7,800
€3,800-6,300
126

66
128
RUDOLF ERNST (AUSTRIAN, 1854-1932)
An important visit
signed ‘R. Ernst.’ (lower right)
oil on panel
18 x 14√ in. (45.7 x 37.8 cm.)

£10,000-15,000 $16,000-23,000
€13,000-19,000
PROVENANCE:
Anonymous sale; Bukowskis, Stockholm, 2-3 April 1952, lot 116.

67
 129

130

129 l130
GEORG MACCO (GERMAN, 1863-1933) ATTRIBUTED TO ADOLPHE BACHMAN
Jerusalem (SWISS, 1880-1956)
signed and dated G. Macco./ 1932.’ (lower left) The Golden Horn, Istanbul
watercolour and bodycolour on paper oil on canvas
16Ω x 24º in. (42 x 62 cm.) 25Ω x 36 in. (65.5 x 91.4 cm.)
£2,000-4,000 $3,200-6,300 £4,000-6,000 $6,300-9,400
€2,600-5,000 €5,100-7,600

END OF SALE
WE ARE NOW ACCEPTING CONSIGNMENTS FOR OUR 16 APRIL 2015 AUCTION
Index

A E M
Allegre, R., 16 Ede, F., 44 Macco, G., 129
Ammirato, D., 60 Eisman-Semenowsky, E., 85 Manovens, F., 82
Andreotti, F., 65 Ernst, R., 128 Matthei, T., 99
Meyer, L., 48
B F
Monticelli, A., 9
Bachmann, A., 76 Falero, L., 84, 86
MFller-MFnster, F., 93
Bail, J., 47
G Munger, G., 96
Baillet, E., 41
Gábor, V., 97, 98
Barnoin, H., 27 O
Galien-Laloue, E., 28, 49
Barucci, P., 61 Odelmark, F., 125
Gallegos y Arnosa, J., 81
Benwell, J., 118 Odierna, G., 62
Galup, F., 83
Bisson, E., 32
Girardot, G., 42 P
Bistagne, P., 25
Giroux, A., 1 Peyrol, R., 40
Boldini, G., 78
Goodall, F., 117, 119, 124 Poitevin, E., 26
Bouret, G., 23
Grubacs, G., 69, 70 Ponceau, J., 43
Bouvard, 71, 73, 74, 76A
Guéry, A., 45
Brandeis, A., 68, 72 R
Guillonnet, O., 35, 37, 54
Brascassat, J., 22 Ratoucheff, A., 46
Gysis, N., 33
Brochart, C., 15 Reggianini, V., 66
Broos, J., 103 H Remond, J., 6
Hansen, S., 111
C S
Harpignies, H., 2, 4, 5
Canella, G., 67 Scarvelli, S., 59
Heffner, K., 95
Carrier-Belleuse, P., 18 Scévola, L., 36
Heilbuth, F., 7
Carrière, E., 29 Senff, A., 101
Helleu, P., 19, 20
Casciaro, G., 63, 64 Serrure, A., 102
Herve, J., 50, 51, 52
Constant, J., 30 Sieffert, P., 17
His, R., 57, 58
Correa, B., 79
Hodgson, J.E., 127 T
D Thallmaler, E., 92
J
Dagnac-Rivière, C., 8 Toussaint, F., 108
Jeannin, G., 39
De Callias, H., 34
Jespersen, H., 112 V
de Parades,V., 80
Jongkind, J., 107 Vollon, A., 14
Decamps, A., 123
von Blaas, C., 115
Delamain, P., 126 K
von Blaas, E., 88
Delanoy, H., 116 Kossak, W., 91
Diaz de la Pena, N., 3 Krøyer, P., 109 W
Domergue, J., 38, 38A Kulle, A., 113, 114 Wells, C., 31
Dommersen, P., 105 Kuwasseg, C., 24 Wilda, C., 122
Dommersen, W., 104, 106 Z
L
Dubreuil, C., 21 Zatzka, H., 87
La Touche, G., 56
Duverger, T., 10, 11, 12, 13 Zuber-Buhler, F., 89, 90
Lambert, C., 110
Lamplough, A., 120, 121
Lecoz, A., 75
 Important Notices and Explanation of
Cataloguing Practice
IMPORTANT NOTICES PROPERTY INCORPORATING MATERIALS EXPLANATION OF
CHRISTIE’S INTEREST IN PROPERTY FROM ENDANGERED AND OTHER CATALOGUING PRACTICE
CONSIGNED FOR AUCTION PROTECTED SPECIES The following expressions with their accompanying
From time to time, Christie’s may offer a lot which Property made of or incorporating (irrespective explanations are used by Christie’s as standard
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its lot number. in the catalogue. Such material includes, among of the extent of any restoration.
On occasion, Christie’s has a direct financial interest other things, ivory, tortoiseshell, crocodile skin,
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in lots consigned for sale, which may include
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advance to the consignor that is secured solely by purchasers are advised that several countries prohibit A work catalogued with the name(s) or recognised
consigned property. Where Christie’s holds such altogether the importation of property containing designation of an artist or maker, without any
financial interest on its own we identify such lots such materials, and that other countries require a qualification, is, in our opinion, a work by the artist
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familiarise themselves with the relevant customs laws
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exchange for accepting this risk based on a fixed fee the client’s responsibility to determine and satisfy the In our opinion probably a work by the artist or
if the third party is the successful bidder or on the requirements of any applicable laws or regulations maker in whole or in part.
final hammer price in the event that the third party applying to the export or import of property
is not the successful bidder. The third party may also “Circle of …”
containing endangered and other protected wildlife In our opinion a work of the period of the artist or
bid for the lot. Where it does so, and is the successful
material. The inability of a client to export or import
bidder, the remuneration may be netted against the maker and showing his influence.
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wildlife material is not a basis for cancellation or “Manner of …”
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rescission of the sale. Please note also that lots In our opinion a work executed in the style of the
christies.com/financial-interest/ for a more detailed
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its interest in the front of the catalogue.
ELEPHANT IVORY AND OTHER WILDLIFE Has a signature/seal which in our opinion is that of
ALL DIMENSIONS ARE APPROXIMATE MATERIAL INTO THE USA the artist
CONDITION The USA has recently changed its policy on the “With signature …”/ “With seal …”/
Christie’s catalogues include references to condition import of property made of or containing elephant Has a signature/seal which in our opinion is not that
only in descriptions of multiple works (such as ivory. Only Asian Elephant ivory may be imported of the artist
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only alterations or replacement components are DNA analysis and confirmation the object is more
listed. Please contact the Specialist Department than 100 years old. We have not obtained a DNA Is so dated and in our opinion was executed at about
for a condition report on a particular lot. The analysis on any lot prior to sale and cannot indicate that date.
nature of the lots sold in our auctions is such that whether the elephant ivory in a particular lot is “With date …”/
they will rarely be in perfect condition, and are African or Asian elephant. Buyers purchase these Is so dated but was not in our opinion executed at
likely, due to their nature and age, to show signs lots at their own risk and will be responsible for the that date.
of wear and tear, damage, other imperfections, costs of obtaining any DNA analysis or other report
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in a catalogue entry will not amount to a full such property into the USA. (a) A piece catalogued with the name of a period,
description of condition. Condition reports are The USA is also currently requiring all imports of reign or dynasty without further qualification
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the auction in which it is included. Any statement prior to sale (unless specifically indicated) and reign or dynasty is in our opinion, quite
as to the physical nature or condition of a lot, in a buyers will be responsible for the costs of any such possibly a copy or imitation of pieces made
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Christie’s staff are not professional restorers or A buyer’s inability to export or import any lot (c) A reference to a “mark and of the period”
trained conservators and accordingly any such containing elephant ivory or other wildlife material means that, in our opinion, the piece is of the
statement will not be exhaustive. We therefore
is not a basis for cancelling the purchase. period of the mark (e.g. “Kangxi six-character
recommend that you always view property
mark and of the period”).
personally, and, particularly in the case of any items POST 1950 FURNITURE
of significant value, that you instruct your own All items of post-1950 furniture included in this (d) A reference to a mark without reference to
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you in advance of bidding. in a private home or now offered solely as works although bearing the mark, the pieces were
of art. These items may not comply with the possibly not made in the period of the mark
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1993, the “Regulations”). Accordingly, these items mentioned, the lot is, in our opinion, of
should not be used as furniture in your home in uncertain date or 19th or 20th century
their current condition. If you do intend to use such manufacture.
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
30/09/14
(as appropriate) in order that they comply with the
provisions of the Regulations.
70
Buying at Christie’s
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one year and those wishing to spend more than on previous required to pay the VAT at the time of settlement.
occasions, will be asked to supply a new bank reference. VAT OwnShipper:
For assistance with references, please contact Christie’s Credit † VAT will be charged on the invoice, refundable by the VAT
Department at +44 (0)20 7389 2862 (London, King Street) VAT payable at 20% on hammer price and buyer’s premium Department upon receipt of the appropriate official documents
or at +44 (0)20 7752 3137 (London, South Kensington). We * sent to us by your shipper.
These lots have been imported from outside the EU for sale Hand-Carried:
may at our option ask you for a financial reference or a using a Temporary Import regime. Import VAT is payable (at
deposit as a condition of allowing you to bid. VAT will be charged on the invoice.This will be refunded by
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyer’s Premium on a VAT inclusive basis. This VAT is the VAT Department upon receipt of the appropriate official
REGISTERING TO BID ON SOMEONE ELSE’S BEHALF document.
Persons bidding on behalf of an existing client should bring not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or *, Ω or †
a signed letter from the client authorising the bidder to act Starred, Omega or Daggered lots – A C88 can be obtained
on the client’s behalf. Please note that Christie’s does not complete the import into another EU country, he must advise
Christie’s immediately after the auction. from Christie’s Shipping Department .This document must be
accept payments from third parties. Christie’s can only accept stamped by UK Customs on leaving the UK.
payment from the client, and not from the person bidding Ω
These lots have been imported from outside the EU for sale (no symbol)
on their behalf. Margin Scheme lots – Please obtain GB Tax Free form from
using a Temporary Import regime. Import VAT is payable
BIDDING (at 20%) on the Hammer price. VAT is also payable (at 20%) the Cashiers. This document must be stamped by UK Customs
The auctioneer accepts bids from those present in the sale- on the buyer’s Premium on a VAT inclusive basis. This VAT on leaving the UK.
room, from telephone bidders, or by absentee written bids left is not shown separately on the invoice. Where applicable Starred or Omega lots must be exported within 30 days of the
with Christie’s in advance of the auction. The auctioneer may Customs duty will be charged (per rate specified by HMRC date of collection. All other lots not subject to import VAT
also execute bids on behalf of the seller up to the amount of guidance) on the Hammer price and VAT will be payable at must be exported within three months of collection, and proof
the reserve. The auctioneer will not specifically identify bids 20% on duty. When a buyer of such a lot has registered an EU of export provided in the appropriate form.
placed on behalf of the seller. Under no circumstances will the address but wishes to export the lot or complete the import EXPORT/IMPORT PERMITS
auctioneer place any bid on behalf of the seller at or above the into another EU country, he must advise Christie’s immediately Buyers should always check whether an export licence is required
reserve. Bid steps are shown on the Absentee Bid Form at the after the auction. before exporting. It is the buyer’s sole responsibility to obtain any
back of this catalogue. α BuyersfromwithintheEU: relevant export or import licence. The denial of any licence or
VAT payable at 20% on just the buyer’s premium (NOT the
ABSENTEE BIDS hammer price). any delay in obtaining licences shall neither justify the rescission of
Absentee bids are written instructions from prospective buyers BuyersfromoutsidetheEU: any sale nor any delay in making full payment for the lot.
directing Christie’s to bid on their behalf up to a maximum VAT payable at 20% on hammer price and buyer’s premium. Christie’s can advise buyers on the detailed provisions of the
amount specified for each lot. Christie’s staff will attempt to If a buyer, having registered under a non-EU address, decides export licensing regulations and will submit any necessary
execute an absentee bid at the lowest possible price, taking that the item is not to be exported from the EU, then he export licence applications on request. However, Christie’s
into account the reserve price. Absentee bids submitted on “no should advise Christie’s to this effect immediately cannot ensure that a licence will be obtained. Local laws may
reserve” lots will, in the absence of a higher bid, be executed q Zero rated prohibit the import of some property and/or may prohibit
at approximately 50% of the low pre sale estimate or at the No VAT charged. the resale of some property in the country of importation.
amount of the bid if it is less than 50% of the low pre-sale For more information, please contact Christie’s Shipping
(no symbol) Auctioneers’ Margin Scheme Department at +44 (0)20 7389 2828 or the Museums, Libraries
estimate.The auctioneer may execute absentee bids directly In all other circumstances no VAT will be charged on the
from the rostrum, clearly identifying these as “absentee bids”, and Archives Council: Acquisitions, Export and Loans Unit at
hammer price, but VAT payable at 20% will be added to the +44 (0)20 7273 8269/8267.
“book bids”, “order bids” or “commission bids”. Absentee buyer’s premium which is invoiced on a VAT inclusive basis.
Bids Forms are available in this catalogue, at any Christie’s
location, or online at christies.com.
20/11/13
71
 Storage and Collection

STORAGE & COLLECTION CHARGES COLLECTION & PAYMENT OF ANY EXTENDED LIABILITY CHARGES
Specified lots, marked with a filled square ( ■ ) not CHARGES DUE All services provided by Cadogan Tate Ltd
cleared from Christie’s by 5.00 pm on the day of Lots will be available for collection from (“Cadogan Tate”) will be subject to their standard
the sale and all sold and unsold lots not cleared from Cadogan Tate Ltd Conditions of Business, copies of which are
Christie’s by 5.00 pm on the fifth Friday following 241 Acton Lane, Park Royal available at Christie’s South Kensington.
the sale will be removed to the warehouse of: London NW10 7NP Please note in particular that Cadogan Tate
Cadogan Tate Ltd Telephone: +44 (0)800 988 6100 • does not accept any liability for damage or loss,
241 Acton Lane, Park Royal Email: [email protected] due to its negligence or otherwise, exceeding the
London NW10 7NP on every business day after the day of transfer, Hammer Price of a Lot plus associated Buyer’s
Telephone: +44 (0)800 988 6100 from 9.00 am until 5.00 pm. Premium, or, at its sole option, the cost of repairing
Email: [email protected] Lots may only be released by Cadogan Tate upon or replacing the damaged or missing Lot and
Lots will be available for collection on the first full a) production of the ‘Collection Order’ • it reserves a lien over all goods in its possession
business week after transfer to Cadogan Tate Ltd and obtained from the cashier’s office at for payment of storage and all other charges due
every business weekday from 9.00 am to 5.00 pm. Christie’s, 85 Old Brompton Road, London SW7 to it and
Property, once paid, can be released to Christie’s or Christie’s, 8 King Street, London SW1 • it automatically arranges on behalf of the Lot’s
Fine Art Storage Services (CFASS) in London, b) payment of any charges that may be due to owner and at the owner’s cost, insurance of the
New York or Singapore FreePort at any time for Cadogan Tate Ltd Lot for the sum of the Hammer price plus Buyer’s
environmentally controlled long term storage, per To assist Cadogan Tate to provide a swift release Premium. The Extended Liability Charge covers
client request. CFASS is a separate subsidiary of please telephone on the business day prior to the Lot from the time of collection from the
Christie’s and clients enjoy complete confidentiality. collection to ensure that Lots are available and to saleroom until release of the Lot to the owner or
Visit www.cfass.com, or contact [email protected]. ascertain any charges due. If sending a carrier please the owner’s agent. The Extended Liability Charge
Telephone: +44 (0)20 7622 0609 for details. ensure that they are provided with all necessary payable by the owner of the Lot is 0.6% of the
information, your written authority to collect, the sum of the Hammer Price and Buyer’s Premium or
TRANSFER, STORAGE & RELATED Collection Order and the means to settle any charges. 100% of the transfer and storage charges, whichever
is the smaller. This Extended Liability will not be
CHARGES (PER LOT)
COLLECTION FROM CADOGAN TATE arranged and no charge will be payable only on
CHARGES Furniture/ Pictures/ Please note that Cadogan Tate Ltd’s opening hours receipt by Cadogan Tate of advance written notice
Large Objects Small Objects from the owner of the lot together with formal
are Monday to Friday 9.00 am to 5.00 pm, and
Transfer/Admin £42.00 £21.00 purchases transferred to their warehouse are not waiver of subrogation from the owners insurers.
Storage per day £5.25 £2.65 available for collection at weekends.
Extended The lower amount of 0.6% of Christie’s Fine Art Storage Services (CFASS)
Liability Charge: Hammer Price or 100% of the also offers storage solutions for fine art, antiques and
above charges collectibles in New York and Singapore FreePort.
CFASS is a separate subsidiary of Christie’s and
All charges are subject to VAT. Very large or heavy
clients enjoy complete confidentiality.
items may be subject to a surcharge.
Visit www.cfass.com for charges and other details.
Please note that there will be no charge to
purchasers who collect their lots within two
weeks of this sale.

Cadogan TaTe LTd’s Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: [email protected]
28/10/14
72
Conditions of Sale

These Conditions of Sale and the Important Notices 3. AT THE SALE (h) Reserves
and Explanation of Cataloguing Practice set out the (a) Refusal of admission Unless otherwise indicated, all lots are offered
terms governing the legal relationship of Christie’s Christie’s has the right, at our complete discretion, subject to a reserve, which is the confidential
and the seller with the buyer. You should read them to refuse admission to the premises or participation minimum price below which the lot will not be
carefully before bidding. in any auction and to reject any bid. sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
1. CHRISTIE’S AS AGENT (b) Registration before bidding
to a reserve, they will be identified with the symbol
Except as otherwise stated Christie’s acts as agent for Prospective buyers who wish to bid in the saleroom
• next to the lot number. The auctioneer may open
the seller. The contract for the sale of the property is can register online in advance of the sale, or
the bidding on any lot below the reserve by placing
therefore made between the seller and the buyer. can come to the saleroom on the day of the sale
a bid on behalf of the seller. The auctioneer may
approximately 30 minutes before the start of the
continue to bid on behalf of the seller up to the
2. CATALOGUE DESCRIPTIONS sale to register in person. Prospective buyers must
amount of the reserve, either by placing consecutive
complete and sign a registration form with his
AND CONDITION bids or by placing bids in response to other bidders.
or her name and permanent address, and provide
Lots are sold as described and otherwise in the
identification before bidding. We may require the (i) Auctioneer’s discretion
condition they are in at the time of the sale, on the
production of bank details from which payment will The auctioneer has the right to exercise reasonable
following basis.
be made or other financial references. discretion in refusing any bid, advancing the bidding
(a) Condition in such a manner as he may decide, withdrawing or
(c) Bidding as principal
The nature of the lots sold in our auctions is such that dividing any lot, combining any two or more lots
When making a bid, a bidder is accepting personal
they will rarely be in perfect condition, and are likely, and, in the case of error or dispute, and whether
liability to pay the purchase price, including the
due to their nature and age, to show signs of wear during or after the sale, determining the successful
buyer’s premium and all applicable taxes, plus
and tear, damage, other imperfections, restoration or bidder, continuing the bidding, cancelling the sale
all other applicable charges, unless it has been
repair. Any reference to condition in a catalogue entry or reoffering and reselling the item in dispute. If
explicitly agreed in writing with Christie’s before
will not amount to a full description of condition. any dispute arises after the sale, then, in the absence
the commencement of the sale that the bidder is
Condition reports are usually available on request, of any evidence to the contrary the sale record
acting as agent on behalf of an identified third party
and will supplement the catalogue description. In maintained by the auctioneer will be conclusive.
acceptable to Christie’s, and that Christie’s will only
describing lots, our staff assess the condition in a
look to the principal for payment. (j) Successful bid and passing of risk
manner appropriate to the estimated value of the item
Subject to the auctioneer’s reasonable discretion, the
and the nature of the auction in which it is included. (d) Absentee bids
highest bidder accepted by the auctioneer will be
Any statement as to the physical nature or condition We will use reasonable efforts to carry out written
the buyer and the striking of his hammer marks the
of a lot, in a catalogue, condition report or otherwise, bids delivered to us prior to the sale for the
acceptance of the highest bid and the conclusion of
is given honestly and with appropriate care. However, convenience of clients who are not present at the
a contract for sale between the seller and the buyer.
Christie’s staff are not professional restorers or trained auction in person, by an agent or by telephone. Bids
Risk and responsibility for the lot (including frames
conservators and accordingly any such statement will must be placed in the currency of the place of the
or glass where relevant) passes to the buyer at the
not be exhaustive. We therefore recommend that you sale. Please refer to the catalogue for the Absentee
expiration of seven calendar days from the date of
always view property personally, and, particularly Bids Form. If we receive written bids on a particular
the sale or on collection by the buyer if earlier.
in the case of any items of significant value, that lot for identical amounts, and at the auction these
you instruct your own restorer or other professional are the highest bids on the lot, it will be sold to 4. AFTER THE SALE
adviser to report to you in advance of bidding. the person whose written bid was received and (a) Buyer’s premium
accepted first. Execution of written bids is a free In addition to the hammer price, the buyer agrees
(b) Cataloguing Practice
service undertaken subject to other commitments to pay to us the buyer’s premium together with any
Our cataloguing practice is explained in the
at the time of the sale and provided that we have applicable value added tax. The buyer’s premium
Important Notices and Explanation of Cataloguing
exercised reasonable care in the handling of written is 25% of the final bid price of each lot up to and
Practice, which appear after the catalogue entries.
bids, the volume of goods is such that we cannot including £50,000, 20% of the excess of the hammer
(c) Attribution etc accept liability in any individual instance for failing price above £50,000 and up to and including
Any statements made by Christie’s about any lot, to execute a written bid or for errors and omissions £1,000,000 and 12% of the excess of the hammer
whether orally or in writing, concerning attribution in connection with it arising from circumstances price above £1,000,000. Exceptions: Wine and
to, for example, an artist, school, or country of origin, beyond our reasonable control. Cigars: 17.5% of the final bid price of each lot, VAT
or history or provenance, or any date or period, are is payable at the applicable rate.
(e) Telephone bids
expressions of our opinion or belief. Our opinions and
If a prospective buyer makes arrangements with us (b) Artist’s Resale Right (“Droit de Suite”)
beliefs have been formed honestly and in accordance
prior to the commencement of the sale we will use If the Artist’s Resale Right Regulations 2006 apply to
with the standard of care reasonably to be expected
reasonable efforts to contact them to enable them to the lot the buyer also agrees to pay to us an amount
of an auction house of Christie’s standing, due regard
participate in the bidding by telephone but we do equal to the resale royalty provided for in those
having been had to the estimated value of the item
not accept liability for failure to do so or for errors Regulations. Lots affected are identified with the
and the nature of the auction in which it is included.
and omissions in connection with telephone bidding symbol λ next to the lot number.
It must be clearly understood, however, that, due to
arising from circumstances beyond our reasonable
the nature of the auction process, we are unable to (c) Payment and ownership
control.
carry out exhaustive research of the kind undertaken The buyer must pay the full amount due
by professional historians and scholars, and also that, as (f) Currency converter (comprising the hammer price, buyer’s premium
research develops and scholarship and expertise evolve, At some auctions a currency converter may be and any applicable taxes or resale royalty)
opinions on these matters may change. We therefore operated. Errors may occur in the operation of immediately after the sale. This applies even if
recommend that, particularly in the case of any item of the currency converter. Where these arise from the buyer wishes to export the lot and an export
significant value, you seek advice on such matters from circumstances beyond our reasonable control we licence is, or may be, required. The buyer will not
your own professional advisers. do not accept liability to bidders who follow the acquire title to the lot until all amounts due to us
currency converter rather than the actual bidding in from the buyer have been received by us in good
(d) Estimates
the saleroom. cleared funds even in circumstances where we have
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item (g) Video or digital images released the lot to the buyer.
will sell or its value for any other purpose. At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
(e) Fitness for Purpose
quality of the image. We do not accept liability for
Lots sold are enormously varied in terms of age, category
such errors where they arise for reasons beyond our
and condition, and may be purchased for a variety
reasonable control.
of purposes. Unless otherwise specifically agreed, no
promise is made that a lot is fit for any particular purpose. 09/08/13

73
 (d) Collection of purchases transactions, to apply any amount paid to (i) It does not apply where (a) the catalogue
We shall be entitled to retain items sold until all discharge any amount owed in respect of any description or saleroom notice corresponded
amounts due to us, or to Christie’s International particular transaction, whether or not the buyer to the generally accepted opinion of scholars
plc, or to any of its affiliates, subsidiaries or parent so directs; or experts at the date of the sale or fairly
companies worldwide, have been received in full in (viii) to reject at any future auction any bids made by indicated that there was a conflict of opinions;
good cleared funds or until the buyer has performed or on behalf of the buyer or to obtain a deposit or (b) correct identification of a lot can be
any other outstanding obligations as we, at our sole from the buyer before accepting any bids; demonstrated only by means of either a
discretion, shall require, including, for the avoidance (ix) to exercise all the rights and remedies of a scientific process not generally accepted for
of doubt, completing any anti-money laundering or person holding security over any property in our use until after publication of the catalogue or
anti-terrorism financing checks we may require to our possession owned by the buyer, whether by way a process which at the date of publication of
satisfaction. In the event a buyer fails to complete any of pledge, security interest or in any other way, the catalogue was unreasonably expensive or
anti-money laundering or anti-terrorism financing to the fullest extent permitted by the law of the impractical or likely to have caused damage to
checks to our satisfaction, Christie’s shall be entitled place where such property is located. The buyer the property.
to cancel the sale and to take any other actions that are will be deemed to have granted such security to (ii) The benefits of the warranty are not assignable
required or permitted under applicable law. Subject us and we may retain such property as collateral and shall apply only to the original buyer of the
to this, the buyer shall collect purchased lots within security for such buyer’s obligations to us; lot as shown on the invoice originally issued by
two calendar days from the date of the sale unless (x) to take such other action as we deem necessary Christie’s when the lot was sold at auction.
otherwise agreed between us and the buyer. or appropriate. (iii) The original buyer must have remained the
owner of the lot without disposing of any
(e) Packing, handling and shipping If we resell the property under paragraph (iv) above,
interest in it to any third party.
Although we shall use reasonable efforts to take care the defaulting buyer shall be liable for payment of
(iv) The buyer’s sole and exclusive remedy against
when handling, packing and shipping a purchased any deficiency between the total amount originally
Christie’s and the seller, in place of any other
lot and in selecting third parties for these purposes, due to us and the price obtained upon resale as well
remedy which might be available, is the
we are not responsible for the acts or omissions of as for all reasonable costs, expenses, damages, legal
cancellation of the sale and the refund of the
any such third parties. Similarly, where we suggest fees and commissions and premiums of whatever
original purchase price paid for the lot. Neither
other handlers, packers or carriers if so requested, kind associated with both sales or otherwise arising
Christie’s nor the seller will be liable for any
our suggestions are made on the basis of our general from the default. If we pay any amount to the seller
special, incidental or consequential damages
experience of such parties in the past and we are not under paragraph (v) above, the buyer acknowledges
including, without limitation, loss of profits
responsible to any person to whom we have made that Christie’s shall have all of the rights of the seller,
nor for interest.
a recommendation for the acts or omissions of the however arising, to pursue the buyer for such amount.
(v) The buyer must give written notice of claim
third party concerned.
(h) Failure to collect purchases to us within five years from the date of the
(f) Export licence Where purchases are not collected within two calendar auction. It is Christie’s general policy, and
Unless otherwise agreed by us in writing, the fact days from the date of the sale, whether or not payment Christie’s shall have the right, to require the
that the buyer wishes to apply for an export licence has been made, we shall be permitted to remove the buyer to obtain the written opinions of two
does not affect his or her obligation to make payment property to a third party warehouse at the buyer’s recognised experts in the field, mutually
immediately after the sale nor our right to charge expense, and only release the items after payment in full acceptable to Christie’s and the buyer, before
interest or storage charges on late payment. If the has been made of removal, storage, handling, and any Christie’s decides whether or not to cancel the
buyer requests us to apply for an export licence on his other costs reasonably incurred, together with payment sale under the warranty.
or her behalf, we shall be entitled to make a charge for of all other amounts due to us. (vi) The buyer must return the lot to the Christie’s
this service. We shall not be obliged to rescind a sale saleroom at which it was purchased in the same
(i) Selling Property at Christie’s condition as at the time of the sale.
nor to refund any interest or other expenses incurred
In addition to expenses such as transport, all
by the buyer where payment is made by the buyer in
consignors pay a commission according to a fixed 6. COPYRIGHT
circumstances where an export licence is required.
scale of charges based upon the value of the property The copyright in all images, illustrations and written
(g) Remedies for non payment sold by the consignor at Christie’s in a calendar year. material produced by or for Christie’s relating to a
If the buyer fails to make payment in full in good Commissions are charged on a sale by sale basis. lot including the contents of this catalogue, is and
cleared funds within 7 days after the sale, we shall shall remain at all times the property of Christie’s
have the right to exercise a number of legal rights 5. LIMITED WARRANTY and shall not be used by the buyer, nor by anyone
and remedies. These include, but are not limited to, In addition to Christie’s liability to buyers set out in else, without our prior written consent. Christie’s
the following: clause 2 of these Conditions, but subject to the terms and the seller make no representation or warranty
(i) to charge interest at an annual rate equal to 5% and conditions of this paragraph, Christie’s warrants for that the buyer of a property will acquire any
above the base rate of Lloyds TSB Bank Plc; a period of five years from the date of the sale that any copyright or other reproduction rights in it.
(ii) to hold the defaulting buyer liable for the property described in headings printed in UPPER CASE
total amount due and to commence legal TYPE (i.e. headings having all capital-letter type) in 7. SEVERABILITY
proceedings for its recovery together with this catalogue (as such description may be amended by If any part of these Conditions of Sale is found by
interest, legal fees and costs to the fullest extent any saleroom notice or announcement) which is stated any court to be invalid, illegal or unenforceable,
permitted under applicable law; without qualification to be the work of a named author that part shall be discounted and the rest of the
(iii) to cancel the sale; or authorship, is authentic and not a forgery. The term conditions shall continue to be valid to the fullest
(iv) to resell the property publicly or privately on “author” or “authorship” refers to the creator of the extent permitted by law.
such terms as we shall think fit; property or to the period, culture, source or origin, as the
(v) to pay the seller an amount up to the net case may be, with which the creation of such property 8. LAW AND JURISDICTION
proceeds payable in respect of the amount bid is identified in the UPPER CASE description of the The rights and obligations of the parties with
by the defaulting buyer; property in this catalogue. Only UPPER CASE TYPE respect to these Conditions of Sale, the conduct of
(vi) to set off against any amounts which we, headings of lots in this catalogue indicate what is being the auction and any matters connected with any
or Christie’s International plc, or any of its warranted by Christie’s. Christie’s warranty does not of the foregoing shall be governed and interpreted
affiliates, subsidiaries or parent companies apply to supplemental material which appears below by the laws of England. By bidding at auction,
worldwide, may owe the buyer in any other the UPPER CASE TYPE headings of each lot and whether present in person or by agent, by written
transactions, the outstanding amount remaining Christie’s is not responsible for any errors or omissions bid, telephone or other means, the buyer shall
unpaid by the buyer; in such material. The terms used in the headings are be deemed to have submitted, for the benefit of
(vii) where several amounts are owed by the buyer further explained in Important Notices and Explanation Christie’s, to the exclusive jurisdiction of the courts
to us, or to Christie’s International plc, or of Cataloguing Practice. The warranty does not apply of the United Kingdom.
to any of its affiliates, subsidiaries or parent to any heading which is stated to represent a qualified
companies worldwide, in respect of different opinion. The warranty is subject to the following:
05/01/10

74
Worldwide Salerooms and European Offices

AUSTRIA INDIA RUSSIA UNITED KINGDOM

VIENNA • MUMBAI MOSCOW • LONDON
+43 (0)1 533 8812 +91 (22) 2280 7905 +7 495 937 6364 +44 (0)20 7839 9060
Angela Baillou Sonal Singh +44 20 7389 2318 LONDON,
BELGIUM DELHI Katya Vinokurova • SOUTH KENSINGTON
BRUSSELS +91 (98) 1032 2399 SPAIN +44 (0)20 7930 6074
+32 (0)2 512 88 30 Sanjay Sharma BARCELONA NORTH
Roland de Lathuy ISRAEL +34 (0)93 487 8259 +44 (0)20 7752 3004
DENMARK TEL AVIV Carmen Schjaer Thomas Scott
COPENHAGEN +972 (0)3 695 0695 MADRID SOUTH
+45 3962 2377 Roni Gilat-Baharaff +34 (0)91 532 6626 +44 (0)1730 814 300
Birgitta Hillingso ITALY Juan Varez Mark Wrey
(Consultant) • MILAN Dalia Padilla EAST
+ 45 2612 0092 +39 02 303 2831 SWEDEN +44 (0)20 7752 3004
Rikke Juel Brandt ROME STOCKHOLM Thomas Scott
(Consultant) +39 06 686 3333 +46 (0)70 5368 166 NORTHWEST AND
FINLAND AND THE Marina Cicogna Marie Boettiger WALES
BALTIC STATES Business Development Kleman (Consultant) +44 (0)20 7752 3004
HELSINKI Director +46 (0)70 9369 201 Jane Blood
+358 40 5837945 MONACO Louise Dyhlén SCOTLAND
Barbro Schauman +377 97 97 11 00 (Consultant) +44 (0)131 225 4756
(Consultant) Nancy Dotta SWITZERLAND Bernard Williams
FRANCE THE NETHERLANDS • GENEVA Robert Lagneau
• PARIS • AMSTERDAM +41 (0)22 319 1766 David Bowes-Lyon
+33 (0)1 40 76 85 85 +31 (0)20 57 55 255 Eveline de Proyart (Consultant)
GERMANY PEOPLES REPUBLIC • ZURICH ISLE OF MAN
DÜSSELDORF OF CHINA +41 (0)44 268 1010 +44 (0)20 7389 2032
+49 (0)21 14 91 59 30 BEIJING
Dr. Bertold Mueller CHANNEL ISLANDS
Arno Verkade +86 (0)10 8572 7900 TURKEY +44 (0)1534 485 988
FRANKFURT • HONG KONG ISTANBUL Melissa Bonn
+49 (0)61 74 20 94 85 +852 2760 1766 +90 (532) 558 7514 IRELAND
Anja Schaller • SHANGHAI Eda Kehale Argün +353 (0)59 86 24996
HAMBURG +86 86 (0)21 6355 1766 (Consultant) Christine Ryall
+49 (0)40 27 94 073 Jinqing Cai UNITED ARAB EMIRATES UNITED STATES
Christiane Gräfin zu PORTUGAL • DUBAI • NEW YORK
Rantzau LISBON +971 (0)4 425 5647 +1 212 636 2000
MUNICH +351 919 317 233
+49 (0)89 24 20 96 80 Mafalda Pereira
Marie Christine Gräfin Coutinho
Huyn (Independent
STUTTGART Consultant)
+49 (0)71 12 26 96 99
Eva Susanne Schweizer

• DENOTES SALEROOM E NQ U I RI ES — Call the Saleroom or Office E MA I L — [email protected]

For a complete salerooms & offices listing go to christies.com
03/11/14

75
 Christie’s Specialist Departments and Services

DEPARTMENTS INDIAN POSTERS AUCTION SERVICES OTHER SERVICES

CONTEMPORARY ART SK: +44 (0)20 7752 3208
KS: +44 (0)20 7389 2700
AMERICAN FURNITURE PRINTS CORPORATE CHRISTIE’S EDUCATION
NY: +1 212 636 2189 COLLECTIONS
NY: +1 212 636 2230 KS: +44 (0)20 7389 2328 London
INTERIORS SK: +44 (0)20 7752 3109 Tel: +44 (0)20 7389 2548 Tel: +44 (0)20 7665 4350
AMERICAN INDIAN ART
SK: +44 (0)20 7389 2236 Email: norchard@ Fax: +44 (0)20 7665 4351
NY: +1 212 606 0536 PRIVATE COLLECTIONS
NY: +1 212 636 2032 AND
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06/11/14

76
INVITATION TO CONSIGN
Victorian, Pre-Raphaelite &
British Impressionist Art

CLOSING FOR ENTRIES: 9 January 2015

Auction Contact JOHN ATKINSON GRIMSHAW (1836–1893)

12 March 2015 Tom Rooth Whitby by night
signed and dated ‘Atkinson Grimshaw/1864’ (lower right) · oil on card ·
85 Old Brompton Road [email protected]
8º x 18 in. (21 x 45.7 cm.)
London SW7 3LD +44 (0)20 7752 3125 Price Realised: £62,500
 VINCENT DE VOS (BELGIAN, 1829-1875)
Circus friends
£7,000–10,000

The Collections of
Principessa Ismene Chigi Della Rovere
and a Noble Genoese Family
London, South Kensington • 4 February 2015

Including European Furniture and Objects of Art, Viewing Contact

Art Nouveau Glass, Old Master Paintings, 31 January – 3 February Nathaniel Nicholson
Chinese and Japanese Works of Art, Carpets,
85 Old Brompton Road [email protected]
European Porcelain and Louis Vuitton Luggage.
London SW7 3LD +44 (0)20 7389 2519
 FRANCISCO TAMAGNO (b.1851)
Chamonix Mont-Blanc
Lithograph in colour · c.1900
£7,000–9,000

The Ski Sale, Travel in Style

London, South Kensington • 22 January 2015

Viewing Contact christies.com

17–21 January 2015 Nicolette Tomkinson
85 Old Brompton Road [email protected]
London SW7 3LD +44 (0)20 7752 3301
19th Century European Art
New York • April 2015

Contact JEAN BÉRAUD (FRENCH, 1849-1936)

Deborah Coy Sur la place de la Concorde
signed ‘Jean Béraud.’ (lower right)
[email protected]
oil on panel
+1 212 636 2120 20.1/8 x 13.3/8 in. (52 x 34 cm.)
$80,000-120,000
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09/08/13
83
 OMP & 19TH CENTURY PAINTINGS
Continental European and British paintings from the early Renaissance
expert knowledge beautifully presented to the early 19th century. British and Irish Art from Tudor period
to 1970, including pictures, works on paper, Sporting Art,Victorian
and Scottish pictures. Continental European drawings from the early
Renaissance to the early 19th century. Paintings, drawings and water-
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Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and
nautical items, ship models and maritime instruments.

Code Subscription Title Location Issues UK£Price US$Price EURPrice

OMP & C19th Paintings
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K1 Old Master Paintings South Kensington 4 57 95 87
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