Victorian, Pre-Raphaelite & British Impressionist Art

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8 King Street St. James’s London SW1Y 6QT +44 (0)20 7839 9060 telephone +44 (0)20 7389 2869 facsimile

L O N D O N

Victorian, Pre-Raphaelite & British Impressionist Art

Thursday 11 December 2014

CKS1580_Cover.indd 1 05/11/2014 10:00

Victorian, Pre-Raphaelite & British Impressionist ArtThursday 11 December 2014

AUCTION

Thursday 11 December 2014 at 2.30 pm

8 King Street, St. James’s

London SW1Y 6QT

VIEWING

Saturday 6 December 12 noon - 5.00 pm

Sunday 7 December 12 noon - 5.00 pm

Monday 8 December 9.00 am - 4.30 pm

Tuesday 9 December 9.00 am - 4.30 pm

Wednesday 10 December 9.00 am - 4.30 pm

Thursday 11 December 9.00 am - 12 noon

AUCTIONEER

James Bruce-Gardyne

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as WILFRED-1580

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3 Auction Information

6 Calendar of Auctions

6 Christie’s Victorian, Pre-Raphaelite

& British Impressionist Art Department

7 Specialists and Services for this Auction

8 Property for Sale

116 Important Notices and Explanation of Cataloguing Practice

117 Buying at Christie’s

118 Storage and Collection

119 Conditions of Sale and Limited Warranty

121 Salerooms and Offices Worldwide

123 Christie’s Specialist Departments and Services

129 Absentee Bids Form

130 Catalogue Subscriptions

133 Index

f r o n t c o v e r :Lot 15

i n s i d e f r o n t c o v e r :Lot 14

o p p o s i t e t i t l e p a g e :Lot 12

o p p o s i t e : Lot 47

i n s i d e b a c k c o v e r :Lot 17

b a c k c o v e r :Lot 18

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Contents

6

12 NOVEMBERMARITIME ARTLONDON, SOUTH KENSINGTON

26 NOVEMBERVICTORIAN, PRE-RAPHAELITE & BRITISH IMPRESSIONIST ARTLONDON, SOUTH KENSINGTON

10 DECEMBERSPORTING AND WILDLIFE ARTLONDON, SOUTH KENSINGTON

11 DECEMBERVICTORIAN, PRE-RAPHAELITE & BRITISH IMPRESSIONIST ARTLONDON, KING STREET

Victorian, Pre-Raphaelite & British Impressionist Art AuctionsAUCTION CALENDAR 2014TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE. CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.

Subject to change 29/04/14

Email. First initial followed by last [email protected]

(eg. Peter Brown = [email protected])

CO-CHAIRMANNicholas H. J. Hall(Auction) Tel: +1 212 636 2122

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WORLDWIDE SPECIALISTS

INTERNATIONAL HEADS OF DEPARTMENTPeter Brown (Victorian Art) Tel: +44 20 7389 2435Harriet Drummond(British Drawings & Watercolours)Tel: +44 (0)20 7389 2278Martin Beisly(Private Sales)Tel: +44 (0)20 7389 2468

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Victorian, Pre-Raphaelite & British Impressionist Art Department

7

Specialists and Services for this Auction

SPECIALISTS

Victorian ArtPeter Brown Tel: +44 (0)20 7389 2435

Martin BeislyTel: +44 (0)20 7389 2468

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British Drawings & WatercoloursHarriet Drummond Tel: +44 (0)20 7389 2278Rosie JarvieTel: +44 (0)20 7389 2257Sarah HobroughTel: +44 (0)20 7389 2257Rosy TempleTel: +44 (0)20 7389 2709

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COPYRIGHT NOTICENo 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 Christie’s.© COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)

Peter BrownInternational Head

Rosie JarvieConsultant

Martin BeislyInternational Director

Brandon LindbergHead of Department, London

Harriet DrummondInternational Head

Sarah HobroughConsultant

Rosie Henniker-MajorSpecialist

Rosy TempleJunior Specialist

EMAIL

First initial followed by last [email protected] (e.g.Peter Brown = [email protected]) For general enquiries about this auction, emails should be addressed to the Auction Administrator(s).

8

PROPERTY OF AN ENGLISH FAMILY TRUST (LOTS 1,2 & 8)

1

Frederic, Lord Leighton, P.R.A., R.W.S. (1830-1896)The Sluggardsigned ‘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 frontbronze, mid-brown patina20æ in. (52.5 cm.), high

£18,000-25,000 $29,000-40,000 €23,000-32,000

P R O V E N A N C E :

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 Leighton’s 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 sculptor’s 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.

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2

Frederick William Pomeroy (1856-1924)Perseus with the head of Medusasigned and dated ‘F.W. POMEROY / SC. 1898 / N° 4’bronze, mid-brown patina19Ω in. (49.5 cm.) high

£10,000-15,000 $17,000-24,000 €13,000-19,000



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 Cellini’s bronze of the same subject, Pomeroy’s imagining of Perseus is also indebted to Mercié’s 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 Handley-Read collection, is in the collection of the V & A Museum, London (A.9-1972).

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3

Sir William Hamo Thornycroft, R.A. (1850-1925)Teucersigned HAMO THORNYCROFT/1881.’, bronze, dark-green-brown patina30½ 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 Thornycroft’s 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 sculptor’s 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 Leighton’s 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 Thornycroft’s 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).

4

George Frederick Watts, O.M., R.A. (1817-1904)Clytiesigned ‘G F. Watts’painted plaster31 in. (78.5 cm.)

£12,000-18,000 $20,000-29,000 €16,000-23,000

Clytie was Watts’s 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 Clytie’s unfulflled love for the sun-god is found in Ovid’s 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.

Watt’s 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 Watt’s version which is energised with dramatic contrapposto movement and unrequited coquetterie.

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FROM AN IMPORTANT INTERNATIONAL COLLECTION

5

Sir Alfred Gilbert, M.V.O., R.A. (1854-1934)Saint Georgebronze, rich dark brown patina on green veined marble base19 in. (48 cm.), highcirca 1899-1900

£150,000-250,000 $250,000-400,000 €190,000-320,000


Dr John F. Hayward.L. Lewis, Q.C.Minneapolis Institute of Arts (on loan).Anonymous sale; Sotheby’s, London, 17 May 2011, lot 23.

E X H I B I T E D :

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.

L I T E R A T U R E :

Alfred Gilbert, New Haven and London, 1985, pp. 147-190R. 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 Gilbert’s 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.

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 sculptor’s plans developed, becoming ever more elaborate and ambitious. After a visit to the artist’s 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.

Gilbert’s concentration on the tomb forced him to neglect private commissions and contributed to his fnal bankruptcy in 1901. Gilbert’s 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 son’s memorial. Only in 1926 did George V succeed in extracting from Gilbert the fnal two fgures of St Hubert of Liège 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).

Gilbert’s inspiration draws on equally varied sources. Burne-Jones 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., N°s 7 & 8, p. 98).

Infuences of old are the Castlefranco Madonna of 1504-5 and Pieter Visscher the Elder’s King Arthur on the Monument to Emperor Maximilian I, circa 1512. The development of the subject in Gilbert’s 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 Frémiet, exhibited at the Paris Salon in 1879.

One can see in this fgure of Saint George a nobility reminiscent of Queen Victoria and Prince Albert’s 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.

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6

Jules Bastien-Lepage (1848-1884)A shepherdesssigned ‘J. BASTIEN-LEPAGE’bronze, dark brown patina13 in. (33 cm.), high

£5,000-7,000 $8,100-11,000 €6,400-8,900


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-Lepage’s 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 artist’s 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 childbronze, dark brown patina 14 in. (35.5 cm.), high

£3,000-5,000 $4,900-8,100 €3,800-6,300PROPERTY OF AN ENGLISH FAMILY TRUST (LOTS 1, 2 & 8)

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Sir William Hamo Thornycroft, R.A. (1850-1925)The Mowersigned ‘H.T. 1884’ and stamped three times ‘2’bronze, dark-brown patina7æ in. (20 cm.), high

£3,000-5,000 $4,900-8,100 €3,800-6,300



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 Thornycroft’s French contemporary, Aimé-Jules Dalou. Although The Mower actually predates Dalou’s studies of peasants and labourers for his ‘Monument to the Workers’, and thus well illustrates the Franco-British dialogue in New Sculpture.

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Sir George James Frampton, R.A. (1860-1928)Peter Pansigned with ‘GF’ monogram, inscribed and dated ‘1915/PP’, on serpentine plinthbronze, dark-brown patina19 in. (48.3 cm.), high, the bronze20æ 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 Barrie’s 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.

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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 paper13Ω x 9æ in. (34.3 x 24.8 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000


Sir William Charles Hood; Christie’s, London, 28 March 1870, lot 330 (9 gns to White). Anonymous sale; Christie’s, London, 11 July 1972, lot 107.

E X H I B I T E D :

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.


P. Allderidge, The Late Richard Dadd (1817-

1886), exh. cat., London, 1974-5, pp. 90, no. 116.

In her catalogue raisonée, 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 Hood’s sale in 1870, albeit entitled Blind Fiddler, probably through association with Wilkie’s painting of that name.

The fgure of the old man resembles Dadd’s 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.

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James (Jacques) Joseph Tissot (1836-1906)Le Deuxi0me Comèdiensigned and inscribed ‘2eme Comedien/JJ Tissot’ (lower left)oil on panel11Ω x 6æ in. (29 x 17 cm.)

£20,000-30,000 $33,000-48,000 €26,000-38,000


with The Fine Art Society, London, December 1993.

E X H I B I T E D :

Paris, Cercle de l’Union Artistique, 1869.


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 Comédien, (see J. Laver, Vulgar Society: The Romantic Career of James Tissot 1836-1902, London, 1936, pl. XII) to the sad clown of the Sixième Comédien (see M. Wentworth, James Tissot, Oxford, 1984, pl. 63).

We are grateful to Krystyna Matyjaszkiewicz for her help in preparing this catalogue entry.

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John William Godward, R.A. (1861-1922)A Pompeian Ladysigned and dated ‘J.W. Godward. 1901’ (upper right)oil on canvas24 x 20 in. (61 x 51 cm.)

£150,000-250,000 $250,000-400,000 €190,000-320,000


with Thomas McLean, London, by January 1901.Purchased by the present owner’s family in the frst quarter of the 20th Century, and thence by descent.

E X H I B I T E D :

London, Thomas McLean, Winter Exhibition, January 1901, no. 47.


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 Godward’s 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.

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Sir Edward John Poynter, Bt., P.R.A., R.W.S. (1826-1919)Phyllis

‘Est hederae vis Multa, qua crines religata fulges’.oil on canvas24Ω x 18Ω in. (62.2 x 47 cm.)In the artist’s original frame.

£150,000-250,000 $250,000-400,000 €190,000-320,000


with Agnew’s, London.The Duke of Marlborough. Christie’s, 14 May 1904, lot 33, (168 gns. to Milne)Anonymous sale, Sotheby’s New Delhi, Indian, European & Oriental Paintings & Works of Art, 8 October 1992, lot 51.

E X H I B I T E D :

London, Royal Academy, 1897, no 188.


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 poet’s 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.

24


*14

Edward Robert Hughes, R.W.S. (1851-1914)Wings of the Morningsigned ‘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 artist’s label, attached to the backboard) and with the artist’s studio label (attached to the backboard)watercolour with gum arabic heightened with touches of bodycolour and gold, on paper27Ω x 41 in. (69.9 x 104.2 cm.)

£300,000-500,000 $490,000-810,000 €380,000-630,000


Edward William Knox, Sydney, 1905 (acquired directly from the artist).Art Gallery of New South Wales, 1933.Union Club, Sydney.Private collection.

E X H I B I T E D :

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.


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.’

‘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 bird’s 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).

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 Society’s 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 Society’s 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-Jones’s 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 Solomon’s 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.

Fig. 2: Edward Robert Hughes, Night with her Train of Stars, 1912 © Birmingham Museums and Art Galleries/The Bridgeman Art Library

15Opposite: Fig. 1: Edward Robert Hughes, R.W.S, 1903 © Watts Gallery

28

He exhibited the present painting at London’s 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 Mariana’s 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 viewer’s 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 is—literally—trapped in an impossible situation, unable to address it head on. Waterhouse underscores the girl’s 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 Waterhouse’s 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 Waterhouse’s 1908 version of Gather Ye Rosebuds While Ye May and his 1909 version of Lamia. At the artist’s 1926 estate sale at Christie’s, Fry also purchased two additional works (A Courtyard, Venice and The Easy Chair). A leader and historian of London’s Merchant Taylors Company, Fry was close enough to Waterhouse that he attended the artist’s funeral in 1917.

We are grateful to Peter Trippi for his help in preparing this catalogue entry.

15

John William Waterhouse, R.A. (1849-1917)Julietsigned ‘J.W. Waterhouse’ (lower right)oil on canvas28¡ x 19 in. (72 x 48 cm.).

£500,000-700,000 $810,000-1,100,000 €640,000-890,000


Sir Frederick Fry (†); Christie’s, 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]; Sotheby’s, London, 21 October 1970, lot 58, as ‘The Blue Necklace’.

E X H I B I T E D :

London, New Gallery, Summer Exhibition, 1898.Winchester, 1903.


‘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 1849-

1917, 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 Shakespeare’s 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 Shakespeare’s 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 Academy’s 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 Shakespeare’s 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 Shakespeare’s 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.

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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, Rossetti’s 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 Rossetti’s 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 Ashburton’s 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 men’s 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 model’s features resemble those of Jane Morris.

We are grateful to John Christian for his help in preparing this catalogue entry.

16

Dante Gabriel Rossetti (1828-1882)Joan of Arcsigned with monogram and dated ‘1864’ (lower right)pencil, watercolour and bodycolour with gum arabic, on paper12¡ x 11¬ in. (31.2 x 29.5 cm.) in the artist’s original frame

£200,000-300,000 $330,000-480,000 €260,000-380,000


Commissioned by Lady Ashburton in 1864.The Hon. Spencer Loch, her grandson, and by descent.Anonymous sale; Christie’s, London, 13 March 1973, lot 39 (6,500 gns to Agnew’s).Anonymous sale; Christie’s, London, 11 November 1999, lot 18 (where purchased by the present owner).

E X H I B I T E D :

Probably London, Royal Academy, 1865, no. 447.


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.Christie’s 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.

Fig. 1: Dante Gabriel Rossetti, Joan of Arc kissing the Sword of Deliverance, 1863 © The Fitzwilliam Museum/The Bridgeman Art Library

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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 year’s 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 painting’s 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, high–minded Catholicism of both pictures does not appear to have put off possibly more secular dealers and Walter Armstrong (1850-1918), later director of the National Gallery of Ireland, was amongst those who remarked on the artist’s ability to capture the Madonna with reverence but without sentimentality. She had much practice and continued to paint religious pictures until the 1920’s interspersing them with her renowned portraits from travels throughout Eastern Europe and compositions inspired by the fables of the brothers Grimm.

Stokes’s 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.

17

Marianne Stokes (1855-1927)Angels Entertaining the Holy Childsigned ‘Marianne Stokes’ (lower right)oil on canvas56æ x 68æ in. (144.2 x 174.6 cm.)

£40,000-60,000 $65,000-97,000 €51,000-76,000


Anonymous sale; Sotheby’s, London, 15 June 1982, lot 123.

E X H I B I T E D :

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.


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.

34

18

Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)The Madness of Sir Tristramsigned 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 artist’s 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 paper23 x 21. √ in. (58.5 x 55.8 cm.)

£400,000-600,000 $650,000-970,000 €510,000-760,000


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.

E X H I B I T E D :

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.


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.

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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 Rossetti’s infectious fascination with Thomas Malory’s tales of King Arthur and his Knights. Rossetti declared Le Morte d’Arthur 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 Southey’s 1817 edition of Malory’s Le Morte d’Arthur. William Morris immediately bought the book and Burne-Jones wrote in 1880 that ‘we feasted on it long.’ Under Rossetti’s initiative, Burne-Jones 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 Malory’s Le Morte d’Arthur remained a compelling inspiration for Dunlop’s decorative scheme a few years later.

The subject in the present watercolour derives from Book IX, Chapter IV, ‘Tristram’s Madness and Exile’ of ‘The Book of Sir Tristram de Lyones,’ which forms the ffth part of Malory’s Le Morte d’Arthur. The scene shown here occurs when Sir Tristram discovers false evidence of Iseult’s 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 Dürer as an undergraduate at Oxford (1853-56) but it was both Rossetti and Ruskin who championed the study of the German master’s engravings. Burne-Jones eagerly followed their encouragement; Rossetti described a series of Burne-Jones’ pen and ink drawings dating

37

between 1856 and 1861 as ’marvels of fnish and imaginative detail, unequalled by anything except perhaps Albert Dürer’s fnest works.’ Several differences between the stained glass and the watercolour of Sir Tristram indicate that Burne-Jones looked directly to Dürer while re-considering the composition. The glass panel shows an open landscape with a castle in the distance, whereas a dark forest flls the painting’s background. This forest setting is inspired by Dürer engravings of the Fall from the Small Passion and Expulsion (fg. 2). Another motif taken from Dürer is the hanging tablet which Dürer would have used to sign and date his prints while Burne-Jones adapts it to carry the relevant verse from Malory’s text. Burne-Jones’ refers directly to Dürer again in the last work from this series, Sir Tristram’s Tomb (drawing at Birmingham Museums and Art Gallery, fg. 3.); the pair of dogs guarding the tomb are taken from Dürer’s 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 Ruskin’s 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 Botticelli’s Primavera (Uffzi, Florence). References to Botticelli’s masterpiece shine through in Burne-Jones’ treatment of the mille fori scattered like jewels around Sir Tristram. Burne-Jones’ knowledge and Ruskin’s infuence were consolidated during the artist’s 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 watercolour’s 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 Gallery’s founding benefactor.

Burne-Jones has evoked a powerful rendering of Sir Tristram’s tragic plight. References to Dürer and the Italian old masters fuse together with Burne-Jones’ 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 Burne-Jones’ early masterpieces.


Above: Fig. 1: Edward Burne-Jones, The Madness of Sir Tristram, 1862 © Bradford Art Gallery

Middle: Fig. 2: Albrecht Dürer, The Small Woodcut Passion, 1508-10 © Christie’s Images Limited (2013)

Below: Fig. 3: Edward Burne-Jones, The Tomb of Tristram and Iseult, 1862 © Birmingham Museums and Art Galleries

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 Académie Julian in Paris had suggested that her features resembled those of a Burne-Jones model. He replied: ‘Those students at Julian’s conceived a high ideal of me if they think they are at all like any heads I paint - I hope it’s 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-Jones’s, The Sleep of King Arthur in Avalon (Museo de Arte, Ponce, Puerto Rico), as well as a number of works by D.G. Rossetti. Goldman’s 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.


20

George Howard, 9th Earl of Carlisle (1843-1911)The Four Seasonspencil and grey wash heightened with white and gold, on paper32½ x 14º in. (82 x 36 cm.) (a set of 4)

£20,000-30,000 $33,000-48,000 €26,000-38,000


Anonymous sale; Sotheby’s, Belgravia, 12 February 1974, lot 42 as by Shields.

Howard’s 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 Howard’s Four Seasons echoes this series, which show young women gathering fowers, an early expression of the Aesthetic Movement.

In the background of ‘Summer’ the towers are possibly those of Howard’s Cumbrian seat, Naworth Castle, which Webb also worked on.


19

Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)A Study of Olive Maxse for one of the Queens in ‘The Sleep of King Arthur in Avalon’signed with initials, inscribed and dated ‘EBJ 1896/AVALON’ (lower left)pencil on paper13 x 9¿ in. (33 x 23.2 cm.)

£15,000-20,000 $25,000-32,000 €19,000-25,000


Major C.S. Goldman and by descent to his sonJohn Monck; Christie’s, 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; Christie’s, London, 26 October 1982, lot 72.

E X H I B I T E D :

Vienna, Galleries of the Succession, Exhibition of British Art, 1927, number untraced.


Christopher Wood, Burne-Jones, London, 1998, p. 126.

40

22

Kate Greenaway, R.W.S. (1846-1901)Winter: A young girl with a fur muff and hatpencil and watercolour heightened with gum arabic and bodycolour, on paper11æ x 9Ω in. (29.9 x 24.2 cm.)

£7,000-10,000 $12,000-16,000 €8,900-13,000


with Deighton’s Strand Gallery, London.

21

John Ingle Lee (f. 1868-1891)The Gardener’s Daughtersigned, inscribed and numbered ‘No. 2 The Gardener’s Daughter/John Ingle Lee/153 Adelaide Road/London N.W.’ (on the artist’s label attached to the reverse of the frame)oil on canvas9¿ x 7Ω in. (23.2 x 19 cm.)

£10,000-20,000 $17,000-32,000 €13,000-25,000


Anonymous sale; Bearne’s, Exeter, 15 May 1991, lot 261.Anonymous sale; Christie’s, 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 artist’s 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.

41

The Enchanted Garden was one of the fnal important contemporary paintings that the frst Viscount Leverhulme, the millionaire Liverpudlian soap manufacturer, purchased. At Waterhouse’s death in 1917 it was incomplete, but it was exhibited at the Royal Academy later that year nonetheless, illustrating the artist’s importance at that time. It was sold by Waterhouse’s widow, Esther, to Leverhulme in 1922.

The subject matter is taken from Boccaccio’s 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.

23

John William Waterhouse, R.A. (1849-1917)Head study for ‘The Enchanted Garden’, 1916oil on canvasboard10¬ x 7 in. (27 x 17.8 cm.)

£25,000-35,000 $41,000-56,000 €32,000-44,000


By descent in the artist’s family.

42

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 paper10Ω 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

(recto)(verso)

for the Library at Naworth Castle, Howard’s 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 work-record, preserved in the Fitzwilliam Museum, Cambridge stating that he ‘made the designs for the Fairies in the hills of that picture’.


43


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 Raisonnè, 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 Shakespeare’s 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.


25

Dante Gabriel Rossetti (1828-1882)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 paper11 x 14 in. (28 x 35.6 cm.)

£6,000-8,000 $9,700-13,000 €7,600-10,000


H.C. Marillier. Mrs C. Marillier; Christie’s, London, 25 January 1952, part of lot 80.Anonymous sale; Sotheby’s, 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.

E X H I B I T E D :

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

44

l*26

William Logsdail (1859-1944)Two portraits of the artist’s daughter, Maryone 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 artist’s board16º x 12º in. (41.3 x 31 cm.) (2)

£10,000-15,000 $17,000-24,000 €13,000-19,000


By descent in the family of the artist to the present owner.

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’.

45

28

John Faed, R.S.A. (1820-1902)The Cruel Sistersigned ‘J Faed.’ (lower right)oil on board13 x 10 in. (33 x 25.4 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000


Charles Hargitt(?).Anonymous sale; Christie’s, London, 9 March 1951, lot 62 (36 gns to Dean(?)).

E X H I B I T E D :

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 King’s 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.

27

Edmund Blair Leighton (1852-1922)Yes or No?signed and dated ‘E. BLAIR LEIGHTON. 1890.’ (lower left)oil on canvas37º x 20Ω in. (94.6 x 51.4 cm.)

£15,000-25,000 $25,000-40,000 €19,000-32,000


T. Burchell; Christie’s, London, 4 May 1928, lot 81 (72 gns). H. & P. de Casseres. Anonymous sale; Christie’s, 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 raisonné of the work of Edmund Blair Leighton.

46

In the early years of Victoria’s 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 Delaroche’s 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 Ward’s 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-Thérèse 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 Journal’s 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 artist’s 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’ (Bentley’s Miscellany, 1856, p. 488).


*29

Edward Matthew Ward, R.A. (1816-1879)The Last Parting of Marie Antoinette and her Sonsigned and dated ‘E M Ward. RA/1856’ (lower left)oil on canvas48º x 71æ in. (122.4 x 182.1 cm.)

£80,000-120,000 $130,000-190,000 €110,000-150,000


James Arden (†); Christie’s, London, 26 April 1879, lot 77 (950 gns to Birch).Sir Basil E. Mayhew, K.B.E.; Christie’s, London, 27 July 1957, lot 134 (10 gns to Mitchell).Anonymous sale; Christie’s, New York, 2 May 1979, lot 225. Anonymous sale; Christie’s, London, 12 June 1992, lot 109. with Pyms Gallery, London.

E X H I B I T E D :

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 May-29 August 2010, no. 4.


Daily News, 3 May 1856, p. 5. Daily News, 13 May 1856, p. 2. Morning Chronicle, 5 May 1856, p. 7. Athenaeum, 10 May 1856, p. 589. Illustrated London News, 10 May 1856, p. 514. Lloyd’s Weekly Newspaper, 11 May 1856, p. 8. Times, 12 May 1856, p. 12. Daily News, 13 May 1856, p. 2. 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. Bentley’s 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.

*30

John Atkinson Grimshaw (1836-1893)The Rookerysigned and dated ‘Atkinson Grimshaw 1883+’ (lower left), and signed, inscribed and dated ‘Atkinson Grimshaw, The Rookery, 1883+’ (on the reverse)oil on canvas24º x 42Ω in. (61.6 x 108 cm.)

£180,000-250,000 $290,000-400,000 €230,000-320,000


Private collection, U.S.A.

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 russet-coloured 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 artist’s 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 Grimshaw’s The waning glory of the year, 1882 (private collection).

31

John Atkinson Grimshaw (1836-1893)On the Thamessigned and dated ‘Atkinson Grimshaw 1882+’ (lower right)oil on board12æ x 20Ω in. (32.4 x 52.1 cm.)

£120,000-180,000 $200,000-290,000€160,000-230,000


Anonymous sale; Sotheby’s, 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

*32

John Atkinson Grimshaw (1836-1893)Dead calm - on the Merseysigned 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 board9æ x 19¡ in. (24.8 x 49.2 cm.)

£150,000-200,000 $250,000-320,000€190,000-250,000


Bought by the father of the present owner in London, circa 1960.

Executed in 1893, the present picture is one of a small group that can be seen as the summation of Grimshaw’s 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 Grimshaw’s friend and neighbour James McNeil Whistler’s famous series of Nocturnes has clearly been absorbed, and yet the style remains distinctively Grimshaw’s 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 Grimmy’s moonlight pictures’.

53

55

33

John Atkinson Grimshaw (1836-1893)Reekie, Glasgowsigned ‘Atkinson Grimshaw’ (lower left) and further signed and inscribed ‘“Reekie Glasgow”/AtkinsonGrimshaw’ (on the reverse)oil on canvas24 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 Grimshaw’s 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.

*34

John Atkinson Grimshaw (1836-1893)Knostrop Old Hall, Yorkshiresigned and dated ‘ATKINSON/GRIMSHAW/1882+’ (lower left)oil on canvas20 x 30 in. (50.8 x 76.2 cm.)

£150,000-250,000 $250,000-400,000€190,000-320,000


with Richard Green, London.

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 seventeenth-century 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

58

35

Philip Alexius de László (1869-1937)Portrait of the Hon. Esmèe Mary Gabrielle Harmsworth, later Countess Cromer, aged nine, half-lengthsigned and dated ‘de László/1933 I.’ (lower right)oil on board33º x 24º in. (84.4 x 61.5 cm.)

£12,000-18,000 $20,000-29,000 €16,000-23,000


By descent in the family of the sitter to the present owner.


Sitters’ Book II, f. 74: Esmèe Harmsworth Dec. 31st

1932.

This is one of seven family portraits commissioned by the sitter’s 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 László. 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 Esmée 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 László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com

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36

Philip Alexius de László (1869-1937)Lady Ludlow, nèe Alice Sedgwick Mankiewicz (previously Lady Wernher), standing, three-quarter-length, in a yellow evening dresssigned and dated ‘de László/1924’ (upper left)oil on canvas66Ω x 39º in. (169 x 99.5 cm.)

£20,000-30,000 $33,000-48,000 €26,000-38,000


Anonymous sale; Sotheby’s, London, 16 March 1977, lot 205.with Barbié, 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 Julius’s collection, Watteau’s Le gage d’amour, 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 Lászl— 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 Lászl— catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com

37 No Lot

60

38

Sir John Lavery, R.S.A., R.S.A., R.A. (1856-1941)After the Dancesigned 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 canvas44º x 34¿ in. (112.4 x 86.8 cm.)

£70,000-100,000 $120,000-160,000 €89,000-130,000


Given by the artist to Katharine FitzGerald, Lavery’s last secretary, and by descent to her sister, Mrs Fairfax Cholmeley, and thence by descent to the present owner.

E X H I B I T E D :

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.


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.

62

John Lavery’s 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 painter’s 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 girl’s 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.

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 Sèze 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 - Manet’s late masterpiece, Un bar aux Folies Bergère (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. 1: John Lavery, A Conquest (A Heart for a Rose), 1882 © Glasgow Museums

Fig. 2: Edouard Manet, Un bar aux Folies Bergère, 1882 © Courtauld Institute of Art, London/The Bridgeman Art Library

63

the viewer was a clever one, and like Lepage’s Pas Mèche (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, Lavery’s 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 Whistler’s most celebrated portrait (Arrangement in Grey and Black, no. 1, The Painter’s Mother, 1872, Musée d’Orsay, Paris, Fig. 4).

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 Morris-inspired décor and in place of Whistler’s print, is of course, a mirror, large enough to refect Gervex’s lascivious bourgeois gentilhomme. Were it not for this clever insertion we would not realize that this fellow was standing at our elbow holding the girl’s cloak - and behind him, is an attendant, or procuress. Does the face of Lavery’s 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 Zola’s 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 Lavery’s arrangement, albeit echoing Whistler, would in turn fnd echoes in Jacomb-Hood’s My Sister, 1886 (Walker Art Gallery, Liverpool) and even perhaps in William Orpen’s 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. 3: Henri Gervex, Retour du Bal, 1879 © Private Collection/The Bridgeman Art Library

Fig. 4: James McNeill Whistler, Arrangement in Grey and Black, no. 1, The Painter’s Mother, 1872 © Musée d’Orsay, Paris/The Bridgeman Art Library

64

l*39

Gerald Leslie Brockhurst (1890-1978)Deloresoil on panel24 x 18¿ in. (61 x 46 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


with Scott & Fowles, New York.

E N G R A V E D :

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.

65

l40

Frederic Whiting (1873-1962)The Guthrie Childrensigned ‘FREDERIC WHITING’ (lower right)oil on canvas88 x 103æ in. (223.5 x 263.4 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


Painted for the family in 1914 and thence by descent to the present owner.

E X H I B I T E D :

London, Royal Academy, 1914, no. 565.


Royal Academy Illustrated, 1914, p. 121.

The Guthrie Children, painted on the eve of the outbreak of The Great War, is an impressive example of Whiting’s 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 Whiting’s 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.

66

41

Charles Sims, R.A., R.W.S. (1873-1928)Portrait of Mrs William Younger and her daughter Charlotte Marysigned ‘SIMS’ (lower left)oil on canvas72 x 60 in. (182.8 x 152.4 cm.)

£20,000-30,000 $33,000-48,000 €26,000-38,000


By descent in the family of the artist to the present owner.

E X H I B I T E D :


This painting portrays the wife and daughter of William Younger (1857-1925) 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.

Katharine Younger and Sims are known to have enjoyed a lengthy correspondence and friendship after her husband’s 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 friend’s health.

Exhibited in 1923 the painting displays Sims’s 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.

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).

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 Society’s Club, London, 1929, p. 45).

Sixty-four works by the artist are found in British national collections, including Tate Britain.

67

42

Walter Greaves (1846-1930)Portrait of James McNeill Whistler, standing, full-lengthsigned and dated ‘W. Greaves/1872’ (lower right)oil on canvas38 x 24 in. (96.5 x 61 cm.)

£50,000-70,000 $81,000-110,000 €64,000-89,000


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 Greaves’s 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 Mary’s Church, Battersea, opposite Chelsea Harbour, can be seen in the background.

68

*43

Henry Scott Tuke, R.A. (1858-1929)A male nude reclining on rockssigned ‘H.S. TUKE’ (lower left)oil on canvasboard12 x 18 in. (30.5 x 45.7 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


with The Willeston Gallery, Wellington, New Zealand.

The sitter is Charlie Mitchell (1885–1957) who modelled for Tuke from the age of 16 until his 30’s. He looked after Tuke’s 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 Treessigned ‘P. Maitland’ (lower right) and further signed, inscribed and dated ‘Chelsea Embankment/by Paul Maitland/’08’ (on the artist’s label on the reverse)oil on panel9 x 7¡ in. (23 x 19.8 cm.)

£8,000-12,000 $13,000-19,000 €11,000-15,000


with Roland, Browse & Delbanco, London.with Leicester Galleries, London, December 1952.Anonymous sale; Christie’s, 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.

69


The Artist’s Family.Anonymous sale; Christie’s, London, 23 November 1993, lot 71.Anonymous sale; Christie’s, London, 5 March 1999, lot 142.with MacConnal-Mason, London.

De Glehn’s 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).

l45

Wilfrid Gabriel de Glehn, R.A. (1870-1951)Reclining nudeoil on canvas28 x 22 in. (71 x 55.9 cm.)

£25,000-35,000 $41,000-56,000 €32,000-44,000

70

Fig. 1. George Clausen, Summer in the Fields, c. 1895-7. © Private Collection.

l46

George Clausen, R.A., R.W.S. (1852-1944)Head of a girlsigned ‘G. CLAUSEN.’ (lower right)oil on canvas laid on board10 x 8√ in. (25.4 x 22.5 cm.)

£40,000-60,000 $65,000-97,000 €51,000-76,000


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, Clausen’s 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 (Musée d’Orsay, 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 Clausen’s 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 Clausen’s struggle. While the related drawings give clear delineation of the form, A Girl’s 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).

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 Emmy’s 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.

72

Fig. 1. The British Section, St Louis International Exhibition, 1904

In 1904, when Henry Herbert La Thangue’s 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 Leighton’s 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 Thangue’s 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 Clausen’s 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 England’s 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 Thangue’s 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-master’s’ 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 Provençal 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 Thangue’s 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 girl’s 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 picture’s 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 counter-check 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 painter’s 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.

47

Henry Herbert La Thangue, R.A. (1859-1929)Tucking the Ricksigned ‘H.H. LA THANGUE’ (lower right) and inscribed as title (on the stretcher)oil on canvas44 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


with Thomas Agnew, London.Thomas Francis Blackwell, by 1906, and by descent toMrs L.A. Blackwell (†); Christie’s, London, 21 June 1940, lot 186 (6 gns to Abbott).R.E. Abbott.Anonymous sale; Sotheby’s, London, 25 June 1980, lot 45.with Pyms Gallery, London.

E X H I B I T E D :

London, Royal Academy, 1902, no. 167.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.


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.

74

Fig. 1. Henry Herbert La Thangue, In the Daupiné, 1884-5, c. Private Collection.

48

Henry Herbert La Thangue, R.A. (1859-1929)In the Fieldsoil on canvas35 x 20√ in. (88.9 x 53.1 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


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 Dauphiné, 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-François Millet subject. But when he returned the following year, it was to embark upon a large canvas of reapers entitled In the Dauphiné (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 Dauphiné 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 Donzère – 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 Dauphiné, are dressed in garments made from this cloth. Even the man’s 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 Donzère 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 Shannon’s studio when he left London to work, frst at South Walsham, then at Rye and fnally at Horsey Mere in Norfolk. Shannon’s In My Studio, one of his two exhibits in the frst New English exhibition shows La Thangue’s In the Dauphiné in the background. Somewhere, among these assorted canvases was In the Fields.

KMc.

76

49

Sir James Jebusa Shannon, R.A., R.B.A. (1862-1923)The Drawing Room, circa 1900with inscription ‘LADY SHANNON’ (on the stretcher)oil on canvas36 x 28 in. (91.5 x 71.1 cm.)

£7,000-10,000 $12,000-16,000 €8,900-13,000


The artist, and by descent.

Shannon’s 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 double-fronted structure with two main entrances, one leading to the studio and the other to the family’s household spaces. An uncommon example of domestic genre in Shannon’s output, the painting provides an intimate view of family life and depicts one end of the Shannons’ large drawing room where Kitty, the artist’s daughter (in profle), and a young friend are quietly occupied, while it is presumably Florence, the artist’s wife, who arranges fowers in the background.

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 (1862-1923) 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. Shannon’s 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.

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51

Sir James Jebusa Shannon, R.A., R.B.A. (1862-1923)Sta Maria della Salute from the Grand Canal, with a full moon, Veniceoil on panel6º x 9Ω in. (16 x 24.1 cm.)

£5,000-7,000 $8,100-11,000 €6,400-8,900



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.

50

51

50

Sir James Jebusa Shannon, R.A., R.B.A. (1862-1923)San Giorgio Maggiore from the Lagoon by moonlight, Veniceoil on panel6º x 9Ω in. (16 x 24.1 cm.)

£7,000-10,000 $12,000-16,000 €8,900-13,000



A rare endeavour on Shannon’s 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 Shannon’s art. Shannon once owned Whistler’s Blue and Silver: Trouville (Smithsonian Institution, Freer Gallery of Art, Washington, DC).

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52

Sir James Jebusa Shannon, R.A., R.B.A. (1862-1923)Portrait of Florence, the artist’s wife, circa 1890oil on canvas laid on board38 x 27Ω in. (96.5 x 69.9 cm.)

£8,000-12,000 $13,000-19,000 €11,000-15,000



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

Sir James Jebusa Shannon, R.A., R.B.A. (1862-1923)Study for ‘Madonna and Child’, circa 1892oil on canvas17¬ x 15¿ in. (44.8 x 38.4 cm.)

£5,000-7,000 $8,100-11,000 €6,400-8,900



Shannon’s striking white-on-white palette and square brushwork align his art with that of the progressive French painter Jules Bastien-Lepage (1848-1884), 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 artist’s rare excursions into religious subject matter.

79


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 Shannon’s 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 Kitty’s profle is positioned, lend a quasi-sacred meaning to the image and reveal the infuence of the artist’s 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 artist’s granddaughter explained that Shannon’s 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.

54

Sir James Jebusa Shannon, R.A., R.B.A. (1862-1923)The Offeringoil on canvas, unframed36 x 28 in. (91.5 x 71.1 cm.) unframedcirca 1897

£10,000-15,000 $17,000-24,000 €13,000-19,000



E X H I B I T E D :

London, Guildhall Art Gallery, Works by Irish Painters, 1904, no. 154.

80

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.

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 water’s 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 Steer’s 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 Steer’s Exhibition’, The Speaker, 3 March 1894, p.249; quoted in G. Moore, Modern Painting, 1898 ed., (Walter Scott), p. 242.). KMc.

55

Philip Wilson Steer, O.M., R.A. (1860-1942)Children on the beach, Southwoldsigned 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 panel8 x 10Ω in. (20.3 x 26.8 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


Philip Wilson Steer, O.M. (†); Christie’s, London, 16 July 1942, lot 198 (40 gns to Leger).with Leger Galleries, London.Hon. Mrs P. Sandeman.with Browse & Darby, London.


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

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56

Sir Frank Brangwyn, R.A. (1867-1956)Wrecked. The Last Resourcesigned with initials and dated ‘FB 92’ (lower left)oil on canvas30 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.

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57

57

Edgar Bundy (1862-1922)Despatches - is he mentioned?signed and dated ‘EDGAR BUNDY/1917’ (lower right)oil on canvas40 x 50 in. (101.6 x 127 cm.)

£20,000-30,000 $33,000-48,000 €26,000-38,000


with Mallett, London.

E X H I B I T E D :


58

Sir Francis Bernard Dicksee, P.R.A. (1853-1928)The Daughters of Evesigned and dated ‘FRANK DICKSEE/1925’ (lower right) and further signed and inscribed ‘Daughters of Eve./Frank Dicksee’ (on the artist’s label attached to the stretcher)oil on canvas35 x 21º in. (88.9 x 54 cm.)

£60,000-80,000 $97,000-130,000 €76,000-100,000P R O V E N A N C E :

Colonel J.R. Danson (†); Christie’s, London, 29 July 1977, lot 163.Anonymous sale; Sotheby’s, London, 18 April 1978, lot 94.with Roy Miles, London.E X H I B I T E D :

London, Royal Academy, 1925, no. 83.Liverpool, Walker Art Gallery, Liverpool Autumn Exhibition, 1925, no. 940.L I T E R A T U R E :

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 Dicksee’s 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).

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E X H I B I T E D :


The Mirror is a fne example of the paintings from Tayler’s 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, square-brush technique of his fellow Newlyn artists, such as Stanhope Forbes and Harold Harvey.

l59

Albert Chevallier Tayler (1862-1925)The Mirrorsigned and dated ‘A. CHEVALLIER TAYLER./ 1914.’ (lower right)oil on canvas40 x 50 in. (101.5 x 127 cm.)

£25,000-35,000 $41,000-56,000 €32,000-44,000

85


A gift from the artist and by descent.

E X H I B I T E D :



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 Académie 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 cat’s 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.

l60

Harold Knight, R.A. (1874-1961)When the cat’s awaysigned ‘H Knight’ (lower left) and further signed, inscribed and numbered ‘No 1/When the cat’s away/H Knight/8 Belgrave Sqe/Nottingham’ (on the artist’s label attached to the stretcher) and further signed, dated and numbered ‘Knight/1893/19/3597’ (on a label attached to the stretcher)oil on canvas30º x 24º in. (76.8 x 61.6 cm.)

£18,000-25,000 $29,000-40,000 €23,000-32,000

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l61

Sir Gerald Festus Kelly, P.R.A. (1879-1972)La Sevillanaoil on canvas55 x 38æ in. (139.7 x 98.5 cm.)

£20,000-30,000 $33,000-48,000 €26,000-38,000


The Contents of the Studio of the Late Sir Gerald Kelly (†); Christie’s, London, 8 February 1980, lot 99.with The Weston Gallery, Norwich.

E X H I B I T E D :

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 Dancerssigned ‘CONNARD’ (on the stretcher) and further signed and inscribed ‘CONNARD CHELSEA’ (on the frame)oil on canvas56º x 44º in. (143 x 102.4 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000


with Goupil Gallery, London.Anonymous sale; Christie’s, London, 28 November 1996, lot 135, where purchased by the present owner.

E X H I B I T E D :

Venice, Biennale, International Exhibition, 1912, no. 15.Bradford, Cartwright Hall Museum and Art Gallery (on loan).

This painting shows the artist’s daughters Jane and Helen with their cat James. Another painting of 1913, also illustrating Connard’s 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.

87

E X H I B I T E D :

London, Royal Academy, 1953, no. 191.London, Royal Academy, Dame Laura Knight Exhibition, 1965.

Knight’s 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 Carmo’s 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 world-famous’ (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 raisonné of the work of Dame Laura Knight currently being prepared by R John Croft FCA, the artist’s great-nephew.

l63

Dame Laura Knight, R.A., R.W.S. (1877-1970)Comedy Riderssigned, 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 artist’s label attached to the stretcher)oil on canvas25º x 30 in. (61.1 x 76.2 cm.)

£25,000-35,000 $41,000-56,000 €32,000-44,000


with Pawsey & Payne, London.Anonymous sale; Sotheby’s, London, 19 July 1967, lot 169. Anonymous sale; Phillips, London, 4 June 1996, lot 104.

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65

Harold C. Harvey (1874-1941)Children on the quay, Newlynsigned ‘Harold Harvey.’ (lower right)oil on canvas15 x 18 in. (38 x 45.8 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000P R O V E N A N C E :

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.with MacConnal-Mason, London.L I T E R A T U R E :

K. McConkey, Harold Harvey:Painter of Cornwall, Bristol, 2001, p.100.

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Carl Wilhelm Wilhelmson (1866-1928)A bright day in St Ives, Cornwallsigned ‘C. Wilhelmson’ (lower left)oil on canvas20º x 27 in. (51.4 x 68.6 cm.)Painted in 1924.

£10,000-15,000 $17,000-24,000 €13,000-19,000P R O V E N A N C E :

Mrs Wilhelmson.Anonymous sale; Bukowski, Stockholm, 10 November 1971, lot 186.E X H I B I T E D :

Gothenburg, 1926.Gothenburg and Stockholm, 1929.Stockholm, National Museum, 1930.Stockholm, Liljevalchs, Retrospective exhibition, 1934, no. 451.Kiel, Germany, 1929.L I T E R A T U R E :

A. Romdahd, Carl Wilhelmson, Stockholm, 1938, no. 745.

Wilhelmson was born in the little fshing village of Fiskebäcksil 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 Académie 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.

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E X H I B I T E D :

London, Royal Academy, 1934, no. 399.U.S.A., Pittsburgh, Carnegie Institute, 1934, no. 110, lent by the artist. Dublin, Royal Hibernian Academy, 1936, no. 126.


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.

66

Harold C. Harvey (1874-1941)F-te champ-tresigned and dated ‘HAROLD. HARVEY. 34’ (lower right) and further signed and inscribed ‘FÊTE CHAMPÊTRE/HAROLD HARVEY/Painter/MAÊN COTTAGE/NEWLYN/PENZANCE’ (on a label attached to the stretcher)oil on canvas39 x 35 in. (99 x 89 cm.)

£50,000-80,000 $81,000-130,000 €64,000-100,000


Anonymous sale; Philips, London, 23 April 1985, lot 43.Anonymous sale; Sotheby’s, London, 13 May 1987, lot 132.with MacConnal-Mason, London.

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l*67

Dame Laura Knight, R.A., R.W.S. (1877-1970)In the Sun, Newlynsigned ‘Laura Knight’ (lower right)oil on canvas25 x 30 in. (63.5 x 96.5 cm.)

£150,000-200,000 $250,000-320,000 €190,000-250,000


Private collection, Canada.

E X H I B I T E D :

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.


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 Knight’s 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 Laura’s admirers was Alfred Munnings, who joined them (somewhat to Harold’s discomfture) as a lodger at Mrs Beer’s. 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 raisonné of the work of Dame Laura Knight currently being prepared by R John Croft FCA, the artist’s great-nephew.

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Dorothea Sharp (1874-1955)A Summer Strollsigned ‘DOROTHEA SHARP’ (lower left)oil on board34 x 28 in. (86 x 71 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


Anonymous sale; Sotheby’s, London, 11 November 1987, lot 78, where purchased by the present owner.

l69

Dorothea Sharp (1874-1955)At the beachsigned ‘DOROTHEA SHARP’ (lower left) and with figures on a beach (on the reverse)oil on board30º x 25Ω in. (77 x 63.9 cm.)

£25,000-35,000 $41,000-56,000 €32,000-44,000

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l*70

Dorothea Sharp (1874-1955)Children playing beside a streamsigned ‘D.SHARP’ (lower left)oil on canvas32º x 28º in. (81.7 x 72 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


with Gainsborough Galleries, Calgary.

l*71

Dorothea Sharp (1874-1955)‘My New Sister’signed ‘DOROTHEA SHARP’ (lower left)oil on canvas35 x 32 in. (89 x 81.3 cm.)

£20,000-30,000 $33,000-48,000 €26,000-38,000

l72

Dame Laura Knight, R.A., R.W.S. (1877-1970)The two fshers, probably Lamorna Valleysigned ‘Laura Knight’ (lower right)pencil, watercolour and bodycolour, on paper22 x 29Ω in. (56 x 75 cm.)

£80,000-120,000 $130,000-190,000 €110,000-150,000


J. Collingwood Stewart, and by descent.

E X H I B I T E D :

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.


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 Land’s 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 Knight’s 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 raisonné of the work of Dame Laura Knight currently being prepared by R. John Croft FCA, the artist’s great-nephew.

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l73

Stanhope Alexander Forbes, R.A. (1857-1947)Figure studies for ‘On Paul Hill’oil on canvas laid on board11æ x 17√ in. (29.9 x 45.5 cm.)

£15,000-25,000 $25,000-40,000 €19,000-32,000


The Artist’s Studio.Anonymous sale; Christie’s, London, 12 November 1987, lot 130.

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 generation’s return to normality after the confict.

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74

Edward Atkinson Hornel, R.A. (1864-1933)The Lake Woodssigned and dated ‘EA Hornel/1914.’ (lower right)oil on canvas25º x 30º in. (64 x 76.8 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000

98

76

Thomas Sidney Cooper, R.A. (1803-1902)Cattle by a riversigned and dated ‘T. Sidney Cooper. R.A./1872’ (lower right)oil on canvas28 x 42 in. (71.1 x 106.7 cm.)

£15,000-20,000 $25,000-32,000 €19,000-25,000P R O V E N A N C E :

with Henry J. Mullen, Harrogate.Mrs Eleanor Furness, and by descent toSir Stephen and Lady Furness; Tennants, Otterington Hall, Yorkshire, 23 September 1996, lot 288.with Richard Green, London, by 1996.Private Collection.L I T E R A T U R E :

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.

*75

Benjamin Williams Leader, R.A. (1831-1923)Tintern Abbey by moonlightsigned and dated ‘B.W. LEADER. 1872. 1900.’ (lower left) and signed and dated again ‘1872/B.W. Leader.’ (lower right)oil on canvas19æ x 29√ in. (50.1 x 76 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000


Sold by the artist to Agnew’s in 1872 (£50).with Agnew’s, London, until 1872, when sold to Benjamin Armitage. His sale; Christie’s, London, 26 May 1900, lot 18 (75 gns to Tooth). Major-General E.H. Goulburn (†); Christie’s, London, 6 March 1981, lot 46.


Artist’s ‘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.

Leader’s 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.

99

77

Sidney Richard Percy (1821-1886)Glencoe from Loch Leven, Scotlandsigned and dated ‘SR Percy/1874’ (lower left)oil on canvas22º x 35º in. (56.5 x 89.5 cm.)

£25,000-35,000 $41,000-56,000 €32,000-44,000


Anonymous sale; Sotheby’s, London, 19 October 1983, lot 46.with Fine Art of Oakham, Oakham.

100

Anonymous sale; Christie’s, London, 11 February 1921, lot 151 (21 gns to Sampson).Anonymous sale; Sotheby’s, Belgravia, 29 June 1976, lot 62.Mrs. George Pope.with Spink, London, until June 1983, when purchased by the present owner.

E X H I B I T E D :

London, Royal Academy, 1814, no. 75.London, Royal Academy, 1882, no. 10.

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 Swinburne’s 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. (1823-1906), 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’.

FROM AN IMPORTANT PRIVATE COLLECTION

78

William Mulready, R.A. (1786-1863)Boys fshingsigned with initials (lower centre, on the boat)oil on canvas30¬ x 40√ in. (78 x 104 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


Sir J.E. Swinburne, and by descent toMiss Julia Swinburne, by 1882.Anonymous sale; Christie’s, London, 20 June 1893, lot 93 (250 gns to Gooden).with Thos. Agnew & Son, London, until 1900 when sold toSir Charles Tennant.Mrs Lubbock.with Thos. Agnew & Son, London.

101

*79

Sidney Richard Percy (1821-1886)Spring, an approaching showersigned and dated ‘SR Percy. 1858.’ (lower right)oil on canvas45Ω x 71¬ in. (115.5 x 182 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


Anonymous sale; Christie’s, London, 16 May 1927, lot 131, as ‘Our River’ (32 gns to Spink).

E X H I B I T E D :


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.

80

Edward Lear (1812-1888)Ravennasigned with monogram and dated ‘1882’ (lower right) and inscribed ‘RAVENNA’ (lower left and again on the stretcher)oil on canvas9Ω x 18Ω 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.

103


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 David’s, 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 Christie’s 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 Brett’s style”.

We are grateful to Charles Brett for his help in preparing this catalogue entry.

81

John Brett, A.R.A. (1831-1902)A Summer Day, Whitesands Bay, Pembrokeshire, South Walessigned and dated ‘John Brett 1872’ (lower right) and further signed and inscribed ‘John Brett/38 Harley Street/Cavendish Square’ (on the artist’s label attached to the stretcher)oil on canvas33 x 57 in. (84 x 145 cm.)In the artist’s original frame.

£30,000-50,000 $49,000-81,000 €38,000-63,000


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.

E X H I B I T E D :

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.

104

82

l83

Sir William Russell Flint, R.A., P.R.W.S., R.S.W. (1880-1969)Alycia recliningsigned ‘W. RUSSELL FLINT’ (lower right) and further signed, inscribed and dated ‘ALYCIA/W Russell Flint/1958’ (on the reverse)pencil and watercolour, on paper8æ x 14Ω in. (22.2 x 36.8 cm.)

£20,000-30,000 $33,000-48,000 €26,000-38,000


Anonymous sale; Christie’s, London, 12 November 1976, lot 146, as ‘Alycia’, where purchased by the present owner.

l82

Sir William Russell Flint, R.A., P.R.W.S., R.S.W. (1880-1969)Bamboossigned ‘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 paper27¡ x 38√ in. (69.5 x 98.7 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.

105

84

83

l84

Sir William Russell Flint, R.A., P.R.W.S., R.S.W. (1880-1969)Gruinard Bay, Wester-Ross, Scotlandsigned ‘W. RUSSELL FLINT’ (lower right) and inscribed ‘Barbara in Doubt’ (on the backboard)watercolour on paper laid on artist’s board20 x 27 in. (50.8 x 68.6 cm.)

£15,000-25,000 $25,000-40,000 €19,000-32,000


with The Fine Art Society, London, 1928, as ‘Barbara in Doubt’.with Ian MacNicol, Glasgow, as ‘Gruinard Bay’.

106


l85

Sir William Russell Flint, R.A., P.R.W.S., R.S.W. (1880-1969)Beyond Palm Beach, Cannessigned ‘W. RUSSELL FLINT’ (lower right ) and inscribed ‘BEYOND PALM BEACH, CANNES’ (on the reverse)pencil and watercolour heightened with touches of bodycolour, on paper10æ x 14æ in. (27.4 x 37.5 cm.)

£8,000-12,000 $13,000-19,000 €11,000-15,000


with Spink, London.

In 1922, Tate Britain held a large exhibition of John Sell Cotman’s (1782-1842) works which Flint greatly admired. The infuence of Cotman’s watercolours is evident in Flint’s 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 Flint, R.A., P.R.W.S., R.S.W. (1880-1969)A Garden in Devonsigned ‘W.RUSSELL FLINT’ (lower right) and further signed and inscribed ‘A Garden In Devon’ (twice on the backboard)pencil, watercolour and bodycolour, on artist’s board20¿ x 30¿ in. (51 x 76.4 cm.)

£7,000-10,000 $12,000-16,000 €8,900-13,000


with Ian MacNicol, Glasgow.

107

l87

Sir William Russell Flint, R.A., P.R.W.S., R.S.W. (1880-1969)Viviers on the RhIne, Southern Francesigned ‘W. RUSSELL FLINT -’ (lower right) and further signed and inscribed ‘Viviers on the Rhone/W Russell Flint -’ (on the backboard)pencil and watercolour, on paper20 x 26Ω in. (50.7 x 67.3 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000P R O V E N A N C E :

with Frost and Reed, London.Mrs Lucas, Bristol.Anonymous sale; Christie’s, London, 5 June 2007, lot 186, where purchased by the present owner.E X H I B I T E D :

London, Royal Academy, 1961, no. 938.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 example- but never making it their permanent home.’

l88

Sir William Russell Flint, R.A., P.R.W.S., R.S.W. (1880-1969)Bathers by the water’s edgesigned ‘W. RUSSELL FLINT’ (lower left)pencil and watercolour, on paper15 x 21Ω in. (38.1 x 54.1 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000


Anonymous sale; Christie’s, London, 9 June 1988, lot 115.

108


l89

Edward Seago, R.B.A., R.W.S. (1910-1974)Entrance to the Grand Canal, Venicesigned ‘Edward Seago’ (lower left) and with inscription ‘ENTRANCE TO THE GRAND CANAL’ (on the reverse)oil on board20 x 30 in. (51 x 76.2 cm.)

£30,000-40,000 $49,000-64,000 €38,000-51,000


with Marlborough Fine Art, London, April 1980.

109

91

90


l90

Edward Seago, R.B.A., R.W.S. (1910-1974)The Lieutenance, Honfeursigned ‘Edward Seago’ (lower left) and with inscription ‘THE LIEUTENANCE - HONFLEUR’ (on the reverse)oil on board26 x 36 in. (66.5 x 91.5 cm.)

£20,000-30,000 $33,000-48,000 €26,000-38,000


with Marlborough Fine Art, London, November 1978.


l91

Edward Seago, R.B.A., R.W.S. (1910-1974)Windy Day, Veniceindistinctly signed ‘Edward Seago’ (lower left) and with inscription ‘WINDY DAY, VENICE’ (on the reverse)oil on board16 x 24 in. (41 x 61 cm.)

£20,000-30,000 $33,000-48,000 €26,000-38,000


with Marlborough Fine Art, London, April 1980.

110

l94

Edward Seago, R.B.A., R.W.S. (1910-1974)Misty Morning, Rotterdam Quaysidesigned ‘Edward Seago’ (lower left) and with inscription ‘MISTY MORNING -/ROTTERDAM QUAYSIDE’ (on the reverse)oil on board11 x 16¿ in. (28 x 41 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000


with Colnaghi, London.with Marlborough Fine Art, London.

94


l93

Edward Seago, R.B.A., R.W.S. (1910-1974)The Tall Millsigned ‘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 panel12 x 16 in. (30.5 x 41 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000


with Colnaghi, London.with Richard Green, London, October 1986.

93

l92

Edward Seago, R.B.A., R.W.S. (1910-1974)Sailing boatssigned ‘Edward Seago’ (upper right)oil on board10¬ x 14¿ in. (27.2 x 36 cm.)

£10,000-15,000 $17,000-24,000 €13,000-19,000


Anonymous sale; Christie’s, London, 6 June 2003, lot 161.

E X H I B I T E D :

London, Marlborough Fine Art, Edward Seago Memorial Exhibition, December 1974 - January 1975, no. 46.

92

111

l95

Edward Seago, R.B.A., R.W.S. (1910-1974)Fishermen’s boats off the East Coastsigned ‘Edward Seago’ (lower left) and with indistinct inscription as title (on the reverse)oil on board26 x 36 in. (66 x 91.4 cm.)

£40,000-60,000 $65,000-97,000 €51,000-76,000


Lord Belstead.

E X H I B I T E D :

London, Richard Green Gallery, Edward Seago 1910-1974, 2007, no. 26, illustrated in colour.

112

l96

Edward Seago, R.B.A., R.W.S. (1910-1974)Winter by the Thurnesigned ‘Edward Seago’ (lower left) and with indistinct inscription (on the reverse)oil on board20 x 30 in. (50.8 x 76.2 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


with Marlborough Fine Art, London.Lord Belstead, Great Bealings, Suffolk.

E X H I B I T E D :

London, Richard Green Gallery, Edward

Seago 1910-1974, 2007, no. 41, illustrated in colour.

l98

Edward Seago, R.B.A., R.W.S. (1910-1974)Ludham Marshes from Upper Horning, Suffolksigned ‘Edward Seago’ (lower left) and with inscription ‘LUDHAM MARSHES FROM/UPPER HORNING’ (on the reverse)oil on board20 x 30 in. (50./8 x 76.2 cm.)

£25,000-35,000 $41,000-56,000 €32,000-44,000


William Tallon (1935-2007), Steward and Page of the Backstairs in the household of the late Queen Elizabeth, the Queen Mother.

l*97

Edward Seago, R.B.A., R.W.S. (1910-1974)A Suffolk Streamsigned ‘Edward Seago’ (lower left) and with inscription ‘A SUFFOLK STREAM’ (on the reverse)oil on board20 x 26 in. (50.8 x 66 cm.)

£25,000-35,000 $41,000-56,000 €32,000-44,000


with P. & D. Colnaghi, London.Gray Philips, until 1973, when bequeathed to Warren R. Austen, Santa Barbara, U.S.A.

96

113

98

97

114

l99

Edward Seago, R.B.A., R.W.S. (1910-1974) Low tide, a Suffolk estuarysigned ‘Edward Seago’ (lower left) and inscribed and numbered ‘A SUFFOLK ESTUARY/6’ (on the reverse)watercolour on paper10 x 14 in. (25.4 x 35.5 cm.)

£4,000-6,000 $6,500-9,700 €5,100-7,600


with Marlborough Fine Art, London.

l100

Edward Seago, R.B.A., R.W.S. (1910-1974)Evening after storm, Nantes, Francesigned ‘Edward Seago’ (lower left) and inscribed ‘EVENING AFTER STORM, NANTES.’ (on the reverse)pencil and watercolour on paper15Ω x 22 in. (39.3 x 55.9 cm.)

£6,000-8,000 $9,700-13,000 €7,600-10,000


with Colnaghi’s, London.

l101

Edward Seago, R.B.A., R.W.S., (1910-1974) Misty Morning, River Thurne, Norfolksigned ‘Edward Seago’ (lower left) and inscribed ‘MISTY MORNING - RIVER THURNE’ (on the reverse)watercolour on paper10 x 14 in. (25.4 x 35.6 cm.)

£4,000-6,000 $6,500-9,700 €5,100-7,600


with Marlborough Fine Art, London.

115

l102

Edward Seago, R.B.A., R.W.S. (1910-1974)September Flowerssigned ‘Edward Seago’ (lower left) and with inscription ‘SEPTEMBER FLOWERS’ (on the stretcher)oil on canvas24 x 20 in. (61 x 50.8 cm.)

£30,000-50,000 $49,000-81,000 €38,000-63,000


with P. & D. Colnaghi, London.with Marlborough Fine Art, London.with E. Stacey Marks, Eastbourne, by September 1984.

END OF SALE

116

Important Notices and Explanation of Cataloguing Practice

CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTIONFrom time to time, Christie’s 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, Christie’s 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 Christie’s holds such financial interest on its own we identify such lots with the symbol º next to the lot number.Where Christie’s has financed all or part of such interest through a third party the lots are identified in the catalogue with the symbol ºu. When a third party agrees to finance all or part of Christie’s 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 Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

ALL DIMENSIONS ARE APPROXIMATE

CONDITIONChristie’s 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, Christie’s 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.

PROPERTY INCORPORATING MATERIALS FROM ENDANGERED AND OTHER PROTECTED SPECIESProperty 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 client’s 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 Christie’s 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 USAThe 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 buyer’s inability to export or import any lot containing elephant ivory or other wildlife material is not a basis for cancelling the purchase.

POST 1950 FURNITUREAll 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 MINIATURESTerms 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 QualificationIn Christie’s opinion a work by the artist.*“Attributed to …”In Christie’s qualified opinion probably a work by the artist in whole or in part.*“Studio of …”/“Workshop of …”In Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision.*“Circle of …”In Christie’s qualified opinion a work of the period of the artist and showing his influence.*“Follower of …”In Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil.*“Manner of …”In Christie’s qualified opinion a work executed in the artist’s style but of a later date.*“After …”In Christie’s qualified opinion a copy (of any date) of a work of the artist.“Signed …”/“Dated …”/ “Inscribed …”In Christie’s qualified opinion the work has been signed/dated/inscribed by the artist.“With signature …”/“With date …”/ “With inscription …”In Christie’s 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, Christie’s 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.

117

Buying at Christie’s

20/11/13

CONDITIONS OF SALEChristie’s 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 buyer’s premium or VAT. Where “Estimate on Request” appears, please contact the Specialist Department for further information.

RESERVESThe 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.

BUYER’S PREMIUMChristie’s charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot. VAT is payable on the premium at the applicable rate.

PRE-AUCTION VIEWINGPre-auction viewings are open to the public free of charge. Christie’s specialists are available to give advice and condition reports at viewings or by appointment.

BIDDER REGISTRATIONProspective buyers who have not previously bid or consigned with Christie’s 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 Christie’s 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. Christie’s 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 Christie’s 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 Christie’s 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 Christie’s 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 ELSE’S BEHALFPersons bidding on behalf of an existing client should bring a signed letter from the client authorising the bidder to act on the client’s behalf. Please note that Christie’s does not accept payments from third parties. Christie’s can only accept payment from the client, and not from the person bidding on their behalf.

BIDDINGThe auctioneer accepts bids from those present in the sale-room, from telephone bidders, or by absentee written bids left with Christie’s 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 BIDSAbsentee bids are written instructions from prospective buyers directing Christie’s to bid on their behalf up to a maximum amount specified for each lot. Christie’s 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 Christie’s location, or online at christies.com.

TELEPHONE BIDSTelephone 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 BIDSWhile 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.

PAYMENTBuyers 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 Christie’s 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 buyer’s premium and any applicable taxes. Credit card payments at London sale sites will only be accepted for London sales. Christie’s 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 Christie’s (subject to conditions). Cheques should be made payable to Christie’s (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:Christie’s, Cashiers’ Department, 8 King Street, St James’s, London, SW1Y 6QTPlease 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 buyer’s 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 buyer’s 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 Christie’s immediately after the auction.ΩThese 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 buyer’s 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 Christie’s immediately after the auction.α Buyers from within the EU:

VAT payable at 20% on just the buyer’s premium (NOT the hammer price). Buyers from outside the EU: VAT payable at 20% on hammer price and buyer’s 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 Christie’s to this effect immediately

q Zero 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 buyer’s 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 buyer’s premium (wine only).

VAT RefundsRefunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ωsymbol) 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. Christie’s will charge £35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] 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 Christie’s do not have discretion to make exceptions to the rule. UK and EU private buyers cannot reclaim any VAT charged.

ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)If a lot is affected by this right it will be identified with the symbol λ next to the lot number. The buyer agrees to pay to Christie’s 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.

SHIPPINGIt is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s 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 [email protected] for both London, King Street and London, South Kensington sales.

EXPORT OF GOODS FROM THE EUIf you are proposing to take purchased items outside the EU the following applies:Christie’s Art Transport: If you use Christie’s 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.*, Ω or †Starred, Omega or Daggered lots – A C88 can be obtained from Christie’s 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 PERMITSBuyers should always check whether an export licence is required before exporting. It is the buyer’s 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.Christie’s can advise buyers on the detailed provisions of the export licensing regulations and will submit any necessary export licence applications on request. However, Christie’s 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 Christie’s 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.

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Storage and Collection

28/10/14

Cadogan TaTe LTd’s Warehouse 241 Acton Lane, Park Royal,London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected]

POST-WAR & CONTEMPORARY ARTTo 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

BOOKSPlease note that all lots from book department sales will be stored at Christie’s King Street for collection and not transferred to Cadogan Tate.

TRANSFER, STORAGE & RELATED CHARGES

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 £70.00 £35.00 Storage per day £5.25 £2.65

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

EXTENDED LIABILITY CHARGEFrom 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 buyer’s premium. The Extended Liability Charge in this respect by Cadogan Tate Ltd is 0.6% of the sum of the hammer price plus buyer’s premium or 100% of the handling and storage charges, whichever is smaller.

Christie’s 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 Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.

STORAGE AND COLLECTIONAll furniture and carpet lots (sold and unsold) not collected from Christie’s by 9.00 am 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: [email protected] 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.

PAYMENTCadogan Tate Ltd’s storage charges may be paid in advance or at the time of collection. Lots may only be released from Cadogan Tate Ltd’s warehouse on production of the ‘Collection Order’ from Christie’s, 8 King Street, London SW1Y 6QT. The removal and/or storage by Cadogan Tate of any lots will be subject to their standard Conditions of Business, copies of which are available from Christie’s, 8 King Street, London SW1Y 6QT. Lots will not be released until all outstanding charges due to Christie’s and Cadogan Tate Ltd are settled.

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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 Christie’s and the seller with the buyer. You should read them carefully before bidding.

1. CHRISTIE’S AS AGENTExcept as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

2. CATALOGUE DESCRIPTIONS AND CONDITION

Lots are sold as described and otherwise in the condition they are in at the time of the sale, on the following basis.(a) ConditionThe 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, Christie’s 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 PracticeOur cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice, which appear after the catalogue entries.(c) Attribution, etcAny statements made by Christie’s 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 Christie’s 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) EstimatesEstimates 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 PurposeLots 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.

3. AT THE SALE(a) Refusal of admissionChristie’s 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 biddingProspective 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 principalWhen making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment.(d) Absentee bidsWe 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 bidsIf 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 converterAt 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.

(g) Video or digital imagesAt 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.

(h) ReservesUnless 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) Auctioneer’s discretionThe 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 riskSubject to the auctioneer’s 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) Buyer’s premiumIn addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax. The buyer’s 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) Artist’s Resale Right (“Droit de Suite”)If the Artist’s 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 λ next to the lot number.(c) Payment and ownershipThe buyer must pay the full amount due (comprising the hammer price, buyer’s 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.

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(d) Collection of purchasesWe shall be entitled to retain items sold until all amounts due to us, or to Christie’s 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, Christie’s 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 shippingAlthough 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 licenceUnless 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 paymentIf 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 Christie’s 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 Christie’s 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;

(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 buyer’s 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 Christie’s shall have all of the rights of the seller, however arising, to pursue the buyer for such amount.

(h) Failure to collect purchasesWhere 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 buyer’s 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 Christie’sIn 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 Christie’s in a calendar year. Commissions are charged on a sale by sale basis.

5. LIMITED WARRANTYIn addition to Christie’s liability to buyers set out in clause 2 of these Conditions, but subject to the terms and conditions of this paragraph, Christie’s 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 Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s 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 Christie’s 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 buyer’s sole and exclusive remedy against Christie’s 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 Christie’s 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 Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognised experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty.

(vi) The buyer must return the lot to the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.

6. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s 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. SEVERABILITYIf 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 JURISDICTIONThe 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 Christie’s, to the exclusive jurisdiction of the courts of the United Kingdom.

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ARGENTINA

BUENOS AIRES +54 11 43 93 42 22 Cristina Carlisle

AUSTRALIA

SYDNEY +61 (0)2 9326 1422 Ronan Sulich

AUSTRIA

VIENNA +43 (0)1 533 8812 Angela Baillou

BELGIUM

BRUSSELS +32 (0)2 512 88 30 Roland de Lathuy

BERMUDA

BERMUDA +1 401 849 9222 Betsy Ray

BRAZIL

RIO DE JANEIRO +5521 2225 6553 Candida Sodre

SÃO PAULO +5511 3061 2576 Nathalie Lenci

CANADA

TORONTO +1 416 960 2063 Brett Sherlock

CHILE

SANTIAGO +56 2 2 2631642 Denise Ratinoff

de Lira

COLOMBIA

BOGOTA +571 635 54 00 Juanita Madrinan

DENMARK

COPENHAGEN +45 3962 2377 Birgitta Hillingso

(Consultant) + 45 2612 0092 Rikke Juel Brandt

(Consultant)

FINLAND AND THE BALTIC STATES

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

(Consultant)

NORD-PAS DE CALAIS +33 (0)6 09 63 21 02 Jean-Louis Brémilts

(Consultant)

•PARIS +33 (0)1 40 76 85 85

POITOU-CHARENTE AQUITAINE

+33 (0)5 56 81 65 47

Marie-Cécile Moueix

PROVENCE - ALPES CÔTE D’AZUR

+33 (0)6 71 99 97 67

Fabienne Albertini-Cohen

RHÔNE ALPES +33 (0)6 61 81 82 53 Dominique Pierron

(Consultant)

GERMANY

DÜSSELDORF +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 Gräfin

zu Rantzau

MUNICH +49 (0)89 24 20 96 80 Marie Christine Gräfin

Huyn

STUTTGART +49 (0)71 12 26 96 99 Eva Susanne Schweizer

INDIA

•MUMBAI +91 (22) 2280 7905 Sonal Singh

DELHI +91 (98) 1032 2399 Sanjay Sharma

INDONESIA

JAKARTA +62 (0)21 7278 6268 Charmie Hamami

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

TOKYO +81 (0)3 6267 1766 Ryutaro Katayama

MALAYSIA

KUALA LUMPUR +60 3 6207 9230 Lim Meng Hong

MEXICO

MEXICO CITY +52 55 5281 5503 Gabriela Lobo

MONACO +377 97 97 11 00 Nancy Dotta

THE NETHERLANDS

•AMSTERDAM +31 (0)20 57 55 255

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)

04/09/14

WorLdWide saLerooms and offiCes

ENQUIRIES?— Call the Saleroom or Office EMAIL— [email protected]

•DENOTES SALEROOM

122

08/08/14

RUSSIA

MOSCOW +7 495 937 6364 +44 20 7389 2318 Katya Vinokurova

SINGAPORE

SINGAPORE +65 6235 3828 Wen Li Tang

SOUTH AFRICA

CAPE TOWN +27 (21) 761 2676

Juliet Lomberg (Independent Consultant)

DURBAN & JOHANNESBURG

+27 (31) 207 8247 Gillian Scott-Berning


WESTERN CAPE +27 (44) 533 5178 Annabelle Conyngham


SOUTH KOREA

SEOUL +82 2 720 5266 Hye-Kyung Bae

SPAIN

BARCELONA +34 (0)93 487 8259

Carmen Schjaer

MADRID +34 (0)91 532 6626 Juan Varez Dalia Padilla

SWEDEN

STOCKHOLM +46 (0)70 5368 166 Marie Boettiger Kleman

(Consultant) +46 (0)70 9369 201

Louise Dyhlén (Consultant)

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 Argün

(Consultant)

UNITED ARAB EMIRATES

•DUBAI +971 (0)4 425 5647

UNITED KINGDOM

•LONDON, KING STREET +44 (0)20 7839 9060

•LONDON, SOUTH KENSINGTON +44 (0)20 7930 6074

NORTH +44 (0)20 7752 3004 Thomas Scott

SOUTH +44 (0)1730 814 300 Mark Wrey

EAST +44 (0)20 7752 3004 Thomas Scott

NORTHWEST AND WALES

+44 (0)20 7752 3004 Jane Blood

SCOTLAND +44 (0)131 225 4756 Bernard Williams Robert Lagneau David Bowes-Lyon

(Consultant)

ISLE OF MAN +44 (0)20 7389 2032

CHANNEL ISLANDS +44 (0)1534 485 988 Melissa Bonn

IRELAND +353 (0)59 86 24996 Christine Ryall

UNITED STATES

BOSTON +1 617 536 6000 Elizabeth M. Chapin

CHICAGO +1 312 787 2765 Lisa Cavanaugh

DALLAS +1 214 599 0735 Capera Ryan

HOUSTON +1 713 802 0191 Jessica Phifer

LOS ANGELES +1 310 385 2600

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

For a complete salerooms & offices listing go to christies.com

123

Christie’s Specialist Departments and Services

KEY TO ABBREVIATIONS

KS: London, King StreetNY: New York, Rockefeller PlazaPAR: ParisSK: London, South Kensington

DEPARTMENTS

AMERICAN FURNITURENY: +1 212 636 2230

AMERICAN INDIAN ARTNY: +1 212 606 0536

AMERICAN PICTURESNY: +1 212 636 2140

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

ANTIQUITIESSK: +44 (0)20 7752 3219

ARMS AND ARMOURSK: +44 (0)20 7752 3119

ASIAN 20TH CENTURY AND CONTEMPORARY ARTNY: +1 212 468 7133

AUSTRALIAN PICTURESKS: +44 (0)20 7389 2040

BOOKS AND MANUSCRIPTSKS: +44 (0)20 7389 2674SK: +44 (0)20 7752 3203

BRITISH & IRISH ARTKS: +44 (0)20 7389 2682NY: +1 212 636 2084SK: +44 (0)20 7752 3257

BRITISH ART ON PAPERKS: +44 (0)20 7389 2278SK: +44 (0)20 7752 3293NY: +1 212 636 2085

BRITISH PICTURES 1500-1850KS: +44 (0)20 7389 2945

CARPETSKS: +44 (0)20 7389 2370SK: +44 (0)20 7389 2776

CHINESE WORKS OF ARTKS: +44 (0)20 7389 2577SK: +44 (0)20 7752 3239

CLOCKSKS: +44 (0)20 7389 2357

CONTEMPORARY ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502

COSTUME, TEXTILES AND FANSSK: +44 (0)20 7752 3215

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

FURNITUREKS: +44 (0)20 7389 2482SK: +44 (0)20 7389 2791

IMPRESSIONIST PICTURESKS: +44 (0)20 7389 2638SK: +44 (0)20 7752 3218

INDIAN CONTEMPORARY ARTKS: +44 (0)20 7389 2700NY: +1 212 636 2189

INTERIORSSK: +44 (0)20 7389 2236NY: +1 212 636 2032

ISLAMIC WORKS OF ARTKS: +44 (0)20 7389 2700SK: +44 (0)20 7752 3239

JAPANESE WORKS OF ARTKS: +44 (0)20 7389 2591SK: +44 (0)20 7752 3239

JEWELLERYKS: +44 (0)20 7389 2383SK: +44 (0)20 7752 3265

LATIN AMERICAN ARTNY: +1 212 636 2150

MARITIME PICTURESSK: +44 (0)20 7752 3284NY: +1 212 707 5949

MINIATURES KS: +44 (0)20 7389 2650

MODERN DESIGNSK: +44 (0)20 7389 2142

MUSICAL INSTRUMENTSSK: +44 (0)20 7752 3365

NINETEENTH CENTURY FURNITURE AND SCULPTUREKS: +44 (0)20 7389 2699

NINETEENTH CENTURY EUROPEAN PICTURESKS: +44 (0)20 7389 2443SK: +44 (0)20 7752 3309

OBJECTS OF VERTUKS: +44 (0)20 7389 2347SK: +44 (0)20 7752 3001

OLD MASTER DRAWINGSKS: +44 (0)20 7389 2251

OLD MASTER PICTURESKS: +44 (0)20 7389 2531SK: +44 (0)20 7752 3250

ORIENTAL CERAMICS AND WORKS OF ARTSK: +44 (0)20 7752 3235

PHOTOGRAPHSKS: +44 (0)20 7389 2292

POPULAR CULTURE AND ENTERTAINMENTSK: +44 (0)20 7752 3275

POST-WAR ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502

POSTERSSK: +44 (0)20 7752 3208

PRINTSKS: +44 (0)20 7389 2328SK: +44 (0)20 7752 3109

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESKS: +44 (0)20 7389 2343

RUSSIAN WORKS OF ARTKS: +44 (0)20 7389 2057

TRAVEL, SCIENCE AND NATURAL HISTORYSK: +44 (0)20 7752 3291

SCULPTURE KS: +44 (0)20 7389 2331SK: +44 (0)20 7389 2794

SILVERKS: +44 (0)20 7389 2666SK: +44 (0)20 7752 3262

SWISS ARTZUR: +41 (0) 44 268 1012

TOPOGRAPHICAL PICTURESKS: +44 (0)20 7389 2040SK: +44 (0)20 7752 3291

TRIBAL AND PRE-COLUMBIAN ARTPAR: +33 (0)140 768 386

TWENTIETH CENTURY BRITISH ARTKS: +44 (0)20 7389 2684SK: +44 (0)20 7752 3311

TWENTIETH CENTURY DECORATIVE ART & DESIGNKS: +44 (0)20 7389 2140SK: +44 (0)20 7752 3236

TWENTIETH CENTURY PICTURESSK: +44 (0)20 7752 3218

VICTORIAN PICTURESKS: +44 (0)20 7389 2468SK: +44 (0)20 7752 3257

WATERCOLOURS AND DRAWINGSKS: +44 (0)20 7389 2257SK: +44 (0)20 7752 3293

WINEKS: +44 (0)20 7752 3366

AUCTION SERVICES

CORPORATE COLLECTIONSTel: +44 (0)20 7389 2548 Email: [email protected]

FINANCIAL SERVICESTel: +44 (0)20 7389 2624Fax: +44 (0)20 7389 2204

HERITAGE AND TAXATIONTel: +44 (0)20 7389 2101Fax: +44 (0)20 7389 2300 EmIL:[email protected]

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESTel: +44 (0)20 7389 2343Fax: +44 (0)20 7389 2225 Email: [email protected]

MUSEUM SERVICES, UKTel: +44 (0)20 7389 2570 Email: [email protected]

PRIVATE SALESUS: +1 212 636 2034Fax: +1 212 636 2035

VALUATIONSTel: +44 (0)20 7389 2464Fax: +44 (0)20 7389 2038Email: [email protected]

OTHER SERVICES

CHRISTIE’S EDUCATIONLondonTel: +44 (0)20 7665 4350Fax: +44 (0)20 7665 4351Email: [email protected]

New YorkTel: +1 212 355 1501Fax: +1 212 355 7370Email: [email protected]

Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: [email protected]

CHRISTIE’S FINE ART STORAGE SERVICESLondon +44 (0)20 7622 0609 [email protected]

New York +1 212 974 4570 [email protected]

Singapore Tel: +65 6543 5252 Email: [email protected]

CHRISTIE’S INTERNATIONAL REAL ESTATENew YorkTel +1 212 468 7182Fax +1 212 468 [email protected]

LondonTel +44 20 7389 2551Fax +44 20 7389 [email protected]

Hong KongTel +852 2978 6788Fax +852 2845 [email protected]

14/02/14

124

christies.comContactPippa Jacomb [email protected] +44(0) 20 7389 2293

Viewing15-19 November 8 King StreetLondon SW1Y 6QT

MODERN BRITISH AND IRISH ART DAY SALE

King Street • 20 November 2014

LUCIEN PISSARRO (1863-1944)Vue d’Eragny

signed and dated ‘Lucien Pissarro. 1893.’ (lower right), inscribed and dated again ‘Vue d’Eragny 1893’ (on the stretcher) oil on canvas · 23½ x 28¾ in. (59.7 x 73 cm.)

£40,000-60,000

125

A Townhouse off Grosvenor Square

The Collection of Dr. Peter D. Sommer

London, King Street • 4 December 2014

Including Important English and

European Furniture and Decorative

Objects, Old Master Paintings,

Impressionist Works of Art, Carpets,

Ceramics, Silver, Objects of Vertu,

Hèrmes Luggage and Jewellery

Auction

4 December

8 King Street

London SW1Y 6QT

Contact

Amelia Walker

[email protected]

+44 (0) 20 7389 2085

Highlights at Christie’s

28 November – 3 December

8 King Street

London SW1Y 6QT

Viewing at the House

22–26 November

28 November – 3 December

Upper Grosvenor Street, London

Admission by catalogue only

03720_09 CATALOGUE AD 267x210 (Sommer).indd 2 15/10/2014 13:09

126

A PRIVATE COLLECTION FROM BELGRAVIA

EDWARD ARTHUR WALTON, R.S.A., P.R.S.W., R.P. (1860–1922) The fortune teller, Miss Jane Aitken

signed ‘E.A. Walton’ (lower right) · oil on canvas 33Ω x 24 in. (85.1 x 60.9 cm)

£15,000–25,000

ContactLouisa Howard [email protected] +44 (0)20 7752 3129

Viewing22–25 November 2014 85 Old Brompton Road London SW7 3LD

Victorian & British Impressionist Art

London, South Kensington • 26 November 2014

127

A VICTORIAN OBSESSIONTHE PÉREZ SIMÓN COLLECTION

AT LEIGHTON HOUSE MUSEUM12 HOLLAND PARK ROAD

LONDON W14 8LZOPEN DAILY 10am - 5:30pm

CLOSED TUESDAYS

PRINCIPAL SPONSOR

Exclusive UK Affiliate of Christie’s International Real Estate

EXHIBITION SUPPORTERSChristie’sFoyle FoundationThe Friends of Leighton HouseExhibition Supporters Circle

Exhibition organised by Culturespacesin collaboration with Il Chiostro del Bramante,Museo Thyssen-Bornemisza and Foundation JAPS

A VICTORIAN OBSESSION

TICKETS NOW ON SALEwww.rbkc.gov.uk/BuyTickets

0800 912 6968

C

M

Y

CM

MY

CY

CMY

K

Christie's Catalogue Advert - FINAL.pdf 1 10/14/2014 4:25:08 PM

christies.comContactAlexandra McMorrow [email protected] +44 (0) 20 7389 2538

Viewing5-9 December 8 King StreetLondon SW1Y 6QT

19th Century European & Orientalist Art

King Street • 9 December 2014

PROPERTY FROM THE FORBES COLLECTION CARL VILHELM HOLSØE (DANISH, 1863-1935)

Interior with the artist’s wife signed ‘C Holsøe’ (lower right) · oil on canvas · 26 x 24 in. (66 x 61 cm.)

£50,000-70,000

129

Absentee bids must be received at least 24 hours before the auction begins. Christie’s will confirm all bids received by fax by return fax. If you have not received confirmation within one business day, please contact the Bid Department. Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com

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If you have not previously bid or consigned with Christie’s, please attach copies of the following documents. Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore companies or partnerships: please contact the Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply. If you are registering to bid on behalf of someone who has not previously bid or consigned with Christie’s, please attach identification documents for yourself as well as the party on whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients, clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions will be asked to supply a bank reference. We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also request that you complete the section below with your bank details:

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Please also refer to the information contained in Buying at Christie’s. I request Christie’s to bid on the following lots up to the maximum price I have indicated for each lot. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus a buyer’s premium of 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000, together with any VAT chargeable on the final bid and the buyer’s premium. VAT is chargeable on the purchase price of daggered (†) lots, and for buyers outside the EU on (α) lots, at the standard rate. VAT is chargeable on the purchase price of starred (*) lots at the reduced rate.I understand that Christie’s provides the service of executing absentee bids for the convenience of clients and that Christie’s is not responsible for failing to execute bids or for errors relating to execution of bids. On my behalf, Christie’s will try to purchase these lots for the lowest possible price, taking into account the reserve and other bids. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate.If identical absentee bids are received for the same lot, the written bid received first by Christie’s will take precedence.Please contact the Bid Department at least 24 hours in advance of the sale to make arrangements for telephone bidding.All bids are subject to the terms of the Conditions of Sale and Limited Warranty printed in each Christie’s catalogue.

BIDDING INCREMENTSBidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding interval. UK£50 to UK£1,000 by UK£50sUK£1,000 to UK£2,000 by UK£100sUK£2,000 to UK£3,000 by UK£200sUK£3,000 to UK£5,000 by UK£200, 500, 800

(ie: UK£4,200, 4,500, 4,800)UK£5,000 to UK£10,000 by UK£500sUK£10,000 to UK£20,000 by UK£1,000sUK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000, 5,000, 8,000

(ie: UK£32,000, 35,000, 38,000)

UK£50,000 to UK£100,000 by UK£5,000sUK£100,000 to UK£200,000 by UK£10,000sabove UK£200,000 at auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.Auction Results: +44 (0)20 7839 9060

Absentee Bids Form Christie’s London

PLEASE PRINT CLEARLY

If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMSPlease quote number below:

Lot number Maximum Bid UK£ Lot number Maximum Bid UK£ (in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)

Victorian, Pre-Raphaelite & British Impressionist ArtTHURSDAY 11 DECEMBER 2014 AT 2.30PM

8 King Street, St. James’s, London SW1Y 6QTCODE NAME: WILFRED

SALE NUMBER: 1580

(Dealers billing name and address must agree with tax exemption certificate. Invoices cannot be changed after they have been printed.)BID ONLINE FOR THIS SALE AT CHRISTIES.COM

1580

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British and Irish Art K5 Modern British & Irish Art South Kensington 4 57 95 87 L3 Modern British& Irish Art King Street 4 95 152 144 K2 Victorian, Traditionalist and Sporting Pictures South Kensington 5 71 119 109 L195 Victorian and British Impressionist Pictures King Street 2 48 76 72

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British and Irish ArtCatalogue Subscriptions Order Form

© Christie, Manson & Woods Ltd. (2014)

Christie’s

CHRIST IE ’S INTERNATIONAL PLCPatricia Barbizet, ChairmanSteven P. Murphy, Chief Executive OfficerStephen Brooks, Chief Operating OfficerLoïc Brivezac, Gilles Erulin, Gilles Pagniez, François-Henri Pinault

Sophie Carter, Company Secretary

CHRIST IE ’S EXECUTIVESteven P. Murphy, Stephen Brooks, Kerry Chandler, François Curiel, Marc Porter, Jussi Pylkkänen, Doug Woodham

Charles Cator, Deputy Chairman, Christie’s International

CHRIST IE ’S EUROPE CHAIRMAN’S OFF ICEJussi Pylkkänen, PresidentOrlando Rock, Deputy Chairman

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DIRECTORSProf. Dr. Dirk Boll, Roland de Lathuy, Eveline de Proyart, Roni Gilat-Baharaff, Paul Hewitt, Clarice Pecori Giraldi, Christiane Rantzau, Jop Ubbens, Juan Varez

CHRIST IE ’S EUROPEAN ADVISORY BOARDPedro Girao, Chairman, Christopher Balfour, Patricia Barbizet, Arpad Busson, Loula Chandris, Kemal Has Cingillioglu, Ginevra Elkann, I. D. Fürstin zu Fürstenberg, Laurence Graff, H.R.H. Prince Pavlos of Greece, Alicia Koplowitz, Viscount Linley, Robert Manoukian, Rosita, Duchess of Marlborough, Dimitri Mavrommatis, Countess Daniela Memmo d’Amelio, Usha Mittal, Leopoldo Rodés, Çigdem Simavi

03/11/14

CHRIST IE ’S UK

CHAIRMAN’S OFF ICEViscount Linley, Chairman Noël Annesley, Honorary Chairman; Richard Roundell, Vice Chairman; Robert Copley, Deputy Chairman; The Earl of Halifax, Deputy Chairman; Francis Russell, Deputy Chairman; Julia Delves Broughton, James Hervey-Bathurst, Amin Jaffer, Orlando Rock, Nicholas White, Mark Wrey

SENIOR DIRECTORSDina Amin, Daniel Baade, Philip Belcher, Jeremy Bentley, Ellen Berkeley, Jill Berry, Giovanna Bertazzoni, Prof. Dr. Dirk Boll, Peter Brown, James Bruce-Gardyne, Olivier Camu, Sophie Carter, Benjamin Clark, Christopher Clayton-Jones, Karen Cole, Isabelle de La Bruyere, Leila de Vos, Nicole Dembinska, Paul Dickinson, Harriet Drummond, Julie Edelson, Hugh Edmeades, David Elswood, David Findlay, Margaret Ford, Daniel Gallen, Philippe Garner, Jane Griffiths, Karen Harkness, Philip Harley, James Hastie, Paul Hewitt, Rachel Hidderley, Mark Hinton, Nick Hough, Michael Jeha, Hugues Joffre, Donald Johnston, Erem Kassim-Lakha, William Lorimer, Catherine Manson, John McDonald, Nic McElhatton (Chairman, South Kensington), Alexandra McMorrow, Jeremy Morrison, Nicholas Orchard, Francis Outred, Clarice Pecori-Giraldi, Benjamin Peronnet, Henry Pettifer, Steve Phipps, Will Porter, Paul Raison, Tara Rastrick, William Robinson, John Stainton, Alexis de Tiesenhausen, Lynne Turner, Jay Vincze, Andrew Ward, David Warren, Andrew Waters, Harry Williams-Bulkeley, Martin Wilson, André Zlattinger

DIRECTORSRichard Addington, Zoe Ainscough, Georgiana Aitken, Marco Almeida, Maddie Amos, Simon Andrews, Helen Baker, Karl Barry, Rachel Beattie, Sven Becker, Jane Blood, Piers Boothman, David Bowes-Lyon, Anthony Brown, Lucy Brown, Robert Brown, Grace Campbell, Lucy Campbell, Jason Carey, Romilly Collins, Ruth Cornett, Sigrun Danielsson, Armelle de Laubier-Rhally, Adrian Denton, Sophie DuCret, Anna Evans, Arne Everwijn, Adele Falconer, Nick Finch, Peter Flory, Elizabeth Floyd, Christopher Forrest, Giles Forster, Patricia Frost, Sarah Ghinn, Zita Gibson, Alexandra Gill, Sebastian Goetz, John Green, Simon Green, David Gregory, Mathilde Heaton, Annabel Hesketh, Sydney Hornsby, Peter Horwood, Simon James, Robert Jenrick, Sabine Kegel, Hans-Peter Keller, Jeffrey Kerr, Tjabel Klok, Quincy Kresler, Robert Lagneau, Nicholas Lambourn, Joanna Langston, Tina Law, Darren Leak, Adriana Leese, Brandon Lindberg, Laura Lindsay, David Llewellyn, Murray Macaulay,

Sarah Mansfield, Nicolas Martineau, Roger Massey, Joy McCall, Neil McCutcheon, Daniel McPherson, Neil Millen, Edward Monagle, Jeremy Morgan, Leonie Moschner, Giles Mountain, Chris Munro, Rupert Neelands, Mark Newstead, Liberte Nuti, Beatriz Ordovás, Rosalind Patient, Keith Penton, Romain Pingannaud, Sara Plumbly, Caroline Porter, Michael Prevezer, Anne Qaimmaqami, Marcus Rädecke, Pedram Rasti, Amjad Rauf, Sandra Romito, Tom Rooth, Alice de Roquemaurel, Francois Rothlisberger, Patrick Saich, Tim Schmelcher, Rosemary Scott, Tom Scott, Nigel Shorthouse, Dominic Simpson, Nick Sims, Katie Siveyer, Nicola Steel, Robin Stephenson, Kay Sutton, Rakhi Talwar, Nicolette Tomkinson, Jane Turner, Thomas Venning, Sophie Wiles, Mark Wilkinson, Bernard Williams, Georgina Wilsenach, Toby Woolley, Geoff Young

ASSOCIATE DIRECTORSGuy Agazarian, Cristian Albu, Jennie Amos, Ksenia Apukhtina, Katharine Arnold, Alexis Ashot, Alexandra Baker, Fiona Baker, Virginie Barocas-Hagelauer, Carin Baur, Sarah Boswell, Mark Bowis, Clare Bramwell, John Caudle, Dana Chahine, Marie-Louise Chaldecott, Sophie Churcher, Marion Clermont, Helen Culver Smith, Laetitia Delaloye, Charlotte Delaney, Cristiano De Lorenzo, Freddie De Rougemont, Grant Deudney, Claudia Dilley, Eva-Maria Dimitriadis, Howard Dixon, Virginie Dulucq, Joe Dunning, Antonia Essex, Kate Flitcroft, Nina Foote, Eva French, Pat Galligan, Keith Gill, Andrew Grainger, Leonie Grainger, Julia Grant, Pippa Green, Angus Granlund, Christine Haines, Coral Hall, Charlotte Hart, Evelyn Heathcoat Amory, Anke Held, Valerie Hess, Carolyn Holmes, Amy Huitson, Adrian Hume-Sayer, James Hyslop, Helena Ingham, Pippa Jacomb, Mark Jordan, Guady Kelly, Clementine Kerr, Hala Khayat, Alexandra Kindermann, Mark Henry Lampé, Tom Legh, Timothy Lloyd, Graeme Maddison, Stephanie Manstein, Astrid Mascher, Michelle McMullan, Kateryna Merkalenko, Susanne Meyer-Abich, Toby Monk, Sarah O’Brien, William Paton, Samuel Pedder-Smith, Suzanne Pennings, Louise Phelps, Sarah Rancans, Lisa Redpath, David Rees, Alexandra Reid, Simon Reynolds, Sumiko Roberts, Sangeeta Sachidanantham, Pat Savage, Catherine Scantlebury, Julie Schutz, Hannah Schweiger, Mark Silver, James Smith, Graham Smithson, David Stead, Mark Stephen, Annelies Stevens, Charlotte Stewart, Dean Stimpson, Gemma Sudlow, Dominique Suiveng, Cornelia Svedman, Nicola Swain, Iain Tarling, Sarah Tennant, Timothy Triptree, Flora Turnbull, Lisa Varsani, Julie Vial, Anastasia von Seibold, Amelia Walker, Tony Walshe, Chris White, Rosanna Widen, Ben Wiggins, Annette Wilson, Julian Wilson, Elissa Wood, Neal Young

Index

BBastien-Lepage, J., 6Brangwyn, Sir F., 56Brett, J., 81Brockhurst, G., 39Bundy, E., 57Burne-Jones, Sir E.C., 18, 19, 24CClausen, Sir G., 46Connard, P., 62Cooper, T.S., 76DDadd, R., 10De Glehn, W.G., 45De László, P. A., 35, 36Dicksee, Sir F.B., 58FFaed, J., 28Flint, Sir W.R., 82, 83, 84, 85, 86, 87, 88Forbes, S. A., 73Frampton, Sir G.J., 9GGarbe, R., 7Gilbert, Sir A., 5Godward, J.W., 12Greaves, W., 42Greenaway, K., 22Grimshaw, J.A., 30-34HHarvey, H.C., 65, 66Hornel, E.A., 74Howard, G., 20KKelly, Sir G.F., 61Knight, H., 60Knight, L., 63, 67, 72

LLa Thangue, H.H., 47, 48Lavery, Sir J., 38Leader, B.W., 75Lear, E., 80Lee, J.I., 21Leighton, E.B., 27Leighton, Lord F., 1Logsdail, W., 26MMaitland, P.F., 44Mulready, W., 78PPercy, S.R., 77, 79Pomeroy, F.W., 2Poynter, Sir E.J., 13RRossetti, D.G., 16, 25SSeago, E., 89-102Shannon, Sir J.J., 49-54Sharp, D., 68, 69, 70, 71Sims, C., 41Steer, P.W., 55Stokes, M., 17TTayler, A.C., 59Thornycroft, Sir W.H., 3, 8Tissot, J.J., 11Tuke, H.S., 43WWard, E.M., 29Waterhouse, J.W., 15, 23Watts, G.F., 4Whiting, F., 40Wilhelmson, C.W., 64

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Victorian, Pre-Raphaelite & British Impressionist Art

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