19th Century European & Orientalist Art

19th

Century

EUROPEAN & ORIENTALIST ART

Tuesday 9 December 2014

IFC2

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19th Century European & Orientalist Art Tuesday 9 December 2014

AUCTION

Tuesday 9 December 2014 at 2.00 pm 8 King Street, St. James’s London SW1Y 6QT VIEWING

Friday Saturday Sunday Monday Tuesday

5 December 6 December 7 December 8 December 9 December

9.oo am - 4.30 pm 12.oo am - 5.00 pm 12.oo am - 5.00 pm 9.oo am - 4.30 pm 9.oo am - 12 noon

AUCTIONEER

Alexandra McMorrow

AUCTION CODE AND NUMBER

CONDITIONS OF SALE

In sending absentee bids or making enquiries, this sale should be referred to as B E A T R I X - 1 5 6 7

This auction is subject to Important Notices, Conditions of Sale and to reserves. [25]

AUCTION RESULTS

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Contents

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Auction Information

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Christie’s International 19th Century European and Orientalist Art Department & Calendar of Auctions

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Specialists and Services for this Auction

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Property for Sale

134

Important Notices and Explanation of Cataloguing Practice

135

Buying at Christie’s

136

Storage and Collection

137

Conditions of Sale and Limited Warranty

139

Salerooms and Offices Worldwide

146

Christie’s Specialist Departments and Services

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Absentee Bids Form

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Catalogue Subscriptions

IBC

Index

opposite:

Lot 69

front cover:

Lot 15

back cover:

Lot 41

inside front cover:

Lot 46

inside back cover:

Lot 60

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InternatIonal 19th Century european and orIentalIst art department CO-CHAIRMAN

WORLDWIDE SPECIALISTS

BUSINESS DIRECTORS

(Auction) Nicholas H. J. Hall Tel: +1 212 636 2122

INTERNATIONAL HEAD OF DEPARTMENT

PRIVATE SALES

CO-CHAIRMAN

(Private Sales) Richard Knight Tel: +44 (0)20 7389 2159 INTERNATIONAL MANAGING DIRECTOR

Karl Hermanns Tel: +44 207 389 2425

Alexandra McMorrow Tel: +44 (0)207 389 2538 AMSTERDAM

Sarah de Clercq Sophie Bremers Tel: +31 20 575 59 66 LONDON KING STREET

Sebastian Goetz Arne Everwijn Martina Fusari Tel: +44 207 389 2256

Alexandra Baker Tel: +44 20 7389 2521 AMERICAS

Laryssa Zalisko Tel: +1 212 974 4469 LONDON KING STREET

Anthea Peers Tel: +44 20 7389 2124 LONDON SOUTH KENSINGTON

Nigel Shorthouse Tel: +44 20 7752 3221

LONDON SOUTH KENSINGTON

Alastair Plumb Tel: +44 20 7752 3298 NEW YORK

Deborah Coy James Hastie Anne Bracegirdle Clare McKeon Tel: +1 212 636 2509 PARIS

Sebastian Goetz Elvire de Maintenant Olivier Lefeuvre Tel: +33 1 40 76 83 57

InternatIonal 19th Century art auCtIons AUCTION CALENDAR 2014-15 TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE. CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION. 25 & 26 NOVEMBER OLD MASTER, 19TH CENTURY & IMPRESSIONIST PAINTINGS AMSTERDAM

16 APRIL 19TH CENTURY EUROPEAN & ORIENTALIST ART LONDON, SOUTH KENSINGTON

10 DECEMBER VAN REGTEREN ALTENA PART II AMSTERDAM

29 APRIL 19TH CENTURY EUROPEAN & ORIENTALIST ART NEW YORK

21 JANUARY 19TH CENTURY EUROPEAN & ORIENTALIST ART LONDON, SOUTH KENSINGTON

2 & 3 JUNE OLD MASTER, 19TH CENTURY & IMPRESSIONIST PAINTINGS AMSTERDAM

Subject to change.

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9 JUNE 19TH CENTURY EUROPEAN & ORIENTALIST ART LONDON, KING STREET

20/10/14

Specialists for this Auction LONDON

Alexandra McMorrow

Sebastian Goetz

Arne Everwijn

Martina Fusari

Alastair Plumb

[email protected] International Head of Department

[email protected] Director London and Paris

[email protected] Director, Head of Sale London

[email protected] Cataloguer London

[email protected] Associate Specialist South Kensington

AMSTERDAM AND PARIS

Sarah de Clercq

Sophie Bremers

Olivier Lefeuvre

Elvire de Maintenant

Head of Department Amsterdam

Specialist Amsterdam

Head of Department Paris

International Director, Paris Paris

NEW YORK EMAIL

Deborah Coy

James Hastie

Anne Bracegirdle

Clare McKeon

Head of Department New York

Senior Director New York

Specialist New York

Specialist New York

SPECIALISTS LONDON

SERVICES ABSENTEE AND TELEPHONE BIDS

Alexandra McMorrow +44 (0)20 7389 2538

Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 Internet: www.christies.com

Sebastian Goetz +44 (0)20 7389 2048 Arne Everwijn +44 (0)20 7389 2453 Martina Fusari Tel: +44 (0)20 7389 2256 AUCTION ADMINISTRATOR

Martina Fusari Tel: +44 (0)20 7389 2256 BUSINESS MANAGER

Anthea Peers Tel: +44 (0)20 7389 2124

AUCTION RESULTS

UK: +44 (0)20 7839 9060 US: +1 212 703 8080 Internet: www.christies.com CATALOGUES ONLINE

Lotfinder® Internet: www.christies.com CLIENT SERVICES

Tel: +44 (0)20 7839 9060 Fax: +44 (0)20 7389 2869 Email : [email protected]

First initial followed by last name@christies. com (e.g. Alexandra McMorrow = amcmorrow@christies. com) For general enquiries about this auction, emails should be addressed to the Auction Administrator(s).

PAYMENT

Buyers Tel: +44 (0)20 7839 9060 Fax: +44 (0)20 7389 2869 Consignors Tel: +44 (0)20 7389 2586 Fax: +44 (0)20 7581 5295 SHIPPING

Tel: +44 (0)20 7389 2712 Fax: +44 (0)20 7389 2869 STORAGE AND COLLECTION

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1

Ary Scheffer (DUTCH, 1795-1858)

Faust and Mephistopheles signed and dated ‘Ary Scheffer/1848’ (lower centre) oil on canvas 52¡ x 35 in. (133 x 88.9 cm.)

£12,000-18,000

$20,000-29,000 €16,000-23,000

One of the leading painters of the Romantic movement, Scheffer was strongly inspired by literary themes, drawn in particular from Dante, Byron and Goethe. Goethe’s Faust, which was also treated by other Romantic painters such as Eugène Delacroix and Gustave Doré, provided Scheffer with a rich vein of inspiration for almost 30 years, and was the subject of eight major compositions by the artist. The present work depicts Faust in study, striking his infamous bargain with the devil, Mephistopheles, to whom he relinquished his soul in exchange for magic powers. It was painted two years after Scheffer’s last Salon submission, Faust and Marguerite in the Garden, exhibited in 1846. Scheffer’s depiction of Mephistopheles is here particularly demonic, stressing his claw like fngers, red eyes and wrinkled features, as he waits patiently for Faust to ponder his ultimately fatal decision.

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PROPERTY FROM A PRIVATE COLLECTION

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Attributed to Achille Devéria (FRENCH, 1800-1857)

Portrait of a woman in Oriental dress oil on canvas 21æ x 18 in. (55.2 x 45.7 cm.)

£7,000-10,000

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$12,000-16,000 €8,900-13,000

PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

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Henri Fantin-Latour (FRENCH, 1836-1904)

Le repos dans le parc signed ‘Fantin’ (lower left) oil on canvas 22º x 18Ω in. (56.4 x 47 cm.) Painted in 1898.

£25,000-35,000

$41,000-57,000 €32,000-44,000

PROVENANCE:

A. Tavernier, Paris. His sale; Drouot, Paris, April 1907 (Fr. 9.500). EXHIBITED:

Paris, Ecole Nationale des Beaux-Arts, Exposition de l’œuvre de Fantin-Latour, May-June 1906, no. 216. LITERATURE:

Madame Fantin-Latour, Catalogue de l’oeuvre complet de Fantin-Latour, Paris, 1911, p. 180, no. 1690.

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VARIOUS PROPERTIES

PROPERTY OF A GERMAN PRIVATE COLLECTOR

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Narcisse-Virgile Diaz de la Peña

Théodule-Augustin Ribot

(FRENCH, 1807-1876)

(FRENCH, 1823-1891)

Dogs in a Barbizon woodland

Street singers:The three stages of life

signed ‘n. Diaz.’ (lower left) oil on canvas 15 x 21¬ in. (38.1 x 54.9 cm.)

signed ‘t. Ribot’ (lower left) oil on canvas 28√ x 23Ω in. (73.3 x 59.7 cm.)

£10,000-15,000

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$17,000-24,000 €13,000-19,000

£15,000-20,000

$25,000-32,000 €19,000-25,000

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

*6

Constant Troyon (FRENCH, 1810-1865)

Herding cattle before the storm signed ‘C.TROYON’ (lower left) oil on canvas 34Ω x 39Ω in. (87.6 x 100.3 cm.) Painted circa 1854.

£30,000-50,000

$49,000-81,000 €38,000-63,000

Constant Troyon gained international fame in his own lifetime as both a landscape and animalier painter, genres which combine in the present lot to produce a monumental canine portrait of startling originality. The central subject is taken directly from Troyon’s large pastoral canvas of 1854, Le retour à la ferme (Paris, Musée d’Orsay, fg. 1), but transposed into a completely different setting. In the Orsay painting, the dog is shown as an incidental motif, herding a mix of sheep, cattle and a donkey, but here is the principal subject, running across the canvas, as a gathering storm looms in the background. Most of Troyon’s canine portraits date from the 1850s onwards and usually represented hunting dogs, a subject that the artist studied frequently in the kennels of his friend, Léon Loysel, whom he visited regularly in the Touraine. Of startling realism, these portraits were nevertheless far more conventional than the present painting, ftting very much into the English genre of sporting art. By contrast, Troyon has here taken a scruffy black working dog, and used it as a vehicle to express a bounding sense of energy, which refects the power expressed in the dark sky beyond. The expansive landscape in the present work harks back to Dutch 17th century painting, which impressed Troyon on a visit to Holland in 1846-1847, while the treatment of the clouds and sky shows a clear debt to Constable. The English artist had exhibited at the Salon of 1840s and his panoramic views of the English countryside were to have a profound infuence on the artists of the Barbizon School alongside whom Troyon worked so closely. This work will be included by Michel Schulman in his catalogue raisonné on the artist.

Constant Troyon, Le retour à la ferme, Paris, Musée d’Orsay, Photo © RMN-Grand Palais (Musée d’Orsay) / Gérard Blot / Christian Jean

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PROPERTY FROM A PRIVATE COLLECTION

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Jean-Baptiste-Camille Corot (FRENCH, 1796-1875)

View of the environs of Paris, possibly from the Quai d’Ivry signed ‘COROT’ (lower left) oil on paper laid down on canvas 8º x 13æ in. (21 x 35 cm.) Painted circa 1835.

£80,000-120,000

$130,000-190,000 €110,000-150,000

PROVENANCE:

Anonymous sale; Christie’s, Paris, 26 June 2008, lot 90. Private collection, Italy.

Corot’s views of Paris are particularly rare. In 1820, before his departure for Rome, he painted Vue du vieux pont Saint Michel which already bore the hallmarks of his Italian plein-air style, and in the 1830s he painted another small series of paintings of the capital, such as le Quai des orfèvres et le Pont Saint Michel (fg. 1). However, Corot was above all a painter of the immediate surroundings of Paris, where his own native village of Ville d’Avray (now a western suburb of Paris), was located. Indeed, his principal paintings of architecture were focussed almost exclusively on sites in Italy, in particular Rome, the villages of the southern Campagna, and Venice. In France, Corot was inspired by several provincial towns such as Honfeur, Douai, Rouen, La Rochelle and Mantes, but he was little interested in the city centres, concentrating instead on the urban periphery, where town and country met. There, the juxtaposition of prominent architectural motifs, such as city ramparts, castles or spires, with felds and rivers, afforded Corot greater compositional possibilities, which stressed above all the picturesque. In this regard, pictures such as Le chemin de Sèvres (Paris, Louvre) is highly representative, with the tree-lined Sèvres road in the foreground, leading they eye across felds towards Paris in the far distance, its

monuments barely distinguishable. It is equally diffcult to determine with certainty the buildings in the present lot. An old inscription suggests that it is the quai d’Ivry (today in the 13th arrondissement), or an arm of the Seine near Charenton-Le-Pont. The rectangular shape above the horizon on the left would appear to be the bell towers of Notre Dame, while the structure in the centre could be the Church of Saint Paul and Saint Louis in the Marais. Martin Dieterle and Claire Lebeau date the work to the 1830s. The present lot shows all the originality of an artist who prefgured and would infuence a whole generation after him. It announces not only plein-air painting as practised by the Impressionists, but also the subject of Paris and its environs as a favoured motif for painters such as Stanislas Lépine, Claude Monet and Camille Pissarro — but before the construction of the industrial buildings and chimneys which can be seen in paintings by these later artists, and which would displace the activities of the washerwomen seen here. This painting is therefore not only a precursor to the urban Impressionism of the industrial age, but also a memento to a city and its environs which have since long disappeared. The authenticity of this work has been confrmed by Martin Dieterle and Claire Lebeau, who will include it in their next supplement to the Corot catalogue raisonné.

Jean-Baptiste-Camille Corot, le Quai des orfèvres et le Pont Saint Michel, Paris, Musée Carnavalet.

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VARIOUS PROPERTIES

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Gustave Courbet and studio (FRENCH, 1819-1877)

Le Moulin de Scey-en-Varais signed ‘G. Courbet.’ (lower left) oil on canvas 19æ x 24º in. (50.2 x 61.5 cm.) Painted circa 1872-73.

£7,000-10,000

$12,000-16,000 €8,900-13,000

PROVENANCE:

possibly the Director of the Opéra Comique, Paris. Private collection, Mozambique. A gift from the above to the father of the present owner.

We are grateful to Mr. Jean-Jacques Fernier for confrming the attribution of this work (letter dated 20 September 2005).

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Paul Désiré Trouillebert (FRENCH, 1829-1900)

Paysannes avec enfant au bord de la rivi,re signed ‘Trouillebert’ (lower right) oil on canvas 20¬ x 31√ in. (52.4 x 81 cm.)

£25,000-35,000

$41,000-57,000 €32,000-44,000

PROVENANCE:

with Daniel B. Grossman Gallery, New York. LITERATURE:

C. Marumo, T. Maier, B. Müllerschön, Paul Désiré Trouillebert, Catalogue Raisonné de l’oeuvre peint, Stuttgart, 2004, p. 537, no. 939 (illustrated).

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Georges Michel (FRENCH, 1763-1843)

Paysage avec moulin oil on canvas 24æ x 35¡ in. (62.8 x 89.9 cm.)

£12,000-18,000

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$20,000-29,000 €16,000-23,000

PROPERTY FROM A GERMAN PRIVATE COLLECTION

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Jean-Baptiste-Camille Corot (FRENCH, 1796-1875)

Bouleaux au bord d’une rivi,re signed ‘COROT’ (lower left) oil on panel 14æ x 9Ω in. (37.5 x 24 cm.) Painted between 1855 and 1860.

£20,000-30,000

$33,000-48,000 €26,000-38,000

LITERATURE:

P. Dieterle, M. Dieterle, C. Lebeau, Corot. Cinquième supplément à l’œuvre de Corot par A. Robaut et Moreau-Nélaton, Paris, 2002, p. 56, no. 55 (illustrated p. 57).

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VARIOUS PROPERTIES

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Gustave Courbet (FRENCH, 1819-1877)

Falaises et cascades signed ‘G. Courbet’ (lower right) oil on canvas 21æ x 16Ω in. (55.3 x 41.9 cm.) Painted circa 1875.

£70,000-100,000

$120,000-160,000 €89,000-130,000

PROVENANCE:

with Marlborough Galleries, London. with Kunsthaus Bühler, Stuttgart. Private collection, Germany. Acquired from the above by the present owner. LITERATURE:

R. Fernier, La vie et l’œuvre de Gustave Courbet, Geneva, 1977, vol. II, p. 190191, no. 926 (illustrated).

Painted after Courbet’s exile to Switzerland following his release from prison for his involvement in the events of the Commune in 1871, the present lot harks back nostalgically to a series of river landscapes which began with depictions of the Loue in the artist’s native Franche-Comté, and is most famously encapsulated by his representations of Le Puits Noir, a small stream in the Loue valley, a subject to which the artist would turn to again and again after frst representing it in a painting exhibited at the Exposition Universelle of 1855. These paintings represented an almost hermetic natural world, hemmed in on all sides by rock and tree canopies, and devoid of all animal and human presence. They discarded completely the

rules which traditionally governed the landscape genre, replacing open vistas and horizon lines with closed spaces in which natural surfaces were thrust forward into the picture plane, to emphasize the materiality and density of the subject. In the present work, the branches of the tree arch almost protectively over the gorge, while the foaming water is described in thick white strokes of paint, applied with a palette knife, almost splashing out at the viewer. These types of painting were deeply personal visions of nature, stressing a sense of place and earthiness that is encapsulated in the French term “terroir”. Their importance was hinted at in a letter written by the artist in 1866 to his friend Alfred Bruyas about a similar work, in which he described fnishing a “superb landscape of profound solitude made in the deepest vales of my land”. We would like to thank Sarah Faunce for confrming the attribution to Courbet on the basis of a photograph (verbal communication, 9 October 2014).

Gustav Courbet, Le ruisseau couvert, dit entree de la vallee du Puits-Noir. Doubs: effet de crepuscule, 1865, Musée d’Orsay, Paris, © 2014 White Images/Scala, Florence

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PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

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Jean-François Raffa‘lli (FRENCH, 1850-1924)

En Hiver - le cantonnier signed ‘JFRAFFAELLI’ (lower left) oil on panel 20Ω x 28º in. (52 x 71.7 cm.)

£25,000-35,000

$41,000-57,000 €32,000-44,000

PROVENANCE:

Anonymous sale, Galerie Charpentier (Maitre Rheims), Paris, 19 March 1958 (hors catalogue). Acquired at the above sale by the father of the present owner.

Jean-François Raffa‘lli is known not only for his depictions of the grand boulevards of Paris, but also for his gritty and sympathetic depictions of those who worked on the fringes of the city. These included “chiffoniers” (rag-and-bone men), vagabonds and all manner of the working poor, rendered with a matter-of-factness and quiet nobility which placed Raffa‘lli at the forefront of realist artists, and evinced the artist’s affnity for his subjects. Some of these posed for the artist regularly; others were the results of observations he made on his long walks along the roads near his home at Asnières, in the outer suburbs of Paris. As Arsène Alexandre wrote: “He understood that the most unattractive appearances, the most disinherited by nature, merited precious treatment and, when transcribed by an elevated and sincere spirit, could produce a work of art as rare as that produced from most cheerful and magnifcent of subjects. The squalid terrain of the fortifcations [a no-man’s land on the edge of Paris, made up of the ruins of the old city walls, where Raffa‘lli often painted], the feral physiognomies and sordid rags of the chiffoniers could take their place in museums or rich collections, next to fower-flled landscapes or fattered sitters.” (A. Alexandre, Jean-Francois Raffaëlli, Paris, 1909, pp. 67-68). In the present lot, Raffa‘lli describes a labourer working on a road construction site. He is only summarily described, with a grey beard and heavy coat, slouching slightly and carrying a broom in a grey, relatively featureless landscape that is set under a leaden winter sky. Within this profoundly naturalistic landscape, there is a slight sense of pathos, softened by the presence of the dog, which all combine, despite the apparently barren subject matter, to produce a painting which breathes a sense of quiet humanity.

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PROPERTY FROM AN ENGLISH PRIVATE COLLECTION

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Jean Béraud (FRENCH, 1849-1936)

Le canapU bleu signed and dated ‘Jean Béraud 1912’ (lower left) oil on canvas 29 x 24 in. (73.6 x 61 cm.)

£20,000-30,000

$33,000-48,000 €26,000-38,000

PROVENANCE:

Acquired directly from the artist by Bernheim-Jeune (stock no. 19179, 28 December 1912), Paris. Anonymous sale; Drouot, Paris, 8 December 1983, lot 2, as: ‘Le Salon de Madame X’. with Bury Street Gallery, London. EXHIBITED:

Paris, Salon, 1912, no. 111. Paris, Salon, 1920, no. 220. LITERATURE:

G. Domergue, ‘Les Salons de 1912. Société nationale des beaux-arts’ , Le Soleil, 19 April 1912, p. 2. P. Offenstadt, Jean Béraud, La Belle Epoque, une époque rêvée , Paris, 1999, p. 187, no. 212 (illustrated).

The present lot is one of fve interiors by Béraud representing the elegant Paris apartment of his friend and executor, Émilie Yznaga, at 142 bis rue de Grenelle. The collection, which included major paintings by artists such as Domenico Tiepolo, Frans Snyders, JeanMarc Nattier and Nicolas de Largillière, as well as important 18th century French furniture, was partly dispersed via donations to the Musée des Arts Décoratifs in Paris (which also holds three of the pendants to the present lot) and to the National Gallery in London. The painting above the sofa (NG inv. 5584, Portrait of a Lady) was formerly attributed to Greuze and is dated to circa 1760.

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PROPERTY OF AN ENGLISH PRIVATE COLLECTOR

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Paul-César Helleu (FRENCH, 1859-1927)

Madame Helleu N son bureau signed ‘Helleu’ (lower left) oil on canvas 30æ x 22æ in. (78.1 x 57.8 cm.)

£200,000-300,000

$330,000-480,000 €260,000-380,000

PROVENANCE:

Anonymous sale; Christie’s, London, 24 June 1988, lot 85. EXHIBITED:

Paris, Galerie Charpentier, Paul César Helleu, 1931, no. 16. Dieppe, Musée de Dieppe, Paul Helleu, 1962, no. 17.

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The artist in his drawing room

Paul Helleu frst met his future wife, Alice Guérin, then only 14 years old, when he was commissioned to paint her portrait in 1884. They fell in love and were married two years later. Alice remained the artist’s favourite model throughout his life and a muse for many other artists; beautiful and refned, she also helped introduce her husband into the elite circle of artists, writers and society fgures of the Faubourg SaintHonoré. The Count de Montesquiou, a noted dandy and leading fgure in the artist’s group of friends, described her as “La multiforme Alice, dont la rose chevelure illumine de son refet tant de miroirs de cuivre.” Helleu eschewed standard conventions of portrait composition, often depicting his sitters from behind - at a mirror, desk, or picture exhibition - or at strong raking angles, which enhanced the line and swagger of his subjects. These betrayed the infuence of fellow artists and mentors, in particular his friends John Singer Sargent, James Whistler and Giovanni Boldini. Helleu and his wife were known for their exquisite taste. The present lot depicts the artist’s wife seated at a secrétaire in the couple’s drawing room of their Paris apartment, into which they moved in 1888. The Helleu home soon became noted for its decor: walls dressed in various shades of white and hung with 18th century drawings by artists such as Watteau, Boucher and Fragonard (an infuence revealed in Helleu’s own extensive use of red chalk) and works by contemporaries such as Manet and Degas; a mix of fne 18th century and Empire furniture; and a variety of oriental works which refected the vogue for Japonisme, such as the porcelain koi carp hanging in the upper left corner. The desk in the present lot features in numerous works by the artist’s and is still in the artist’s family; the painting hanging above it is Boldini’s Leda and the Swan. The present lot cannot be considered a portrait in the conventional sense, but rather an interior still life, in which the furniture and surroundings are as integral as the sitter. In its subject and palette, Helleu’s painting is superfcially similar to the interior paintings of his Danish contemporary, Vilhelm Hammershøi, which depicted his wife Ida, often from behind, in the interior of their Copenhagen home. The overall effect, however, could not be more different: whereas the latter’s works convey a sense of solitude and melancholy, which are conveyed in muted tones and pools of light, Helleu’s paintings are executed in a much higher key, with strong brushwork, fashy refections and exuberant tonal contrasts, which exude panache and confdence. Helleu’s painting can almost be described as a Whistlerian symphony of whites (indeed Whistler was vocal in his admiration of the Helleus’ interior colour scheme). The strongly vertical axis of the composition is reinforced by the shape of he desk, the legs of the chairs, and Mme Helleu’s upright pose, but softened by the loose brushwork, shimmering refections and muted colours, and the shock of the bright pink lampshade resting against the wall. The whole conveys the sense of easy, apparently informal, but ultimately artful, elegance which defned Helleu and his circle.

John Singer Sargent, Portrait of Alice Helleu, private collection

Vilhelm Hammershøi, Ida at her desk, private collection

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VARIOUS PROPERTIES

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Jacques-Emile Blanche (FRENCH, 1861-1942)

Portrait of Leon Kyrillovitch Naryshkin, aged 6 signed, inscribed and dated ‘à M.e Narishkine/J.E.BL./1910.’ (lower right) oil on canvas 21æ x 18 in. (55.3 x 45.7 cm.)

£8,000-12,000

$13,000-19,000 €11,000-15,000

PROVENANCE:

Anonymous sale; Drouot, Paris, 17 June 1996, lot 245.

Born in 1904, Leon Naryshkin was the son of Prince Kyrill Vassilievitch Naryshkin, a courtier to the Tsar and an attaché at the Russian Embassy in Paris immediately prior to World War I. A lifesize portrait of his mother, Princess Vera Naryshkin, also by Blanche, is in the collection of the Musée des Beaux-Arts in Brussels. The present painting is included in Jane Robert’s digital catalogue raisonné archive on the artist under no. 395.

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PROPERTY FROM A SWISS PRIVATE COLLECTION

*17

Jean-François Raffa‘lli (FRENCH, 1850-1924)

The Watermill signed ‘J.F.RAFFAèLLI’ (lower right) oil on canvas 23¬ x 28æ in. (60 x 73 cm.)

£12,000-18,000 PROVENANCE:

with Galerie Cardo, Passy.

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$20,000-29,000 €16,000-23,000

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VARIOUS PROPERTIES

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Paul César Helleu (FRENCH, 1859-1927)

La liseuse signed ‘Helleu’ (lower left) charcoal, white and red chalk on paper 22Ω x 18√ in. (57.2 x 48 cm.)

£10,000-15,000

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$17,000-24,000 €13,000-19,000

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Alphonse Marie Mucha (CZECH, 1860-1939)

Allegory of Spring signed, inscribed and dated ‘Dásince/na památku/Alfons Mucha/10/1 1935’ (lower left) pastel heightened with gouache on paper 16º x 11æ in. (41.5 x 30 cm.)

£20,000-30,000

$33,000-48,000 €26,000-38,000

PROVENANCE:

The artist’s collection. Acquired from the above by a British collector. His sale; Sotheby’s, London, 3 June 2003, lot 70. Acquired at the above by the present owner.

John Mucha of the Mucha Foundation has confrmed the authenticity of this lot.

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Franz von Stuck (GERMAN, 1863-1928)

Amazon on horseback signed ‘FRANZ/STUCK’ (on front of the base); and stamped with the foundry mark ‘München Guss C. Leyrer’ (on the side of the base) bronze with dark brown patina Height: 25Ω in. (64.7 cm.); Length: 17 in. (43.2 cm.) First conceived in 1897 and cast in the artist’s lifetime before 1906.

£15,000-20,000

50

$25,000-32,000 €19,000-25,000

51

PROPERTY FROM AN IMPORTANT BELGIAN PRIVATE COLLECTION

21

Fernand Khnopff (BELGIAN, 1858-1921)

Une Parisienne signed ‘FERNAND/KHNOPFF’ (lower right) pastel and black chalk on paper 10º x 7¬ in. (26 x 19.3 cm.) Executed in 1916.

£20,000-30,000

$33,000-48,000 €26,000-38,000

PROVENANCE:

The artist’s studio sale; Galerie Georges Giroux, Brussels, 27 November 1922, lot 80. Nias Family, Brussels. And thence by descent. EXHIBITED:

Brussels, Salle Studio, Salon de Printemps, 1916, no. 62. LITERATURE:

Jean Delville, ‘Notice sur Fernand Khnopff’, in Annuaire de l’Académie Royale des Sciences, des Lettres et des Beaux-Arts de Belgique, Brussels, 1925, p. 29. R. L. Delevoy, C. de Croes, G. Ollinger-Zinque, Fernand Khnopff, Catalogue de l’œuvre, Brussels, 1987, p. 380, no. 568 (illustrated).

52

53

PROPERTY FROM AN IMPORTANT BELGIAN PRIVATE COLLECTION

22

Fernand Khnopff (BELGIAN, 1858-1921)

ClUmatis signed ‘FERNAND/KHNOPFF’ (lower left) pastel on paper 10 x 8æ in. (25.4 x 22.2 cm.) Executed circa 1914.

£40,000-60,000

$65,000-97,000 €51,000-76,000

PROVENANCE:

Nias Family, Brussels. And thence by descent. LITERATURE:

R. L. Delevoy, C. de Croes, G. Ollinger-Zinque, Fernand Khnopff, Catalogue de l’œuvre, Brussels, 1987, p. 380, no. 528 (illustrated).

54

55

*23

Fernand Toussaint (BELGIAN, 1873-1955)

CircU: Beauty in an interior signed ‘FToussaint’ (lower left) oil on canvas 60º x 44æ in. (153 x 113.6 cm.)

£18,000-25,000

$30,000-40,000 €23,000-31,000

PROVENANCE:

Acquired by the grandfather of the present owner at the Salon, Paris, 1927. And thence by descent. EXHIBITED:

Paris, Salon, 1927, no. 1823.

56

57

PROPERTY FROM A PRIVATE COLLECTION

24

Leo Putz (AUSTRIAN, 1869-1940)

Im Atelier signed ‘Leo Putz’ (lower left) oil on canvas 46¬ x 45¡ in. (118.5 x 115.2 cm.) Painted circa 1904.

£70,000-100,000

$120,000-160,000 €89,000-130,000

PROVENANCE:

Anonymous sale, Christie’s, London, 7 October 1999, lot 48. EXHIBITED:

Cortina d’Ampezzo, Ciasa de ra Regoles Museo d’Arte Moderna Mario Rimoldi, Da Cima ad Afro, 14 July - 23 September 2012. LITERATURE:

W. Michel, Leo Putz, Leipzig, 1909, pl. 27 (illustrated). R. Stein, Leo Putz. Leben und Werk, Vienna, 1974, p. 130, no. 134. H. Putz, Leo Putz, Gauting, 1994, vol. I, p. 78, no. 227 and vol. II p. 632 (illustrated).

A leading member of the Munich Secession, Leo Putz was a multifaceted artist whose oeuvre ranged from the stylized linearity of Jugendstil to the expressionistic colours of the Blaue Reiter. He was noted as a fgurative painter, particularly of nudes. These included bacchanalian paintings, not dissimilar in theme to the work of the artist’s contemporary, Franz von Stuck, to more naturalist renditions, such as the present lot, expressed in an idiom which blends impressionism and colourism. Characterised by broad, carefully modulated brushstrokes, and modelled using purple and pink tones, here reinforced by the colourful bouquet in the background, Putz’s models have a sense of Rubensian monumentality which is transposed into an immediately contemporary setting.

58

59

PROPERTY OF A SPANISH PRIVATE COLLECTOR

25

Joaquín Sorolla y Bastida (SPANISH, 1863-1923)

Marina.Veleros en el mar signed and dated ‘J Sorolla Bastida/80’ (lower left) oil on canvas 17¬ x 30¬ in. (44,7 x 77,7 cm.)

£40,000-60,000

$65,000-97,000 €51,000-76,000

PROVENANCE:

Marqués de Toro, 1985. Anonymous sale, Sala Retiro, Madrid, 1999. EXHIBITED:

Madrid, Exposición general de Bellas Artes, 1881, no. 661 (one of three marine paintings by the artist entered as Tres marinas) LITERATURE:

B. de Pantorba, La Vida y la Obra de Joaquín Sorolla, Madrid, 1953, p. 172, no. 1121. Exh. cat., Museo del Prado, Joaquín Sorolla 1863-1923, Madrid, 2009, p. 486, fg. 344.

Painted in Valencia in 1880, the present lot is one of three marine paintings entered by the artist in the Exposición Nacional de Bellas Artes in Madrid in 1881, together with Marina. Escena de puerto and Marina. Barcos en el puerto. It was the frst time that Sorolla had entered a national competition. The paintings did not adhere to the then very fashionable theme of historical subject matter and remained relatively unnoticed. According to one of his biographers, Aureliano de Beruete, after the failure of these paintings at the exhibition, they were presumed lost. Both Barcos en el puerto and the present lot have been illustrated in subsequent publications and have remained in private collections. We are grateful to Blanca Pons Sorolla for her assistance in cataloguing this lot, which is recorded in her archive under the number BPS 10.

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VARIOUS PROPERTIES

*26

Benito Rebolledo Correa (CHILEAN, 1880-1964)

En la Orilla del Mar signed ‘Benito Rebolledo C’ (lower left) oil on board 15 x 11 in. (38 x 28.1 cm.)

£20,000-30,000

27 No Lot 62

$33,000-48,000 €26,000-38,000

28 64

29

28

29

Peter Vilhelm Ilsted

Peder Mork Mönsted

(DANISH, 1861-1933)

(DANISH, 1859-1941)

The foot bridge

Farmsted by a river

signed with monogram (lower right) oil on canvas 18æ x 12¡ in. (47.5 x 31.1 cm.)

signed and dated ‘P Mönsted-1904.’ (lower right) oil on canvas 24 x 40 in. (61.8 x 101.5 cm.)

£10,000-15,000

$17,000-24,000 €13,000-19,000

£12,000-18,000

$20,000-29,000 €16,000-23,000

PROVENANCE:

PROVENANCE:

with Connaught Brown, London.

with Kleis Georg, Copenhagen. Anonymous sale; Sotheby’s, London, 25 November 1987, lot 233.

65

30 66

31

30

31

Peder Mork Mönsted

Peder Mork Mönsted

(DANISH, 1859-1941)

(DANISH, 1859-1941)

A fast fowing river

Rowing on a river in Summer

signed and dated ‘PMönsted. 1894’ (lower left) oil on canvas 25º x 16æ in. (64.1 x 42.5 cm.)

signed, inscribed and dated ‘P Mönsted./Sæby.1922.’ (lower right) oil on canvas 27Ω x 39æ in. (70 x 101 cm.)

£20,000-30,000

$33,000-48,000 €26,000-38,000

£15,000-25,000

$25,000-40,000 €19,000-31,000

PROVENANCE:

PROVENANCE:

with Georg Kleis, Copenhagen.

Anonymous sale; Sotheby’s, London, 25 November 1987, lot 259.

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32

Peter Vilhelm Ilsted (DANISH, 1861-1933)

Interior at Liselund oil on canvas 28 x 23√ in. (71.2 x 60.6 cm.)

£15,000-20,000

$25,000-32,000 €19,000-25,000

PROVENANCE:

with Connaught Brown, London.

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PROPERTY FROM THE FORBES COLLECTION

*33

Carl Vilhelm Holsøe (DANISH, 1863-1935)

The open window

PROVENANCE:

with Georg Kleis, Copenhagen. Anonymous sale; Sotheby’s, London, 15 June 2004, lot 328.

signed ‘C. Holsoe’ (lower right) oil on canvas 28 æ x 23 º in. (73 x 59 cm.)

£25,000-35,000

EXHIBITED:

$41,000-57,000 €32,000-44,000

Berlin, Grosse Berliner Kunstausstellung, 1907, no. 2868, as: Am Fenster.

69

PROPERTY FROM THE FORBES COLLECTION

*34

Carl Vilhelm Holsøe (DANISH, 1863-1935)

Interlude signed ‘C. Holsöe’ (lower right) oil on canvas 21 Ω x 24 Ω in. (54.6 x 62.2 cm.)

£30,000-50,000

$49,000-81,000 €38,000-63,000

PROVENANCE:

with Verner Amell Ltd., London. with Åmells Konsthandel AB, Stockholm. Anonymous sale; Sotheby’s, London, 14 February 1990, lot 46.

70

71

PROPERTY FROM THE FORBES COLLECTION

*35

Carl Vilhelm Holsøe (DANISH, 1863-1935)

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

£50,000-70,000

$81,000-110,000 €63,000-88,000

PROVENANCE:

Anonymous sale; Bruun Rasmussen, Copenhagen, 1973, lot 459. Anonymous sale; Sotheby’s, London, 15 November 2006, lot 334. with The Fine Art Society, London. EXHIBITED:

Copenhagen, Charlottenborg, Foraarsudstillingen, 1927, no. 251.

The present lot is an archetypal interior of a school of painting which also included the artist’s friends and contemporaries, the brothersin-law Vilhelm Hammershøi and Peder Ilsted. All three artists were members of “The Free Exhibition” a modernist art society established in Copenhagen at the end of the 19th century. Their art could be traced back via the Biedermeier interiors of their Danish Golden Age forebears, such as Wilhelm Eckersberg, all the way back to Dutch art of the 17th century, in particular the work of artists such as Johannes Vermeer (fg. 1). All three artists typically drew inspiration from their own domestic surroundings, often including their spouses, represented as a solitary fgure, almost invariably painted side-on or from behind, and meditatively involved in quiet pursuits such as reading. Their homes are represented as sanctuaries, havens of peace far removed from the hustle and bustle of an outside world that is usually only hinted at by a shaft of light from a window which, as here, is often unseen.

Fig. 1. Jan Vermeer, The Lacemaker, Paris, Louvre, © 2014 White Images/Scala, Florence

72

However, whereas Hammershøi’s oeuvre was characterised by a combination of asceticism and Symbolism, typically depicting sparsely furnished interiors executed in a muted palette of greys and whites, Holsøe’s paintings stressed the material qualities and richness of his domestic surroundings. These differences are apparent when comparing the present lot to a work by Hammershøi in the musée d’Orsay (fg. 2), which is strikingly similar in subject and composition. Whereas the latter is stripped down only to the essentials of chair, table and a platter, set against a bare wall, and executed in modulated ones which seem to absorb the light, the interior of Holsøe’s home is richly adorned, and rendered with more painterly brushstrokes, which emphasize the plasticity and refective qualities of the objects depicted. Several of these appear in other paintings by the artist, and include a large 17th century Dutch landscape and the Chinese porcelain fgurine on the side table or closed spinet. The silver platter recalls the Dutch still lives of artists such as Willem Kalf and, together with the porcelain vase which echoes the tones of the sitter’s neck, gently refects the light pooling in from the window behind, resulting in a painting which is at once tangible and deeply contemplative.

Fig. 2. Vilhelm Hammershøi, Rest, Paris, Musee d’Orsay / © Bridgeman Images

73

VARIOUS PROPERTIES

36

Christoffer Wilhelm Eckersberg (DANISH, 1783-1853)

Portraetstudium af en Graeker: Portrait of a Greek oil on canvas 16 x 13¡ in. (40.6 x 34 cm.) Painted in 1811.

£10,000-15,000

$17,000-24,000 €13,000-19,000

PROVENANCE:

with H. Jac. Kornerup. LITERATURE:

E. Hannover, C.W. Eckersberg en studie i Dansk Kunsthistorie, Copenhagen, 1898, p. 325, no. 101.

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75

37

PROPERTY FROM THE FORBES COLLECTION

PROPERTY OF AN IMPORTANT VIENNESE COLLECTOR

*37

38

Jørgen Valentin Sonne

Svetislav Ivanowitch

(DANISH, 1801-1890)

(HUNGARIAN, 19TH CENTURY)

The Death of King Gustavus Adolphus at Lützen

A Serbian warrior

oil on canvas 28Ω x 44æ in. (72.3 x 113.6 cm.)

signed ‘Sv. Ivanowitch’ (lower right) oil on panel 19¬ x 13¡ in. (49.3 x 34 cm.)

£8,000-12,000

76

$13,000-19,000 €11,000-15,000

£15,000-20,000

$25,000-32,000 €19,000-25,000

38

VARIOUS PROPERTIES

39

Alfonso Savini (ITALIAN, 1836-1908)

Lydia and the Lyre signed ‘A. Savini’ (lower left) oil on panel 12Ω x 18 in. (31.8 x 45.7 cm.)

£15,000-20,000

78

$25,000-32,000 €19,000-25,000

40

Giovanni Battista Torriglia (ITALIAN, 1857-1937)

The Lullaby signed G B. Torriglia’ (lower left) oil on canvas 24¡ x 35æ in. (62.2 x 90.8 cm.)

£20,000-30,000

$33,000-48,000 €26,000-38,000

79

PROPERTY OF AN IMPORTANT VIENNESE COLLECTOR

41

Eugène de Blaas (AUSTRIAN, 1843-1932)

An elegant party on a balcony in Venice signed and dated ‘Eugen Blaas/1876.’ (lower right) oil on canvas 49 x 68¬ in. (124.5 x 174.3 cm.)

£200,000-300,000

$330,000-480,000 €260,000-380,000

PROVENANCE:

with The Cooling Galleries, London. Anonymous sale; Sotheby’s, New York, 26 October 1983. Anonymous sale; Dorotheum, Vienna, 16 May 1984, lot 323. LITERATURE:

T. Wassibauer, Eugen von Blaas 1843-1931. Das Werk, Hildesheim, 2005, p. 119, no. 22 (illustrated).

The present work is one of Eugène de Blaas’ masterpieces, and the most accomplished in a series of several works featuring elegant Renaissance fgures on a balcony (fg. 1). These bring together his understanding of texture, composition and fgural painting, all of which marked him as one of the leading genre painters of his time. As Thomas Wassibauer writes of this painting: ‘It is a further development of one of the painter’s regular themes which he illustrates both in historical costume, as in this instance, and in contemporary 19th Century dress. In a broadly-based composition young girls and a gallant, presumably their host, are depicted listening to a guitar player dressed in red velvet. The heads of the fgures are placed in a partial semi-circle, seen from the back. Each is looking in a different direction. The young people are united not so much by the music as by the fact of a solemn occasion. This is emphasised by the rich clothing and the fact that an oriental carpet has been draped

over the balcony. This was a typical practice on major feast-days in Austria as a way of displaying the wealth of the household and the joy of participating in the celebrations. Many rugs produced in the Orient for export to Europe were made to ft the width of standard windows so that they could be hung without being folded. The colour composition of the picture is masterly, with red tones for the fgures and green for the curtains and the costume of the presumed host, who watches the scene from the right.’ (T. Wassibauer, op. cit., pp. 17-18). Eugène de Blaas enjoyed a sheltered childhood, divided between the cities of Vienna and Venice. He took lessons in painting from an early age from his father Karl, a wealthy and highly successful artist, and between 1860 and 1872, when he could take breaks from his studies in Venice, he assisted his father with his commissions to paint the Arsenal frescoes in Vienna. His cosmopolitan upbringing gave him a good knowledge of French and English, and he travelled to both France and England before settling in Venice in 1871. De Blaas clearly absorbed contemporary infuences from the many places he visited, as his paintings combine facets of the most popular genre and academic painters of his day. His more loosely painted depictions of young children and street urchins recall the work of the Paris-trained Russian painter, Alexej Harlamoff, while his later works, in which he turned more to more glamorous belle époque subjects, recall the work of the Belgian Alfred Stevens. His Venetian training, meanwhile, shines through in his use of a bright palette that recalls the colours of Giambattista Tiepolo or his contemporary, Mosè Bianchi. Eugène de Blaas enjoyed a fruitful career during his lifetime and settled in Venice, becoming a professor at the Academy, a position which had previously been held by his father. Eugène’s paintings of beautiful Italian women at work and in the company of admiring suitors were especially sought after by British collectors. He exhibited his works at the Royal Academy in London from 1875 to 1892, as well as the Grafton Gallery and the New Gallery.

Fig. 1. Eugène de Blaas, Venetian ladies on a balcony © Christie’s

(Detail) 80

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VARIOUS PROPERTIES

42

Carlo Ferrari (ITALIAN, 1813-1871)

The Riva degli Schiavoni,Venice, with Santa Maria della Salute beyond sighed and inscribed ‘Carlo Ferrari da Verona’ (lower left) oil on canvas 29Ω x 41Ω in. (74.9 x 102.9 cm.)

£40,000-60,000

84

$65,000-97,000 €51,000-76,000

85

43

Martín Rico y Ortega (SPANISH, 1833-1908)

A Venetian canal signed ‘RICO’ (lower left) oil on canvas 28¿ x 18¡ in. (71,5 x 46,7 cm. )

£35,000-50,000

86

$57,000-81,000 €45,000-63,000

44 88

45

44

45

Hermann David Solomon Corrodi

Salomon Corrodi

(ITALIAN, 1844-1905)

Roman Aqueducts, St. Peter’s Basilica beyond signed and inscribed ‘H.Corrodi.Roma’ (lower left) oil on canvas 46æ x 29¬ in. (118.7 x 75.2 cm.)

£20,000-30,000

(SWISS, 1810-1892)

Lacco Ameno and Casamicciola, Ischia signed ‘S. Corrodi’ (lower right); and inscribed ‘Lacco e Casamicciola.’ (lower left) watercolour on paper 21¡ x 29æ in. (54.3 x 75.5 cm.)

£7,000-10,000

$12,000-16,000 €8,900-13,000

$33,000-48,000 €26,000-38,000

89

PROPERTY FROM AN ITALIAN COLLECTION

entourage streaming urgently down the mountain, and the black lava feld and summit looming in the background under a shaded and billowing mix of cloud and smoke. The resulting panorama synthesises a realist narrative, brought to life with carefully rendered accents of expression and costume, into a highly Impressionistic whole, which brilliantly conveys effects of light, atmosphere and movement.

46

Giuseppe De Nittis (ITALIAN, 1846-1884)

The juxtaposition of these two elements reveals how de Nittis sought above all in the present work to reconcile his artistic inclinations as a painter of nature, and the commercial demands of painting works which were historically and commercially relevant. Indeed, the painting seems to anticipate comments made by the artist’s dealer, Goupil, made to De Nittis in a letter of July 1872, following the arrival of four works by the artist in Paris:

The eruption of Vesuvius signed ‘De Nittis’ (lower right) oil on canvas 29æ x 50Ω in. (75.5 x 128.3 cm.) Painted in 1872.

£150,000-200,000

$250,000-320,000 €190,000-250,000

PROVENANCE:

Lanckoronski Collection, Vienna; Confscated by the German authorities following the Anschluss, after March 1938, and transferred to Stift Kremsmünster; Recovered by the Monuments Fine Arts and Archives Section from Alt Aussee (no.968), and transferred to the Munich Central Collecting Point, June 1945 (MCCP no. 1165); Transferred to The Republic of Austria, November 1945; Restituted to Karolina Lanckoronsky, London, by 1951. Mario Borgiotti, Florence. His sale, Christie’s, London, 28 November 1972, lot 84. Anonymous sale; Brocade Antichitá, Montecatini Terme, 18-22 September 1974, lot 487. Acquired at the above sale by the present owner.

“These four paintings bear the imprint of your talent and I can only congratulate myself, my dear friend, that you remain always original. In these times, with this horrible illness of imitation, one is happy to see something which looks nothing like this or that man of talent. Having said that, I must make some remarks in which betray a businessman. Just as the priest lives from the altar, so the painter and the dealer must live from painting, and this brings me to tell you that it is not enough to make a beautiful picture from an artistic point of view, but you also have to make it fashionable, in other words compose it in a way that makes it accessible to all and sold for a remunerative price. This is what you have not done. Your Lava of Vesuvius is a picture that is essentially true; but that black mass, which could have been interesting to all if you had animated it with a few fgures, becomes a thing of monotony and little interest for whoever has not seen the results of that terrifying eruption....If only you had sent me, instead of pictures of little interest, something like The descent of the tourists, I would not have such reservations... Please don’t take this badly, dear friend; you know how much interest I have for you, but you have to understand that as partners, we sometimes see things from two different points of view.”

LITERATURE:

V. Pica, Giuseppe de Nittis: l’uomo e l’artista, Milan, 1914, p. 84 (illustrated). V. Pica, ‘Artisti Contemporanei: Giuseppe De Nittis e la Scuola Napoletana di Pittura’ in Emporium, May 1914, vol. XXXIX, no. 233, p. 324 (illustrated). E. Piceni, De Nittis, Milan, 1955, p. 181. M. Pittaluga-E. Piceni, De Nittis. Catalogo generale, Milan, 1963, no. 180 (illustrated). P. Dini-G.L. Marini, De Nittis: la vita, i documenti, le opere dipinte,Turin, 1990, I, p. 392, no. 418; II, fg. 418 (illustrated). The present lot is the largest of some 70 oil paintings by De Nittis of Vesuvius, and a more fnished variant of a canvas of similar dimensions, today in the Pinacoteca de Nittis in Barletta. Most of the artist’s treatments of the subject were atmospheric but small scale plein air landscape studies of the mountain (fg. 1), and a smaller number of character studies of the guides who plied their trade leading tourists to the volcano’s summit, which are here brought together on a more ambitious scale.

Giuseppe De Nittis, Mount Vesuvius, oil on panel © Christies Images Limited

De Nittis’s renditions of Vesuvius accounted for the largest part of a signifcant body of work produced by the artist on a trip to Naples, where he spent most of 1872, and where his son, Jacques, was born on 19 July. The painting describes a group of tourists and their guides rushing down the mountain in the wake of an eruption which frst began on 24 April 1874, reaching its climax two days later. The eruption was powerful enough for De Nittis and his wife to temporarily abandon their apartment in Ercolano, and forced the evacuation of many villages on the sides of the mountain, an event recorded by the artist in his painting La Pioggia di Cenere (fg. 2) and transcribed in his diary: “families fed under the weight of their belongings, leading the elderly and children, calling out to the Madonna or, even more frequently, to St. Januarius.” Over the course of almost a year, De Nittis made numerous excursions up the mountain, travelling several hours on horseback before being carried by the guides for the last steep climb to edge of the crater. He was particularly impressed by the contrasts of light and shade and the sheer monumentality of the mountain, which dominated the surrounding landscape. “Between the journey there and back on horseback and the climb on the back on the backs of the guides amounted to six hours of daily travel...The love of Vesuvius - of the mountain - had come to me like it comes to all.” The present work unites a sense of drama with the picturesque, and integrates them into a composition which is notable for the artist’s hallmark contrasts of light and dark. The picture is divided between the sunlit foreground, with elegant tourists and their

Giuseppe De Nittis, La Pioggia di cencere, 1872, Florence, Galleriad’Arte Moderna di Palazzo Pitti

47

Alessandro Battaglia (ITALIAN, 1870-1920)

La vendemmia: the grape harvest signed, inscribed and dated ‘A. Battaglia/ROMA 99’ (lower right) oil on canvas 37 x 24 in. (94 x 61 cm.)

£15,000-20,000

$25,000-32,000 €19,000-25,000

PROVENANCE:

Anonymous sale; Dorotheum, Vienna, 26 June 1986. Anonymous sale; Sotheby’s, New York, 24 February 1987, lot 316. Anonymous sale; Phillips, London, 14 June 2000, lot 124.

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48

Ettore Tito (ITALIAN, 1859-1941)

I Giochi signed ‘E. TITO’ (lower right) oil on canvas 35Ω x 47º in. (90.2 x 120 cm.)

£25,000-35,000

$41,000-57,000 €32,000-44,000

PROVENANCE:

Enrico Pini, Genoa. EXHIBITED:

Milan, Galleria Pesaro, Ettore Tito, 1919. LITERATURE:

L. Giovanola, ‘La mostra individuale di Ettore Tito alla Galleria di Pesaro a Milano’ in Emporium, vol. 49, no. 10, Bergamo, 1919, p. 140 (illustrated).

Despite being born near Naples, Ettore Tito spent most of his life in Venice, his mother’s hometown. He began his artistic career under the Dutch artist Cecil Van Haanen and then enrolled at the Accademia di Belle Arti in Venice, where from 1894 to 1927 he was also Professor of Painting. Tito exhibited regularly at the Venice Biennale from 1895, and then further afeld, including at the Exposition Universelle in Paris, and in Brussels, San Francisco, and Los Angeles. In 1929 he became a member of the Italian Royal Academy. Towards the end of the 19th Century Tito produced several illustrations for British and American magazines, partly thanks to the relationships he cultivated among expat artists in Venice. It was at the Circle of Palazzo Barbaro in Venice that he met John Singer Sargent and Isabella Stewart Gardner, and befriended other artists such as Anders Zorn, Luigi Nono, Ludwig Passini, and Mariano Fortuny. From 1900 Tito started to move away from depictions of everyday life to focus more on mythological and Symbolist subjects. He was infuenced in part by the development of Art Nouveau and Jugendstil, in particular the work of his friend, the Munich artist Franz von Stuck, alongside whom he exhibited in Venice in 1909. This complex composition was inspired by ancient mythology and nature and is clearly indebted to von Stuck, (Fig. 1). In particular,

Franz von Stuck, Frühlingsreigen, 1910, Chemnitz, Kunstsammlungen, Bertram Kober © 2014 Photo Scala, Bildagentur für Kunst, Kultur und Geschichte, Berlin

96

the vibrant tones, bright palette and sense of movement share the same exuberance and energy as the German artist’s “Reigen” series of dance paintings. The present work is a study for the fresco series created by Tito for the entry hall ceiling of the Villa Berlingeri in Rome, decorated in an Art Nouveau style, and today the Embassy of Saudi Arabia. Painted between 1914 and 1917 the series is an allegorical representation of the Berligeri’s family history and comprises pure decorative and symbolic scenes based on four different themes: The Fruits of the Earth, Play, Study and Rest. When exhibited at the Galleria Pesaro in Milan in 1919, this series was highly praised for its novelty and joyous expressiveness, with one critic commenting that ‘Entering from a gloomy and foggy Milanese street into the four rooms of the Galleria Pesaro, is like suddenly entering a space full of sunshine, and fresh air to admire a beautiful landscape. This is not surprise, as the magician who recreated this atmosphere is called Ettore Tito.’ (L. Giovanola, op. cit., p. 139) The authenticity of the present work has been confrmed by Andrea Baboniin a letter and an image of the painting will be included in the expert’s Archive.

97

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

*49

Plinio Nomellini (ITALIAN, 1866-1943)

Passeggiata nel parco signed ‘P. Nomellini’ (lower right) oil on canvas 37¬ x 47æ in. (95.5 x 121.3 cm.) Painted circa 1920.

£25,000-35,000

$41,000-57,000 €32,000-44,000

PROVENANCE:

Van Haren Nomann collection, The Hague, circa 1925. Thence by descent. Although relatively unknown outside his home country, Nomellini is recognized in Italy as a major painter at the crossroads between Divisionism, Symbolism and Post-Impressionism. Building frst on the art of painters such as Angelo Morbelli and Pelizza da Volpedo, whose subjects were rooted in social themes of everyday life, but rendered in a patchwork palette of complementary colours, at the turn of the 20th century Nomellini moved towards an ever freer and more expressionistic pictorial language which is not dissimilar to that of Gaetano Previati, characterised by vibrant colours, a profound sense of luminosity, and more lyrical themes. Between 1895 and 1899 at the Venice Biennalle, Nomellini would have seen works by foreign contemporaries such as Whistler, von Stuck, Puvis de Chavannes, Redon, and Klimt. Given the lack of Symbolist infuences within the artist’s Florentine and Genovese cultural circle, only these foreign infuences can explain the sudden vacillation in Nomellini’s work between a rather visionary naturalism and more overtly Symbolist pictures. The present lot is one of several paintings by the artist of elegant women walking in countryside or parkland, infuenced by the frequent stays with his family in the southern Italian countryside of Puglia, Capri and Elba, but with a treatment that is here particularly exuberant compared to the artist’s more naturalist renditions of the subject. The women appear as modern embodiments of ancient nymphs, gliding through a vibrant, fery setting, in which the landscape and southern sky seem to blend in an explosive mix of violets, reds and blues, expressed with confdently applied lapping brushstrokes of sinuous colour. Nomellini has moved away from the narrative of a family walk, which often describes his treatment of this subject, towards a work which aims instead towards a purely decorative effect.

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PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

50

Giovanni Boldini (ITALIAN, 1842-1931)

Portrait of a Lady oil on panel 10æ x 8Ω in. (27.3 x 21.6 cm.) Painted circa 1897.

£25,000-35,000

$41,000-57,000 €32,000-44,000

LITERATURE:

E. Camesasca & C. Ragghianti, L’Opera completa di Boldini, Milan, 1970, p. 112, no. 288 (illustrated). P. Dini & F. Dini, Giovanni Boldini, catalogo ragionato, Turin, vol. 4, p. 386 , no. 714, as: Mezza Figura di Giovane Donna seduta in un interno (illustrated).

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

51

Wilhelm Kuhnert (GERMAN, 1865-1926)

Lion resting signed and dated ‘Wilh.Kuhnert/17.8.10.’ (lower right) oil on panel 8 x 11Ω in. (20 x 29.2 cm.)

£10,000-15,000

$17,000-24,000 €13,000-19,000

PROVENANCE:

with The Fine Art Society, London, May 1911, inv. no. 66. The Countess of Sefton, Lancaster. Acquired from the above by the present owner.

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

52

Wilhelm Kuhnert (GERMAN, 1865-1926) A Lion signed ‘Wilh.Kuhnert’ (lower right) oil on panel 8 x 10º in. (20 x 26.6 cm.)

£10,000-15,000

$17,000-24,000 €13,000-19,000

PROVENANCE:

with The Fine Art Society, London, May 1911, inv. no. 23. The Countess of Sefton, Lancaster. Acquired from the above by the present owner.

103

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

53

Wilhelm Kuhnert (GERMAN, 1864-1926)

Elephants on the river bank signed ‘Wilh. Kuhnert’ (lower left) watercolour and bodycolour on paper 16º x 27 in. (41 x 68.3 cm.)

£10,000-15,000

$17,000-24,000 €13,000-19,000

PROVENANCE:

with The Fine Art Society, London, May 1911, inv. no. 67. The Countess of Sefton, Lancaster. Acquired from the above by the present owner.

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105

PROPERTY OF A DESCENDANT OF THE ARTIST

54

Wilhelm Kuhnert (GERMAN, 1865-1926)

A bison signed ‘Wilh. Kuhnert’ (lower right); and signed and inscribed ‘Wilhelm Kuhnert/Berlin’ (on the reverse) oil on canvas 38 x 55Ω in. (96.5 x 140.5 cm.)

£50,000-70,000 PROVENANCE:

The artist. And thence by descent.

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$81,000-110,000 €63,000-88,000

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PROPERTY OF A DESCENDENT OF THE ARTIST

55

Wilhelm Kuhnert (GERMAN, 1865-1926)

Lions on the plains of Africa signed and dated ‘Wilh. Kuhnert/ 1922’ (lower right); and signed and inscribed ‘Wilhelm Kuhnert/Berlin/”Löwenpaar”’ (on the reverse) oil on canvas 26 x 44Ω in. (65 x 113.5 cm.)

£100,000-150,000

$170,000-240,000 €130,000-190,000

PROVENANCE:

Wedding present from the artist to his daughter. And thence by descent.

Wilhelm Kuhnert was the frst exponent of a genre of wildlife painters which continues today with contemporary artists such as David Shepherd, and which is based on a profound understanding of his subject that is drawn from careful study in the feld. At a time when most animal painters captured their subjects in captivity, Kuhnert’s dedication to the natural world was a radical departure from artistic convention. Kuhnert received his artistic education under the tutelage of the animal painter Paul Meyerheim in Berlin, where he learned to master the anatomically correct rendering of animal fur, hair and muscles. His extraordinary talent was noticed early on by his teachers, who encouraged him to dedicate himself fully to the genre of animal painting. Eager to personally experience and capture the exotic, he returned to Africa year after year in the hunt for both game and subjects for his art. A keen and skilled hunter, he was fascinated by the raw and uncompromising dance between prey and predator and by the wild beauty of their surroundings. His great ability was to capture the natural symbiosis between animals and their environment, and the nuances of pose and behaviour that could not be observed in captivity. Kuhnert was an inveterate record keeper, meticulously describing what he saw in his diary, and in sketchbooks which he flled with thousands of charcoal and pencil animal and landscape studies. Upon returning to Germany, he then completed the works in his

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studio, drawing upon his experiences and frst-hand knowledge gathered from his adventures. The writer and critic J. G. Millais wrote: ‘Germany has given us some great artists who, with thorough technical and anatomical knowledge, have yet added to their genius by going afeld and studying the various beasts in their own homes. They have surpassed other artists because they have not been content with caged creatures, but have mastered that great essential, local atmosphere, as well.’ In the opinion of Millais, ‘there is no fner exponent of African mammals than Wilhelm Kuhnert. We who have travelled do not need to be told that his studies from nature are correct. His lions, elephants, zebras and antelopes are so real that we feel we are gazing at them on the plains of East Africa. The landscapes are simple but intense. Sunlight is there, and the tree and grass are just those that grow in the habitat of these species. Kuhnert has, as it were, got inside the very skin of African life, and draws you insensibly with the charmed circle. To the big game hunter the man who loves to observe in preference to the man who only shoots, his views of wildlife are complete because you know he has been through the mill himself, and studies with humility.’ The present work, depicting a lion and lioness, represents one of Kuhnert’s favourite subjects. They are presented as a regal couple of the animal kingdom, their alert heads standing just above the horizon line, but otherwise camoufaged into their surroundings, eyeing an unseen threat or prey.

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110

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PROPERTY OF A DESCENDANT OF THE ARTIST

56

Wilhelm Kuhnert (GERMAN, 1865-1926)

Zebra on the plains of Africa signed ‘Wilh. Kuhnert’ (lower right); and signed and inscribed ‘Wilhelm Kuhnert/Berlin/”Zebras”’ (on the reverse) oil on canvas 24 x 36º in. (61 x 92 cm.)

£40,000-60,000 PROVENANCE:

The artist. And thence by descent.

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$65,000-97,000 €51,000-76,000

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

57

Wilhelm Kuhnert (GERMAN, 1865-1926)

A Tiger signed and dated ‘Wilh.Kuhert/1911’ (lower left) oil on panel 8æ x 14º in. (21 x 36.7 cm.)

£20,000-30,000 PROVENANCE:

with The Fine Art Society, May 1913, inv. no. 61. The Countess of Sefton, Lancaster. Acquired from the above by the present owner.

114

$33,000-48,000 €26,000-38,000

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VARIOUS PROPERTIES

58

Charles Théodore Frère (FRENCH, 1814-1888)

JUrusalem, effet du matin signed ‘TH. FRéRE’ (lower right); and signed and inscribed with title ‘Jérusalem. (Côté Nord)/ effet du matin/Th. Frère’ (on the reverse) oil on panel 8Ω x 14Ω in. (21.5 x 36.8 cm.)

£10,000-20,000

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$17,000-32,000 €13,000-25,000

59

Charles Théodore Frère (FRENCH, 1814-1888)

Une caravane, dUsert d’Arabie signed ‘TH. FRéRE.’ (lower left); and signed and inscribed with title ‘une caravane/(Désert d’Arabie)/Th. Frere’ (on the reverse) oil on panel 10º x 16º in. (26 x 41.3 cm.)

£12,000-18,000

$20,000-29,000 €16,000-23,000

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PROPERTY OF AN IMPORTANT VIENNESE COLLECTOR

60

Gyula Tornai (HUNGARIAN, 1861-1928)

Travelling musicians,Tangier signed, inscribed and dated ‘TORNAI GYULA./TANGER 1891’ (lower right) oil on canvas 46Ω x 73 in. (118.1 x 185.4 cm.)

£120,000-180,000

$200,000-290,000 €160,000-230,000

PROVENANCE:

Anonymous sale; Dorotheum, Vienna, 21 March 1972, lot 125. Acquired at the above sale by the father of the present owner.

Born in 1861 in Görgö, Gyula Tornai received his artistic education at the academies in Vienna and Munich, and in Gyula Benczúr’s studio in Budapest. He exhibited in London and in 1900 at the Exposition Universelle in Paris to great acclaim, winning the bronze medal. He exhibited again at the Budapest Art Gallery in 1909 and in the National Salon in 1917. He began his career painting the genre scenes that were so popular in the last quarter of the 19th Century, but after his travels to India, China, Japan and Morocco his themes changed to depictions of the varied and exotic places and customs of those destinations. Tornai stayed in Tangier from 1890 to 1891, when he painted the present lot, fnding inspiration in the rich and colourful cultural palette that the city provided. This masterpiece draws its visual impact and strength from the complex and balanced nature of the composition and a meticulously executed pictorial anecdote. The artist has made great use of the simple architectural elements to set a stage on which a scene from everyday life in Tangier could play out. His scene is enriched by the Eastern weaponry and colourful clothing of the local populace. The present work is of impressive size, drawing the spectators in and enveloping them in an exotic atmosphere. It exhibits all the hallmarks for which Tonai’s Orientalist works are best known. Depicting a North African street scene, it exudes a sense of informal spectatorship. The viewer has stumbled into a group of local musicians and is, like the people depicted, witnessing a local custom. Each fgure is quietly absorbed by the music, and the picture planes are crowded with groups of fgures. The overall effect is to create a painting that is both soothing and entertaining, inviting the eye to wander across a panoply of interlinked fgures, colours and textures.

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119

120

121

PROPERTY OF AN ITALIAN PRIVATE COLLECTOR

VARIOUS PROPERTIES

61

62

Jean François Portaels

Carl Friedrich Heinrich Werner

(BELGIAN, 1818-1895)

Souvenir d’Orient

(GERMAN, 1808-1894)

signed and dated ‘JPortaels/1870.’ (centre left) oil on panel 39æ x 29Ω in. (101 x 75 cm.)

£20,000-30,000

The Coffee House $33,000-48,000 €26,000-38,000

signed, inscribed and dated ‘C. Werner f.1870’ (lower left) pencil and watercolour on paper 8 x 11Ω in. (20.3 x 29.2 cm.)

£6,000-8,000

$9,700-13,000 €7,600-10,000

PROVENANCE:

with Frost & Reed, London. Anonymous sale; Christie’s, London, 15 June 2005, lot 54.

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63

Gustavo Simoni (ITALIAN, 1845-1926)

With his favourite signed, inscribed and dated ‘G. Simoni. Roma 1888.’ (lower right) watercolour on paper 35æ x 24Ω in. (90.8 x 62.2 cm.)

£25,000-35,000

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PROVENANCE:

with MacConnal Mason, London.

$41,000-57,000 €32,000-44,000

64

Julius Victor Berger (GERMAN, 1850-1902)

Entertaining the Pasha signed and dated ‘JBerger 897’ (lower left) oil on panel 25 x 19 º in. (63.5 x 49.6 cm.)

£25,000-35,000

$41,000-57,000 €32,000-44,000

PROVENANCE:

Anonymous sale; Christie’s, New York, 1 November 1999, lot 33. Anonymous sale; Christie’s, London, 15 June 2005, lot 23. Acquired at the above sale by the present owner.

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PROPERTY FROM THE FORBES COLLECTION

*65

Frederick Arthur Bridgman (AMERICAN, 1847-1928)

Fording the Stream, Algeria signed ‘F. A. Bridgman’ (lower left) oil on canvas 33¬ x 49æ in. (85.4 x 126.3 cm.)

£70,000-100,000

$120,000-160,000 €89,000-130,000

This luminous and atmospheric painting of a group of horsemen fording a stream by an oasis at dawn or twilight most likely dates from the mid to late 1880s. It is one of a small number of large-scale landscapes painted by the artist, and one of his most successful. At this time, Bridgman was at the height of his powers, having moved away from the Academic linearity and archaeological subject matter of his master Gérôme, to brighten his palette and liberate his brushwork in a style that was looser, and infused with an originality which revealed his enthusiasm for the culture and landscape of Algeria. Although Bridgman was frst inspired by the picturesque nature of North Africa, as his knowledge of the region grew, he became more and more sensitive to the artistic possibilities afforded to him by its extraordinary light and colours. In April 1873, during one of his frst trips to Algeria, he recorded his impressions of the early morning, which fnd an echo in the present work: ‘in the plain of the Metijda the mist lay in long white bands over to the foot of the blue hills of the Atlas, and the sun, rising from a pale lemonyellow sky dispersed the feecy veil, and revealed long dusty roads, crowded at times with Arabs...going to market’ (A. Bridgman, Winters in Algiers, New York, 1890, pp. 162-163). However, until the 1880s, landscapes had remained, as Ilene Ford writes ‘a minor note in his Orientalist oeuvre’ (I. Ford, Arthur Bridgman andthe American Fascination with the Exotic Near East, PhD dissertation, City University of New York, 1990, p. 286), although Bridgman had been commended by critics for his sensitivity to different atmospheric effects. The landscapes he exhibited at the Salon of 1880 showed a new side to the artist, in which desert scenes, often of twilight, drew comparisons with artists such as Eugène Fromentin, who understood that the desert could produce a multitude of different lighting effects. Indeed, in this panoramic composition of the desert, Bridgman is not seeking the decorative effect of his interior pictures, with their concentration on the minutiae of individual objects, in which light was used primarily for dramatic purpose. Rather, light becomes the primary subject of the composition, the gentle glow of the low sun infusing sky, rocks, water and horsemen with a harmony of warm, mellow hues, and the overall composition with a sense of gentle languor.

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VARIOUS PROPERTIES

*66

Georges Washington (FRENCH, 1827-1910)

Cavaliers suivant l’Oued signed ‘G. Washington’ (lower left) oil on canvas 20 x 24º in. (55.3 x 61.5 cm.)

£12,000-18,000 PROVENANCE:

Anonymous sale; Tajan, Paris, 3 April 2000, lot 366.

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$20,000-29,000 €16,000-23,000

PROPERTY OF A DESCENDANT OF THE ARTIST

67

Eugenio Cecconi (ITALIAN, 1842-1903)

A market in Tunis oil on canvas 21Ω x 36¿ in. (54.7 x 91.4 cm.) Painted circa 1875.

$20,000-29,000 €16,000-23,000

Eugenio Cecconi is best known in his native Italy as a painter of the Tuscan landscape, and of its peasantry and hunters. An artist on the fringes of the Macchiaiolo movement, who was very close to Giovanni Fattori, Cecconi shared with his peers a particular sensitivity to the nuances of light and shade.

Livorno, Museo Civico, Villa Fabbricotti, Mostra Retrospettiva di Eugenio Cecconi, 3 August-15 September 1974, no. 22.

In 1875, Cecconi made a trip to Tunisia, which loosened his style and brightened his palette. His reaction to the light, local colour and sites was similar to that of other new painters to the region. Writing to his close friend, the artist Francesco Gioli, he commented: “for its forms, colours, chiaroscuro and emotion, its comings and goings, everything is a swarm, a confusion for the eye, an awakening for the brush, and above, below, beside, inside and all around light, light and more light.”

£12,000-18,000 PROVENANCE:

The artist. And thence by descent. EXHIBITED:

LITERATURE:

G. Daddi, Eugenio Cecconi, Lecco, 1973, pp. 250, 372 (illustrated pl. XXIV).

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PROPERTY OF A SPANISH COLLECTOR

68

Joaquín Martínez de La Vega (SPANISH, 1846-1905)

Figures in a courtyard of the Alhambra, Granada signed ‘JM.z de la Vega’ (lower right) oil on canvas 44º x 31Ω in. (112.4 x 80 cm.)

£20,000-30,000

$33,000-48,000 €26,000-38,000

Born in Almería in 1846, Joaquín Martínez de La Vega studied at the Cordoba Institute between 1861 and 1866. He then moved to Madrid, enrolling at the Real Academia de San Fernando, where he was a pupil of Federico de Madrazo, an artist who highly infuenced his portraiture technique. Martínez de La Vega travelled to Rome before moving to Malaga in 1866, the city in which he spent most of his life. In 1870 he worked with Denis Belgrano on the decoration of the Sal—n de Actos del Liceo, painting La coronación del Dante. His frst works were Romantic in spirit, while later on in his career he moved towards a more Academic style. The artist is well-known for his powerful religious paintings and colourful genre scenes. It was thanks to Denis y de Ferrándiz’s infuence that after 1877 he started producing his frst Orientalist works, of which the present work is a particularly accomlished example. In 1882 the artist was appointed Assistant Professor at the Bellas Artes in Malaga. He was awarded several prizes, including a 3rd class medal in the Exposition Nacional de Madrid. He is also well known for his production of bright posters for the Malaga ‘ferias’.

130

PROPERTY FROM AN ITALIAN NOBLE COLLECTION

69

Fausto Zonaro (ITALIAN, 1854-1929)

The shore at Galata, Constantinople signed ‘F.Zonaro’ (lower right); and inscribed ‘Riva di Galata/(porto di Costantinopoli)’ (on the reverse) oil on panel 9√ x 17¿ in. (25.2 x 43.5 cm.)

£70,000-100,000

$120,000-160,000 €89,000-130,000

PROVENANCE:

Giuseppe Salvadori, Florence, thence by descent to the present owner.

The present lot is one of several variants of a composition by Zonaro which depicts the bustling passenger quay at Galata, in Constantinople. Executed with a profoundly Impressionist plein-air technique, characterised by a highly keyed palette of bright blue, pink and orange, Zonaro has sought above all to evoke the hustle and bustle of the busy port. The city’s key monuments are evoked rather than described, rising above the steam of the jockeying ships and the shimmering haze of warm light, the Hagia Sophia modelled in blocks of light and shade. Zonaro has paid great attention to capturing the exact atmospheric conditions: the long shadow thrown across the foreground and the sunlight on the facades in the background indicate a late afternoon setting, while the carefully modulated blues of the water and billowing sails in the background clearly indicate a breeze blowing up the Bosphorus from the South. The juxtaposition of a modern industrial port scene with Constantinople’s ancient landmarks evokes the city’s position at a cross-roads between the old and the new, between East and West, an impression reinforced by the visual metaphor of the ships’ funnels and masts, which echo the minarets in the background. As offcial painter to the Sultan, Zonaro had a brief to present Constantinople as a forward looking, confdent city, but in these smaller works, the artist translated this mandate into an intensely personal and spontaneous vision of the city which brings it vividly to life. The present painting has been authenticated by Professor Cesare Mario Trevigne, the artist’s great-grandson, and is sold with a letter dated 21 August 2014. It will be included in Professor Trevigne’s archive under the title L’arrivo sulla riva di Galata 6.

End of Sale 132

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Important Notices and Explanation of Cataloguing Practice CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION From 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 CONDITION Christie’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.

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PROPERTY INCORPORATING MATERIALS FROM ENDANGERED AND OTHER PROTECTED SPECIES Property made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. Such material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whale bone and certain species of coral, together with Brazilian rosewood. Prospective purchasers are advised that several countries prohibit altogether the importation of property containing such materials, and that other countries require a permit (e.g., a CITES permit) from the relevant regulatory agencies in the countries of exportation as well as importation. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. Please note that it is the 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 USA The USA has recently changed its policy on the import of property made of or containing elephant ivory. Only Asian Elephant ivory may be imported into the USA, and imports must be accompanied by DNA analysis and confirmation the object is more than 100 years old. We have not obtained a DNA analysis on any lot prior to sale and cannot indicate whether the elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any DNA analysis or other report required in connection with their proposed import of such property into the USA. The USA is also currently requiring all imports of property made of or containing wildlife material to be accompanied by a scientific confirmation of species and in some cases an additional confirmation of age. We have not obtained such confirmations prior to sale (unless specifically indicated) and buyers will be responsible for the costs of any such additional confirmations or opinions required for their proposed import into the USA. A 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 FURNITURE All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the “Regulations” ). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

EXPLANATION OF CATALOGUING PRACTICE FOR PICTURES, DRAWINGS, PRINTS AND MINIATURES Terms used in this catalogue have the meanings ascribed to them below. Please note that all statements in this catalogue as to authorship are made subject to the provisions of the Conditions of Sale and Limited Warranty. Buyers are advised to inspect the property themselves. Written condition reports are usually available on request. Name(s) or Recognised Designation of an Artist without any Qualification In 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.

Buying at Christie’s CONDITIONS OF SALE Christie’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. RESERVES The reserve is the confidential minimum price the consignor will accept and will not exceed the low pre-sale estimate. Lots that are not subject to a reserve are identified by the symbol • next to the lot number. BUYER’S PREMIUM Christie’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 VIEWING Pre-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 REGISTRATION Prospective 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 BEHALF Persons 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. BIDDING The auctioneer accepts bids from those present in the saleroom, 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 BIDS Absentee 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 BIDS Telephone bids cannot be accepted for lots estimated below £2,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at +44 (0)20 7389 2658 (London, King Street) or +44 (0)20 7752 3225 (London, South Kensington). Arrangements to bid in languages other than English must be made well in advance of the sale date. Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation. SUCCESSFUL BIDS While Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges. Successful bidders will pay the price of the final bid plus premium plus any applicable VAT. PAYMENT Buyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Please note that 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 6QT Please direct all inquiries to King Street Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel: +44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143 VAT † VAT payable at 20% on hammer price and 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. Ω These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 20%) on the Hammer price. VAT is also payable (at 20%) on the 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 Z ero rated No VAT charged.

(no symbol) Auctioneers’ Margin Scheme In all other circumstances no VAT will be charged on the hammer price, but VAT payable at 20% will be added to the 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 Refunds Refunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ω symbol) if lots are exported within 30 days of collection. Valid export documents must be returned within the stipulated time frame. No refund will be paid out where the total amount is less than £100. UK & EU private buyers cannot reclaim VAT. Christie’s will charge £35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] Where non-EU buyers have failed to export their lots outside of the EU within the required time, HM Revenue & Customs will not allow a VAT refund to be made. This is a requirement of UK legislation and 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 4.00% 3.00% 1.00% 0.50% 0.25%

For the portion of the Hammer Price (in Euro) up to 50,000 between 50,000.01 and 200,000 between 200,000.01 and 350,000 between 350,000.01 and 500,000 in excess of 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/ Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. SHIPPING It is the 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 EU If 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 PERMITS Buyers 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. 20/11/13

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Storage and Collection STORAGE AND COLLECTION

EXTENDED LIABILITY CHARGE

POST-WAR & CONTEMPORARY ART

All 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 Fine Art Logistics Ltd to their warehouse at: 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected]. While at King Street lots are available for collection on any working day, 9.00 am to 4.30 pm. Once transferred to Cadogan Tate lots will be available for collection from the first working day following the day of their removal from King Street, 9.00 am to 5.00 pm Monday to Friday. To avoid waiting times on collection at Cadogan Tate, we advise that you contact Cadogan Tate directly, 24 hours in advance, prior to collection on +44 (0)800 988 6100.

From the day of transfer of sold items to Cadogan Tate Fine Art Logistics Ltd, all such lots are automatically insured by Cadogan Tate Fine Art Logistics Ltd at the sum of the hammer price plus buyer’s premium. The Extended Liability Charge in this respect by Cadogan Tate Fine Art Logistics 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.

To avoid waiting times on collection, we kindly advise you to contact our Post-War & Contemporary Art dept 24 hours in advance on +44 (0)20 7389 2958

PAYMENT

TRANSFER, STORAGE & RELATED CHARGES

Cadogan Tate Fine Art Logistics Ltd’s storage charges may be paid in advance or at the time of collection. Lots may only be released from Cadogan 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 Fine Art Logistics Ltd are settled.

CHARGES PER LOT

FURNITURE / LARGE OBJECTS

PICTURES / SMALL OBJECTS

1-28 days after the auction

Free of Charge

Free of Charge

29th day onwards: Transfer Storage per day

£70.00 £5.25

£35.00 £2.65

BOOKS

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

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.

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

Cadogan TaTe Fine arT LogisTiCs LTd Warehouse 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] 10/06/14

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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 AGENT Except 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) Condition The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, 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 Practice Our cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice, which appear after the catalogue entries. (c) Attribution, etc Any statements made by 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) Estimates Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

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

(g) Video or digital images At some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image. We do not accept liability for such errors where they arise for reasons beyond our reasonable control.

3. AT THE SALE (a) Refusal of admission Christie’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 bidding Prospective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. Prospective buyers must complete and sign a registration form with his or her name and permanent address, and provide identification before bidding. We may require the production of bank details from which payment will be made or other financial references. (c) Bidding as principal When making a bid, a bidder is accepting personal liability to pay the purchase price, including the 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 bids We will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and provided that we have exercised reasonable care in the handling of written bids, the volume of goods is such that we cannot accept liability in any individual instance for failing to execute a written bid or for errors and omissions in connection with it arising from circumstances beyond our reasonable control. (e) Telephone bids If a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone but we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding arising from circumstances beyond our reasonable control. (f) Currency converter At some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter. Where these arise from circumstances beyond our reasonable control we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.

(h) Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol • next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. (i) Auctioneer’s discretion The auctioneer has the right to exercise reasonable discretion in refusing any bid, advancing the bidding in such a manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive. (j) Successful bid and passing of risk Subject to the 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 premium In 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 ownership The 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 purchases We 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 shipping Although we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot and in selecting third parties for these purposes, we are not responsible for the acts or omissions of any such third parties. Similarly, where we suggest other handlers, packers or carriers if so requested, our suggestions are made on the basis of our general experience of such parties in the past and we are not responsible to any person to whom we have made a recommendation for the acts or omissions of the third party concerned. (f) Export licence Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately after the sale nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export licence is required. (g) Remedies for non payment If the buyer fails to make payment in full in good cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to, the following: (i) to charge interest at an annual rate equal to 5% above the base rate of Lloyds TSB Bank Plc; (ii) to hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iii) to cancel the sale; (iv) to resell the property publicly or privately on such terms as we shall think fit; (v) to pay the seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting buyer; (vi) to set off against any amounts which we, or 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;

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(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 purchases Where purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the 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’s In addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis. 5. LIMITED WARRANTY In 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)

(ii)

(iii) (iv)

(v)

(vi)

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. 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. The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party. 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. 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. 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. COPYRIGHT The 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. SEVERABILITY If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law. 8. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of England. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of the United Kingdom.

05/01/10

Worldwide Salerooms and European Offices AUSTRIA VIENNA

INDIA • MUMBAI

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UNITED KINGDOM • LONDON LONDON, • SOUTH KENSINGTON

+43 (0)1 533 8812 Angela Baillou

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ENQ UI RI ES — Call the Saleroom or Office For a complete salerooms & offices listing go to christies.com

EMA I L — [email protected] 04/09/14

139

A TOWNHOUSE OFF GROSVENOR SQUARE The Collection of Dr. Peter D. Sommer Auction at Christie’s, 8 King Street, London SW1Y 6QT • 4 December 2014 Onsite Viewing at

Highlights

Contact

Upper Grosvenor Street, London 22 November–3 December

8 King Street London SW1Y 6QT 28 November–3 December

Amelia Walker [email protected] +44 (0)20 7389 2085

(Admission by catalogue only, admits 2)

Including Important English and European Furniture and Decorative Objects, Old Master Paintings, Impressionist Works of Art, Carpets, Ceramics, Silver, Objects of Vertu, Hèrmes Luggage

BAREND CORNELIS KOEKKOEK (MIDDELBURG 1803-1862 CLEVES) Forêt après l'orage: Forest after a storm signed and dated 'B.C. Koekkoek 1848' (lower left) · oil on panel · (73.5 x 95 cm.) Ç120,000–180,000

Old Masters & 19th Century Art including Dutch Impressionism

Amsterdam • 25-26 November 2014 Viewing

Contact

21-24 November 2014 Cornelis Schuytstraat 57 1071 JG Amsterdam

Sarah de Clercq [email protected] +31 (0)20 575 52 81

christies.com

141

OLD MASTER & BRITISH PAINTINGS Evening Sale London, King Street • 2 December 2014 Viewing

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28 November – 2 December 2014 8 King Street London SW1Y 6QT

Henry Pettifer [email protected] +44 (0) 20 7389 2084

WILLEM VAN DE VELDE II (LEIDEN 1633-1707 LONDON) A kaag and other vessels off an inlet on the Dutch coast signed in monogram and dated ‘ WvV 1661’ (lower centre, on the spar) oil on canvas · 38.3 x 49.7 cm. (15 x 19Ωin.) £1,200,000–1,800,000

Victorian, Pre-Raphaelite & British Impressionist Art London, King Street • 11 December 2014 Viewing

Contact

7-11 December 8 King Street London SW1Y 6QT

Victorian, Pre-Raphaelite & British Impressionist Art Peter Brown [email protected] +44 (0)20 7389 2435

British Drawings & Watercolours Harriet Drummond [email protected] +44 (0)20 7389 2278

JOHN WILLIAM WATERHOUSE, R.A. (1849-1917) Juliet signed 'J.W. Waterhouse' (lower right) 27Ω x 18º in. (70 x 46.3 cm.) £500,000 – 700,000

The ArT

of The

horse

Private Selling Exhibition

JEAN LOUIS ANDRE THEODORE GERICAULT (French, 1791–1824) A traveller and his horse with a country girl outside an inn pencil, brown and grey wash on paper 12 x 15 1/4 in. (30 x 38.8 cm.)

Shanghai • 21 October – 4 November 2014 Hong Kong • 21–25 November 2014 Contact John Stainton [email protected] +44 (0) 20 7839 9060

Clare McKeon [email protected] +1 212 636 2084

christies.com/theartofthehorse

RECENTLY ACQUIRED PRIVATELY BY THE KIMBELL ART MUSEUM, TEXAS

JACOB ISAACSZ. VAN RUISDAEL ( Haarlem 1629/30–1681)

Christie’s Private Sales offers a personalised alternative to auction. Please contact us for more details. Contact Richard Knight [email protected] +44 (0) 20 7389 2159

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146

Absentee Bids Form Christie’s London 19th Century European & Orientalist Art TUESDAY 9 DECEMBER 2014 AT 2.00 PM

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09/08/13

147

OMP & 19TH CENTURY PAINTINGS

expert knowledge beautifully presented

Continental European and British paintings from the early Renaissance to the early 19th century. British and Irish Art from Tudor period to 1970, including pictures, works on paper, Sporting Art,Victorian and Scottish pictures. Continental European drawings from the early Renaissance to the early 19th century. Paintings, drawings and watercolors from the 19th century, including Romanticism, Genre, Realist, Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and nautical items, ship models and maritime instruments.

Code

Subscription Title

Location

A1 L193 L1 L195 L98 N193 N1 P1 K193 K9 K1 K2 K97 W9

OMP & C19th Paintings Old Master and 19th Century Art 19th Century European Art including Orientalist Art Old Master and British Paintings Victorian and British Impressionist Pictures Topographical Pictures 19th Century European Art Old Master Paintings Old Master & 19th Century European Paintings 19th Century Paintings Old Master & Early British Drawings & Watercolours Old Master Paintings Victorian, Traditionalist & Sporting Pictures Australian Art Old Master & Early British Drawings & Watercolours

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Issues 2 2 5 2 1 2 3 1 2 1 4 5 1 4

UK£Price

US$Price

EURPrice

27 48 119 48 20 48 71 38 43 14 57 71 14 95

44 72 181 76 32 76 108 61 71 24 95 119 24 152

40 76 190 72 30 72 114 57 66 22 87 109 22 144

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© Christie, Manson & Woods Ltd. (2014)

08/08/14

149

150

Index B

N

Battaglia, A., 47 Béraud, J., 14 Berger, J.V., 64 Blaas, E de, 41 Blanche, J.-E., 16 Boldini, G., 50 Bridgman, F. A., 65

Nomellini, P., 49

C Cecconi, E., 67 Corot, J.-B.-C, 7, 11 Correa, B., 26 Corrodi, H.D.S., 44 Corrodi, S., 45 Courbet, G., 8, 12

D De Nittis, G., 46 Devéria, A., 2 Diaz de la Peña , N.-V., 4

E Eckersberg, C., 36

F Fantin-Latour, H., 3 Ferrari, C., 42 Frère, C.T., 58, 59

H Helleu, P.-C., 15, 18 Hols˘e, C., 33-35

I Ilsted, P., 28, 32 Ivanowitch, S., 38

K Khnopff, F., 21, 22 Kuhnert, W., 51-57

M Martínez De La Vega , J., 68 Michel, G., 10 Mönsted, P.M., 29-31 Mucha, A., 19

P Portaels, J. F., 61 Putz, L., 24

R Raffaëlli, J.-F., 13, 17 Ribot, T.-A., 5 Rico y Ortega, M., 43

S Savini, A., 39 Scheffer, A., 1 Simoni, G., 63 Sonne, J.V., 37 Sorolla y Bastida, J., 25 Stuck, F. von, 20

T Tito, E., 48 Tornai, G., 60 Torriglia, G., 40 Toussaint, F., 23 Trouillebert, P. D., 9 Troyon, C., 6

W Washington, G., 66 Werner, C.F.H., 62

Z Zonaro, F., 69

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