Bohnhams Catalogue.

Impressionist & Modern Art
including The FruitDalí Watercolours

Tuesday 18 June 2013 at 3pm
New Bond Street, London
including The FruitDalí Watercolours (lots 27-40)
Tuesday 18 June 2013 at 3pm
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Facing page: Lot 27

1 AR
Robert Michel (1897-1983) As a young man fascinated by modern technology, Robert Michel
Lok (Höhenflug) had first planned to become an engineer. These plans were however
signed ‘R. Michel’ (lower centre) disrupted by the outbreak of the First World War, and instead he joined
ink and watercolour on detail paper up to become a pilot in the air force. In 1917 Michel crashed his plane
67 x 56.4cm (26 3/8 x 22 3/16in). during a trial flight near Gotha in Thuringia, a traumatic experience
Executed in 1923 which proved to be a pivotal event that was to spark the beginning of
£5,000 - 7,000 his artistic creativity and to inform his work for the rest of his life.
€5,900 - 8,300
US$7,600 - 11,000 Dominated by two upturned steam locomotives and framed above and
below by 1920s aircraft, Lok (Höhenflug) [Flying high] references both
PROVENANCE aeronautical and railway engineering. The machines themselves are
Barbara Mathes Gallery, New York. delineated with the technical precision that typifies Michel’s work, and
B.C. Holland Gallery, Chicago, no. P87-5-12. yet the composition as a whole teeters on the edge of abstraction as the
artist plays imaginatively with layering and placement.
EXHIBITED
Hanover, Sprengel Museum Hanover, and elsewhere, Robert Michel At first sight, with its geometric schema of dynamic lines and
1897-1983, Collagen, Malerei, Aquarelle, Zeichnungen, Druckgraphik, concentric circles, Lok (Höhenflug) is reminiscent of an architectural
Reklame, Typographie, Entwürfe, 11 December 1988 - 6 June 1989, plan or engineering blue print. At the end of the war Michel became
no. 67. an architect, and just prior to the execution of this work founded the
Circle of Designers with Kurt Schwitters. After 1922 he also began to
LITERATURE use detail paper, a very fine support traditionally favoured by draftsmen
N. Nobis, Robert Michel 1897-1983, Hanover, 1988, for its translucent qualities. Through the use of this material, which he
p. 80 (illustrated p. 81). sprayed with colour and lacquers in various coats, Michel was able to
achieve a spatial and tonal layering which is often mimicked within the
composition of the work itself.
Playing with the effects of trompe l’oeil in Lok (Höhenflug), Michel

creates the illusion of overlapping three-dimensional metal plates
screwed into the planar surface. The work takes on a collage-like
appearance, further underlined by the addition of numbers and text
which punctuate the picture space. Slipping between representation
and abstraction, the real and the painted object, Lok (Höhenflug)
characterises the creative aim expressed throughout Michel’s oeuvre,
namely to blur the boundaries between art and technology.
8 | Bonhams
Impressionist & Modern Art | 9
2
Auguste Rodin (1840-1917)
Le baiser, 4ème réduction ou petit modèle
signed ‘Rodin’ (on the right side of the base); inscribed with foundry
mark ‘F. BARBEDIENNE. Fondeur’ (on the left side of the base), and
workshop assistant stamps ‘S’ (twice) and ‘VL’ (to the interior)
bronze with brown patina
25.2cm (9 15/16in). (height)
Conceived in 1886 (and in this reduced size in 1898), this bronze version
cast between 1905 and 1910
£100,000 - 150,000
€120,000 - 180,000
US$150,000 - 230,000
This work will be included in the forthcoming Auguste Rodin catalogue

critique de l’oeuvre sculpté currently being prepared by the Comité
Auguste Rodin at Galerie Brame et Lorenceau under the direction of
Jérôme Le Blay, under archive number 2013-4111B.
PROVENANCE
Private collection, Poland (circa 1930).
Thence by descent to the present owner.
SELECTED LITERATURE
R.M. Rilke, Auguste Rodin, London, 1917 (another cast illustrated pl. 6). J. de Caso and P.B. Sanders, Rodin Sculpture, exh. cat., The Fine Arts
G. Grappe, Catalogue du Musée Rodin, Paris, 1927, nos. 91-92, p. 47 Museum of San Francisco, 1977 (another cast illustrated pp. 148 & 150).
(plaster version illustrated no. 91). A.E. Elsen, In Rodin’s Studio, A Photographic Record of Sculpture in the
G. Grappe, Catalogue du Musée Rodin, Paris, 1944, no. 71 (marble Making, Ithaca, 1980 (marble version illustrated on the cover).
version illustrated). H. Pinet, Rodin, sculpteur et les photographes de son temps, Paris, 1985,
G. Grappe, Le Musée Rodin, Paris, 1947 (marble version illustrated). no. 34 (marble version illustrated p. 46).
C. Goldscheider, Rodin, sa vie, son oeuvre, son héritage, Paris, 1962 N. Barbier, Marbres de Rodin: Collection du Musée Rodin, Paris, 1987,
(marble version illustrated p. 49). no. 79 (marble version illustrated p. 185).
A.E. Elsen, Rodin, exh. cat., The Museum of Modern Art, New York, F.V. Grunfeld, Rodin, A Biography, New York, 1987, pp. 187-190, 221-
1963, (larger bronze version illustrated p. 63). 222, 260, 262, 275-276, 281-282, 342, 373-374, 400, 457 and 577.
B. Champigneulle, Rodin, London, 1967, nos. 78-79 (marble version P. Kjellberg, Les bronzes du XIXe siècle, Paris, 1987 (another cast
illustrated pp. 162-163). illustrated p. 585).
R. Descharnes & J.-F. Chabrun, Auguste Rodin, Lausanne, 1967 (marble D. Finn and M. Busco, Rodin and his Contemporaries: The Iris & B.
version illustrated p. 131). Gerald Cantor Collection, New York, 1991 (another cast illustrated pp.
I. Jianou and C. Goldscheider, Rodin, Paris, 1967 (marble version 60-61).
illustrated pls. 54-55). A.E. Elsen, Rodin’s Art, The Rodin Collection of Iris & B. Gerald Cantor
L. Goldscheider, Rodin Sculptures, London, 1970, no. 49 (marble version Center for the Visual Arts at Stanford University, New York, 2003, no. 49
illustrated p. 121). (another cast illustrated pp. 214-215).
J.L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976 (marble A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in
version illustrated p. 77). the Musée Rodin, vol. I, Paris, 2007, (another cast illustrated p. 161).
In this group waves flow through the bodies, a shuddering

ripple, a thrill of strength and a presaging beauty.
It is like a sun which rises and floods all with light.
(R.M. Rilke, Rodin, London, 1946, p. 25).
10 | Bonhams
(fig. 1) Jean Auguste Dominique Ingres, Francesca da Rimini and Paolo Malatesta, 1819
Le Baiser can truly be called an iconic sculpture. The spiralling The moment of the kiss comes as the lovers read the Legend of
composition of nude figures caught entwined in a moment of tender Guinevere and Sir Lancelot. In Dante’s version Paolo initiates the fateful
passion resonates with something at the very heart of romantic human kiss. The book drops from his hand and just at the moment their
experience. It is this universal appeal which has undoubtedly contributed lips touch, Gianciotti returns unexpectedly. Enraged at their double
to its enduring popularity. infidelity Gianciotti kills them both, and from that moment the lovers are
condemned to spend eternity locked in their adulterous embrace, driven
The model first appears in the third terracotta maquette for La Porte by the winds of hell.
de l’Enfer commissioned by the French State in 1880 for the proposed
Museum of Decorative Arts in Paris. In the increasingly convoluted This forbidden love and the ensuing eternal damnation was one
composition Rodin drew inspiration from Dante’s Inferno, and for Le of Rodin’s favourite themes, as it had been for many other artists
Baiser specifically on the tragic fate of Paolo and Francesca, the two particularly during the Romantic era. Ingres drew inspiration from the
wretched lovers who Dante meets in the second circle of Hell. tale in his painting Francesca da Rimini and Paolo Malatesta, 1819
(fig. 1). In his version he faithfully recreates the scene as described by
The tale of Paolo and Francesca warned against the perils of illicit Dante. The figures are clothed in 14th century dress and Francesca’s
love and was a popular theme in 19th century art. The story is drawn turned head and apparent coyness are in keeping with contemporary
from the history of medieval Italy: Francesca da Rimini and Gianciotto expectations of female decorum.
Malatesta were married in around 1275 in a political union designed to
end hostilities between their two families. During an absence from the Rodin’s sculpture, meanwhile, eliminates the constraints of time and
city Gianciotto sent for his handsome younger brother Paolo to guard place. His naked couple bear no visible references to anchor them to
his wife. In the course of their companionship, Paolo and Francesca fell their characters. In 1887 when Rodin first exhibited a plaster version
deeply in love. of the free-standing sculpture, then entitled Francesca da Rimini, in
Brussels, a contemporary critic declared ‘Can anyone tell me what
Francesca, be she da Rimini has to do with this?’ (Solvay [27 Sept 1887]
quoted in A. Le Normand-Romain, Le Baiser, The Kiss, Paris, 1995, p. 9).
Indeed, it was due to the suggestions of critics after this exhibition and
another in 1887 that Rodin was persuaded to use the generic title of Le
Baiser for the work.
12 | Bonhams
(fig. 2) Auguste Rodin in his studio at 117 Boulevard de Vaugirard leaning on Le Baiser, circa 1888-1889
In a departure from previous portrayals, Rodin also invests his figures

with assertiveness and vigour. Francesca here drapes her arm possessively
around her lover’s neck, even stretching her leg over the slightly hesitant
Paolo. Further, the light dancing over the undulating contours of their
bodies appears to infuse them with a shimmering vitality.
In 1903 Rainer Maria Rilke noted that, ‘the spell of the great group of
the girl and man named The Kiss lies in understanding distribution of
life. In this group waves flow through the bodies, a shuddering ripple,
a thrill of strength and a presaging beauty. This is the reason why one
beholds everywhere on these bodies the ecstasy of this kiss. It is like a
sun which rises and floods all with light.’ (R.M. Rilke, Rodin, London,
1946, p. 25).
After the great success of the large marble version of Le Baiser at the
1889 Salon de la Société nationale de Beaux-Arts, Paris, there was
an early demand for bronze versions. Rodin had only begun casting
his work on a smaller scale at the request of friends and collectors a
few years earlier. He decided to create four reductions of the Le Baiser
in 1898 and on the 6th of July signed a contract with the Leblanc-
Barbedienne foundry authorising the editions. This 25cm high cast,
although fourth in size, is one of the first two reductions of the model
and is taken from the 1898 version. Two further reductions of 40cm and
61cm were added in 1901 and 1904. The interior structure, inscriptions
and stamps correspond to the editions made by Barbedienne and the
stamps to its interior allow us to date this cast to 1905-1910, during the
lifetime of the sculptor.

14 | Bonhams
3
Edouard Vuillard (1868-1940)
Le shako plumé de Lili Lamy
stamped with signature ‘E. Vuillard’ (lower right)
oil on artists’ board
40.2 x 32.5cm (15 13/16 x 12 13/16in).
Painted in 1915-1916
£15,000 - 20,000
€18,000 - 24,000
US$23,000 - 30,000
LITERATURE
A. Salomon and G. Cogeval, Vuillard, The Inexhaustable Glance,
Critical catalogue of paintings and pastels, vol. III, Paris, 2003, no. X-71
(illustrated p. 1213).
Painted in 1915-1916, Le shako plumé de Lili Lamy presents the viewer Despite famously pronouncing ‘I don’t paint portraits, I paint people in
with a mysterious figure dressed in black. Her hat is adorned with an their homes’, Vuillard turned increasingly to portraiture from the turn of
enormous black osprey feather and although seated in profile, she the century (the artist quoted in G. Cogeval, et al., Edouard Vuillard, exh.
turns to us with what has been described as a ‘defiant expression.’ cat., National Gallery of Art, Washington, D.C., 2003, p. 356). Rather
(A. Salomon and G. Cogeval, op. cit., p. 1213). than his oft depicted mother and sister however, here we are presented
with an unfamiliar figure in an uncertain setting. By comparison with her
Although named as Lili Lamy, little is known of Vuillard’s model. The other portraits it appears that Lili Lamy is depicted in the artist’s studio,
artist completed a handful of portraits of her in 1915 and 1916, a couple waiting for her sitting. Only her face is painted in any detail however,
of which share the formality of the present work, while two subsequent while the background itself is harder to define.
portraits show her in more unguarded moments, removing her hat
and combing out her hair. Vuillard records Lamy modelling for him in Vuillard uses lively brushstrokes across the canvas to unite the sitter
his journal for the 11th and 17th of December 1915, but she does not with her setting, creating a completeness of composition reminiscent
appear again. of his early association with the Nabis in the late 19th century. Despite
returning to a more conservative style and muted palette, Vuillard reveals
The large plume of Lamy’s hat adds a delicate and feminine touch to their influence in Le shako plumé de Lili Lamy through his treatment
her otherwise severe outfit, a detail which the artist may have been of the surface of the picture essentially as a pattern, giving equal
particularly attuned to, having grown up surrounded by seamstresses importance to Lili and her surroundings.
in his mother’s dressmaking studio. Based on the Rive Droite in Paris,
his mother started her dressmaking business to provide for her children This was a technique which the artist would continue to propound in
following the death of her husband when Vuillard was just eleven his later career. In a letter to Marcel Guérin in 1930 and in a later note
years old. The artist remained close to his mother throughout his life, to Maurice Denis in 1932, Vuillard recommends Edmond Duranty’s
living with her as a bachelor until her death in 1928 and painting many essay ‘La Nouvelle Peinture’ from 1876, which exhorts artists to ‘no
portraits of her. longer separate the figure from the background of the apartment or
of the street. The figure would never appear to us, in real life, against
a neutral [...] background. But around and behind it there is furniture,
mantelpieces, wall hangings, a backdrop’ (op. cit., p. 357).
16 | Bonhams
4
Armand Guillaumin (1841-1927)
Côte de l’Estérel
signed ‘Guillaumin’ (lower right)
oil on canvas
65 x 81cm (25 9/16 x 31 7/8in).
Painted circa 1905
£35,000 - 45,000
€41,000 - 53,000
US$53,000 - 69,000
PROVENANCE
Galerie Felix Vercel, New York.
Galerie Romanet, Paris.
Mrs Jacques Guggenheim (acquired from the above in 1962);
Christie’s, London, 4 December 1984, lot 439.
LITERATURE
G. Serret and D. Fabiani, Armand Guillaumin 1841-1927,
Catalogue raisonné de l’oeuvre peint, Paris, 1971, no. 663 (illustrated).
18 | Bonhams
5
Henri Le Sidaner (1862-1939)
Petite place. Soleil couchant
signed ‘Le Sidaner’ (lower left)
oil on canvas
46.3 x 61.5cm (18 1/4 x 24 3/16in).
Painted in Gravelines in 1902
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000
PROVENANCE
Galleries Maurice Sternberg, Chicago.
Anon. sale, Christie’s, New York, 9 October 1986, lot 24.
LITERATURE
Y. Farinaux-Le Sidaner, Le Sidaner, L’oeuvre peint et gravé, Milan, 1989,
p. 84, no. 134 (illustrated).
20 | Bonhams
6
Henri Lebasque (1865-1937)
Après-Midi à Fréjus
signed ‘Lebasque’ (lower right)
oil on canvas
54 x 65cm (21 1/4 x 25 9/16in).
£80,000 - 120,000
€95,000 - 140,000
US$120,000 - 180,000
PROVENANCE
Galerie Leymarie, Paris.
LITERATURE
D. Bazetoux, Henri Lebasque, Catalogue raisonné, vol. I, Paris, 2008, p.
332, no. 1380 (illustrated).
The authenticity of this work has kindly been confirmed by Madame

Christine Lenoir and Madame de la Ville Fromoit.
This work is also sold with a photo-certificate of authenticity from

Madame Denise Bazetoux dated le 30 juin 1995.
Taking the verdant southern French landscape and an elegantly arranged In the present work, our eye is drawn quickly beyond the girls seated
group of figures as his subject, Henri Lebasque presents us with a in the foreground to the sunlit valley and the mountain ridge beyond.
typically Impressionist composition, bathed in light and composed of bold Lebasque folds his figures into nature, creating a harmonious whole.
brushwork. Lebasque’s characteristic air of tranquillity is omnipresent in His daughter Marthe, who often modelled for her father, explained
Après-Midi à Fréjus. A typically intimate composition, this work is also an that ‘when people are included in a landscape they form part of the
example of his lifelong focus on quiet scenes of family life. atmosphere and the surroundings that he sought before all else to
recreate. The expression of the faces then has less importance’ (quoted
Here, a group of girls sit on a hilltop overlooking a sunny valley to the in op. cit., p. 113).
mountains beyond. They avoid our gaze, focussing instead on individual
tasks with an air of careful industry. The stillness of the composition is Formed of contrasting flat strokes of colour and arabesque outlines,
typical of Lebasque’s oeuvre: ‘There is a sense of calm infused in [his] Lebasque’s style may have been partly influenced by his early work as
paintings which celebrates the richness and fullness of life [in] his placid a journeyman painter. Whilst an apprentice to Léon Bonnat in Paris,
scenes of gardens and beaches, terraces and dinner tables’ (L.A. Banner Lebasque was forced to supplement his small income by painting the
and P.M. Fairbanks, Lebasque 1865-1937, San Francisco, 1986, p. 12). religious statues in the church of Saint-Sulpice, applying paint in flat
dabs of pure colour. This, according to Lisa A. Banner, ‘contributed to
The present composition was painted at Fréjus, a coastal town on the the refinement of his style, encouraging a lyrical ornamental flatness and
French Riviera, south west of Le Cannet. Having seldom travelled in his easy brush strokes... These aspects, and a characteristic sensitivity to light,
early life, Lebasque first visited the region in 1906 at the invitation of his began to shape Lebasque’s personal style of painting’ (op. cit., p. 14).
friend and fellow artist Henri Manguin, and after spending an increasing
amount of time in the south, moved his family permanently to Le Cannet This technique, along with a sense of an all-over composition and a
in 1924. concentration on domestic subjects, may have also been influenced by
Lebasque’s friendship with his Nabi contemporaries. As a young artist in
The artist is renowned for his fascination with the portrayal of women in Paris he learned of Seurat’s colour theories through Signac, whose stress
landscapes, often depicting his wife and children, but as so often in his on the use of complementary colours can be seen in Lebasque’s delicate
compositions, the faces of the girls in Après-Midi à Fréjus are blurred and interplay of cool lilacs, mauves and blues against the warmer yellows and
anonymous. No individual features can be discerned, and their heads are hints of orange in Après-Midi à Fréjus.
lowered, further masking their faces. Along with an increasing tendency
to idealise his figures, Lebasque adopted this technique more commonly The influence of his Fauve acquaintances has also been read in
after 1917, following his employment as an official war artist during Lebasque’s deft use of colour, but his more subtle palette, intimate
the First World War. This omission of individual features paradoxically scenes and delicate observation of light allows the present work to stand
enables the viewer to identify more closely with the sitter. as an example of Lebasque’s own unique style.
22 | Bonhams
7 AR
Maurice Utrillo (1883-1955) This work was painted seven years after Utrillo’s marriage to Lucie
Les chapeaux de Lucie Valore Valore, whose hats it depicts. Utrillo had first met Valore in Paris in 1920,
signed and dated ‘Maurice Utrillo, V,/ mars 1942’ (lower right) when she was still married to Robert Pauwels, a Belgian industrialist and
oil on canvas collector of the artist’s work. An apparently domineering figure, Valore
22 x 27.2cm (8 11/16 x 10 11/16in). was left with crippling debts after Pauwels’ death in 1933, and although
Painted in March 1942 her subsequent interest in the celibate artist was viewed sceptically
£10,000 - 15,000 by many, the union was encouraged by Suzanne Valadon, Utrillo’s
€12,000 - 18,000 concerned mother, whose health was declining.
US$15,000 - 23,000
Les chapeaux de Lucie Valore is painted in vivid colours in a decisive
PROVENANCE move away from Utrillo’s pale early palette, which resulted in the years
Lucie Valore, Paris. 1909-1914 being labelled his ‘periode blanche’. Executed with markedly
Jean Adrien Albouy, Paris (a gift from the above). brighter pigments and looser brushstrokes, Valore’s hats are simplified
in form and delineated with strong black contours, betraying the earlier
EXHIBITED influence of Cézanne in Utrillo’s use of solid forms.
Munich, Haus der Kunst, Maurice Utrillo V., Suzanne Valadon, 15 June -
11 September 1960, no. 103. The work was given by Valore to her hat maker Jean Adrien Albouy, and
clearly reflects her love of fashion. As Peter de Polnay rather pointedly
The authenticity of this work has kindly been confirmed by Monsieur observed, ‘Valore was always overdressed; and her overbearing ways
Jean Fabris and Monsieur Gilbert Pétridès. were bound to impress the man from whom most women fled. For
Utrillo, she was elegance and worldliness personified.’ (P. de Polnay, The
World of Maurice Utrillo, London, 1967, p. 166).
24 | Bonhams
8 * AR
Lucien Adrion (1889-1953)
La plage à Deauville
signed, dated and inscribed ‘Adrion/ 8.8.28/ DEAUVILLE’ (lower right)
oil on canvas
50.6 x 60.9cm (19 15/16 x 24in).
Painted on 8 August 1928
£15,000 - 20,000
€18,000 - 24,000
US$23,000 - 30,000
PROVENANCE
Dominion Gallery, Montreal, no. A1774.
Private collection, Toronto (acquired from the above on 20 November
1957).
EXHIBITED
Montreal, Dominion Gallery, Paintings by French Artists, 8 November - 1
December 1956, no. 9.

9 AR
Gabriele Münter (1877-1962)
Zinnien und weiße Rose
signed ‘Münter’ (lower right); signed, dated and numbered ‘G Münter
1935 8/35’ (on the reverse)
oil on artists’ board
33 x 40.8cm (13 x 16 1/16in).
Painted in 1935
£30,000 - 50,000
€36,000 - 59,000
US$46,000 - 76,000
PROVENANCE
Acquired by the grandfather of the present owner, Wessobrunn, Bavaria.
The authenticity of this work has kindly been confirmed by Dr. Isabelle
Jansen of the Gabriele Münter- und Johannes Eichner-Stiftung, and is
registered in the archives.
Zinnien und weiße Rose stands as a mature example of Münter’s However, Münter differentiated herself from her contemporaries in
continual exploration of the still life, a central motif in her oeuvre. her continuing depiction of still lifes, landscapes and portraits. While
Executed in a slightly calmer palette than the more fiery tones of her admiring Kandinsky’s move towards Abstraction, she retained a
earlier compositions, the present work retains Münter’s characteristic figurative style which while rooted in the everyday was also elevated.
broad fields of vivid colours contained by strong outlines. The
brushstrokes are bold, forming the flowers and leaves with an economy Painted in 1935, Zinnien und weiße Rose was painted just two years
of means, whilst the vase is built of curving strokes which lead the eye before Münter was denounced as a Degenerate artist by the Nazis, and
upward into the blooms. The quiet background envelops itself around coincides with her move to the quiet town of Murnau. The young artist
the still life, allowing nothing to detract from the subject of the work. first lived there with Kandinsky, but the relationship had ended following
An apparently everyday and traditionally feminine subject is thus imbued the outbreak of the First World War and his return to Russia. Münter
with an air of monumentality. moved to Copenhagen in 1917 and travelled through Germany in the
1920s before returning to her country house at Murnau in Bavaria in
Münter’s reduction of forms to their simplest nature can be traced to 1931. She led a relatively secluded life but painted prolifically, with the
influences in her earlier artistic career. Having begun a relationship with canvases of the 1930s later recognised as some of her most balanced
Kandinsky, her tutor at the Phalanx art school in Munich and a married and harmonious works.
man, the couple travelled extensively through Europe and North Africa
before settling back in Germany in 1908. Having met artists such as
Rousseau and Matisse in France, Münter’s circle of friends in Munich
would also include Klee, Marc and Jawlensky. Their stylistic influences
can undoubtedly be read in her bold compositions, and after becoming a
member of Der Blaue Reiter in 1911, a progressive reduction of form can
also be seen.
26 | Bonhams
10 AR
Pablo Picasso (Spanish, 1881-1973)
Portrait de Dora Maar de profil
dated ‘18 novembre XXXVI’ (lower centre)
pen and black ink on blue paper
22.9 x 26.9cm (9 x 10 9/16in).
Executed on 18 November 1936
£100,000 - 150,000
€120,000 - 180,000
US$150,000 - 230,000
PROVENANCE
A gift from Picasso to Dora Maar.
Estate of Dora Maar, with associated estate stamp ‘DM/ 1998’; Piasa, Les
Picasso de Dora Maar, Paris, 28 October 1998, lot 39.
Acquired at the above sale by the present owner.
LITERATURE
C. Zervos, Pablo Picasso, vol. VIII, Paris, 1963, no. 290 (illustrated p.
137).
The Picasso Project, ed., Picasso’s Paintings, Watercolors, Drawings and
Sculpture: Surrealism 1930-1936, San Francisco, 1997, p. 296, no. 36-
087 (illustrated).
28 | Bonhams
Picasso’s portraits of Dora Maar (1907-1997) document one of the This tangible sense of Duende, the essentially untranslatable Andalusian
most extraordinary artistic relationships of the 20th century. Coinciding concept of heightened emotion and fatalism, with a touch of the
almost exactly with the dark years from the beginning of the Spanish diabolical, as defined by Lorca in the 1930s, must have been powerfully
Civil War to the Liberation of Paris, they move from the tender early attractive to Picasso. Dora had been born in France but spent most of
drawings, such as Portrait de Dora Maar de profil, often showing Dora her early life in Argentina, where her father practised as an architect,
was distracted or deep in thought, through to the violent strength of and so spoke fluent Spanish. She returned to Paris in 1927 and trained
the Weeping Women series which grew from the creation of Guernica. as both a photographer and painter. By 1936, her Surrealist photographs
All are as much insightful psychological portraits of the relationship had become defining images of the movement, notably the Portrait of
between the two artists as they are of Dora herself. Ubu, a mysterious creature (later revealed to have been an armadillo
foetus) representing Alfred Jarry’s antihero, and the collage 29, rue
Picasso and Dora Maar met in the winter of 1935-36, although like d’Astorg, both of that year.
much else about the relationship myths have grown up around the
exact details. It seems most likely that they were introduced by a mutual At the time of their meeting, Dora was 29 and Picasso was 54. He was
friend, the poet Paul Eluard, at Les Deux Magots in Paris. Picasso greeted still in the process of separating from Olga, his first wife, and Marie-
her in French, and she replied in Spanish, immediately asserting her Thérèse Walter, his mistress since 1927, had borne him a daughter,
connection to his native land. The first step had been taken. Picasso Maya, the previous September. His portraits of Marie-Thérèse often
must certainly have known her by sight since she had been prominent present the opulent blonde as a passive young girl, sleeping or crowned
as a photographer and muse in Surrealist circles since at least 1934, but with a circlet of flowers. They are strikingly different from the intense
this meeting, perhaps stage managed by Dora herself, appears to have portraits he was to make of Dora as a muse and ally.
been their first contact. Next comes the famous encounter recounted by
Françoise Gillot, the lover who supplanted Dora: James Lord, who met the couple in Paris in 1944, gives a striking
description of Dora: ‘Her gaze possessed remarkable radiance but could
‘Picasso told me that one of the first times he saw Dora she was sitting also be very hard. I observed that she was beautiful, with a strong
in Les Deux Magots. She was wearing black gloves with little pink straight nose, perfect scarlet lips, the chin firm, the jaw a trifle heavy and
flowers appliquéd on them. She took off the gloves and picked up a the more forceful for being so, rich chestnut hair drawn smoothly back,
long, pointed knife, which she began to drive into the table between and eyelashes like the furred antennae of moths.’ (J. Lord, Picasso and
her outstretched fingers to see how close she could come to each finger Dora, a memoir, London, 1993, p. 31).
without actually cutting herself. From time to time she missed by a tiny
fraction of an inch and before she stopped playing with the knife, her
hand was covered in blood. He was fascinated ... He asked Dora to give
him her gloves and kept them in a vitrine with other mementoes’ (F.
Gilot with C. Lake, Life with Picasso, London, 1965, pp. 85-86).
30 | Bonhams
(fig. 2) Dora Maar, Picasso painting Guernica, May - June 1937
Although echoes can be discerned earlier in the year, Picasso’s first overt As John Richardson has noted, a new lover precipitated a sea change
portraits of Dora appear in August 1936, when they were together at in Picasso’s work, in this case from the overtly sexual images of Marie-
Mougins above Cannes on the Riviera with a group including Paul and Thérèse to the psychological intensity and wide-eyed intellectual
Nusch Eluard, Roland Penrose and Man Ray. The last portrait of Marie- engagement with Dora, as an artistic ally, as seen in Portrait de Dora
Thérèse that year is dated 28 July. Then, in a drawing dated 1 August, Maar de profil (J. Richardson, A Life of Picasso, vol. I, London, 1991, p.
Dora appears, standing at the door of the studio, wearing a scarf, calmly 5). The evolution from these tender intimate drawings to the harsh and
observing the enthroned central figure of the artist as a classical god dramatic images of the later years documents the effects of the war
crowned with laurels (C. Zervos, op. cit., no. 295). For the rest of the and life in Paris under occupation. Dora became an embodiment of the
year Picasso’s work is filled with Dora: she appears 30 times from August anxiety and uncertainty of the times.
to December, an obsessive portrait-taking that must reflect the intensity
of the relationship. Coupled with this was Picasso’s own voracious character, as John
Richardson noted, lovers were ‘incinerated in the furnace of Picasso’s
The outside world could not be held at bay, however. Franco’s failed psyche’ (interview with Peter Conrad, The Observer, London, 8 February
coup of 17 and 18 July 1936 precipitated the Spanish Civil War, and 2009). By 1944 the relationship had faltered, and Picasso had already
Picasso was symbolically named honorary Director of the Prado by the met Françoise Gilot. Although Dora never quite became a recluse, this
Republican government. Dora’s Spanish background clearly drew her brutal desertion precipitated a breakdown. For the remainder of her
into Picasso’s reaction to this crisis. He encouraged her to grow her hair long life she tended the flame of their artistic relationship and remained
long, and as in the present work wear it plaited in the Andalusian style, surrounded by the drawings, pictures and sculptures that Picasso had
paired with a ruff collar which echoes traditional Andalusian costume. given her. These were dispersed in the legendary estate sale in Paris
in 1998 at which Portrait de Dora Maar de profil was acquired by the
This association deepened in May and June 1937, when Dora was on present owner.
hand during the painting of Guernica, Picasso’s anti-war masterpiece,
in which she appears in the guise of the weeping woman. Dora had Her attitude to the portraits was, however, always ambivalent, as she
found Picasso the studio in the rue des Grands Augustins in which it was told James Lord in the 1950s, ‘They’re all Picassos, not one is Dora
painted, and her photographs of the evolution of the composition, the Maar ... Do you think I care? Does Madame Cézanne care? Does Saskia
only record he allowed to be made, had a demonstrable effect on his Rembrandt care?’ (quoted in J. Lord, op. cit., p. 123).
creative process (fig. 2).

11 AR
Moïse Kisling (1891-1953)
Jeune fille rousse
signed ‘Kisling’ (upper left); inscribed and dated ‘Paris/ 1937’ (upper
right)
oil on canvas
50 x 41cm (19 11/16 x 16 1/8in).
Painted in 1937
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000
PROVENANCE
Theodore Block, Richmond (a gift from the artist).
Thence by descent to the present owner.
LITERATURE
J. Kisling and J. Dutourd, Kisling 1891-1953, vol. III, Landshut, 1995, no.
177 (illustrated p. 162).
Moïse Kisling rejected the notion that he was influenced by other artists Known as a painter of women, Kisling presents us here with a slightly
or movements, insisting that he created instead ‘truly personal works for mysterious and seductive figure – the girl’s head dips to one side, her
which I am truly responsible’ (the artist quoted in J. Kessel, Kisling, Turin, lips part and her hooded eyes avoid the viewer’s gaze, looking to one
1971, p. 36). Despite this, he did allow that ‘Derain’s paintings used to side. Reviewing an exhibition of the artist’s work at the Gertrude Stein
attract me at length’ (op. cit, p. 36) and it is tempting to read this artist’s Gallery in 1937, the year in which the present work was painted, Louis
influence in Kisling’s monumental presentation of women, along with that Chéronnet described the pull of Kisling’s female portraiture:
of Chagall in the slightly ethereal air of his figures and Modigliani in his
sensuous outlines. Kisling met the latter in Paris in the years leading up to ‘He is a sensual materialist with a taste for magnificence [...]
the First World War and struck up a close friendship, sharing a studio with Voluptuousness of line and colour! All of Kisling’s forms are
him. Both artists shared a particular interest in capturing the female form characteristically elongated and tend toward the arabesque. Upon what
with clear, elegant contours, as illustrated in Jeune fille rousse. seems to be an inalterable base the colours are displayed, raw, iridescent,
and unctuous’ (op cit, p. 43).
The unidentified sitter has the exaggerated large almond-shaped eyes
common to many of Kisling’s female portraits. Her pale porcelain skin
and vivid blue eyes shine out against the rich red of her dress and the
artist’s typical background of gradated vibrant colour. The curls of her
hair and curves of her cheeks and lips are echoed by the perfect circle of
the necklace which hovers above her elegant neck.
32 | Bonhams
12 AR
André Derain (1880-1954)
Portrait de femme
oil on canvas
47 x 39cm (18 1/2 x 15 3/8in).
Painted circa 1934-1939
£7,000 - 10,000
€8,300 - 12,000
US$11,000 - 15,000
PROVENANCE
Lynn Family Trust; Sotheby’s, New York, 14 June 1995, lot 59.
Anon. sale, Phillips, London, 13 November 2001, lot 4.
Acquired at the above sale by the present owner.
This work is sold with a photo-certificate of authenticity from Monsieur

Michel Kellerman dated, Paris le 25 mai 2001.
34 | Bonhams
13 AR
Henri Matisse (1869-1954)
Tête de femme
signed ‘H M.’ (lower left)
wax conté crayon on paper
27.2 x 21.3cm (10 11/16 x 8 3/8in).
Executed in 1952
£4,000 - 6,000
€4,700 - 7,100
US$6,100 - 9,100
The authenticity of this work was kindly confirmed by Madame Wanda de Guebriant in 1994.
PROVENANCE
Galerie Berggruen et Cie., Paris.
Acquired from the above by the family of the present owner, 1954.
EXHIBITED
Paris, Berggruen et Cie., Henri Matisse, Papiers Découpés, 27 February - 28 March 1953.

14 AR
Zoran Antonio Music (1909-2005)
Cavallini
signed, inscribed and dated ‘MUSIC/ Cavallini 1950’ (lower centre);
signed again, inscribed and dated ‘MUSIC/ Cavallini/ olio 1950’ (on the
reverse)
oil on canvas
33.7 x 41.7cm (13 1/4 x 16 7/16in).
Painted in 1950
£18,000 - 25,000
€21,000 - 30,000
US$27,000 - 38,000
The authenticity of this work has kindly been confirmed by Signora Ida A gradual change in style and a move towards abstraction can slowly
Cadorin Barbariga Music, Venice, and is registered in the Music Archives be seen in his work from the 1950s. The horses are at first clearly
under the number 010/2008. recognisable, but slowly he allows details to disappear, leaving behind
only the most essential elements. In Cavallini, the creatures are sparsely
‘These horses soundlessly moving against the dry brown hills have delineated and threaten to merge with the indistinct and barren
crisscrossed the walls of prehistoric caves. They are the horses of the landscape which surrounds them. The warm ambers and yellows of the
beginning of recorded time [...] Older still, pre-existing all human artist’s palette reflect the heat of the earth, and his economy of colour
recollection, is the landscape, reduced by age to a skeleton of stone. Its is relieved only by small scattered areas of pattern, a hint of the more
great endurance has made it the hero of Music’s art, the theme to which fantastical horses of his later work.
he always returns’ (M. Peppiatt, Music, exh. cat., 12 Duke Street Gallery,
London, 1980, n.p.). Just as Music distilled his technique down to its simplest elements, so too
did the size of his canvases remain relatively modest, as in the present
The present work exemplifies Music’s preoccupation with the landscape work. This reduction of elements can be read as a reaction to the war, as
of his youth and in its very timelessness relates to the artist’s personal the artist himself later acknowledged:
experience of the Second World War.
‘Without Dachau, I would have been a merely illustrative painter.
Music was born in Gorizia in the north-east frontier of Italy, at the After Dachau, I had to go to the heart of things’ (The artist quoted in
time in Austrian territory and now part of Slovenia. He studied at the M. Peppiatt, Zoran Music, exh. cat., Sainsbury Centre for Visual Arts,
Academy of Fine Arts in Zagreb, and on graduation travelled to Spain University of East Anglia, Norwich, 2000, p. 10).
until forced to flee at the outbreak of the Civil War in 1936. He returned
to the Dalmatian coast, painting views of the Karst Mountains which he Dry paint is applied thinly in the present work, allowing the weave of the
had admired since childhood, and whose burnt and arid soil reminded canvas to show through. Music felt that thickly applied pigment would
him of his native Gorizia. distract the viewer, who should never be aware of the material existence
of the painting. The roots of this technique may be found in the frescoes
He settled in Venice in 1943 and began to paint bright, light-infused of the ancient churches Music encountered on his travels through
views of the city and the surrounding lagoon. The sense of peace did Dalmatia, where he also admired the mosaics:
not last, and in 1944 he was arrested for allegedly making contact
with the Resistance and was deported to Dachau concentration ‘[They] must have made a lasting impact on me, because my painting
camp. While interned he secretly committed to paper more than two has always remained flat, without volume or perspective’ (op. cit., p. 32).
hundred sketches of the horrors he encountered, an experience which
was eventually to exert a lasting and powerful influence on his work. Painting from his childhood memories rather than working from life
On liberation however he returned to Venice and initially to his pre- or photographs, Music sought refuge in his unchanging and timeless
war subjects, without any overt acknowledgement of the traumatic landscapes, which remain unalterable in the face of changing seasons or
experiences that he had suffered. the actions of man: ‘like the landscapes in the Bible [...] I feel drawn by
them. I don’t know why. It’s a need.’ (op. cit., p. 32).
34 | Bonhams
15 AR
André Masson (1896-1987)
Jeunes filles dans une basse-cour, ou Le Dindon
signed ‘Andre Masson’ (lower left)
oil on canvas
116 x 89cm (45 11/16 x 35 1/16in).
Painted in 1947
£350,000 - 450,000
€410,000 - 530,000
US$530,000 - 680,000
PROVENANCE
Galerie Louise Leiris, Paris.
Madame Charles Pomaret (acquired from the above, 1948).
Acquired from the above by the father of the present owner circa
The artist must work with the
early 1970s.
thought that the spectator can
EXHIBITED
Berlin, Akademie der Künste, André Masson, 3 - 24 May 1964. understand things half said,
Amsterdam, Stedelijk Museum, André Masson, 12 June - 19 July 1964.
Paris, Musée d’Art Moderne, André Masson, March - May 1965, no. 50. not completely described.
Marseille, Musée Cantini, André Masson, 1968, no. 43 (incorrectly titled
Femmes dans la Basse Cour) Andre Masson, quoted in A. Liberman,
Künzelsau, Museum Würth, André Masson: a mythology of nature, The artist in his studio, London, 1988, p. 256
18 September 2004 - 30 January 2005.
Paris, Musée de La Poste, Le Bestiaire d’André Masson, 6 April -
5 September 2009.
LITERATURE
W. Spies, D. Ottinger and L. Ybarra, André Masson: a mythology of
nature, exh. cat., Museum Würth, Künzelsau, 2004, p. 76 (illustrated).
J. Rasle, Le Bestiaire d’André Masson, exh. cat., Musée de la Poste, Paris,
2009 p. 70 (illustrated on the front cover and p. 71).
This work is sold with a photo-certificate of authenticity from the Comité

Masson and will be included in their forthcoming catalogue raisonné
under the archive number CAM1965.
36 | Bonhams
(fig. 1) André Masson, L’Autoportrait, 1944
Jeunes filles dans une basse-cour stands at an important turning point Following the Fall of France in 1940 Masson escaped to Martinique,
in Masson’s artistic trajectory. Motivated by the same themes that had where he joined André Breton before travelling on to New York. He
animated his earlier work, this painting also demonstrates an indication spent the war years in America, initially allying himself with the Surrealist
of the influence he would exert on a younger generation of artists, group around Breton but increasingly charting his own path through
notably Jackson Pollock and the New York Abstract Expressionists. this new environment. The years in America were very productive, and
he clearly drew inspiration from this fresh territory to explore deeply
Masson’s work was primarily informed by his experiences in the trenches personal and existential themes. At the same time Masson also formed
of the First World War, and by the brutal realities of extreme violence closed friendships with a group of prolific younger artists including
which he had witnessed there at first hand. This connection with the Jackson Pollock, Mark Rothko and Arshile Gorky, his near neighbour in
deepest elements of human behaviour led him to explore the possibilities rural Connecticut.
of the subconscious mind through automatic drawing, a process which
naturally led him to the Surrealists. His relationship with the group
was always loose however as he had natural distrust of the dogmatic,
preferring instead to explore ways of expressing the violent, chaotic
and erotic urges of the human condition beyond consciousness and
reason. It was this tendency in his work which would inspire the group
of American artists who would later become the Abstract Expressionists.
Having been raised a social context familiar with Jungian and Freudian
psychoanalysis, these younger painters recognised the unfettered
expression of the subconscious drives which proliferated throughout
Masson’s work.
38 | Bonhams
(fig. 2) André Masson, Meditation on an Oak Leaf, 1942
It was during this period that Masson became drawn powerfully to Masson returned to France in October 1945, initially settling near
Nature both in representational and symbolic terms. As Gorky declared, Poitiers. In the period leading up to Jeunes filles dans une basse-cour
in a statement that could equally have come from Masson, ‘I do not in 1947 he experienced a dramatic burst of creativity, notable for a
paint in front of nature but within nature’. Jeunes filles dans une basse- return to something near the automatism of the 1920s. However he
cour draws heavily on the influences cultivated during the American prevents the compositions from dissolving into complete abstraction by
period. Clark V. Poling, discussing Masson’s masterpiece of these years continuing to maintain an engagement with the theme of nature that he
Meditation sur un feuille de chêne (fig. 2) (1942; New York, Museum had explored in his American work. While basing his imagery on direct
of Modern Art), but in comments that could be applied to the present observation he would seek simultaneously to find within the subject
work, notes that ‘the flattening of the pictorial space helps create the matter echoes of his own subconscious. As he declared, ‘between the
effect of closeness and merges with the natural environment.’(C.V. painter and nature a relationship forms that is unknown to reason’
Poling, André Masson and the Surrealist Self, London, 2008, p. 150). (quoted in W. Spies et al., op. cit., p. 23).
Conveyed through a matrix of line and tone, both paintings reference
figuration and form from the natural world. This imagery appears to As Michel Leiris noted of his mentor, ‘Mason’s work is a series of periods
emerge as if summoned from our subconscious only to submerge again of exploration. Sometimes involving closely defined biomorphic images,
beneath the surface of formal abstraction. his work is characterised by extreme speed of execution and complex
personal imagery’ (M. Leiris and G. Limbour, André Masson et son
Materialising from the storm of sweeping calligraphic lines stands the univers, Geneva and Paris, 1947, p. 118).
turkey, dominating the picture space of Jeunes filles dans une basse-
cour. The crimson of his wattle pierces the centre of the canvas providing
a flash of strident colour amidst a torrent of earthy tones. Swirling
around this potent symbol are the three young women, reduced to their
essential elements by a flurry of expressive stokes. In its visual cacophony
of figuration and form, the painting alludes to the instinctive animal
drives which characterise the relationship between the sexes.

40 | Bonhams
16 AR
Edouard Warschawsky, dit Edy-Legrand (1892-1970)
Les fiancés
signed ‘Edy Legrand’ (lower centre left);
inscribed ‘EDY-LEGRAND, LE FIANCÉS’ (on the stretcher)
oil on canvas
81 x 100cm (31 7/8 x 39 3/8in).
£5,000 - 7,000
€5,900 - 8,300
US$7,600 - 11,000
PROVENANCE
Edith Sophia Nathanson, the artist’s niece (a gift from the artist).
See note to lot 17.

17 AR
Edouard Warschawsky, dit Edy-Legrand (1892-1970)
Voyages
signed ‘Edy Legrand’ (lower left); inscribed and dated ‘ “VOYAGES”/
...61-1962 ‘ (on the reverse), and further inscribed ‘EDY-LEGRAND 25
AV. DE WAGRAM, PARIS 17’ (on the stretcher)
oil on canvas
130 x 99.5cm (51 3/16 x 39 3/16in).
Painted in 1961-62
£8,000 - 12,000
€9,500 - 14,000
US$12,000 - 18,000
PROVENANCE
Edith Sophia Nathanson, the artist’s niece (a gift from the artist).
Painted in 1961-1962, Voyages is a kaleidoscopic culmination of Introduced to the artist by Pierre Bonnard, Maria Steiner persuaded
Edy-Legrand’s previous experiments and styles, as hinted at by the Edy-Legrand to exhibit in America in the 1930s. The buzzing metropolis
title. Les fiancés (lot 16) was probably painted slightly earlier, and of New York, and exposure to the works of artists such as Cézanne in
perfectly illustrates the artist’s transition from the figurative to the public and private collections, marked a turning point in his career. From
abstract late in his career. Common to both canvases, however, is the there, he travelled extensively, visiting Holland, Italy and Spain before
artist’s characteristically riotous use of colour, sheer energy and joyful settling in Morocco for twenty years. His palette noticeably brightened
application of paint. through this extended sojourn, and while first drawn to the dramatic
landscapes of the Atlas Mountains, his attention was soon captivated
Edy-Legrand initially trained as an illustrator, a discipline that is evident in by the incessant crowds of the cities, their colourful costumes and the
his later work and indeed a profession to which he returned repeatedly. exotic mise-en-scène. Although painted after his return to Provence,
A deft and lyrical use of line can certainly be seen in Voyages, in which both Voyages and Les fiancés share the vibrant hues of his North African
a grid-like central focus formed of strong verticals and horizontals is works.
softened by swoops and curlicues of brighter pigment. Meanwhile, the
busy brushwork behind this matrix causes the paint surface to shimmer Edy-Legrand’s return to France marked a move away from figurative
and pulsate beneath our gaze, recollecting perhaps the young artist’s compositions towards the abstract, as exemplified in Voyages. This
excitement on his first exposure to the dynamic streets of New York. transition is hinted at in Les fiancés, whose main elements – the lovers,
the exuberant bouquet of flowers and their surroundings – are easily
readable and yet are only saved from tumbling into the confusion of the
flattened picture plane by the artist’s control of line.
42 | Bonhams
18 AR
Renato Guttuso (1912 - 1987)
Interno
signed, inscribed and dated ‘Guttuso, A Laurence/ Renato/ Roma -
Agosto 1948’ (lower right)
oil and black ink on paper laid to canvas
48.5 x 59.3cm (19 1/8 x 23 3/8in).
Executed in August 1948
£8,000 - 12,000
€9,500 - 14,000
US$12,000 - 18,000
PROVENANCE
Laurence and Isabelle Roberts, New York (a gift from the artist).
Anon. sale, Sotheby’s, Milan, 5th March 1981, lot 20.
LITERATURE
G. Marchiori, Renato Guttuso, Milan, 1952, p. 19 (illustrated).
E. Crispolti, Catalogo generale dei dipinti di Renato Guttuso, vol. I,
Milan, 1983, p. 184, no. 48/28 (illustrated).
44 | Bonhams
19 AR
Albert Saverys (1886-1964) The still life was a genre to which Saverys returned repeatedly
Nature morte aux poires throughout his long career. In these works he often combined floral
signed ‘Saverys’ (lower right) motifs with the more traditional still life elements of vegetables and
oil on canvas poultry. In the interwar years he was a key figure in the Belgian art
80 x 100.5cm (31 1/2 x 39 9/16in). world, and in 1935 his painting Still life with a grey chicken gained first
Painted circa 1952 prize at the prestigious annual exhibition of the Carnegie Institute in
£3,000 - 4,000 Pittsburgh, a show in which he frequently participated.
€3,600 - 4,700
US$4,600 - 6,100 Nature morte aux poires, painted in the early 1950s, revisits the style
and compositions that Saverys formulated in the latter half of the
PROVENANCE 1930s. Using a more muted palette than that which he employed for his
Acquired directly from the artist by the parents of the present owner. landscape paintings of the Lys during the same period, he constructs a
stylised composition using broad stokes of colour interspersed with more
This work will be included in the forthcoming Albert Saverys monograph frenetic and expressive brushwork. Areas of depth and modelling, as
being prepared by Drs. Peter J. H. Pauwels. seen in his handling of the pears, are juxtaposed against the flatness of
the grey jug and surrounding decorative surface. Meanwhile in the spirit
of Cubism, the picture plane is tilted upwards to create an awkward and
disorientating picture space.
The arrangement of meandering autumnal leaves nestled amongst the

basket of pears and pottery jugs lends the scene a rustic charm which
bristles with movement as it leads the viewer’s eye across the painting’s
surface. Despite operating within the traditional genre of the still life, in
Nature morte aux poires Saverys demonstrates an entirely authentic and
modern approach to his subject matter.

20 AR
Felice Casorati (1883-1963)
Finestra sul lago
signed ‘F. CASORATI.’ (lower centre right)
oil on board
59.3 x 48.5cm (23 3/8 x 19 1/8in).
Painted circa 1949
£8,000 - 12,000
€9,500 - 14,000
US$12,000 - 18,000
PROVENANCE
Galleria Grissi, Turin.
Acquired by the present owner circa 1980s.
LITERATURE
‘My art is born, so to speak, from
G. Bertolino and F. Poli, Felice Casorati. Catalogo generale. I dipinti
(1904-1963), Turin, 1995, p. 400, no. 853 (illustrated).
within, and never has its source in
This work is registered in the Felice Casorati Archives, Turin, under the changing “impressions”, it is quite
number 640.
natural that ... static forms, and
Finestra sul lago depicts Lake Iseo in Northern Italy where Felice Casorati
and his wife Daphne holidayed. Constructed through a framework of not the fluid images of passion,
bold outlines and complementary fields of colour, the composition is a
stylised reimagining of the lake-side view in the summer months. The should be reflected in my works’.
near verticals of the window frame deliberately correspond to the boats’
masts to create a sense of rhythm and depth, while the patchwork of Felice Casorati quoted in E. Cowling and J. Mundy,
muted blues and greens combine with the lilac, crimson and citron of On Classic Ground: Picasso, Léger, de Chirico and the New
the foreground to present a compositionally harmonic scene.
Classicism 1910-1930, London, 1990, p. 64).
Finestra sul lago is formally typical of the works from Casorati’s
later period in which he moved away from the more rigid, spatial
compositions of the previous decade towards freer construction utilising
a brighter and richer palette as a means of expression. In this painting
the psychological intensity detected in his earlier work gives way to
a more serene and lyrical rendering of the view, in accordance with
the general theme of his subject. Yet Casorati’s propensity towards an
emphasis on form rather than detail persists. Painted in the years that
followed the Second World War, and in conjunction with his conviction
that art is born from within, with Finestra sil lago Casorati projects an
internal conceptualisation of a world in peacetime, far removed from the
horrors of conflict that had pervaded the preceding years.
Just three years after the execution of this painting Casorati was to
receive the Premio Speciale della Presidenza at the Venice Biennale as an
acknowledgement of his outstanding contribution to the arts in Italy.
46 | Bonhams
21 AR
Michele Cascella (1892-1989)
Senza titolo
signed ‘Michele Cascella’ (lower left)
gouache and pastel on card
80 x 100cm (31 1/2 x 39 3/8in).
£2,000 - 3,000
€2,400 - 3,600
US$3,000 - 4,600
PROVENANCE
Acquired by the present owner circa 1980s.
48 | Bonhams
22 AR
Carlos Nadal (1917-1998) PROVENANCE
La maison d’Alain à Avignon Sala Parés, Barcelona, 1989.
signed ‘cNadal’ (lower right); signed again, inscribed and stamped with Acquired from the above by the father of the present owner.
artist’s atelier stamp ‘cNadal/ LA MAISON D’ALAIN a [sic] Avignon’ (on
the reverse) EXHIBITED
oil on canvas Barcelona, Sala Parés, 1989, no. 23 [titled L’imprimerie Barthelemy].
73.5 x 92.5cm (28 15/16 x 36 7/16in).
£12,000 - 18,000 LITERATURE
€14,000 - 21,000 F. Farmar, Carlos Nadal, London, 1994 [incorrectly dated 1944], p. 35
US$18,000 - 27,000 (illustrated).
This work is sold with a photo-certificate of authenticity from the

Comité Nadal.

23 AR
Carlos Nadal (1917-1998)
Régates à Ostende
signed ‘CNadal’ (lower right); signed again, inscribed and stamped with
artist’s atelier stamp ‘REGATES A OSTENDE/ cNadal’ (on the reverse)
oil on canvas
65.2 x 81.3cm (25 11/16 x 32in).
£12,000 - 18,000
€14,000 - 21,000
US$18,000 - 27,000

Comité Nadal.
PROVENANCE
Galerie del Cisne, Madrid.
Angel Moreno Oliva, Madrid.
50 | Bonhams
PROPERTY OF A EUROPEAN COLLECTOR
24 AR
Carlos Nadal (1917-1998) PROVENANCE
Intérieur jaune Private collection, England.
signed ‘cNadal’ (lower right); signed again, titled, dated and stamped
with the artist’s atelier stamp ‘cNadal 80/ INTÉRIEUR Jaune’ (on the EXHIBITED
reverse) Harrogate and London, The Duncalfe Galleries,
oil and mixed media on card laid to canvas The Magic of Nadal, 1980.
54.5 x 66cm (21 7/16 x 26in).
Painted in 1980 25
£12,000 - 18,000 No lot
€14,000 - 21,000
US$18,000 - 27,000

Comité Nadal dated 25/12/12.

26 AR
Salvador Dalí (1904-1989) ‘It is quite correct that I have made use of photography throughout
Variation autour de Toréador hallucinogène et Marché d’esclaves avec my life. I stated years ago that painting is merely photography done
apparition du buste invisible de Voltaire by hand, consisting of super-fine images the sole significance of which
oil and photographic collage on card resides in the fact that they were seen by a human eye and recorded by
33 x 40.9cm (13 x 16 1/8in). a human hand. Every great work of art that I admire was copied from
Executed circa 1970 a photograph’. (Salvador Dalí quoted in R. Descharnes and G. Néret,
£3,000 - 5,000 Salvador Dalí 1904-1989, The Paintings, vol. II, Cologne, 2007, p. 539).
€3,600 - 5,900
US$4,600 - 7,600 This collage is based around a stereoscopic arrangement of Dalí’s The
Hallucinogenic Toreador of 1968-70 (St Petersburg, Florida, Salvador
This work is recorded in the Robert and Nicolas Descharnes archives Dalí Museum), with the addition of the metamorphic face from the
under the number d 3570. Disappearing Bust of Voltaire of 1941 now in the same collection.
Stereoscopy, in which two offset but near identical images are placed side
PROVENANCE by side to create a sense of depth, was used by Dalí from about 1970 as
Perrot-Moore Collection, Cadaqués; Art Curial, Paris, 30 June 2003, lot 223. part of his ongoing experiment with three dimensional representations.
Facing page: Philippe Halsman, Portrait of Salvador Dalí, 1954
52 | Bonhams
Salvador Dalí: Metamorphosis and Illusion
The FruitDalí Series (lots 27-40)
The FruitDalí series ties together many of the themes that run Dalí was initially most valued by the Surrealists as a writer and
through Dalí’s long career as a relentlessly curious and innovative theorist, and his use of illusion and double images is rooted in
artistic pioneer. Characteristically, he also gives a knowing his ‘paranoiac-critical method’. This was first discussed in La
nod to the broader tradition of Western Art while mining the Femme Visible, published in 1930, and takes as its base the
iconographic language of Dalínian surrealism for which he is premise that the obsession driven by the paranoiac condition
best known. These fourteen compositions were commissioned invests objects and images with heightened meaning and
in 1969 and 1970 by the publisher Jean Schneider for a series of reality. By harnessing this state of hyperreality, new dimensions
lithographs with drypoint that immediately became immensely of representation are possible: ‘It is by a frankly paranoiac
popular with collectors. Aside from a brief appearance at process that it has been possible to obtain a double image:
exhibition in Germany however, these finished works made for that is to say the representation of one object which, without
the commission have remained in private hands ever since. the least figurative or anatomical distortion is at the same
time the representation of a totally different object’ (S. Dalí, La
While the artist’s usual preoccupations are at the forefront of Femme Visible, Paris, 1930, p. 15, quoted in D. Ades ed., Dalí’s
the imagery of FruitDalí, the compositions also show a healthy optical illusions, exh. cat., Wadsworth Atheneum, Hartford,
sense of humour, a playfulness and lightness of touch. Indeed and elsewhere, 2000, p. 37). Although apparently in tune
it is possible to read in this series a response to the prevailing with Surrealist strategies this approach is in fact significantly
currents of Pop Art, particularly in addressing questions of mass different in that it is an active tactic rather than the Surrealists
media reproduction and the use of the botanical illustrations essentially passive process of automatism and chance. Dalí put
as embellished ‘found objects’. Dalí was certainly friendly with this paranoiac-critical method into practice first in The Invisible
Andy Warhol in this period, and like him was unconcerned Man (1929-32; Madrid, Museo Nacional Centro de Arte Reina
by applying his creative instincts to advertising and other Sofia), in which a crowded landscape and seated man coexist in
commercial media. a simultaneous composition.
Central to the FruitDalí series is the concept of illusionism and According to Dalí, the writing of La Femme Visible was only
metamorphosis. Dalí claimed always to have had the ability to made possible through the influence of Gala Eluard, who he
see multiple meanings and patterns in single images, recalling had met in the summer of 1929 and who would become his
a childhood ability to read shapes in the clouds of a summer muse, amanuensis, lover and eventually wife. From 1929 he
storm ‘so that I became master of that thaumaturgical faculty would often, as in the FruitDalí series, sign his work ‘G Dalí’ in
of being able at any moment and in any circumstance always recognition of her influence and their partnership.
to see something else.’ (quoted in R. Radford, Dalí, London,
1997, p. 157). In divining multiple images from botanical It is perhaps significant that Dalí, in common with many of the
compositions in the FruitDalí series he is drawing on this same artists in the Surrealist circle, should so often find images of the
technique. Once identified it is hard to suppress, as for example human body, and more specifically the human face, when they
in the photograph he instructed Robert Descharnes to take of a investigated their subconscious minds for patterns and images.
rock formation in the shape of human profile at Cap de Creus As he later declared, in connection with his designs for jewellery,
near Figueras, which becomes a personification of Sleep in ‘I see the human form in trees, leaves, animals; the animal and
several paintings throughout his career. vegetable in the human. My art – in paint, diamonds, rubies,
pearls, emeralds, gold, chrysoprase – shows the metamorphosis
that takes place; human beings create and change. When they
sleep, they change totally – into flowers, plants, trees. In Heaven
comes the new metamorphosis. The body becomes whole again
and attains perfection.’ (quoted in Dalí Jewels: A Collection of
the Gala-Salvador Dalí Foundation, Milan, 1999, p. 36).
Facing page: (Fig 1) Philippe Halsman, Deconstructed Portrait of Salvador Dalí, 1954.
54 | Bonhams
(Fig 3) School of Arcimboldo, Seated Figure of Summer, 1573, formerly in a collection of Edward James.
This concern with doubling and illusionism, again targeted These creatures and their attributes exhibit elements that are
specifically at the human body, can also be found in In Voluptas familiar from the Dalínian corpus, including the crutch, Don
Mors (1951) (fig. 5), Dalí’s collaboration with the photographer Quixote, jewels, forms sprouting chicken legs and the eye motif.
Philippe Halsman in which a tableau vivant of naked female The eye is perhaps the most enduring and repeated image,
models are arranged to build a grinning skull. The two sides of repeated for example in the famous sequence of an eyeball
the meaning may be abundantly clear, but the technical skill in slashed with a razor in Dalí and Luis Buñuel’s surrealist film Un
building the image, based on Dalí’s preparatory drawings, adds Chien Andalou (1929), in the floating eyes in the dream scene
an intriguing element. designed for Hitchcock’s film Spellbound (1945), and in the
diamond studded eye from the jewellery collection designed in the
The illusionistic multiple readings of the FruitDalí images can 1950s (fig. 2). The eye has an obvious resonance with concepts
also be located in the wider Western tradition of metamorphic of perception and illusion: ‘What is the eye? A glob of humours,
painting to which Dalí saw himself as heir and archetype. For a knot of muscles, a film of flesh and nerves irrigated by a flow
the FruitDalí compositions the most closely comparable body of acid? Beneath that appearance lush galaxies of microscopic
of work are the composite heads made up of fruit painted by electrons, agitated by an impalpable wave, itself the fluid of
Giuseppe Arcimboldo in Prague in the 16th century. It is notable a quasi-immaterial energy. At what level, then, the real?’ (The
that Edward James, Dalí’s major patron in the late 1930s, owned Unspeakable Confessions of Salvador Dalí, London, 1977, p. 144).
a large illusionistic Seated figure of Summer (fig. 3) attributed to
the Italian artist. The use of these prints also puts the FruitDalí series in the tradition
of the ‘assisted ready-made’ alongside the moustachioed Mona
In the FruitDalí series a fundamental element of the multiple Lisa in Marcel Duchamp’s L.H.O.O.Q. (1919), and looks forward
meaning of the composition is provided by the underlying to the Chapman Brothers’ reworking of Goya in Insult to Injury
botanical stipple engraving. Ten of these are taken from Pierre- (2003). Dalí’s first significant use of the ‘assisted ready-made’ is
Antoine Poiteau’s Pomologie française: recueil des plus beaux in the Mad Associations based on Fireworks (1930-31; Private
fruits cultivés en France published in Paris in four volumes and Collection) in which an enamelled shop sign for a fireworks
several editions from 1808 (the 1848 edition was probably manufacturer is embellished with tiny painted images and
the one used by Dalí), and three from Pierre-Jean Redouté’s lettering, a layered approach that instantly allows for multiple
illustrations to the Traité des arbres et arbustes que l’on cultive meanings that prefigures the work of Roland Barthes.
en France, par Duhamel published in Paris in seven volumes
and several editions from 1800 (illustrated in the appendix).
These works are regarded as among the finest examples of
botanical illustration, an area that reached its apogee in France
in the 19th century. By adding fantastic and illusory creatures to
exceptionally precise and botanically correct reproductions Dalí
makes comment on scientific discovery, a subject with which he
was deeply fascinated.
Facing page: (Fig. 2) Philippe Halsman, Salvador Dalí with jewel eye patch, 1957
(Fig 4) Salvador Dalí, Nieuw Amsterdam, 1974 (Salvador Dalí Museum, St. Petersburg, Florida)
The closest precursor to FruitDalí is the series of ten watercolours Parallels can also be drawn with Surrealist, or more specifically,
known as the FlorDalí (Flora Dalínea), also destined to be Dadaist collage, which often drew on 19th century print
reproduced in lithograph under Schneider’s auspices (C. Sahli, imagery. Max Ernst’s account of the genesis of his collages taken
Salvador Dalí, 257 Editions Originales 1964-1985, Paris, 1985, from technical illustrations is perhaps analogous to the creation
under nos. 66-75). As the title suggests these compositions play of the FruitDalí series:
with the punning metamorphic possibilities of flowers. They
are however more schematic and lack the scientific overtones ‘One rainy day in 1919, in a town on the Rhine, my
provided by the botanical engravings in the FruitDalí group. excited gaze is provoked by the pages of a printed
catalogue. ... Here I discover the elements of a
Dalí again took inspiration from printed sources when designing figuration so remote that its very absurdity provokes
the portfolio Les métamorphoses érotiques: choix de dessins in me a sudden intensification of my faculties of sight
exécuté de 1940 à 1968, Lausanne, 1969. Rather than - a hallucinatory succession of contradictory images,
using botanical illustrations he took print illustrations from double, triple, multiple, superimposed upon each
children’s spelling books and overlaid them with increasingly other with the persistence and rapidity characteristic
sexual imagery. The series also looks forward to Dalí’s series of of amorous memories and visions of somnolescence.
engravings Les Caprices de Goya de Salvador Dalí. Conceived These images, in turn, provoke new planes of
from 1973 and published by Berggreuen in 1977, it constitutes a understanding. They encounter an unknown - new
reworking of Goya’s masterpiece which as the subtitle notes was and nonconformist. By simply painting or drawing,
‘métamorphosés par Dalí’. In keeping with the subject matter it suffices to add to the illustration a color, a line, a
the effect is much darker, with heavily sexualised and onanistic landscape foreign to the objects represented - a desert,
overtones, but as in FruitDalí he plays with the void spaces and a sky, a geological section, a floor, a single straight
curlicues of the engraver’s needle to conjure faces, and subverts horizontal expressing the horizon and so forth. These
the compositions with typically Dalínian elements. Figures are changes, no more than docile reproductions of what
hollowed out, new horizon lines appear to upset perspective and is visible within me, record a faithful and fixed image
dragons sprout from dark corners. of my hallucination. They transform the banal pages
of advertisements into dramas which reveal my most
Dalí also applied this approach to three dimensional objects, secret desires.’
notably in Nieuw Amsterdam (Fig 4) (1974; St Petersburg,
Florida, Salvador Dalí Museum), in which he takes a 19th century
bronze bust of White Eagle, chief of the Ponca tribe of Plains (Max Ernst, quoted in Max Ernst, exh. cat., Museum of Modern
Indians, and overpaints the face with an interior scene. The Art, New York, and Art Institute, Chicago, 1961, pp. 11-12).
eyeballs become the heads of two Dutch merchants, the eyelids
hats and ruffs, and the nose a bottle of Coca Cola with which
they toast the purchase of Manhattan.
Facing page: (Fig 5) Salvador Dalí and Philippe Halsman, In Voluptas Mors, 1951.
58 | Bonhams
27 AR ○
Salvador Dalí (1904-1989)
Prunier hâtif (Hasty Plum)
watercolour, gouache and 19th century stipple engraving
48 x 34.3cm (18 7/8 x 13 1/2in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000
This work is sold with a photo-certificate of authenticity from Messieurs

Robert and Nicolas Descharnes.
PROVENANCE
Jean Schneider, Basel (by whom commissioned from the artist in 1969).
Galerie Orangerie-Reinz, Cologne (on consignment from the above,
2000).
Acquired from Galerie Orangerie-Reinz by the present owner in 2000.
EXHIBITED
Cologne, Galerie Orangerie-Reinz, Rückblick auf Positionen der
Galerietätigkeit zum 40-jährigen Bestehen, 10 November 2000 - 15
January 2001.
LITERATURE
C. Sahli, Salvador Dalí, 257 Editions Originales 1964-1985, Paris, 1985,
under nos. 168-179.
R. Michler and L.W. Löpsinger, Salvador Dalí. Catalogue raisonné of
etchings and mixed media prints 1924-1980, Munich, 1995, under nos.
344-355.
A. Field, The Official Catalog of the Graphic Works of Salvador Dalí,
New York, 1996, under no. 69-11.
Bonhams
28 AR ○
Cerises Pierrot (Pierrot Cherries)
47.5 x 33.5cm (18 11/16 x 13 3/16in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
A. Field, The Official Catalog of the Graphic Works of Salvador Dalí, New
York, 1996, under no. 69-11.
Bonhams
29 AR ○
Pamplemousse érotique (Erotic Grapefruit)
48 x 33cm (18 7/8 x 13in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
York, 1996, under no. 69-11.
Bonhams
30 AR ○
Fruits troués (Pierced Fruit)
pencil, watercolour, gouache and 19th century stipple engraving
48.5 x 32.5cm (19 1/8 x 12 13/16in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
Bonhams
31 AR ○
Coeur de fraises (Strawberry Heart)
watercolour, gouache, printer’s ink and 19th century stipple engraving
46.5 x 34.3cm (18 5/16 x 13 1/2in).
Executed in 1970
£40,000 - 60,000
€59,000 - 83,000
US$76,000 - 110,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under no. 180.
etchings and mixed media prints 1924-1980, Munich, 1995, under no.
427.
Bonhams
32 AR ○
Mûres sauvages (Wild Blackberries)
46.2 x 34.5cm (18 3/16 x 13 9/16in).
Executed in 1970
£40,000 - 60,000
€59,000 - 83,000
US$76,000 - 110,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 181.
etchings and mixed media prints 1924-1980, Munich, 1995, under no.
428.
Bonhams
33 AR ○
Framboisier (Raspberry Bush)
47.5 x 33.2cm (18 11/16 x 13 1/16in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
Bonhams
34 AR ○
Pomme Dragon (Dragon Apple)
48 x 33.5cm (18 7/8 x 13 3/16in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under no. 168-179.
344-355.
Bonhams
35 AR ○
Poire Don Quichotte (Don Quixote Pear)
46.5 x 34cm (18 5/16 x 13 3/8in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
York, 1996, under no. 69-11.
Bonhams
36 AR ○
Pêcher pénitent (Penitent Peach)
watercolour, gouache and 19th century engraving
32.5 x 24.2cm (12 13/16 x 9 1/2in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
Bonhams
37 AR ○
Révérence du groseillier (Curtsying Gooseberry)
signed and dated ‘1969 GDALI’ (lower right)
40 x 25.7cm (15 3/4 x 10 1/8in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
Bonhams
38 AR ○
Grenade et l’ange (The Pomegranate and the Angel)
47 x 32.2cm (18 1/2 x 12 11/16in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
York, 1996, under no. 69-11.
Bonhams
39 AR ○
Homme figuier (Fig Man)
39.8 x 24.8cm (15 11/16 x 9 3/4in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
Bonhams
40 AR ○
Abricot chevalier (Apricot Knight)
signed and dated ‘GDALI/ 1969’ (lower right)
46 x 32.5cm (18 1/8 x 12 13/16in).
Executed in 1969
£40,000 - 60,000
€47,000 - 71,000
US$61,000 - 91,000

PROVENANCE
2000).
Acquired from Galerie Orangerie-Reinz by the present owner in 2000..
EXHIBITED
January 2001.
LITERATURE
under nos. 168-179.
344-355.
Bonhams
Appendix
The stipple engravings used by Dalí are taken from two of
the most celebrated masterpieces of 19th century French
botanical illustration, noted both for the beauty of the
plates and the scientific accuracy of the representations.
P.-A. Poiteau, Pomologie française : recueil des plus beaux fruits H.-L. Duhamel du Monceau, ed. B. Mirbel, G.-L.-A. Loiseleur
cultivés en France, Paris [Langlois et Leclercq], 1846, in 4 volumes, Deslongchamps and Etienne Miche, Traité des arbres et arbustes
with 420 stipple-engraved plates. que l’on cultive en France en pleine terre, nouvelle édition, … avec
des figures , d’après des dessins de P.-J. Redouté , Paris [Didot ainé],
1800-1819, in 7 volumes, with 498 stipple engraved plates.
1. Prunier Hâtif [lot 27]
Volume I, plate no. 8 in the chapter on plum trees, the original
drawn by Poiteau and engraved by Bouquet. 11. Ribes uva-crispa (Groseiller á maquereau) [lot 37]
Volume III, plate no. 58, the original drawn by P.-J. Redouté and
2. Belle de Choisy [lot 28] the plate engraved by Gabriel
Volume II, plate no. 27 in the chapter on cherry trees, the plate
engraved by Boucquet. 12. Ficus (Figuier) [lot 39]
Volume IV, plate no. 57, the original drawn by P.-J. Redouté and
3. Bigarrade Couronnée [lot 29] the plate engraved by Lemaire
Volume II, plate no. 7 in the chapter on lemon trees, the plate
engraved by Boucquet. 13. Armeniaca vulgaris (Abricotier commun) [lot 40]
Volume V, plate no. 49, the original drawn by P.-J. Redouté and
4. Framboisier ordinaire a fruit rouge [lot 33] the plate engraved by Lemaire
Volume II, plate no. 1 in the chapter on raspberry bush, the plate
engraved by Boucquet.
5. Fraisier de Montreuil no 1 [lot 31]

Volume II, plate no 5 in the chapter on strawberry plants, the
original drawn by Poiteau and the plate engraved by Bouquet.
6. Murier de Virginie [lot 32]

Volume II, plate no. 2 in the chapter on mulberry trees, the
original drawn by Poiteau and the plate engraved by Bouquet.
7. Grenadier a fruit doux [lot 38]

Volume II, plate no. 1 in the chapter on pomegranate trees,
the plate engraved by Bouquet.
8. Poire Vermillon [lot 35]

Volume III, plate no. 103 in the chapter on pear trees, the original
drawn by Poiteau and the plate engraved by Bouquet.
9. Bon Chretien d’Espagne [lot 30]

Volume III, plate no. 27 in the chapter on pear trees, the plate
engraved by Bouquet.
10. Pigeonnet de Rouen (not illustrated) [lot 34]

Volume IV, plate no. 10 in the chapter on apple trees, the plate
engraved by Bouquet.
Bonhams
1 2 3 4
5 6 7 8
9 11 12 13

Russian Paintings
& Works of Art
Wednesday 5 June 2013 at 2pm
Bonhams Nikolai Konstantinovich Roerich
101 New Bond Street (Russian, 1874-1947)
London W1S 1SR Madonna Laboris, 1931 (detail)
tempera on canvas
Enquiries £800,000 - 1,200,000
+44 (0) 20 7468 8334
russian@bonhams.com
International Auctioneers and Valuers - bonhams.com/russian

Contemporary Art & Design
Thursday 27 June 2013 at 4pm
Chu Teh-Chun (b. 1920) Giacomo Balsamo

Animations lointaines, 1989 +44 (0) 20 7468 5837
oil on canvas giacomo.balsamo@bonhams.com
92 by 65 cm.
36 1/4 by 25 9/16 in.
£100,000 - 150,000
US$150,000 - 230,000
€120,000 - 180,000
International Auctioneers and Valuers - bonhams.com/contemporary

19th Century
Paintings, Drawings
& Watercolours
Wednesday 10 July 2013
Closing date for entries

Thursday 30 May 2013
+44 (0) 20 7468 8201

peter.rees@bonhams.com
Stanhope Alexander Forbes, R.A.

(British, 1857-1947)
Out into the dark and silence (detail)
oil on canvas
79.5 x 97cm (31 5/16 x 38 3/16in).
Estimate £120,000 - 180,000
International Auctioneers and Valuers - bonhams.com/19thcenturypaintings

Fine & Rare Wines
& Whisky
International Auction Calendar 2013
Fine & Rare Wines
Thursday 11 July London
Saturday 27 July New York, Los Angeles & San Francisco
Thursday 12 September London
Saturday 14 September New York, Los Angeles & San Francisco
Thursday 24 October London
Wednesday 20 November Hong Kong
Saturday 23 November New York, Los Angeles & San Francisco
Thursday 5 December London
Whisky
Wednesday 12 June Edinburgh
Wednesday 2 October Edinburgh
Sunday 13 October New York, Los Angeles & San Francisco
Wednesday 20 November Hong Kong
Enquiries:
+44 (0)207 468 5811
wine@bonhams.com Krug 1961
wine.us@bonhams.com Sold for £5,980
winehk@bonhams.com (New Bond Street sale,
whisky@bonhams.com 6 December 2012)
International Auctioneers and Valuers - bonhams.com/wine

Prints
Tuesday 16 July 2013
Closing date for entries:
Friday 7 June 2013
Tanya Grigoroglou
+44 (0) 20 7468 8212
tanya.grigoroglou@bonhams.com
Salvador Dali (Spanish, 1904-1989)

Biblia Sacra (M.& L.1600; Field 69.3)
The very rare set of 105 lithographs
in colours, 1967, each signed,
each sheet 505 x 395mm (20 x 15 1/2in)
£40,000 - 60,000
International Auctioneers and Valuers - bonhams.com/prints

Wednesday 30 October 2013 +44 (0) 207 468 5816
ruth.graham@bonhams.com
Jean Cocteau (1889-1963)
La Naissance de Vénus
Knightsbridge, London signed and dated ‘Jean/L’oiseleur/1925’
(upper right) and inscribed ‘Naissance de
Entries now invited Vénus’ (lower left)
pen, black ink and crayon on paper
26.8 x 20.8cm (10 9/16 x 8 3/16in).
Sold for £10,625
International Auctioneers and Valuers - bonhams.com/impressionist

NOTICE TO BIDDERS
This notice is addressed by Bonhams to any person who may a qualified electrician on their status before doing so. Such Bonhams’ behalf which is in any way descriptive of any Lot
be interested in a Lot, including Bidders and potential Bidders items which are unsuitable for connection are sold as items of or as to the anticipated or likely selling price of any Lot. No
(including any eventual Buyer of the Lot). For ease of reference interest for display purposes only. If you yourself do not have statement or representation by Bonhams or on its behalf in any
we refer to such persons as “Bidders” or “you”. Our List of expertise regarding a Lot, you should consult someone who way descriptive of any Lot or any Estimate is incorporated into
Definitions and Glossary is incorporated into this Notice to does to advise you. We can assist in arranging facilities for you our Buyer’s Agreement.
Bidders. It is at Appendix 3 at the back of the Catalogue. to carry out or have carried out more detailed inspections and
Where words and phrases are used in this notice which are in tests. Please ask our staff for details. Alterations
the List of Definitions, they are printed in italics. Descriptions and Estimates may be amended at Bonhams’
Any person who damages a Lot will be held liable for the discretion from time to time by notice given orally or in
IMPORTANT: Additional information applicable to the Sale loss caused. writing before or during a Sale.
may be set out in the Catalogue for the Sale, in an insert in
the Catalogue and/or in a notice displayed at the Sale venue 3. DESCRIPTIONS OF LOTS AND ESTIMATES THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST
and you should read them as well. Announcements affecting FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE
Contractual Description of a Lot
the Sale may also be given out orally before and during the STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT
The Catalogue contains an Entry about each Lot. Each Lot
Sale without prior written notice. You should be alert to the EXAMINED ON YOUR BEHALF BEFORE THE SALE.
is sold by its respective Seller to the Buyer of the Lot as
possibility of changes and ask in advance of bidding if there
corresponding only with that part of the Entry which is
have been any. 4. CONDUCT OF THE SALE
printed in bold letters and (except for the colour, which may
be inaccurately reproduced) with any photograph of the Lot
1. OUR ROLE Our Sales are public auctions which persons may attend and
in the Catalogue. The remainder of the Entry, which is not
you should take the opportunity to do so. We do reserve the
printed in bold letters, represents Bonhams’ opinion (given on
In its role as Auctioneer of Lots, Bonhams acts solely for and right at our sole discretion to refuse admission to our premises
behalf of the Seller) about the Lot only and is not part of the
in the interests of the Seller. Bonhams’ job is to sell the Lot at or to any Sale without stating a reason. We have complete
Contractual Description in accordance with which the Lot is
the highest price obtainable at the Sale to a Bidder. Bonhams discretion as to whether the Sale proceeds, whether any Lot is
sold by the Seller.
does not act for Buyers or Bidders in this role and does not included in the Sale, the manner in which the Sale is conducted
give advice to Buyers or Bidders. When it or its staff make and we may offer Lots for Sale in any order we choose
Estimates
statements about a Lot or, if Bonhams provides a Condition notwithstanding the numbers given to Lots in the Catalogue.
In most cases, an Estimate is printed beside the Entry. Estimates
Report on a Lot it is doing that on behalf of the Seller of the You should therefore check the date and starting time of the
are only an expression of Bonhams’ opinion made on behalf
Lot. Bidders and Buyers who are themselves not expert in Sale, whether there have been any withdrawals or late entries.
of the Seller of the range where Bonhams thinks the Hammer
the Lots are strongly advised to seek and obtain independent Remember that withdrawals and late entries may affect the
Price for the Lot is likely to fall; it is not an Estimate of value.
advice on the Lots and their value before bidding for them. time at which a Lot you are interested in is put up for Sale. We
It does not take into account any VAT or Buyer’s Premium
The Seller has authorised Bonhams to sell the Lot as its agent have complete discretion to refuse any bid, to nominate any
payable. Lots can in fact sell for Hammer Prices below and
on its behalf and, save where we expressly make it clear to bidding increment we consider appropriate, to divide any Lot,
above the Estimate. Any Estimate should not be relied on as an
the contrary, Bonhams acts only as agent for the Seller. Any to combine two or more Lots, to withdraw any Lot from a Sale
indication of the actual selling price or value of a Lot. Estimates
statement or representation we make in respect of a Lot is and, before the Sale has been closed, to put up any Lot for
are in the currency of the Sale.
made on the Seller’s behalf and, unless Bonhams sells a Lot auction again. Auction speeds can exceed 100 Lots to the hour
as principal, not on our behalf and any Contract for Sale is and bidding increments are generally about 10%. However
Condition Reports
between the Buyer and the Seller and not with us. If Bonhams these do vary from Sale to Sale and from Auctioneer to
In respect of most Lots, you may ask for a Condition Report on
sells a Lot as principal this will either be stated in the Catalogue Auctioneer. Please check with the department organising the
its physical condition from Bonhams. If you do so, this will be
or an announcement to that effect will be made by the Sale for advice on this. Where a Reserve has been applied to a
provided by Bonhams on behalf of the Seller free of charge.
Auctioneer, or it will be stated in a notice at the Sale or an Lot, the Auctioneer may, in his absolute discretion, place bids
Bonhams is not entering into a contract with you in respect
insert in the Catalogue. (up to an amount not equalling or exceeding such Reserve) on
of the Condition Report and accordingly does not assume
behalf of the Seller. We are not responsible to you in respect of
responsibility to you in respect of it. Nor does the Seller owe or
Bonhams does not owe or undertake or agree to any duty the presence or absence of any Reserve in respect of any Lot. If
agree to owe you as a Bidder any obligation or duty in respect
or responsibility to you in contract or tort (whether direct, there is a Reserve it will normally be no higher than the lower
of this free report about a Lot, which is available for your own
collateral, express, implied or otherwise). If you successfully bid figure for any Estimate in the Catalogue, assuming that the
inspection or for inspection by an expert instructed by you.
for a Lot and buy it, at that stage Bonhams does enter into an currency of the Reserve has not fluctuated adversely against
However, any written Description of the physical condition of
agreement with the Buyer. The terms of that contract are set the currency of the Estimate. The Buyer will be the Bidder who
the Lot contained in a Condition Report will form part of the
out in our Buyer’s Agreement, which you will find at Appendix makes the highest bid acceptable to the Auctioneer for any Lot
Contractual Description of the Lot under which it is sold to
2 at the back of the Catalogue. This will govern Bonhams’ (subject to any applicable Reserve) to whom the Lot is knocked
any Buyer.
relationship with the Buyer. down by the Auctioneer at the fall of the Auctioneer’s hammer.
Any dispute as to the highest acceptable bid will be settled by
The Seller’s responsibility to you
2. LOTS the Auctioneer in his absolute discretion. All bids tendered will
The Seller does not make or agree to make any representation
relate to the actual Lot number announced by the Auctioneer.
of fact or contractual promise, Guarantee or warranty and
Subject to the Contractual Description printed in bold letters An electronic currency converter may be used at the Sale. This
undertakes no obligation or duty, whether in contract or in
in the Entry about the Lot in the Catalogue (see paragraph 3 equipment is provided as a general guide as to the equivalent
tort (other than to the eventual Buyer as set out above), in
below), Lots are sold to the Buyer on an “as is” basis, with amount in certain currencies of a given bid. We do not accept
respect of the accuracy or completeness of any statement
all faults and imperfections. Illustrations and photographs any responsibility for any errors which may occur in the use of
or representation made by him or on his behalf, which is in
contained in the Catalogue (other than photographs forming the currency converter. We may use video cameras to record
any way descriptive of any Lot or as to the anticipated or
part of the Contractual Description) or elsewhere of any Lots the Sale and may record telephone calls for reasons of security
likely selling price of any Lot. Other than as set out above,
are for identification purposes only. They may not reveal the and to assist in solving any disputes which may arise in relation
no statement or representation in any way descriptive of a
true condition of the Lot. A photograph or illustration may not to bids made at the Sale. At some Sales, for example, jewellery
Lot or any Estimate is incorporated into any Contract for Sale
reflect an accurate reproduction of the colour(s) of the Lot. Lots Sales, we may use screens on which images of the Lots will be
between a Seller and a Buyer.
are available for inspection prior to the Sale and it is for you to projected. This service is provided to assist viewing at the Sale.
satisfy yourself as to each and every aspect of a Lot, including The image on the screen should be treated as an indication
Bonhams’ responsibility to you
its authorship, attribution, condition, provenance, history, only of the current Lot. It should be noted that all bids
You have the opportunity of examining the Lot if you want to
background, authenticity, style, period, age, suitability, quality, tendered will relate to the actual Lot number announced by
and the Contract for Sale for a Lot is with the Seller and not
roadworthiness (if relevant), origin, value and estimated selling the Auctioneer. We do not accept any responsibility for any
with Bonhams; Bonhams acts as the Seller’s agent only (unless
price (including the Hammer Price). It is your responsibility errors which may occur in the use of the screen.
Bonhams sells the Lot as principal).
to examine any Lot in which you are interested. It should be
remembered that the actual condition of a Lot may not be as 5. BIDDING
Bonhams undertakes no obligation to you to examine,
good as that indicated by its outward appearance. In particular,
investigate or carry out any tests, either in sufficient depth or
parts may have been replaced or renewed and Lots may not We do not accept bids from any person who has not
at all, on each Lot to establish the accuracy or otherwise of any
be authentic or of satisfactory quality; the inside of a Lot may completed and delivered to us one of our Bidding Forms,
Descriptions or opinions given by Bonhams, or by any person
not be visible and may not be original or may be damaged, either our Bidder Registration Form, Absentee Bidding Form
on Bonhams’ behalf, whether in the Catalogue or elsewhere.
as for example where it is covered by upholstery or material. or Telephone Bidding Form. You will be asked for proof of
Given the age of many Lots they may have been damaged and/ identity, residence and references, which, when asked for, you
You should not suppose that such examinations, investigations
or repaired and you should not assume that a Lot is in good must supply if your bids are to be accepted by us. Please bring
or tests have occurred.
condition. Electronic or mechanical parts may not operate your passport, driving licence (or similar photographic proof
or may not comply with current statutory requirements. You of identity) and proof of address. We may request a deposit
Bonhams does not make or agree to make any representation
should not assume that electrical items designed to operate from you before allowing you to bid. We may refuse entry
of fact, and undertakes no obligation or duty (whether in
on mains electricity will be suitable for connection to the to a Sale to any person even if that person has completed a
contract or tort) in respect of the accuracy or completeness
mains electricity supply and you should obtain a report from Bidding Form.
of any statement or representation made by Bonhams or on
NTB/MAIN/5.13
Bidding in person identity of your client in advance, we will be in a position to G Gold bullion exempt from VAT on the Hammer Price
You should come to our Bidder registration desk at the Sale address the invoice to your principal rather than you. We will and subject to VAT at the prevailing rate on the Buyer’s
venue and fill out a Bidder Registration Form on (or, if possible, require proof of the agent’s client’s identity and residence in Premium
before) the day of the Sale. The bidding number system is advance of any bids made by the agent on his behalf. Please • Zero rated for VAT, no VAT will be added to the Hammer
sometimes referred to as “paddle bidding”. You will be issued refer to our Conditions of Business and contact our Customer Price or the Buyer’s Premium
with a large card (a “paddle”) with a printed number on it. Services Department for further details. a Buyers from within the EU: VAT is payable at the
This will be attributed to you for the purposes of the Sale. prevailing rate on just the Buyer’s Premium (NOT the
Should you be a successful Bidder you will need to ensure that 6. CONTRACTS BETWEEN THE BUYER AND SELLER Hammer Price). Buyers from outside the EU: VAT is
your number can be clearly seen by the Auctioneer and that it AND THE BUYER AND BONHAMS payable at the prevailing rate on both Hammer Price
is your number which is identified as the Buyer’s. You should and Buyer’s Premium. If a Buyer, having registered under
not let anyone else use your paddle as all Lots will be invoiced On the Lot being knocked down to the Buyer, a Contract for a non-EU address, decides that the item is not to be
to the name and address given on your Bidder Registration Sale of the Lot will be entered into between the Seller and exported from the EU, then he should advise Bonhams
Form. Once an invoice is issued it will not be changed. If there the Buyer on the terms of the Contract for Sale set out in immediately.
is any doubt as to the Hammer Price of, or whether you are the Appendix 1 at the back of the Catalogue. You will be liable to
successful Bidder of, a particular Lot, you must draw this to the pay the Purchase Price, which is the Hammer Price plus any In all other instances no VAT will be charged on the Hammer
attention of the Auctioneer before the next Lot is offered for applicable VAT. At the same time, a separate contract is also Price, but VAT at the prevailing rate will be added to Buyer’s
Sale. At the end of the Sale, or when you have finished bidding entered into between us as Auctioneers and the Buyer. This Premium which will be invoiced on a VAT inclusive basis.
please return your paddle to the Bidder registration desk. is our Buyer’s Agreement, the terms of which are set out in
Appendix 2 at the back of the Catalogue. Please read the terms 9. PAYMENT
Bidding by telephone (only available on lots with a of the Contract for Sale and our Buyer’s Agreement contained
low estimate greater than £400) in the Catalogue in case you are the successful Bidder. We It is of critical importance that you ensure that you have readily
If you wish to bid at the Sale by telephone, please complete a may change the terms of either or both of these agreements available funds to pay the Purchase Price and the Buyer’s
Telephone Bidding Form, which is available from our offices or in advance of their being entered into, by setting out different Premium (plus VAT and any other charges and Expenses to us)
in the Catalogue. Please then return it to the office responsible terms in the Catalogue and/or by placing an insert in the in full before making a bid for the Lot. If you are a successful
for the Sale at least 24 hours in advance of the Sale. It is your Catalogue and/or by notices at the Sale venue and/or by oral Bidder, payment will be due to us by 4.30 pm on the second
responsibility to check with our Bids Office that your bid has announcements before and during the Sale. You should be working day after the Sale so that all sums are cleared by
been received. Telephone calls will be recorded. The telephone alert to this possibility of changes and ask if there have been the eighth working day after the Sale. Unless agreed by us in
bidding facility is a discretionary service and may not be any. advance payments made by anyone other than the registered
available in relation to all Lots. We will not be responsible for Buyer will not be accepted. Payment will have to be by one of
bidding on your behalf if you are unavailable at the time of 7. BUYER’S PREMIUM AND OTHER CHARGES the following methods (all cheques should be made payable to
the Sale or if the telephone connection is interrupted during PAYABLE BY THE BUYER Bonhams 1793 Limited). Bonhams reserves the right to vary the
bidding. Please contact us for further details. terms of payment at any time.
Under the Buyer’s Agreement, a premium (the Buyer’s
Bidding by post or fax Premium) is payable to us by the Buyer in accordance with the Sterling personal cheque drawn on a UK branch of a bank
Absentee Bidding Forms can be found in the back of this terms of the Buyer’s Agreement and at rates set out below, or building society: all cheques must be cleared before you
Catalogue and should be completed and sent to the office calculated by reference to the Hammer Price and payable in can collect your purchases;
responsible for the Sale. It is in your interests to return your addition to it. Storage charges and Expenses are also payable
form as soon as possible, as if two or more Bidders submit by the Buyer as set out in the Buyer’s Agreement. All the sums Bankers draft/building society cheque: if you can provide
identical bids for a Lot, the first bid received takes preference. payable to us by the Buyer are subject to VAT. For this Sale the suitable proof of identity and we are satisfied as to the
In any event, all bids should be received at least 24 hours following rates of Buyer’s Premium will be payable by Buyers genuineness of the draft or cheque, we will allow you to collect
before the start of the Sale. Please check your Absentee of Lots: your purchases immediately;
Bidding Form carefully before returning it to us, fully completed
25% up to £25,000 of the Hammer Price
and signed by you. It is your responsibility to check with our Cash: you may pay for Lots purchased by you at this Sale with
20% from £25,001 of the Hammer Price
Bids Office that your bid has been received. This additional notes, coins or travellers cheques in the currency in which
12% from £500,001 of the Hammer Price
service is complimentary and is confidential. Such bids are the Sale is conducted (but not any other currency) provided
made at your own risk and we cannot accept liability for our that the total amount payable by you in respect of all Lots
On certain Lots, which will be marked “AR” in the Catalogue
failure to receive and/or place any such bids. All bids made purchased by you at the Sale does not exceed £3,000, or the
and which are sold for a Hammer Price of €1,000 or greater
on your behalf will be made at the lowest level possible equivalent in the currency in which the Sale is conducted, at
(converted into the currency of the Sale using the European
subject to Reserves and other bids made for the Lot. Where the time when payment is made. If the amount payable by you
Central Bank Reference rate prevailing on the date of the Sale),
appropriate your bids will be rounded down to the nearest for Lots exceeds that sum, the balance must be paid otherwise
the Additional Premium will be payable to us by the Buyer to
amount consistent with the Auctioneer’s bidding increments. than in coins, notes or travellers cheques;
cover our Expenses relating to the payment of royalties under
New Bidders must also provide proof of identity and address
the Artists Resale Right Regulations 2006. The Additional
when submitting bids. Failure to do this will result in your bid Sterling travellers cheques: you may pay for Lots purchased
Premium will be a percentage of the amount of the Hammer
not being placed. by you at this Sale with travellers cheques, provided the total
Price calculated in accordance with the table below, and shall
amount payable by you in respect of all Lots purchased by you
not exceed €12,500 (converted into the currency of the Sale
Bidding via the internet at the Sale does not exceed £3,000. We will need to see your
using the European Central Bank Reference rate prevailing on
Please visit our Website at http://www.bonhams.com for passport if you wish to pay using travellers cheques;
the date of the Sale).
details of how to bid via the internet.
Hammer Price Percentage amount Bank transfer: you may electronically transfer funds to our
Bidding through an agent From €0 to €50,000 4% Trust Account. If you do so, please quote your paddle number
Bids will be accepted as placed on behalf of the person named From €50,000.01 to €200,000 3% and invoice number as the reference. Our Trust Account details
as the principal on the Bidding Form although we may refuse From €200,000.01 to €350,000 1% are as follows:
to accept bids from an agent on behalf of a principal and will From €350,000.01 to €500,000 0.5%
Bank: National Westminster Bank Plc
require written confirmation from the principal confirming Exceeding €500,000 0.25%
Address: PO Box 4RY
the agent’s authority to bid. Nevertheless, as the Bidding
250 Regent Street
Form explains, any person placing a bid as agent on behalf 8. VAT
London W1A 4RY
of another (whether or not he has disclosed that fact or the
Account Name: Bonhams 1793 Limited Trust Account
identity of his principal) will be jointly and severally liable with The prevailing rate of VAT at the time of going to press is 20%,
Account Number: 25563009
the principal to the Seller and to Bonhams under any contract but this is subject to government change and the rate payable
Sort Code: 56-00-27
resulting from the acceptance of a bid. Subject to the above, will be the rate in force on the date of the Sale.
IBAN Number: GB 33 NWBK 560027 25563009
please let us know if you are acting on behalf of another
person when bidding for Lots at the Sale. The following symbols are used to denote that VAT is due on
If paying by bank transfer, the amount received after the
the Hammer Price and Buyer’s Premium:
deduction of any bank fees and/or conversion of the currency
Equally, please let us know if you intend to nominate another † VAT at the prevailing rate on Hammer Price and Buyer’s
of payment to pounds sterling must not be less than the
person to bid on your behalf at the Sale unless this is to be Premium
sterling amount payable, as set out on the invoice.
carried out by us pursuant to a Telephone or Absentee Bidding Ω VAT on imported items at the prevailing rate on Hammer
Form that you have completed. If we do not approve the Price and Buyer’s Premium
Debit cards: there is no additional charge for purchases made
agency arrangements in writing before the Sale, we are entitled * VAT on imported items at a preferential rate of 5% on
with personal debit cards, issued by a UK bank. Debit cards
to assume that the person bidding at the Sale is bidding on his Hammer Price and the prevailing rate on Buyer’s Premium
issued by an overseas bank, deferred and company debit cards
own behalf. Accordingly, the person bidding at the Sale will
and all credit cards will be subject to a 2% surcharge;
be the Buyer and will be liable to pay the Hammer Price and
Buyer’s Premium and associated charges. If we approve the
NTB/MAIN/5.13
Union Pay cards: these are now accepted at our Knightsbridge any Description or Estimate made of any Lot, or the conduct modern firearms specialist. All prospective Bidders are advised
and New Bond Street offices, when presented in person by the of any Sale in relation to any Lot, whether in damages, for an to consult the ˚ of bore and wall-thickness measurements
card holder. These cards are subject to a 2% surcharge. indemnity or contribution, or for a restitutionary remedy or posted in the saleroom and available from the department.
otherwise, our and/or the Seller’s liability (combined, if both Bidders should note that guns are stripped only where there
Credit cards: Visa and Mastercard only. Please note there is a we and the Seller are liable) will be limited to payment of a is a strong indication of a mechanical malfunction. Stripping
2% surcharge on the total invoice value when payments are sum which will not exceed by way of maximum the amount is not, otherwise, undertaken. Guns intended for use should
made using credit cards. It may be advisable to notify your card of the Purchase Price of the Lot irrespective in any case of the be stripped and cleaned beforehand. Hammer guns should
provider of your intended purchase in advance to reduce delays nature, volume or source of any loss or damage alleged to be have their rebound mechanisms checked before use. The
caused by us having to seek authority when you come to pay. If suffered or sum claimed as due, and irrespective of whether safety mechanisms of all guns must be tested before use.
you have any questions with regard to payment, please contact the liability arises from any negligence, other tort, breach All measurements are approximate.
our Customer Services Department. of contract (if any) or statutory duty or otherwise. Nothing
set out above will be construed as excluding or restricting Original Gun Specifications Derived from Gunmakers
10. COLLECTION AND STORAGE (whether directly or indirectly) our liability or excluding or The Sporting Gun Department endeavours to confirm a gun’s
restricting any person’s rights or remedies in respect of (i) fraud, original specification and date of manufacture with makers
The Buyer of a Lot will not be allowed to collect it until or (ii) death or personal injury caused by our negligence (or by who hold their original records.
payment in full and in cleared funds has been made (unless the negligence of any person under our control or for whom
we have made a special arrangement with the Buyer). For we are legally responsible), or (iii) acts or omissions for which Licensing Requirements
collection and removal of purchased Lots, please refer to Sale we are liable under the Occupiers Liability Act 1957, or (iv) Firearms Act 1968 as amended
Information at the front of the Catalogue. Our offices are any other liability to the extent the same may not be excluded Bonhams is constantly reviewing its procedures and would
open 9.00am – 5pm Monday to Friday. Details relating to or restricted as a matter of law or (v) our undertakings under remind you that, in the case of firearms or shotguns subject to
the collection of a Lot, the storage of a Lot and our Storage paragraphs 9 (in relation to specialist Stamp or Book Sales only) certification, to conform with current legislation, Bonhams is
Contractor after the Sale are set out in the Catalogue. and 10 of the Buyer’s Agreement. The same applies in respect required to see, as appropriate, your original registered firearms
of the Seller, as if references to us in this paragraph were dealer’s certificate / shot gun certificate / firearm certificate /
11. SHIPPING substituted with references to the Seller. museum firearms licence / Section 5 authority or import licence
(or details of any exemption from which you may benefit, for
Please refer all enquiries to our shipping department on: 15. BOOKS instance Crown servant status) for the firearm(s) you have
Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 purchased prior to taking full payment of the amount shown
Email: shipping@bonhams.com As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of
to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially
12. EXPORT/TRADE RESTRICTIONS set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of
in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence
It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned.
import regulations relating to your purchases and also to obtain unframed maps and bound manuscripts are not liable to VAT
any relevant export and/or import licence(s). Export licences are on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable to
issued by Arts Council England and application forms can be produce the correct paperwork, the Lot(s) will be reoffered by
obtained from its Export Licensing Unit. The detailed provisions 16. CLOCKS AND WATCHES Bonhams in the next appropriate Sale, on standard terms for
of the export licencing arrangements can be found on the ACE Sellers, and you will be responsible for any loss incurred by
website http://www.artscouncil.org.uk/what-we-do/supporting- All Lots are sold “as is”, and the absence of any reference Bonhams on the original Sale to you.
museums/cultural-property/export-controls/export-licensing/ to the condition of a clock or watch does not imply that
or by phoning ACE on +44 (0)20 7973 5188. The need for the Lot is in good condition and without defects, repairs or In the case of RFD certificates and Section 5 authorities, we
import licences varies from country to country and you should restorations. Most clocks and watches have been repaired in wish to keep an up-to-date copy on file. Please supply us with
acquaint yourself with all relevant local requirements and the course of their normal lifetime and may now incorporate a Fax or photocopy. It would be helpful if you could send us an
provisions. The refusal of any import or export licence(s) or parts not original to them. Furthermore, Bonhams makes updated copy whenever your certificate or authority is renewed
any delay in obtaining such licence(s) shall not permit the no representation or warranty that any clock or watch is in or changed.
rescission of any Sale nor allow any delay in making full working order. As clocks and watches often contain fine and
payment for the Lot. Generally, please contact our shipping complex mechanisms, Bidders should be aware that a general Lots marked ‘S1´ and bearing red labels are Section 1 firearms
department before the Sale if you require assistance in service, change of battery or further repair work, for which the and require a valid British Firearms certificate, RFD Licence or
relation to export regulations. Buyer is solely responsible, may be necessary. Bidders should import licence.
be aware that the importation of watches such as Rolex, Frank
13. CITES REGULATIONS Muller and Corum into the United States is highly restricted. Lots marked ‘S2’ and bearing blue labels are Section 2 firearms
These watches may not be shipped to the USA and can only be and require a valid British Shotgun certificate, RFD licence or
Please be aware that all Lots marked with the symbol Y are imported personally. import licence.
subject to CITES regulations when exporting these items
outside the EU. These regulations may be found at 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are
http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may CERTIFICATION Section 5 prohibited firearms and require a valid Section 5
be requested from: Authority or import licence.
Proof of Firearms
Animal Health and Veterinary Laboratories Agency (AHVLA)
The term “proof exemption” indicates that a firearm has Lots marked with a ‘S58´ and bearing yellow labels are for
Wildlife Licencing
been examined at a Proof House, but not proved, as either obsolete calibres and no licence is required unless ammunition
Floor 1, Zone 17, Temple Quay House
(a) it was deemed of interest and not intended for use, or (b) is held.
2 The Square, Temple Quay
ammunition was not available. In either case, the firearm must
BRISTOL BS1 6EB
be regarded as unsafe to fire unless subsequently proved. Unmarked Lots require no licence.
Tel: +44 (0) 117 372 8774
Firearms proved for Black Powder should not be used with
smokeless ammunition. Please do not hesitate to contact the Modern Sporting Gun
14. THE SELLERS AND/OR BONHAMS’ LIABILITY
Department should you have any queries.
The term “Certificate of Unprovability” indicates that a firearm
Other than any liability of the Seller to the Buyer of a Lot
has been examined at a Proof House and is deemed both Taxidermy and Related Items
under the Contract for Sale, neither we nor the Seller are
unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply
liable (whether in negligence or otherwise) for any error or
such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to
misdescription or omission in any Description of a Lot or any
inform themselves of all such regulations and should expect
Estimate in respect of it, whether contained in the Catalogue
Guns Sold as Parts the exportation of items to take some time to arrange.
or otherwise, whether given orally or in writing and whether
Barrels of guns sold as parts will only be made available for
given before or during the Sale. Neither we nor the Seller will
sleeving and measurements once rendered unserviceable 18. FURNITURE
be liable for any loss of Business, profits, revenue or income, or
according to the Gun Barrel Proof Act of 1968 to 1978 and the
for loss of reputation, or for disruption to Business or wasted
Rules of Proof. Upholstered Furniture
time on the part of management or staff, or for indirect losses
Whilst we take every care in cataloguing furniture which has
or consequential damages of any kind, irrespective in any
Condition of Firearms been upholstered we offer no Guarantee as to the originality
case of the nature, volume or source of the loss or damage
Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery.
alleged to be suffered, and irrespective of whether the said
exceptional condition and to those defects that might affect
loss or damage is caused by or claimed in respect of any
the immediate safety of a firearm in normal use. An intending
negligence, other tort, breach of contract (if any) or statutory
Bidder unable to make technical examinations and assessments
duty, restitutionary claim or otherwise. In any circumstances
is recommended to seek advice from a gunmaker or from a
where we and/or the Seller are liable in relation to any Lot or
NTB/MAIN/5.13
19. JEWELLERY • The date given is that of the image (negative). Where no 24. WINE
further date is given, this indicates that the photographic
˜ Ruby and Jadeite
print is vintage (the term “vintage” may also be included Lots which are lying under Bond and those liable to VAT may
Ruby and jadeite gemstones of Burmese (Myanmar) origin
in the Lot Description). A vintage photograph is one which not be available for immediate collection.
may not be imported into the US. Rubies and jadeite of
was made within approximately 5-10 years of the negative.
non–Burmese origin require certification before import
Where a second, later date appears, this refers to the date Examining the wines
into the US and it is the Buyer’s responsibility to obtain all
of printing. Where the exact printing date is not known, but It is occasionally possible to provide a pre-Sale tasting for
relevant and required export/import licences, certificates
understood to be later, “printed later” will appear in the Lot larger parcels (as defined below). This is generally limited to
and documentation before shipping. Failure by the Buyer to
Description. more recent and everyday drinking wines. Please contact the
successfully import goods into the US does not constitute
• Unless otherwise specified, dimensions given are those of department for details.
grounds for non payment or cancellation of Sale. Bonhams
the piece of paper on which the image is printed, including
will not be responsible for any additional costs in this regard
any margins. Some photographs may appear in the It is not our policy to inspect every unopened case. In the case
howsoever incurred.
Catalogue without margins illustrated. of wines older than 20 years the boxes will usually have been
• All photographs are sold unframed unless stated in the Lot opened and levels and appearance noted in the Catalogue
Gemstones
Description. where necessary. You should make proper allowance for
Historically many gemstones have been subjected to a variety
variations in ullage levels and conditions of corks, capsules
of treatments to enhance their appearance. Sapphires and
21. PICTURES and labels.
rubies are routinely heat treated to improve their colour and
clarity, similarly emeralds are frequently treated with oils or Explanation of Catalogue Terms
Corks and Ullages
resin for the same purpose. Other treatments such as staining, The following terms used in the Catalogue have the following
Ullage refers to the space between the base of the cork and
irradiation or coating may have been used on other gemstones. meanings but are subject to the general provisions relating to
the wine. Ullage levels for Bordeaux shaped bottles are only
These treatments may be permanent, whilst others may need Descriptions contained in the Contract for Sale:
normally noted when below the neck and for Burgundy,
special care or re-treatment over the years to retain their • “Jacopo Bassano”: in our opinion a work by the artist.
Alsace, German and Cognac shaped bottles when greater than
appearance. Bidders should be aware that Estimates assume When the artist’s forename(s) is not known, a series of
4 centimetres (cm). Acceptable ullage levels increase with age;
that gemstones may have been subjected to such treatments. asterisks, followed by the surname of the artist, whether
generally acceptable levels are as follows:
A number of laboratories issue certificates that give more preceded by an initial or not, indicates that in our opinion
detailed Descriptions of gemstones. However there may not be the work is by the artist named; Under 15 years old – into neck or less than 4cm
consensus between different laboratories on the degrees, or • “Attributed to Jacopo Bassano”: in our opinion probably 15 to 30 years old – top shoulder (ts) or up to 5cm
types of treatment for any particular gemstone. In the event a work by the artist but less certainty as to authorship is Over 30 years old – high shoulder (hs) or up to 6cm
that Bonhams has been given or has obtained certificates expressed than in the preceding category;
for any Lot in the Sale these certificates will be disclosed in • “Studio/Workshop of Jacopo Bassano”: in our opinion a It should be noted that ullages may change between
the Catalogue. Although, as a matter of policy, Bonhams work by an unknown hand in a studio of the artist which publication of the Catalogue and the Sale and that corks may
endeavours to provide certificates from recognised laboratories may or may not have been executed under the artist’s fail as a result of transporting the wine. We will only accept
for certain gemstones, it is not feasible to obtain certificates direction; responsibility for Descriptions of condition at the time of
for each Lot. In the event that no certificate is published in the • “Circle of Jacopo Bassano”: in our opinion a work by publication of the Catalogue and cannot accept responsibility
Catalogue, Bidders should assume that the gemstones may a hand closely associated with a named artist but not for any loss resulting from failure of corks either before or after
have been treated. Neither Bonhams nor the Seller accepts any necessarily his pupil; this point.
liability for contradictions or differing certificates obtained by • “Follower of Jacopo Bassano”: in our opinion a work by a
Buyers on any Lots subsequent to the Sale. painter working in the artist’s style, contemporary or nearly Options to buy parcels
contemporary, but not necessarily his pupil; A parcel is a number of Lots of identical size of the same wine,
Estimated Weights • “Manner of Jacopo Bassano”: in our opinion a work in the bottle size and Description. The Buyer of any of these Lots has
If a stone(s) weight appears within the body of the Description style of the artist and of a later date; the option to accept some or all of the remaining Lots in the
in capital letters, the stone(s) has been unmounted and • “After Jacopo Bassano”: in our opinion, a copy of a known parcel at the same price, although such options will be at the
weighed by Bonhams. If the weight of the stone(s) is stated work of the artist; Auctioneer’s sole discretion. Absentee Bidders are, therefore,
to be approximate and does not appear in capital letters, the • “Signed and/or dated and/or inscribed”: in our opinion the advised to bid on the first Lot in a parcel.
stone(s) has been assessed by us within its/their settings, and signature and/or date and/or inscription are from the hand
the stated weight is a statement of our opinion only. This of the artist; Wines in Bond
information is given as a guide and Bidders should satisfy • “Bears a signature and/or date and/or inscription”: in our Wines lying in Bond are marked Δ and VAT is payable by the
themselves with regard to this information as to its accuracy. opinion the signature and/or date and/or inscription have purchaser, at the standard rate, on the Hammer Price, unless
been added by another hand. the wines are to remain under Bond. Buyers requiring their
Signatures wine to remain in Bond must notify Bonhams at the time of
1. A diamond brooch, by Kutchinsky 22. PORCELAIN AND GLASS the Sale. The Buyer is then himself responsible for all duty,
When the maker’s name appears in the title, in Bonhams’ clearance VAT and other charges that may be payable thereon.
opinion the piece is by that maker. Damage and Restoration All such Lots must be transferred or collected within two weeks
For your guidance, in our Catalogues we detail, as far as of the Sale.
2. A diamond brooch, signed Kutchinsky practicable, recorded all significant defects, cracks and
Has a signature that, in Bonhams’ opinion, is authentic but restoration. Such practicable Descriptions of damage cannot Buyers outside the UK must be aware that any forwarding
may contain gemstones that are not original, or the piece may be definitive, and in providing Condition Reports, we cannot agent appointed to export their purchases must have a
have been altered. Guarantee that there are no other defects present which movement certificate for Lots to be released under Bond.
have not been mentioned. Bidders should satisfy themselves
3. A diamond brooch, mounted by Kutchinsky by inspection, as to the condition of each Lot. Please see the Bottling Details and Case Terms
Has been created by the jeweller, in Bonhams’ opinion, but Contract for Sale printed in this Catalogue. Because of the The following terms used in the Catalogue have the following
using stones or designs supplied by the client. difficulty in determining whether an item of glass has been meanings:
repolished, in our Catalogues reference is only made to visible CB – Château bottled
20. PHOTOGRAPHS chips and cracks. No mention is made of repolishing, severe DB – Domaine bottled
or otherwise. EstB – Estate bottled
Explanation of Catalogue Terms
BB – Bordeaux bottled
• “Bill Brandt”: in our opinion a work by the artist.
23. VEHICLES BE – Belgian bottled
• “Attributed to Bill Brandt”: in our opinion probably a work
FB – French bottled
by the artist, but less certainty to authorship is expressed
The Veteran Car Club of Great Britain GB – German bottled
than in the preceding category.
OB – Oporto bottled
• “Signed and/or titled and/or dated and/or inscribed”: in
Dating Plates and Certificates UK – United Kingdom bottled
our opinion the signature and/or title and/or date and/or
When mention is made of a Veteran Car Club Dating Plate or owc – original wooden case
inscription are in the artist’s hand.
Dating Certificate in this Catalogue, it should be borne in mind iwc – individual wooden case
• “Signed and/or titled and/or dated and/or inscribed in
that the Veteran Car Club of Great Britain using the services of oc – original carton
another hand”: in our opinion the signature and/or title
Veteran Car Company Ltd, does from time to time, review cars
and/or date and/or inscription have been added by
already dated and, in some instances, where fresh evidence
another hand.
becomes available, the review can result in an alteration of date.
Whilst the Club and Veteran Car Company Ltd make every
effort to ensure accuracy, the date shown on the Dating Plate or
Dating Certificate cannot be guaranteed as correct and intending
purchasers should make their own enquiries as to the date of
the car.
NTB/MAIN/5.13
SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any
undertaking, whether implied by the Sale of Goods
THE FOLLOWING SYMBOLS ARE USED TO DENOTE 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality
of the Lot or its fitness for any purpose.
Y Subject to CITES regulations when exporting these items
2.1.1 the Seller is the owner of the Lot or is duly authorised
outside the EU, see clause 13.
to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE
W Objects displayed with a w will be located in the
Bonhams Warehouse and will only be available for
2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked
collection from this location.
Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s
≈ Please note that as a result of recent legislation ruby and
guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will not
jadeite gem stones of Burmese (Myanmar) origin may
liquidator, receiver or administrator, with whatever be responsible thereafter for the Lot prior to
not be imported into the US. Rubies and jadeite of non-
right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage
Burmese origin require certification before import into the
Contractor, with whom you have separate contract(s)
US.
2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the
Δ Wines lying in Bond.
liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims,
AR An Additional Premium will be payable to us by the Buyer
legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in
to cover our Expenses relating to payment of royalties
of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the
under the Artists Resale Right Regulations 2006. See
and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until
clause 7 for details.
the terms implied by the Sale of Goods Act 1979, you obtain full title to it.
○ The Seller has been guaranteed a minimum price for the
Sections 12(1) and 12(2) (see the Definitions and
Lot, either by Bonhams or a third party. This may take
Glossary); 5.2 Title to the Lot remains in and is retained by the
the form of an irrevocable bid by a third party, who may
Seller until the Purchase Price and all other sums
make a financial gain on a successful Sale or a financial
2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot
loss if unsuccessful.
otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared
▲ Bonhams owns the Lot either wholly or partially or may
and all duties and taxes in respect of the export or funds by, Bonhams.
otherwise have an economic interest.
import of the Lot have (unless stated to the contrary
in the Catalogue or announced by the Auctioneer) 6 PAYMENT
•, †, *, G, Ω, a see clause 8, VAT, for details.
been paid and, so far as the Seller is aware, all third
parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises when
DATA PROTECTION – USE OF YOUR INFORMATION
the past; the Lot is knocked down to you on the fall of the
Auctioneer’s hammer in respect of the Lot.
Where we obtain any personal information about you, we shall
2.1.5 subject to any alterations expressly identified as such
only use it in accordance with the terms of our Privacy Policy
made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment
(subject to any additional specific consent(s) you may have
or by the Notice to Bidders or by an insert in the of the Purchase Price and all other sums payable by
given at the time your information was disclosed). A copy of
Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you
our Privacy Policy can be found on our Website www.bonhams.
Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case
com or requested by post from Customer Services Department,
about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement),
101 New Bond Street, London, W1S 1SR or by email from
letters and (except for colour) with any photograph all such sums must be paid to Bonhams by you in
info@bonhams.com
of the Lot in the Catalogue and the contents of the currency in which the Sale was conducted by
any Condition Report which has been provided to not later than 4.30pm on the second working day
APPENDIX 1
the Buyer. following the Sale and you must ensure that the
funds are cleared by the seventh working day after
CONTRACT FOR SALE
3 DESCRIPTIONS OF THE LOT the Sale. Payment must be made to Bonhams by one
of the methods stated in the Notice to Bidders unless
IMPORTANT: These terms may be changed in advance of the
3.1 Paragraph 2.1.5 sets out what is the Contractual otherwise agreed with you in writing by Bonhams. If
Sale of the Lot to you, by the setting out of different terms in
Description of the Lot. In particular, the Lot is not you do not pay any sums due in accordance with this
the Catalogue for the Sale and/or by placing an insert in the
sold as corresponding with that part of the Entry in paragraph, the Seller will have the rights set out in
Catalogue and/or by notices at the Sale venue and/or by oral
the Catalogue which is not printed in bold letters, paragraph 8 below.
announcements before and during the Sale at the Sale venue.
which merely sets out (on the Seller’s behalf)
You should be alert to this possibility of changes and ask in
Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT
advance of bidding if there have been any.
part of the Contractual Description upon which the
Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by
Under this contract the Seller’s liability in respect of the quality
than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your
of the Lot, it’s fitness for any purpose and its conformity with
2.1.5 (together with any express alteration to it order only when Bonhams has received cleared funds
any Description is limited. You are strongly advised to examine
as referred to in paragraph 2.1.5), including any to the amount of the full Purchase Price and all other
the Lot for yourself and/or obtain an independent examination
Description or Estimate, whether made orally or in sums owed by you to the Seller and to Bonhams.
of it before you buy it.
writing, including in the Catalogue or on Bonhams’
Website, or by conduct, or otherwise, and whether 7.2 The Seller is entitled to withhold possession from you
1 THE CONTRACT
by or on behalf of the Seller or Bonhams and of any other Lot he has sold to you at the same or
whether made prior to or during the Sale, is not part at any other Sale and whether currently in Bonhams’
1.1 These terms govern the Contract for Sale of the Lot
of the Contractual Description upon which the Lot is possession or not until payment in full and in cleared
by the Seller to the Buyer.
sold. funds of the Purchase Price and all other sums due to
the Seller and/or Bonhams in respect of the Lot.
1.2 The Definitions and Glossary contained in Appendix 3
3.2 Except as provided in paragraph 2.1.5, the Seller
in the Catalogue are incorporated into this Contract
does not make or give and does not agree to make 7.3 You will collect and remove the Lot at your own
for Sale and a separate copy can also be provided
or give any contractual promise, undertaking, expense from Bonhams’ custody and/ or control or
by Bonhams on request. Where words and phrases
obligation, guarantee, warranty, or representation from the Storage Contractor’s custody in accordance
are used which are in the List of Definitions, they are
of fact, or undertake any duty of care, in relation to with Bonhams’ instructions or requirements.
printed in italics.
any Description of the Lot or any Estimate in relation
to it, nor of the accuracy or completeness of any 7.4 You will be wholly responsible for packing, handling
1.3 The Seller sells the Lot as the principal to the
Description or Estimate which may have been made and transport of the Lot on collection and for
Contract for Sale, such contract being made between
by or on behalf of the Seller including by Bonhams. complying with all import or export regulations in
the Seller and you through Bonhams which acts in
No such Description or Estimate is incorporated into connection with the Lot.
the sole capacity as the Seller’s agent and not as
this Contract for Sale.
an additional principal. However, if the Catalogue
7.5 You will be wholly responsible for any removal,
states that Bonhams sells the Lot as principal, or such
4 FITNESS FOR PURPOSE AND SATISFACTORY storage or other charges or Expenses incurred
a statement is made by an announcement by the
QUALITY by the Seller if you do not remove the Lot in
Auctioneer, or by a notice at the Sale, or an insert
accordance with this paragraph 7 and will
in the Catalogue, then Bonhams is the Seller for the
4.1 The Seller does not make and does not agree indemnify the Seller against all charges, costs,
purposes of this agreement.
to make any contractual promise, undertaking, including any legal costs and fees, Expenses and
obligation, guarantee, warranty, or representation of losses suffered by the Seller by reason of your
1.4 The contract is made on the fall of the Auctioneer’s
fact in relation to the satisfactory quality of the Lot or failure to remove the Lot including any charges
hammer in respect of the Lot when it is knocked
its fitness for any purpose. due under any Storage Contract. All such sums
down to you.
due to the Seller will be payable on demand.
NTB/MAIN/5.13
8 FAILURE TO PAY FOR THE LOT 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented
from performing that party’s respective obligations
8.1 If the Purchase Price for a Lot is not paid to Bonhams 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances beyond
in full in accordance with the Contract for Sale damage caused by the Lot after the fall of the its reasonable control or if performance of its
the Seller will be entitled, with the prior written Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances
agreement of Bonhams but without further notice to give rise to a significantly increased financial
you, to exercise one or more of the following rights 9.2 Subject to paragraph 9.3 below, except for breach cost to it, that party will not, for so long as such
(whether through Bonhams or otherwise): of the express undertaking provided in paragraph circumstances prevail, be required to perform such
2.1.5, the Seller will not be liable for any breach obligations. This paragraph does not apply to the
8.1.1 to terminate immediately the Contract for Sale of the of any term that the Lot will correspond with any obligations imposed on you by paragraph 6.
Lot for your breach of contract; Description applied to it by or on behalf of the Seller,
whether implied by the Sale of Goods Act 1979 or 10.4 Any notice or other communication to be given
8.1.2 to resell the Lot by auction, private treaty or any otherwise. under the Contract for Sale must be in writing
other means on giving seven days’ written notice to and may be delivered by hand or sent by first class
you of the intention to resell; 9.3 Unless the Seller sells the Lot in the course of a post or air mail or fax transmission, if to the Seller,
Business and the Buyer buys it as a Consumer, addressed c/o Bonhams at its address or fax number
8.1.3 to retain possession of the Lot; in the Catalogue (marked for the attention of the
9.3.1 the Seller will not be liable (whether in negligence, Company Secretary), and if to you to the address or
8.1.4 to remove and store the Lot at your expense; other tort, breach of contract or statutory duty or in fax number of the Buyer given in the Bidding Form
restitution or under the Misrepresentation Act 1967, (unless notice of any change of address is given in
8.1.5 to take legal proceedings against you for any sum or in any other way) for any lack of conformity with, writing). It is the responsibility of the sender of the
due under the Contract for Sale and/or damages for or inaccuracy, error, misdescription or omission in notice or communication to ensure that it is received
breach of contract; any Description of the Lot or any Entry or Estimate in a legible form within any applicable time period.
in relation to the Lot made by or on behalf of
8.1.6 to be paid interest on any monies due (after as well the Seller (whether made in writing, including in 10.5 If any term or any part of any term of the Contract
as before judgement or order) at the annual rate the Catalogue, or on the Website, or orally, or by for Sale is held to be unenforceable or invalid, such
of 5% per annum above the base rate of National conduct or otherwise) and whether made before or unenforceability or invalidity will not affect the
Westminster Bank Plc from time to time to be after this agreement or prior to or during the Sale; enforceability and validity of the remaining terms or
calculated on a daily basis from the date upon which the remainder of the relevant term.
such monies become payable until the date of actual 9.3.2 the Seller will not be liable for any loss of Business,
payment; Business profits or revenue or income or for loss of 10.6 References in the Contract for Sale to Bonhams will,
reputation or for disruption to Business or wasted where appropriate, include reference to Bonhams’
8.1.7 to repossess the Lot (or any part thereof) which has time on the part of the Buyer or of the Buyer’s officers, employees and agents.
not become your property, and for this purpose management or staff or, for any indirect losses or
(unless the Buyer buys the Lot as a Consumer from consequential damages of any kind, irrespective in 10.7 The headings used in the Contract for Sale
the Seller selling in the course of a Business) you any case of the nature, volume or source of the loss are for convenience only and will not affect its
hereby grant an irrevocable licence to the Seller by or damage alleged to be suffered, and irrespective interpretation.
himself and to his servants or agents to enter upon of whether the said loss or damage is caused by
all or any of your premises (with or without vehicles) or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means
during normal Business hours to take possession of breach of contract, statutory duty, restitutionary “including, without limitation”.
the Lot or part thereof; claim or otherwise;
10.9 References to the singular will include reference to
8.1.8 to retain possession of any other property sold to you 9.3.3 in any circumstances where the Seller is liable to you the plural (and vice versa) and reference to any one
by the Seller at the Sale or any other auction or by in respect of the Lot, or any act, omission, statement, gender will include reference to the other genders.
private treaty until all sums due under the Contract or representation in respect of it, or this agreement
for Sale shall have been paid in full in cleared funds; or its performance, and whether in damages, for 10.10 Reference to a numbered paragraph is to a
an indemnity or contribution or for a restitutionary paragraph of the Contract for Sale.
8.1.9 to retain possession of, and on three months’ written remedy or in any way whatsoever, the Seller’s liability
notice to sell, Without Reserve, any of your other will be limited to payment of a sum which will not 10.11 Save as expressly provided in paragraph 10.12
property in the possession of the Seller and/or of exceed by way of maximum the amount of the nothing in the Contract for Sale confers (or purports
Bonhams (as bailee for the Seller) for any purpose Purchase Price of the Lot irrespective in any case of to confer) on any person who is not a party to the
(including, without limitation, other goods sold to the nature, volume or source of any loss or damage Contract for Sale any benefit conferred by, or the
you) and to apply any monies due to you as a result alleged to be suffered or sum claimed as due, and right to enforce any term of, the Contract for Sale.
of such Sale in satisfaction or part satisfaction of any irrespective of whether the liability arises from any
amounts owed to the Seller or to Bonhams; and negligence, other tort, breach of contract, statutory 10.12 Where the Contract for Sale confers an immunity
duty, bailee’s duty, restitutionary claim or otherwise. from, and/or an exclusion or restriction of, the
8.1.10 so long as such goods remain in the possession of responsibility and/or liability of the Seller, it will also
the Seller or Bonhams as its bailee, to rescind the 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will operate in favour and for the benefit of Bonhams,
contract for the Sale of any other goods sold to be construed as excluding or restricting (whether Bonhams’ holding company and the subsidiaries
you by the Seller at the Sale or at any other auction directly or indirectly) any person’s liability or excluding of such holding company and the successors and
or by private treaty and apply any monies received or restricting any person’s rights or remedies in assigns of Bonhams and of such companies and of
from you in respect of such goods in part or full respect of (i) fraud, or (ii) death or personal injury any officer, employee and agent of Bonhams and
satisfaction of any amounts owed to the Seller or to caused by the Seller’s negligence (or any person such companies, each of whom will be entitled to
Bonhams by you. under the Seller’s control or for whom the Seller is rely on the relevant immunity and/or exclusion and/or
legally responsible), or (iii) acts or omissions for which restriction within and for the purposes of Contracts
8.2 You agree to indemnify the Seller against all legal the Seller is liable under the Occupiers Liability Act (Rights of Third Parties) Act 1999, which enables the
and other costs of enforcement, all losses and other 1957, or (iv) any other liability to the extent the same benefit of a contract to be extended to a person who
Expenses and costs (including any monies payable may not be excluded or restricted as a matter of law. is not a party to the contract, and generally at law.
to Bonhams in order to obtain the release of the
Lot) incurred by the Seller (whether or not court 10 MISCELLANEOUS 11 GOVERNING LAW
proceedings will have been issued) as a result of
Bonhams taking steps under this paragraph 8 on a 10.1 You may not assign either the benefit or burden of All transactions to which the Contract for Sale applies
full indemnity basis together with interest thereon the Contract for Sale. and all connected matters will be governed by and
(after as well as before judgement or order) at the construed in accordance with the laws of that part
rate specified in paragraph 8.1.6 from the date upon 10.2 The Seller’s failure or delay in enforcing or exercising of the United Kingdom where the Sale takes place
which the Seller becomes liable to pay the same until any power or right under the Contract for Sale will and the Seller and you each submit to the exclusive
payment by you. not operate or be deemed to operate as a waiver of jurisdiction of the courts of that part of the United
his rights under it except to the extent of any express Kingdom, save that the Seller may bring proceedings
8.3 On any resale of the Lot under paragraph 8.1.2, the waiver given to you in writing. Any such waiver will against you in any other court of competent
Seller will account to you in respect of any balance not affect the Seller’s ability subsequently to enforce jurisdiction to the extent permitted by the laws of
remaining from any monies received by him or on any right arising under the Contract for Sale. the relevant jurisdiction. Bonhams has a complaints
his behalf in respect of the Lot, after the payment of procedure in place.
all sums due to the Seller and to Bonhams, within
28 days of receipt of such monies by him or on his
behalf.
NTB/MAIN/5.13
APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date specified
in the Notice to Bidders, you authorise us, acting
BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as as your agent and on your behalf, to enter into a
otherwise set out in the Notice to Bidders, you must contract (the “Storage Contract”) with the Storage
IMPORTANT: These terms may be changed in advance of the pay to us by not later than 4.30pm on the second Contractor for the storage of the Lot on the then
Sale of the Lot to you, by the setting out of different terms in working day following the Sale: current standard terms and conditions agreed
the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor
Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot
announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current
You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per
advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the
period referred to in paragraph 4.2. These storage
1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses.
which is calculated and payable in accordance with
1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any
personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as
a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage
Contractor as agent on behalf of the Seller and
1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage
3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract.
into this agreement and a separate copy can also
be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any
phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the charges
are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the (and all costs of moving the Lot into storage) due
Reference is made in this agreement to information methods of payment set out in the Notice to under any Storage Contract. You acknowledge and
printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the agree that you will not be able to collect the Lot from
Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an the Storage Contractor’s premises until you have paid
is referred to it is incorporated into this agreement. agent for a named principal and we have approved the Purchase Price, any Expenses and all charges due
that arrangement, in which case we will address the under the Storage Contract.
1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal.
Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling
and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for
hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in
down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot.
also made between you and Bonhams on the terms all such sums.
in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal,
3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed
1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our
answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including
breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of
unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any
event before any collection of the Lot by you or on
1.5 Our personal obligations to you are governed by this 3.6 Time will be of the essence in relation to any your behalf.
agreement and we agree, subject to the terms below, payment payable to us. If you do not pay the
to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT
accordance with this paragraph 3, we will have the
1.5.1 we will, until the date and time specified in the rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your
Notice to Bidders or otherwise notified to you, store removal of the Lot or until the time and date set out
the Lot in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down to in the Notice to Bidders, on the Sale Information
you, any monies we receive from you will be applied Page or at the back of the catalogue (or if no date
1.5.2 subject to any power of the Seller or us to refuse to firstly pro-rata to pay the Purchase Price of each Lot is specified, by 4.30pm on the seventh day after the
release the Lot to you, we will release the Lot to you and secondly pro-rata to pay all amounts due to Sale) and, subject to paragraphs 6 and 10, to be
in accordance with paragraph 4 once you have paid Bonhams. responsible as bailee to you for damage to or the loss
to us, in cleared funds, everything due to us and the or destruction of the Lot (notwithstanding that it is
Seller; 4 COLLECTION OF THE LOT not your property before payment of the Purchase
Price). If you do not collect the Lot before the time
1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no
paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day
in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another
1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out
or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have
obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3,
fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises,
Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to
completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the
may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with
or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3.
writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale.
Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT
made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot
during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us
incorporated into this agreement between you and Notice to Bidders for collection on the days and times will title in the Lot pass to you. However under the
us. Any such Description or Estimate, if made by us specified in the Notice to Bidders. Thereafter, the Contract for Sale, the risk in the Lot passed to you
or on our behalf, was (unless Bonhams itself sells Lot may be removed elsewhere for storage and you when it was knocked down to you.
the Lot as principal) made as agent on behalf of the must enquire from us as to when and where you can
Seller. collect it, although this information will usually be set 6.2 You are advised to obtain insurance in respect of the
out in the Notice to Bidders. Lot as soon as possible after the Sale.
2 PERFORMANCE OF THE CONTRACT FOR SALE
You undertake to us personally that you will

observe and comply with all your obligations and
undertakings to the Seller under the Contract for Sale
in respect of the Lot.
NTB/MAIN/5.13
7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such 9.3 Paragraph 9 will not apply in respect of a Forgery if:
AND PART PAYMENTS payment shall be applied firstly to the Purchase Price
of the Lot (or where you have purchased more than 9.3.1 the Entry in relation to the Lot contained in the
7.1 If all sums payable to us are not so paid in full at the one Lot pro-rata towards the Purchase Price of each Catalogue reflected the then accepted general
time they are due and/or the Lot is not removed in Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated
accordance with this agreement, we will without you have purchased more than one Lot pro-rata to that there was a conflict of such opinion or reflected
further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any the then current opinion of an expert acknowledged
more of the following rights (without prejudice to other sums due to us. to be a leading expert in the relevant field; or
any rights we may exercise on behalf of the Seller):
7.4 We will account to you in respect of any balance we 9.3.2 it can be established that the Lot is a Forgery only
7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in by means of a process not generally accepted for
breach of contract; respect of any Sale of the Lot under our rights under use until after the date on which the Catalogue was
this paragraph 7 after the payment of all sums due to published or by means of a process which it was
7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of unreasonable in all the circumstances for us to have
all such sums paid to us. employed.
7.1.3 to remove, and/or store the Lot at your expense;
8 CLAIMS BY OTHER PERSONS IN RESPECT OF 9.4 You authorise us to carry out such processes and
7.1.4 to take legal proceedings against you for payment THE LOT tests on the Lot as we in our absolute discretion
of any sums payable to us by you (including the consider necessary to satisfy ourselves that the Lot is
Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot or is not a Forgery.
contract; is the subject of a claim by someone other than
you and other than the Seller (or that such a claim 9.5 If we are satisfied that a Lot is a Forgery we will (as
7.1.5 to be paid interest on any monies due to us (after can reasonably be expected to be made), we may, principal) purchase the Lot from you and you will
as well as before judgement or order) at the annual at our absolute discretion, deal with the Lot in transfer the title to the Lot in question to us, with
rate of 5% per annum above the base lending rate any manner which appears to us to recognise the full title guarantee, free from any liens, charges,
of National Westminster Bank Plc from time to time legitimate interests of ourselves and the other parties encumbrances and adverse claims, in accordance
to be calculated on a daily basis from the date upon involved and lawfully to protect our position and with the provisions of Sections 12(1) and 12(2) of
which such monies become payable until the date of our legitimate interests. Without prejudice to the the Sale of Goods Act 1979 and we will pay to you
actual payment; generality of the discretion and by way of example, an amount equal to the sum of the Purchase Price,
we may: Buyer’s Premium, VAT and Expenses paid by you in
7.1.6 to repossess the Lot (or any part thereof) which has respect of the Lot.
not become your property, and for this purpose 8.1.1 retain the Lot to investigate any question raised or
(unless you buy the Lot as a Consumer) you hereby reasonably expected by us to be raised in relation to 9.6 The benefit of paragraph 9 is personal to, and
grant an irrevocable licence to us, by ourselves, our the Lot; and/or incapable of assignment by, you.
servants or agents, to enter upon all or any of your
premises (with or without vehicles) during normal 8.1.2 deliver the Lot to a person other than you; and/or 9.7 If you sell or otherwise dispose of your interest in the
business hours to take possession of any Lot or part Lot, all rights and benefits under this paragraph will
thereof; 8.1.3 commence interpleader proceedings or seek any cease.
other order of any court, mediator, arbitrator or
7.1.7 to sell the Lot Without Reserve by auction, private government body; and/or 9.8 Paragraph 9 does not apply to a Lot made up of or
treaty or any other means on giving you three including a Chinese painting or Chinese paintings, a
months’ written notice of our intention to do so; 8.1.4 require an indemnity and/or security from you in motor vehicle or motor vehicles, a Stamp or Stamps
return for pursuing a course of action agreed to by or a Book or Books.
7.1.8 to retain possession of any of your other property in you.
our possession for any purpose (including, without 10 OUR LIABILITY
limitation, other goods sold to you or with us for 8.2 The discretion referred to in paragraph 8.1:
Sale) until all sums due to us have been paid in full; 10.1 We will not be liable whether in negligence, other
8.2.1 may be exercised at any time during which we have tort, breach of contract or statutory duty or in
7.1.9 to apply any monies received from you for any actual or constructive possession of the Lot, or at restitution or under the Misrepresentation Act 1967
purpose whether at the time of your default or at any time after such possession, where the cessation or in any other way for lack of conformity with or
any time thereafter in payment or part payment of of such possession has occurred by reason of any any inaccuracy, error, misdescription or omission in
any sums due to us by you under this agreement; decision, order or ruling of any court, mediator, any Description of the Lot or any Entry or Estimate
arbitrator or government body; and in respect of it, made by us or on our behalf or by
7.1.10 on three months’ written notice to sell, Without or on behalf of the Seller (whether made in writing,
Reserve, any of your other property in our possession 8.2.2 will not be exercised unless we believe that there including in the Catalogue, or on the Bonhams’
or under our control for any purpose (including other exists a serious prospect of a good arguable case in Website, or orally, or by conduct or otherwise) and
goods sold to you or with us for Sale) and to apply favour of the claim. whether made before or after this agreement or prior
any monies due to you as a result of such Sale in to or during the Sale.
payment or part payment of any amounts owed to 9 FORGERIES
us; 10.2 Our duty to you while the Lot is at your risk and/or
9.1 We undertake a personal responsibility for any your property and in our custody and/or control is to
7.1.11 refuse to allow you to register for a future Sale or to Forgery in accordance with the terms of this exercise reasonable care in relation to it, but we will
reject a bid from you at any future Sale or to require paragraph 9. not be responsible for damage to the Lot or to other
you to pay a deposit before any bid is accepted by us persons or things caused by:
at any future Sale in which case we will be entitled 9.2 Paragraph 9 applies only if:
to apply such deposit in payment or part payment, as 10.2.1 handling the Lot if it was affected at the time of Sale
the case may be, of the Purchase Price of any Lot of 9.2.1 your name appears as the named person to whom to you by woodworm and any damage is caused as a
which you are the Buyer. the original invoice was made out by us in respect of result of it being affected by woodworm; or
the Lot and that invoice has been paid; and
7.2 You agree to indemnify us against all legal and other 10.2.2 changes in atmospheric pressure; nor will we be
costs, all losses and all other Expenses (whether or 9.2.2 you notify us in writing as soon as reasonably liable for:
not court proceedings will have been issued) incurred practicable after you have become aware that the Lot
by us as a result of our taking steps under this is or may be a Forgery, and in any event within one 10.2.3 damage to tension stringed musical instruments; or
paragraph 7 on a full indemnity basis together with year after the Sale, that the Lot is a Forgery; and
interest thereon (after as well as before judgement or 10.2.4 damage to gilded picture frames, plaster picture
order) at the rate specified in paragraph 7.1.5 from 9.2.3 within one month after such notification has been frames or picture frame glass; and if the Lot is or
the date upon which we become liable to pay the given, you return the Lot to us in the same condition becomes dangerous, we may dispose of it without
same until payment by you. as it was at the time of the Sale, accompanied by notice to you in advance in any manner we think fit
written evidence that the Lot is a Forgery and details and we will be under no liability to you for doing so.
of the Sale and Lot number sufficient to identify the
Lot.
NTB/MAIN/5.13
10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are
Business profits, revenue or income or for loss of reflected the then accepted general opinion of for convenience only and will not affect its
Business reputation or for disruption to Business or scholars and experts or fairly indicated that there was interpretation.
wasted time on the part of the Buyer’s management a conflict of such opinion; or
or staff or, if you are buying the Lot in the course of 12.8 In this agreement “including” means “including,
a Business, for any indirect losses or consequential it can be established that the Lot is a non-conforming without limitation”.
damages of any kind, irrespective in any case of Lot only by means of a process not generally
the nature, volume or source of the loss or damage accepted for use until after the date on which the 12.9 References to the singular will include reference to
alleged to be suffered, and irrespective of whether Catalogue was published or by means of a process the plural (and vice versa) and reference to any one
the said loss or damage is caused by or claimed which it was unreasonable in all the circumstances gender will include reference to the other genders.
in respect of any negligence, other tort, breach of for us to have employed; or
contract, statutory duty, bailee’s duty, a restitutionary 12.10 Reference to a numbered paragraph is to a
claim or otherwise. the Lot comprises atlases, maps, autographs, paragraph of this agreement.
manuscripts, extra illustrated books, music or
10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or 12.11 Save as expressly provided in paragraph 12.12
circumstances where we are liable to you in nothing in this agreement confers (or purports to
respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under confer) on any person who is not a party to this
representation in respect of it, or this agreement “collections” or “collections and various” or the Lot agreement any benefit conferred by, or the right to
or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain enforce any term of, this agreement.
an indemnity or contribution or for a restitutionary a collection, issue or Books which are undescribed or
remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the 12.12 Where this agreement confers an immunity from,
limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles and/or an exclusion or restriction of, the responsibility
by way of maximum the amount of the Purchase or advertisements. and/or liability of Bonhams, it will also operate in
Price of the Lot plus Buyer’s Premium (less any sum favour and for the benefit of Bonhams’ holding
you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- company and the subsidiaries of such holding
irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the company and the successors and assigns of Bonhams
source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot and of such companies and of any officer, employee
or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from and agent of Bonhams and such companies, each
the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse claims of whom will be entitled to rely on the relevant
breach of contract, statutory duty, bailee’s duty, a and we will pay to you an amount equal to the sum immunity and/or exclusion and/or restriction within
restitutionary claim or otherwise. of the Purchase Price and Buyer’s Premium paid by and for the purposes of Contracts (Rights of Third
you in respect of the Lot. Parties) Act 1999, which enables the benefit of a
You may wish to protect yourself against loss by contract to be extended to a person who is not a
obtaining insurance. The benefit of paragraph 10 is personal to, and party to the contract, and generally at law.
incapable of assignment by, you and if you sell or
10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all 13 GOVERNING LAW
or restricting (whether directly or indirectly) any rights and benefits under this paragraph will cease.
person’s liability or excluding or restricting any All transactions to which this agreement applies
person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS and all connected matters will be governed by and
(ii) death or personal injury caused by our negligence construed in accordance with the laws of that part
(or any person under our control or for whom we are 12.1 You may not assign either the benefit or burden of of the United Kingdom where the Sale takes (or
legally responsible), or (iii) acts or omissions for which this agreement. is to take) place and we and you each submit to
we are liable under the Occupiers Liability Act 1957, the exclusive jurisdiction of the courts of that part
or (iv) any other liability to the extent the same may 12.2 Our failure or delay in enforcing or exercising any of the United Kingdom, save that we may bring
not be excluded or restricted as a matter of law, or power or right under this agreement will not operate proceedings against you in any other court of
(v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights competent jurisdiction to the extent permitted by
conditions. under it except to the extent of any express waiver the laws of the relevant jurisdiction. Bonhams has a
given to you in writing. Any such waiver will not complaints procedure in place.
11 BOOKS MISSING TEXT OR ILLUSTRATIONS affect our ability subsequently to enforce any right
arising under this agreement. DATA PROTECTION – USE OF YOUR INFORMATION
Where the Lot is made up wholly of a Book or Books
and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from Where we obtain any personal information about you, we shall
either case referred to as a “non-conforming Lot”), performing that party’s respective obligations only use it in accordance with the terms of our Privacy Policy
we undertake a personal responsibility for such a under this agreement by circumstances beyond (subject to any additional specific consent(s) you may have
non-conforming Lot in accordance with the terms of its reasonable control or if performance of its given at the time your information was disclosed). A copy of
this paragraph, if: obligations would by reason of such circumstances our Privacy Policy can be found on our Website www.bonhams.
give rise to a significantly increased financial com or requested by post from Customer Services Department,
the original invoice was made out by us to you in cost to it, that party will not, for so long as such 101 New Bond Street, London W1S 1SR, United Kingdom or
respect of the Lot and that invoice has been paid; circumstances prevail, be required to perform such by email from info@bonhams.com.
and obligations. This paragraph does not apply to the
obligations imposed on you by paragraph 3. APPENDIX 3
you notify us in writing as soon as reasonably
practicable after you have become aware that the Lot 12.4 Any notice or other communication to be given DEFINITIONS AND GLOSSARY
is or may be a non-conforming Lot, and in any event under this agreement must be in writing and may
within 20 days after the Sale (or such longer period be delivered by hand or sent by first class post or Where these Definitions and Glossary are incorporated, the
as we may agree in writing) that the Lot is a non- air mail or fax transmission (if to Bonhams marked following words and phrases used have (unless the context
conforming Lot; and for the attention of the Company Secretary), to the otherwise requires) the meanings given to them below. The
address or fax number of the relevant party given Glossary is to assist you to understand words and phrases
within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change which have a specific legal meaning with which you may not
such longer period as we may agree in writing) you of address is given in writing). It is the responsibility be familiar.
return the Lot to us in the same condition as it was of the sender of the notice or communication to
at the time of the Sale, accompanied by written ensure that it is received in a legible form within any LIST OF DEFINITIONS
evidence that the Lot is a non-conforming Lot and applicable time period.
details of the Sale and Lot number sufficient to “Additional Premium” a premium, calculated in accordance
identify the Lot. 12.5 If any term or any part of any term of this agreement with the Notice to Bidders, to cover Bonhams’ Expenses
is held to be unenforceable or invalid, such relating to the payment of royalties under the Artists Resale
but not if: unenforceability or invalidity will not affect the Right Regulations 2006 which is payable by the Buyer to
enforceability and validity of the remaining terms or Bonhams on any Lot marked [AR] which sells for a Hammer
the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. Price which together with the Buyer’s Premium (but excluding
indicates that the rights given by this paragraph do any VAT) equals or exceeds 1000 euros (converted into
not apply to it; or 12.6 References in this agreement to Bonhams will, where the currency of the Sale using the European Central Bank
appropriate, include reference to Bonhams’ officers, Reference rate prevailing on the date of the Sale).
employees and agents. “Auctioneer” the representative of Bonhams conducting
the Sale.
NTB/MAIN/5.13
“Bidder” a person who has completed a Bidding Form. “Loss and Damage Warranty” means the warranty described “artist’s resale right”: the right of the creator of a work of art
“Bidding Form” our Bidding Registration Form, our Absentee in paragraph 8.2 of the Conditions of Business. to receive a payment on Sales of that work subsequent to the
Bidding Form or our Telephone Bidding Form. “Loss and Damage Warranty Fee” means the fee described original Sale of that work by the creator of it as set out in the
“Bonhams” Bonhams 1793 Limited or its successors or in paragraph 8.2.3 of the Conditions of Business. Artists Resale Right Regulations 2006.
assigns. Bonhams is also referred to in the Buyer’s Agreement, “Lot” any item consigned to Bonhams with a view to its Sale “bailee”: a person to whom goods are entrusted.
the Conditions of Business and the Notice to Bidders by the at auction or by private treaty (and reference to any Lot will “indemnity”: an obligation to put the person who has
words “we”, “us” and “our”. include, unless the context otherwise requires, reference to the benefit of the indemnity in the same position in which
“Book” a printed Book offered for Sale at a specialist Book individual items comprised in a group of two or more items he would have been, had the circumstances giving rise to
Sale. offered for Sale as one Lot). the indemnity not arisen and the expression “indemnify” is
“Business” includes any trade, Business and profession. “Motoring Catalogue Fee” a fee payable by the Seller to construed accordingly.
“Buyer” the person to whom a Lot is knocked down by the Bonhams in consideration of the additional work undertaken “interpleader proceedings”: proceedings in the Courts to
Auctioneer. The Buyer is also referred to in the Contract for by Bonhams in respect of the cataloguing of motor vehicles determine ownership or rights over a Lot.
Sale and the Buyer’s Agreement by the words “you” and and in respect of the promotion of Sales of motor vehicles. “knocked down”: when a Lot is sold to a Bidder, indicated by
“your”. “New Bond Street” means Bonhams’ saleroom at 101 New the fall of the hammer at the Sale.
“Buyer’s Agreement” the contract entered into by Bonhams Bond Street, London W1S 1SR. “lien”: a right for the person who has possession of the Lot to
with the Buyer (see Appendix 2 in the Catalogue). “Notional Charges” the amount of Commission and VAT retain possession of it.
“Buyer’s Premium” the sum calculated on the Hammer Price which would have been payable if the Lot had been sold at the “risk”: the possibility that a Lot may be lost, damaged,
at the rates stated in the Notice to Bidders. Notional Price. destroyed, stolen, or deteriorate in condition or value.
“Catalogue” the Catalogue relating to the relevant Sale, “Notional Fee” the sum on which the Consignment Fee “title”: the legal and equitable right to the ownership of a Lot.
including any representation of the Catalogue published on payable to Bonhams by the Seller is based and which is “tort”: a legal wrong done to someone to whom the wrong
our Website. calculated according to the formula set out in the Conditions doer has a duty of care.
“Commission” the Commission payable by the Seller to of Business.
Bonhams calculated at the rates stated in the Contract Form. “Notional Price” the latest in time of the average of the SALE OF GOODS ACT 1979
“Condition Report” a report on the physical condition of a Lot high and low Estimates given by us to you or stated in the
provided to a Bidder or potential Bidder by Bonhams on behalf Catalogue or, if no such Estimates have been given or stated, The following is an extract from the Sale of Goods Act 1979:
of the Seller. the Reserve applicable to the Lot.
“Conditions of Sale” the Notice to Bidders, Contract for Sale, “Notice to Bidders” the notice printed at the back or front of “Section 12 Implied terms about title, etc
Buyer’s Agreement and Definitions and Glossary. our Catalogues.
“Consignment Fee” a fee payable to Bonhams by the Seller “Purchase Price” the aggregate of the Hammer Price and VAT (1) In a contract of sale, other than one to which subsection
calculated at rates set out in the Conditions of Business. on the Hammer Price. (3) below applies, there is an implied term on the part of
“Consumer” a natural person who is acting for the relevant “Reserve” the minimum price at which a Lot may be sold the seller that in the case of a sale he has a right to sell
purpose outside his trade, Business or profession. (whether at auction or by private treaty). the goods, and in the case of an agreement to sell he
“Contract Form” the Contract Form, or vehicle Entry form, as “Sale” the auction Sale at which a Lot is to be offered for Sale will have such a right at the time when the property is to
applicable, signed by or on behalf of the Seller listing the Lots by Bonhams. pass.
to be offered for Sale by Bonhams. “Sale Proceeds” the net amount due to the Seller from the
“Contract for Sale” the Sale contract entered into by the Sale of a Lot, being the Hammer Price less the Commission, any (2) In a contract of sale, other than one to which subsection
Seller with the Buyer (see Appendix 1 in the Catalogue). VAT chargeable thereon, Expenses and any other amount due (3) below applies, there is also an implied term that-
“Contractual Description” the only Description of the Lot to us in whatever capacity and howsoever arising.
(being that part of the Entry about the Lot in the Catalogue “Seller” the person who offers the Lot for Sale named on (a) the goods are free, and will remain free until
which is in bold letters, any photograph (except for the colour) the Contract Form. Where the person so named identifies on the time when the property is to pass, from any
and the contents of any Condition Report) to which the Seller the form another person as acting as his agent, or where the charge or encumbrance not disclosed or known
undertakes in the Contract of Sale the Lot corresponds. person named on the Contract Form acts as an agent for a to the buyer before the contract is made, and
“Description” any statement or representation in any principal (whether such agency is disclosed to Bonhams or not),
way descriptive of the Lot, including any statement or “Seller” includes both the agent and the principal who shall be (b) the buyer will enjoy quiet possession of the goods
representation relating to its authorship, attribution, condition, jointly and severally liable as such. The Seller is also referred to except in so far as it may be disturbed by the
provenance, authenticity, style, period, age, suitability, quality, in the Conditions of Business by the words “you” and “your”. owner or other person entitled to the benefit
origin, value, estimated selling price (including the Hammer “Specialist Examination” a visual examination of a Lot by a of any charge or encumbrance so disclosed or
Price). specialist on the Lot. known.
“Entry” a written statement in the Catalogue identifying the “Stamp” means a postage Stamp offered for Sale at a
Lot and its Lot number which may contain a Description and Specialist Stamp Sale. (3) This subsection applies to a contract of sale in the case
illustration(s) relating to the Lot. “Standard Examination” a visual examination of a Lot by a of which there appears from the contract or is to be
“Estimate” a statement of our opinion of the range within non-specialist member of Bonhams’ staff. inferred from its circumstances an intention that the
which the hammer is likely to fall. “Storage Contract” means the contract described in seller should transfer only such title as he or a third
“Expenses” charges and Expenses paid or payable by paragraph 8.3.3 of the Conditions of Business or paragraph person may have.
Bonhams in respect of the Lot including legal Expenses, 4.4 of the Buyer’s Agreement (as appropriate).
banking charges and Expenses incurred as a result of an “Storage Contractor” means the company identified as such (4) In a contract to which subsection (3) above applies there
electronic transfer of money, charges and Expenses for loss and in the Catalogue. is an implied term that all charges or encumbrances
damage cover, insurance, Catalogue and other reproductions “Terrorism” means any act or threatened act of terrorism, known to the seller and not known to the buyer have
and illustrations, any customs duties, advertising, packing or whether any person is acting alone or on behalf of or in been disclosed to the buyer before the contract is made.
shipping costs, reproductions rights’ fees, taxes, levies, costs of connection with any organisation(s) and/or government(s),
testing, searches or enquiries, preparation of the Lot for Sale, committed for political, religious or ideological or similar (5) In a contract to which subsection (3) above applies
storage charges, removal charges, removal charges or costs purposes including, but not limited to, the intention to there is also an implied term that none of the following
of collection from the Seller as the Seller’s agents or from a influence any government and/or put the public or any section will disturb the buyer’s quiet possession of the goods,
defaulting Buyer, plus VAT if applicable. of the public into fear. namely:
“Forgery” an imitation intended by the maker or any other “Trust Account” the bank account of Bonhams into which all
person to deceive as to authorship, attribution, origin, sums received in respect of the Purchase Price of any (a) the seller;
authenticity, style, date, age, period, provenance, culture, Lot will be paid, such account to be a distinct and separate
source or composition, which at the date of the Sale had a account to Bonhams’ normal business bank account. (b) in a case where the parties to the contract intend
value materially less than it would have had if the Lot had not “VAT” value added tax at the prevailing rate at the date of the that the seller should transfer only such title as a
been such an imitation, and which is not stated to be such Sale in the United Kingdom. third person may have, that person;
an imitation in any description of the Lot. A Lot will not be a “Website” Bonhams Website at www.bonhams.com
Forgery by reason of any damage to, and/or restoration and/ “Withdrawal Notice” the Seller’s written notice to Bonhams (c) anyone claiming through or under the seller or
or modification work (including repainting or over painting) revoking Bonhams’ instructions to sell a Lot. that third person otherwise than under a charge
having been carried out on the Lot, where that damage, “Without Reserve” where there is no minimum price at or encumbrance disclosed or known to the buyer
restoration or modification work (as the case may be) does not which a Lot may be sold (whether at auction or by private before the contract is made.
substantially affect the identity of the Lot as one conforming to treaty).
the Description of the Lot. (5A) As regards England and Wales and Northern Ireland, the
“Guarantee” the obligation undertaken personally by GLOSSARY term implied by subsection (1) above is a condition and
Bonhams to the Buyer in respect of any Forgery and, in the the terms implied by subsections (2), (4) and (5) above
case of specialist Stamp Sales and/or specialist Book Sales, a Lot The following expressions have specific legal meanings with are warranties.”
made up of a Stamp or Stamps or a Book or Books as set out which you may not be familiar. The following glossary is
in the Buyer’s Agreement. intended to give you an understanding of those expressions
“Hammer Price” the price in the currency in which the Sale is but is not intended to limit their legal meanings:
conducted at which a Lot is knocked down by the Auctioneer.
NTB/MAIN/5.13
Bonhams Specialist Departments To e-mail any of the below use the first name dot second
name @bonhams.com eg. charles.obrien@bonhams.com
19th Century Paintings British & European Football Sporting Motor Cars Scientific Instruments
UK Porcelain & Pottery Memorabilia UK Jon Baddeley
Charles O’ Brien UK Dan Davies Tim Schofield +44 20 7393 3872
+44 20 7468 8360 John Sandon +44 1244 353118 +44 20 7468 5804 U.S.A.
U.S.A +44 20 7468 8244 USA Jonathan Snellenburg
Madalina Lazen U.S.A Furniture & Works of Art Mark Osborne +1 212 461 6530
+1 212 644 9108 Peter Scott UK +1 415 503 3353
+1 415 503 3326 Fergus Lyons EUROPE Scottish Pictures
20th Century British Art +44 20 7468 8221 Philip Kantor Chris Brickley
Matthew Bradbury Contemporary Art U.S.A +32 476 879 471 +44 131 240 2297
+44 20 7468 8295 U.S.A Jeffrey Smith AUSTRALIA
Jeremy Goldsmith +1 415 503 3413 Damien Duigan Silver & Gold Boxes
Aboriginal Art +1 212 644 9656 +61 2 8412 2232 UK
Greer Adams Greek Art Automobilia Michael Moorcroft
+61 2 8412 2222 California & Olympia Pappa UK +44 20 7468 8241
American Paintings +44 20 7468 8314 Toby Wilson U.S.A
African and Oceanic Art Scot Levitt +44 8700 273 619 Aileen Ward
UK +1 323 436 5425 Golf Sporting USA +1 800 223 5463
Philip Keith Memorabilia Kurt Forry
+44 2920 727 980 Carpets Kevin Mcgimpsey +1 415 391 4000 South African Art
U.S.A UK +44 1244 353123 Giles Peppiatt
Fred Baklar Mark Dance Motorcycles +44 20 7468 8355
+1 323 436 5416 +44 8700 27361 Irish Art Ben Walker
U.S.A. Penny Day +44 8700 273616 Sporting Guns
American Paintings Hadji Rahimipour +44 20 7468 8366 Automobilia Patrick Hawes
Alan Fausel +1 415 503 3392 Adrian Pipiros +44 20 7393 3815
+1 212 644 9039 Impressionist & +44 8700 273621
Chinese & Asian Art Modern Art Toys, Dolls & Chess
Antiquities UK Deborah Allan Musical Instruments Leigh Gotch
Madeleine Perridge Asaph Hyman +44 20 7468 8276 Philip Scott +44 20 8963 2839
+44 20 7468 8226 +44 20 7468 5888 +44 20 7393 3855
U.S.A Islamic & Indian Art Travel Pictures
Antique Arms & Armour Dessa Goddard Alice Bailey Natural History Veronique Scorer
UK +1 415 503 3333 +44 20 7468 8268 U.S.A +44 207 393 3962
David Williams HONG KONG Claudia Florian
+44 20 7393 3807 Julian King Japanese Art +1 323 436 5437 Urban Art
U.S.A +852 2918 4321 UK Gareth Williams
Paul Carella Suzannah Yip Old Master Pictures +44 20 7468 5879
+1 415 503 3360 Clocks +44 20 7468 8368 UK
UK U.S.A Andrew Mckenzie Watches &
Art Collections, James Stratton Jeff Olson +44 20 7468 8261 Wristwatches
Estates & Valuations +44 20 7468 8364 +1 212 461 6516 U.S.A UK
Harvey Cammell U.S.A Mark Fisher Paul Maudsley
+44 (0) 207 468 8340 Jonathan Snellenburg Jewellery +1 323 436 5488 +44 20 7447 7412
+1 212 461 6530 UK U.S.A.
Art Nouveau & Decorative Jean Ghika Orientalist Art Jonathan Snellenburg
Art & Design Coins & Medals +44 20 7468 8282 Charles O’Brien +1 212 461 6530
UK UK U.S.A +44 20 7468 8360 HONG KONG
Mark Oliver John Millensted Susan Abeles Carson Chan
+44 20 7393 3856 +44 20 7393 3914 +1 212 461 6525 Photography +852 2918 4321
U.S.A U.S.A AUSTRALIA U.S.A
Frank Maraschiello Paul Song Patti Sedgwick Judith Eurich Whisky
+1 212 644 9059 +1 323 436 5455 +61 2 8412 2222 +1 415 503 3259 UK
Martin Green
Australian Art Contemporary Art Marine Art Portrait Miniatures +44 1292 520000
Litsa Veldekis & Modern Design UK Camilla Lombardi U.S.A
+61 2 8412 2222 UK Veronique Scorer +44 20 7393 3985 Joseph Hyman
Gareth Williams +44 207 393 3962 +1 917 206 1661
Australian Colonial +44 20 7468 5834 U.S.A Prints HONG KONG
Furniture and Australiana U.S.A Gregg Dietrich UK Daniel Lam
James Hendy Sharon Goodman Squires +1 917 206 1697 Rupert Worrall +852 3607 0004
+61 2 8412 2222 +1 212 644 9128 +44 20 7468 8262
Mechanical Music U.S.A Wine
Books, Maps & Costume & Textiles Jon Baddeley Judith Eurich UK
Manuscripts Claire Browne +44 20 7393 3872 +1 415 503 3259 Richard Harvey
UK +44 1564 732969 +44 (0) 207 468 5811
Matthew Haley Modern, Contemporary Russian Art U.S.A
+44 20 7393 3817 Entertainment & Latin American Art UK Doug Davidson
U.S.A Memorabilia U.S.A Sophie Hamilton +1 415 503 3363
Christina Geiger UK Sharon Goodman Squires +44 20 7468 8334 HONG KONG
+1 212 644 9094 Stephanie Connell +1 212 644 9128 U.S.A Daniel Lam
+44 20 7393 3844 Yelena Harbick +852 3607 0004
British & European Glass U.S.A +1 212 644 9136
UK Catherine Williamson
Simon Cottle +1 323 436 5442
+44 20 7468 8383
U.S.A. Ethnographic Art
Suzy Pai Jim Haas
+1 415 503 3343 +1 415 503 3294
SD05/2013-03
International Salerooms, Offices and Associated Companies (• Indicates Saleroom)
UNITED KINGDOM Representatives: Channel Islands Italy - Milan NOrTH AMErICA SOUTH AMErICA
Dorset Via Boccaccio 22
London Bill Allan Jersey 20123 Milano USA Argentina
101 New Bond Street • +44 1935 815 271 39 Don Street +39 (0)2 4953 9020 Daniel Claramunt
London W1S 1SR St.Helier +39 (0)2 4953 9021 fax San Francisco • +54 11 479 37600
+44 20 7447 7447 East Anglia JE2 4TR milan@bonhams.com 220 San Bruno Avenue
+44 20 7447 7400 fax +44 1534 722 441 San Francisco Brazil
Bury St. Edmunds +44 1534 759 354 fax Italy - rome CA 94103 Thomaz Oscar Saavedra
Montpelier Street • 21 Churchgate Street Via Sicilia 50 +1 (415) 861 7500 +55 11 3031 4444
London SW7 1HH Bury St Edmunds Representative: 00187 Rome +1 (415) 861 8951 fax +55 11 3031 4444 fax
+44 20 7393 3900 Suffolk IP33 1RG Guernsey +39 (0)6 48 5900
+44 20 7393 3905 fax +44 1284 716 190 +44 1481 722 448 +39 (0)6 482 0479 fax Los Angeles •
+44 1284 755 844 fax rome@bonhams.com 7601 W. Sunset Boulevard ASIA
South East Scotland Los Angeles
England Norfolk Netherlands - Amsterdam CA 90046 Hong Kong
The Market Place Edinburgh • De Lairessestraat 154 +1 (323) 850 7500 Carson Chan
Brighton & Hove Reepham 22 Queen Street 1075 HL Amsterdam +1 (323) 850 6090 fax Suite 1122
19 Palmeira Square Norfolk NR10 4JJ Edinburgh +31 20 67 09 701 Two Pacific Place
Hove, East Sussex +44 1603 871 443 EH2 1JX +31 20 67 09 702 fax New York • 88 Queensway
BN3 2JN +44 1603 872 973 fax +44 131 225 2266 amsterdam@bonhams.com 580 Madison Avenue Admiralty
+44 1273 220 000 +44 131 220 2547 fax New York, NY Hong Kong
+44 1273 220 335 fax Midlands Spain - Madrid 10022 +852 2918 4321
Glasgow Nuñez de Balboa no.4 - 1A +1 (212) 644 9001 +852 2918 4320 fax
Guildford Knowle 176 St. Vincent Street, Madrid +1 (212) 644 9007 fax hongkong@bonhams.com
Millmead, The Old House Glasgow 28001
Guildford, Station Road G2 5SG +34 91 578 17 27 Representatives: Beijing
Surrey GU2 4BE Knowle, Solihull +44 141 223 8866 madrid@bonhams.com Arizona Hongyu Yu
+44 1483 504 030 West Midlands +44 141 223 8868 fax Terri Adrian-Hardy Room A515
+44 1483 450 205 fax B93 0HT Switzerland - Geneva +1 (480) 994 5362 F/5 CDB International
+44 1564 776 151 Representatives: Rue Etienne-Dumont 10 Mansion
Tunbridge Wells +44 1564 778 069 fax Wine & Spirits 1204 Geneva California No. 16 Yongan Dongli
Ground Floor Tom Gilbey Switzerland Central Valley Chaoyang District
Royal Victoria House Oxford • +44 1382 330 256 +41 76 379 9230 David Daniel Beijing 100022
51-55 The Pantiles Banbury Road geneva@bonhams.com +1 (916) 364 1645 +86(0) 10 6563 7799
Tunbridge Wells, Kent Shipton on Cherwell Wales +86(0) 10 6563 7788 fax
TN2 5TE Kidlington OX5 1JH Representatives: District of Columbia/ beijing@bonhams.com
+44 1892 546 818 +44 1865 853 640 Cardiff Greece Mid-Atlantic
+44 1892 518 077 fax +44 1865 372 722 fax 7-8 Park Place, Art Expertise Martin Gammon Japan
Cardiff CF10 3DP +30 210 3636 404 +1 (202) 333 1696 Level 14 Hibiya Central Building
Isle of Wight Yorkshire & North East +44 2920 727 980 1-2-9 Nishi-Shimbashi
+44 1983 282 228 England +44 2920 727 989 fax Marbella Southern California Minato-ku
James Roberts Christine Eisenberg Tokyo 105-0003
Representative: Leeds +34 952 90 62 50 +1 (949) 646 6560 +81 (0) 3 5532 8636
West Sussex 30 Park Square West EUrOpE marbella@bonhams.com +81 (0) 3 5532 8637 fax
Jeff Burfield Leeds LS1 2PF Florida tokyo@bonhams.com
+44 1243 787 548 +44 113 234 5755 Austria - Vienna portugal +1 (305) 228 6600
+44 113 244 3910 fax Garnisongasse 4 Filipa Rebelo de Andrade Taiwan
South West 1090 Vienna +351 91 921 4778 Georgia 37th Floor, Taipei 101 Tower
England North West England +43 (0)1 403 00 01 portugal@bonhams.com Mary Moore Bethea Nor 7 Xinyi Road, Section 5
vienna@bonhams.com +1 (404) 842 1500 Taipei, 100
Bath Chester • russia +886 2 8758 2898
Queen Square House New House Belgium - Brussels Marina Jacobson Illinois +886 2 8757 2897 fax
Charlotte Street 150 Christleton Road Boulevard +7 921 555 2302 Ricki Blumberg Harris summer.fang@bonhams.com
Bath BA1 2LL Chester, Cheshire Saint-Michel 101 russia@bonhams.com +1 (312) 475 3922
+44 1225 788 988 CH3 5TD 1040 Brussels +1 (773) 267 3300
+44 1225 446 675 fax +44 1244 313 936 +32 (0)2 736 5076 AUSTrALIA
+44 1244 340 028 fax +32 (0)2 732 5501 fax Massachusetts
Cornwall – Truro belgium@bonhams.com Boston/New England Sydney
36 Lemon Street Carlisle Amy Corcoran 76 Paddington Street
Truro 48 Cecil Street France - paris +1 (617) 742 0909 Paddington NSW 2021
Cornwall Carlisle, Cumbria 4 rue de la Paix Australia
TR1 2NR CA1 1NT 75002 Paris Nevada +61 (0) 2 8412 2222
+44 1872 250 170 +44 1228 542 422 +33 (0)1 42 61 1010 David Daniel +61 (0) 2 9475 4110 fax
+44 1872 250 179 fax +44 1228 590 106 fax +33 (0)1 42 61 1015 fax +1 (775) 831 0330 info.aus@bonhams.com
paris@bonhams.com
Exeter Manchester New Mexico Melbourne
The Lodge The Stables Germany - Cologne Leslie Trilling Ormond Hall
Southernhay West Exeter, 213 Ashley Road Albertusstrasse 26 +1 (505) 820 0701 557 St Kilda Rd
Devon Hale WA15 9TB 50667 Cologne Melbourne VIC 3004
EX1 1JG +44 161 927 3822 +49 (0)221 2779 9650 Oregon +61 (0) 3 8640 4088
+44 1392 425 264 +44 161 927 3824 fax +49 (0)221 2779 9652 fax Sheryl Acheson
+44 1392 494 561 fax cologne@bonhams.com +1(503) 312 6023 Representative:
Southport Adelaide
Winchester 33 Botanic Road Germany - Munich Texas James Bruce
The Red House Churchtown Maximilianstrasse 52 Amy Lawch +61 (0) 8 8232 2860
Hyde Street Southport 80538 Munich +1 (713) 621 5988
Winchester Merseyside PR9 7NE +49 (0) 89 2420 5812
Hants SO23 7DX +44 1704 507 875 +49 (0) 89 2420 7523 fax Washington AFrICA
+44 1962 862 515 +44 1704 507 877 fax munich@bonhams.com Heather O’Mahony
+44 1962 865 166 fax +1 (206) 218 5011 South Africa - Johannesburg
Ireland - Dublin Penny Culverwell
Tetbury 31 Molesworth Street CANADA +27 (0)71 342 2670
22a Long Street Dublin 2 penny.culverwell@bonhams.com
Tetbury +353 (0)1 602 0990 Toronto, Ontario •
Gloucestershire +353 (0)1 4004 140 fax Jack Kerr-Wilson
GL8 8AQ ireland@bonhams.com 20 Hazelton Avenue
+44 1666 502 200 Toronto, ONT
+44 1666 505 107 fax M5R 2E2
+1 (416) 462 9004
info.ca@bonhams.com
Montreal, Quebec
David Kelsey
+1 (514) 341 9238
info.ca@bonhams.com
G-NET/3/13
Registration and Bidding Form
(Attendee / Absentee / Online / Telephone Bidding)
Please circle your bidding method above.
Sale title: Impressionist & Modern Art Sale date: 18 June 2013
Sale no. 20726 Sale venue: New Bond Street

Paddle number (for office use only)
If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours
This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue
Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will
at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids.
You should read the Conditions in conjunction with General Bid Increments:
the Sale Information relating to this Sale which sets
£10 - 200 .....................by 10s £10,000 - 20,000 .........by 1,000s
out the charges payable by you on the purchases
£200 - 500 ...................by 20 / 50 / 80s £20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s
you make and other terms relating to bidding and
buying at the Sale. You should ask any questions you £500 - 1,000 ................by 50s £50,000 - 100,000 .......by 5,000s
have about the Conditions before signing this form. £1,000 - 2,000 .............by 100s £100,000 - 200,000 .....by 10,000s
These Conditions also contain certain undertakings £2,000 - 5,000 .............by 200 / 500 / 800s above £200,000 ...........at the auctioneer’s discretion
by bidders and buyers and limit Bonhams’ liability to £5,000 - 10,000 ...........by 500s
bidders and buyers. The auctioneer has discretion to split any bid at any time.
Data protection – use of your information Customer Number Title

Where we obtain any personal information about you,
we shall only use it in accordance with the terms of our First Name Last Name
Privacy Policy (subject to any additional specific consent(s)
you may have given at the time your information was Company name (to be invoiced if applicable)
disclosed). A copy of our Privacy Policy can be found on
our website (www.bonhams.com) or requested by post Address
from Customer Services Department, 101 New Bond
Street, London W1S 1SR United Kingdom or by e-mail
from info@bonhams.com.
City County / State
Credit and Debit Card Payments
There is no surcharge for payments made by debit cards Post / Zip code Country
issued by a UK bank. All other debit cards and all credit cards
are subject to a 2% surcharge on the total invoice price. Telephone mobile Telephone daytime
Notice to Bidders. Telephone evening Fax

Clients are requested to provide photographic proof of
ID - passport, driving licence, ID card, together with proof Preferred number(s) in order for Telephone Bidding (inc. country code)
of address - utility bill, bank or credit card statement
etc. Corporate clients should also provide a copy of their
articles of association / company registration documents,
together with a letter authorising the individual to bid on E-mail (in capitals)
the company’s behalf. Failure to provide this may result in
your bids not being processed. For higher value lots you
may also be asked to provide a bank reference.
I am registering to bid as a private client I am registering to bid as a trade client
If successful
If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before
I will collect the purchases myself
Please contact me with a shipping quote / - -
(if applicable)
Please note that all telephone calls are recorded.
MAX bid in GBP
Telephone or
Lot no. Brief description (excluding premium Covering bid*
Absentee (T / A)
& VAT)
FOR WINE SALES ONLY

Please leave lots “available under bond” in bond I will collect from Park Royal or bonded warehouse Please include delivery charges (minimum charge of £20 + VAT)
BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM.
THIS AFFECTS YOUR LEGAL RIGHTS.
Your signature: Date:
* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding.
NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form.
Please email or fax the completed Auction Registration form and requested information to:
Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, bids@bonhams.com
UK/04/13
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Copyright & Acknowledgements Index of Artists Lots
Front Cover A
Lot 15 Adrion, Lucien 8
© ADAGP, Paris and DACS, London 2013
C
Lot 2 Cascella, Michele 21
Figure 1 Casorati, Felice 20
Francesca da Rimini and Paolo Malatesta, 1819 (oil on canvas),
Ingres, Jean Auguste Dominique (1780-1867) / Musee des Beaux-Arts, D
Angers, France / Giraudon / The Bridgeman Art Library Dalí, Salvador 26 - 40
Derain, André 12
Figure 2
Rodin dans l’atelier accoudé au Baiser / Ph 16 / Anonyme – fin 1888 / E
début 1889 / Papier albuminé / 10,4 x 16 cm / Musée Rodin, Paris Edy-Legrand 16 - 17
Lot 10 G
Figure 1 Guillaumin, Armand 4
Portrait de Dora Maar, de profil, lisant un journal/ 1936-1937/ Guttuso, Renato 18
APPH15320/ Picasso Pablo (dit), Ruiz Picasso Pablo (1881-1973)/ ©
Succession Picasso - Gestion droits d’auteur / Paris, musée Picasso / K
© RMN-Grand Palais / Michèle Bellot / © Succession Picasso/DACS, Kisling, Moïse 11
London 2013.
L
Figure 2 Le Sidaner, Henri 5
Picasso sur un escabeau, un pinceau à la main devant Guernica / Lebasque, Henri 6
mai-juin 1937 / MP1998-283 / Maar Dora (dite), Markovitch Henriette
Dora (1907-1997) / © ADAGP / Paris, musée Picasso / © RMN-Grand M
Palais / Franck Raux / © ADAGP, Paris and DACS, London 2012. Masson, André 15
Matisse, Henri 13
Lot 15 Michel, Robert 1
Figure 1 Münter, Gabriele 9
Self-Portrait; L’Autoportrait, 1944 (oil on canvas), Masson, André Music, Zoran Antonio 14
(1896-1987) / Private Collection / Photo © Christie’s Images /
The Bridgeman Art Library / © ADAGP, Paris and DACS, London 2013 N
Nadal, Carlos 22- 24
Figure 2
Masson, André (1896-1987): Meditation on an Oak Leaf, 1942. New P
York, Museum of Modern Art (MoMA). Tempera, pastel and sand Picasso, Pablo 10
on canvas, 40 x 33’ (101.6 x 83.8 cm). Given anonymously. 1950 © 2013.
Digital image, The Museum of Modern Art, New York/Scala, Florence R
/© ADAGP, Paris and DACS, London 2013 Rodin, Auguste 2
Lots 27 - 40 S
Page 53 Saverys, Albert 19
© Philippe Halsman/Magnum Photos / Image Rights of Salvador Dalí
reserved. Fundació Gala-Salvador Dalí, Figueres, 2013. U
Utrillo, Maurice 7
Figure 1
© Philippe Halsman/Magnum Photos / Image Rights of Salvador Dalí V
reserved. Fundació Gala-Salvador Dalí, Figueres, 2013. Vuillard, Edouard 3
Figure 2 W
© Philippe Halsman/Magnum Photos / Image Rights of Salvador Dalí Warschawsky, Edouard 16 - 17
reserved. Fundació Gala-Salvador Dalí, Figueres, 2013.
Figure 3
Seated Figure of Summer, 1573 (oil on canvas), Arcimboldo, Giuseppe
(1527-93) (school of) / Ex-Edward James Foundation, Sussex, UK /
The Bridgeman Art Library
Figure 4
Salvador Dalí, Fundació Gala-Salvador Dalí, DACS, 2013/ © Salvador
Dalí Museum Inc., St. Petersburg, FL 2013.
Figure 5
USA. New York City. 1951. Salvador DALI. “In Voluptate Mors.” ©
Philippe Halsman/Magnum Photos / Image Rights of Salvador Dalí
reserved. Fundació Gala-Salvador Dalí, Figueres, 2013.
Facing page: Lot 1 (detail)

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Impressionist & Modern Art

including The FruitDalí Watercolours

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Facing page: Lot 27

Playing with the effects of trompe l’oeil in Lok (Höhenflug), Michel

This work will be included in the forthcoming Auguste Rodin catalogue

In this group waves flow through the bodies, a shuddering

In a departure from previous portrayals, Rodin also invests his figures

Impressionist & Modern Art | 13

The authenticity of this work has kindly been confirmed by Madame

This work is also sold with a photo-certificate of authenticity from

Impressionist & Modern Art | 25

Impressionist & Modern Art | 31

This work is sold with a photo-certificate of authenticity from Monsieur

Impressionist & Modern Art | 33

This work is sold with a photo-certificate of authenticity from the Comité

Impressionist & Modern Art | 39

See note to lot 17.

Impressionist & Modern Art | 41

The arrangement of meandering autumnal leaves nestled amongst the

Impressionist & Modern Art | 45

This work is sold with a photo-certificate of authenticity from the

Impressionist & Modern Art | 49

This work is sold with a photo-certificate of authenticity from the

This work is sold with a photo-certificate of authenticity from the

Impressionist & Modern Art | 51

Facing page: Philippe Halsman, Portrait of Salvador Dalí, 1954

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

This work is sold with a photo-certificate of authenticity from Messieurs

5. Fraisier de Montreuil no 1 [lot 31]

6. Murier de Virginie [lot 32]

7. Grenadier a fruit doux [lot 38]

8. Poire Vermillon [lot 35]

9. Bon Chretien d’Espagne [lot 30]

10. Pigeonnet de Rouen (not illustrated) [lot 34]

Impressionist & Modern Art | 89

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Chu Teh-Chun (b. 1920) Giacomo Balsamo

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Stanhope Alexander Forbes, R.A.

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Salvador Dali (Spanish, 1904-1989)

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