Issuu

ART NOUVEAU & ART DECO

THURSDAY 25 JUNE

2026 AT 2PM

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BIDDING AT THIS SALE

ONLINE, TELEPHONE & COMMISSION BIDDING ONLY

There will be no in-room bidding for this auction. Please see the guide on page 84

This document is printed on Magno Satin paper made of material from well-managed, FSC®certified forests and other controlled sources. Front Cover Lot 40 [detail]

Front Cover Lot 51 [detail] Sale Number LT910

Lyon & Turnbull 22 Connaught Street LONDON W2 2AF

VIEWING IN LONDON Monday, 22 June, 10am-4pm Tuesday, 23 June, 10am-4pm Wednesday, 24 June, 10am-4pm Thursday, 25 June, 10am-12 noon

BUYER'S GUIDE

BUYER’S PREMIUM

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

27% up to £20,000

26% from £20,001 to £800,000

20% thereafter

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT

† VAT at the standard rate payable on the hammer price

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard rate of import VAT on the hammer price

Lots affixed with ‡ or Ω symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

No VAT is payable on the hammer price or premium for books bought at auction.

DROIT DE SUITE

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk.

ENDANGERED SPECIES

Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites

This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought with us before we will be delighted to help you.

REGISTRATION

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/ Driving licence)

2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

BIDDING & PAYMENT

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

REMOVAL OF PURCHASES

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

CATALOGUE DESCRIPTIONS

All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT

Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

COLLECTION OF PURCHASED LOTS

Following the auction, all lots will be moved to Crown Fine Art, Art Central, 20-22 Union Road, London, SW4 6J. Tel +44 (0)20 7732 7610 | auctionteam.uk@crownww. com. There will be no collections from 22 Connaught Street.

Items will be available to collect by appointment from Crown Fine Art from Monday 29 June. Items will be stored free of charge until Monday 13 July. From Tuesday 14 July, clients will be charged by our storage partners.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Stripe) - details will be shown on your invoice.

COLLECTIONS OF PURCHASED ‡ OR Ω LOTS:

Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export / import, please see Conditivons of Sale for Buyers Section D.2.

For items marked with the ‡ or Ω, additional time should be allowed for Customs clearance by HMRC if the item is to remain in the UK.

For items being exported out of the UK these items can be shipped via Crown Fine Art or via another approved shipper with a temporary admissions account.

MEET THE SPECIALISTS

Joy McCall Head of Sale, London joy.mccall@lyonandturnbull.com

At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

John Mackie Director, Edinburgh john.mackie@lyonandturnbull.com

Philip Smith Director, London philip.smith@lyonandturnbull.com

Francesca

ART NOUVEAU & ART DECO

The two celebrated styles of Art Nouveau and Art Deco established foundations for design in the 20th century. Art Nouveau began in the late 19th century and continued into the early 1900s, while Art Deco followed and concluded with the onset of the Second World War. Arguably they have much in common and simultaneously nothing.

Confusion arises because neither style is easy to define, and each has generated much debate. This is perhaps because they did not develop out of a group, have a central leader, or a set of philosophical premises but rather each reflected the spirit of the age.

Both styles came to public attention in Paris – Art Nouveau at the 1900 Exposition Universelle and Art Deco at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in 1925. They were international styles finding geographically relevant and diverse expressions. It is perhaps these regional manifestations that further make the styles challenging to precisely delineate.

Art Nouveau and Art Deco were diverse in their creative vocabularies and spread across a breadth of disciplines and media, including architecture, furniture, lighting, sculpture, metalwork, glass, ceramics, textiles, carpets, posters, fashion and jewellery.

WHAT ARE THE KEY CHARACTERISTICS OF ART NOUVEAU?

Art Nouveau was inspired by the Arts & Crafts Movement in Britain and the belief that good design and craftsmanship could redeem society from the decay of industrialisation and ever-growing urbanisation. It maintained the conviction that there should be no distinction between fine art and applied art and that both are of equal merit.

Nature provided both a subject matter and a visual language of organic and asymmetrical forms, with sinuous, whiplash lines and a rich repertoire of colours and textures. When it came to other cultures, inspiration came from the East and the arts and cultures of Japan and China. Flowers and foliage were a recurring subject matter as were women, who were frequently depicted as the maiden and the femme fatale and with long following hair. Insects and the aquatic world also held much appeal.

WHAT ARE THE DISTINCTIVE FEATURES OF ART DECO?

Art Deco can be seen as a development from Art Nouveau sharing a high regard for craftsmanship, beauty and good design. Instead of the organic forms of Art Nouveau, Art Deco celebrated luxurious materials with polished, smooth, shiny and reflective surfaces while its streamlined forms spoke of movement, industry and progressive modernity. Art Deco drew on the geometry of Cubism, the bold colours of Fauvism, the dynamism of Futurism and the costumes of the Ballet Russe as well as contemporary life more broadly. There was a fascination with exoticism and a celebration of life, perhaps as a reaction to the past horrors of war and the influenza pandemic that followed. In terms of other cultures Art Deco looked to the earlier civilisations of Egypt and South America and at the exotic from Africa.

ALPHONSE MUCHA (1860-1939)

Alphonse Mucha is universally acclaimed as one of the most significant Art Nouveau artists. Whilst best remembered for his posters - of elongated women with hair falling in intertwining arabesques, wearing long dresses, and embellished with flowering foliage - he was also a book illustrator, interior designer, sculptor, jewellery designer, and theatre set creator.

Born in Morovia, Alphonse Mucha studied at the Fine Art Academy in Munich before arriving in Paris in 1887. He was tutored at the Académie Julian by Jules-Joseph LeFebvre and Paul Laurens. His Parisian circle of friends included Paul Gaugin, Paul Sérusier and Les Nabis artists, August Rodin and the composer Frederick Delius.

He gained employment with printers and editors working as an illustrator. It was on New Year’s Day 1895 that his poster Gismonda (1894) first appeared and heralded his career breakthrough. The actress Sarah Bernhardt was depicted in embroidered garments with a floral headpiece, standing in front of mosaic tiling, an arch and cross behind her head and holding a palm branch that elevated her to saintly status.

1895 was also the year that Mucha signed a six-year contract with Sarah Bernhardt to design stage sets, costumes and posters for her business, and signed an exclusive contract with the printer F. Champenois.

In 1897 he had his first solo exhibition at the Salon des Cent which showed the works of avant-garde artists and the following year he exhibited at the first Vienna Secession exhibition.

His spiritual journey was influenced by his friends the Swedish philosopher August Stringberg and the mystic and occultist Albert de Rochas and manifest itself more clearly when his Le Pater published in 1899. He had become a Freemason the previous year and Le Pater, rather than reflecting the Catholic faith in which he was raised, represents his own personal philosophical vision. The depiction is a seven-stage progressive journey from darkness to universal truth and the Supreme Being.

Mucha’s contribution at the 1900 Exposition Universelle in Paris was significant enough to earn him the accolade of Legion d’honneur, which he received the following year.

From the turn of the Century, he worked for his friend, the jeweller, Georges Fouquet, as well as in New York. However his attention increasingly turned to his native land, and he returned to Bohemia in 1910. From 1911 he worked in Prague on his Slav Epic a philosophical series that portrayed both his vision for his nation and his values. His life ended a few months after the German invasion of Prague in 1939.

Cinos produced five Mucha postcards, with four of them featuring Sarah Bernhardt, and the fifth being for Waverley Cycles. This present lot therefore comprises a complete set of the Sarah Bernhardt designs by Mucha. Other Cinos postcards featured other artist’s work and it is believed that the range illustrated a total of 36 different works.

ALPHONSE MUCHA (1860-1939)

TEN MOËT & CHANDON MENU CARDS (PLUS COVER) 1900 printed by Champenois, Paris, condition A (11)

each 14.1 x 9.1cm

Provenance: Purchased from Vasari Gallery, Paris, 2013

£1,000-1,500

ALPHONSE MUCHA: A PRIVATE COLLECTION FROM CHELTENHAM

1

ALPHONSE MUCHA (1860-1939)

FOUR CINOS POSTCARDS circa 1898

comprising La Samaritaine, Lorenzaccio, La Dame Aux Camelias, and Gismonda (4)

9.2 x 14.1cm

Provenance: Purchased from Vasari Gallery, Paris, 2013

£500-700

3

ALPHONSE MUCHA (1860-1939)

FIVE MOËT & CHANDON MENU CARDS

circa 1900

lithographs in colour, printed by Champenois, Paris, condition A(5)

each 22.2 x 15.1cm

Provenance: Purchased from Vasari Gallery, Paris, 2013

£600-800

ALPHONSE MUCHA (1860-1939)

MENU - LA JOURNÉE SARAH

BERNHARDT 8 DECEMBRE 1896 COPPER

PLATE MATRIX AND LITHOGRAPH

1896 (2)

copper plate 24.5 x 16.6cm

lithograph 32 x22.5cm

Provenance: copper plate purchased from Vasari Gallery, Paris, 2013

lithograph purchased from Ader Nordmann, Paris, 2017

Most of Alphonse Mucha’s matrix no longer exist so this is a rare example.

£3,000-5,000

5

ALPHONSE MUCHA (1860-1939) REPRÉSENTATIONS DE MME

SARAH BERNHARDT ET DE SA COMPAGNIE DU THÉÂTRE DE LA RENAISSANCE DE PARIS TOURING PROGRAMME

circa 1898

lithograph in colours, condition A-; not backed

19.7 x 27cm

Provenance: Purchased from Vasari Gallery, Paris, 2013

This appears to be a printing proof as the sheet remains unfolded.

£800-1,200

6

ALPHONSE MUCHA (1860-1939)

SARAH BERNHARDT LA DAME AUX CAMELIAS THÉÂTRE DE LA RENAISSANCE MATRIX

1896 (2)

matrix 18.2 x 6.8cm

Provenance: Purchased from Vasari Gallery, Paris, 2013. Most of Alphonse Mucha’s matrix no longer exist so this is a rare example.

£2,000-3,000

ALPHONSE MUCHA (1860-1939)

LA DAME AUX CAMELIAS SARAH BERNHARDT THÉÂTRE DE LA RENAISSANCE

1897

Les Maîtres de l’Affiche Pl. 144, lithograph in colours, printed by Chaix, Paris, condition A-; not backed

40 x 29cm

Provenance: Purchased from Swann, New York, 2014

£1,000-1,500

ALPHONSE MUCHA (1860-1939)

BANQUET OFFERT À MRS DE MONTHOLON ET MAURICE MONTHIERS 1ER MARS 1898

1898

set of seven zincographs on coloured papers, condition A-; not backed (7)

36.5 x 24.3cm

Provenance: Purchased at Henri Godts, Belgium, 2013

An announcement for a commemorative banquet for Messieurs de Montholon and Maurice Monthiers in celebration of their contributions to France for the 1897 Brussels Exhibition.

£2,000-3,000

ALPHONSE MUCHA (1860-1939)

L’ILLUSTRATION NOËL 1896-1897

1896

lithograph in colours, printed by Ducourtioux & Huillard, condition A; not backed 39.3 x 28.6cm

Provenance: Purchased from Vasari Gallery, Paris, 2013

This magazine cover was designed in 1896 for the issue that would carry the reader into the new year - 1897. The transition is symbolised by the dying figure holding a thistle representing the year’s sufferings, while the shadowy figure of the new year rises above.

£500-700

ALPHONSE MUCHA (1860-1939)

OTČENÁŠ

circa 1900

Prague: České grafické společnosti “Unie” 4to, original decorative cloth, [24] leaves, illustrated throughout

Provenance: Purchased at Bassenge Auction House, Berlin, 2013

This is an edition of Le Pater (The Lord’s Prayer) published in Mucha’s homeland at a time when he was feeling increasingly patriotic.

£400-600

ALPHONSE MUCHA (1860-1939)

GISMONDA SARAH BERNHARDT THÉÂTRE DE LA RENAISSANCE

1896

Les Maîtres de l’Affiche Pl. 27, lithograph in colours, printed by Chaix, Paris, condition A-; not backed 39.5 x 28.7cm

Provenance: Purchased from Vasari Gallery, Paris, 2013 £1,000-1,500

12

ALPHONSE MUCHA (1860-1939)

BIÈRES DE LA MEUSE

1899

Les Maîtres de l’Affiche Pl. 182, lithograph in colours, printed by Chaix, Paris, condition A-; not backed 40 x 29cm

Provenance: Purchased from Vasari Gallery, Paris, 2013 £1,000-1,500

13

ALPHONSE MUCHA (1860-1939)

LORENZACCIO

1898

Les Maîtres de l’Affiche Pl. 114, lithograph in colours, printed by Chaix, Paris, condition A; not backed 40 x 29cm

Provenance: Purchased from Vasari Fine Art Gallery, Paris, 2013 £800-1,200

14

ALPHONSE MUCHA (1860-1939)

JOB

1900

Les Maîtres de l’Affiche Pl. 202, lithograph in colours, printed by Chaix, Paris, condition A-; not backed 40 x 29cm

Provenance: Purchased from Vasari Gallery, Paris, 2013.

£1,000-1,500

ALPHONSE MUCHA (1860-1939)

LA SAMARITAINE

1899

Les Maîtres de l’Affiche Pl. 166, lithograph in colours, printed by Chaix, Paris, condition A-; not backed 40 x 29cm

Provenance: Purchased from Vasari Gallery, Paris, 2013

£800-1,200

ALPHONSE MUCHA (1860-1939)

SALON DES CENTS

1897

Les Maîtres de l’Affiche Pl. 94, lithograph in colours, printed by Chaix, Paris, condition A; not backed 40.2 x 29.3cm

Provenance: Purchased from Vasari Gallery, Paris, 2013

£1,200-1,800

ALPHONSE MUCHA (1860-1939) AND OTHERS, FOR F. CHAMPENOIS, PARIS

L’ESTAMPE MODERNE

directeurs: Ch. Masson et H. Piazza. Publication mensuelle contentant quatres estampes originales inédites en couleurs et en noir des principaux artistes modernes français et étrangers. Paris: l’Imprimerie Champenois, 1897-9. 24 monthly issues bound in 2 volumes, folio (40 x 31.6cm), original diagonal-ribbed green cloth over bevelled boards, front boards lettered and decorated in gilt and red, top edges gilt, 94 plates only (of 100: lacking Henri Boutet, ‘Dans les coulisses’ and R.-X. Pirinet, ‘Manon’ in volume 1, and E. Burne Jones, ‘Beauty’, F. Luigini, ‘La Servante’, A. Giraldon, ‘Lutèce’, and ‘P.-C. Helleu, ’Parisienne’ in volume 2), chromolithographs and other media, tipped in or printed direct, each plate with captioned tissue-guard, each volume with half-title, vignette title-page and 3 pp. index to rear, volume 1 with preface (pp. 5-9), volume 1 plate ‘La Promise’ by F. Gottlob loose mount with corner remaining attached to mount, volume 2 plates ‘Le Départ’ by R. Collin loose and ‘La Romance’ by Roedel with tear to tissue-guard

Provenance: Ferdinand Champenois thence by descent

Ferdinand Champenois founded a printing company in Paris in 1859 and, between 1880 and 1920, it was one of the main lithographic printing firms. Alphonse Mucha worked for him when he arrived from Austria. Champenois produced advertising posts for clients such as Moët & Chandon champagne, Huntley & Palmer biscuits and Job cigarettes. However, he is perhaps best known for the works by Mucha featuring the actress Sarah Bernhardt.

£6,000-8,000

PSEUDONYM & AUTONYM LIBRARY

1894

lithographic poster, condition B+; backed on linen

79 x 57cm

£3,000-5,000

AUBREY BEARDSLEY (1872–1898)

CHARLES E. DAWSON

FOR HEALTH & BEAUTY USE BATH-EUCRYL

1901

lithographic poster, condition A-; on two joined sheets, backed on linen

147 x 102cm

£7,000-9,000

In a rapidly evolving 19th-century Paris, advances in printing and a vibrant artistic culture transformed posters from simple advertisements into collectible works of art that decorated the city streets and appealed to a growing middle-class audience. Regarded as the “father of the modern poster”, Jules Chéret was central to this change.

After gaining recognition through work for perfume manufacturer Eugène Rimmel, he founded the publishing company Atelier Chéret in 1866 where he championed lithography as the future

JULES CHÉRET (1836-1932)

SAXOLÉINE 1892

lithographic poster, condition B; backed on paper

125 x 88cm

£400-600

JULES CHÉRET (1836-1932)

ALCAZAR D’ETE, LIDIA 1895

lithographic poster, condition B-; not backed 125 x 88cm.

£400-600

of commercial printing. He would later go on to sell this to the prominent French printing and publishing company Imprimerie Chaix in 1881, famously located at 20 Rue Bergère.

His posters were known for their vivid colours, dynamic movement, and expressive figures. He created advertisements for theatres, music halls and cabarets, including land-mark venues such as the Folies Bergère and the Moulin Rouge. His images helped define the spirit of the Belle Époque across Paris, elevating urban advertising into an artistic medium across the city and beyond.

Jugend (Youth) was a weekly magazine published between 1896 and 1940 by Georg Hirth. It showcased Jugendstil the German expression of Art Nouveau, that was particularly focussed around the cities of Münich, Weimar and Darmstadt.

JUGENDKUNSTVERLAG MÜNCHER

ILLUSTRIERTE WACHENSCHRIFT FÜR KUNST UND LEBEN BOUND MAGAZINES

1897-8 published by Georg Hirth (2)

£300-500

DAS PLAKAT

TIFFANY STUDIOS

PINE NEEDLE PEN, WIPER & HOLDER

circa 1900

gilt bronze and glass wiper holder stamped TIFFANY STUDIOS NEW YORK 186 (2)

pen 16cm long excluding nib, holder 3.7cm high 5.5cm diameter

£800-1,200

BOUND MAGAZINES

1920 and 1921

published by Verlag Max Chiliburger (3)

Das Plakat (The Poster) was a design and art magazine published from 1910 to 1922 in Berlin, Weimar, Germany. It was one of the early and influential publications on the art of posters and commercial art.

£600-800

TIFFANY STUDIOS

JACK-IN-THE-PULPIT VASE

circa 1905

Favrile glass

engraved 2540 H L.C. Tiffany - Favrile 6763

50.4cm high

£8,000-12,000

TIFFANY STUDIOS

GEOMETRIC LAMP

circa 1910

patinated bronze, with leaded glass shade base impressed TIFFANY STUDIOS NEW YORK 533, shade impressed TIFFANY STUDIOS NEW YORK

54cm high overall, shade 40.6cm diameter

£10,000-15,000

GEORGES FLAMAND (1895-1925 / 1931?)

(there is some uncertainty as to the date of his death which is listed as 1925 and 1931)

The sculptor Georges Flamand was a student of Alexandre Falguière, who was a professor at the École des Beaux Arts in Paris from 1882. Falguière gained notoriety when in 1898 he won the commission for the Monument to Balzac against Auguste Rodin. Flamand’s work is characterised by female subjects. He often focussed on their heads and long flowing hair, sometimes incorporating them into functional pieces such as trays and dishes, mirrors and handles. His Art Nouveau maidens on occasion reference mythology or have an underlying Symbolist sentiment as sensual beguiling femme fatales. He was also an exponent of mixed media embellishing his pieces with cabochons and enamel.

FIGURAL HAND-MIRROR

circa 1900

GEORGES FLAMAND (1895-1925)

FIGURAL HAND-MIRROR

circa 1900

patinated and gilt metal inset with turquoise coloured cabochons, with later mirrored glass and stand signed in cast G. Flamand (2)

23.8cm high

£600-800

GEORGES FLAMAND (1895-1925)

patinated metal, inset with turquoise coloured cabochon, mirrored glass, with later stand cast with monogram GF (2)

23.2cm high

£500-700 27

GEORGES FLAMAND (1895-1925)

HANDLE

circa 1900 silver and turquoise coloured cabochons, with stained malacca and fabric parasol, later stand, handle signed G. Flamand, parasol labelled LETORT Rue Parrot PARIS (2)

handle 9cm high, parasol 86.3cm long overall

£1,500-2,000

30

GEORGES FLAMAND (1895-1925)

MAIDEN AND FROG VIDE POCHE

circa 1900

pewter-like metal

signed in cast G. Flamand

26.5cm x 14cm

£300-500

GEORGES FLAMAND (1895-1925)

FIGURAL VIDE POCHE

circa 1900

patinated pewter, inset with turquoise coloured cabochons signed in cast Flamand

37.2cm wide

£400-600

32 CAMILLE

THARAUD (1878-1956?) FOR LIMOGES

FIGURAL DISH

circa 1900

glazed porcelain

printed LIMOGES FRANCE, painted C. Tharaud

23.5cm wide

Camille Tharaud owned a family ceramics business and exhibited at the Paris 1900 Exposition Universelle. Tharaud worked in pâte-sur-pâte and depicting landscapes and botanical subjects. This present dish has the fluid arabesque lines of the Art Nouveau style and the female subject matter. Later Tharaud produced Art Deco style porcelain works, with some of the pieces being designed by Marcel Goupy.

£300-500

DOMINIQUE ZUMBO (1854-1939)

FIGURAL VASE

circa 1900

lustre glazed ceramic signed D. Zumbo Arenes, Fréjus, Var 16.4cm high

Arthur, P., French Art Nouveau Ceramics: An Illustrated Dictionary, Paris, 2015, p.373 (similar vase illustrated)

Dominique Zumbo was trained by his potter father who moved his family from Sicily to France in 1879. Dominique worked for Clément Massier helping him to create lustre glazes, before in 1892 setting up his own studio in Arènes, near the Roman arena Fréjus (Var). He exhibited at the Turin exhibition of 1898 where he won gold and silver medals. Zumbo collaborated with Jean Carriès as well as Rupert Carabin. This current vase has much in common with the work of Carabin with the fluid form of the figure being incorporated into a vessel.

£500-700

33

EDUARD STELLMACHER (1868-1932) FOR RIESSNER, STELLMACHER & KESSEL AMPHORA FATES FIGURAL BOWL

circa 1900

glazed earthenware, with painted and gilt highlights incised Ed Stellmacher, moulded AMPHORA, impressed 643, printed marks R St K TURN TEPLITZ BOHEMIA MADE IN AUSTRIA

20.5cm wide

£600-800

MANNER OF GEORGES DE FEURE AND ABEL LANDRY

GINKGO CANDLEHOLDER

circa 1900 brass

22.3cm high and wide

£500-700

B. KANO

BUST OF A MAIDEN

designed circa 1900

patinated bronze, marble plinth

signed B. KANO

19cm high overall, bust 17cm high

£400-600

NIETHAMER, POSSIBLY FIGURAL INKWELL

circa 1900

gilt bronze and onyx

signed Niethamer (indistinct)

24.7cm wide

£800-1,200

CONSTANTIN MEUNIER (1831-1905)

TÊTE DE PUDDLER RELIEF PANEL designed 1885 patinated bronze

signed in cast C Meunier, Modèle exclusif DE LA MAISON MODERNE PARIS

32.5cm high, 25.3cm wide

”Hommage à Constantin Meunier” Sura Levine & Françoise Urban, Gal. Maurice Tzwern, Brussel, Ed. Pandora 1998, cf. nr. 2, p. 47 (similar example illustrated)

£500-700

La Maison Moderne was located at 82 rue des Petits-Champs, Paris, France and existed between 1898 and 1903. Founded by Julius Meier-Graefe (1867-1935) it promoted works in the Art Nouveau style for domestic consumption just as Siegfried Bing’s Maison de L’Art Nouveau did which had opened three years earlier.

Besides being a celebrated French actress, Sarah Bernhardt is remembered as an Art Nouveau beauty.

She initially studied acting at the Conservatoire in Paris, but left to work with the Comédie-Française, before then moving to the Théâtre du Gymnase Dramatique. She travelled to Brussels where she became the mistress of Henri, the Belgian prince of Ligne and gave birth to a son Maurice on her returned to Paris. It was during her six years at the Théâtre de l’Odéon that she really came into stardom. She toured to London and later to the United States. Despite a leg being amputated in 1915, as the result of a past injury, she continued to work.

Much of her acting was against rich stage scenery in plays that involved great drama and exaggerated physical movement. She was particularly acclaimed for her voice, the poses she achieved and her expressive gestures.

MARIUS MARS-VALLETT (1869-1957)

TWIN-BRANCH FIGURAL CANDELABRA designed circa 1900 patinated bronze signed in cast Mars. Vallet

35.5cm high

£1,000-1,500

Sarah Bernhardt on the cover of the Théodora Théâtre programme, circa 1902, by René Lalique. Sold - Lalique, Lyon & Turnbull, October 2023

She commissioned René Lalique to design jewellery for the various roles in which she starred, and Alphonse Mucha signed a six-year contract with her to design posters, stage sets and costumes. She championed the painter Georges Clairin, who painted her portrait. Jules Bastien-Lepage and Alfred Stevens depicted her too, while Marius Mars-Vallet sculpted her in her role as La Princess Lointaine and it is possible that this candelabra (lot 39) is a further portrayal of her. Famed for her exaggerated postures, she was often referred to as ‘the chrysalis’, as she emerged as a beauty after a tough start in life. The form of the candelabra is suggestive of an unfurling. The Chrysalide Planter (lot 40) by Paul-François Berthoud is a clear reference to Bernhardt whom he depicted on a number of other occasions.

PAUL-FRANÇOIS BERTHOUD (1870-1939)

CHRYSALIDE PLANTER

designed 1902 bronze, copper plating, with tin liner signed in cast Berthaud, inscribed SALON DE 1902, founders mark J.H.F. Fondeur. Paris

COPYRIGHT BY BERTHAUD 1902, bears plaque verso inscribed HERRN LUDWIG METZL ZUM 25-JAHRIGE JUBILAUM DIE St. Petersburger Zeitung SEPTEMBER 1903. 44.2cm high

Duncan, A., The Paris Salons 1895-1914, Volume V: Objets D’ Art & Metalware, Woodbridge, 1999, p. 86 (similar example illustrated)

The plaque on this planter presumably commemorates a gift to or from Mr Ludwig Metzl, on the 25th anniversary of his involvement with the St. Petersburgische Zeitung, a German-language newspaper published in Saint Petersburg in the Russian Empire from 1727 until its closure in 1915.

£3,000-5,000

Metzl (1854–1942) was born in Prague and became a prominent advertising entrepreneur and publisher in the Russian Empire. In 1878, he and his brother Ernst founded L. Metzl & Co. in St. Petersburg, building it into an advertising network that controlled much of the Russian newspaper advertising market and operated internationally. Metzl also published business journals and the literary magazine Epocha. After Ernst’s death in 1900, Ludwig expanded the company further before losing much of his business during the antiGerman unrest and the Russian Revolution. He later settled in Paris, where he died in 1942.

HERMANN & SPECK

JUGENDSTIL NECKLACE

circa 1900

silver gilt, plique-à-jour enamel, baroque pearls and turquoise ceramic cabochons stamped maker’s mark 42cm long including chain

£1,000-1,500

42 JOSEPH MOUGIN (1876-1961) ÉPIS VASE

designed 1921 glazed stoneware

moulded130.J, incised Mougin Nancy, and inscribed K LARGE

29.4cm high

£500-700

In 1896 Joseph Mougin began studying sculpture at the École des Beaux Arts, in Paris, under the sculptor Louis Ernest Barrias. However, after experimenting with ceramics, he abandoned his studies and with his brother Pierre focussed on ceramics. Together they exhibited at the Paris Exposition Universelle of 1900. During the following year, Joseph spent time with his friend Ernest Baudin, a director at Manufacture Nationale de Sèvres and met Georges Vogt. Clearly, he was eager to learn, and his other mentors include Henri Bergé, Louis Castex, Louis Majorelle, and Pierre Roche. Nancy was his birthplace and in 1904 he collaborated with friends there at Société Lorraine des Amis Arts, including Alfred Finot, Victor Prouvé and Ernest Wittman. Perhaps inspired by this, he moved back to Nancy in 1905. Between 1923-1933 he worked with Keller & Guerin at Lunéville and in 1925 won a Grand Prix at the Paris Exposition internationale des arts décoratifs et industriels modernes. Much of his ceramic work is either stoneware, often with a crystalline glaze, or porcelain.

ÉMILE GALLÉ (1846-1904) TRAY

designed circa 1900

mixed veneer marquetry, with carved handles inlaid GALLE

67.7cm x 40.8cm

£1,200-1,800

44 ‡

DAUM FRÈRES

LAKESCAPE CAMEO GLASS VASE 1920s with inverted rim, mottled glass, overlaid and acid-etched

cameo DAUM NANCY with Cross of Lorraine

22cm high, 24cm diameter

£1,200-1,800

MULLER FRÈRES (1895-1933)

LANDSCAPE CAMEO GLASS TABLE LAMP designed circa 1920 overlaid and acid-etched glass cameo MULLER FRES LUNEVILLE to base and shade (2)

26cm high overall, shade 21cm diameter

£2,000-3,000

GALLÉ

TWO CAMPANULES CAMEO GLASS TABLE LAMPS designed circa 1925 overlaid and acid-etched glass, metal mounts bases and shades cameo Gallé (4)

H62cm; 23cm diameter

£8,000-12,000

GALLÉ

TWO CAMEO GLASS TABLE LAMPS designed circa 1925 overlaid and acid-etched glass, metal mounts, one decorated with flowering branches, the other with a magnolia design base and shade with flowering stems bases and shades cameo Gallé (4)

H61cm; 22 diameter

£8,000-12,000

LONDON COLLECTION

ÉMILE GALLÉ (1846-1904)

HERON AND BULLRUSHES CAMEO

GLASS VASE designed 1903

overlaid, carved and acid-etched glass engraved GALLE

27.3cm high

Provenance: Christie’s, New York, 28 March 1987, lot 86

£2,500-3,000

ÉMILE GALLÉ (1846-1904)

ALGUES CAMEO GLASS VASE

circa 1903

overlaid and acid-etched glass, with carved details and martelé, decorated with seaweed and shells engraved Gallé

26cm high

Provenance: Christie’s, London, 15 July 1987, lot 251

£2,500-3,000

ÉMILE GALLÉ (1846-1904)

LILY CAMEO GLASS VASE

circa 1903

overlaid and acid-etched, with carved details and martelé engraved Gallé

13.9cm high

£1,800-2,200

51

GALLÉ

PEONY CAMEO GLASS VASE

circa 1925

overlaid glass acid-etched cameo GALLÉ

55.8cm high

Provenance: Christie’s, New York, 10 December 1994

£7,000-9,000

GALLÉ

RHODODENDRON CAMEO GLASS VASE

circa 1925

moulded-blown glass, overlaid and acid-etched

cameo Gallé

26cm high

Provenance: Christie’s, London, 16 December 1987, lot 219

£3,000-5,000

DAUM FRÈRES

PAVOTS CAMEO GLASS VASE

circa 1914

mottled glass, overlaid and acid-etched, with carved details

engraved Daum Nancy with Cross of Lorraine

24.3cm high

Provenance: Phillips, London, 18 June 1987

£2,500-3,000

DAUM FRÈRES

ROSE CAMEO GLASS VASE

circa 1910

mottled glass, overlaid and acid-etched, with carved details engraved DAUM NANCY with Cross of Lorraine

8.7cm high

Provenance: Christie’s, London, 16 February 1994, lot 341

£1,500-2,000

DAUM FRÈRES

VIOLETTES CAMEO GLASS VASE

circa 1905

mottled glass, overlaid and acid-etched, with enamelled and gilt highlights

gilt Daum Nancy with Cross of Lorraine

24.4cm high

Provenance: Sotheby’s, London, 3 May 1991, lot 99

£1,500-2,000

DAUM FRERES

MARGUERITES CAMEO GLASS VASE

circa 1910

mottled glass, overlaid and acid-etched, with carved details, and appliques

engraved DAUM NANCY with Cross of Lorraine

27.9cm high

Provenance: Sotheby’s, 30 November 1993, lot 67

£2,000-3,000

DAUM FRÈRES

CLEMATIS CAMEO GLASS VASE

circa 1910

overlaid and acid-etched glass, with martelé ground, fire-polished engraved and gilt DAUM NANCY with Cross of Lorraine

60.5cm high

Provenance: Bonhams, 12 October 1994

£5,000-7,000

DAUM FRÈRES

DANDELION CAMEO GLASS VASE

circa 1910

overlaid and acid-etched glass, with martelé ground engraved DAUM NANCY with Cross of Lorraine

49.8cm high

£2,000-3,000

Designed in 1924, the Passiflore chandelier is one of two spherical lights René Lalique composed from multiple glass elements; the other being the Boule De Gui designed in 1922. They were perhaps intended to represent the seasons summer and winter based on their distinctively seasonal subject matters of summer passion flowers and winter mistletoe.

The Boule De Gui comprises two spherical caps at the top and bottom with sectional wedge form panels between. It is surface moulded in relief with mistletoe leaves and berries. In contrast the decoration on the Passiflore lights is in much higher relief with the stamens protruding from the concave corona of filaments. The passionflower genus typically has a pentamerous flower consisting of exactly five petals and five sepals and it is therefore in keeping that these Passiflore lights are composed of pentagonal elements forming

a spherical regular dodecahedron. If the surfaces of the pentagonal pieces had been flat, it would be a Platonic solid. The Greek philosopher Plato spoke of five regular polyhedra - the tetrahedron, the hexahedron (or cube), the octahedron, the dodecahedron and the icosahedron. Lalique follows in the tradition of creatives such as Leonardo da Vinci, Piero della Francesca and Albrecht Dürer who all showed a keen interested in mathematical forms in their work. In 1900 Max Brückner published Polygons and polyhedra: Theory and History, in Leipzig. It can only be speculation as to whether Lalique knew this work or not.

Passionflowers have a long and diverse cultural history. In Christianity they have become associated with the passion of Christ. The corona representing the crown of thorns, the ten petals and sepals the faithful disciples, the another the wounds, the stigmas the nails and the tendrils the scourging. Lalique may have been aware of the Victorian understanding of flowers symbolising faith and devotion and the Japanese view of them representing a clock-face.

RENÉ LALIQUE (1860-1945)

PAIR OF PASSIFLORE CHANDELIERS, NO. 2263 designed 1924 clear, frosted and sepia stained, metal brackets, and ceiling roses (2)

each approximately 50cm diameter, 116cm and 143cm high approximately respectively

Provenance: Acquired from new and thence by descent. Private collection, Belgium. £30,000-50,000

60 ‡

RENÉ LALIQUE (1860-1945)

ST MARC VASE, NO. 10-934

designed 1939 clear, frosted and blue stained stencilled R. LALIQUE FRANCE 17cm high

£800-1,200

61 ‡

RENÉ LALIQUE (1860-1945)

FORMOSE VASE, NO. 934

designed 1924 clear, frosted and blue stained intaglio R. LALIQUE

16.5cm high

£1,500-2,000

RENÉ LALIQUE (1860-1945)

designed 1919 clear and frosted engraved R. Lalique France (2)

16.5cm high overall

£4,000-6,000

HIRONDELLES VEILLEUSE MOYENNE, WITH TOURBILLONS BODY, NO. 2556

MARIUS-ERNEST SABINO, MANNER OF BUTTERFLY DANCER designed 1920s opalescent glass

23cm high

£1,000-1,500

64 ‡ RENÉ LALIQUE (1860-1945) ÉCAILLES VASE, NO. 1080 designed 1932 cased opalescent stencilled R. LALIQUE FRANCE 24.8cm high

£2,000-3,000

65 ‡ RENÉ LALIQUE (1860-1945) ESPALION VASE, NO. 996 designed 1927 opalescent engraved R. Lalique France No. 996

18cm high

£800-1,200

RENÉ LALIQUE (1860-1945)

BACCHANTES VASE, NO. 997 designed 1927 opalescent, and blue stained wheel-engraved R. LALIQUE FRANCE, engraved No. 997

24.3cm high

£15,000-20,000

68 LOETZ

67 ‡ LOETZ

PHÄNOMEN TABLE LAMP

circa 1910

iridescent glass, with patinated copper base base stamped K 345 (2)

38.3cm high, shade 11.3cm diameter

£1,000-1,500

ORPHEUS VASE, PN 11-1030

circa 1903

iridescent green glass, with applied iridescent blue trail and prunts

49.3cm high

£1,000-1,500

DAUM VASE

circa 1930

acid-etched green glass etched DAUM NANCY FRANCE, with Cross of Lorraine

34.5cm high

Provenance: Private Collection, London.

£600-800

DAUM FRÈRES, NANCY

TABLE LAMP

circa 1930

overlaid and acid-etched glass, wrought steel mounts base and shade wheel-engraved DAUM NANCY FRANCE (2)

48cm high overall

Literature: Lesieutre, A. The Spirit and Splendour of Art Deco, New York, 1974, n.p., cat. no. 220 (similar example) Daum, N. Daum: Maitres Verriers, Lausanne, 1985, p. 150 (similar example)

Bacri, C. Daum: Masters of French Decorative Design, New York, 1992, pp. 206-209 (similar examples)

Esveld,T. Daum Art Deco Glass: A Private Collection, Brasschaat, Belgium, 2015, p. 238 (similar example)

£10,000-15,000

71 §

PIERRE LE FAGUAYS (1892-1962)

AMAZON

designed circa 1925

patinated bronze, carved horn, turquoise cabochons, marble base engraved LE FAGUAYS

54.3cm high overall, bronze 39cm high

£1,500-2,000

72 ‡ §

PIERRE LE FAGUAYS (1892-1962) TROPHÉE

circa 1910

patinated metal, marble base engraved Le Faguays

62.5cm high

£1,200-1,800

73 ‡ §

PIERRE LE FAGUAYS (1892-1962)

DANCER WITH THYRSUS circa 1925

patinated and gilt bronze, marble engraved Le Faguays, foot stamped BRONZE

53cm high, 50cm wide

£3,000-5,000

designed circa 1922

bronze, with silvered details, marble base inset with mosaic engraved Le Faguays

46.5cm high overall, figure 36cm high, 46.5cm wide

£1,500-2,000

75 ‡

MARCEL-ANDRÉ BOURAINE (1886-1948) DIANA

circa 1925

patinated bronze, marble base engraved BOURAINE

32.5cm high, 18cm wide

£1,000-1,500

76 Ω

DEMETRE CHIPARUS, POSSIBLY HUNTRESS AND DOG

designed circa 1925

patinated spelter, onyx base

65cm high, 59.7cm wide, 17cm deep

£1,000-1,500

CONSTANT AMBROISE ROUX (1865-1942)

LA COLÈRE D’ACHILLE

designed circa 1920 patinated bronze, marble base signed in cast CONSTANT ROUX, stamped, foundry marks Susse Frs Ests Paris

44cm high, 38cm wide,15.5cm deep

£1,500-2,000

78 ‡

EUROPEAN

PAIR OF TIGERS

circa 1920 patinated bronze

20cm high, 57.5cm wide, 13.8cm deep

£1,000-1,500

79 §

HAGENAUER, MANNER OF FOX FIGURE walnut, metal unmarked 39.5cm high

£500-800

80 Y

FRENCH

ART DECO GENTLEMAN’S DESK BOX designed circa 1930 silver plate, rosewood, with inset timepiece 2.5cm high, 21cm wide, 13.1cm deep

£400-600

ANTON PUCHEGGER (1878-1917)

NOUS PORTONS BONHEUR TIMEPIECE

patinated and cold-painted bronze, gilt metal dial, and key moulded NOUS PORTONS BONHEUR, signed A. PUCHEGGER,1056

£1,800-2,200

82 ‡

ANTON PUCHEGGER (1878-1917)

DESK SET

circa 1910

comprising inkwell, letter stand and magnifying glass, together with a letter opener with bear finial patinated bronze and glass inkwell and letter rack signed A PUCHEGGER, magnifying glass stamped 1073 (4)

inkwell 25.5cm wide

£400-600

RAYMOND SUBES, MANNER OF MIRROR

1920s

wrought iron and later mirrored glass

98cm high, 50.7cm wide

£1,500-2,500

MAISON BAGUÈS, ATTRIBUTED TO, FOR BANCI, FLORENCE PERROQUET LAMP

1970s

gilt brass and glass

87cm high overall

£300-500

85 ‡

EDGAR BRANDT (1880-1960) CHANDELIER

circa 1925

silvered wrought iron, with six alabaster shades stamped EBrandt

92cm high, 70cm wide

£8,000-12,000

BRITISH TWO HEADS dated 1932

chalk, pencil and gouache, on paper, framed initialled ?MS 1932

30.3 x 23cm, 48 x 41cm including frame

Provenance: Purchased from Stephen Ongpin Fine Art, with label verso

£600-800

ROBJ (FL. 1920-1939) LES TROIS MATELOTS DECANTER

designed circa 1925 glazed porcelain

printed Robj Paris Made in France, (2)

28cm high

Provenance: Private Collection, U.K.

£400-600

EUROPEAN PENDANT

designed 1922 painted porcelain and silver signed ML Pál Binder 1922, stamped 900 5.3cm diameter

Provenance: Private Collection, London £300-500

SANDRO VACCHETTI (1889-1976) FOR ESSEVI (EST. 1934) LA CONFIDENZA WALL MASK

designed circa 1941 glazed earthenware

paper makers label Essevi, painted mark

ESSEVI MADE IN ITALY

26cm high, 31.5cm wide

£800-1,200

90 §

KURT GOEBEL (1906-1991) FOR GOLDSCHEIDER

BUST OF A GIRL designed circa 1930 glazed terracotta printed Goldscheider Wien

MADE IN AUSTRIA, impressed and incised 7653 3 GOEBEL

37.2cm high

£1,000-1,500

92 §

ELENA KÖNIG SCAVINI (1886-1974) AND ENRICO SCAVINI (1889-1938) FOR LENCI GIRL

designed circa 1930

glazed earthenware

painted Lenci MADE IN ITALY and cypher

41.5cm high

£1,000-1,500

MICHAEL POWOLNY (1871-1954) FOR WIENER KERAMIK SPRING

designed circa 1907-1912

glazed ceramic

impressed MP and WK, number 60, painted 11

37.8cm high

£3,000-5,000

93 ‡

DEMETRE CHIPARUS (1886-1947)

SAD LITTLE ONE

designed circa 1925

patinated bronze, marble base engraved D.H. Chiparus

30.5cm high

£3,000-5,000

94 ‡

DEMETRE CHIPARUS (1886-1947)

ACCIDENT DE CHASSE

circa 1925

patinated and cold-painted bronze, marble base signed in cast D. H. Chiparus, applied plaque ACCIDENT de CHASSE Par D.H. Chiparus (Récompensé au Salon)

23.5cm high, 43.2cm wide, 19.5cm deep

£2,500-3,000

95 ‡

DEMETRE CHIPARUS (1886-1947)

CLÉO THE BALLET DANCER

circa 1925

patinated and gilt bronze, marble base

engraved Chiparus, inset lozenge

moulded L.N. PARIS J.L.

32.5cm high

£3,500-4,000

96 Y DEMETRE CHIPARUS (18861947)

ACTRESS

designed circa 1925 cold-painted bronze, ivory, marble base base signed Chiparus

44cm high overall, figure 31.2cm high

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference LFF5ZVYL.

£5,000-7,000

97 ‡

DEMETRE CHIPARUS (1886-1947)

PHOENICIAN DANCER

circa 1925

patinated and cold-painted bronze, marble base engraved Chiparus

29.5cm high

£4,000-6,000

98 ‡

DEMETRE CHIPARUS (1886-1947)

DELHI DANCER

circa 1925

gilt and silvered bronze, marble base engraved Chiparus

33.7cm high

£3,500-4,000

99 ‡

DEMETRE CHIPARUS (1886-1947)

CHAIN DANCER

circa 1925

gilt and cold-painted bronze, marble base engraved Chiparus, bronze stamped 255

29.6cm high

£3,000-5,000

100 AFFORTUNATO GORY (FL. 1895-1925)

LA CURIEUSE

designed circa 1905 bronze, with later gilt patination, and marble, on a marble base figure 43cm high, 52cm high overall

£2,000-3,000

101 ‡

THEODOR KARL EICHLER (1868-1946)

THE SLAVE

circa 1910 patinated and gilt bronze, marble signed in cast Eichler and DER SKLAVIN LOS 31cm high

£800-1,200

GERDA IRO / GERDAGO / GERDA GOTTSTEIN / GOTTSCHLICH (1906-2004)

silvered and cold-painted bronze, applied paste stones, and ivory, onyx base

signed AR GERDAGO

36.7cm high overall, figure 32.5cm high

Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration

102 ‡

CLAIRE-JEANNE-ROBERTE

COLINET (1880-1950)

HINDU DANCER

circa 1925

gilt, silvered and cold-painted bronze, marble base

signed in cast CJR Colinet, and EL to foot

36.7cm high

£2,500-3,000

104

HORACE TAYLOR (1881–1934)

MANCHESTER TEXTILE EXHIBITION

1926

lithographic poster, condition B+; backed on linen

76 x 51cm

£500-700

105

ODIN ROSENVINGE (1880–1959)

CUNARD LINE TO NEW YORK, MAURETANIA, BERENGARIA, AQUITANIA

circa 1920

lithographic poster, condition B+/A-; backed on linen

100 x 61cm

£1,800-2,200

106

HELEN BYRNE BRYCE (1891–1971)

TOYS AT DERRY & TOMS, KENSINGTON

circa 1920

lithographic poster, condition B+; backed on linen 149 x 99cm.

£2,500-3,500

107

FRANCIS HOWLETT WARREN (1866–1960)

SPRING THINGS AT DERRY AND TOMS, KENSINGTON

circa 1920

lithographic poster, condition B+; backed on linen

137 x 95cm

£2,000-3,000

108

PREBBLE HERBERT WILLIAM RAYNER (1885-1950)

SHOES & SHIPS AND SEALING WAX AT DERRY & TOMS KENSINGTON

circa 1920

lithographic poster, condition A-; backed on linen

151 x 98cm

£3,000-5,000

Born in Bordeaux in 1882, and initially trained as an academic painter, from the 1920s onwards Jean Dupas worked as a creative painter-decorator, producing diverse works ranging from grand scale murals and panels, to posters and other commercial designs.

Despite his varied artistic interests, Dupas’ style remained distinct and immediately recognisable throughout his career, his work characterised by unique scenes set in dreamscape surroundings and figures always statuesque and elegant in appearance, with gracefully elongated necks and fashionably stylised looks.

Jean Dupas created two decorative poster panels for the London Underground in 1930; Thence to Hyde Park and Where is this Bower Beside the Silver Thames. Arguably some of his best graphic work, the panels promoted the charms of London life, and specifically the leisure destinations that the Underground brought into easy reach.

Jean Dupas is today considered among the greatest artists of the Art Deco movement.

109

JEAN THÉODORE DUPAS (1882–1964)

WHERE IS THE BOWER BESIDE THE RIVER THAMES?

1930

lithographic poster, condition A-; backed on linen 102 x 126cm

£14,000-16,000

110 ‡

SAMUEL LIPSCHYTZ (1880-1943)

DANCER WITH PARROT

circa 1925

patinated and cold-painted bronze, marble base

37.5cm high

£1,000-1,500

111 Ω §

PIERRE LAUREL (1892–1962)

TAMBOURINE DANCER

designed circa 1925

patinated bronze, marble base signed in cast Pierre Laurel, stamped BRONZE

35cm high

£1,000-1,500

112 Ω

AURORE ONU (FL. 1920S)

HOOP DANCER

designed circa 1925

patinated bronze, marble base

base incised Aurore Onu

46cm high

£1,200-1,800

JOSEF LORENZL (1892-1950)

DANCING FIGURE

gilt and cold-painted metal, onyx base signed in cast LORENZL

114

JOSEF LORENZL (1892-1950)

FIGURAL TIMEPIECE

circa 1925

silvered and cold-painted bronze, onyx clock face and base, with later movement signed in cast LORENZL

30cm high overall, base 3.5cm high

£4,000-6,000

115

JOSEF LORENZL (1892-1950)

DIANA THE HUNTRESS

circa 1925

silvered and cold-painted bronze, black onyx base signed in cast Lorenzl 45.4cm high

Provenance: Christie’s, London, 16 December 1987, lot 115

£3,000-5,000

117 Y PAUL PHILIPPE (1870-1930)

SEATED VIOLIN PLAYER

designed circa 1925

cold-painted bronze and ivory, onyx base signed Philippe R. uM. to base (lacking violin and bow)

30cm high

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference 1NG92WAN.

£2,000-3,000

116 Y ANDRÉ GILBERT (FL. 1920S)

PIERROT WITH GUITAR circa 1925

gilt, patinated and cold-painted bronze, ivory, stepped black marble base

16cm high overall

Catley, B., Art Deco and Other Figures, Woodbridge, 2003, p.156 (similar example illustrated)

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference CXQPQMBP.

£1,000-1,500

118 §

PROFESSOR OTTO POERTZEL (1876-1963)

BUTTERFLY DANCER

circa 1925

gilt and cold-painted bronze, marble base signed in cast PROF. POERTZEL

62cm high overall, plinth 12.5cm high

£4,500-5,000

CONDITIONS OF SALE 26.1

FOR BUYERS (UK)

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate.

“You”, “Your” means the Buyer.

Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

A. BEFORE THE SALE

A1.

DESCRIPTIONS OF LOTS

Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

A2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.

(b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

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Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

A4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery:

(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.

(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report

if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.

(iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.

(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.

(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(d) Books-Collation: If on collation

any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID

B1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:

(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)

(ii) Corporate clients: Your Certificate of Incorporation or equivalent document (s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;

(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.

(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44 (0)131 557 8844.

B2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1. (a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two

years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44 (0)131 557 8844.

B3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

B4. BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her.

(b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer (s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

B5. BIDDING IN PERSON

If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

B6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone bids

Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections.

(b) Internet Bids

For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision

to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE

C1. ADMISSION TO OUR AUCTIONS

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

C2. RESERVES

Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

C3. AUCTIONEER’S DISCRETION

The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

C4. BIDDING

The Auctioneer accepts bids from:

(a) Bidders in the saleroom;

(b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and;

C5. BIDDING INCREMENTS

Bidding increments shall be at the Auctioneer’s sole discretion.

C6. CURRENCY CONVERTER

The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any

rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

C7. SUCCESSFUL BIDS

Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

C8. RELEVANT LEGISLATION

You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

D1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 27% of the Hammer Price of each Lot up to and including £20,000, plus 26% from £20,001 to £800,000, plus 20% from £800,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction.

Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

D2. VALUE ADDED TAX

Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots.

(a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items.

(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the

reduced rate category outlined above.

D3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE)

This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES

E1. SELLER’S WARRANTIES

For each Lot, the Seller gives a warranty that the Seller;

(a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

E2. AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of

the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if:

(a) The Catalogue description was in accordance with the opinion (s) of generally accepted scholar (s) and expert (s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and

(b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

E3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.

(b) Where You are bidding on behalf of another person You warrant that:

(i) You have conducted appropriate customer due diligence on the ultimate Buyer (s) of the Lot (s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;

(ii) The arrangements between You and the ultimate Buyer (s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;

(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer (s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT

F1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.

(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.

(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.

(d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.

(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any payment whichever is later. Please

note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(f) No purchase can be claimed or removed until it has been paid for.

(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

F2. IN THE EVENT OF NON-PAYMENT

If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(a) To proceed against You for damages for breach of contract;

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

(c) To resell the Lot (s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).

(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;

(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;

(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;

(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and

(i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE

(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website

(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. We will assume your authority to release your item(s) to a recognised shipper providing they can provide your invoice details.

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;

(i) Charge You storage costs at the rates set out on our Website.

(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.

(iii) Sell the Lot in any way we think reasonable.

TRANSPORT & SHIPPING

H1. TRANSPORT AND SHIPPING

We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

H2. EXPORT OF GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

H3.

CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites

We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law

are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.

(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or

(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.

(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot

(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS

J1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;

(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or

(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

J2. RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

J3. COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.

J4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

J5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

J6. REPORTING ON LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

J7. SALE BY PRIVATE TREATY

(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

J8. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

J9. DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent (s) You may have given at the time Your information was disclosed). A copy of

our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.

J10. FORCE MAJEURE

We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

J11.

LAW AND JURISDICTION

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law

(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

DEFINITIONS & GLOSSARY

The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

K1.

DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Bidder” a person who has completed a Bidding Form

“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words

“You” and “Your”

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the

hammer;

“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;

“High Value Lot” a Lot with a lower Estimate of £30,000 or above;

“Lot” each Item offered for sale by Lyon & Turnbull;

“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;

“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;

“Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

K2.

GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING

Registered bidders will be assigned a nontransferable bidder number. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given during your registration.

There will be no in-room bidding for this auction.

BIDDING OUTSIDE THE SALEROOM BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING

Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

ON THE INTERNET - ABSENTEE BIDDING

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

- BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

PAYMENT

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER

Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS

We no longer accept card payments by phone. Please use our online payment service (provided by Stripe).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH

No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS

Please refer to page 2 of this catalogue.