Nathaniel HillRHA (1860-1930) CONVALESCENT oil on canvas signed with initials h:40.50 w:31 in.
Provenance: Taylor Scholarship, RDS, 1883; McComas (?) family, Rock Road, Blackrock, Co. Dublin; probably purchased c.1917 by father of Ita Hackett; By descent to Ita Hackett, Donnybrook, Co. Dublin; Adam's, 7 December 2016, lot 80; Private collection
Exhibited: Taylor Scholarship, Royal Dublin Society, 1883, entitled 'Convalescence'; Royal Hibernian Society, 1884, catalogue no. 258, entitled 'Convalescent'
Literature: Campbell, Julian, 'Hill, Nathaniel', in Painting, 1600-1900, ed. by N. Figgis, RIA/Yale, 2014, p.301
Nathaniel Hill was one of a circle of highly talented young artists associated with Walter Osborne in the 1880s. They studied together in Dublin and Antwerp, painted open-air subjects in Brittany and England, and then helped to introduce a new continental-inspired naturalism into Irish art. Hill also painted genre scenes, children and portraits. During his student years he won many prizes and he exhibited his work regularly. Yet he was a slow, painstaking worker. Only a few of his pictures are in public collections, the majority remaining in private collections. Nathaniel Hill was born into a Quaker family in Drogheda, Co. Louth in 1861. His father, Richard, had set up the oatmeal milling company R.R. Hill & Sons, Drogheda. Hill went to Dublin in 1877, studying in the Metropolitan School of Art, then the Royal Hibernian Academy Schools, exhibiting at the RHA for the first time in 1880. In autumn 1881, together with his contemporaries Osborne, Joseph M. Kavanagh and John J. Greene, Hill went to Antwerp to study in the Academie Royale, a pupil of Realist painter Charles Verlat. In 1883, he was awarded second prize in Painting from Life. Hill was also awarded Taylor Scholarships in Dublin on three occasions, and continued exhibiting at the RHA. Hill also painted in villages in Brittany and England, sometimes in the company of Osborne. He painted two versions of 'Breton Peasants Waiting at a Convent Door' (1884), the second of which was sold at Adam's in 2010. He sometimes depicted the same motifs as Osborne, for example 'Goose Girl in a Breton Farmyard' (1884) (formerly AIB collection, now Crawford Gallery, Cork). Osborne painted a small study of Hill painting at Walberswick, Suffolk and Hill drew a portrait of Osborne in charcoal (National Gallery of Ireland). Back in Ireland, Hill was based at his family home, Queensboro, Drogheda. He continued to exhibit at the RHA, being elected an associate in 1892 and a full member of the RHA in 1894. He also showed at the Dublin Art Club. He painted sympathetic portraits of children, and some official portraits of local dignitaries. In his plein-air scenes, his early careful style gave way to a looser, more Impressionist manner. After 1895 he ceased to exhibit regularly. His later years were spent at Bettws-y Coed in Wales. The present picture 'Convalescence' is one of Hill's largest canvases and dates from the early 1880s. It shows a young girl sitting in a chair and an elderly woman seated beside her. The girl has a pale, beautiful face and shining hair. She wears a red and brown striped shawl with tasselled edges over a red blouse. Her head rests against a large pillow and a cream-coloured blanket covers her knees. The woman has a weary face, with eyes cast down. She wears a black scarf over shining silver hair and an orange and silver silk scarf over dark dress or cardigan. Her large work-worn hands are crossed over her knees and her blue apron falls almost to the floor. Although the two figures are seated closely together, they are each lost in their own thoughts, the child's eyes looking out of the picture, her companion's eyes cast down, perhaps reflecting upon her life. Hill observes his subjects with sympathy, contrasting the lined, weary beauty of the woman, with her worn, heavy hands, with the pure beauty of the child, with smooth skin, glowing eyes and youthful hands. Faces, hands and clothing are scrupulously clean so there is no sense of poverty in the interior. The picture is set in quite a shallow space, figures and clothing carefully modelled, light from the right casting short shadows. The tonality of the painting is quite subdued, yet Hill employs a palette of rich, burnished colours. Equally, he contrasts smooth and rough textures. There are shades of brown and blues, terracotta reds, shining orange and silver, blue-grey, white and cream. The colours in the child's clothing are echoed in the red and dark blue floor tiles. Hill also observes other details such as the sheets of print, the images blurred, upon the girl's lap, the gleaming white and pink cups on the shelf behind and flowers or leaves on the ground, perhaps hinting at the fragility of life. The sense of intimacy and familiarity of 'Convalescence', the cream barún, Foxford-style blanket with stripes and the masonry tiles may suggest that the picture was painted at Hill's family home in Drogheda: the child a younger sister, perhaps, and the elderly woman a loyal member of the household. She is portrayed again in a smaller picture by Hill, with silvery hair and eyes closed, seated at a table. Yet the floor tiles in 'Convalescence' resemble those in some Flemish interiors and the womans headware and scarf, the large square pillow and the blanket are all characteristic of Belgium or The Netherlands . The canvas was painted during the artist's second year at Antwerp. Indeed, it could be a major picture executed in the Life class there. The themes of the sick child and of convalescence were popular in the history of art. They had been represented by Dutch artists in the 17th century, notably Gabriel Metsu, and especially in the latter part of the 19th century, by painters and writers when societies were haunted by the prevalence of childhood illness. These themes were treated by painters as diverse as Millais, Bouguereau, Tissot, Carriere, Ensor and Munch and indeed by Irish artists such as H.J. Thaddeus, R. Moynan, Mary E. Martin and John Lavery, as well as Hill. According to Christopher Wood, most Victorian attempts at the subject of convalescence 'involve mothers anxiously watching over sick children, or moist-eyed maidens offering up prayers.' But artists from the Low Countries, Scandinavia and Switzerland treated the subject in a much more realistic way in the early 1880s, as did Hill. Most notable were 'Sick Girl' (1881) by Christian Krohg (National Gallery, Oslo), a meticulous photographic painting of a girl in a chair, and the more expressive 'Sick Child' (1885-86) by Edvard Munch (National Gallery, Oslo). However, Hill's painting is not overly melancholy; although the theme is of convalescence it provides him with the opportunity to represent a double portrait of childhood and old age in a realistic and affectionate manner. Hill was a modest artist, signing his pictures with a small signature, a monogram, or not at all. In 'Convalescence' a tiny monogram 'NH' is just visible in the lower left area of the picture. The picture was awarded a Taylor Scholarship at the RDS in 1883, and is probably the same picture, entitled 'Convalescent', that was exhibited at the RHA in 1884. The painting may not have been exhibited in public since that date and has remained in private collections in Dublin.
Cracking visible on close inspection throughout the work. This appears stable and has not led to flaking of the paint. Otherwise good condition.
Exhibited
Taylor Scholarship, Royal Dublin Society, 1883, entitled 'Convalescence';
Royal Hibernian Society, 1884, catalogue no. 258, entitled 'Convalescent'
Literature
Campbell, Julian, 'Hill, Nathaniel', in Painting, 1600-1900, ed. by N. Figgis, RIA/Yale, 2014, p.301
Provenance
Taylor Scholarship, RDS, 1883;
McComas (?) family, Rock Road, Blackrock, Co. Dublin;
probably purchased c.1917 by father of Ita Hackett;
By descent to Ita Hackett, Donnybrook, Co. Dublin;
Adam's, 7 December 2016, lot 80;
Private collection
Notes
Nathaniel Hill was one of a circle of highly talented young artists associated with Walter Osborne in the 1880s. They studied together in Dublin and Antwerp, painted open-air subjects in Brittany and England, and then helped to introduce a new continental-inspired naturalism into Irish art. Hill also painted genre scenes, children and portraits. During his student years he won many prizes and he exhibited his work regularly. Yet he was a slow, painstaking worker. Only a few of his pictures are in public collections, the majority remaining in private collections.
Nathaniel Hill was born into a Quaker family in Drogheda, Co. Louth in 1861. His father, Richard, had set up the oatmeal milling company R.R. Hill & Sons, Drogheda. Hill went to Dublin in 1877, studying in the Metropolitan School of Art, then the Royal Hibernian Academy Schools, exhibiting at the RHA for the first time in 1880. In autumn 1881, together with his contemporaries Osborne, Joseph M. Kavanagh and John J. Greene, Hill went to Antwerp to study in the Academie Royale, a pupil of Realist painter Charles Verlat. In 1883, he was awarded second prize in Painting from Life. Hill was also awarded Taylor Scholarships in Dublin on three occasions, and continued exhibiting at the RHA.
Hill also painted in villages in Brittany and England, sometimes in the company of Osborne. He painted two versions of 'Breton Peasants Waiting at a Convent Door' (1884), the second of which was sold at Adam's in 2010. He sometimes depicted the same motifs as Osborne, for example 'Goose Girl in a Breton Farmyard' (1884) (formerly AIB collection, now Crawford Gallery, Cork). Osborne painted a small study of Hill painting at Walberswick, Suffolk and Hill drew a portrait of Osborne in charcoal (National Gallery of Ireland).
Back in Ireland, Hill was based at his family home, Queensboro, Drogheda. He continued to exhibit at the RHA, being elected an associate in 1892 and a full member of the RHA in 1894. He also showed at the Dublin Art Club. He painted sympathetic portraits of children, and some official portraits of local dignitaries. In his plein-air scenes, his early careful style gave way to a looser, more Impressionist manner. After 1895 he ceased to exhibit regularly. His later years were spent at Bettws-y Coed in Wales.
The present picture 'Convalescence' is one of Hill's largest canvases and dates from the early 1880s. It shows a young girl sitting in a chair and an elderly woman seated beside her. The girl has a pale, beautiful face and shining hair. She wears a red and brown striped shawl with tasselled edges over a red blouse. Her head rests against a large pillow and a cream-coloured blanket covers her knees. The woman has a weary face, with eyes cast down. She wears a black scarf over shining silver hair and an orange and silver silk scarf over dark dress or cardigan. Her large work-worn hands are crossed over her knees and her blue apron falls almost to the floor.
Although the two figures are seated closely together, they are each lost in their own thoughts, the child's eyes looking out of the picture, her companion's eyes cast down, perhaps reflecting upon her life. Hill observes his subjects with sympathy, contrasting the lined, weary beauty of the woman, with her worn, heavy hands, with the pure beauty of the child, with smooth skin, glowing eyes and youthful hands.
Faces, hands and clothing are scrupulously clean so there is no sense of poverty in the interior. The picture is set in quite a shallow space, figures and clothing carefully modelled, light from the right casting short shadows. The tonality of the painting is quite subdued, yet Hill employs a palette of rich, burnished colours. Equally, he contrasts smooth and rough textures. There are shades of brown and blues, terracotta reds, shining orange and silver, blue-grey, white and cream. The colours in the child's clothing are echoed in the red and dark blue floor tiles. Hill also observes other details such as the sheets of print, the images blurred, upon the girl's lap, the gleaming white and pink cups on the shelf behind and flowers or leaves on the ground, perhaps hinting at the fragility of life.
The sense of intimacy and familiarity of 'Convalescence', the cream barún, Foxford-style blanket with stripes and the masonry tiles may suggest that the picture was painted at Hill's family home in Drogheda: the child a younger sister, perhaps, and the elderly woman a loyal member of the household. She is portrayed again in a smaller picture by Hill, with silvery hair and eyes closed, seated at a table. Yet the floor tiles in 'Convalescence' resemble those in some Flemish interiors and the womans headware and scarf, the large square pillow and the blanket are all characteristic of Belgium or The Netherlands . The canvas was painted during the artist's second year at Antwerp. Indeed, it could be a major picture executed in the Life class there.
The themes of the sick child and of convalescence were popular in the history of art. They had been represented by Dutch artists in the 17th century, notably Gabriel Metsu, and especially in the latter part of the 19th century, by painters and writers when societies were haunted by the prevalence of childhood illness. These themes were treated by painters as diverse as Millais, Bouguereau, Tissot, Carriere, Ensor and Munch and indeed by Irish artists such as H.J. Thaddeus, R. Moynan, Mary E. Martin and John Lavery, as well as Hill.
According to Christopher Wood, most Victorian attempts at the subject of convalescence 'involve mothers anxiously watching over sick children, or moist-eyed maidens offering up prayers.' But artists from the Low Countries, Scandinavia and Switzerland treated the subject in a much more realistic way in the early 1880s, as did Hill. Most notable were 'Sick Girl' (1881) by Christian Krohg (National Gallery, Oslo), a meticulous photographic painting of a girl in a chair, and the more expressive 'Sick Child' (1885-86) by Edvard Munch (National Gallery, Oslo).
However, Hill's painting is not overly melancholy; although the theme is of convalescence it provides him with the opportunity to represent a double portrait of childhood and old age in a realistic and affectionate manner. Hill was a modest artist, signing his pictures with a small signature, a monogram, or not at all. In 'Convalescence' a tiny monogram 'NH' is just visible in the lower left area of the picture. The picture was awarded a Taylor Scholarship at the RDS in 1883, and is probably the same picture, entitled 'Convalescent', that was exhibited at the RHA in 1884. The painting may not have been exhibited in public since that date and has remained in private collections in Dublin.
Dr. Julian Campbell
November 2016
Payment & Shipping
Payment
Accepted forms of payment: MasterCard, Money Order / Cashiers Check, Personal Check, Visa, Wire Transfer
Shipping
The buyer will be responsible for all removal, storage and insurance charges in respect of any lot which has not been collected within fourteen days of the date of sale.
Whyte & Sons Auctioneers Limited, trading as Whyte's, hereinafter called "the auctioneer" exercises all reasonable care to ensure that all descriptions are reliable and accurate, and that each item is genuine unless the contrary is indicated. However, the descriptions are not intended to be, are not and are not to be taken to be, statements of fact or representations of fact in relation to the lot. They are statements of the opinion of the auctioneers, and attention is particularly drawn to clause 5 set out below. Comments and opinions, which may be found in or on lots as labels, notes, lists, catalogue prices, or any other means of expression, do not constitute part of lot descriptions and are not to be taken as such unless they are made or specifically verified by the auctioneers. Clause 1 (a) Each lot is put up subject to any reserve price imposed by the vendor (b) Subject to sub-clause (a) of this clause, the highest bidder for each lot shall be the purchaser thereof (c) If any dispute arises as to the highest bidder the auctioneer shall have absolute discretion to determine the dispute and may put up again and re-sell the lot in respect of which the dispute arises. Clause 2 (a) The bidding and advances shall be regulated by and at the absolute discretion of the auctioneer and he shall have the right to refuse any bid or bids. NOTE: Where an agent bids, even on behalf of a disclosed client, the auctioneer nevertheless has the right at his discretion to refuse any such bid. (b) The purchaser of each lot shall immediately on its sale, if required by the auctioneer, give him the name and address of the purchaser and pay to the auctioneer at his discretion the whole or part of the purchase money. If the purchaser of any lot fails to comply with any such requirement the auctioneer may put up again and re-sell the lot; if upon such re-sale a lower price is obtained than was obtained on the first sale the purchaser in default on the first sale shall make good the difference in price and expenses of re-sale which shall become a debt due from him. (c) Where an agent purchases on behalf of an undisclosed client such agent shall be personally liable for payment of the purchase money to the auctioneer and for safe delivery of the lot to the said client. Clause 3 (a) The auctioneer reserves the rights to bid on behalf of clients including vendors, but shall not be liable for errors or omissions in executing instructions to bid. (b) The auctioneer reserves the rights, before or during a sale, to group together lots belonging to the same vendor, to split up and to withdraw any lot or lots at the auctioneer's absolute discretion and without giving any reason in any case. (c) The auctioneer acts as agent only, and therefore shall not be liable for any default of the purchaser or vendor. Clause 4 (a) Each lot shall be at the purchaser's risk from the fall of the hammer and shall be paid for in full before delivery and taken away at his expense within one day of the sale. The buyer will be responsible for all removal, storage and insurance charges in respect of any lot which has not been collected within one day of the date of sale. (b) If any purchaser fails to pay in full for any lot within 21 days of the date of sale such lot may at any time thereafter at the auctioneer's discretion be put up for sale by auction again or sold privately; if upon such re-sale a lower price is obtained than was obtained on the first sale the purchaser in default on the first sale shall make good the difference in price and the expenses of re-sale which shall become debt due from him. (c) Interest at 2 per cent per month and legal costs (if any) for recovery of monies due shall be payable by the purchaser on any overdue account. Clause 5 (a) All lots are made available for inspection before each sale and each buyer, by making a bid, acknowledges that he has satisfied himself as to the physical condition, age and catalogue description of each lot (including but not restricted to whether the lot is damaged or has been repaired or restored). (b) All lots are sold with all faults and imperfections and errors of description and the Auctioneer and its employees, servants or agents shall not be responsible for any error of description or for the condition or authenticity of any lot, save for Clause 5 (c) below. Written or verbal condition reports may be supplied by the Auctioneer on request but these are merely statements of opinion, and any error or omission in these reports may not be taken as grounds for a cancellation of sale or refund of any part of the purchase price or the cost of any repairs to the lot or lots reported on (c) A purchaser shall be at liberty to reject any lot if he - (i) gives the auctioneer written notice of intention to question the genuineness of the lot within seven days from the date of sale; AND (ii) proves that the lot is a deliberate forgery and (iii) returns to the auctioneer within 20 days from the date of sale the lot in the same condition as it was at the time of sale; provided that the auctioneer may, at his discretion, on receiving a request in writing from the purchaser, extend for a reasonable period the time for return of the lot to enable it to be submitted to expertisation. NOTE: The onus of proving a lot to be a deliberate forgery is on the purchaser. (d) Where a lot has been submitted to expertisation, all costs of such expertisation shall be paid by the person who retains the certificate of expertisation and item or items to which the certificate relates. (e) Where the purchaser of a lot discharges the onus and acts in accordance with sub-clause (b) of this clause, the auctioneer shall rescind the sale and repay to the purchaser the purchase money paid by him in respect of the lot. (f) No lot shall be rejected if, subsequent to the sale, it has been marked by an expert committee or treated by any other process unless the auctioneer's permission to subject the lot to such treatment has first been obtained in writing. (g) Any lot listed as a "collection, range, portfolio etc." or stated to comprise or contain a collection or range of items which are not described shall be put up for sale not subject to rejection and shall be taken by the purchaser with all (if any) faults, lack of genuineness and errors of description and numbers of items in the lot, and the purchaser shall have no right to reject the lot; except that, notwithstanding the foregoing provisions of this sub-clause, where before a sale a person intending to bid at the sale gives notice in writing to, and satisfies the auctioneer that any such lot contains any item or items undescribed in the sale catalogue and that person specifically describes that item or those items in that notice, then that item or those items shall, as between the auctioneer and that person, to be taken to form part of the description of the lot. Clause 6 The respective rights and obligations of the parties shall be governed and interpreted by Irish law, and the buyer hereby submits to the exclusive jurisdiction of the Irish Courts. SPECIAL CONDITIONS (a)The buyer shall pay the Auctioneer a commission at the rate of 24.6% (which includes VAT at the prevailing rate under The Margin Scheme and which is not reclaimable.
(b) The Auctioneer or its employees, servants or agents may, on request organise packing and shipping of lots purchased or may order on the buyer's behalf third parties to pack or ship purchases. Under no circumstances does the Auctioneer accept any liability whatsoever for any loss or damage howsoever occasioned in the course of such service. (c) The buyer authorises the Auctioneer to use any photographs or illustrations of any lot purchased for any or all purposes as the Auctioneer may require. The placing of a bid will be taken as full agreement to all the above conditions. WHYTE & SONS AUCTIONEERS LIMITED 38 Molesworth Street, Dublin 2
Credit Cards
We accept credit cards to a maximum value of €500 for payment for any winning online bidders at all sales We do require credit card information to bid; this is only to confirm identity and address and will not be used for payment if you are the winning bidder.
VAT on Buyers Premium
The Buyer's Premium of 24.6% includes Margin Rate VAT of 23% which is not reclaimable and applies to all buyers both inside and outside the EU.
Condition
Whyte & Sons Auctioneers Limited, trading as Whyte's, hereinafter called "the auctioneer" exercises all reasonable care to ensure that all descriptions are reliable and accurate, and that each item is genuine unless the contrary is indicated. However, the descriptions are not intended to be, are not and are not to be taken to be, statements of fact or representations of fact in relation to the lot. They are statements of the opinion of the auctioneers, and attention is particularly drawn to clause 5 in our full Terms & Conditions. Comments and opinions, which may be found in or on lots as labels, notes, lists, catalogue prices, or any other means of expression, do not constitute part of lot descriptions and are not to be taken as such unless they are made or specifically verified by the auctioneers.
Premium & Taxes
The buyer shall pay the Auctioneer a commission at the rate of 24.6% (which includes VAT at the prevailing rate under The Margin Scheme and which is not reclaimable). There is no extra charge for bidding on-line at Invaluable.or Whyte's.
Payment
Each lot shall be paid for in full before delivery and taken away at his/her expense within seven days of the sale.
Shipping
The buyer will be responsible for all removal, storage and insurance charges in respect of any lot which has not been collected within fourteen days of the date of sale.
Get Invaluable on Your Phone
Download the app via text link to get instantly notified if you’re outbid and receive auction reminders so you never miss out!
Ascension Island
Andorra
United Arab Emirates
Afghanistan
Antigua and Barbuda
Anguilla
Albania
Armenia
Angola
Argentina
American Samoa
Austria
Australia
Aruba
Åland Islands
Azerbaijan
Bosnia and Herzegovina
Barbados
Bangladesh
Belgium
Burkina Faso
Bulgaria
Bahrain
Burundi
Benin
Saint Barthélemy
Bermuda
Brunei Darussalam
Bolivia
Bonaire, Sint Eustatius and Saba
Brazil
Bahamas
Bhutan
Botswana
Belarus
Belize
Canada
Cocos (Keeling) Islands
Congo, Democratic Republic of the
Central African Republic
Congo
Switzerland
Cote d'Ivoire
Cook Islands
Chile
Cameroon
China
Colombia
Costa Rica
Cuba
Cape Verde
Curaçao
Christmas Island
Cyprus
Czech Republic
Germany
Djibouti
Denmark
Dominica
Dominican Republic
Algeria
Ecuador
Estonia
Egypt
Western Sahara
Eritrea
Spain
Ethiopia
Finland
Fiji
Falkland Islands
Federated States of Micronesia
Faroe Islands
France
Gabon
United Kingdom
Grenada
Georgia
French Guiana
Guernsey
Ghana
Gibraltar
Greenland
Gambia
Guinea
Guadeloupe
Equatorial Guinea
Greece
Guatemala
Guam
Guinea-Bissau
Guyana
Hong Kong
Honduras
Croatia
Haiti
Hungary
Indonesia
Ireland
Israel
Isle of Man
India
British Indian Ocean Territory
Iraq
Iran
Iceland
Italy
Jersey
Jamaica
Jordan
Japan
Kenya
Kyrgyzstan
Cambodia
Kiribati
Comoros
Saint Kitts and Nevis
North Korea
South Korea
Kuwait
Cayman Islands
Kazakhstan
Laos
Lebanon
Saint Lucia
Liechtenstein
Sri Lanka
Liberia
Lesotho
Lithuania
Luxembourg
Latvia
Libya
Morocco
Monaco
Moldova
Montenegro
Saint Martin (French Part)
Madagascar
Marshall Islands
North Macedonia
Mali
Myanmar
Mongolia
Macao
Northern Mariana Islands
Martinique
Mauritania
Montserrat
Malta
Mauritius
Maldives
Malawi
Mexico
Malaysia
Mozambique
Namibia
New Caledonia
Niger
Norfolk Island
Nigeria
Nicaragua
Netherlands
Norway
Nepal
Nauru
Niue
New Zealand
Oman
Panama
Peru
French Polynesia
Papua New Guinea
Philippines
Pakistan
Poland
Saint Pierre and Miquelon
Puerto Rico
Palestine
Portugal
Palau
Paraguay
Qatar
Reunion
Romania
Serbia
Russia
Rwanda
Saudi Arabia
Solomon Islands
Seychelles
Sudan
Sweden
Singapore
Saint Helena
Slovenia
Svalbard and Jan Mayen
Slovakia
Sierra Leone
San Marino
Senegal
Somalia
Suriname
South Sudan
Sao Tome and Principe
El Salvador
Sint Maarten
Syria
Swaziland
Tristan da Cunha
Turks and Caicos Islands
Chad
Togo
Thailand
Tajikistan
Tokelau
Timor-Leste
Turkmenistan
Tunisia
Tonga
Turkey
Trinidad and Tobago
Tuvalu
Taiwan
Tanzania
Ukraine
Uganda
United States
Uruguay
Uzbekistan
Holy See (Vatican City State)
Saint Vincent and the Grenadines
Venezuela
Virgin Islands, British
Virgin Islands, U.S.
Vietnam
Vanuatu
Wallis and Futuna
Samoa
Kosovo
Yemen
Mayotte
South Africa
Zambia
Zimbabwe
Bid On-the-Go!
Download the Invaluable app and never miss an auction from your iOS or Android device.
