From the Studio: Works from 15 Artists' Estates I Wednesday 20th March 2024

BERNARD MYERS

EDMOND XAVIER KAPP

HANS FEIBUSCH

HANS GASSEBNER

HEDWIG PILLITZ

HUGH CRONYN

JAMES HULL

LEO DAVY

LESLIE MARR

LIONEL BULMER

MARIE-LOUISE VON MOTESICZKY

MAURICE COCKRILL

MICHAEL UPTON

ROSE HILTON

TREVOR BELL

FROM THE STUDIO:

WORKS FROM FIFTEEN ARTISTS’ ESTATES

WEDNESDAY 20TH MARCH 2024

INDEX:

BELL, T 111-122

BULMER, L 159-166

COCKRILL, M 183-187

CRONYN, H 167-174

DAVY, L 91-98

FEIBUSCH, H 29-51

GASSEBNER, H 52-59

HILTON, R 175-182

HULL, J 99-110

KAPP, E X 60-71

MARR, L 83-90

MYERS, B 139-158

PILLITZ, H 72-82

UPTON, M 123-138

VON MOTESICZKY, M L 1-28

FROM THE STUDIO: WORKS FROM FIFTEEN ARTISTS’ ESTATES

TO BE SOLD BY AUCTION:

25 Blythe Road, London W14 0PD

AUCTION:

Wednesday 20th March 2024, 12pm, precisely

PUBLIC EXHIBITION:

Sunday 17th March, 12pm to 4pm

Monday 18th March, 10am to 8pm

Tuesday 19th March, 10am to 5pm

SALE NUMBER 35

ENQUIRIES:

Adrian Biddell, Head of Sale adrian.biddell@olympiaauctions.com

Maryam Daoudi, Administrator and Junior Cataloguer maryam.daoudi@olympiaauctions.com

Charlotte Norman-Butler, Specialist and Cataloguer charlotte.normanbutler@olympiaauctions.com

+44 (0)20 7806 5545 pictures@olympiaauctions.com

ONLINE CATALOGUE AND LIVE INTERNET BIDDING AVAILABLE THROUGH: www.olympiaauctions.com www.the-saleroom.com www.invaluable.com www.drouotonline.com

This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.

PROPERTY FROM THE MARIE-LOUISE VON MOTESICZKY CHARITABLE TRUST (LOTS 1-28)

Marie-Louise von Motesiczky (1906-1996) grew up in Vienna, but when Austria was annexed by Germany in 1938 she and her mother fled via Holland to England where she lived and painted until she died in her ninetieth year.

A seminal influence on her work was Max Beckmann (1884-1950) whom she met in 1920. She recalled: ‘A winged creature from Mars could not have made a greater impact on me’ and they remained in regular contact until the end of his life. Beckmann visited her in Paris, she attended his master classes in Frankfurt 1927-28 and they stayed in contact as far as possible during his exile in Holland from 1937-47, travelling to visit him and his wife ‘Quappi’ before they left for the United States.

Marie-Louise had been born into a cultured Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange in Vienna, she counted the Todescos, and Ephrussis among her family circle, and her grandmother Anna was one of Freud’s early patients. Over time the family was stricken by tragedy and financial and political turmoil. Marie-Louise’s father died in a hunting accident in 1909, her mother’s income was reduced during the post First World War years by high taxation and the failure of the family bank in 1932, and the Anschluss on 13 March 1938, impelled her to leave immediately with her mother. Her brother Karl did not do so, mistakenly thinking he could continue his studies and look after the family property. He was arrested in October 1942 for aiding Jewish refugees and deported to Auschwitz, dying of typhus on 25 June 1943.

In London Marie-Louise reconnected with Oskar Kokoschka (1886-1980), a family friend from Vienna now similarly living in exile. Kokoschka arranged for her work to be exhibited in London, including a show at the Czechoslovak Institute in 1944. It was in Britain that she found her own ‘voice’ as an artist, living in Amersham during the war years, then a rented flat in West Hampstead and finally a large house on Chesterford Gardens in Hampstead. Another figure central to her life for nearly thirty years was the Nobel prize-winning writer Elias Canetti (1905-94), who is commemorated on the plaque dedicated to the two of them at the house in Chesterford Gardens.

But starting afresh in Britain proved challenging for Marie-Louise, and it was not until 1960 that she had a second solo show at the Beaux Arts Gallery. In contrast, on the Continent her work was exhibited in Amsterdam and The Hague in 1952, a canvas being purchased by the Stedelijk Museum; she showed in Munich (1954) and Düsseldorf (1955), and in the 1960s she enjoyed further shows in both Austria and Germany. Then, in 1985, her work was exhibited again in London at the Goethe-Institut. The catalogue included contributions by Tate curator Richard Calvocoressi, Gunther Busch, former director of the Kunsthalle in Bremen, and the renowned cultural historian and fellow émigré Sir Ernst Gombrich.

The exhibition re-ignited interest in her work, and in the years that followed her work was shown across Europe. A centenary exhibition travelled from Britain to Germany and Austria in 2006-7, her biography written by Jill Lloyd was published in 2007, followed in 2009 by a catalogue raisonné compiled by Ines Schlenker. In 2019 the ‘Marie-Louise von Motesiczky Archive Gallery’ was inaugurated at Tate Britain where the archive of her papers, photographs and the bulk of her drawings and sketchbooks are held and fully catalogued online. Her work is now in the collections of national, regional, local and university museums in Britain, Ireland, Austria, Germany, Netherlands and the United States. A major self-portrait of 1959 is on display at the National Portrait Gallery in London, following its reopening in June 2023.

Literature Reference: The reference for Schlenker abbreviated in lots 1-28 is: Ines Schlenker, Marie-Louise von Motesiczky, A Catalogue Raisonné of the Oil Paintings, London, 2009.

The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org

The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

1

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

KOALA

oil on canvas

39 x 39cm; 15 1/4 x 15 1/4in (unframed)

Painted in 1954; Schlenker comments that Marie-Louise’s depictions of animals were typically limited to house pets and birds, and that the present close up portrait of a koala, apparently sitting in the branches of a tree, is highly unusual and appears to be unique in her work (Schlenker p. 243).

Exhibited

Munich, Städitsche Galerie, Erna Dinklage, Marie Louise Motesiczky, 1954, no. 130

Schlenker no. 128

£500-700

2

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

STILL-LIFE WITH RHODODENDRON BRANCH

oil on canvas

30 x 40.5cm; 12 x 16in (unframed)

Painted in 1979.

Schlenker no. 262

£700-900

3

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

BLONDE WOMAN

oil on canvas

61 x 51cm; 24 x 21in

76 x 64cm; 30 x 25 1/2in (framed)

Painted in 1960, Schlenker suggests that the sitter for the present work may well have been a Spanish girl called Lolita who lodged with Marie-Louise in exchange for sittings. Lolita was the model for at least two other oils (see Lolita I and Lolita III, Schlenker nos. 180 & 182). Lolita III was purchased by Lord McAlpine in the early 1960s and Lolita I is now in the collection of the Leopold Museum, Vienna

Schlenker no. 166

£1,200-1,800

4

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) STILL-LIFE, RED ROSE

oil on canvas

35 x 45cm; 13 3/4 x 17 3/4in

49 x 59cm; 19 1/4 x 23 1/4in (framed)

Painted in 1961.

Schlenker no. 176

£700-900

5

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

PORTRAIT OF A YOUNG GIRL IN A BLUE DRESS oil on board

46 x 37cm; 18 x 14.5in (unframed)

Painted in 1952, according to Schlenker the present work may have been painted whilst Marie-Louise was on holiday in the south of France (Schlenker p. 224).

Schlenker no. 113

£600-800

6

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

ORCHID AND CLAY FIGURE

signed with initials and dated 67 lower left oil on canvas

25 x 30.5cm; 10 x 12in

31 x 36.5cm; 12 1/4 x 14 1/2in (framed)

Painted in 1967. According to Schlenker, Marie-Louise probably acquired the small clay figure in indigenous dress on her trip to Mexico in 1956, displaying it thereafter on the mantlepiece in the living room at Chesterford Gardens, Hampstead (Schlenker p. 367).

Exhibited

Munich, Galerie Günther Frank, Marie-Louise Motesiczky, 1967, no. 59 (ex-catalogue)

Schlenker no. 212

£500-700

7

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

STILL LIFE WITH STRAWBERRIES AND CREAM oil on board

37.5 x 36.5cm; 14 3/4 x 14 1/4in (unframed)

Schlenker no. 332

£800-1,200

8

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

ORCHID AND FIGURE

oil on canvas

34 x 45.cm; 13 1/2 x 17 1/2in 48 x 58.5cm; 19 x 23in (framed)

Painted in 1953, Schlenker suggests that the reclining woman in the background of the present work depicts Henriette von Motesiczky, the artist’s mother (Schlenker p. 238)

Schlenker no. 123

£800-1,200

9

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

FIESTA III

oil on canvas

91 x 71cm; 36 x 28in (unframed)

Painted in 1967.

Schlenker no. 209

The depiction of a central dancer surrounded by supporting characters is one of three sequential canvases Marie-Louise painted (see also Schlenker nos. 207 & 208). The work draws on the artist’s memories of her trip to Spain the previous summer and her formative years in Germany where she was influenced by Max Beckmann (1884-1950) and was exposed to the Expressionism of such painters as George Grosz (1893-1950) and Otto Dix (1881-1969). Schlenker remarks of the subject: ‘Although it is difficult to interpret and make sense of the individual scenes, the inherent danger, subtle threat and indefinable sinister undertones of the painting are inexplicably palpable’ (Schlenker p. 358).

£2,000-3,000

10

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

EVELYN AND FRIEND

oil on canvas

69 x 50.5cm; 27 x 20in (unframed)

Painted in 1980. The central figure with arms folded was an Irish woman called Evelyn who worked for the Motesiczky family in the 1970s and 1980s. The lady with white hair is that of Marie-Louise herself clutching her palette and paint brushes.

Schlenker no. 270

£1,200-1,800

11

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

OLD WOMAN WITH FLOWERS AND PAGE BOY

oil on canvas

101 x 76cm; 40 x 30in (unframed)

Painted in 1968, Schlenker comments that the subject likely ‘presents a snapshot of a chance encounter in a public place. ...the scene probably takes place outside a shop on a busy street, where people, hurrying to and fro, go about their business. The ibis is perhaps the decoration in a shop window.’ (Schlenker p. 386).

Schlenker no. 223

£1,200-1,800

12

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

STILL LIFE, YELLOW ROSE oil and pencil on board

71 x 35cm; 28 x 13 3/4in

73.5 x 37cm; 29 x 14 1/2in (framed)

Painted in 1976.

Exhibited

Frankfurt am Main, Kommunale Galerie im Refektorium des Karmeliterklosters, Max Beckmanns Frankfurter Schüler 1925-1933, 1980-81, no. 81 (erronesously dated 1979)

Schlenker no. 253

£1,000-1,500

13

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

THISTLE

oil and pastel on canvas

51 x 40.5cm; 20 x 16in (unframed)

Painted in 1979, the year after the death of Henriette von Motesiczky, the artist’s mother and favourite model. Schlenker notes the references to Henriette in the composition, observing that the principal flower is in fact a protea rather than a thistle and could be read as the artist’s memory of her mother, while the two pipes are a direct reminder of Henriette who was a keen pipe smoker (Schlenker p. 439).

Literature

Jill Lloyd, The Undiscovered Expressionist, A Life of Marie-Louise von Motesiczky, London, 2007, p. 197

Schlenker no. 261

£800-1,200

14

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

STILL-LIFE, CANDLES, VASE OF ROSES AND CHAIR oil on canvas

58 x 45.5cm; 23 x 18in (unframed)

Painted circa 1980.

Schlenker no. 302

£1,000-1,500

15

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

DAHLIAS IN A VASE

oil on canvas

40.5 x 35.5cm; 16 x 13 3/4in (unframed)

Painted in 1991.

Schlenker no. 313

£700-900

16

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

FRUIT AND ROSE

oil on canvas

50.5 x 35.5cm; 20 x 14in

63 x 48cm; 24 3/4 x 19in (framed)

Painted in 1991, a photograph, probably taken by the artist, records the present composition: a single rose in a vase with fruit and flowers in a basket arranged on the draining board adjacent to the sink in the scullery at Chesterford Road, Hampstead (Schlenker p. 501). The photograph, together with the domed wire-mesh food cover which can be glimpsed behind the fruit basket, are now in the Motesiczky Archive in Tate Britain.

Exhibited

Manchester, Manchester City Art Galleries, Marie-Louise von Motesiczky, Paintings 1925-1993, 1994, no. 34 (titled Still Life with White Rose)

Schlenker no. 314

£700-900

17

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

ROSES IN THE WINDOW

oil on canvas

50.5 x 36cm; 20 x 14in (unframed)

Painted in 1994.

Schlenker no. 324

£800-1,200

18

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

DAFFODILS AND NARCISSI

signed and dated Motesiczky 1991 lower left oil and charcoal on canvas

51 x 76.5cm; 20 x 30in

63 x 91cm; 26 x 36in (framed)

Painted in 1991, the brushes placed against the round vase on the right suggest that the present work was painted in the artist’s studio at Chesterford Gardens, Hampstead.

Exhibited

Manchester, Manchester City Art Galleries, Marie-Louise von Motesiczky, Paintings 1925-1993, 1994, no. 33 (titled Still Life with Narcissi)

Schlenker no. 312

£1,200-1,800

19

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

FEMALE HEAD

oil, charcoal and pastel on canvas

50.5 x 40.5cm; 20 x 16in (unframed)

Painted circa 1994-95. Schlenker notes that it has been suggested that this portrait began as a likeness of Pia-Maria Kerman, friend of the artist and mother of Michael Kerman who was a lodger at 6 Chesterford Gardens, Hampstead, but that Marie-Louise subsequently re-worked the painting (Schlenker p. 517).

Schlenker no. 328

£800-1,200

20

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

APPLES AND GRAPES

oil on canvas

36 x 45.5cm; 14 x 18in (unframed)

Painted in the 1980s.

Schlenker no. 303

£600-800

21

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) PORTRAIT OF A SMILING LADY

oil on canvas

41 x 30.5cm; 16 x 12in (unframed)

Painted in 1944.

Schlenker no. 67

£600-800

22

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

COW STRETCHING OVER HEDGE IN FIELD

oil on canvas

40.5 x 51cm; 16 x 20in (unframed)

Painted in the 1960s. As noted in lot 1, apart from domesticated pets it was rare for Marie-Louise to paint animals in nature, but in the present work she seems to have been attracted by the cow’s innocent eye and the enthusiastic lick of its large pink tongue, an action she captures with typical wit and veracity.

Schlenker no. 238

£1,000-1,500

23

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

BEACH SCENE

oil on canvas

50.5 x 63.5cm; 20 x 25in

61 x 72cm; 24 x 28 1/2in (framed)

Painted in the early 1970s, Schlenker notes that the subject was inspired by a holiday Marie-Louise took in Tunisia in 1973. A photograph from her trip of the present beach and rocks is in the Motesiczky Archive, Tate Britain (Schlenker, p. 415, fig. 200).

Schlenker no. 247

£800-1,200

24

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

WOMAN IN PROFILE

oil on canvas

46 x 32cm; 18 x 12.5in (unframed)

Painted in the late 1950s, Schlenker thinks it most likely that the model is Mexican, as Marie-Louise visited Mexico in spring 1956 where she was inspired by Diego Rivera and his depiction of calla lilies, a flower that the sitter carries, its yellow pistil prominently glowing lower left (Schlenker, p. 300). There is an unfinished portrait on the reverse of the canvas.

Schlenker no. 161

£800-1,200

25

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

STILL-LIFE WITH BOOKS, ROSES AND RECORDER

oil on canvas

33 x 48cm; 13 x 19in (unframed)

Painted in 1982.

Literature

Jill Lloyd, The Undiscovered Expressionist, A Life of Marie-Louise von Motesiczky, London, 2007, p. 219 (titled Still life with books, roses and flute)

Schlenker no. 275

£800-1,200

26

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

PORTRAIT OF ‘AU PAIR’ BARBARA signed with initials and dated 92 upper right oil on canvas

46 x 40.5cm; 20 x 14in (unframed)

Painted in 1992, the sitter was Barbara Valentina Berner (b.1972). Originally from Vienna, she lodged with Marie-Louise for a few months in the early 1990s, helping with housework and keeping her company. A related pencil study of the sitter is in the Motesiczky Archive, Tate Britain (Schlenker, p. 506, fig. 250).

Schlenker no. 316

£700-900

27

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) STILL LIFE WITH FLOWERS oil on canvas

36 x 40.5cm; 14 1/4 x 16in (unframed)

Painted in the mid-1990s, Schlenker notes that this is one of Marie-Louise’s most abstract works in which she depicts an expansive bunch of sweet peas and gypsophila, probably from her garden.

Schlenker no. 327

£500-700

28

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)

TWO BEARDED MEN BY A LAKE oil on canvas

50.5 x 71cm; 20 x 28in (unframed)

Schlenker no. 333

£500-700

28

27

26

HANS FEIBUSCH (LOTS 29-51)

TO STAND BEFORE AN EMPTY WALL

as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss.

(Hans Feibusch)

The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate.

Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s.

Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lot 50), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter’s Church, Pickford Lane, Bexley Heath (lot 48) and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea (lot 49). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950.

A consummate draughtsman, whether sketching his surroundings (lot 29), or studying the model before him (lots 30 & 31), he captures the scene before him with a fine eye for detail. And as a colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 35 & 36). But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today.

Exhibition Reference: The reference for the travelling exhibition abbreviated in lots 29-51 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96

29

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

VIEW FROM THE ARTIST’S STUDIO pencil on paper

16.4 x 33cm; 6 1/2 x 13in (unframed)

There is a partial sketch of a seated female figure on the reverse.

£150-250

30

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

THREE FIGURE STUDIES INCLUDING A SEATED CLASSICAL MALE NUDE, THE CRUCIFIXION, AND STANDING WOMAN

each: pencil on paper

two: 35.5 x 21.5cm; 14 x 8 1/2in; one: 28 x 20cm; 11 x 8in (all unframed)

(3)

£100-150

31

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

(i) FIGURE OF A STARTLED MAN; (ii) TWO STUDIES OF A MALE FIGURE

(ii) dated 25.2.64 lower centre

(i) pencil and charcoal on paper (ii) charcoal with white chalk on paper

(i) 47cm x 35.5cm; 18 1/2in x 14in (sheet);

(ii) 65cm x 50cm; 25 1/2in x 19 3/4in (both unframed)

(2)

With a sketch of a head of a sleeping figure on the reverse of (ii).

£200-300

32

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

MALE FIGURE IN CLASSICAL GARB pastel on paper

57.5 x 36.5cm; 22 1/2 x 14 1/4in (unframed)

Painted in the mid-1930s.

£400-600

31

30

33

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

STILL LIFE WITH GOLDFISH oil on canvas

76 x 51cm; 30 x 20in

89 x 64cm; 35 x 25in (framed)

Painted in the 1930s.

£500-700

34

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

THE SWIMMER

signed with initials HF and dated 33 lower left pastel and white chalk on paper

45 x 62cm; 17 3/4 x 24 1/4in

74 x 87cm; 29 x 34 1/4in (framed)

Executed in the mid-1930s, Feibusch also executed a lithograph based on the present composition (see: Olympia Auctions, 11th October 2023, lot 46).

£500-700

35

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

TWO VIEWS OF CLASSICAL RUINS, TAORMINA, SICILY both: gouache on paper

(i) 28 x 52.5cm; 11 x 20 3/4in;

(ii) 33.5 x 52.5cm; 13 1/4 x 20 3/4in (both unframed)

(2)

£350-450

36

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

VINES BY A LAKE

gouache on paper

36 x 51.5cm; 14 1/4 x 20 1/4in (unframed)

£100-150

37

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

STUDY FOR THE CEILING DECORATION, PORTMEIRION gouache on paper

30 x 35cm; 11 3/4 x 13 3/4in (unframed)

A study for the ceiling mural in the archway of the Gate House at Portmeirion, Wales. Feibusch enjoyed a close friendship with Sir Clough Williams-Ellis, the architect, writer, landscape designer and conservationist who purchased his uncle’s estate in 1931 and over saw its transformation into Portmeirion. Williams-Ellis incorporated fragments of demolished buildings, and works by other architects to evoke a Mediterranean coastal village. He commissioned Feibusch to supply murals for a number of buildings including the Anchor, the Arches, Lady’s Lodge, the inside of the Pantheon and the vaulted ceiling of the Gate House.

£150-250

38

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

THE PAGAN DANCE gouache on paper

33.5 x 22.5cm; 13 1/4 x 8 3/4in (unframed)

Possibly a study for the murals painted at Portmeirion, Wales.

£150-250

39

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) CLASSICAL FIGURE IN A LANDSCAPE

signed with initials HF and dated 68 lower right gouache on paper

53 x 104cm; 21 x 41in (unframed)

The present classically inspired work takes the same horizontal format as the series of Four Seasons Feibusch painted in 1967 and 1968 (see following lot).

£500-700

40

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

THE FOUR SEASONS: RECLINING MALE FIGURE WITH LAUREL CROWN IN WOODLAND - recto; STUDY FOR AUTUMN: RECLINING FEMALE NUDE IN A WOODLAND verso

signed with initials and dated 68 lower left - recto gouache on paper

53 x 103cm; 21 x 40 1/2in (unframed)

Feibusch appears to have executed preparatory studies for two sets of Four Seasons, the first in 1967, the second in 1968. The recto of the present work appears to relate to the 1968 series, while the verso is very likely a study for Autumn completed the previous year (see: Hans Feibusch, The Heat of Vision, 1995-96, nos. 59 (Autumn) & 60 (Summer) for the related works; also Olympia Auctions, 11th October 2023, lot 56).

£400-600

41

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

STATUE OF A REARING HORSE

signed with initials and dated 73 lower right gouache on paper

47.3cm x 32cm; 18 1/2in x 12 1/2in 69.5cm x 53cm; 27 1/4in x 20 3/4in (framed)

£300-500

42

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

STUDY OF A SCULPTED MALE HEAD WREATHED WITH LAUREL LEAVES

signed with initials and dated 90 lower right pastel on paper

63.5 x 48cm; 25 x 19in (unframed)

There is a sketch of two male figures in classical garb on the reverse. £400-600

43

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

SUNFLOWER

signed with initials and dated 85 lower left oil on canvas

76.5cm x 50.5cm; 30in x 19 3/4in 83cm x 58cm; 32 3/4 x 22 3/4in (framed)

£500-700

42

41

44

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ANGELS

signed and dated Hans Feibusch 1935 lower right; titled Angels lower left lithograph printed in colours 48cm x 30.5cm; 19in x 12in

64cm x 46.5cm; 25 1/4in x 18 1/4in (framed)

£60-80

45

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

(i) FIGURE ON A HORSE (ii) THE DREAM

(ii) titled and dated The Dream 1935 on the reverse both: lithographs

(i) 34cm x 22cm; 13 1/4in x 8 1/2in (image);

(ii) 19cm x 27.5cm; 7 1/2in x 10 3/4in (unframed) (2)

£100-150

46

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

THE STORM

inscribed Hans Feibusch 1935 lower right lithograph

41 x 22cm; 16 x 8 3/4in (image) (unframed)

£60-80

47

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

(i) DANCING COUPLE; (ii) KNEELING MAN

(ii) signed and dated H. Feibusch 1935 lower right; titled in German on a label on the reverse both: lithographs

(i) 47cm x 24cm; 18 1/2in x 9 1/2in (sheet); (ii) 43cm x 23cm; 17in x 9in (unframed) (2)

£100-150

44

45

46

48

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)

CHRIST THE TEACHER

gouache on paper

24.5 x 16.5cm; 10 x 6 1/2in (unframed)

Executed circa 1956-57; a preparatory study for the central scene of the tryptych The Resurrection and Scenes from the Life of St Peter at Saint Peter’s Pickford Lane, Bexley Heath, Kent where Feibusch also decorated the church’s cupola (see Hans Feibusch, Heat of Vision, p. 25, M22 the project listed; p. 67, no. 38, sketches for the tryptych illustrated).

£80-120

49

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ANGELS WITH INFANTS

signed with initials and dated 59 lower right gouache on card

34 x 59.5cm; 13.5 x 23.5in (unframed)

Preparatory study for a mural for the baptistry at Christ Church and St Stephen, Battersea, London SW11. The previous year, in 1958, Feibusch had painted The Last Judgement on the East wall of the same church; see Hans Feibusch, The Heat of Vision, 1995-96, p. 25, M28, the mural listed (for another study for the baptistry see: Olympia Auctions, 11th October 2023, lot 60).

£400-600

50

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) FOREST FANTASY

signed with initials and dated 46 lower right gouache on card

29 x 15cm; 11 1/2 x 6in (unframed)

Executed in the late 1940s, the present work may well be a preparatory sketch for the artist’s decorations of the tea room at the Victoria and Albert Museum completed for the post-War rallying exhibition Britain Can Make It held in 1946. For sketches for the tea rooms see Olympia Auctions, 11th October 2023, lots 52 & 53.

£120-180

51

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) STUDY FOR A MURAL

signed with initials and dated 83 lower right gouache on paper

53.5 x 76cm; 21 x 30in (unframed)

Study for a mural to decorate Feibusch’s daughter’s home in Wavel Mews, West Hampstead.

£500-700

HANS GASSEBNER (LOTS 52-59)

Born in southern Germany between Stuttgart and Munich, Gassebner’s mother died when he was young, and he grew up in penurious circumstances. He attended school in Blaubeuren, before completing his studies in Stuttgart. One of his first jobs was as an optician’s assistant after which, in his early twenties, he briefly studied Arts and Crafts in Darmstadt. But unable to afford the course he took a job as an assistant nurse in the near by Alzey psychiatric hospital, and developed his art in his free time.

In 1923 Gassebner visited Vienna, where he met artists in the Nötsch circle, a loose community of painters including Anton Kolig and Sebastian Isepp associated with Nötsch in southern Austria. Kolig subsequently invited Gassebner to Nötsch in 1929, where he met Anton Mahringer. The two became friends, Gassebner settled for a period near Nötsch and he and Mahringer travelled together to Dalmatia, Yugoslavia in 1934 (lots 54 & 55). After Gassebner’s work was branded Degenerate by the Nazis, he quit Germany with his Jewish partner to escape persecution, not returning until after the War. Gassebner’s early works are of a dark and melancholic quality, reflecting the oppressive mood in Germany at the time. On their travels the couple explored Austria, Italy, Yugoslavia and Greece and Gassebner developed his print making.

Gassebner suffered from pains in his right hand throughout his life, and a deadly thorotrast injection in 1938, would lead to long-term suffering, ending in a medical malpractice lawsuit, burdening Gassebner financially for his final years, and limiting his artistic practice. Despite the hardships, his later works depict picturesque landscapes in brighter colour palettes, emulating the work of Cézanne and van Gogh, and reflect the end of the war.

During his lifetime Gassebner exhibited with Albert Burkart, Alfred Wais and Carl Pflüger in the 1948 Watercolours of Upper Swabian Painters. Following his death, the Fähre Gallery in Bad Saulgau, Germany acquired most of the estate and would go on to have two commemorative exhibitions, marking his 75th and 100th birthdays in 1977 and 2002 respectively.

Image courtesy of the Ulm Museum

Portrait of Hans Gassebner painted by Rudolf Levy in 1937

(Collection of Museum der Stadt, Ulm)

52

• HANS GASSEBNER (GERMAN 1902-1966)

THE QUAY, ZATON MALI, YUGOSLAVIA

signed and dated Hans Gassebner 47 lower centre watercolour over pencil on paper

26.5 x 39cm;10 3/4 x 15 1/4in (unframed)

Offered together with a monotype by the same hand of a coastal landscape.

(2)

Zaton Mali is on the Adriatic coast, Croatia, which was part of Yugoslavia between 1918 and 1992.

£200-300

53

• HANS GASSEBNER (GERMAN 1902-1966)

BOATS BY THE QUAY, ZATON MALI, YUGOSLAVIA

signed and dated Hans Gassebner 48 lower right watercolour over pencil on paper

30 x 44cm; 11 3/4 x 17 1/4in (unframed)

Offered together with a monotype by the same hand of an Italian church.

(2)

See note to previous lot.

£200-300

54

• HANS GASSEBNER (GERMAN 1902-1966)

A WOODED COASTLINE, SIPANSKA LUKA

signed, inscribed in German and dated Hans Gassebner / 35 lower right watercolour on paper

36 x 50cm; 14 1/4 x 19 3/4in (unframed)

Offered together with a lithograph by the same hand of a Mediterranean town (2)

Sipanska Luka is a village on the Elefitski Islands off the Dalmatian coast on the Adriatic, not far from Dubrovnik, then in Yugoslavia, now Croatia.

£150-250

55

• HANS GASSEBNER (GERMAN 1902-1966)

TREES BY THE SEA, SIPANSKA LUKA

signed and dated Hans Gassebner / 35 lower left watercolour on paper

36.5 x 51cm; 14 1/4 x 20in (unframed)

Offered together with a monotype of an Italianate landscape. (2)

See note to previous lot.

£150-250

56

• HANS GASSEBNER (GERMAN 1902-1966)

PORTRAIT OF A DALMATIAN WOMAN

oil on board

27 x 23.5cm; 10 3/4 x 9 1/4in

34 x 31cm; 13 1/2 x 12 1/4in (framed)

£200-300

57

• HANS GASSEBNER (GERMAN 1902-1966)

SIX STUDIES OF GREAT AUNT LISEL’S DOG

one signed and dated Hans Gassebner / 52 lower right; another inscribed by another hand Your Great Aunt Lisel’s dog / sketched in 1952 by Hans Gessebner on the reverse all: pencil on paper

each: 32 x 47cm; 12 1/2 x 18 1/2 in (all unframed)

(6)

£100-200

58

• HANS GASSEBNER (GERMAN 1902-1966)

DALMATIAN WOMEN

inscribed indistinctly and dated 40 lower right pencil and watercolour on paper

25.5 x 35.5cm; 10 x 14in (unframed)

Offered together with a screenprint of a female figure carrying a basket.

(2)

£100-200

59

• HANS GASSEBNER (GERMAN 1902-1966)

A VIEW OF TOSSA DE MAR

signed and indistinctly inscribed and dated Hans Gassebner / 52 lower right pencil on paper

31 x 45cm; 12 1/4 x 17 3/4in (unframed)

Offered together with a screenprint of a cockerel by the same hand

(2)

The coastal village of Tossa de Mar is east from Barcelona.

£80-120

59

58

57

56

EDMOND XAVIER KAPP (LOTS 60-71)

Widely remembered for his portraiture, in particular his distinctive form of character types (he did not like his work to be described as caricature), Kapp was a highly versatile artist with an enquiring mind and a love of music. Appreciated in his lifetime also for his poetry and his evolving interest in abstraction, he aspired to write, mixed with the leading artists of the day and attracted the attention of critics and the cognoscenti. The following twelve lots from his estate capture the singularity of his artistic vision and his constant thirst for innovation.

Born in Islington, London, the son of Jewish-German parents, Kapp studied in Berlin, Paris and Cambridge, where he had his first exhibition, wrote for Granta and the Cambridge Magazine and attracted the attention of Max Beerbohm. While a 2nd Lieutenant with the Royal Sussex Regiment in the First World War, he sketched portraits of his fellow soldiers to amuse them in the trenches, including the young poet Edmund Blunden, and crossed paths with William Rothenstein at Amiens, a meeting Rothenstein recalls in his autobiography Men and Memories.

After the Armistice Kapp held his first one man exhibition at the Little Art Rooms, Adelphi, London, the catalogue introduction written by Beerbohm. Commissions followed, together with the publication of his first book: Personalities published in 1919 and reviewed by Virgina Woolf in her essay Pictures and Portraits. Prominent figures who featured in his early work included Edwin Elgar, Percy Wyndham Lewis and Richard Strauss. Later, after the War, subjects ranged from Albert Einstein (1923) to the Duke of Windsor, the future King Edward VIII (1932); of leading personalities in the arts he captured the characters of Aldous Huxley and Noël Coward.

Kapp typically rejected supplying caricatures to newspapers, preferring to choose his own subjects. But he did take on commissions, such as his series Ten Great Lawyers published in 1924 in the Law Society Journal. And his work appeared in a wide variety of periodicals, most notably Time and Tide, output that resulted in the publication of further volumes of his collected portraits, and an exhibition of his work at The Leicester Galleries, the leading contemporary gallery in London of the day.

Oh to be silent!

Oh to be a painter!

Oh (in short) to be Mr Kapp (Virginia Woolf)

In 1922 Kapp married Yvonne Meyer, journalist, photographer, translator and writer, now best known for her biography of Eleanor Marx. On their honeymoon the young couple visited Beerbohm in Rapallo and settled the following year in Rome where Kapp studied at Sigmund Lipinsky’s art school and under Antonio Sciortino at the British Academy. There too he met the American painter Maurice Sterne who encouraged him to paint in oil.

Kapp also developed his interest in lithography as a means to sell limited editions of his more well-known sitters. It led in 1935 to a commission for portraits of twenty-five delegates to the League of Nations in Geneva. Publication of the series brought him to the attention of Pablo Picasso, and the beginning of a close friendship between the two artists. Kapp captured Picasso’s profile in a sketch of him in his studio at 23 Rue La Boetie, Paris in 1938, purportedly the only likeness for which Picasso agreed to sit (collection of the Victoria & Albert Museum). And there are relaxed and informal photos of Picasso in bathing trunks snapped by Kapp in 1948 outside the restaurant Chez Nounou and the Hotel de la Mer in Golfe Juan when holidaying with Picasso in the South of France.

During the Second World War Kapp was an Official War Artist; after the War he worked as an Official Artist to UNESCO. He kept a studio at 2 Steeles Studios, Haverstock Hill in Hampstead, North London (lots 67 & 71) and in Beausoleil, near Monaco in the Alpes Maritimes (lot 61), and explored abstraction. String Quartet (lot 71) suggests his interest in synaesthesia and the work of Kandinsky; his playful Dragon Flight (lot 69) invokes the wit of Paul Klee, while the exploration of his medium in Abstract Composition (lot 69) is suggestive of fellow experimental artist Max Ernst.

60

• EDMOND XAVIER KAPP (BRITISH 1890-1978) PORTRAIT OF A LADY

signed Kapp lower left; dated 1958 lower right oil on canvas

92 x 60.5cm; 36 1/4 x 23 3/4in (unframed)

£400-600

61

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

LA GRILLE

inscribed with title and artist’s address on a label on the stretcher oil on canvas

65 x 80.5cm; 25 1/2 x 31 3/4in (unframed)

According to the label on the stretcher Kapp submitted the present work to an exhibition in France when he was living at 17 Avenue Maréchal Foch, Beausoleil in the Alpes-Maritime close to Monaco after the Second World War.

£300-500

62

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

HEAD OF A GIRL oil on canvas

55 x 46cm; 22 3/4 x 18 1/4in (unframed)

£250-350

63

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

SELF-PORTRAIT - THE ARTIST SEATED signed and dated Kapp ‘38 lower right oil on board

61 x 46cm; 24 x 18in (unframed)

Self-portraits by Kapp are rare; the only other recorded self-portrait is a charcoal sketch he drew of himself at his easel in his studio in Beausoleil, France in 1954; it is of virtually the same dimensions as the present work (collection of the Victoria & Albert Museum, London).

£200-300

61

60

64

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

THE CHESS PLAYER

signed and dated Kapp / 59 lower left oil on canvas

73 x 55cm; 28 3/4 x 21 3/4in (unframed)

£300-500

65

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

ROOFTOPS

oil on thick card

52 x 62.5cm; 20 1/2 x 24 1/2in (unframed)

£150-250

66

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

DAISIES

oil on board

61 x 51cm; 24 x 20in (unframed)

£200-300

67

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

GIANT PANSIES

signed Kapp lower right oil on panel

37 x 29cm; 14 1/2 x 11 1/2in (unframed)

Painted in Kapp’s studio at 2 Steeles Studio, Haverstock Hill, London, NW3 according to a label on the reverse.

£150-250

68

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

DRAGON FLIGHT

signed and dated Kapp ‘73 lower right watercolour and pen and ink on paper

28.5 x 38cm; 11 1/4 x 15in

43 x 53cm; 17 x 21in (framed)

£120-180

69

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

ABSTRACT COMPOSITION

oil on canvas

80 x 100cm; 31 1/3 x 39 1/2in

83.5 x 102.5cm; 32 3/4 x 40 1/2in (framed)

Painted circa 1970.

£250-350

70

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

NOTHING UNDER THE SUN IS ACCIDENTAL

signed and dated Kapp ‘73 lower left; titled and inscribed (Lessing) / No.2” lower centre watercolour, pastel, pen and ink and feltip on thick paper

44 x 36cm; 17 1/4 x 14 1/4in (unframed)

Kapp’s title quotes the German philosopher Gotthold Ephraim Lessing (1729-1781).

£150-250

71

• EDMOND XAVIER KAPP (BRITISH 1890-1978)

STRING QUARTET

signed and dated Kapp ‘64 lower left oil on hand carved board

55 x 66.5cm; 21 3/4 x 26 1/4in (unframed)

Painted in Kapp’s studio at 2 Steeles Studios, Haverstock Hill, London, NW3 according to a label on the reverse.

£200-300

HEDWIG PILLITZ (LOTS 72-82)

We know frustratingly little of both the talented Hedwig Pillitz and her sitters. But she excelled as a portraitist, and was clearly popular with women , especially those in the arts –actors, musicians, and writers.

Born in Hampstead Hedwig was the eldest daughter of Arpad Armin Pillitz (1867-1947) and his wife Josephine (née Fischer; 1876-1965) who had emigrated to England from Hungary. She had two younger siblings: a sister Doris (1905-1959) and a brother George (1909-1981). The family lived at 80 Canfield Gardens in South Hampstead and the girls attended the nearby South Hampstead High School where Hedwig excelled at art and Doris in music and drama.

The sisters’ considerable accomplishments are mentioned in the 1926 South Hampstead High School Magazine Jubilee Number where they are listed as members of the school’s Past and Present Club. Doris was praised for her musical contribution at the Old Girls’ Dinner in July that year, and the ‘Art’ report records that Hedwig had exhibited a landscape in the 1926 ‘Paris Salon’. Elsewhere, under the heading ‘Recent News’ it was noted that Hedwig was showing a flower piece and a landscape at the Autumn Exhibition at the Walker Art Gallery, Liverpool and that Doris had gained a First Class degree in acting at the Central School of Speech Training and Dramatic Art, was the winner of the second year students’ Diction Competition, and had been awarded a prize for verse recital at the 1926 Oxford Recitations. Doris subsequently performed regularly as a cast member at the Old Vic theatre in the 1927-29 season. Meanwhile, Hedwig established her studio at 29 Abercorn Place, St John’s Wood, painting a range of notable sitters, women in particular, including the young artist and future novelist Barbara Comyns (lot 75).

With many of Pillitz’s sitters being in the arts, it is unsurprising to find that her only painting in a public UK collection is of an actor: Dorothy Black in the role of Emily Brontë in The Brontes (Victoria & Albert Museum). Hedwig painted Black in the lead role in 1933, the year that the play, written by Alfred Sangster, transferred from Sheffield to the Royalty Theatre, London, and bequeathed it to the museum in her will. All Hedwig’s paintings in the present sale seem to have been painted from the late 1920s through until the 1950s.

72

• HEDWIG PILLTZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF PADDY GOODMAN VINE signed PiLLiTZ lower right oil on canvas

61 x 51cm; 24 x 20in (unframed)

£200-300

73

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF JOAN HOOD

signed PiLLiTZ lower right, inscribed JOAN HOOD 29, ABERCORN PLACE, LONDON, N.W.8 BY HEDWIG E PILLITZ on the canvas overlap on the top edge on the reverse; signed and inscribed with the artist’s address H.E PiLLiTZ 80 Canfield Gardens NW6 on the stretcher oil on canvas

77 x 64cm; 30 x 25in (unframed)

£250-350

74

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF A WOMAN IN A BLACK DRESS signed and dated PiLLiTZ 32 lower right oil on canvas

58.5 x 44.5cm; 23 x 17 1/2in (unframed)

£200-300

73

72

75

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF BARBARA COMYNS

oil on canvas

82.5 x 65.5cm; 32 1/2 x 25 3/4in (unframed)

The painter and writer Barbara Comyns (1907-1992) was born in Bidford-on-Avon, Warwickshire and attended Heatherley School of Fine Art in London. She exhibited alongside her first husband, John Pemberton, with the London Group in 1934 and counted Augustus John and Dylan Thomas among her aquaintances. After the breakdown of her first marriage and subsequent relationship with Arthur Price, Comyns became a cook at a country house in Hertfordshire and began to write a series of vignettes about her childhood. She returned to London with her two children in 1942 and married MI6 agent Richard Strettell Comyns Carr, whose boss was Kim Philby and colleague was Grahame Greene. Greene encouraged Comyns’ writing, but due to his association with Philby, Comyns Carr was obliged to quit MI6, and the couple moved to Spain. Comyns subsequently published a string of very successful novels, including Sisters by the River (1947), Our Spoons Came from Woolworths (1950), Who Was Changed and Who Was Dead (1954) and The House of Dolls (1989).

£300-500

76

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF A WOMAN WEARING A FLORAL DRESS

signed PiLLiTZ lower right oil on canvas

50.5 x 40cm; 19 3/4 x 15 3/4in (unframed)

£200-300

77

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF A LADY WEARING A RED SHAWL oil on canvas

81 x 58cm; 31 3/4 x 22 3/4in (unframed)

£200-300

78

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

A STUDY OF DAISIES AND DELPHINIUMS

signed PilliTZ lower right oil on canvas

63 x 76cm; 24 3/4 x 30in (unframed)

£150-200

79

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF ELIZABETH WALLACE

signed Pillitz lower right oil on canvas

72.5 x 57cm; 28 1/2 x 22 1/2in (unframed)

£150-250

80

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF PADDY MACLEAN oil on canvas

69.5 x 53.5cm; 27 1/4 x 21in (unframed)

£200-300

81

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF A LADY IN A YELLOW DRESS oil on canvas

82 x 59cm; 32 1/4 x 23 1/4in (unframed)

£250-350

82

• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987)

PORTRAIT OF A SEATED MAN signed PiLLiTZ lower right oil on canvas 89 x 71cm; 35 x 28in (unframed)

£200-300

80

79

LESLIE MARR (LOTS 83-90)

Leslie Marr, born in Durham into a family of engineers and shipbuilders, studied Engineering at Cambridge. But while serving with the RAF in the Middle East during the Second World War discovered a burning inclination to paint. Short on supplies, he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him.

On his return to London he enrolled in art school in Pimlico. But uninspired by the conventional approach offered, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London.

Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (b.1931) amongst them, as well as Marr himself. Bomberg’s non-conventional style spawned The Borough Group, founded in 1946 by Cliff Holden (1926-2020). Among its members were Bomberg himself, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr.

After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957.

Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes – as far afield as New Zealand - and used extreme contrasts and thrusting diagonals to depict untamed Nature. In the present sale these landscapes include highly charged views of the River Barle and Chuggaton in Devon (lots 83 & 84), Rothbury, Northumberland (lot 85) and Glen Etive, Scotland (lot 87). But Bomberg’s nervous energy can equally be seen in Marr’s charcoal of Lucca cathedral (lot 88), which combines a massing of architectural elements with swirling weather conditions. Another influence was Chaim Soutine, whose distinctive style permeates much of Marr’s later output.

83

• LESLIE MARR (BRITISH 1922-2021)

BARLE IN WINTER

signed and dated Marr / 63/4 lower left oil on canvas

91.5 x 91.5cm; 36 x 36in

106 x 106cm; 41 3/4 x 41 3/4in (framed)

Exhibited

London, Portland Gallery, Leslie Marr, A Centenary Exhibition, 2022, n.n. The River Barle runs north across the border between Devon and Somerset, a few miles west of Marr’s home at Higher Chuggaton where he lived between 1963 and 1970.

£500-700

84

• LESLIE MARR (BRITISH 1922-2021)

VIEW FROM CHUGGATON

signed, inscribed and dated CHUGGATON, DEVON 63’ Marr on the reverse oil on canvas

51 x 76.5cm; 20 x 30in unframed

Marr lived at Chuggaton, Devon between 1963 and 1970.

£300-500

85

• LESLIE MARR (BRITISH 1922-2021)

NEAR ROTHBURY, NORTHUMBERLAND

signed and dated Marr 84 lower left oil on canvas

82 x 75cm; 24 1/2 x 29 1/2in

77 x 90cm; 30 1/4 x 35 1/2in (framed)

£300-500

86

• LESLIE MARR (BRITISH 1922-2021)

WINTER SEA

signed and dated Marr 85 lower left watercolour on paper

57 x 76.5cm; 22 1/2 x 30in

90 x 110cm; 35.5 x 43 1/4in (framed)

£100-150

87

• LESLIE MARR (BRITISH 1922-2021)

GLEN ETIVE, BALLACHLUISH, THE HIGHLANDS, SCOTLAND

signed Marr / 7/2012 lower left oil on canvas

70.5 x 122.5cm; 27 3/4 x 48in

141 x 90cm; 55 1/2 x 35 1/2in (framed)

There is a painting of a mountainous landscape on the reverse.

£700-1,000

88

• LESLIE MARR (BRITISH 1922-2021)

LUCCA CATHERDRAL

signed Marr lower left; dated 2/7/88 lower right charcoal on paper

43 x 55cm; 17 x 21 3/4in unframed

£80-120

89

• LESLIE MARR (BRITISH 1922-2021)

DAHLIAS IN A SPANISH LANDSCAPE

signed and dated Marr / 2010 lower left oil on canvas

76.5 x 61.5cm; 30 x 24in

84 x 68.5cm; 33 x 27in (framed)

£500-700

90

• LESLIE MARR (BRITISH 1922-2021)

SELF-PORTRAIT: IN THE STUDIO

signed and dated Marr 04 lower left oil on canvas

90 x 60cm; 35 1/2 x 23 1/2in

109.5 x 79cm; 43 x 31in (framed)

Exhibited

London, Portland Gallery, Leslie Marr, A Centenary Exhibition, 2022, n.n.

£400-600

LEO DAVY (LOTS 91-98)

THERE HAVE BEEN THOSE who seem to have been artists, almost it appears from the day of their birth; such people are incapable of deviating from their natural and compulsive obsession in a world of their own, a world in which their lives are entirely consistent with their work and their being are one and the same thing. Leo Davy was one of these.

(Sir Kyffin Williams, ‘Leo As I Knew Him’, in A Passion to Paint, Piano Nobile, exhib. cat., London, 2010, p. 6)

Born on Ilkley Moor, West Yorkshire, Davy was one of nine children. He refused to attend school with his siblings and instead was home schooled by his painter-art teacher father and musician mother.

He became an accomplished artist and pianist early in his life and in his early teens Davy entered one of his drawings into a National Newspaper Art Competition; he won and at the age of 14 enrolled in the Kingston School of Art under Reginald Brill. Unable to be conscripted due to his inherited deafness, in 1942 he started at the Slade which had been evacuated to Oxford during the Blitz. One of only a few male students and with a keen interest in philosophy, Davy often sneaked into the university to attend lectures and made many friends among the philosophy students. Art was for him a philosophical enquiry. It was at the Slade that Davy met Kyffin Williams who had been invalided out of the army. Both men later became teachers and settled for a while in Highgate. But Davy left teaching to concentrate on his art.

Often described as an outsider or unconventional in his approach to life he communicated best through his work. His art was a very personal manifestation of himself - his maxim being ‘to paint as only I can paint.’

Determined not to make a living from his painting he worked as a toolmaker and tomato picker while living in an abandoned coastguard’s cottage in Lancing and later became an accomplished framer and gilder, firstly in London and then living on the North Cornwall coast with his wife Antonia. Davy spent most of his life surviving with very little money, moving from garret to garret in London - the archetypal bohemian artist. For the majority of his life he shied away from the art world and was hostile to showing his work. In fact, he rarely exhibited at all and sometimes turned down prospective purchasers for his deeply personal works.

However, in 1950 Davy’s work was included in a summer show at Gimpel Fils alongside the pre-eminent artists of the day including William Gear, Victor Pasmore, Prunella Clough, Alan Davie and Patrick Heron. Having spent most of his life refusing to travel in his later life he did visit Paris twice with Antonia. He was mesmerised by the city. Davy died unexpectedly of a heart attack at his home in North Cornwall in 1987.

91

• LEO DAVY (BRITISH 1924-1979)

EXHIBITION

signed with initials and dated 53 lower right oil on board

25.5 x 61cm; 10 x 24in (unframed)

£400-600

92

• LEO DAVY (BRITISH 1924-1979)

HEAD

signed LEO DAVY lower right oil on board

44 x 33cm; 17 1/2 x 13in

62 x 50cm; 24 x 20in (framed)

Painted in 1950.

£300-500

93

• LEO DAVY (BRITISH 1924-1979)

STANDING FIGURES

signed Leo Davy / 62 lower right oil on board

122.5 x 61cm; 48 1/4 x 24in

142.5 x 82cm; 56 x 32 1/4in (framed)

£500-700

94

• LEO DAVY (BRITISH 1924-1979) DECONSTRUCTED HEAD oil on board

60.5 x 43cm; 24 x 17in (unframed)

£500-700

93

92

91

95

• LEO DAVY (BRITISH 1924-1979)

ABSTRACT IN YELLOW, GREEN AND RED

oil on board

91 x 47cm; 36 x 18 1/2in (unframed)

£600-800

96

• LEO DAVY (BRITISH 1924-1979)

(i) THE ROAD; (ii) LANDSCAPE I; (iii) LANDSCAPE II

(i) signed and dated LEO DAVY 72 upper right; signed, titled and dated LEO DAVY / JAN 72 / The Road on the reverse

(ii) signed and dated LEO DAVY / OCT.NOV 71 on the reverse

(iii) signed and dated LEO DAVY.70 upper right; signed and dated LEO DAVY / MARCH 70 on the reverse

oil on board

(i) 32.5 x 61cm; 13 x 24in

34 x 62cm; 13 1/4 x 24 1/2in (framed)

(ii) 37.5 x 61cm; 14 3/4 x 24in

38.5 x 62cm; 15 x 24 1/2in (framed)

(iii) 20.5 x 61.5cm; 8 x 24 1/4in

22 x 62cm; 8 3/4 x 24 1/2in (framed)

(3)

£400-600

97

• LEO DAVY (BRITISH 1924-1979) CHURCH WINDOW

oil on board

60.5 x 28cm; 23 3/4 x 11in (unframed)

£400-600

98

• LEO DAVY (BRITISH 1924-1979)

HORIZON I

signed and dated LEO DAVY 81 lower left

oil on board

63 x 62cm; 25 x 24 1/2in

84 x 82cm; 33 1/2 x 32 1/4in (framed)

£400-600

97

96

95

JAMES HULL (LOTS 99-110)

Hull aptly summed up his work as ‘a tension of objects in space’. And at his solo ‘come-back’ exhibition at Adrienne Resnick Gallery in 1989 Resnick described him as ‘a giant, both physically and as an artist’.

Hull’s reputation flourished in the 1950s, when he established himself as one of the leading abstract painters of the post-War years in Britain. His first one-man exhibition was at the Brook Street Gallery in 1949 where Herbert Read gave the opening address. In 1951 he designed a mural for the Dome of Discovery at the Festival of Britain and started showing regularly with Gimpel Fils (1951-56).

Elsewhere in London he exhibited with the Redfern Gallery and at the ICA and took part in the renowned This is Tomorrow exhibition at the Whitechapel Art Gallery in 1956; the same year Gimpel held a joint exhibition of Hull and Roger Hilton’s work. Abroad he showed with Galerie de France, Paris, Passedoit Gallery, New York (together with Peter Lanyon and William Gear), and at the Carnegie Institute, Pittsburgh.

But in 1960 Hull turned his back on painting full time after winning a competition to design the interior of the Daily Mirror building. He spent the next ten years as a full-time design consultant for the International Publishing Corporation (IPC), before moving with his family to Ibiza where he designed jewellery. After the tragic death of his daughter in a car accident in the early 1970s he left to embark on a solo travel odyssey. Over the next few years he held down a variety of jobs, including as a consultant designer for NASA’s space shuttle building in the USA. Returning to London in 1980 he took up painting once more. It took him a few years to re-establish himself, but by the end of the decade his work was starting to get traction once again, first at the Strickland Gallery in 1986, and then with Adrienne Resnick Gallery and Whitford & Hughes in 1989. His death a year later was all too premature.

James Hull with Adrienne Resnick

Catalogue cover of Hull’s joint exhibition with Roger Hilton at Gimpel Fils in 1956

99

• JAMES HULL (BRITISH 1921-1990)

DESIGN FOR A THEATRE SET; THE PAPS OF JURA; STUDY OF A HOUSE

(i) signed and dated HULL 46 upper right; (ii) signed Hull lower right; (iii) signed HULL upper left (i & iii) gouache and pencil; (ii) gouache and wash and pen and ink (i) 32.5 x 33cm; 12 3/4 x 13in; (ii) 20 x 39cm; 8 x 15 1/4in; (iii) 38.5 x 50cm; 15 x 19 3/4in (sheets) (all unframed) (3)

£200-300

100

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION V 84

signed and dated HULL V 84 lower right gouache and pencil on paper

56.5 x 77cm; 22 1/4 x 30 1/4in (sheet) (unframed)

£200-300

101

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION IX 84

signed and dated HULL IX 84 upper right gouache on paper

70 x 99.5cm; 27 1/2 x 39 1/4in (sheet) (unframed)

£200-300

102

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION V 86

signed and dated HULL / V 86 lower right watercolour, pastel and pencil over wax crayon 62 x 59.5cm; 24.5 x 23 3/4in (sheet) (unframed)

£300-400

101

100

99

103

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION XI 89

signed and dated HULL XI 89 lower right gouache over pencil and house paint

70 x 95cm; 27 1/2 x 37 1/2in (sheet) (unframed)

£300-500

104

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION II 90

signed and dated HULL / II 90 lower right gouache, crayon and house paint over gauze pasted on card

56 x 82cm; 22 x 32 1/4in (sheet) (unframed)

£300-500

105

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION VII 84

signed and dated HULL VII 84 upper right gouache on paper

57 x 76cm; 22 1/2 x 30in (sheet) (unframed)

£200-300

106

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION X 84

signed and dated HULL X 84 upper right gouache on paper

70 x 99.5cm; 25 1/2 x 39 1/4in (sheet) (unframed)

£200-300

105

104

103

107

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION X 84

signed and dated HULL X 84 upper right pencil and gouache on paper

70 x 99.5cm; 27 1/2 x 39 1/4in (sheet) (unframed)

£200-300

108

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION IX 84

signed and dated HULL IX 84 upper right pencil and guache on paper

70.5 x 100cm; 27 3/4 x 39 1/2in (sheet) (unframed)

£200-300

109

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION XI 84

signed and dated HULL XI 84 upper right gouache on paper

70 x 99.5cm; 27 1/2 x 39 1/4in (sheet) (unframed)

£200-300

110

• JAMES HULL (BRITISH 1921-1990)

COMPOSITION VI 84

signed and dated HULL VI 84 upper right watercolor and green pastel on paper

47.5 x 70cm; 18 3/4 x 27 1/2 in (sheet) (unframed)

£200-300

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108

107

TREVOR BELL (LOTS 111-122)

ONE

OF

THE MOST IMPORTANT PAINTERS

working anywhere today is Trevor Bell, and Bell’s first experiments in what we now call shaped canvases began in the late fifties.

(Patrick Heron, 1970)

Bell grew up in Leeds, where he studied at the College of Art (1947-1952) before teaching at Harrogate College of Art. In Leeds he met Terry Frost who was up from St Ives benefiting from a Gregory Fellowship at the university. On Frost’s advice Bell and his wife moved to Cornwall in 1955. There Bell became a leading member of the younger generation of St Ives artists, exhibiting with the Penwith Society of Arts from 1956. Used to painting the grimey north of England, Bell responded with vigour and alacrity to the colour and light of his new surroundings capturing the atmosphere of the sea, coast and landscape of the south west in his distinctive and developing abstraction.

An early mentor in St Ives for Bell was Ben Nicholson who encouraged him to show in London. Another there who admired his youthful painterly zest was Patrick Heron. Bell’s first one man show at Waddington Galleries on Cork Street in 1958 was a sell out success. In the catalogue Heron described him as ‘The best non-figurative painter under thirty’. The same year Bell was awarded an Italian government sponsorship; in 1959 he won one of six main painting prizes at the first Paris International Biennale of Young Artists and in 1960 he was awarded a Gregory Fellowship by Leeds University, and moved back north.

During the following decade Bell enjoyed considerable commercial success both in the UK and abroad, including a succession of exhibitions at Waddington Galleries (1960, 1962 & 1964). It was during this period that he developed his interest in shaped canvases and the Tate Gallery purchased their first work by him. The decade culminated in a hugely successful show at the Richard Demarco Gallery in Edinburgh

which toured to Northern Ireland and the Mappin Art Gallery, Sheffield. In the autumn of 1973 the Whitechapel Art Gallery mounted an exhibition of his recent paintings, and the following year he showed at the Corcoran Gallery, Washington DC.

In 1976 Bell moved to Florida to take up the post of Professor for Master Painting at Florida State University in Tallahassee. Availed of a warehouse-sized studio and with time to really develop his painting he produced large-scale, intensely coloured works, reflecting the influence of the climate and landscape on him. A source of inspiration too were the rockets launched from Cape Canaveral, the first he saw being the night time launch of Apollo 17 in December 1972. This and subsequent rocket shots had a lasting influence on his work. Over the 20 years he spent in America exhibitions of his work were mounted at the Academy of Sciences in Washington, the Metropolitan Museum and Art Center, Miami, The Cummer Gallery, Jacksonville and the Museum of Art at Fort Lauderdale, Florida.

In 1985 Bell was included in the the Tate Gallery’s exhibition on St Ives 1939-64: Twenty-five years of Painting, Sculpture and Pottery and his work was featured in the Tate St Ives’ inaugural show in 1993. Retiring from his Florida teaching post in 1996, he returned to Cornwall, setting up studios near Penzance. He was the subject of a full retrospective of his work at Tate St Ives in 2004 and in 2011 a further fourteen works were acquired by the Tate Gallery for their permanent collection. In the UK other examples of his work are in collections of The Arts Council of England, the British Council, the British Museum, Laing Art Gallery and the Victoria & Albert Museum.

111

• TREVOR BELL (BRITISH 1930-2017)

CENTRE GREEN

signed and dated BELL 1961 lower left; signed, titled twice, inscribed and dated Centre Green / CENTRE GREEN / by / Trevor Bell 1961 / crayon on the reverse crayon and watercolour on thick paper

53.5 x 42.5cm; 21 1/4 x 17in

72.5 x 61cm; 28 1/2 x 24in (framed)

£800-1,200

112

• TREVOR BELL (BRITISH 1930-2017)

SLIDE

titled, dated and signed ‘SLIDE’ / 1970 / TREVOR BELL on the reverse oil, crayon and collage on card

68.5 x 75.5cm; 27 x 29 3/4in

73.5 x 80cm; 28 3/4 x 31 1/2in (framed)

£800-1,200

113

• TREVOR BELL (BRITISH 1930-2017)

SKYSCAPE

signed and dated Bell 75 on the reverse oil and crayon on thick paper

56 x 71.5cm; 22 x 28in

75 x 90.5cm; 29 3/4 x 35 3/4in (framed)

£600-800

114

• TREVOR BELL (BRITISH 1930-2017)

GOOSE FAIR

signed and dated Bell 1964 lower left and dated 1964 lower right, signed, titled and dated on the reverse crayon and watercolour on thick paper

54 x 37cm; 211/4 x 14 1/2in

73 x 55.5cm; 28 3/4 x 21 3/4in (framed)

£500-700

113

112

111

115

• TREVOR BELL (BRITISH 1930-2017)

TEMPLE ROCK

signed, titled and dated Temple Rock / Trevor Bell / 90’s on the reverse oil and watercolour on thick paper

66 x 52cm; 26 x 20in

83 x 69cm; 32 3/4 x 27 1/4in (framed)

£800-1,200

116

• TREVOR BELL (BRITISH 1930-2017)

COMPOSITION IN GREEN AND BLACK

signed and dated 1 . JAN .74 BELL lower left oil and crayon on thick paper

50.5 x 62cm; 21 x 24 1/2in

69 x 81cm; 27 1/2 x 31 3/4in (framed)

£500-700

117

• TREVOR BELL (BRITISH 1930-2017)

TWO FORMS

signed TREVOR BELL on the reverse oil on thick paper

50 x 70cm; 19 3/4 x 27 1/2in (unframed)

£400-600

118

• TREVOR BELL (BRITISH 1930-2017)

SHOI

signed and titled SHOI TREVOR BELL on the reverse oil on thick paper

50 x 70cm; 19 3/4 x 27 1/2in (unframed)

£400-600

115

116

119

• TREVOR BELL (BRITISH 1930-2017)

WRECK

signed, titled and dated 02.08 WRECK BELL lower left; signed, titled and dated on the reverse oil on thick paper

50 x 70cm; 19 3/4 x 27 1/2in (unframed)

£400-600

120

• TREVOR BELL (BRITISH 1930-2017)

HANGING SPIKE

signed, titled and dated HANGING SPIKE BELL 1998 lower right; signed, titled and dated on the reverse oil on thick paper

50 x 70cm; 19 3/4 x 27 1/2in (unframed)

£300-500

121

• TREVOR BELL (BRITISH 1930-2017)

BLACK FORMS

signed TREVOR BELL on the reverse oil on thick paper

50 x 70cm; 20 x 27 1/2in (unframed)

£300-500

122

• TREVOR BELL (BRITISH 1930-2017)

STOP

signed, titled and dated STOP BELL 98 lower left; signed, titled and dated on the reverse charcoal on thick paper

50 x 70cm; 19 3/4 x 27 1/2in (unframed)

£300-500

119

120

TINY, INTIMIST INTERIORS AND EXTERIORS

exquisitely coloured like some latter day Vuillard

(John Russell Taylor)

Upton grew up in Birmingham where he attended the College of Art before joining the Royal Academy Schools in 1958. In London he became close friends with David Hockney and Patrick Proctor, shared a flat with nascent pop artist Peter Phillips, and was awarded an RA Leverhulme Scholarship. His work was featured in the influential annual ‘Young Contemporaries’ exhibitions that Phillips masterminded over four years (1959-63). The reviewer of the 1962 show in The Times commented: ‘The exhibition fairly bubbles with bright ideas and visual excitement... its weird mixture of impudence, whimsicality and beautifully tender painting is well exemplified by Derek Boshier [and] Michael Upton...’

A year later, however, after completing six identical canvases, Upton abandoned painting entirely, turning instead to conceptual art. He spent 1967-68 in New York, the recipient of a grant from the Cassandra Foundation. Others who received grants from the Foundation included John Cage, Bruce Nauman, Christo, Eduardo Paolozzi and Richard Hamilton. Increasingly Upton’s interests lay in performance, and in the 1970s he founded London Calling with Peter Lloyd Jones which became an influential part of London’s performance art scene. One of his works included burying a number of his paintings on a Dorset hillside. But at the end of 1970s Upton returned again to painting, taking up a teaching role at the RA Schools.

In this later period Upton’s preference was for small scale works. He often used photocopy or newspaper print as the support and he regularly produced series of images, similar to stills from a reel of film (lots 123-126). Upton considered them ‘conceptual paintings’, and gained a new fan for his work in John Russell Taylor the influential art critic of The Times. In a review of 1979 Russell Taylor enthusiastically described Upton’s paintings as ‘tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard’, and in his review of the British Council touring exhibition Picturing People, British Figurative Art since 1945, he singled out Upton as one of a handful of ‘highly sophisticated stylists’. Also won over to Upton was the critic Mel Gooding who commented on Upton’s ‘subtle allusiveness (hints of Piero, Vermeer, Sickert)... another way of deepening the game, of adumbrating the mystery. An art of intimations’.

As his work evolved so Upton also gave it more loaded political messaging, inspired in part by both his earlier pop art years and current events (lots 129 & 130). But following retirement and his retreat to Mousehole, Cornwall in 1996 his artistic focus shifted. He put aside subversive messaging, urban subject matter and his customarily muted palette. Instead the innate beauty of the local landscape and coastal views became his primary focus (lots 135-138).

MICHAEL UPTON (LOTS 123-138)

123

• MICHAEL UPTON (BRITISH 1938-2002)

THE STUDIO: BED - A PAIR thinned oil on board

each: 18 x 13cm; 7 x 5in

46 x 56cm; 18 x 22in (two framed as one) (2)

Exhibited

London, Anne Berthoud Gallery (1980s) £150-250

124

• MICHAEL UPTON (BRITISH 1938-2002)

THE STUDIO: TELEVISION - A PAIR thinned oil on photocopy mounted on board

13 x 20cm; 5 1/4 x 8in (image) (both unframed) (2)

£100-150

125

• MICHAEL UPTON (BRITISH 1938-2002) KITCHEN I, II & III thinned oil on board

all: 14.5 x 16.5cm; 5 3/4 x 6 1/2in

38 x 81.5cm; 15 x 32in (three framed as one)

Provenance

David Talbot Rice

Exhibited

London, Anne Berthoud Gallery (1980s) £200-300

126

• MICHAEL UPTON (BRITISH 1938-2002)

TABLE I AND II - A PAIR signed on the reverse thinned oil on board

each: 9.5 x 17.5cm; 3 3/4 x 6 3/4in

26.5 x 54.5cm; 10 1/2 x 21 1/2in (two framed as one)

Provenance with Hester Van Royan Gallery, London

Exhibited London, Arts Council of Great Britain, The British Art Show, 1979, no. 252

£200-300

123

124

125

126

127

• MICHAEL UPTON (BRITISH 1938-2002)

TWO INTERIORS: (i) BUTLER’S TRAY AND (ii) MIRROR thinned oil over photocopy on board

(i) 22 x 15cm; 8 3/4 x 6in (unframed)

(ii) 17.5 x 12.5cm; 7 x 5in 39 x 33cm; 15 1/2 x 13in (framed)

(2)

£100-150

128

• MICHAEL UPTON (BRITISH 1938-2002)

SEATED NUDES - A PAIR thinned oil over photocopy on board

both: 20 x 27.5cm; 8 x 10 3/4in (both unframed)

(2)

£100-150

129

• MICHAEL UPTON (BRITISH 1938-2002)

BEFORE THE LABOUR EXCHANGE - A PAIR thinned oil over photocopy on board

each: 24 x 29cm; 9 1/2 x 12 1/4in (both unframed)

(2)

£120-180

130

• MICHAEL UPTON (BRITISH 1938-2002)

VIOLENT ACTION - A PAIR

(i) thinned oil over photocopy on board

(ii) photocopy on board

each: 15 x 29cm; 6 x 11 1/2in (image) (both unframed)

(2)

127

128

129

£100-150 130

131

• MICHAEL UPTON (BRITISH 1938-2002)

FIGURE IN THE STUDIO

thinned oil on board

20 x 28cm; 8 x 11in

44 x 52cm; 17 1/4 x 20 1/2in (framed)

£200-300

132

• MICHAEL UPTON (BRITISH 1938-2002)

CARD PLAYERS I

thinned oil on board

15 x 23cm; 6 x 9in

39.5 x 45cm; 15 1/2 x 17 3/4in (framed)

Painted in 1985.

Exhibited

Newlyn, Orion Gallery; Dorchester, Dorset County Museum; Newhaven, Yale Centre for British Art; New York, Anthony Ralph Gallery; Chicago, Roger Ramsay Gallery, Michael Upton 1977-1987, 1987 (travelling exhibition)

£200-300

133

• MICHAEL UPTON (BRITISH 1938-2002)

HEAD OF A WOMAN - A PAIR

thinned oil on paper on board

each: 21.5 x 16cm; 8 1/2 x 6 1/4in (both unframed) (2)

£120-180

134

• MICHAEL UPTON (BRITISH 1938-2002)

BUILDINGS

thinned oil on board

18 x 30cm; 7 x 11 3/4in

38 x 50.5cm; 15 x 19 3/4in (framed)

£200-300

131

132

133

135

• MICHAEL UPTON (BRITISH 1938-2002)

(i) POOL BALLS AND (ii) CORNISH LANDSCAPE pencil, thinned oil and wash on paper

(i) 21 x 29.5cm; 8 1/4 x 11 1/2in (image)

(ii) 29/5 x 21cm; 11 1/2 x 8 1/4in (sheet) (both unframed)

(2)

£80-120

136

• MICHAEL UPTON (BRITISH 1938-2002)

SKY STUDIES - SIX

each: watercolour and wash on paper

all: 13 x 18cm; 5 x 7in (unframed)

(6)

£150-250

137

• MICHAEL UPTON (BRITISH 1938-2002)

(i) A CORNISH VILLAGE AND (ii) VIEW OF CORNISH HILLS gouache and wash on paper

each: 21 x 29.5cm; 8 1/4 x 11 1/2in (both unframed)

(2)

£100-150

138

• MICHAEL UPTON (BRITISH 1938-2002)

TWO CORNISH COASTAL VIEWS pencil and watercolour on paper

(i) 18 x 37cm; 7 x 14 1/2in

(ii) 13 x 37cm; 5 x 14 1/2in (both unframed)

(2)

£100-150

135

136

137

BERNARD MYERS (LOTS 139-158)

WORK AND TRAVEL IN THE MIDDLE EAST AND

INDIA introduced me to a world of colour. Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely...

(Bernard Myers)

Trained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85).

Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’

The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels (lots 151-156), the still-lifes he worked on in his studio (lots 143-150), the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 139-142).

He married Pamela Fildes, grand-daughter of the painter Sir Luke Fildes in the early 1950s; they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 157 &158). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel (lots 139-142 & 147-150), and Artists and Illustrators (1995) on his Venice views (lots 151-154).

139

• BERNARD MYERS (BRITISH 1925-2007)

PLANETARY COMPOSITIONS I & II oil pastel on thin paper

(i) 56 x 43cm; 22 x 17in

(ii) 43 x 56cm; 17 x 22in (both unframed)

(2)

£120-180

140

• BERNARD MYERS (BRITISH 1925-2007)

PLANETARY COMPOSITIONS III & IV - A PAIR oil pastel on paper

each: 39 x 44cm; 15 1/4 x 17 1/4in (both unframed)

(2)

£120-180

141

• BERNARD MYERS (BRITISH 1925-2007)

PLANETARY COMPOSITIONS V & VI - A PAIR oil pastel on paper

each: 59 x 57cm; 23 1/4 x 22 1/2in (both unframed)

(2)

£120-180

142

• BERNARD MYERS (BRITISH 1925-2007)

PLANETARY COMPOSITIONS VII & VIII - A PAIR oil pastel on thin paper

each: 56 x 42.5cm; 22 x 16 3/4in (both unframed)

(2)

£120-180

139

140

141

142

143

• BERNARD MYERS (BRITISH 1925-2007)

STILL LIFE OF YELLOW ROSES IN A VASE signed with initials lower left oil on canvas

41 x 50.5cm; 16 1/4 x 19 3/4in (unframed)

With the studio inventory number 0304 on the reverse £200-300

143

144

• BERNARD MYERS (BRITISH 1925-2007)

STILL LIFE OF ANEMONES IN A JUG oil on board

61 x 51cm; 24 x 20in (unframed)

With the studio inventory number 0316 on the reverse £200-300

144

145

• BERNARD MYERS (BRITISH 1925-2007)

STILL LIFE WITH DAFFODILS AND TWO ORANGES oil on board

30.5 x 40.5cm; 12 x 16in (unframed)

With the studio inventory number 0378 on the reverse £150-250

145

146

• BERNARD MYERS (BRITISH 1925-2007)

STILL LIFE OF POPPIES IN A BLUE AND WHITE VASE oil on board

41 x 51cm; 16 x 20in (unframed)

With the studio inventory number 0317 on the reverse £200-300

147

• BERNARD MYERS (BRITISH 1925-2007)

STILL LIFE WITH IRISES IN A CHINESE VASE signed B Myers lower left pastel on paper

56 x 76cm; 22 x 30in (unframed)

With the studio inventory number 1068 on the reverse £200-300

147

148

• BERNARD MYERS (BRITISH 1925-2007)

STILL LIFE WITH ROSES IN A VASE AND FRUIT signed B Myers lower right pastel over crayon on paper 56 x 76cm; 22 x 30in (unframed)

With the studio inventory number 1079 on the reverse £200-300

148

149

• BERNARD MYERS (BRITISH 1925-2007)

STILL LIFES OF ROSES AND CORNFLOWERS pastel

(i) 42 x 30cm; 16 1/2 x 11 3/4in

(ii) 46 x 30.5; 18 x 12in (both unframed) (2)

£200-300

150

• BERNARD MYERS (BRITISH 1925-2007)

STILL LIFES OF CORNFLOWERS AND ROSES - A PAIR pastel on paper

44.5 x 29.5cm; 17 1/2 x 30in (both unframed) (2)

£150-250

149

151

• BERNARD MYERS (BRITISH 1925-2007)

THE DOGE’S PALACE, VENICE

signed with initials lower right oil on board

52 x 72.5cm; 20 1/2 x 28.5in

64 x 84cm; 25 1/4 x 33 1/4in (framed)

With the studio inventory number 0322 on the reverse £300-500

152

• BERNARD MYERS (BRITISH 1925-2007)

PONTE DELL’ ACCADEMIA, VENICE

signed with initials lower right oil on board

34.5 x 52.5cm; 13 3/4 x 20.5in

44 x 61cm; 17 3/4 x 24in (framed)

With the studio inventory number 0327 on the reverse £200-300

153

• BERNARD MYERS (BRITISH 1925-2007)

VENICE

signed with initials lower right; signed and titled B Myers / Venice on the backboard

oil on board

34 x 50.5cm; 13 1/2 x 19 3/4in

49 x 65cm; 19 1/4 x 25 3/4 (framed)

With the studio inventory number 0324 on the reverse

£200-300

154

• BERNARD MYERS (BRITISH 1925-2007)

CHURCH OF SANTA FOSCA, TORCELLO, VENICE

signed with initials lower right oil on board

34.5 x 52.5cm; 13 1/2 x 20 1/2in

43 x 61cm; 17 x 24in (framed)

The church of Santa Fosca, located on the island of Torcello in the Venetian lagoon, dates to the 12th century and forms part of the complex of the Cathedral of Santa Maria Assunta. The church houses the relics of Saint Fusca, a child matyr from Libya who was killed alongside her nurse in 250 AD. Torcello was a prosperous trading port, founded much earlier than its neighbour, Venice. However, plague, malaria and the silting up of its canals lead to its abandonment.

£200-300

151

152

153

155

• BERNARD MYERS (BRITISH 1925-2007)

(i) MAURITIUS I; (ii) MAURITIUS II; (iii) COLOURED EARTHS; (iv) RIVIERE NOIRE

(iii) & (iv) signed with initials lower right; signed and titled Bernard Myers on the reverse

(i) & (ii) signed and titled B Myers / Mauritius on the reverse oil on card

each:12.5 x 17.5cm; 5 x 7in (all unframed)

(4)

£150-250

156

• BERNARD MYERS (BRITISH 1925-2007)

FOUR VIEWS OF THE PENNINES

each: signed B Myers on the reverse; two examples titled Pennines on the reverse oil on card

each: 12.5 x 17.5cm; 5 x 7in (all unframed)

(4)

£120-180

157

• BERNARD MYERS (BRITISH 1925-2007)

BARNES: THE THAMES AT HIGH TIDE signed with initials lower right oil on board

36 x 46cm; 14 x 18in (unframed)

With the studio inventory number 0367 on the reverse £200-300

155

156

157

158

• BERNARD MYERS (BRITISH 1925-2007)

THE THAMES FROM THE STUDIO oil on board

38 x 51cm; 15 x 20in (unframed)

With the studio inventory number 0285 on the reverse £200-300

LIONEL BULMER (LOTS 159-166)

Lionel Bulmer’s coastal views of summer on the Suffolk coast came to define his career. His impressionistic style was ideally suited to evoking the realism of a hot summers day on the sand dunes. The critic Ian Collins noted of Bulmer’s work: ‘the season appears to be one of permanent summer.’

The son of an architect, Bulmer’s studies at Clapham School of Art were interrupted by being conscripted at the outbreak of the Second World War. On being de-mobbed he studied at the Royal College of Art, at that time relocated in Ambleside in the Lake District, where he met fellow artist and life partner to be Margaret Green. When the RCA returned to Kensington Bulmer and Green were taught by, among others, Ruskin Spear and Carel Weight. When Green received an RCA travel scholarship the couple embarked on a tour of discovery, painting their way through France and Italy for the best part of a year.

On their return to London they settled in Chelsea, Bulmer taught at Kingston School of Art while Green taught at Walthamstow School of Art and they both exhibited at the Royal Academy and New English Art Club. Tiring of the austerity and smog of post-war London they sought out life in the countryside. Initially they lived above a boat house in Littlehampton, on the Sussex coast (lot 163), but soon moved to an ancient thatched cottage surrounded by run down gardens, near Stowmarket in rural Suffolk, which they lovingly restored and transformed over many years. From there they set out on their frequent painting expeditions to the coastal communities of Southwold and Walberswick.

Untouched by heavy industry, the area represented a rural coastal idyll that was to become the central motif of Bulmer’s work (lot 159). Popular since the 18th century as a destination for seawater swimming, and following in the footsteps of the painter Philip Wilson Steer (1860-1942), Bulmer was drawn to recording beach scenes and bathers (lots 164 & 165). Steer had made the East Coast his painting ground after returning from studying on the Continent and brought Impressionist painting to England. Bulmer’s pointillist style reflects both Steer’s influence and also more directly that of the Neo-Impressionists, Georges Seurat (1859-1891) in particular.

159

• LIONEL BULMER (BRITISH 1919-1992) CYCLING OVER SOUTHWOLD BRIDGE signed L Bulmer lower left oil on board

30 x 30 cm; 11 3/4 x 11 3/4in (unframed)

£80-120

160

• LIONEL BULMER (BRITISH 1919-1992) FIGURES ON A COASTAL PROMONTORY oil on board

51 x 76cm; 20 x 29 3/4in (unframed)

£250-350

161

• LIONEL BULMER (BRITISH 1919-1992)

HERME IN A GARDEN, ITALY

signed and dated L Bulmer 57 lower right annotated and dated SEPT / 1957 on the reverse oil on the artist’s prepared board 51 x 76cm; 20 x 30in

£250-350

162

• LIONEL BULMER (BRITISH 1919-1992)

LANDSCAPE AT SHELLAND, SUFFOLK

signed L Bulmer lower right oil on board

92 x 122cm; 36 1/4 x 48in 104 x 135cm; 41 x 53in (framed)

£400-600

159

160

161

163

• LIONEL BULMER (BRITISH 1919-1992) ON THE ARUN, WEST SUSSEX

signed L Bulmer lower right oil on board

51 x 76cm; 20 x 29 3/4in (unframed)

£250-350

164

• LIONEL BULMER (BRITISH 1919-1992)

TWO SKETCH BOOKS CONTAINING 112 SKETCHES INCLUDING BATHERS ON THE BEACH, SUNSET SERIES, VIEWS OF A GARDEN AND NUDE STUDIES, SOME WITH ARTIST’S ANNOTATIONS

some pen and ink, some watercolour and wash the larger book 44.5 x 28cm; 17 1/2 x 11in the smaller book 23 x 18cm; 9 x 7in (2)

£150-250

165

• LIONEL BULMER (BRITISH 1919-1992)

TWO SKETCH BOOKS CONTAINING 25 SKETCHES INCLUDING FIGURES ON THE BEACH, BOATS MOORED ON THE SHORE AND VIEWS OF THE SEA FROM COASTAL VILLAGES, SOME WITH ARTIST’S ANNOTATIONS

some pen and ink; some watercolour and oil both: 25 x 19.5cm; 9 3/4 x 7 3/4in (2)

£150-250

166

• LIONEL BULMER (BRITISH 1919-1992)

(i) INTERIOR WITH SNOW (ii) INTERIOR (i) oil on panel

(ii) oil on board

(i) 23 x 33.5cm; 9 x 13 1/4in

(ii) 21 x 26.5cm; 8 1/4 x 10 1/2in (both unframed) (2)

£100-150

163

164

165

166

Young, impressionable and fresh from Toronto where he had studied with the Group of Seven painter Frank Johnston, Cronyn departed Canada with an irrepressible can-do New World outlook. His unpublished memoirs recount his pre-war years: his time at the Arts Students League in New York in 1929; the early 1930s in Paris tutored by Jean Despujols and André Lhote; bicycling across the Alps; and on his arrival to England his immersion into bohemian life in West London.

From the mid-thirties he rented various studios by the Thames in Hammersmith and met many of the leading artists and writers of the day. One such was Ivon Hitchens, whose second solo exhibition at the Lefevre Gallery he helped hang. But most influential in his circle of friends was the critic, humourist and politician A P Herbert (‘APH’) and his wife Gwen, herself a painter and stage-designer of note. At their home at 12 Hammersmith Terrace, Cronyn met the likes of Edward Wadsworth, Mark Gertler, Leon Underwood and John Piper. Ceri Richards lived nearby, as did poets Robert Graves and Laura Riding in St Peter’s Square. He went on painting trips to Dorset with Julian Trevelyan, his neighbour at Durham Wharf, and to the French-Spanish border with Ray Coxon and Edna Ginese at the time of the Spanish Civil War.

HUGH CRONYN (LOTS 167-174)

After the outbreak of the Second World War, Cronyn was commissioned into the Royal Navy. Put in charge of the Naval bomb disposal squad in Bristol dockyards, he was the first Canadian to be awarded the George Medal (GM). In 1942 he married Jean Harris and settled in Suffolk where from 1949-69 he was tutor of painting at Colchester School of Art teaching alongside John Nash, Edward Bawden, Carel Weight and Peter Coker (lot 174). From 1963 the Cronyns began to spend their summers in Quercy in the Lot, first renting a 15th century gatehouse and studio, then a small house, Les Vergers, before buying a dilapidated farmhouse in 1970 in Caufour which they renovated (lot 170).

From 1974 the Cronyns spent the winter months in 3 St Peter’s Wharf, next door to Hammersmith Terrace, in one of the artists’ studios overlooking the Thames constructed by Julian Trevelyan. Cronyn’s late paintings of the river, which capture the spectrum of colours as the seasons changed, document the river’s moods from winter mists to intense summer sun, and hang in many private collections (lot 172).

167

• HUGH CRONYN (BRITISH 1905-1996)

WOODLANDS, QUERCY

signed CRONYN lower right oil on canvas

46 x 65cm; 18 x 25 1/2in (unframed)

£200-300

168

• HUGH CRONYN (BRITISH 1905-1996)

THE COTTAGE AMONG TREES, QUERCY

signed CRONYN lower right; dedicated with the initials for / Janey Cronyn / HC on the reverse oil on canvas

50 x 60.5cm; 19 3/4 x 23 3/4in

53 x 63cm; 21 x 24 3/4in (framed)

£200-300

169

• HUGH CRONYN (BRITISH 1905-1996)

THE STUDIO TERRACE, QUERCY

signed HUGH / CRONYN lower right oil on canvas

56 x 41cm; 22 x 16in (unframed)

£150-250

170

• HUGH CRONYN (BRITISH 1905-1996)

LIMESTONE WALL AND STUDIO, QUERCY

signed HUGH CRONYN lower right oil on canvas

40.5 x 50.5cm; 16 x 19 3/4in (unframed)

£150-250

168

167

171

• HUGH CRONYN (BRITISH 1905-1996)

BRETON CHURCH

inscribed Brittany on the overlap oil on canvas

40.5 x 51cm; 16 x 20in (unframed)

£150-250

172

• HUGH CRONYN (BRITISH 1905-1996)

GULLS OVER THE THAMES

watercolour over pencil on paper signed HUGH CRONYN lower right

56 x 76cm; 22 x 30in

79.5 x 97cm; 31 1/4 x 38 1/4in (framed)

£150-250

173

• HUGH CRONYN (BRITISH 1905-1996)

POTTED PLANTS AND FLOWERS, ST PETER’S WHARF

signed HUGH / CRONYN lower right oil on canvas

76 x 63.5cm; 29 3/4 x 25in

83 x 70.5cm; 32 3/4 x 27 3/4in (framed)

£150-250

174

• HUGH CRONYN (BRITISH 1905-1996)

INTERIOR, NAYLAND, SUFFOLK

signed, titled, numbered, and dated 8/12, Interior, Hugh Cronyn / 72 etching

47.5 x 35cm; 18 3/4 x 13 3/4in (plate)

79.5 x 56.5cm; 31 1/4 x 22 1/4in (sheet) (unframed)

Using Julian Trevelyan’s press Cronyn investigated etching as a reprise of his pre-war wood engravings. After moving back to London, the Cronyns kept connections with Suffolk by renting there. The subject of the present work is a view through the kitchen of a cottage down to the River Stour that runs through Nayland.

£100-150

171

172

173

ROSE HILTON (LOTS 175-182)

YOU HAVE TO GIVE A LOT TO PAINTING. It’s not something you can just dash off. You have to take risks – risk ruining it. You have to know when to stop.

(Rose Hilton)

Rose Hilton (née Phipps), along with her seven siblings, was brought up by strict Plymouth Brethren parents in Kent. Studying at Beckenham Art School after the Second World War she had been expected to go on to train as a teacher, but secretly applied to the Royal College of Art and was awarded a scholarship, much to the consteration of her parents. In her RCA cohort was Peter Blake; on the year above was Frank Auerbach. The college’s focus on figurative work suited Hilton and she graduated in 1957 with a first class degree and prizes in painting and life-drawing.

Rose fell for Roger Hilton in 1959, introduced by Sandra Blow. She called him her ‘Jesus of the art world’. They had a son - Bo - in 1961, married in 1965 and set up home together in three 19th century crofters cottages high on the cliff tops at Botallack, West Cornwall. There, John Wells, Peter Lanyon, Terry Frost and Patrick Heron were in their circle of artist-friends. But Hilton decreed that there was only room for one artist in the household and forbid Rose to paint. Instead she focused on raising her family and supporting her husband.

But following Hilton’s death in 1975, Rose returned to painting and two years later had her first solo exhibition at the Newlyn Gallery. The house became a hive of activity, described as ‘chaotic’ by many, there were always people coming and going, and frequent parties. A conservatory was added which became her studio, providing the perfect light in which to work.

The tranquillity of the space suggested the luminous interiors of work by Bonnard, his use of light in his interiors greatly influencing Rose’s style. As Ian Collins noted ‘Rose had always loved the intimacy and accessibility of Bonnard’s brilliantly lit domestic interiors... particularly the glowing and jewel-like effects that can be achieved through layers of underpainting, a technique she has always loved’ (Collins, Rose Hilton, London, 2016). Although she used professional models, she preferred to ask friends and family to sit for her. Typically, she focused on the shape of the person rather than their physical identity (lots 176-181). Much of her later figure work is more abstract, the figure not necessarily taking centre stage in the composition but being one element of many.

© Antony Crolla

175

• ROSE HILTON (BRITISH 1931-2019)

STILL LIFE WITH FLOWERS IN A VASE signed Rose / Hilton lower right oil on canvas board

50.5 x 40.5cm; 19 3/4 x 15 3/4in (unframed)

£400-600

176

• ROSE HILTON (BRITISH 1931-2019)

FEMALE NUDE SEATED ON A BLUE CHAIR

signed Rose / Hilton lower right oil on canvas board

30.5 x 25cm; 12 x 9 3/4in (unframed)

£350-450

177

• ROSE HILTON (BRITISH 1931-2019)

RECLINING NUDE

signed Rose / Hilton lower left oil on canvas board

25.5 x 30.5cm; 10 x 12in (unframed)

£300-500

178

• ROSE HILTON (BRITISH 1931-2019)

A YOUNG MODEL

signed Rose Hilton lower left oil on canvas board

45.5 x 35.5cm; 17 3/4 x 14in (unframed)

£250-350

175

176

179

• ROSE HILTON (BRITISH 1931-2019)

(i) STRETCHING NUDE FIGURE; (ii) RESTING FEMALE NUDE; AND (iii) STUDY OF A NUDE FIGURE

(i) and (ii) signed Rose / Hilton lower left

(iii) signed Rose/Hilton lower right all charcoal on paper

(i) 21.5 x 30cm; 8 1/2 x 11 3/4in

(ii) and (iii) 30 x 21.5; 11 3/4 x 8 1/2in (all unframed) (3)

£250-350

180

• ROSE HILTON (BRITISH 1931-2019)

(i) STUDY OF A NUDE FIGURE STRETCHING; (ii) A NUDE FIGURE RECLINING ON A SOFA WITH NUDE FIGURE STUDY VERSO; AND (iii) STUDY OF A NUDE FIGURE WITH LEG ON A CHAIR WITH NUDE FIGURE STUDY VERSO

(i) signed Rose / Hilton lower centre

(ii) and (iii) signed Rose / Hilton lower left all charcoal on paper

(i) 30 x 21cm; 11 3/4 x 8 1/4in

(ii) 21 x 30cm; 8 1/4 x 11 3/4in

(iii) 30.5 x 23cm; 12 x 9in (all unframed) (3)

£200-300

181

• ROSE HILTON (BRITISH 1931-2019)

(i) STUDY OF A FEMALE NUDE FROM BEHIND; AND

(ii) STUDY OF A SEATED FEMALE NUDE

(i) signed and dated Phipps’79 lower right

(ii) signed Rose / Hilton lower left

(i) charcoal on paper

(ii) oil on card

(i) 42 x 30cm; 16 1/2 x 11 3/4in

(ii) 30.5 x 18cm; 12 x 7in (both unframed) (2)

£250-350

182

• ROSE HILTON (BRITISH 1931-2019)

(i) VIEW OF ROLLING HILLS, CORNWALL; (ii) INSIDE THE STUDIO

both signed Rose / Hilton lower left

(i) oil on canvas board

(ii) oil on paper

(i) 12.5 x 17.5cm; 5 x 7in

(ii) 29 x 22.5cm; 11 1/2 x 8 3/4in

(both unframed) (2)

£250-350

MAURICE COCKRILL (LOTS 183-187)

Painted in 1984-85, the following five lots by Cockrill relate to the artist’s first years in London when he was exploring legendary female figures in his work, including Ophelia, Judith, Medea and Venus. Lots 183, 185 and 186 are preparatory sketches for the resultant sequence of large-scale paintings on this theme. The works directly engage with the masters of the European tradition and appeared at a time - some forty years ago - when there was a wide revival of interest in expressive figurative painting that championed allegorical, historical and mythological subject matter.

Cockrill’s series followed his move south from Liverpool where he had taught for the previous eighteeen years. For the first half of his life - until the early 1980s - Cockrill had largely confined himself to the north. Born in Hartlepool, County Durham, and raised in Wales and the Midlands, his time studying at Wrexham School of Art and then in Liverpool had been broken only by three years at Reading University (1961-64). In the early 1970s he was working in a photo-realist style, but by the end of decade his work was becoming more loaded, more expressive. It was to test this nascent expressionism in a more demanding art world that he embarked on the move to London in 1982.

183

• MAURICE COCKRILL (BRITISH 1936-2013)

OPHELIA

signed with initials and dated 84 lower right; titled Ophelia lower left

watercolour

38 x 28cm; 15 x 11in

64.5 x 54cm; 25 1/2 x 21 1/4in (framed)

£300-400

Cockrill first took over Bridget Riley’s old studio in Clerkenwell where Paula Rego was a neighbour and soon became a friend. The first work he produced in London continued in the vein he had begun, increasingly visceral and disturbing, but now with just the slightest hint of Rego’s influence (lot 184). In 1984 Edward Totah gave him a one-man show, then from 1986-96 he was represented by Bernard Jacobson, under whose aegis Cockrill’s style mellowed and his ideas proliferated. Natural imagery and the themes of growth and decay came to the forefront of his work. In 1995 he was the subject of a retrospective at the Walker Art Gallery, Liverpool, and in 1998 the last ten years of his work was shown at the Royal West of England Academy, Bristol. The following year he was elected an RA, and in 2004 he was voted in as keeper of the Royal Academy Schools.

184

• MAURICE COCKRILL (BRITISH 1936-2013)

CONNIE (HER OWN WOUNDS)

signed and dated Maurice Cockrill / .86 lower right; inscribed CONNIE lower centre; signed, titled, dated and inscribed with the medium on the reverse oil and gouache

77.5 x 56cm; 30 1/2 x 22in (unframed)

£200-300

185

• MAURICE COCKRILL (BRITISH 1936-2013)

VENUS AND MARS (ANGEL)

signed and dated Maurice Cockrill 1986 lower right; titled on the reverse gouache

56 x 76cm; 22 x 30in (unframed)

£200-300

186

• MAURICE COCKRILL (BRITISH 1936-2013)

VENUS AND MARS (COURAGE)

signed and dated Maurice Cockrill, 1986 lower left; titled and inscribed with the medium on the reverse gouache

76 x 55.5cm; 30 x 22in (unframed)

£200-300

187

• MAURICE COCKRILL (BRITISH 1936-2013)

FIGURES AND BOOKS

signed and dated Maurice Cockrill / 1986 lower left; signed, titled, dated and inscribed with the medium on the reverse charcoal and gouache

55.5 x 76cm; 22 x 30in (unframed)

£200-300

IMPORTANT INFORMATION FOR BUYERS

1.1 INTRODUCTION

The following notes are intended to assist Bidders and Buyers, particularly those who are inexperienced or new to our saleroom. The sale of goods at our auctions are governed by our Terms of Sale (for Live Auctions or Online Auctions as applicable), our Privacy Policy, the Important Information for Buyers, and any notices that are displayed in our saleroom or announced by the Auctioneer (in the case of a Live Auction) or displayed on any Listing for a Lot in our Online Auction catalogue (in the case of an Online Auction) (collectively, the “Terms and Conditions of Business”). The Terms and Conditions of Business are available for inspection on our Website and at our saleroom on request. Our staff will be happy to help you if there is anything in our Terms and Conditions of Business that you do not fully understand.

Please make sure that you read the applicable Terms of Sale carefully before bidding. If your bid is successful, you will be obliged to comply with ourTerms of Sale.

1.2 AGENCY

As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your Contract for your purchase of the goods is with the Seller, not with us as Auctioneer.

1.3 ESTIMATES

Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the Lot’s value or predicted sale price. The lower Estimate may represent the Reserve price (the minimum price for which a Lot may be sold) and will not be below the Reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot (for Live Auctions), or on the Listing for a Lot in our Online Auction catalogue before the auction of the Lot (for Online Auctions). They represent a matter of opinion and are not definitive.

1.4 BUYER’S PREMIUM

The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%).

1.5 VAT

The following paragraphs are intended to give general advice on VAT for items purchased at auction. We have covered the common situations, and this may not be comprehensive. We are unable to offer Tax advice and we suggest you seek independent advice if you require clarifications or further information.

1.5.1 Items in our catalogue may be marked in the following ways:

(a) (†) indicates that VAT is payable by the Buyer on both the Hammer Price and the Buyer’s Premium. VAT will be chargeable at the standard rate (presently 20%) for most Lots. Qualifying books will be charged at 0%. This imposition of VAT is likely to be because the Seller is registered for VAT within the UK and is not operating the Dealers’ Margin Scheme on their consignment to us.

(b) (‡) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 5% (reduced rate due to nature of the Lot) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.

(c) (Ω) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 20% (higher rate) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.

(d) Lots which do not display one of the above symbols (referred to herein as unmarked Lots) have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. Therefore, an amount in lieu of VAT at the standard rate is included within the Premium and will not be shown separately on our invoice or be recoverable as input Tax.

1.5.2 For the items marked (‡) or (Ω), Buyers registered for VAT in the UK should notify us as soon as possible after the sale so that we can correctly instruct our shipping agents to complete the import into the UK under the Buyer’s VAT registration and HMRC can issue a form C79. The charge on our invoice for the import VAT is not sufficient evidence to make a claim for the import VAT.

1.6 REFUNDS OF VAT

1.6.1 For Buyers from outside the UK, the VAT charged on the Hammer Price and Buyer’s Premium or included in lieu of VAT in the Buyer’s Premium can be refunded so long as the Buyer has:

(a) registered to bid with an address outside the UK; and

(b) discussed with us the proof of export we require and the timeframes to complete the export.

1.6.2 Once we are satisfied that the requirements referred to in Clause 1.6.1 have been met, and with the proof of export provided, the following VAT will be refunded:

(a) For Lots marked (†): The VAT on the Hammer Price and on the Buyer’s Premium.

(b) For Lots marked (‡) and (Ω): the import VAT and, for non-UK business customers only, the VAT in lieu in the Buyer’s Premium.

(c) For unmarked Lots: the amount in lieu of VAT in the Buyer’s Premium.

1.6.3 To enable us to refund the VAT charged correctly we normally require the use of our international shippers to assist with the required paperwork. For private Buyers, we will only be able to refund the VAT if our shippers are used for the export of the Lot outside the UK.

1.7 REINVOICING SALES

For unmarked Lots, you can request a Lot to be reinvoiced outside the Auctioneers’ Margin Scheme. VAT at 20% will be charged on the Hammer Price and the VAT on the Buyer’s Premium will be itemised separately on our invoice. This will enable a VAT registered business to reclaim all the VAT. Please note that the item will no longer be eligible to be sold in the Margin Scheme. We recommend you seek advice before proceeding. Requests must be made within 6 months of the sale and certain conditions apply.

1.8 INSPECTION OF GOODS BY THE BUYER

As we act on behalf of the Seller, we are dependent on information provided by the Seller about their goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction.

Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.

IMPORTANT INFORMATION FOR BUYERS

1.9 GOODS WITH ELECTRICAL COMPONENTS

These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.

1.10 ENDANGERED SPECIES

If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.

1.11 EXPORT OF GOODS

If you intend to export goods you must find out:

1.11.1 whether an export licence is needed; and

1.11.2 if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.

1.12 BIDDING

Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. Please enquire in advance about our arrangements for telephone or online bidding. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.

BIDDING PLATFORMS

We offer free online bidding directly through our Website (www.olympiaauctions. com). You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.

1.13 FINANCIAL CHECKS

As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following:

(a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document).

(b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity.

(c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information.

1.13.2 You may be asked for further information if we deem this necessary.

1.13.3 If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf.

1.13.4 If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.

1.14 COMMISSION BIDDING

You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s Premium and/or any applicable VAT). We will execute commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical commission bids, we may prefer the first bid received (where this can be reasonably ascertained). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/email or via our Website or online Bidding Platform.

1.15 METHODS OF PAYMENT

1.15.1 Online: Payment can be made at www.olympiaauctions.com/payments.

1.15.2 Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.

1.15.3 Bank Transfer: Please discuss with our office in advance of the sale if you plan to pay by electronic bank transfer.

1.15.4 Cash and UK registered debit card payments above £6,000 and “card holder not present” payments above £2,000 cannot be accepted.

1.16 COLLECTION AND STORAGE

Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges. You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.

1.17 POTENTIAL CANCELLATION RIGHTS

If you purchase a Lot in an online sale as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot. You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.

CATALOGUING PRACTICE

1. MEASUREMENTS

Please note that all measurements are approximate and that illustrations are not to scale.

2. CERAMICS

Obvious faults may be recorded in italics at the end of a description for ceramics.

3.CLOCKS AND WATCHES

All Lots are sold “as is” and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. 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, the Bidder should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. The Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.

4. DISPLAY ACCESSORIES

Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.

5. FIREARMS

Please note that all bore sizes are approximate.

6. JEWELLERY

It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.

7. PHOTOGRAPHS

In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot description). A vintage photograph is one which was made within approximately 5–10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, “printed later” will appear in the Lot description.

Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated.

All photographs are sold unframed unless stated otherwise in the Lot description.

8. PICTURES

A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used:

(a) “Attributed to”: means in our opinion it is probably a work by the artist in whole or in part.

(b) “Studio of” or “workshop of”: means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

(c) “Circle of”: means in our opinion a work of the period of the artist and showing his influence.

(d) “Follower of”: means in our opinion a work executed in the artist’s style but not necessarily by a pupil.

(e) “Manner of”: means in our opinion a work executed in the artist’s style but of a later date.

(f) “After”: means in our opinion a copy (of any date) of a work of the artist.

(g) “Signed”, “dated”, “inscribed”: means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt.

(h) “Bears signature”, “bears date”, “bears inscription”: means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.

9. SILVER, GOLD AND PRECIOUS METALS

Weights may only be accurate to within 5 grams. Weights shown as “(* oz)” are in troy ounces and usually rounded down to the full ounce.

10. THE FOLLOWING SYMBOLS MAY BE USED IN OUR AUCTION CATALOGUES:

(a) () indicates a Lot with no Reserve.

(b) (Ø) indicates a “Premium Lot”. For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any pre-registration application shall be final.

(c) (~) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to paragraph 1.11 above.

(d) (•) indicates a Lot that may be subject to Artist’s Resale Right.

ABSENTEE BID FORM

OLYMPIA AUCTIONS

SALE TITLE: FROM THE STUDIO:

WORKS FROM FIFTEEN ARTISTS’ ESTATES

DATE: 20 MARCH 2024

CODE: TRAPEZE

Please mail, fax or scan and email to:

Olympia Auctions, 25 Blythe Road, London W14 0PD

Fax +44 (0)20 7806 5546

Email: pictures@olympiaauctions.com

Important

Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.

I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.

Methods of Payment

Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Online: www.OlympiaAuctions.com/payments

Wire Transfer to our Bank

Electronic transfers may be sent directly to our Bank:

HSBC Bank, 38 High Street, Dartford, Kent DA1 1DG

IBAN No: GB39HBUK40190422033119

BIC: HBUKGB4B

Sort Code: 40-19-04

Account No: 22033119

Account Name: Olympia Auctions

Payment Cards

We are pleased to accept card payments – Visa, MasterCard and American Express.

Sterling Bankers Draft

Drawn on a recognised UK bank.

Sterling Cash or Cheque

Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from your bank.

Please print or type

Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address.

FORTHCOMING AUCTIONS

20TH MARCH 2024

PAINTINGS, WORKS ON PAPER & SCULPTURE

1ST MAY 2024

MODERN & CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART

22ND MAY 2024

EUROPEAN WORKS OF ART

5TH JUNE 2024

ISLAMIC & INDIAN WORKS OF ART

5TH JUNE 2024

CHINESE & JAPANESE WORKS OF ART

19TH JUNE 2024

FINE PAINTINGS, WORKS ON PAPER & SCULPTURE

16TH JUNE 2024

ANTIQUE ARMS, ARMOUR & MILITARIA

3RD OCTOBER 2024

FROM THE STUDIO: WORKS FROM ARTISTS’ ESTATES

Please contact us for valuations and advice enquiries@olympiaauctions.com | www.olympiaauctions.com

Please note these dates may be subject to change